e
of the Caspian Sea.

By this time night had fallen, and Monsieur D. suggested an immediate
adjournment to the theatre. What should be the entertainment? Dances of
_almehs_, songs of gypsies, or Chinese jugglers? One of the Ivans
brought a programme. It was not difficult to decipher the word
"[Russian: MACBETH]," and to recognize, further, in the name of "Ira
Aldridge" a distinguished mulatto tragedian, to whom Maryland has given
birth (if I am rightly informed) and Europe fame. We had often heard of
him, yea, seen his portrait in Germany, decorated with the orders
conferred by half a dozen sovereigns; and his presence here, between
Europe and Asia, was not the least characteristic feature of the Fair. A
mulatto Macbeth, in a Russian theatre, with a Persian and Tartar
audience!

On arriving, we were ushered into two whitewashed boxes, which had been
reserved for our party. The manager, having been informed of the envoy's
presence in Nijni-Novgorod, had delayed the performance half an hour,
but the audience bore this infliction patiently. The building was deep
and narrow, with space for about eight hundred persons, and was filled
from top to bottom. The first act was drawing to a close as we entered.
King Duncan, with two or three shabby attendants, stood in the
court-yard of the castle,--the latter represented by a handsome French
door on the left, with a bit of Tartar wall beyond,--and made his
observations on the "pleasant seat" of Macbeth's mansion. He spoke
Russian, of course. Lady Macbeth now appeared, in a silk dress of the
latest fashion, expanded by the amplest of crinolines. She was passably
handsome, and nothing could be gentler than her face and voice. She
received the royal party like a well-bred lady, and they all entered the
French door together.

There was no change of scene. With slow step and folded arms, Ira
Macbeth entered and commenced the soliloquy, "If it were done," etc., to
our astonishment, in English! He was a dark, strongly built mulatto, of
about fifty, in a fancy tunic, and light stockings over Forrestian
calves. His voice was deep and powerful; and it was very evident that
Edmund Kean, once his master, was also the model which he carefully
followed in the part. There were the same deliberate, over-distinct
enunciation, the same prolonged pauses and gradually performed gestures,
as I remember in imitations of Kean's manner. Except that the copy was a
little too apparent, Mr. Aldridge's