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After making a production of Redemption, the chief feeling of the producer is one of deep regret that Tolstoi did not make more use of the theatre as a medium. His was the rare gift of vitalization: the ability to breathe life into word-people which survives in them so long as there is any one left to turn up the pages they have made their abode. In the world of writing, many terms that should be illuminative have 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 beating heart we find it difficult to give it place that has not already been stuffed to suffocation with misplaced dummies. We seat it at table with staring wax figures and bid it to join the 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 am appointed by the publisher, a sort of reception committee of one to escort the work to some fitting place where it may enjoy the surroundings and deference it deserves
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