"The House of the Bezemenovs" ("The Tradespeople"), Gorki's first dramatic work, describes the eternal conflict between sons and fathers. The narrow limitations of Russian commercial life, its _borne_ arrogance, its weakness and pettiness, are painted in grim, grey touches. The children of the tradesman Bezemenov may pine for other shores, where more kindly flowers bloom and scent the air. But they are not strong enough to emancipate themselves. The daughter tries to poison herself because her foster brother, the engine-driver Nil, has jilted her. But when the poison begins to work she cries out pitifully for help. The son is a student, and has been expelled from the university. He hangs about at home, and cannot find energy to plot out a new career for himself. The weariness of a whole generation is expressed in his faint-hearted, listless words, as also in the blustering but ineffective rhodomontades of the tipsy choir-singer Teterev. All cordial relations between parents and children are lacking in this house. It is refreshing to come upon the other characters, who are of a different breed to these shop-keepers. The vodka-loving, jolly father of Polja (Bezemenov's niece, who is exploited and maltreated in this house), is, in his contented yet sentimental egoism, a true representative of the ordinary Russian, the common man. And Polja! And Nil! . . . Here is the fresh blood of the future. How sure they both are in their love. "Ah! what a beautiful world it is, isn't it? Wondrously beautiful . . . dear friend. . . . What a glorious man you are. . . ." Albeit this work is far from being a finished drama, it none the less has its special qualities. These men often talk as glibly as if they were essayists, they often seem to be mere vehicles for programmatic manifestoes. But as a whole they are the typical quintessence of the Russian people. Other wild and intrepid figures are to be found in the larger works that precede "The Tradespeople"--the novels "Foma Gordeyev" and "Three Men." But Gorki's new conception of life is less clearly and broadly formulated in these than in Nil, and other subsequent characters. These people rather collapse from the superabundance of their vigour and the meanness of their surroundings. In "Foma Gordeyev" Gorki flagellates the unscrupulous Russian wholesale dealer, who knows of nought beyond profit and the grossest sensual indulgence, and lets his own flesh and blood perish if they require of him to budge a hand-breadth from his egoistic standpoint. Foma, who is not built for a merchant, and who, while ambitious of command, is too magnanimous for the sordid business of a tradesman, has to give in. And the children of his triumphant guardian can only escape poverty by accepting their surroundings. [Illustration: Gambling scene (_Act II. of "The Doss-house"_)]