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REDEMPTION AND TWO OTHER PLAYS

By LEO TOLSTOY

Introduction By ARTHUR HOPKINS

CONTENTS

INTRODUCTION BY ARTHUR HOPKINS
REDEMPTION
THE POWER OF DARKNESS
FRUITS OF CULTURE

INTRODUCTION

After making a production of Redemption, the chieffeeling of the producer is one of deep regret that Tolstoi did notmake more use of the theatre as a medium. His was the rare gift ofvitalization: the ability to breathe life into word-people whichsurvives in them so long as there is any one left to turn up thepages they have made their abode.

In the world of writing, many terms that should be illuminativehave become meaningless. So often has the barren been called"pregnant," the chill of death "the breath of life," the atrophied"pulsating," that when we really come upon a work with beatingheart we find it difficult to give it place that has not alreadybeen stuffed to suffocation with misplaced dummies.

We seat it at table with staring wax figures and bid it to jointhe feast. There is no exclusion act in art, no passport bureau,not even hygienic segregation.

In writing the briefest introduction to Tolstoi's work, I amappointed by the publisher, a sort of reception committee of one toescort the work to some fitting place where it may enjoy thesurroundings and deference it deserves.

The place to which I escort it is built of words, but what wordshave been left me by the long procession of previous committees?Where they have been truthfully used they have been glorified, andoffer all the rarer material for my structure, but how often havethey been subjected to base use. Perhaps some day we will learn theproper respect of such simple words as love and truth and life, andthen when we meet them in books we shall know how to greetthem.

The study of Redemption is so simple that it needs noillumination from me. The characters may walk in strange landswithout introduction. They are part of us. Fédya is in allof us. His one cry "There has always been so much lacking betweenwhat I felt and what I could do" instantly makes him brother to allmankind. His simultaneous physical degeneration and spiritualregeneration is the glory that all people have invested in death.Tolstoi's cry against convention that disregards spiritualstruggle, and system that ignores human growth, will find answeringcries in many breasts in many lands.

Utterly disregarding effect, technique or method, Tolstoi hasexplored his own soul and there touched hands with countless othersouls, and since he has trod the path of countless millions whowill come after him, the mementos of his journey will long besought.

ARTHUR HOPKINS.

The translation of Redemption here published is the oneproduced by Mr. Arthur Hopkins at the Plymouth Theatre, New York,in the season of 1918-1919. The part of FÉDYA was played byMr. John Barrymore.

REDEMPTION

CHARACTERS

THEODORE VASÍLYEVICH PROTOSOV (FÉDYA).