These two stories, especially "The Gulf," caused many lively discussions on the part of the public, and then in the newspapers. Mr. Bourenine, the well-known critic of the "Novoye Vremya," says that he received from several correspondents a series of letters which blamed Andreyev vehemently and requested that this "skunk" of literature be called to order according to his deserts. These protestations were reenforced by an ardent letter from Countess Tolstoy, the wife of the great author, who reproached Andreyev for having so complacently painted such sombre pictures, with such low and violent scenes, all of which tended to pervert youth. The writers were not the only ones to take offence. Two important Russian newspapers organized a sort of inquiry, and they published many of the answers received from the young people of both sexes, but these were all favorable to Andreyev. In truth, all these judgments are too passionate. It is true that "most of the critics have understood Andreyev only in a superficial manner," as Tolstoy rightfully asserted. The double impression, for instance, produced by "The Gulf," is the result of a simple misunderstanding. Those who think that the adventure of young Nemovetsky is a slice of life and characterizes certain psychological states, have, without a doubt, the right to judge this story as an indiscretion, and to reproach the author with a deviation from morality; but Andreyev has not taken his hero from reality; he has not tried to give us a picture of manners, but has expressed an idea, born in his brain under the influence of the philosophy of Nietzsche. It illustrates the terrible power and the brutality of a dormant instinct lurking in the purest minds. * * * * * Besides, "The Gulf" and "In the Fog" are compositions which are exceptional in the work of Andreyev. The idea that he mostly presents is not the power of bestial instincts, but rather the indestructible vitality of human feelings and aspirations towards a better existence, which sometimes comes to light among the most miserable and depraved people, and even among those who are in the most abject material condition. In the destiny of these beings, there are, however, rays of hope. The slightest incident serves to transform them; suddenly their hearts begin to beat happily, tears of tenderness moisten their eyes, they vaguely feel the existence of something luminous and good. A profound sensibility, an ardent love of life bursts forth in their souls. This sensibility, this attachment to existence, form the theme of four touching stories: "He Was," "Petka in the Country," "The Cellar," and "The Angel."