"There is nothing to thank you for."
"Ah! you won't thank me. Then I will tell every one how you have treated me, and, moreover, that you are a blackguard."
"Then I shall have something to tell you, drunkard that you are," interrupts Stepka, who at last loses patience. "Listen and pay attention. Let us divide the world in two. You shall take one half, I the other. Then I shall have peace."
"Then you will not give me back my money?"
"What money do you want, drunkard?"
"My money. It is the sweat of my brow; the labour of my hands. You will be sorry for it in the other world. You will be roasted for those five kopecks."
"Go to the devil."
"What are you driving me for? Am I a horse?"
"Be off, be off."
"Blackguard!"
"Convict!"
And the insults exchanged were worse than they had been before the visit to the drink-seller.
Two friends are seated separately on two camp-bedsteads. One is tall, vigorous, fleshy, with a red face —a regular butcher. He is on the point of weeping; for he has been much moved. The other is tall, thin, conceited, with an immense nose, which always seems to have a cold, and little blue eyes fixed upon the ground. He is a clever, well-bred man, and was formerly a secretary. He treats his friend with a little disdain, which the latter cannot stand. They have been drinking together all day.
"You have taken a liberty with me," cries the stout one, as with his left hand he shakes the head of his companion. To take a liberty signifies, in convict language, to strike. This convict, formerly a non-commissioned officer, envies in secret the elegance of his neighbour, and endeavours to make up for his material grossness by refined conversation.
"I tell you, you are wrong," says the secretary, in a dogmatic tone, with his eyes obstinately fixed on the ground, and without looking at his companion.
"You struck me. Do you hear?" continues the other, still shaking his dear friend. "You are the only man in the world I care for; but you shall not take a liberty with me."
"Confess, my dear fellow," replies the secretary, "that all this is the result of too much drink."
The corpulent friend falls back with a stagger, looks stupidly with his drunken eyes at the secretary, and suddenly, with all his might, sends his fist into the secretary's thin face. Thus terminates the day's friendship.
The dear friend disappears beneath the camp-bedstead unconscious.
One of my acquaintances enters the barracks. He is a convict of the special section, very good-natured, and gay, far from stupid, and jocular without malice. He is the man who, on my arrival at the convict prison, was looking out for a rich peasant, who spoke so much of his self-respect, and ended by drinking my tea. He was forty years old, had enormous lips, and a fat, fleshy, red nose. He held a balalaika, and struck negligently its strings. He was followed by a little convict, with a large head, whom I knew very little, and to whom no one paid any attention. Now that he was drunk he had attached himself to Vermaloff, and followed him like his shadow, at the same time gesticulating and striking with his fist the wall and the camp-bedsteads. He was almost in tears. Vermaloff did not notice him any more than if he had not existed. The most curious point was that these two men in no way resembled one another, neither by their occupations nor by their disposition. They belonged to different sections, and lived in separate barracks. The little convict was named Bulkin.
Vermaloff smiled when he saw me seated by the stove. He stopped at some distance from me, reflected for a moment, tottered, and then came towards me with an affected swagger. Then he swept the strings of his instrument, and sung, or recited, tapping at the same time with his boot on the ground, the following chant:
My darling!
With her fall, fair face,
Sings like a nightingale;
In her satin dress,
With its brilliant trimming,
She is very fair.
This song excited Bulkin in an extraordinary manner. He agitated his arms, and shrieked out to every one: "He lies, my friends; he lies like a quack doctor. There is not a shadow of truth in what he sings."
"My respects to the venerable Alexander Petrovitch," said Vermaloff, looking at me with a knowing smile. I fancied even he wished to embrace me. He was drunk. As for the expression, "My respects to the venerable so-and-so," it is employed by the common people throughout Siberia, even when addressed to a young man of twenty. To call a man old is a sign of respect, and may amount even to flattery.
"Well, Vermaloff, how are you?" I replied.
"So, so. Nothing to boast of. Those who really enjoy the holiday have been drinking since early morning."
Vermaloff did not speak very distinctly.
"He lies; he lies again," said Bulkin, striking the camp-bedsteads with a sort of despair.
One might have sworn that Vermaloff had given his word of honour not to pay any attention to him. That was really the most comic thing about it; for Bulkin had not quitted him for one moment since the morning. Always with him, he quarrelled with Vermaloff about every word; wringing his hands, and striking with his fists against the wall and the camp bedsteads till he made them bleed, he suffered visibly from his conviction that Vermaloff "lied like a quack doctor." If Bulkin had had hair on his head, he would certainly have torn it in his grief, in his profound mortification. One might have thought that he had made himself responsible for Vermaloff's actions, and that all Vermaloff's faults troubled his conscience. The amusing part of it was that Vermaloff continued.
"He lies! He lies! He lies!" cried Bulkin.
"What can it matter to you?" replied the convicts, with a laugh.
"I must tell you, Alexander Petrovitch, that I was very good-looking when I was a young man, and the young girls were very fond of me," said Vermaloff suddenly.
"He lies! He lies!" again interrupted Bulkin, with a groan. The convicts burst into a laugh.
"And well I got myself up to please them. I had a red shirt, and broad trousers of cotton velvet. I was happy in those days. I got up when I liked; did whatever I pleased. In fact—"
"He lies," declared Bulkin.
"I inherited from my father a stone house, two storeys high. Within two years I made away with the two storeys; nothing remained to me but the street door. Well, what of that. Money comes and goes like a bird."
"He lies! " declared Bulkin, more resolutely than before.
"Then when I had spent all, I sent a letter to my relations, that they might send me some money. They said that I had set their will at naught, that I was disrespectful. It is now seven years since I sent off my letter."
"And any answer?" I asked, with a smile.
"No," he replied, also laughing, and almost putting his nose in my face.
He then informed me that he had a sweetheart.
"You a sweetheart?"
"Onufriel said to me the other day: 'My young woman is marked with small-pox, and as ugly as you like; but she has plenty of dresses, while yours, though she may be pretty, is a beggar.'"
"Is that true?"
"Certainly, she is a beggar," he answered.
He burst into a laugh, and the others laughed with him. Every one indeed knew that he had a liaison with a beggar woman, to whom he gave ten kopecks every six months.
"Well, what do you want with me?" I said to him, wishing at last to get rid of him.
He remained silent, and then, looking at me in the most insinuating manner, said:
"Could not you let me have enough money to buy half-a-pint? I have drunk nothing but tea the whole day," he added, as he took from me the money I offered him; "and tea affects me in such a manner that I am afraid of becoming asthmatic. It gives me the wind."
When he took the money I offered him, the despair of Bulkin went beyond all bounds. He gesticulated like a man possessed.
"Good people all," he cried, "the man lies. Everything he says—everything is a lie."
"What can it matter to you?" cried
the convicts, astonished at his goings on. "You are possessed."
"I will not allow him to lie," continued Bulkin, rolling his eyes, and striking his fist with energy on the boards. "He shall not lie."
Every one laughed. Vermaloff bowed to me after receiving the money, and hastened, with many grimaces, to go to the drink-seller. Then only he noticed Bulkin.
"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 c
onnection 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 copies of many old pieces have been multiplied by these servants of the nobility.
The old Muscovite proprietors and nobles had their own theatres, in which their servants used to play. Thence comes our popular theatre, the originals of which are beyond discussion. As for Kedril, the Glutton, in spite of my lively curiosity, I could learn nothing about it, except that demons appeared on the stage and carried Kedril away to hell. What did the name of Kedril signify? Why was he called Kedril and not Cyril? Was the name Russian or foreign? I could not resolve this question.
It was announced that the representation would terminate with a musical pantomime. All this promised to be very curious. The actors were fifteen in number, all vivacious men. They were very energetic, got up a number of rehearsals which sometimes took place behind the barracks, kept away from the others, and gave themselves mysterious airs. They evidently wished to surprise us with something extraordinary and unexpected.
On work days the barracks were shut very early as night approached, but an exception was made during the Christmas holidays, when the padlocks were not put to the gates until the evening retreat—nine o'clock. This favour had been granted specially in view of the play. During the whole duration of the holidays a deputation was sent every evening to the officer of the guard very humbly "to permit the representation and not to shut at the usual hour." It was added that there had been previous representations, and that nothing disorderly had occurred at any of them.
The House of the Dead Page 17