The House of the Dead (Dover Thrift Editions)

by Fyodor Dostoevsky

  The actors had decided that each spectator should give what he thought fit. The receipts were to cover the expenses, and anything beyond was to go to the actors. Petroff assured me that I should be allowed to have one of the best places, however full the theatre might be; first, because being richer than the others, there was a probability of my giving more; and, secondly, because I knew more about acting than any one else. What he had foreseen took place. But let me first describe the theatre.

  The barrack of the military section, which had been turned into the theatre, was fifteen feet long. From the court-yard one entered, first an ante-chamber, and afterwards the barrack itself. The building was arranged, as I have already mentioned, in a particular manner, the beds being placed against the wall, so as to leave an open space in the middle. One half of the barrack was reserved for the spectators, while the other, which communicated with the second building, formed the stage. What astonished me directly I entered, was the curtain, which was about ten feet long, and divided the barrack into two. It was indeed a marvel, for it was painted in oil, and represented trees, tunnels, ponds, and stars.

  It was made of pieces of linen, old and new, given by the convicts; shirts, the bandages which our peasants wrap round their feet in lien of socks, all sewn together well or ill, and forming together an immense sheet. Where there was not enough linen, it had been replaced by writing paper, taken sheet by sheet from the various office bureaus. Our painters (among whom we had our Bruloff) had painted it all over, and the effect was very remarkable.

  This luxurious curtain delighted the convicts, even the most sombre and most morose. These, however, like the others, as soon as the play began, showed themselves mere children. They were all pleased and satisfied with a certain satisfaction of vanity. The theatre was lighted with candle ends. Two benches, which had been brought from the kitchen, were placed before the curtain, together with three or four large chairs, borrowed from the noncommissioned officers' room. These chairs were for the officers, should they think fit to honour the performance. As for the benches, they were for the noncommissioned officers, engineers, clerks, directors of the works, and all the immediate superiors of the convicts who had not officer's rank, and who had come perhaps to take a look at the representation. In fact, there was no lack of visitors. According to the days, they came in greater or smaller numbers, while for the last representation there was not a single place unoccupied on the benches.

  At the back the convicts stood crowded together; standing up out of respect to the visitors, and dressed in their vests, or in their short pelisses, in spite of the suffocating heat. As might have been expected, the place was too small; so all the prisoners stood up, heaped together--above all in the last rows. The camp-bedsteads were all occupied; and there were some amateurs who disputed constantly behind the stage in the other barrack, and who viewed the performance from the back. I was asked to go forward, and Petroff with me, close to the benches, whence a good view could be obtained. They looked upon me as a good judge, a connoisseur, who had seen many other theatres. The convicts remarked that Baklouchin had often consulted me, and that he had shown deference to my advice. Consequently they thought that I ought to be treated with honour, and to have one of the best places. These men are vain and frivolous, but only on the surface. They laughed at me when I was at work, because I was a poor workman. Almazoff had a right to despise us gentlemen, and to boast of his superior skill in pounding the alabaster. His laughter and raillery were directed against our origin, for we belonged by birth to the caste of his former masters, of whom he could not preserve a good recollection; but here at the theatre these same men made way for me; for they knew that about this matter I knew more than they did. Those, even, who were not at all well disposed towards me, were glad to hear me praise the performance, and gave way to me without the least servility. I judged now by my impressions of that time. I understood that in this new view of theirs there was no lowering of themselves; rather a sentiment of their own dignity.

  The most striking characteristic of our people is its conscientiousness, and its love of justice; no false vanity, no sly ambition to reach the first rank without being entitled to do so; such faults are foreign to our people. Take it from its rough shell, and you will perceive, if you study it without prejudice, attentively, and close at hand, qualities which you would never have suspected. Our sages have very little to teach our people. I will even say more; they might take lessons from it.

  Petroff had told me innocently, on taking me into the theatre, that they would pass me to the front, because they expected more money from me. There were no fixed prices for the places. Each one gave what he liked, and what he could. Nearly every one placed a piece of money in the plate when it was handed round. Even if they had passed me forward in the hope that I should give more than others, was there not in that a certain feeling of personal dignity?

  "You are richer than I am. Go to the first row. We are all equal here, it is true; but you pay more, and the actors prefer a spectator like you. Occupy the first place then, for we are not here with money, and must arrange ourselves anyhow."

  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 role 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 was the sign of the best breeding, of supreme elegance. Probably in his childhood, when he was still a barefooted child, he had been attracted by the skill of some proprietor in twirling his cane, and this impression had remained in his memory, although thirty years afterwards.

  Nietsvitaeff was so occupied with his process that he saw no one, he gave the replies in his dialogue without even raising his eyes. The most important thing for him was the end of his cane, and the circles he drew with it. The Lady Bountiful was also very remarkable; she came on in an old worn-out muslin dress, which looked like a rag. Her arms and neck were bare. She had a little calico cap on her head, with strings under her chin, an umbrella in one hand, and in the other a fan of coloured paper, with which she constantly fanned herself. This great lady was welcomed with a wild laugh; she herself, too, was unable to restrain herself, and burst out more than once. The part was filled by the convict Ivanoff. As for Sirotkin, in his girl's dress, he looked exceedingly well. The couplets were all well sung. In a word, the piece was played to the satisfaction of every one; not the least hostile criticism was passed--who, indeed, was there to criticise? The air, "Sieni moi Sieni," was played again by way of overture, and the curtain again went up.

  Kedril, the Glutton, was now to be played. Kedril is a sort of Don Juan. This comparison may justly be made, for the master and the servant are both carried away by devils at the end of the piece; and the piece, as the convicts had it, was played quite correctly; but the beginning and the end must have been lost, for it had neither head nor tail. The scene is laid in an inn somewhere in Russia. The innkeeper introduces into a room a nobleman wearing a cloak and a battered round hat; the valet, Kedril, follows his master; he carries a valise, and a fowl rolled up in blue paper; he wears a short pelisse and a footman's cap. It is this fellow who is the glutton. The convict Potsiakin, the rival of Baklouchin, played this part, while the part of the nobleman was filled by Ivanoff, the same who played the great lady in the first piece. The innkeeper (Nietsvitaeff) warns the nobleman that the room is haunted by demons, and goes away; the nobleman is interested and preoccupied; he murmurs aloud that he has known that for a long time, and orders Kedril to unpack his things and to get supper ready.

  Kedril is a glutton and a coward. When he hears of devils he turns pale and trembles like a leaf; he would like to run away, but is afraid of his master; besides, he is hungry, he is voluptuous; he is
sensual, stupid, though cunning in his way, and, as before said, a poltroon; he cheats his master every moment, though he fears him like fire. This type of servant is a remarkable one in which may be recognised the principal features of the character of Leporello, but indistinct and confused. The part was played in really superior style by Potsiakin, whose talent was beyond discussion, surpassing as it did in my opinion that of Baklouchin himself. But when the next day I spoke to Baklouchin I concealed my impression from him, knowing that it would give him bitter pain.

  As for the convict who played the part of the nobleman, it was not bad. Everything he said was without meaning, incomparable to anything I had ever heard before; but his enunciation was pure and his gestures becoming. While Kedril occupies himself with the valise, his master walks up and down, and announces that from that day forth he means to lead a quiet life. Kedril listens, makes grimaces, and amuses the spectators by his reflections "aside." He has no pity for his master, but he has heard of devils, would like to know what they are like, and thereupon questions him. The nobleman replies that some time ago, being in danger of death, he asked succour from hell. Then the devils aided and delivered him, but the term of his liberty has expired; and if the devils come that evening, it will be to exact his soul, as has been agreed in their compact. Kedril begins to tremble in earnest, but his master does not lose courage, and orders him to prepare the supper. Hearing of victuals, Kedril revives. Taking out a bottle of wine, he taps it on his own account. The audience expands with laughter; but the door grates on its hinges, the winds shakes the shutters, Kedril trembles, and hastily, almost without knowing what he is doing, puts into his mouth an enormous piece of fowl, which he is unable to swallow. There is another gust of wind.