For none of Steele Mackaye's dramas were written with any idea of
being read. They were all constructed by one fully alive to the
theatre and its demands. In view of this, it is surprising how well
"Paul Kauvar" flows in type. The minor editorial changes made for this
edition by Mr. Percy Mackaye are based on several manuscripts, and
the result is the first authentic text of the play. Steele Mackaye was
always gripped in fascination by mob psychology, always eager to write
of the Reign of Terror. The version here used is the mature one, given
its première at Buffalo, New York, May 30, 1887. But Mr. Percy Mackaye
is authority for the statement that while his father was studying with
Delsarte, in Paris, he became enamoured of the Revolution, and there
are two manuscripts extant, "The Denouncer" and "The Terror," which
indicate that he was chipping away at his theme very early in life. He
recast these sketches in the summer of 1875, while at Brattleborough,
Vt., where he had a cottage on the Bliss Farm, familiar now to Rudyard
Kipling lovers because of the fact that here, too, Kipling wrote, at a
later day.

The years 1875 and 1887 are the mileposts between which stretched a
long period of successful play-writing by Steele Mackaye. By '75, he
had already written "Marriage" (1872), "Arkwright's Wife" (1873) and
"Clancarty" (1874). There followed quickly "Rose Michel" (1875, in
collaboration), "Queen and Woman" (1876, an adaptation from Hugo),
"Won at Last" (1877), "Through the Dark" (1878), "An Iron Will" (1879,
later to be called "Hazel Kirke," 1880), "A Fool's Errand" (1881, an
adaptation), "Dakolar" (1884), "In Spite of All" (1885), and "Rienzi"
(1886). Then came the present play, followed by "A Noble Rogue" (1888)
and "Money Mad," modelled after Hugo.

In correspondence with Mr. Percy Mackaye, it is significant to hear