sted on the great compassion that radiates from the piece, as
embodied in Luka, the wanderer, and have commended this pillar of light
and salvation. And they have completely overlooked the fact that it is
he who is responsible for most of the misfortunes. In last resort Luka
brings help to no one, but only succeeds in embroiling the situation,
and accelerating the catastrophe.

Gorki undoubtedly intended to describe a luminary. But he failed to
carry out his purpose consistently. In spite of himself this apostle
is unable to effect any good, too often does just the contrary. The
action of this character reminds us of Gregor Werle in Ibsen's "Wild
Duck."

From the purely technical standpoint, moreover, "The Doss-house" is
full of defects. The great catastrophe is brought about by
eavesdropping. As in the worst melodrama, the _intrigante_ of the
piece, the lodging-house keeper and mistress of the thief, appears in
the background just at the most critical point of the confabulation
between Pepel and his allies, and the vagrant Luka.

A great work of art should scorn such cheap expedients. Nor are the
whining descriptions given by several of the castaways of their mode of
existence, properly speaking, dramatic; they only induce false sympathy.

The same capital fault is evident in Gorki's other productions. We
have already touched on the defects of "Three Men." In "The
Doss-house" again, our author has struck several wrong chords in his
characterisation. He has failed to present the tragedy of the
derelicts; nor has he in one single instance given a correct artistic
picture of the occupants of the shelter. As an environment, the
doss-house is interesting enough, but it is imperfect and inadequate.
In his effort to bring these men into touch with his audience, Gorki
credits them with over-much virtue. On one occasion the thief requires
the outcast baron to bark like a dog. The baron replies: "I am aware
that I have already sunk deeper than you whereever this is possible."
And it is only after a pause that the thief is able to reply: "You have
confounded me, Baron."

[Illustration: The baron (_From "The Doss-house"_)]

This is no speech for men of this type. Gorki turns himself here into
a sentimentalist. The baron should have answered this proposal that he
should "bark" somewhat as follows: "What will you pay me? Hum! What
can you offer me--a good place?" Or suggested him knocking him over
the head.