Aunt Minervy paused. She had wrought the miracle of summoning to life one of the crises through which she had passed with others. It was not the words she used. There was nothing in them to stir the heart or quicken the pulse. Her power lay in the tones of her voice, whereby she was able to recall the passion of a moment that had long spent itself; in the fluent and responsive attitudes; in gesticulation that told far more than her words did. The light from the vestibule lamp shone full upon her and upon the lady whom she unconsciously selected to play the part of the young woman whose story she was telling. The illusion was perfect. We were in Aunt Minervy Ann’s house, Miss Sadie was sitting helpless and hopeless before her—the whole scene was vivid and complete. She paused; her arm, which had been outstretched and rigid for an instant, slowly fell to her side, and—the illusion was gone; but while it lasted, it was as real as any sudden and extraordinary experience can be. Aunt Minervy Ann resumed her seat, with a chuckle, apparently ashamed that she had been betrayed into such a display of energy and emotion, saying, “Yessum, she sho’ went.” “I don’t wonder at it,” remarked the lady of the house, with a long-drawn sigh of relief. Aunt Minervy Ann laughed again, rather sheepishly, and then, after rubbing her hands together, took up the thread of the narrative, this time directing her words to me: “All de way ter de house, suh, she ain’t say two words. She had holt er my han’, but she ain’t walk like she uz weak. She went along ez peart ez I did. When we got dar, some er de niggers wuz out in de flower gyarden an’ out in de big grove callin’ ’er; an’ dey call so loud dat I hatter put um down. ‘Hush up!’ I say, ‘an’ go on ’bout yo’ business! Can’t yo’ Miss Sadie take a walk widout a whole passel er you niggers a-hollerin’ yo’ heads off?’ One un um make answer, ‘Miss Fanny huntin’ fer ’er.’ She sorter grip my han’ at dat, but I say, ‘She de one you wanter see—her an’ Gabe Towers.’