The fat man was about to make some protest, but the face of the thin man wore an expression of such reverence, sugariness, and mawkish respectfulness that the privy councillor was sickened. He turned away from the thin man, giving him his hand at parting.

The thin man pressed three fingers, bowed his whole body and sniggered like a Chinaman: “He⁠—he⁠—he!” His wife smiled. Nafanail scraped with his foot and dropped his cap. All three were agreeably overwhelmed.

It was the benefit night of Fenogenov, the tragic actor. They were acting Prince Serebryany . The tragedian himself was playing Vyazemsky; Limonadov, the stage manager, was playing Morozov; Madame Beobahtov, Elena. The performance was a grand success. The tragedian accomplished wonders indeed. When he was carrying off Elena, he held her in one hand above his head as he dashed across the stage. He shouted, hissed, banged with his feet, tore his coat across his chest. When he refused to fight Morozov, he trembled all over as nobody ever trembles in reality, and gasped loudly. The theatre shook with applause. There were endless calls. Fenogenov was presented with a silver cigarette-case and a bouquet tied with long ribbons. The ladies waved their handkerchiefs and urged their men to applaud, many shed tears.⁠ ⁠… But the one who was the most enthusiastic and most excited was Masha, daughter of Sidoretsky the police captain. She was sitting in the first row of the stalls beside her papa; she was ecstatic and could not take her eyes off the stage even between the acts. Her delicate little hands and feet were quivering, her eyes were full of tears, her cheeks turned paler and paler. And no wonder⁠—she was at the theatre for the first time in her life.