News, for which paper, in effect, it was written, and it also appeared in
a series of newspapers in the United States during the year 1893. This
was a time when the historical novel was having its vogue. Mr. Stanley
Weyman, Sir Arthur Conan Doyle, and a good many others were following
the fashion, and many of the plays at the time were also historical--
so-called. I did not write The Trail of the Sword because it was in
keeping with the spirit of the moment. Fashion has never in the least
influenced my writing or my literary purposes. Whatever may be thought
of my books, they represent nothing except my own bent of mind, my own
wilful expression of myself, and the setting forth of that which seized
my imagination.

I wrote The Trail of the Sword because the early history of the
struggles between the French and English and the North American Continent
interested me deeply and fascinated my imagination. Also, I had a most
intense desire to write of the Frenchman of the early days of the old
regime; and I have no idea why it was so, because I have no French blood
in my veins nor any trace of French influence in my family. There is,
however, the Celtic strain, the Irish blood, immediate of the tang, as it
were, and no doubt a sympathy between the Celtic and the Gallic strain is
very near, and has a tendency to become very dear. It has always been a
difficulty for me to do anything except show the more favourable side of
French character and life.

I am afraid that both in The Trail of the Sword, which was the forerunner
of The Seats of the Mighty, the well sunk, in a sense, out of which the
latter was drawn, I gave my Frenchman the advantage over his English
rival. In The Trail of the Sword, the gallant French adventurer's
chivalrous but somewhat merciless soul, makes a better picture than does
his more phlegmatic but brave and honourable antagonist, George Gering.