When one realizes the sociological purpose behind Steele Mackaye's "Paul Kauvar; or, Anarchy," it is interesting to note how inefficient the old form of drama was to carry anything more than the formal romantic fervour. Compared with John Galsworthy's treatment in "Strife" and "Justice," it makes one glad that realism came and washed away all the obscuring claptrap of that period. Daly, Boucicault, and their generation were held firmly in its grip; they could not get away from it, and they were justified in their loyalty to it by the insistent claim "The Two Orphans" and "The Lady of Lyons" had upon the public. All the more credit, therefore, that Bronson Howard, David Belasco, and James A. …
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