“Come!” he said to him, as if the latter were indispensable for the execution of some design. “Idiot!” he added, with contempt, as Bulkin passed before him.
But enough about this tumultuous scene, which, at last, came to an end. The convicts went to sleep heavily on their camp-bedsteads. They spoke and raged during their sleep more than on the other nights. Here and there they still continued to play at cards. The festival looked forward to with such impatience was now over, and to-morrow the daily work, the hard labour, will begin again.
CHAPTER XII. THE PERFORMANCE.
On the evening of the third day of the holidays took place our first theatrical performance. There had been much trouble about organising it. But those who were to act had taken everything upon themselves, and the other convicts knew nothing about the representation except that it was to take place. We did not even know what was to be played. The actors, while they were at work, were always thinking how they could get together the greatest number of costumes.
Whenever I met Baklouchin he snapped his fingers with satisfaction, but told me nothing. I think the Major was in a good humour; but we did not know for certain whether he knew what was going on or not, whether he had authorised it, or whether he had determined to shut his eyes and be silent, after assuring himself that everything would take place quietly. He had heard, I fancy, of the meditated representation, and said nothing about it, lest he should spoil everything. The soldiers would be disorderly, or would get drunk, unless they had something to divert them. Thus I think the Major must have reasoned, for it will be only natural to do so.
I may add that if the convicts had not got up a performance during the holidays, or done something of the kind, the administration would have been obliged to organise some sort of amusement; but as our Major was distinguished by ideas directly opposed to those of other people, I take a great responsibility on myself in saying that he knew of our project and authorised it. A man like him must always be crushing and stifling some one, taking something away, depriving some one of a right—in a word, for establishing order of this character he was known throughout the town.
It mattered nothing to him that his exactions made the men rebellious. For such offences there were suitable punishments (there are some people who reason in this way), and with these rascals of convicts there was nothing to do but to treat them very severely, deal with them strictly according to law. These incapable executants of the law did not in the least understand that to apply the law without understanding its spirit is to provoke resistance. They are quite astonished that, in addition to the execution of the law, good sense and a sound head should be expected from them. The last condition would appear to them quite superfluous; to require such a thing is vexatious, intolerant.
However this may be, the Sergeant-Major made no objection to the performance, and that was all the convicts wanted. I may say in all truth that if throughout the holidays there were no disorders in the convict prison, no sanguinary quarrels, no robberies, that must be attributed to the convicts being permitted to organise their performance. I saw with my own eyes how they got out of the way of those of their companions who had drunk too much, and how they prevented quarrels on the ground that the representation would be forbidden. The non-commissioned officer made the prisoners give their word of honour that they would behave well, and that all would go off quietly.
They gave it with pleasure, and kept their promise religiously. They were much flattered at finding their word of honour accepted. Let me add that the representation cost nothing, absolutely nothing, to the authorities, who were not called upon to spend a farthing. The theatre could be put up and taken down within a quarter of an hour; and, in case an order stopping the performance suddenly arrived, the scenery could have been put away in a second. The costumes were concealed in the convicts’ boxes; but first of all let me say how our theatre was constructed, what were the costumes, and what the bill, that is to say, the pieces that were to be played. To tell the truth, there was no written playbill, not, at least, for the first representation. It was ready only for the second and third. Baklouchin composed it for the officers and other distinguished visitors who might deign to honour the performance with their presence, including the officer of the guard, the officer of the watch, and an Engineer officer. It was in honour of these that the playbill was written out.
It was supposed that the reputation of our theatre would extend to the fortress, and even to the town, especially as there was no theatre at N——: a few amateur performances, but nothing more. The convicts delighted in the smallest success, and boasted of it like children.
“Who knows?” they said to one another; “when our chiefs hear of it they will perhaps come and see. Then they will know what convicts are worth, for this is not a performance given by soldiers, but a genuine piece played by genuine actors; nothing like it could be seen anywhere in the town. General Abrosimoff had a representation at his house, and it is said he will have another. Well, they may beat us in the matter of costumes, but as for the dialogue that is a very different thing. The Governor himself will perhaps hear of it, and—who knows?—he may come himself.”
They had no theatre in the town. In a word, the imagination of the convicts, above all after their first success, went so far as to make them think that rewards would be distributed to them, and that their period of hard labour would be shortened. A moment afterwards they were the first to laugh at this fancy. In a word, they were children, true children, when they were forty years of age.
I knew in a general way the subjects of the pieces that were to be represented, although there was no bill. The title of the first was Philatka and Miroshka Rivals. Baklouchin boasted to me, at least a week before the performance, that the part of Philatka, which he had assigned to himself, would be played in such a manner that nothing like it had ever been seen, even on the St. Petersburg stage. He walked about in the barracks puffed up with boundless importance. If now and then he declaimed a speech from his part in the theatrical style, every one burst out laughing, whether the speech was amusing or not; they laughed because he had forgotten himself.
It must be admitted that the convicts, as a body, were self-contained and full of dignity; the only ones who got enthusiastic at Baklouchin’s tirades were the young ones, who had no false shame, or those who were much looked up to, and whose authority was so firmly established that they were not afraid to commit themselves. The others listened silently, without blaming or contradicting, but they did their best to show that the performance left them indifferent.
It was not until the very last moment, the very day of the representation, that every one manifested genuine interest in what our companions had undertaken. “What,” was the general question, “would the Major say? Would the performance succeed as well as the one given two years before?” etc., etc. Baklouchin assured me that all the actors would be quite at home on the stage, and that there would even be a curtain. Sirotkin was to play a woman’s part. “You will see how well I look in women’s clothes,” he said. The Lady Bountiful was to have a dress with skirts and trimmings, besides a parasol; while her husband, the Lord of the Manor, was to wear an officer’s uniform, with epaulettes, and a cane in his hand.
The second piece that was to be played was entitled, Kedril, the Glutton. The title puzzled me much, but it was useless to ask any questions about it. I could only learn that the piece was not printed; it was a manuscript copy obtained from a retired non-commissioned officer in the town, who had doubtless formerly participated in its representation on some military stage. We have, indeed, in the distant towns and governments, a number of pieces of this kind, which, I believe, are perfectly unknown and have never been printed, but which appear to have grown up of themselves, in connection with the popular theatre, in certain zones of Russia. I have spoken of the popular theatre. It would be a good thing if our investigators of popular literature would take the trouble to make careful researches as to this popular theatre which exists, and which, perhaps, is not so insignificant as may be thought.
I cannot think that everything I saw on the stage of our convict prison was the work of our convicts. It must have sprung from old traditions handed down from generation to generation, and preserved among the soldiers, the workmen in industrial towns, and even the shopkeepers in some poor, out-of-the-way places. These traditions have been preserved in some villages and some Government towns by the servants of the large landed proprietors. I even believe that
