The convict who played the part of the farrier had, doubtless, taken part in a performance at some provincial theatre, or had played with amateurs. It seemed to me, in any case, that our actors knew nothing of acting as an art, and bore themselves in the meanest manner. When it was his turn to appear, he came on like one of the classical heroes of the old repertory--taking a long stride with one foot before he raised the other from the ground, throwing back his head on the upper part of his body and casting proud looks around him. If such a gait was ridiculous on the part of classical heroes, still more so was it when the actor was representing a comic character. But the audience thought it quite natural, and accepted the actor’s triumphant walk as a necessary fact, without criticising it. A moment after the entry of the second admirer there is another knock at the door. The wife loses her head. Where is the farrier to be concealed? In her big box. It fortunately is open. The farrier disappears within it and the lid falls upon him. The new arrival is a Brahmin, in full costume. His entry is hailed by the spectators with a formidable laugh. This Brahmin is represented by the convict Cutchin, who plays the part perfectly, thanks, in a great measure, to a suitable physiognomy. He explains in the pantomime his love of the miller’s wife, raises his hands to heaven, and then clasps them on his breast. There is now another knock at the door--a vigorous one this time. There could be no mistake about it. It is the master of the house. The miller’s wife loses her head; the Brahmin runs wildly on all sides, begging to be concealed. She helps him to slip behind the cupboard, and begins to spin, and goes on spinning without thinking of opening the door. In her fright she gets the thread twisted, drops the spindle, and, in her agitation, makes the gesture of turning it when it is lying on the ground. Sirotkin represented perfectly this state of alarm. Then the miller kicks open the door and approaches his wife, whip in hand. He has seen everything, for he was spying outside; and he indicates by signs to his wife that she has three lovers concealed in the house. Then he searches them out. First, he finds the neighbour, whom he drives out with his fist. The frightened farrier tries to escape. He raises, with his head, the cover of the chest, and is at once seen. The miller thrashes him with his whip, and for once this gallant does not march in the classical style.