“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.