tioned; the tumblers began to posture; the jugglers came forth and played their tricks; and the cannon on the ramparts announced to all Kinesma, and far up and down the Volga, that the company were rising from the table.
Half an hour later, the great red slumber-flag floated over the castle. All slept,—except the serf with the wounded arm, the nervous Grand Marshal, and Simon Petrovitch with his band of dramatists, guarded by the indefatigable Sasha. All others slept,—and the curious crowd outside, listening to the music, stole silently away; down in Kinesma, the mothers ceased to scold their children, and the merchants whispered to each other in the bazaar; the captains of vessels floating on the Volga directed their men by gestures; the mechanics laid aside hammer and axe, and lighted their pipes. Great silence fell upon the land, and continued unbroken so long as Prince Alexis and his guests slept the sleep of the just and the tipsy.
By night, however, they were all awake and busily preparing for the diversions of the evening. The ball-room was illuminated by thousands of wax-lights, so connected with inflammable threads, that the wicks could all be kindled in a moment. A pyramid of tar-barrels had been erected on each side of the castle-gate, and every hill or mound on the opposite bank of the Volga was similarly crowned. When, to a stately march,—the musicians blowing their loudest,—Prince Alexis and Princess Martha led the way to the ball-room, the signal was given: candles and tar-barrels burst into flame, and not only within the castle, but over the landscape for five or six versts around, everything was bright and clear in the fiery day. Then the noises of Kinesma were not only permitted, but encouraged. Mead and qvass flowed in the very streets, and the castle-trumpets could not be heard for the sound of troikas and balalaïkas.
After the Polonaise, and a few stately minuets, (copied from the court of Elizabeth,) the company were ushered into the theatre. The hour of Simon Petrovitch had struck: with the inspiration smuggled to him by Prince Boris, he had arranged a performance which he felt to be his masterpiece. Anxiety as to its reception kept him sober. The overture had ceased, the spectators were all in their seats, and now the curtain rose. The background was a growth of enormous, sickly toad-stools, supposed to be clouds. On the stage stood a girl of eighteen, (the handsomest in Kinesma,) in hoops and satin petticoat, powdered hair, patches, and high-heeled shoes. She held a fan in one hand, and a bunch of marigolds in the other. After a deep and graceful curtsy to the company, she came forward and said,—
"I am the goddess Venus. I have come to Olympus to ask some questions of Jupiter."
Thunder was heard, and a car rolled upon the stage. Jupiter sat therein, in a blue coat, yellow vest, ruffled shirt, and three-cornered hat. One hand held a bunch of thunderbolts, which he occasionally lifted and shook; the other, a gold-headed cane.
"Here I am, Jupiter," said he; "what does Venus desire?"
A poetical dialogue then followed, to the effect that the favorite of the goddess, Prince Alexis of Kinesma, was about sending his son, Prince Boris, into the gay world, wherein himself had already displayed all the gifts of all the divinities of Olympus. He claimed from her, Venus, like favors for his son; was it possible to grant them? Jupiter dropped his head and meditated. He could not answer the question at once: Apollo, the Graces, and the Muses must be consulted: there were few precedents where the son had succeeded in rivalling the father,—yet the father's pious wishes could not be overlooked.
Venus said,—
"What I asked for Prince Alexis was for his sake: what I ask for the son is for the father's sake."
Jupiter shook his thunderbolt and called, "Apollo!"
Instantly the stage was covered with
