Page:Dostoyevsky - The House of the Dead, Collected Edition, 1915.djvu/160

 exception opened his mouth and stared, and absolute silence reigned The performance began.

Near me was standing Aley in a group consisting of his brothers and all the other Circassians. They were all intensely delighted with the performance, and came every evening afterwards. All Mohammedans, Tatars and others, as I have noticed more than once, are passionately fond of spectacles of all sorts. Next to them Isay Fomitch had tucked himself in. From the moment the curtain rose, he seemed to be all ears and eyes, and simple-hearted, greedy expectation of delights and marvels. It would have been pitiful indeed if he had been disappointed. Aley’s charming face beamed with such pure childlike joy that I must confess I felt very happy in looking at him, and I remember that at every amusing and clever sally on the part of the actors, when there was a general burst of laughter, I could not help turning to Aley and glancing at his face. He did not see me—he had no attention to spare for me! On the left side quite near me stood an old convict who was always scowling, discontented and grumbling. He, too, noticed Aley, and I saw him more than once turn with a half-smile towards him he was so charming! “Aley Semyonitch” he called him, I don’t know why.

They began by “Filatka and Miroshka.” Filatka acted by Baklushin was really splendid. He played his part with amazing precision. One could see that he had thought out every phrase, every movement. Into the slightest word or gesture he knew how to put value and significance in perfect harmony with the character he was acting. And to this conscientious effort and study must be added an inimitable gaiety, simplicity and naturalness. If you had seen Baklushin, you would certainly have agreed that he was a born actor of real talent. I had seen Filatka more than once at theatres in Moscow and Petersburg, and I can say positively that the city actors were inferior to Baklushin in the part of Filatka. By comparison with him. they were too much of paysans, and not real Russian peasants. They were too anxious to mimic the Russian peasant. Baklushin was stirred, too, by emulation. Every one knew that in the second play the part of Kedril would be taken by the convict Potseykin, who was for some reason considered by all a more talented actor than Baklushin, and at this Baklushin was as chagrined as a child. How often he had come to me during those last few days to give vent to his feelings! Two hours before the performance he was in a perfect fever. When they