Every one laughs at seeing him masterless; and he says, always in an under-tone and with a confidential air: “The devils have carried him off!”
The enthusiasm of the spectators is now without limits. The last phrase was uttered with such roguery, with such a triumphant grimace, that it was impossible not to applaud. But Kedril’s happiness does not last long. Hardly has he taken up the bottle of wine, and poured himself out a large glass, which he carries to his lips, than the devils return, slip behind, and seize him. Kedril howls like one possessed, but he dare not turn round. He wishes to defend himself, but cannot, for in his hands he holds the bottle and the glass, from which he will not separate. His eyes starting from his head, his mouth gaping with horror, he remains for a moment looking at the audience with a comic expression of cowardice that might have been painted. At last he is dragged, carried away. His arms and legs are agitated in every direction, but he still sticks to his bottle. He also shrieks, and his cries are still heard when he has been carried from the stage.
The curtain falls amid general laughter, and every one is delighted. The orchestra now attacks the famous dance tune Kamarinskaia. First it is played softly, pianissimo; but little by little, the motive is developed and played more lightly. The time is quickened, and the wood, as well as the strings of the balalaiki, is made to sound. The musicians enter thoroughly into the spirit of the dance. Glinka [who has arranged the Kamarinskaia in the most ingenious manner, and with harmonies of his own devising, for full orchestra] should have heard it as it was executed in our Convict Prison.
The pantomimic musical accompaniment is begun; and throughout the Kamarinskaia is played. The stage represents the interior of a hut. A miller and his wife are sitting down, one mending clothes, the other spinning flax. Sirotkin plays the part of the wife, and Nietsvitaeff that of the husband. Our scenery was very poor. In this piece, as in the preceding ones, imagination had to supply what was wanting in reality. Instead of a wall at the back of the stage, there was a carpet or a blanket; on the right, shabby screens; while on the left, where the stage was not closed, the camp-bedsteads could be seen; but the spectators were not exacting, and were willing to imagine all that was wanting. It was an easy task for them; all convicts are great dreamers. Directly they are told “this is a garden,” it is for them a garden. Informed that “this is a hut,” they accept the definition without difficulty. To them it is a hut. Sirotkin was charming in a woman’s dress. The miller finishes his work, takes his cap and his whip, goes up to his wife, and gives her to understand by signs, that if during his absence she makes the mistake of receiving any one, she will have to deal with him—and he shows her his whip. The wife listens, and nods affirmatively her head. The whip is evidently known to her; the hussey has often deserved it. The husband goes out. Hardly has he turned upon his heel, than his wife shakes her fist at him. There is a knock; the door opens, and in comes a neighbour, miller also by trade. He wears a beard, is in a kuftan, and he brings as a present a red handkerchief. The woman smiles. Another knock is heard at the door. Where shall she hide him? She conceals him under the table, and takes up her distaff again. Another admirer now presents himself—a farrier in the uniform of a non-commissioned officer.
Until now the pantomime had gone on capitally; the gestures of the actors being irreproachable. It was astounding to see these improvised players going through their parts in so correct a manner; and involuntarily one said to oneself:
“What a deal of talent is lost in our Russia, left without use in our prisons and places of exile!”
The convict who played the part of the farrier had, doubtless, taken part in a performance at some provincial theatre, or had played with amateurs. It seemed to me, in any case, that our actors knew nothing of acting as an art, and bore themselves in the meanest manner. When it was his turn to appear, he came on like one of the classical heroes of the old repertory—taking a long stride with one foot before he raised the other from the ground, throwing back his head on the upper part of his body and casting proud looks around him. If such a gait was ridiculous on the part of classical heroes, still more so was it when the actor was representing a comic character. But the audience thought it quite natural, and accepted the actor’s triumphant walk as a necessary fact, without criticising it.
A moment after the entry of the second admirer there is another knock at the door. The wife loses her head. Where is the farrier to be concealed? In her big box. It fortunately is open. The farrier disappears within it and the lid falls upon him.
The new arrival is a Brahmin, in full costume. His entry is hailed by the spectators with a formidable laugh. This Brahmin is represented by the convict Cutchin, who plays the part perfectly, thanks, in a great measure, to a suitable physiognomy. He explains in the pantomime his love of the miller’s wife, raises his hands to heaven, and then clasps them on his breast.
There is now another knock at the door—a vigorous one this time. There could be no mistake about it. It is the master of the house. The miller’s wife loses her head; the Brahmin runs wildly on all sides, begging to be concealed. She helps him to slip behind the cupboard, and begins to spin, and goes on spinning without thinking of opening the door. In her fright she gets the thread twisted, drops the spindle, and, in her agitation, makes the gesture of turning it when it is lying on the ground. Sirotkin represented perfectly this state of alarm.