At this crisis the wanderer Luka makes his appearance. He wants to help every one. He is the apostle of goodness and humanity. He finds a tender word for the dying wife of the locksmith. He talks to the drunken actor about a Reformatory, where he can be cured of his propensity for drinking. And he counsels Natasha to fly with Pepel from these depths of iniquity. The keeper of the refuge hears this. She torments her sister, and almost does her to death, with her husband's assistance. Pepel is off his head with rage, and actually fulfils the woman's wishes, by murdering her husband. She is triumphant. And the wayfarer vanishes. In the last Act the other wastrels are collected together. They are trying to clear up their ideas of themselves, and of the world. One tells how the wanderer thought the world existed only for the fittest--as in the carpentering trade. All live--and work--and of a sudden comes one who pushes the whole business forward by ten years. [Illustration: Nastja (_Servant in "The Doss-house"_)] "Man is the reality . . . Man who alone is really great . . . All is in Man, all is for Man. . . . To the health of Man!" is the toast of the former convict Satin. "Be Men!" is the new watchword for Russia. And thus for Russians the "Doss-house" came as a gospel, although Gorki has not yet wrought his materials into the supreme conflict that must result in a really great tragedy. "The Doss-house" is not that tragedy. It presents no titanic action, no mighty fate, no clashing shock to reveal the battle of the great natural tendencies in Man, and give an immeasurable lift to our conceptions of existence. There is still something that oppresses us--there is too much puling and complaint. Criticism as a whole has been deceived by the resounding and pathetic words which it has accepted as a profound philosophy. Philosophy, however, is for the study, not the stage. Our great philosophers have said all that Gorki has put into the mouth of his outcasts, and said it far more forcibly. His observations on the dignity of Man are his only original and impressive contributions. The critics have gone astray in another direction also. They have insisted 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."