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.