“Many persons from all parts of the world,” is ‘Abdu’l-Bahá’s written assertion, “set out for Persia and began to investigate wholeheartedly the matter.” The Czar of Russia, a contemporary chronicler has written, had even, shortly before the Báb’s martyrdom, instructed the Russian Consul in Tabríz to fully inquire into, and report the circumstances of so startling a Movement, a commission that could not be carried out in view of the Báb’s execution. In countries as remote as those of Western Europe an interest no less profound was kindled, and spread with great rapidity to literary, artistic, diplomatic and intellectual circles. “All Europe,” attests the above-mentioned French publicist, “was stirred to pity and indignation... Among the littèrateurs of my generation, in the Paris of 1890, the martyrdom of the Báb was still as fresh a topic as had been the first news of His death. We wrote poems about Him. Sarah Bernhardt entreated Catulle Mendès for a play on the theme of this historic tragedy.” A Russian poetess, member of the Philosophic, Oriental and Bibliological Societies of St. Petersburg, published in 1903 a drama entitled “The Báb,” which a year later was played in one of the principal theatres of that city, was subsequently given publicity in London, was translated into French in Paris, and into German by the poet Fiedler, was presented again, soon after the Russian Revolution, in the Folk Theatre in Leningrad, and succeeded in arousing the genuine sympathy and interest of the renowned Tolstoy, whose eulogy of the poem was later published in the Russian press.