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“Sweet memories are like moonlight,” said Jessie musingly. “They make one melancholy, however pleasing they may be. I don’t see why, any more than why moonlight is so sad, spite of its beauty; but so it is.”

The fragile tenure of the sense of personal identity is illustrated by the ease and completeness with which actors can put themselves in the place of the characters they assume, so that even their instinctive demeanor corresponds to the ideal, and their acting becomes nature. Such was the experience of the members of the club. The occupation of their mind during the week with the study of their assumed characters had produced an impression that had been deepened to an astonishing degree by the striking effect of the accessories of costume and manner. The long-continued effort to project themselves mentally into the period of old age was assisted in a startling manner by the illusion of the senses produced by the decrepit figures, the sallow and wrinkled faces, and the white heads of the group.

Their acting had become spontaneous. They were perplexed and bewildered as to their identity, and in a manner carried away by the illusion their own efforts had created. In some of the earlier conversation of the evening there had been occasional jests and personalities, but the talk had now become entirely serious. The pathos and melancholy of the retrospections in which they were indulging became real. All felt that if it was acting now, it was but the rehearsal of a coming reality. I think some of them were for a little while not clearly conscious that it was not already reality, and that their youth was not forever vanished. The sense of age was weighing on them like a nightmare. In very self-pity voices began to tremble and bosoms heaved with suppressed sobs.

Mary rose and stepped to the piano. It indicated how fully she had realized her part that, as she passed the mirror, no involuntary start testified to surprise at the aged figure it reflected. She played in a minor key an air to the words of Tennyson’s matchless piece of pathos, —

“The days that are no more,” accompanying herself with a voice rich, strong, and sweet. By the time she had finished, the girls were all crying.

Suddenly Henry sprang to his feet, and, with the strained, uncertain voice of one waking himself from a nightmare, cried:–

“Thank God, thank God, it is only a dream,” and tore off the wig, letting the brown hair fall about his forehead. Instantly all followed his example, and in a moment the transformation was effected. Brown, black, and golden hair was flying free; rosy cheeks were shining through the powder where handkerchiefs had been hastily applied, and the bent and tottering figures of a moment ago had given place to broad-shouldered men and full-breasted girls. Henry caught Jessie around the waist, Frank Nellie, and George Mary, and with one of the little girls at the piano, up and down the room they dashed to the merriest of waltzes in the maddest round that ever was danced. There was a reckless abandon in their glee, as if the lust of life, the glow and fire of youth, its glorious freedom, and its sense of boundless wealth, suddenly set free, after long repression, had intoxicated them with its strong fumes. It was such a moment as their lifetime would not bring again.

It was not till, flushed and panting, laughing and exhausted, they came to a pause, that they thought of Grandma Fellows. She was crying, and yet smiling through her tears.

“Oh, grandma,” cried Mary, throwing her arms around her, and bursting into tears, “we can’t take you back with us. Oh, dear.”

And the other girls cried over her, and kissed her in a piteous, tender way, feeling as if their hearts would break for the pity of it. And the young men were conscious of moisture about the eyes as they stood looking on.

But Grandma Fellows smiled cheerily, and said:–

“I’m a foolish old woman to cry, and you mustn’t think it is because I want to be young again. It’s only because I can’t help it.”

Perhaps she could n’t have explained it better.