What noble pride in this mode of action! In final analysis not love of money, but self-respect. There was little esteem for money among us. I do not remember that one of us ever lowered himself to obtain money. Some men used to make up to me, but from love of cunning and of fun rather than in the hope of obtaining any benefit. I do not know whether I explain myself clearly. I am, in any case, forgetting the performance. Let me return to it.
Before the rise of the curtain, the room presented a strange and animated look. In the first place, the crowd pressed, crushed, jammed together on all sides, but impatient, full of expectation, every face glowing with delight. In the last ranks was the grovelling, confused mass of convicts. Many of them had brought with them logs of wood, which they placed against the wall, on which they climbed up. In this fatiguing position they paused to rest themselves by placing both hands on the shoulders of their companions, who seemed quite at ease. Others stood on their toes, with their heels against the stove, and thus remained throughout the representation, supported by those around them. Massed against the camp-bedsteads was another compact crowd; for here were some of the best places of all. Five convicts had hoisted themselves up to the top of the stove, whence they had a commanding view. These fortunate ones were extremely happy. Elsewhere swarmed the late arrivals, unable to find good places.
Every one conducted himself in a becoming manner, without making any noise. Each one wished to show advantageously before the distinguished persons who were visiting us. Simple and natural was the expression of these red faces, damp with perspiration, as the rise of the curtain was eagerly expected. What a strange look of infinite delight, of unmixed pleasure, was painted on these scarred faces, these branded foreheads, so dark and menacing at ordinary times! They were all without their caps, and as I looked back at them from my place, it seemed to me that their heads were entirely shaved.
Suddenly the signal is given, and the orchestra begins to play. This orchestra deserves a special mention. It consisted of eight musicians: two violins, one of which was the property of a convict, while the other had been borrowed from outside; three balalaiki, made by the convicts themselves; two guitars, and a tambourine. The violins sighed and shrieked, and the guitars were worthless, but the balalaiki were remarkably good; and the agile fingering of the artists would have done honour to the cleverest executant.
They played scarcely anything but dance tunes. At the most exciting passages they struck with their fingers on the body of their instruments. The tone, the execution of the motive, were always original and distinctive. One of the guitarists knew his instrument thoroughly. It was the gentleman who had killed his father. As for the tambourinist, he really did wonders. Now he whirled round the disk, balanced on one of his fingers; now he rubbed the parchment with his thumb, and brought from it a countless multitude of notes, now dull, now brilliant.
At last two harmonigers join the orchestra. I had no idea until then of all that could be done with these popular and vulgar instruments. I was astonished. The harmony, but, above all, the expression, the very conception of the motive, were admirably rendered. I then understood perfectly, and for the first time, the remarkable boldness, the striking abandonment, which are expressed in our popular dance tunes, and our village songs.
At last the curtain rose. Every one made a movement. Those who were at the back raised themselves upon the point of their feet; some one fell down from his log. At once there were looks that enjoined silence. The performance now began.
I was seated not far from Ali, who was in the midst of the group formed by his brothers and the other Circassians. They had a passionate love of the theatre, and did not miss one of our evenings. I have remarked that all the Mohammedans, Circassians, and so on, are fond of all kinds of representations. Near them was Isaiah Fomitch, quite in a state of ecstasy. As soon as the curtain rose he was all ears and eyes; his countenance expressed an expectation of something marvellous. I should have been grieved had he been disappointed. The charming face of Ali shone with a childish joy, so pure that I was quite happy to behold it. Involuntarily, whenever a general laugh echoed an amusing remark, I turned towards him to see his countenance. He did not notice it, he had something else to do.
Near him, placed on the left, was a convict, already old, sombre, discontented, and always grumbling. He also had noticed Ali, and I saw him cast furtive glances more than once towards him, so charming was the young Circassian. The prisoners always called him Ali Simeonitch, without my knowing why.
In the first piece, Philatka and Miroshka, Baklouchin, in the part of Philatka, was really marvellous. He played his rôle to perfection. It could be seen that he had weighed each speech, each movement. He managed to give to each word, each gesture, a meaning which responded perfectly to the character of the personage. Apart from the conscientious study he had made of the character, he was gay, simple, natural, irresistible. If you had seen Baklouchin you would certainly have said that he was a genuine actor, an actor by vocation, and of great talent.
I have seen Philatka several times at the St. Petersburg and Moscow theatres, and I declare that none of our celebrated actors was equal to Baklouchin in this part. They were peasants, from no matter what country, and not true Russian moujiks. Moreover, their desire to be peasant-like was too apparent. Baklouchin was animated by emulation; for it was known that the convict Potsiakin was to play the part of Kedril in the second piece, and it was assumed—I do not know why—that the latter would show more talent than Baklouchin.
The latter was as vexed by this preference as a child. How many times did he not come to me during the last days to tell me all he felt! Two hours before the representation he was attacked by fever. When the audience burst out laughing, and called out “Bravo, Baklouchin! what a fellow you are!” his figure shone with joy, and true inspiration could be read in his eyes. The scene of the kisses between Kiroshka and Philatka, in which the latter calls out to the daughter, “Wife, your mouth,” and then wipes his own, was wonderfully comic. Every one burst out laughing.
What interested me was the spectators. They were all at their ease, and gave themselves up frankly to their mirth. Cries of approbation became more and more numerous. A convict nudged his companion with his elbow, and hastily communicated his impressions, without even troubling himself to know who was by his side. When a comic song began, one man might be seen agitating his arms violently, as if to engage his companions to laugh; after which he turned suddenly towards the stage.
A third smacked his tongue against his palate, and could not keep quiet a moment; but as there was not room for him to change his position, he hopped first on one leg, then on the other; towards the end of the piece the general gaiety attained its climax. I exaggerate nothing. Imagine the convict prison, chains, captivity, long years of confinement, of task-work, of monotonous life, falling away drop by drop like rain on an autumn day; imagine all this despair in presence of permission given to the convicts to amuse themselves, to breathe freely for an hour, to forget their nightmare, and to organise a play—and what a play! one that excited the envy and admiration of our town.
“Fancy those convicts!” people said: everything interested them, take the costumes for instance. It seemed very strange, but then to see, Nietsvitaeff, or Baklouchin, in a different costume from the one they had worn for so many years.
He is a convict, a genuine convict, whose chains ring when he walks; and there he is, out on the stage with a frock-coat, and a round hat, and a cloak, like any ordinary civilian. He has put on hair, moustaches. He takes a red handkerchief from his pocket and shakes it, like a real nobleman. What enthusiasm is created! The “good landlord” arrives in an aide-de-camp uniform, a very old one, it is true, but with epaulettes, and a cocked hat. The effect produced was indescribable. There had been two candidates for this costume, and—will it be believed?—they had quarrelled like two little schoolboys as to which of them should play the part. Both wanted to appear in military uniform with epaulettes.
The other actors separated them, and, by a majority of voices, the part was entrusted to Nietsvitaeff; not because he was more suited to it than the other, and that he bore a greater resemblance to a nobleman, but only because he had assured them all that he would have a cane, and that he would twirl it and rap it out grand, like a true nobleman—a dandy of the latest fashion—which was more than Vanka and Ospiety could do, seeing they have never known any noblemen. In fact, when Nietsvitaeff went to the stage with his wife, he did nothing but draw circles on the floor with his light bamboo cane, evidently thinking that this
