hat arouses Diatz from
his torpor and makes him attempt to escape.

* * * * *

But, in spite of the importance of the background in Korolenko's
work, it is really in the conscience of his characters that the
essential drama takes place. More than anything else, it is
psychology that beguiles the artist; it is only through psychology
that Korolenko depicts men and their mentalities. He studies the
strong and the weak, the simple and the complex; exaltation,
triumph, revolt, and downfall all interest him equally.

A simple analysis of his story, "Makar's Dream," will show his
psychological genius to greater advantage than could any critical
essay.

In the very heart of the dense woods of the "taiga," Makar, a poor
little peasant, who has become half savage by association with the
Yakutsk people, dreams of a better future.

Makar does not dream, however, when he is normal; he hasn't time to,
for he has to chop wood, plough, sow, and grind grain. He only
dreams when he is drunk. As soon as he is under the influence of
liquor, he weeps and says that he is going to leave everything and
go to the "sacred mountain" to gain salvation for his soul. What is
the name of this mountain? Where is it? He does not know exactly; he
only knows that it is very far away. On Christmas eve, Makar extorts
a ruble from two political refugees, and, instead of bringing them
some wood for the money, he quickly buys some tobacco and brandy.
After drinking and smoking a great deal, Makar goes to sleep and has
a dream. He dreams that the frost has got the better of him in the
woods, that he has died there, and that the priest Ivan, who has
also been dead a long time, takes him to the great Tayon--the god of
the woods--to be judged for his former deeds. Even there his
natural knavery does not forsake him; he tries to fool Tayon. But
the latter has everything that Makar has ever done, both good and
bad, written down, and becoming angry, he says: "I see that you are
a liar, a sluggard, and a drunkard."

He orders Makar to be transformed into a post-horse, to be used by
the police commissioner. And Makar, this Makar who never in his
lifetime was known to say more than ten words at a time, suddenly
finds that he has the faculty of speech. He begins by saying that he
does not want to be a horse, not because he is afraid of work but
because this decision is unfair. If one works geldings, one feeds
them with oats; but