them; the sympathy that their strength, courage, and independence
inspire in him does not blind him. He conceals neither their faults,
vices, drunkenness nor boastfulness. He is without indulgence for
them, and judges them discriminatingly. He paints reality, but
without, for all that, exaggerating ugliness. He does not avoid
painful or coarse scenes; but in the most cynical passages he does not
revolt because it is felt that he only desires to be truthful, and not
to excite the emotions by cheap means. He simply points out that
things are as they are, that there is nothing to be done about it, that
they depend upon immutable laws. Accordingly all those sad, even
horrible spectacles are accepted as life itself. To Gorky, the
spectacle presented by these characters is only natural: he has seen
them shaken by passion as the waves by the wind, and a smile pass over
their souls like the sun piercing the clouds. He is, in the true
acceptation of the term, a realist.

The introduction of tramps in literature is the great innovation of
Gorky. The Russian writers first interested themselves in the
cultivated classes of society; then they went as far as the moujik.
The "literature of the moujik," assumed a social importance. It had a
political influence and was not foreign to the abolition of serfdom.

In the story "Malva," Gorky offers us two characteristic types of
peasants who become tramps by insensible degrees; almost without
suspecting it, through the force of circumstances. One of them is
Vassili. When he left the village, he fully intended to return. He
went away to earn a little money for his wife and children. He found
employment in a fishery. Life was easy and joyous. For a while he
sent small sums of money home, but gradually the village and the old
life faded away and became less and less real. He ceased to think of