Comparing the first draft, "The Mogul Elephant," with the final published story, "The Dragon of Kao Tsu," reveals several intriguing changes and constants in Robert E. Howard's storytelling. These adjustments not only refine the narrative flow but also alter character dynamics and thematic elements, illustrating Howard's developmental process as a writer. Here's a detailed comparison:

Setting and Artifacts

• First Draft: Centers around the theft of the "Mogul Elephant," a precious artifact with historical significance tied to Akbar and supposedly carved by a Persian in Alexander the Great's army. The setting is primarily the Anglo-American Bar and a mysterious warehouse.
• Final Story: Focus shifts to the "Kao Tsu dragon," an artifact from the Early Han Dynasty, showcasing Howard's shift from Indian to Chinese cultural heritage. The Purple Dragon Bar replaces the Anglo-American Bar, aligning the setting more closely with the artifact's origins.

Characters and Motivation

• Marianne's Characterization: In both versions, Marianne is portrayed as a determined and affluent woman willing to navigate the criminal underworld to obtain a rare artifact. However, her motivation shifts from a competitive desire to outdo her social circle to a more personal and potentially financial or power-driven aim related to her father's interests in the final version.
• Wild Bill Clanton: Clanton remains a morally ambiguous character, a man of action with questionable ethics. His role as a facilitator in Marianne's quest is constant, but the details of their partnership and his background adapt to the revised storyline.
• Antagonists: The antagonistic forces shift from Gop Kang and Diego de Strozzo in the draft to Shareef Ahmed and Ram Lal in the published story, reflecting the changed cultural setting and artifact. This also affects the dynamics of the chase and confrontation scenes.

Plot and Resolution

• Complexity and Depth: The final story introduces a more complex plot involving double-crosses, a broader array of characters (including Bull Davies and Jum Chin), and a deeper dive into the backstories and motivations, especially regarding the historical and cultural significance of the Kao Tsu dragon.
• Ending: Both stories conclude with a confrontation in a warehouse, but the published version elaborates on the conflict, including a more dramatic rescue and a twist regarding the true nature of the artifact. The resolution ties back to the artifact's cultural significance and personal stakes for Marianne.

Themes and Style

• Cultural Elements: Howard's shift from Indian to Chinese cultural references not only changes the artifact at the story's heart but also affects the narrative's thematic depth, exploring themes of legacy, power, and the lengths to which individuals will go to secure their desires.
• Character Dynamics: The interaction between Marianne and Clanton evolves in complexity in the final story, showcasing a more nuanced exploration of trust, betrayal, and power dynamics within their partnership.

Narrative Technique

• Pacing and Suspense: The final version tightens the narrative's pacing, using the changed setting and artifact to create a more cohesive and suspenseful story. The introduction of additional characters and a more intricate plot enhances the story's tension and engagement.
• Descriptive Detail: Howard's descriptive prowess is evident in both versions, but the final story benefits from refined imagery and a clearer focus on the atmospheric elements of the settings, characters, and cultural backdrop.

In summary, the evolution from "The Mogul Elephant" to "The Dragon of Kao Tsu" showcases Robert E. Howard's skill in refining his narratives. By adjusting the cultural setting, deepening character motivations, and enhancing plot complexity, Howard transforms an intriguing draft into a compelling, published story that better captures the essence of adventure and the eternal allure of ancient artifacts.