The curtain falls amid general laughter, and every one is delighted. The orchestra now attacks the famous dance tune Kamarinskaia. First it is played softly, pianissimo; but little by little, the motive is developed and played more lightly. The time is quickened, and the wood, as well as the strings of the balalaiki, is made to sound. The musicians enter thoroughly into the spirit of the dance. Glinka [who has arranged the Kamarinskaia in the most ingenious manner, and with harmonies of his own devising, for full orchestra] should have heard it as it was executed in our Convict Prison. The pantomimic musical accompaniment is begun; and throughout the Kamarinskaia is played. The stage represents the interior of a hut. A miller and his wife are sitting down, one mending clothes, the other spinning flax. Sirotkin plays the part of the wife, and Nietsvitaeff that of the husband. Our scenery was very poor. In this piece, as in the preceding ones, imagination had to supply what was wanting in reality. Instead of a wall at the back of the stage, there was a carpet or a blanket; on the right, shabby screens; while on the left, where the stage was not closed, the camp-bedsteads could be seen; but the spectators were not exacting, and were willing to imagine all that was wanting. It was an easy task for them; all convicts are great dreamers. Directly they are told “this is a garden,” it is for them a garden. Informed that “this is a hut,” they accept the definition without difficulty. To them it is a hut. Sirotkin was charming in a woman’s dress. The miller finishes his work, takes his cap and his whip, goes up to his wife, and gives her to understand by signs, that if during his absence she makes the mistake of receiving any one, she will have to deal with him--and he shows her his whip. The wife listens, and nods affirmatively her head. The whip is evidently known to her; the hussey has often deserved it. The husband goes out. Hardly has he turned upon his heel, than his wife shakes her fist at him. There is a knock; the door opens, and in comes a neighbour, miller also by trade. He wears a beard, is in a kuftan, and he brings as a present a red handkerchief. The woman smiles. Another knock is heard at the door. Where shall she hide him? She conceals him under the table, and takes up her distaff again. Another admirer now presents himself--a farrier in the uniform of a non-commissioned officer. Until now the pantomime had gone on capitally; the gestures of the actors being irreproachable. It was astounding to see these improvised players going through their parts in so correct a manner; and involuntarily one said to oneself: “What a deal of talent is lost in our Russia, left without use in our prisons and places of exile!”