CHAPTER VIII

Conclusion

In the previous chapters I have endeavored to show the continuance and persistence of the supernatural in English fiction, as well as in other forms of literature, and to give some idea of the variety of its manifestations. There has been no period in our history from Beowulf to the present when the ghostly was not found in our literature. Of course, there have been periods when the interest in it waned, yet it has never been wholly absent. There is at the present a definite revival of interest in the supernatural appearing in the drama, in poetry and in fiction, evident to anyone who has carefully studied the recent publications and magazines. Within the last few years, especially in the last two years, an astonishing amount of ghostly material has appeared. Some of these stories are of the hoax variety, others are suggestive, allegorical or symbolic, while others frankly accept the forces beyond man's mortal life and human dominion. I hesitate to suggest a reason for this sudden rising tide of occultism at this particular time, but it seems clear to me that the war has had much to do with it. I have found a number of supernatural productions directly associated with the struggle. Among them might be mentioned Katherine Fullerton Gerould's extraordinary, elusive story of horror[210]; _The Second Coming_, by Frederick Arnold Kummer and Henry P. Janes, where Christ walks the battlefields on Christmas Eve, pleading with the Kaiser to stop the slaughter of men, but in vain, and the carnage goes on till Easter, when the Christ stands beside the dying Emperor, with the roar of the rioting people heard in the streets outside, and softens his heart at last, so that he says, "Lord, I have sinned! Give my people peace!"; Kipling's ghost-story,[211] with its specters of children slain by the Germans; _The Gray Guest_, showing Napoleon returning to lead the French forces to victory in a crisis; _Jeanne, the Maid_ where the spirit of Joan of Arc descends upon a young French girl of to-day, enabling her to do wonderful things for her countrymen; _War Letters from a Living Dead Man_, a series of professed psychic communications from the other world, by Elsa Barker; _Real Ghost Stories_, a volume containing a number of stories by different writers, describing some of the phantoms seen by soldiers on the battlefield; and Arthur Machen's _The Bowmen_, a collection of striking fictive instances of crowd-supernaturalism associated with the war. The last volume affords an interesting glimpse into the way in which legends are built up, for it is a contemporary legend in connection with the Angels at Mons. Carl Hauptmann has a striking play,[212] showing the use of war-supernaturalism in the drama. When the eyes of the world are turned toward the battlefields and death is an ever-present reality, it is natural that human thoughts occupy themselves with visions of a life after death. _Kingdom Come_, by Vida Sutton, shows the spirits of Russian peasants slain for refusing to fight, specters unaware that they are dead. Various martial heroes of the past are resurrected to give inspiration in battle in recent stories.

[210] _The Eighty-Third._

[211] _Swept and Garnished._

[212] _The Dead Are Singing_, in the May, 1916, _Texas Review_.

But whatever be the reason for this revival of the ghostly, the fact remains that this is distinctly the day for the phantom and his confrères. While romanticism is always with us, it appears in different manifestations. A few years ago the swashbuckling hero and his adventures seemed the most striking survival of the earlier days of romanticism, but now the weird and the ghostly have regained a popularity which they never surpassed even in the heyday of Gothic fiction. The slashing sword has been displaced by the psychographic pen. The crucial struggles now are occult, rather than adventurous, as before, and while realism in fiction is immensely popular--never more so than now--it is likely to have supernaturalism overlaid upon it, as in De Morgan's work, to give a single example. Recent poetry manifests the same tendency, and likewise the drama, particularly the closet drama and the playlet. While literary history shows clearly the continuity of the supernatural, with certain rise and fall of interest in it at different periods, it is apparent that now there is a more general fondness for the form than at any other period in English literature. The supernatural is in solution and exists everywhere. Recent poetry shows a strong predilection for the uncanny, sometimes in the manner of the old ballads, while in other instances the ghostly is treated with a spirit of critical detachment as in Rupert Brooke's sonnet,[213] or with skepticism as in his sardonic satire on faith.[214] In the recent volume of Brooke's collected poems, there are about a dozen dealing with the supernatural. Maeterlinck expressed the feeling that a spiritual epoch is perhaps upon us, as Poe said that we are in the midst of great psychal powers. As Francis Thompson says in his _Hound of Heaven_, "Nature, poor step-dame, cannot slake our drought!" The interest in certain lines of thought which lead to the writing of supernatural fiction, as Spiritualism or folk-lore, or science or psychical research, may have the reflex action of arousing interest in the subjects themselves. But at all events, there is no lack of uncanny literature at present.

[213] _Suggested by some of the Proceedings of the Society for Psychical Research._

[214] In his _Heaven_.

One feature of the modern supernatural literature as distinguished from that of other periods, is in the matter of length. Of course, the ballad and the folk-tale expressed the ghostly in brief form, but the epic held the stage longer, while in Elizabethan times the drama was the preferred form as in the eighteenth century the Gothic novel. During the nineteenth century, particularly the latter half, the preference was decidedly for the short story, while more recently the one-act play has come into vogue. But in the last few years the supernatural novel seems to be returning to favor, though without displacing the shorter forms. Brevity has much to commend it as a vehicle for the uncanny. The effect of the ghostly may be attained with much more unity in a short story or playlet than in a novel or long drama, for in the more lengthy form much outside matter is necessarily included. The whole plot could scarcely be made up of the unearthly, for that would mean a weakening of power through exaggeration, though this is sometimes found to be the case, as in several of Bram Stoker's novels. Recently the number of novels dealing with supernatural themes has noticeably increased, which leads one to believe that the occult is transcending even the limitations of length and claiming all forms for its own. Now no literary type bars the supernatural, which appears in the novel as in the story, in the drama as in the playlet, and in narrative, dramatic, and lyric poetry. Even the epic of the more than mortal has not entirely vanished, as the work of Dr. William Cleaver Wilkinson attests, but popular taste does not really run to epics nowadays. The ghostly is more often seen in the shorter forms, where brevity gives a chance for compression and intensity of force difficult in longer vehicles. The rise of the one-act play in popular favor is significant in this connection. The short dramas of Synge, Yeats, Lady Gregory, William Sharpe, Gordon Bottomley, and Theodore Dreiser show the possibilities of the playlet for weird effect. Maeterlinck's plays for marionettes are especially powerful, but the work of Lord Dunsany furnishes more peculiar ghostliness than that of any other present dramatist. His jade idols, for instance, that wake to terrible life and revenge themselves on presumptuous mortals, are a new touch in dramatics. Algernon Blackwood is doing more significant work in psychic fiction than anyone else, his prose showing poetic beauty as well as eerie power.

Another significant fact to be noted in connection with the later ghostly stories as compared with the Gothic is in the greater number and variety of materials employed. The early religious plays had introduced devils, angels, and divinity to a considerable extent, while the Elizabethan drama relied for its thrills chiefly on the witch and the revenge-ghost. The Gothic romance was strong for the ghost, with one or two Wandering Jews, occasional werewolves and lycanthropes, and sporadic satanity, but made no use of angels or of divinity. The modern fiction, however, gathers up all of these personages and puts them into service freely. In addition to these old themes brought up to date and varied astonishingly, the new fiction has adapted other types. The scientific supernaturalism is practically new--save for the Gothic employment of alchemy and astrology--and now all the discoveries and investigations of the laboratory are utilized and embued with supernaturalism. Diabolic botany, psychological chemistry, and supermortal biology appear in recent fiction. The countless arts and sciences, acoustics, optics, dietetics, and what-not are levied on for plots, while astronomy shows us wonders the astrologer never dreamed of. The stars knew their place and kept it in early romance, but they are given to strange aberration and unaccountable conduct in late narration.

The futuristic fiction gives us return trips into time to come, while we may be transported into the far past, as with Mark Twain's Connecticut Yankee that visits King Arthur's Court. The extent to which a homespun realist like Mark Twain uses the supernatural is significant. No province or small corner of science has failed to furnish material for the new ghostly fiction, and even the Fourth and Fifth Dimensions are brought in as plot complications. Microscopes are bewitched, mirrors are enchanted, and science reverses its own laws at will to suit the weird demands.

Another modern material is the mechanistic. This is the age of machinery, and even engines are run by ghost-power. Examples of the mechanical spook are legion. There is the haunted automobile in Harriet Prescott Spofford's story, _The Mad Lady_, that reproduces through its speaking tube the long-dead voice, that runs away with its occupants, reliving previous tragic experiences. A phantom Ford is an idea combining romanticism with realism surely! In connection with this extraordinary car is a house that erects itself out of dreams and is substantial enough for living purposes. Other specimens are John Kendrick Bangs's enchanted typewriter that clicks off psychograms in the dark, between midnight and three o'clock in the morning; Frank R. Stockton's machine for negativing gravity; Poe's balloon in which Hans Pfaal makes his magic trip to the moon; Wells's new accelerator that condenses and intensifies vital energy, enabling a man to crowd the forces of a week into an hour of emergency, as likewise his time machine that permits the inventor to project himself into the future or the past at will, to spend a week-end in any era. The butterfly in Hawthorne's story shows the spiritualization of machinery as the poor artist of the beautiful conceived it, the delicate toy imbibing a magnetism, a spiritual essence that gives it life and beauty and power of voluntary motion. This etherealized machinery is manifest in modern fiction as well as the diabolic constructions that wreck and ruin.

Inanimate objects have a strange power in later fiction as Poe's ship that is said in certain seas to increase in size, as the trees told of by Algernon Blackwood that grow in the picture. There are various haunted portraits, as the picture of Dorian Gray that bears on its face the lines of sin the living face does not show, and whose hands are bloodstained when Dorian commits murder; and the painting told of in De Morgan's _A Likely Story_, that overhears a quarrel between an artist and his wife, the woman wrongly suspecting her husband and leaving him. The picture relates the story to a man who has the painting photographed and a copy sent to the wife. There is the haunted tapestry[215] that is curiously related to the living and to the long dead.

[215] In Poe's _Metzengerstein_.

Another aspect of the later as distinguished from the earlier occult literature is the attention paid to ghostly children. Youngsters are coming to the front of the stage everywhere nowadays, particularly in America, so it is but natural that they should demand to be heard as well as seen, in supernatural fiction. In the Gothic ghosts I found no individualized children, and children in groups only twice. In one of James Hogg's short novels a vicious man is haunted on his death-bed by the specters of little ones dead because of him, but they are nameless and indistinguishable. In Maturin's _The Albigenses_ a relentless persecutor, while passing through a lonely forest, sees the phantoms of those he has done to death, little children and babes at the breast, as well as men and women. But here again they are not given separable character, but are merely group figures, hence do not count.

There is a ghost-child mentioned in Hawthorne's _Blithedale Romance_, but it is not until more recent fiction that children's ghosts enter personated and individualized. The exquisitely shy little ones in Kipling's _They_ are among the most wonderful of his child-creations, very human and lovable. In a war story,[216] he shows us the phantoms of several children whom the Germans have killed, natural youngsters with appealing childish attributes, especially the small boy with his pride in his first trousers. Arthur Machen[217] tells of a German soldier who has crucified a child against the church door and is driven to insanity by the baby spirit. Quiller-Couch[218] shows the specter of a little girl that returns at night to do housework for the living, visible only as two slender hands, who reminds us of the shepherd boy Richard Middleton tells of, who having died because of his drunken father's neglect, comes back to help him tend the sheep. Algernon Blackwood relates the story of a little child who has been wont to pray for the unquiet ghost of Petavel, a wicked man who haunts his house. After the child is dead, the mother sees the little boy leading Petavel by the hand, and says, "He's leading him into peace and safety. Perhaps that's why God took him."

[216] _Swept and Garnished._

[217] In _The Monstrance_, another story of the war.

[218] In _A Pair of Hands_.

Richard Middleton's story of a little ghost-boy[219] is poignantly pathetic. The little chap comes back to play with his grieving sister, making his presence known by his gay feet dancing through the bracken, and his joyous imitations of an automobile's chug-chug. Mary MacMillan speaks of the spirits of little children that are "out earlier at night than the older ghosts, you know, because they have to go to bed earlier, being so young." Two very recent child ghosts are Wee Brown Elsbeth whom Frances Hodgson Burnett shows to us, the wraith of a little girl pitifully slain centuries ago by her father to save her from torture, who comes back to play with a living playmate; and the terrible revenge-ghost of the child slain by her stepfather, who comes back to cause his death, whom Ellen Glasgow describes.

[219] _The Passing of Edward._

The spirits of children that never were enter into the late stories, as in _The Children_, by Josephine Daskam Bacon, a story of confused paranoia and supernaturalism. A woman grieves over the children she never had till they assume personality and being for her. They become so real that they are finally seen by other children who wish to play with them. This reminds us of Thomas Bailey Aldrich's imagined child, Miss Mehitabel's son. Algernon Blackwood[220] shows us a multitude of baby spirits, with reaching arms, pattering steps, and lisping voices, spirits of the unborn that haunt childless women. The room which they enter seems sacred with the potentialities of motherhood, so that a man sleeping there sees his own dead mother return to him among the babes. These ghosts of little children that never were and never may be are like the spirits of the yet to be born children in Maeterlinck's dream-drama,[221] where, in the Land of the Future, the child-souls wait for the angel to summon them to life. In these stories associating children with the ghostly there is always a tender pathos, a sad beauty that is appealing.

[220] In _Clairvoyance_.

[221] _The Blue Bird._

The spectral insect or animal is another innovation in recent fiction, though there have been occasional cases before, as Vergil's _Culex_, the story of the ghost of a gnat killed thoughtlessly coming back to tell its murderer of its sufferings in the insect hades. Robert W. Chambers shows us several ghostly insects, a death's head moth that is a presager of disaster, and a butterfly that brings a murderer to justice, while Frederick Swanson in a story[222] makes a spectral insect a minister of fate. The most curdling example, however, of the entomological supernaturalism, is Richard Marsh's novel, _The Beetle_, a modernized version of the ancient superstitions of Egypt, whereby a priestess of Isis continues her mysterious, horrid life alternately as a human being and as a beetle. This lively scarab has mesmeric, magic power over mortals and by its sensational shape-shifting furnishes complicating terror to the plot.

[222] _The Ghost Moth._

The dog is frequently the subject of occult fiction, more so than any other animal, perhaps because the dog seems more nearly human than any save possibly the horse. Mrs. Elizabeth Stuart Phelps Ward shows us a dog very much at home in heaven, while she has a ghost-dog on earth coming back to march in a Decoration Day parade beside his master. Isabel Howe Fisk in a drama shows the Archangel Raphael accompanied by his dog, a cavortive canine, not apparently archangelic. Ambrose Bierce evokes one terrible revenge-ghost, a dog that kills the murderer of his master, while[223] Eden Phillpotts represents a pack of spectral dogs that pursue the Evil One over the earth till the Judgment Day, each being a lost soul. A young girl's little unbaptized baby is thought to be one of the number. Conan Doyle's Hound of the Baskervilles is a terrifying canine of legendary power. Kerfol by Edith Wharton shows the ghosts of five dogs, each carefully individualized,--a Chinese sleeve-dog, a rough brindled bulldog, a long-haired white mongrel, a large white pointer with one brown ear, and a small black grayhound. These specters of animals that have been killed by a jealous husband--he had the cheerful habit of strangling every pet his wife cared for and laying it without a word on her pillow--appear once a year on the anniversary of the day on which the wife in desperation slew him. They preserve a most undoglike silence and follow the beholder with strange gaze. Kipling's dog Harvey is a supernatural beast, but what he represents I have never been able to determine. _At the Gate_ is a recent story, showing a great concourse of dogs just outside the portals of heaven, unwilling to enter till their masters come to join them.

[223] In _Another Little Heath Hound_.

The diabolic horse in Poe's _Metzengerstein_ is a curious composite of metempsychosis, haunted inanimate object, and straight ghost, but at all events sufficiently terrifying to the victim it pursued. Algernon Blackwood in Wendigo has created a supernatural animal that flies through the air and carries men away to insanity and death. Henry Rideout shows the ghost of a white tiger, while there are assorted elephant spooks, and Miss Burns in her studies in Shropshire folk-tales relates stories of human beings whose ghosts appear as animals suited to the personality of the deceased, as bears, bulls, hogs, and so forth. That adds a new terror to death!

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Not only are new materials introduced in the later fiction of the uncanny but new types are stressed. In addition to the weird stories told with direct aim and art--ghosts for ghosts' sake--there are tales where the supernatural element is of secondary importance, being used to teach some truth or ridicule some fallacy. The symbolistic, humorous, and satiric methods abound in modern occult fiction and when well done have a double effect, that of primary supernatural impressiveness, and, in addition, of the subtler purposes behind the stories. Moralized legends, spiritual allegories such as Hawthorne wrote with consummate art, have continued to the present and form a contrast to the crude machinery of Gothic horrors. The delicacy of suggestion, the power of hinted ghostliness, though manifest in Shakespeare, are really modern achievements, for no one save him attained to them in earlier art. Mystic poetic fiction, spiritual symbolism appears in much of the modern unearthly writing. In certain cases it is interesting to note the change of old mythological stories into moral allegory. The plays and the stories of Lord Dunsany are peculiarly symbolic and have the force of antique mythology made instant and real. Yet they have a distinctive touch all their own. For instance, the story of the king who goes over the world seeking his lost yesterday, his dear past, who is told by the weird keeper of the bygone years that he cannot have it back, no not one golden second, has a delicate pathos of poetry. When the mournful king has gone back to his palace, a hoar harper comes who plays for him, and lo! to the strings of the harp have clung the golden seconds of his happiest hours, so that he lives them over again while the music lasts. _The Book of the Serpent_ tells symbolic stories that are poems in prose, fantastic fables. The Creator is making experiments with dust-heaps, while the Serpent, the Turtle, and the Grasshopper look on, ask questions, and offer comments. The Serpent trails all through the dust-heap meant as stuff for artists, and the Maker drops a tear in that whereof He means to make mothers. He experiments with monkeys trying to learn how best to make man, and after man is complete, He makes woman. The stories of Oscar Wilde have, some of them, a beauty like that of some antique illuminated missal, with its jeweled words, its mystic figures. Wilde's ornate style, prose that trembles on the verge of poetry, full of passion and color and light, makes one think of his own words in _The Nightingale and the Rose_, where the poet's song was "builded of music by moonlight and stained with his own heart's blood."

The delicate suggestion of the unearthly, the element of suspense that gives the sense of the supernatural to that which may be mortal, is seen in such stories as _A Dream of Provence_, by Frederick Wedmore. The ancient belief that the soul may return to the body within a few days after death forms the basis for this dream-poem in prose. It shows the soul on tiptoe for the Unseen, with a love transcending the barriers of the grave, revealing idyllic sorrow in a father's love that denies death, and expresses the sense of expectancy in the hope of a miracle, with a beauty that is almost unbearable. Something of the same theme, of a father's waiting by his daughter's grave to hear the loved voice once more, is expressed in Andreyev's story.[224] But here there is horror and remorse instead of holy love. When the father cries out, the silence that issues from the grave is more terrible than ghostly sounds would be, more dreadful in its supermortal suggestion.

[224] _Silence._

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The purely humorous supernaturalism is essentially a new thing. The old religious dramas had used comic devils, and Peele's Ghost of Jack is supposed to be humorous, but not at all in the modern sense. There was nothing in early drama or fiction like the rollicking fun of Richard Middleton's Ghost Ship, or Frank R. Stockton's spectral humorists. The work of John Kendrick Bangs illustrates the free and easy manner of the moderns toward ghosts, picturing them in unconventional situations and divesting them of all their ancient dignity. He shows us the wraith of the maiden who drowned herself in a fit of pique, for which she is punished by having to haunt the ancestral house as a shower-bath. His spectral cook of Bangletop is an original revenge-ghost, with a villainous inversion of h's, who haunts an estate because a medieval baron discharged her without wages. His convivial spooks in their ghost club, his astrals who play pranks on mortals, and their confrères are examples of the modern flippancy toward supernaturals.

The satirical use of supernaturalism is also new. Late literature laughs at everything, with a daring familiarity undreamed of before, save in sporadic cases. The devil has been an ancient subject for laughter, but recent fiction ridicules him still more, so that we have scant respect for him, while the ghost, formerly a personage held in great respect, now comes in for his share of ragging. No being is too sacred to escape the light arrows of fun. Heaven is satirically exploited, and angels, saints, and even Deity have become subjects for jesting, conventionalized with the mother-in-law, the tenderfoot, the Irishman, and so forth. There is a considerable body of anecdotal literature of the supernatural, showing to what extent the levity of treatment has gone. Various aspects of mortal life are satirized, as in Inez Haynes Gilmore's _Angel Island_, which is a campaign document for woman's suffrage. Satiric supernaturalism is employed to drive home many truths, to puncture conceits of all kinds, and when well done is effective, for laughter is a clever weapon.

The advance of the later supernatural fiction over the earlier is nowhere seen more distinctly than in the increased effectiveness with which it manages the mechanics of emotion, its skill in selecting and elaborating the details by which terror and awe are produced. The present-day artist of the uncanny knows how to strike the varied tones of supernaturalism, the shrill notes of fear, the deep diapason of awe, the crashing chords of horror. The skillful writer chooses with utmost care the seemingly trivial details that go to make up the atmosphere of the unearthly. Shakespeare was a master of that, but none other of his time. The knocking at the gate in _Macbeth_, for instance, is a perfect example of the employment of a natural incident to produce an effect of the supernatural, as De Quincey has pointed out in his essay on the subject.

The Gothic novel relied largely for its impressiveness on emphasizing ghostly scenes by representing aspects of weather to harmonize with the emotions of the characters. This was overworked in terror fiction, and while it still possesses power it is a much less common method of technique than it used to be. Poe's introductory paragraph in _The Fall of the House of Usher_ is a notable example of skill in creating atmosphere of the supernatural by various details including phenomena of weather, and Hardy shows special power in harmonizing nature to the moods and purposes of his characters. Yet many a modern story produces a profound sense of awe, and purges the soul by means of terror with no reference at all to foreboding weather. However, the allusions now made are more skillful and show more selective power than of old.

Gothic fiction had much to say of melancholy birds that circled portentously over ancient castles filled with gloom and ghosts, but they were generic and not individual specimens. The fowl was always spoken of as "a bird of prey," "a night bird," "a bat," "an owl," or by some such vague term. Natural history has become more generally known since those times and writers of to-day introduce their ominous birds with more definiteness and appropriateness. The repulsive bat that clings to the window ledge in Bram Stoker's novel is a vampire, a symbol of the whole horrible situation, as the kite that soars menacingly overhead in another of his novels is individualized and becomes a definite thing of terror. Poe's raven is vastly more a bird of evil than any specimen in the Gothic aviary. Robert W. Chambers brings in a cormorant several times as a portent of ghostly disaster, particularly foreboding when it turns toward the land. "On the dark glistening cliffs, silhouetted against the glare of the sea, sat a cormorant, black, motionless, its horrible head raised toward heaven." There is in recent fiction no bird more dreadful in import than the belled buzzard that Irvin Cobb makes the leading figure in his story by that name. This is an excellent example of the use of the natural to produce terror and awe, for the murderer sees in the bird a minister of fate, and the faint tinkle of its bell as it soars over the marsh where the body lies buried paralyzes him with horror. At last he can bear no more, and hearing it, as he thinks, close at hand, he shrieks out his confession,--only to find this time that it is not the belled buzzard at all that he hears, but only an old cowbell that a little negro child has picked up in the barnyard!

Robert W. Chambers in his early stories contrives to give varying supernatural effects by descriptions of shadows as symbolic of life and character. He speaks of shadows of spirits or of persons fated to disaster as white; again his supernatural shadows may be gray--gray is a favored shade for ghostly effect whether for witches or for phantoms--and sometimes they are perfectly black, to indicate differing conditions of destiny. Quiller-Couch has a strange little allegory, _The Magic Shadow_, and other writers have used similar methods to produce uncanny effects.

The Gothic romance made much use of portents of the supernatural, which later fiction does as well, but differently and with greater skill. The modern stories for the most part abandon the conventional portents, the dear old clock forever striking twelve or one--there was no Gothic castle so impoverished as to lack such ghostly horologue!--the abbey bell that tolls at touch of spirit hands or wizard winds, the statuesque nose-bleed, the fire that burns blue at approach of a specter, and so forth. The later story is more selective in its aids to ghostly effect, and adapts the means desired to each particular case, so that it hits the mark. For instance, the sardonic laughter that sounds as the burglars are cracking the gate of heaven to get in, and imagining what they will find, is prophetic of the emptiness, the nothingness, that meets their astounded gaze when they are within. Ambrose Bierce in some of his stories describes the repulsiveness of the fleshly corpse, reanimated by the spirit, perhaps not the spirit belonging to it, with a loathly effect more awful than any purely psychic phantom could produce, which reminds us somewhat of the corpse come to life in Thomas Lovell Beddoes's _Death's Jest Book_.

The horrors of invisibility in modern fiction avail to give a ghastly chill to the soul that visible apparitions rarely impart. Likewise the effect of mystery, of the incalculable element, in giving an impression of supernaturalism is a recognized method of technique in many stories, as the minister's black veil in Hawthorne's symbolic story. The unspeakable revolting suggestion in Edith Wharton's _The Eyes_, where a man is haunted by two hideous eyes that "have the physical effect of a bad smell, whose look left a smear like a snail," is built up with uncommon art. We do not realize how much is due to insanity and how much to the supernatural, when, after telling the story of his obsession, his fears that as a climax he will become like those Eyes, the man suddenly sees his reflection in the mirror and meets their dreadful gaze. "He and the image confronted each other with a glare of slowly gathering hate!" Mention might be made of an incident in a recently published literary drama, where a man seeks over the world for the unknown woman with whom he has fallen in love, and on his calling aloud in question as to who she is, "the grave, with nettle-bearded lips replied, 'It is I, Death!'" These are only suggestions of numberless instances that might be given of a modern technique of supernaturalism that surpasses anything in Gothic fiction.

The effectiveness of modern ghostly stories is aided by the suggestiveness of the unearthly given by the use of "sensitives," animals or persons that are peculiarly alert to the occult impressions. We see in many stories that children perceive the supernatural presences more quickly than adults, as in Mrs. Oliphant's story of the ghost returning to right a wrong, trying strenuously to make herself known to the grown person and realized only by a little child. In Belasco's play the little boy is the first and for a long time the only one to sense the return of Peter Grimm. In Maeterlinck's _The Blind_, the baby in arms is aware of the unearthly presences better than the men and women. Sometimes the sensitive is a blind person, as the old grandfather in another of Maeterlinck's short plays, who is conscious of the approaching Death before any of the others, or blind Anna in D'Annunzio's drama, _The Dead City_.

Animals are quick to perceive supernatural manifestations. Cats in fiction are shown as being at ease in the presence of ghosts perhaps because of their uncanny alliance with witches, while dogs and horses go wild with fear. This is noticed in many stories, as in Bulwer-Lytton's story of the haunted house where the dog dies of terror in the face of the ghostly phenomena. The Psychic Doctor told of in Blackwood's uncanny stories, who goes to a house possessed by evil spirits, takes with him a cat and a dog which by their difference of action reveal to him the presence of the spirits long before they are visualized for him.

In general, there is more power of suggestion in the later ghostly stories than in the earlier. The art is more subtle, the technique more skillfully studied, more artfully accidental.

There is in modern fiction, notably the work of Poe, and that of many recent writers, Russian, French, and German as well as English, a type of supernaturalism that is closely associated with insanity. One may not tell just where the line is drawn, just how much of the element of the uncanny is the result of the broodings of an unbalanced brain, and how much is real ghostliness. Poe's studies of madness verge on the unearthly, as do Maupassant's, Hoffmann's, and others. Josephine Daskam Bacon illustrates this genre in a recent volume of stories, _The Strange Cases of Dr. Stanchion_, the plots centering round instances of paranoia occurring in the practice of a famous alienist,--yet they are _not paranoia alone_! One instance is of a young girl who is haunted by the ghost of a nurse who has died because given the wrong medicine by mistake. She is on the border-line of insanity when her lover cries aloud that he would take the curse on himself for her if he could, which, by some unknown psychic law, does effect a transference which frees her and obsesses him. Another is that of a man in the insane asylum, who recognizes in a mysterious housekeeper the spirit of his wife, who comes from the grave to keep him company and vanishes on the day of his death. These are curious analyses of the _idée fixe_ in its effect on the human mind, of insanity as a cause or effect of the supernatural. Barry Pain's _Celestial Grocery_ is a recent example, a story of a man whose madness carries him to another planet, showing him inverted aspects of life, where emotions are the only real things, all else but shadows. Du Maurier's pathetic novel portraying the passion and anguish and joy of Peter Ibbetson that touches the thin line between sanity and madness, showing in his dream-metempsychosis a power to relive the past and even to live someone else's life, is a striking example. One interesting aspect of that story is the point where the spirit of Mary changes from the dream-lover of twenty-eight to the ghost of the woman of fifty-two, since she has died and can no more come to her lover as she once did, but must come as her own phantom. There are extraordinary effects of insanity associated with the supernatural in the work of Ambrose Bierce, of Arthur Machen and others of the modern school. Italian literature shows some significant instances in Fogazzaro's _The Woman_ and D'Annunzio's _Sogno d'un Mattino di Primavera_. As Lord Dunsany says of it, "Who can say of insanity,--whether it be divine or of the Pit?"

* * * * *

We have noticed in preceding chapters two aspects of modern supernaturalism as distinguished from the Gothic,--the giving of cumulative and more terrible power to ghostly beings, and on the other hand the leveling influence that makes them more human. The access of horror and unearthly force as shown in the characters described by certain writers is significant. In the work of Bierce, Machen, Blackwood, Stoker, and others supernaturalism is raised to the nth power and every possible thrill is employed. The carrion ghosts of Bierce, animated by malignant foreign spirits, surpass the charnel shudders produced by the Gothic. Algernon Blackwood's Psychic Invasions, where localities rather than mere apartments or houses alone are haunted, diabolized by undying evil influences with compound power, his Elementals that control the forces of wind and wave and fire to work their demon will, are unlike anything that the early terror novel conceived of. Horace Walpole and Mrs. Radcliffe knew no thrills like those of Bram Stoker's Count Dracula who is an immemorial evil, a vampire and werewolf as well as man, with power to change himself into a vampire bat or animal of prey at will. _The Unburied_, by Josephine Daskam Bacon, is more horrific than any mere revenge ghost, however much it shrieked "Vindicta!" The diabolism in Arthur Machen's work reeks obscurely of a Pit more horrible than epic or drama has portrayed. In general, many of the later ghostly characters are more complex, more intense in evil than the Gothic.

While it is true that certain writers show a tendency to create supernatural characters having an excess of evil power beyond the previous uncanny beings, on the other hand there is an equally strong and significant tendency to reduce the ghostly beings nearer to the human. Fiction here, as frequently, seems ahead of general belief, and refuses to believe in the altogether evil. Ghosts, angels, witches, devils, werewolves, and so forth are now made more human, more like to man, yet without losing any of their ancient power to thrill. Ghosts in late literature have more of the mortal characteristics than ever before, as has been pointed out in a previous chapter. They look more human, more normal, they are clad in everyday garments of varied colors, from red shirts and khaki riding-habits to ball-gowns,--though gray seems the favored shade for shades as well as witches,--and they have lost that look of pallor that distinguished early phantoms. Now they are more than merely vaporous projections as they used to be, more than merely phantasmogenetic apparitions,--but are healthy, red-blooded spooks. They are not tongue-tied as their ancestors were, but are very chatty, giving forth views on everything they are interested in, from socialism to the present war. And their range of interests has widened immeasurably. It would seem that the literacy test has been applied to ghosts in recent fiction. Modern specters are so normal in appearance that often no one recognizes them as ghosts,--as in Edith Wharton's story _Afterwards_, where the peculiar thing about the apparition haunting a certain house is that it is not till long afterwards that one knows it was a ghost. The man in the gray suit whom the wife thinks a chance caller is the spirit of a man not yet dead, a terrible living revenge-ghost, who finally takes his victim mysteriously away with him. Modern ghosts have both motions and emotions like men, hence mortals are coming to regard them more sympathetically, to have more of a fellow-feeling for them.

Likewise the angels are now only a very little higher if any than men. Seraphs are democratic, and angels have developed a sense of humor that renders them more interesting than they used to be. The winged being that H. G. Wells's vicar goes gunning for is a charming youth with a naïve satire, as the angels in Mark Twain's story of heaven are realistically mortal and masculine in tastes. They care little for harps and crowns, grow fidgety under excess of rest, and engage in all sorts of activities, retaining their individual tastes. James Stephens's archangel, seraph, and cherub are chatty, cordial souls with an avidity for cold potatoes and Irish companionship.

The demons as well have felt the same leveling influence experienced by the ghosts and the angels. Only, in their case, the thing is reversed, and they are raised to the grade of humanity. We are coming to see, in modern fiction, at least, that the devil is not really black, only a pleasant mottled gray like ourselves. Satan, in Mark Twain's posthumous novel,[225] is an affable young fellow, claiming to be the nephew and namesake of the personage best known by that name. Bernard Shaw's devil is of a Chesterfieldian courtesy, willing to speed the parting as to welcome the coming guest. I have found no comic use of the werewolf or of the vampire, though there are several comic witch stories, yet all these personages are humanized in modern fiction. We feel in some recent supernatural stories a sense of a continuing current of life. These ghosts, devils, witches, angels, and so forth are too real to be cut short by an author's _Finis_.

[225] _The Mysterious Stranger._

Another aspect of the leveling influence is seen in the more than natural power of motion, feeling, and intelligence given to inanimate objects, machinery, plants, and animals, in late literature. The idea of endowing inanimate figures with life and personality is seen several times in Hawthorne's stories, as his snow image, Drowne's wooden image, the vivified scarecrow, Feathertop, that the witch makes. The clay figures that Satan in Mark Twain's novel models, endues with life, then destroys with the fine, casual carelessness of a god, remind one of an incident from mythology. The statue in Edith Wharton's _The Duchess at Prayer_ that changes its expression, showing on its marble face through a century the loathing and horror that the living countenance wore, or Lord Dunsany's jade idol[226] that comes with stony steps across the desolate moor to exact vengeance on four men helpless in its presence, has a more intense thrill than Otranto's peripatetic statue. Lord Dunsany's _The Gods of the Mountains_, of which Frank Harris says, "It is the only play which has meant anything to me in twenty years," shows an inexorable fatality as in the Greek drama.

[226] In _A Night at an Inn_.

Science is revealing wonderful facts and fiction is quick to realize the possibilities for startling situations in every field. So diabolic botanical specimens, animals endowed with human or more than human craft--sometimes gifted with immortality as well--add a new interest to uncanny fiction. And the new machines that make all impossibilities come to pass inspire a significant class of supernatural stories. In general, a new force is given to all things, to raise them to the level of the human.

In the same way nature is given a new power and becomes man's equal,--sometimes far his superior--in thought and action. The maelstrom in Poe's story is more than merely a part of the setting,--it is a terrible force in action. Algernon Blackwood stresses this variously in his stories, as where Egypt is shown as a vital presence and power, or where the "goblin trees" are as awful as any of the other characters of evil, or in the wind and flame on the mountain that are elements of supernatural power, with a resistless lure for mortals, or in the vampire soil that steals a man's strength. This may be illustrated as well from the drama, as in Maeterlinck's where Death is the silent, invisible, yet dominant force, or in Synge's where the sea is a terrible foe, lying in wait for man, or in August Stramm's _The Daughter of the Moor_, where the moor is a compelling character of evil. Gothic fiction did associate the phenomena of nature with the moods of the action, yet in a less effective way. The aspects of nature in recent literature have been raised to the level of humanity, becoming mortal or else diabolic or divine.

In general, in modern fiction, man now makes his supernatural characters in his own image. Ghosts, angels, devils, witches, werewolves, are humanized, made like to man in appearance, passions, and powers. On the other hand, plants, inanimate objects, and animals, as well as the phenomena of nature, are raised to the human plane and given access of power. This leveling process democratizes the supernatural elements and tends to make them almost equal.

* * * * *

The present revival of interest in the supernatural and its appearance in literature are as marked in the drama as in fiction or poetry. Mr. E. C. Whitmore, in a recently published volume on _The Supernatural in Tragedy_, has ably treated the subject, especially in the Greek classic period and the Elizabethan age in England. His thesis is that the supernatural is most frequently associated with tragedy, and is found where tragedy is at its best. This may be true of earlier periods of the tragic drama, yet it would be going too far to make the assertion of the drama of the present time. The occult makes its appearance to a considerable extent now in melodrama and even in comedy, though with no decrease in the frequency and effectiveness of its use in tragedy. This only illustrates the widening of its sphere and its adaptability to varying forms of art.

A brief survey of some of the plays produced in the last few years, most of them being seen in New York, will illustrate the extent to which the ghostly motifs are used on the stage of to-day. Double personality is represented[227] by Edward Locke, in a play which is said by critics to be virtually a dramatization of Dr. Morton Prince's study,[228] where psychological apparatus used in laboratory experiments to expel the evil intruder from the girl, a chronoscope, a dynograph, revolving mirrors, make the setting seem truly psychical. But the most dramatic instance of the kind, of course, is the dramatization of Dr. Jekyll's alter ego.

[227] In _The Case of Becky_.

[228] _The Disassociation of a Personality._

The plays of Charles Rann Kennedy[229] and Jerome K. Jerome[230] are akin to the old mystery plays in that they personate divinity and show the miracle of Christly influence on sinful hearts. Augustus Thomas[231] and Edward Milton Royle[232] introduce hypnotism as the basis of complication and denouement. Supernatural healing, miraculous intervention of divine power, occur in plays by William Vaughan Moody,[233] Björnson,[234] and George M. Cohan.[235] Another[236] turns on converse with spirits, as does Belasco's _Return of Peter Grimm_, while a war play by Vida Sutton[237] shows four ghosts on the stage at once, astonishing phantoms who do not realize that they are dead. Others[238] have for their themes miracles of faith and rescue from danger, though the first-named play satirizes such belief and the latter is a piece of Catholic propaganda.

[229] _The Servant in the House._

[230] _The Passing of the Third Floor Back._

[231] In _The Witching Hour_.

[232] In _The Unwritten Law_.

[233] _The Faith Healer._

[234] _Beyond Their Strength._

[235] _The Miracle Man._

[236] _The Spiritualist._

[237] _Kingdom Come._

[238] As _The Eternal Mystery_, by George Jean Nathan, and _The Rosary_.

_Magic_, by G. K. Chesterton, introduces supernatural forces whereby strange things are made to happen, such as the changing of the electric light from green to blue. _Peter Ibbetson_, the dramatization of Du Maurier's novel, shows dream-supernaturalism, and various other psychic effects in a delicate and distinctive manner. And _The Willow Tree_, by Benrimo and Harrison Rhodes, is built upon an ancient Japanese legend, relating a hamadryad myth with other supermortal phantasies, such as representing a woman's soul as contained in a mirror.

We have fairy plays by J. M. Barrie,[239] W. B. Yeats,[240] and Maeterlinck,[241] and the mermaid has even been staged,[242] Bernard Shaw shows us the devil in his own home town, while Hauptmann gives us Hannele's visions of heaven. The Frankenstein theme is used to provoke laughter mixed with thrills.[243] Owen and Robert Davis[244] symbolize man's better angel, while _The Eternal Magdalene_, a dream-drama, shows another piece of symbolic supernaturalism. Lord Dunsany's plays have already been mentioned.

[239] _Peter Pan._

[240] _The Land of Heart's Desire._

[241] _The Blue Bird._

[242] _The Mermaid._

[243] In _The Last Laugh_, by Paul Dickey and Charles W. Goddard.

[244] In _Any House_.

Yet the drama, though showing a definite revival of the supernatural, and illustrating various forms of it, is more restricted than fiction. Many aspects of the occult appear and the psychic drama is popular, but the necessities of presentation on the stage inevitably bar many forms of the ghostly art that take their place naturally in fiction. The closet drama does not come under this limitation, for in effect it is almost as free as fiction to introduce mystical, symbolic, and invisible presences. The closet drama is usually in poetic form and poetry is closer akin to certain forms of the supernatural than is prose, which makes their use more natural.

The literary playlet, so popular just now, uses the ghostly in many ways. One shows the Archangel Raphael with his dog, working miracles, while another includes in its _dramatis personæ_ a faun and a moon goddess who insists on giving the faun a soul, at which he wildly protests. As through suffering and human pain he accepts the gift, a symbolic white butterfly poises itself on his uplifted hand, then flits toward Heaven. In another, Padraic yields himself to the fairies' power as the price of bread for the girl he loves. Theodore Dreiser's short plays bring in creatures impossible of representation on the stage, "persistences" of fish, animals, and birds, symbolic Shadows, a Blue Sphere, a Power of Physics, Nitrous Acid, a Fast Mail (though trains have been used on the stage), and so forth.

Instances from recent German drama might be given, as the work of August Stramm, who like Rupert Brooke and the ill-starred poets of the Irish revolution has fallen as a sacrifice to the war. An article in the _Literary Digest_ says of Stramm that "he felt behind all the beauty of the world its elemental passions and believed these to be the projections of human passions in the waves of wind and light and water, in flames of earth." He includes among his characters[245] a Spider, Nightingales, Moonlight, Wind, and Blossoms. Carl Hauptmann[246] likewise shows the elemental forces of nature and of super-nature. On the battlefield of death the dead arise to join in one dreadful chant of hate against their enemies.

[245] In _Sancta Susanna_.

[246] In _The Dead Are Singing_.

Leonid Andreyev's striking play[247] might be mentioned as an example from the Russian. King-Hunger, Death, and Old time Bell-Ringer, are the principal actors, while the human beings are all deformed and distorted, "one continuous malicious monstrosity bearing only a remote likeness to man." The starving men are slain, but over the field of the dead the motionless figure of Death is seen silhouetted. But the dead arise, and a dull, distant, manifold murmur, as if underground, is heard, "We come! Woe unto the victorious!"

[247] _King-Hunger._

But as I have said, these are literary dramas, impossible of presentation on the stage, so that they are judged by literary rather than dramatic standards. For the most part fiction is infinitely freer in its range and choice of subjects from the supernatural than is the drama. The suggestive, symbolic, mystic effects which could not in any way be presented on the stage, but which are more truly of the province of poetry, are used in prose that has a jeweled beauty and a melody as of poetry. Elements such as invisibility, for instance, and various occult agencies may be stressed and analyzed in fiction as would be impossible on the stage. The close relation between insanity and the weird can be much more effectively shown in the novel or short story than in the drama, as the forces of mystery, the incalculable agencies can be thus better emphasized. Ghosts need to be seen on the stage to have the best effect, even if they are meant as "selective apparitions" like Banquo, and if thus seen they are too corporeal for the most impressive influence, while in fiction they can be suggested with delicate reserve. Supernatural presences that could not be imaged on the boards may be represented in the novel or story, as Blackwood's Elementals or Psychic Invasions. How could one stage such action, for instance, as his citizens turning into witch-cats or his Giant Devil looming mightily in the heavens? Likewise in fiction the full presentation of scientific supernaturalism can be achieved, which would be impossible on the stage.

In conclusion, it might be said that fiction offers the most popular present vehicle for expression of the undoubtedly reviving supernaturalism in English literature. And fiction is likewise the best form, that which affords the more varied chances for effectiveness. The rising tide of the unearthly in art shows itself in all literary forms, as dramatic, narrative, and lyric poetry, with a few epics--in the playlet as in the standard drama, in the short story as in the novel. It manifests itself in countless ways in current literature and inviting lines of investigation suggest themselves with reference to various aspects of its study. The supernatural as especially related to religion offers an interesting field for research. The miracles from the Bible are often used, as in Lew Wallace's _Ben Hur_, and Christ is introduced in other times and places, as the war novel,[248] or in Marie Corelli's satire on Episcopacy,[249] where the cardinal finds the Christ child outside the cathedral. The more than mortal elements, as answers to prayer, the experience of conversion, spiritual miracles, and so forth, are present to a considerable extent in modern fiction. Two very recent novels of importance base their plots on the miraculous in religion, _The Brook Kerith_, by George Moore, and _The Leather-wood God_, by William Dean Howells. I have touched on this aspect of the subject in a previous article.[250]

[248] _The Second Coming._

[249] _The Master Christian._

[250] "Religion in Recent American Novels," in the January, 1914, _Review and Expositor_.

One might profitably trace out the appearances of the ghostly in modern poetry, or one might study its manifestations in the late drama, including melodrama and comedy as well as tragedy. This present treatment of the supernatural in modern English fiction makes no pretensions to being complete. It is meant to be suggestive rather than exhaustive, and I shall be gratified if it may help to arouse further interest in a significant and vital phase of our literature and lead others to pursue the investigations.

INDEX

A

_Accusing Spirit, The_, 21 _Address to the De'il, An_, 131 Æsop, _Fables_, 231 _Affair of Dishonor, An_, 91 _Afterwards_, 102, 202 _Afterwards_, 302 Ahasuerus, 176 _Ahrinziman_, 88, 183, 213 Aids to Gothic Effect, 36 _et seq._ Ainsworth, W. H., 181 _Albigenses, The_, 9, 11, 94, 168, 288 Aldrich, Thomas Bailey, 63 ---- _Miss Mehitabel's Son_, 68, 85, 287 ---- _Père Antoine's Date Palm_, 63 ---- _Queen of Sheba, The_, 122

_Amazonian Tortoise Myths_, 232 _Amboyna_, 41 Amiel, Friedrich, 144 _Among the Immortals_, 217 _Amos Judd_, 40, 257 _Amphitryon_, 122 _Amycus and Celestine_, 63 _Anansi Stories_, 232 _Ancient Legends and Superstitions of Ireland_, 229 _Ancient Records of the Abbey of St. Oswyth_, 9, 21 _Ancient Sorceries_, 65, 105, 124, 153, 194 Andersen, Hans Christian, 155, 176, 233 ---- _The Little Mermaid_, 155, 176, 233 Andreyev, Leonidas, 69 ---- _King-Hunger_,308 ---- _Red Laugh, The_, 69 ---- _Silence_, 293 _Angel Island_, 294 _Angel Message, An_, 207 _Ankerwich Castle_, 34 _Another Little Heath Hound_, 290 _Anti-Jacobin, The_, 51 _Any House_, 307 Apuleius, Lucius, _Metamorphoses_, 145 Applier, Arthur, _Vendetta of the Jungles, A_, 168 _Arabian Nights' Tales_, 252 Architecture, Gothic, 8 _et seq._ _Ariel, or the Invisible Monitor_, 24 Arnim, Achim von, _Die Beiden Waldemar_, 122 Arnold, Edwin Lester, _Strange Adventures of Phra, the Phoenician, The_, 188 Arnold, Matthew: ---- _Forsaken Merman, The_, 155,233 ---- _Neckan, The_, 155 _Arrest, An_, 85 _Arthur and Gorlogon_, 30 _Arthur Mervyn_, 35 _Artist of the Beautiful, The_, 287 _Astral Bridegroom, An_, 207 _At the End of the Passage_, 120 _At the Gate_, 201, 291 Auerbach, Berthold, 176 Austen, Jane, 47, 49 ---- _Northanger Abbey_, 47, 51 Austin, Alfred, _Peter Rugg, the Missing Man_, 189 Austin, M. H., _Readjustment_, 107 _Avengers, The_, 56 _Ayesha_, 183, 193

B

Bacon, Josephine Daskam, 94 ---- _Children, The_, 289 ---- _Heritage, The_, 94 ---- _Miracle, The_, 254 ---- _Strange Cases of Dr. Stanchion, The_, 254, 299 ---- _Unburied, The_, 66, 301 ---- _Warning, The_, 276 Bahr-geist, The, 115, 225 Balzac, Honoré de, 182 ---- _Elixir of Life, The_, 60 ---- _Magic Skin, The_, 60 ---- _Melmoth Réconcilié_, 59 ---- _Unknown Masterpiece, The_, 60 Bangs, John Kendrick, 112, 293 ---- _Enchanted Typewriter, The_, 207, 286 ---- _House-boat on the Styx, The_, 112, 216 ---- _Pursuit of the House-boat, The_, 112, 187, 216 ---- _Rebellious Heroine, The_, 197 ---- _Speck on the Lens, The_, 255 ---- _Thurlow's Christmas Story_, 121 ---- _Water-Ghost and Others, The_, 112 Banshee, The, 99 _Bardic Stories of Ireland_, 243 Baring-Gould, S., 181 ---- _Eve_, 246 Barker, Elsa, 206, 207 ---- _Letters from a Living Dead Man_, 207 ---- _War Letters from a Living Dead Man_, 206, 292 Barker, Granville, 123, 198 ---- _Souls on Fifth_, 123, 198, 215 Barrett, Eaton Stannard, 8, 49 ---- _Heroine, The_, 49, 50 Barrie, J. M., 240 ---- _Little White Bird, The_, 240 ---- _Peter Pan_, 240, 306 Baynim, John, 246 Baynim, Michael, 246 Beckford, William, 17 ---- _Vathek_, 8, 17, 22, 25, 29, 33, 37, 70 Beddoes, Thomas Lovell, 53, 297 ---- _Death's Jest Book_, 53, 115, 297 _Beetle, The_, 290 Belasco, David, _Return of Peter Grimm, The_, 201, 298 _Beleaguered City, The_, 211 Bellamy, Edward, 189 ---- _Looking Backward_, 189, 262 _Belled Buzzard, The_, 296 Benet, William Rose, _Man with the Pigeons, The_, 218 _Ben Hur_, 309 Bennett, Arnold, _Ghost, The_, 117 _Beowulf_, 281 _Berenice_, 62 Besant, Walter, _Ivory Gate, The_, 122 _Betrothed, The_, 225 _Beyond Their Strength_, 306 Bierce, Ambrose, 53, 61, 109, 116, 290, 300 ---- _Arrest, An_, 85 ---- _Damned Thing, The_, 61, 92 ---- _Death of Halpin Frazer, The_, 110, 192 ---- _Eyes of the Panther, The_, 170, 271 ---- _Middle Toe of the Right Foot, The_, 61, 92 ---- _Mysterious Disappearances_, 259 ---- _Occurrence at Owl Creek Bridge, The_, 275 ---- _Two Military Executions_, 116 ---- _Vine on the House, A_, 90 Biology, Supernatural, 270 Biology, Supernatural in Gothicism, 34 _Birthmark, The_, 185, 270 _Bisclavret_, 30, 168 Bisland, Elizabeth, _The Case of John Smith_, 215 Björnson, Björnstjerne, 306 ---- _Beyond Their Strength_, 306 _Black Magic_, 146 _Black Monk, The_, 69 _Black Patch, The_, 255 Blackmore, R. D., _Lorna Doone_, 226 Blackwood, Algernon, 68, 76, 79, 85, 96, 105, 166, 171, 235, 273, 285, 287, 300, 304, 309 ---- _Ancient Sorceries_, 65, 124, 153, 194 ---- _Camp of the Dog, The_, 170 ---- _Clairvoyance_, 289 ---- _Empty House, The_, 98, 117 ---- _Glamour of the Snow, The_, 231 ---- _Haunted Island, A_, 114 ---- _Heath Fire, The_, 231 ---- _Human Chord, The_, 275 ---- _Jules Le Vallon_, 194 ---- _Keeping His Promise_, 98 ---- _Man from the Gods, The_, 121 ---- _Man Whom the Trees Loved, The_, 230, 272 ---- _Nemesis of the Fire, A_, 98 ---- _Old Clothes_, 124, 194 ---- _Psychic Invasion, A_, 106 ---- _Regeneration of Lord Ernie, The_, 230 ---- _Return, The_, 123, 198 ---- _Sand_, 230 ---- _Sea Fit, The_, 230 ---- _Secret Worship_, 105, 117, 137 ---- _Temptation of the Clay, The_, 231 ---- _Terror of the Twins, The_, 122, 192 ---- _Transfer, The_, 164 ---- _Wave, The_, 194 ---- _With Intent to Steal_, 62, 117 Bleek, W. H. I., _Reynard, the Fox, in South Africa_, 232 _Blind, The_, 64, 298 _Blithedale Romance, The_, 188, 199 _Blue-Bird, The_, 64, 278, 280, 306 _Blue Roses_, 268 _Blue Sphere, The_, 208, 278 Blythe, James, _Mine Host and the Witch_, 148 _Bon Bon_, 95, 141 _Bones, Sanders, and Another_, 156 Bonhote, Mrs., 20 ---- _Bungay Castle_, 20, 45 _Book of the Serpent_, 292 _Book of Wonder, The_, 245 _Borderland, The_, 124 Botany, Supernatural, 272 _et seq._ _Bottle Imp, The_, 70 Bottomley, Gordon, 65, 153, 285 ---- _Crier by Night, The_, 65, 238 ---- _Riding to Lithend_, 152 _Bowmen and Others, The_, 204, 258, 282 _Brand_, 65 Brandes, Georg, 122 ---- _Romantic Reduplication and Personality_, 122 Brentano, _Die Mehreren Wehmüller_, 122 _Bride of Lammermoor, The_, 38 Brieux, Eugene, 252 _Brissot's Ghost_, 89 Brontë, Emily, 86 ---- _Wuthering Heights_, 86, 226 _Brook Kerith, The_, 310 Brooke, Rupert, 308 ---- _Failure_, 222 ---- _Heaven_, 221, 283 ---- _On Certain Proceedings of the Psychical Research Society_, 281, 283 Brown, Alice, 101, 211 ---- _Here and There_, 101, 107 ---- _Tryst, The_, 126, 211 Brown, Charles Brockden, 35 ---- _Arthur Mervyn_, 35 ---- _Edgar Huntley_, 39 ---- _Wieland_, 35, 39 _Brownie of Bodbeck, The_, 26, 38 Browning, Elizabeth Barrett, 148 ---- _Drama of Exile, A_, 133 ---- _Lay of the Brown Rosary, The_, 148 Browning, Robert, 69 ---- _Sludge, the Medium_, 69 _Brushwood Boy, The_, 195 _Bubble Well Road_, 138 Buchanan, Robert, 177 ---- _Wandering Jew, a Christmas Carol, The_, 177, 180 ---- _Haunters and the Haunted, The_, 60, 78, 188, 299 ---- _Strange Story, A_, 90, 182 _Bungay Castle_, 20, 45 Bunyan, John, 213 Burger, 56 ---- _Lenore_, 56 Burnett, Frances Hodgson, _White People, The_, 203, 298 Burns, Robert, 232 ---- _Address to the De'il, An_, 131 ---- _Tam O'Shanter_, 156 Burns, Miss, _Shropshire Folk-tales_, 291 Butler, Ellis Parker, _Dey Ain't No Ghosts_, 128 Butler, Katherine, ---- _In No Strange Land_, 96, 212 Butler, Samuel, 262 ---- _Erewhon_, 262 _By the Waters of Paradise_, 83 Byron, Lord: ---- _Cain_, 136 ---- _Giaour, The_, 160 ---- _Heaven and Earth_, 221 ---- _Vision of Judgment, A_, 134

C

Cable, George W., 226 Calderon, 27, 133 ---- _El Embozado_, 119 ---- _El Magico Prodigioso_, 100, 143 _Camp of the Dog, The_, 170 Campbell-Praed, Mrs., 207 ---- _Nyria_, 207 _Captain Stormfield's Visit to Heaven, Extracts from_, 201, 217 _Car of Phoebus, The_, 207 Carmen Sylva, 176, 233 _Case of Becky, The_, 305 _Case of John Smith, The_, 215 _Castle of Caithness, The_, 20 _Castle of Otranto, The_, 4, 8, 16, 25, 31, 36, 40, 52, 101 _Castle of Wolfenbach, The_, 48 _Castle Specter, The_, 53 _Celestial Grocery, The_, 265, 300 _Celestial Railroad, The_, 213, 265, 300 _Celtic Revival, The_, 227 _Celtic Twilight, The_, 239 Chambers, Robert W., 87, 290, 296 ---- _The Messenger_, 88 Chamisso, 59, 176 ---- _Erscheinung_, 122 _Chansons de Gestes_, 7 Chaucer, Geoffrey, 87, 140, 217 ---- _Friar's Tale, The_, 140 Chemistry, Supernatural, 267 Cher, Marie, 197 ---- _Immortal Gymnasts, The_, 197 Chesterton, G. K., 306 ---- _Magic_, 306 _Children, The_, 289 _Children of the Mist, The_, 226 _Christabel_, 148, 238 _Clairvoyance_, 289 _Clara Militch_, 68, 162 Clark, Rev. T., _Wandering Jew, or the Travels of Bareach, the Prolonged, The_, 178 Clarke, Laurence, 94 ---- _Grey Guest, The_, 94, 282 _Clermont_, 48 _Cloak, The_, 68 _Closed Cabinet, The_, 107 Cobb, Irvin, _Belled Buzzard, The_, 296 Cobb, Palmer, _Influence of E.T.A. Hoffmann on Edgar Allan Poe, The_, 58 _Cocotte_, 61 _Coffin Merchant, The_, 254 Cohan, George M., 306 ---- _Miracle Man, The_, 306 Coleridge, Samuel Taylor, 65, 118 ---- _Christabel_, 148, 238 ---- _Wanderings of Cain, The_, 118 Collins, Wilkie, 78 ---- _Dream Woman, The_, 78 ---- _Ghost Touch, The_, 103 ---- _Haunted Hotel, The_, 89, 100 ---- _Queen of Hearts, The_, 107, 113 Collins, William, _Ode on the Popular Superstitions of the Highlands_, 74 Collison-Morley, Lacy, 202 ---- _Greek and Roman Ghost Stories_, 202 Comer, Cornelia A. P., _Little Grey Ghost, The_, 118 _Comus_, 7, 148 _Confessions of a Justified Sinner_, 29 _Confessions of an English Opium-Eater_, 268 _Connecticut Yankee at King Arthur's Court, A_, 189, 262, 286 Converse, F., 93 ---- _Co-operative Ghosts_, 93, 98 Conway, Hugh, 103 ---- _Our Last Walk_, 103 Conway, M. D., 180 Cooper, J. Fenimore, 226 _Co-operative Ghosts_, 93, 98 Corbin, John, 76 Corelli, Marie: ---- _Master Christian, The_, 309 ---- _Romance of Two Worlds, A_, 213 ---- _Sorrows of Satan, The_, 136, 144 _Count Roderick's Castle_, or _Gothic Times_, 20 _Countess Cathleen_, 65, 143 _Courting of Dinah Shadd, The_, 152 _Coward, The_, 61 Craddock, Charles Egbert, 83, 104, 226 ---- _His Unquiet Ghost_, 83 Crawford, F. Marion, 37, 68, 94, 109, 116, 117 ---- _Among the Immortals_, 217 ---- _By the Waters of Paradise_, 83 ---- _Dead Smile, The_, 70, 109 ---- _Doll's Ghost_, A, 98 ---- _For the Blood Is the Life_, 62, 78, 162 ---- _Khaled_, 62, 70, 147 ---- _Man Overboard_, 97 ---- _Mr. Isaacs_, 37, 71 ---- _Screaming Skull, The_, 60, 89, 92 ---- _Upper Berth, The_, 100 ---- _Witch of Prague, The_, 149, 195, 266 Crawford, Hope, _Ida Lomond and Her Hour of Vision_, 207 _Creation_, 277 _Crier by Night, The_, 65, 238 _Crock of Gold, The_, 241, 246 Croly, George, 179 ---- _Salathiel_, or _Tarry Thou Till I Come_, 179 _Crystal Egg, The_, 263 _Cuchulain of Muirthemne_, 243 _Culex_, 290 Curran, Mrs. John H., _Patience Worth_, 197, 207 _Curse of the Cashmere Shawl, The_, 153 _Curse of the Fires and the Shadows, The_, 154 _Curse of the Wandering Jew, The_, 177 Curtin, Jeremiah, 244 Curtis, George William, 121, 258 ---- _Prue and I_, 121, 258

D

Dacre, Mrs., 10, 77 ---- _Zofloya_, 10, 17, 28, 33, 35, 37, 38, 53, 154, 251 _Damned Thing, The_, 61, 92 Danby, Frank, _Twilight_, 268 _Daniel and the Devil_, 141 D'Annunzio, Gabriel, 66 ---- _Daughter of Jorio, The_, 67, 149 ---- _La Città Morta_, 66, 298 ---- _Sogno d'un Mattino di Primavera_, 67, 300 ---- _Sogno d'un Tramonto d'Autunno_, 67, 152 Dante, 27, 130, 133, 144, 209, 215 _Dark Nameless One, The_, 155 Darwin, Charles, 73, 251 Darwin, Erasmus, 14 _Daughter of Jorio, The_, 67, 149 _Daughter of the Moor, The_, 304 Davis, Owen, and Robert, _Any House_, 307 Davis, Richard Harding, _Vera, the Medium_, 200 _Day of My Death, The_, 199 _Days of the Comet, The_, 264 _Dead Are Singing, The_, 282 _Dead City, The_, 298 _Dead Ship of Harpswell, The_, 187 _Dead Smile, The_, 70, 109 Deakin, Lumley, 146 ---- _Red Debts_, 146 _Death of Halpin Frazer, The_, 110, 192 _Death's Jest Book_, 53, 115, 297 Defoe, Daniel, 205 ---- _Apparition of Mrs. Veal_, 205 ---- _History of Duncan Campbell, The_, 225 Demi-gods, 242 _Demi-gods, The_, 219, 221 Dæmonic Spirits, 158 _et seq._ Dæmonology, Gothic, 33 De Morgan, William Frend, 92, 283 ---- _Affair of Dishonor, An_, 91 ---- _Likely Story, A_, 287 De Quincey, Thomas ---- _Avengers, The_, 56 ---- _Confessions of an English Opium-Eater_, 268 ---- _Dream Fugue_, 15 ---- _Klosterheim_, 56 ---- _On the Knocking at the Gate in Macbeth_, 295 _Descent into the Maelstrom, The_, 231, 253 _Devil, The_, 138 Devil and His Allies, The, 130 _et seq._ Devil, Gothic, The, 27 _et seq._ _Devil and Tom Walker, The_, 140 _Devil in the Belfry, The_, 141 _Dey Ain't No Ghosts_, 128 _Diamond Lens, The_, 274 Dickey, Paul, 307 ---- _Last Laugh, The_, 307 Dickens, Charles: ---- _Haunted House, The_, 171 ---- _Signal Man, The_, 114 _Die Beiden Waldemar_, 122 _Die Braut von Corinth_, 162 _Die Mehreren Wehmüller_, 122 _Disassociation of a Personality, The_, 305 _Divine Adventure, The_, 248 _Dr. Bullivant_, 185 _Dr. Faustus_, 15, 143 _Dr. Heidigger's Experiment_, 184, 252 _Dr. Jekyll and Mr. Hyde_, 120, 268, 305 _Dog Harvey, The_, 291 _Doings of Raffles Haw, The_, 267 _Dolliver Romance, The_, 183, 184 _Doll's Ghost, A_, 98 _Door in the Wall, The_, 258 Doppelgänger, 57, 119 _Doppelgänger, The_, 122 Dorset, St. John, 159 ---- _Vampire, The_, 159 Double Personality, 305 Doyle, A. Conan, 79 ---- _Doings of Raffles Haw, The_, 267 ---- _Hound of the Baskervilles, The_, 290 ---- _Los Amigos Fiasco, The_, 187, 270 ---- _Lot No. 49_, 62 ---- _Secret of Goresthorpe Grange, The_, 79 ---- _Silver Mirror, The_, 259 ---- _Terror of Blue John Gap, The_, 272 _Dracula_, 78, 163, 188, 301 _Dream, The_, 68 _Dream Fugue_, 15 _Dream Gown of the Japanese Ambassador, The_, 79 _Dream of Armageddon, A_, 196, 262 _Dream of Provence, A_, 293 _Dream Woman, The_, 78 Dreams, 13, 77 Dreiser, Theodore: ---- _Blue Sphere, The_, 208, 278 ---- _In the Dark_, 208 ---- _Laughing Gas_, 278 ---- _Plays of the Natural and the Supernatural_, 208 ---- _Spring Recital, A_, 208 Dromgoole, Will Allen, 226 Dryden, John, 41 ---- _Amboyna_, 41 _Duchess at Prayer, The_, 121, 303 _Duchess of Malfi, The_, 8, 166 Dumas, Alexandre, Père, 159 ---- _Le Vampire_, 159 Du Maurier, George: ---- _Martian, The_, 196, 207, 264 ---- _Peter Ibbetson_, 186, 196, 206, 300 ---- _Trilby_, 267 Dunbar, Aldis, 244 Dunbar, Olivia Howard, 85 ---- _Shell of Sense, The_, 85, 212 Dunsany, Lord, 52, 63, 235, 242, 244, 247, 249, 285, 292, 300 ---- _Book of Wonder, The_, 245 ---- _Glittering Gate, The_, 221, 222 ---- _Gods of Pegana, The_, 245 ---- _Gods of the Mountain, The_, 244, 303 ---- _Night at an Inn, A_, 244, 303 ---- _Time and the Gods_, 245 ---- _Usury_, 198 ---- _When the Gods Slept_, 63, 74

E

_Edgar Huntley_, 39 Edwards, Amelia, 86 ---- _Four-fifteen Express, The_, 86 _Eel-King, The_, 233 _Eighty-third, The_, 61, 281 _El Embozado_, 119 Elementals, 300 _Eleonora_, 103 Eliot, George, 167, 257 ---- _Lifted Veil, The_, 157 _Elixiere des Teufels_, 57 Elixir of Life, The, 35, 182 _et seq._ _Elixir of Life, The_, 60 _Elixir of Youth, The_, 186 _Elizabethan Drama, The_, 139 _El Magico Prodigioso_, 100, 143 _Elsie Venner_, 170 Elves, 247 _Emperor and Galilean_, 42, 66 _Empty House, The_, 98, 117 _Enchanted Typewriter, The_, 207, 286 Erckmann-Chatrian, 62 ---- _Invisible Eye, The_, 62 ---- _Owl's Ear, The_, 62 ---- _Waters of Death, The_, 62 _Erewhon_, 262 _Erscheinung_, 122 _Eternal Magdalen, The_, 27 _Eternal Mystery, The_, 306 _Ethelwina, or the House of Fitz-Auburne_, 25 Eubule-Evans, A., 177 ---- _Curse of the Wandering Jew, The_, 177 _Eve_, 246 _Evil Eye, The_, 152 _Exchange, The_, 153, 156, 197 _Extract from Captain Stormfield's Visit to Heaven, An_, 217 _Eyes, The_, 297 _Eyes of the Panther, The_, 170, 271

F

_Fable for Critics, A_, 57 _Fables_, 231 _Facts in the Case of M. Waldemar_, 266 _Faerie Queene, The_, 7 _Failure_, 22 _Fair God, The_, 246 _Fairies of Pesth, The_, 240 _Fairy Faith in Celtic Countries_, 237 Fairy, The, 239 _et seq._ _Faith Healer, The_, 306 _Fall of the House of Usher, The_, 295 _Faraway Melody, A_, 97 _Faust_, 143, 175 _Feathertop_, 152, 156 Fenn, George M., _Man with the Shadow, The_, 122 _Fiction of the Irish Celts_, 243 Field, Eugene, 141 ---- _Daniel and the Devil_, 141 ---- _Eel-King, The_, 233 ---- _Holy Cross, The_, 181 ---- _Moon Lady, The_, 233 ---- _Mother in Paradise, The_, 213 ---- _Pagan Seal-wife, The_, 233 ---- _Werewolf, The_, 169, 172 Finch, Lucine, _Butterfly, The_, 307 _First Men in the Moon, The_, 264 _Fisherman and His Soul, The_, 134, 153, 236 _Fisk, Isabel Howe_, 290 _Flaireurs_, 64 _Flower of Silence, The_, 273 _Flowering of the Strange Orchid, The_, 62, 164, 273 _Flying Dutchman, The_, 187 Fogazzaro, Antonio, 66 ---- _Saint, The_, 66 ---- _Sinner, The_, 66 ---- _Woman, The_, 66, 194, 300 Folk-lore, 73 Ford, James L., 266 _Forest Lovers_, 149 _Forsaken Merman, The_, 155, 233 _For the Blood Is the Life_, 62, 78, 162 Fouqué, Henri Auguste, 57, 59 ---- _Undine_, 57 _Four-fifteen Express, The_, 86 Fourth Dimension, The, 256 Fox, John, Jr., 226 France, Anatole, 63 ---- _Amycus and Celestine_, 63 ---- _Isle of the Penguins, The_, 63 ---- _Juggler of Notre Dame, The_, 63 ---- _Mass of Shadows, The_, 63 ---- _Putois_, 63 ---- _Revolt of the Angels, The_, 220 ---- _Scholasticus_, 63 _Frankenstein_, 14, 17, 34 Franklin, Andrew, 176 ---- _Wandering Jew, The_, 176 Freeman, Mary Wilkins, 78 ---- _Faraway Melody_, 97 ---- _Hall Bedroom, The_, 79, 260 ---- _Shadows on the Wall, The_, 78, 99, 104, 226 Freud, 79 _Friar's Tale, The_, 140 _Fu Manchu Stories_, 253, 268, 270, 272 _Furnished Room, The_, 60, 101 Future, Magic Views of the, 256

G

Garland, Hamlin, 69, 76, 200 ---- _Shadow World, The_, 200 ---- _Tyranny of the Dark, The_, 200 Garments of Ghosts, 92 _et seq._ _Gaston de Blondeville_, 19 _Gates Ajar, The_, 210 _Gates Between, The_, 210 _Gates Beyond, The_, 210 Gautier, Théophile, 62 ---- _La Morte Amoreuse_, 62, 163 ---- _Mummy's Foot, The_, 62 ---- _Romance of the Mummy, The_, 62 _General William Booth Enters into Heaven_, 217 German Romanticism, 67 Gerould, Gordon H., 202 ---- _Grateful Dead, The_, 202 Gerould, Katherine Fullerton, 61, 71, 104 ---- _Eighty-Third, The_, 61, 281 ---- _Louquier's Third Act_, 61 ---- _On the Stairs_, 83, 114, 122 _Ghost, The_, 60 _Ghost at Point of Rock, The_, 83 Ghost-children, 287 _et seq._ _Ghost Moth, The_, 290 _Ghost of Miser Brimpson, The_, 83 _Ghost of the White Tiger_, 291 _Ghost Ship, The_, 111, 293 Ghost of Futurity, 114 Ghost of Jack, The, 110 Ghost Touch, The, 101, 103 Ghostly Doubles, 119 Ghostly Odor, 100 Ghostly Perfume, 101 Ghostly Psychology, 106 Ghostly Sounds, 97 _et seq._ Ghosts, Gothic, 18 _et seq._ Ghosts, Modern, 81 _et seq._ Ghouls, 158 _Giaour, The_, 160 Gigantism, 36 Gilmore, Inez Haynes, 294 ---- _Angel Island_, 294 _Glamour of the Snow, The_, 231 Glanville, Joseph, 191 Glasgow, Ellen, _Shadowy Third, The_, 203 _Glass of Supreme Moments, The_, 157 _Glittering Gate, The_, 221, 222 Glover, Richard, _Ballad of Hosier's Ghost_, 89 Gnoles, 247 Gnomes, 247 _Goblin Market_, 148 Goddard, Charles W., 307 ---- _Last Laugh, The_, 307 Gods, 242 _Gods and Fighting Men_, 244 _Gods of Pegana_, 245 _Gods of the Mountains, The_, 244, 303 Godwin, William, 35, 182 ---- _St. Leon_, 35, 36 Goethe, 133, 162 ---- _Die Braut von Corinth_, 162 ---- _Faust_, 143, 175 Gogol, 68 ---- _Cloak, The_, 68 Gothic Romance, 6 _et seq._ Granville, Charles, 179 ---- _Plaint of the Wandering Jew, The_, 179 _Great God Pan, The_, 247 _Great Stone of Sardis, The_, 262 _Greek and Roman Ghost Stories_, 202 Gregory the Great, _Dialogues_, 202 Gregory, Lady, 229, 234, 237, 240, 285 ---- _Cuchulain of Muirthemne_, 243 ---- _Gods and Fighting Men_, 243 _Grey Guest, The_, 94, 282 Grosse, Marquis, 49 ---- _Horrid Mysteries_, 49 _Guy Mannering_, 150 _Gypsy Christ, The_, 181

H

_Hag, The_, 148 Haggard, Rider, 183, 193 ---- _Ayesha_, 183, 193 ---- _She_, 183 Hale, Lucretia P., _Spider's Eye, The_, 62, 274 _Hall Bedroom, The_, 79, 260 _Hall of Eblis, The_, 8 _Hamlet_, 18, 118, 144 _Hand, The_, 61 _Hannele_, 218 _Hans Pfaal_, 286 _Happy Prince, The_, 238 Hardy, Thomas: ---- _Return of the Native, The_, 150 ---- _Tess of the D' Urbervilles_, 143 ---- _Under the Greenwood Tree_, 150 ---- _Withered Arm, The_, 225 Harper, Olive, _Sociable Ghost, The_, 111 Harris, Joel Chandler, 74, 226 ---- _Uncle Remus Tales_, 232, 235 Hart, Charles F., _Amazonian Tortoise Myths_, 232 Hartley, Randolph, _Black Patch, The_, 255 _Haunted Hotel, The_, 89, 100 _Haunted House, The_, 171 _Haunted Island, A_, 114 _Haunted Subalterns, The_, 138 _Haunters and the Haunted, The_, 60, 78, 188, 299 Hauptmann, Carl, 282 ---- _Dead Are Singing, The_, 282 Hauptmann, Gerhardt: ---- _Hannele_, 218 ---- _Sunken Bell, The_, 158 Hawkesworth, John, 70, 190 ---- _Transmigration of a Soul_, 190 Hawthorne, Julian, 121 ---- _Lovers in Heaven_, 121, 144, 213 Hawthorne, Nathaniel: ---- _Artist of the Beautiful, The_, 287 ---- _Birthmark, The_, 185, 270 ---- _Blithedale Romance, The_, 188, 199 ---- _Celestial Railroad, The_, 213 ---- _Dr. Heidigger's Experiment_, 184, 252 ---- _Dolliver Romance, The_, 183, 184 ---- _Feathertop_, 152, 156 ---- _House of Seven Gables, The_, 158 ---- _Howe's Masquerade_, 122 ---- _Intelligence Office, The_, 265 ---- _Main Street_, 152 ---- _Marble Faun, The_, 57 ---- _Prophetic Pictures_, 121 ---- _Rappacini's Daughter_, 252, 272 ---- _Scarlet Letter, The_, 152 ---- _Select Party, A_, 178 ---- _Septimius Felton_, 143, 150, 183, 252 ---- _Virtuoso's Collection, A_, 78 ---- _Young Goodman Brown_, 151 Hearn, Lafcadio, 1, 77 ---- _Interpretations of Literature_, 1, 77 _Heath Fire, The_, 231 _Heaven_, 221, 283 _Heaven and Earth_, 221 Heijermans, 176 _Hellas_, 176 Henry, O., _Furnished Room, The_, 60, 101 _Here and There_, 101, 107 _Heretic, The_, 207 _Heritage, The_, 94 Herodotus, 166 Heroes, 242 _Heroine, The_, 49, 50 Herrick, Robert, _Hag, The_, 148 Hewlett, Maurice, _Forest Lovers_, 149 Heywood, Eliza, _Lasselia_, 42 _His Unquiet Ghost_, 83 _History of Duncan Campbell, The_, 255 _History of Jack Smith, or the Castle of St. Donats_, 20 Hoax Ghosts, 82 Hodder, Reginald, _Vampire, The_, 68, 163 Hoffmann, David, 181 Hoffmann, E. T. A., 51, 59, 69, 182, 190, 199 ---- _Doppelgänger_, 58 ---- _Elixiere des Teufels_, 58 ---- _Kater Murr_, 58 ---- _Magnetiseur_, 58 Hogg, James: ---- _Brownie of Bodbeck_, 26, 38 ---- _Confessions of a Justified Sinner_, 29 ---- _Hunt of Eildon, The_, 26, 27, 30, 32 ---- _Witch of Fife, The_, 148 ---- _Wool-gatherer, The_, 23, 29, 30, 32 Holmes, Oliver Wendell, _Elsie Venner_, 170 _Holy Cross, The_, 181 _Horrid Mysteries_, 49 Horsley-Curties, T. J., 9 ---- _Ancient Records or the Abbey of St. Oswyth_, 9, 12, 21, 32, 42, 43 ---- _Ethelwina, or the House of Fitz-Auburne_, 25, 38 _Hound of the Baskervilles, The_, 290 _Hound of Heaven, The_, 283 _House of Judgment, The_, 214 _House of Souls, The_, 271 _House-boat on the Styx, The_, 112, 216 _House of Seven Gables, The_, 158 Howells, William Dean, 76 ---- _Leatherwood God, The_, 310 ---- _Undiscovered Country, The_, 200, 267 _Howe's Masquerade_, 122 _Human, Chord, The_, 275 _Human Personality_, 202 Humorous Ghosts, 110 Hunt, Leigh, 105 _Hunt of Eildon, The_, 26, 27, 30, 32 Huxley, Thomas Henry, 73, 252 Hyde, Dr., _Paudeen O'Kelley and the Weasel_, 237

I

Ibsen, Henrik, 35, 42 ---- _Brand_, 65 ---- _Emperor and Galilean_, 42, 66 ---- _Lady from the Sea, The_, 66 ---- _Master Builder_, 35, 66 ---- _Pretenders, The_, 65 ---- _Rosmersholm_, 66 ---- _Vikings of Helgeland, The_, 65 _Ida Lomond and Her Hour of Vision_, 207 _Immortal Gymnasts, The_, 197 _In Castle Perilous_, 118 _In Mr. Eberdeen's House_, 124 _In No Strange Land_, 96, 212 _In the Dark_, 208 _In the House of Suddoo_, 146 _Inferno_, 144 Insanity and the Supernatural, 69, 299 Insanity in Gothic Fiction, 35 _et seq._ _Intelligence Office, The_, 265 _Interior_, 64 _Interpretations of Literature_, 1, 77 Intricate Personality of Specters, 119 _Invisible Man, The_, 95, 269 _Invisible Eye, The_, 62 Irving, Washington, 110, 226 ---- _Devil and Tom Walker, The_, 140 ---- _Legend of Sleepy Hollow, The_, 89 ---- _Rip Van Winkle_, 246 ---- _Specter Bridegroom, The_, 83, 110 ---- _Tales of the Alhambra_, 226 _Island of Dr. Moreau, The_, 271 _Isle of the Penguins, The_, 63 _Italian, The_, 48 _Ivan, the Fool_, 68, 138, 144 _Ivory Gate, The_, 122 _In the Track of the Wandering Jew_, 178

J

Jacobs, W. W., _Monkey's Paw, The_, 98, 253 James, Henry: ---- _Jolly Corner, The_, 122 ---- _Turn of the Screw, The_, 86, 91, 109 Janvier, Thomas A., _Legends of the City of Mexico_, 226 Jealousy of Ghosts, 117 _Jeanne, The Maid_, 282 Jerome, Jerome K., _Passing of the Third Floor Back, The_, 305 _Jewel of Seven Stars, The_, 191, 274 Jigar-Khor, The, 165 _John Inglesant_, 87, 98 Johnson, Arthur, _In Mr. Eberdeen's House_, 124 Johnston, Mary, _Witch, The_, 150 _Jolly Corner, The_, 122 _Joyzelle_, 64 _Judgment of God, The_, 234 _Juggler of Notre Dame, The_, 63 _Jules Le Vallon_, 194 _Julius Cæsar_, 18, 84 _Jungle Tales_, 232

K

_Kaffir Tales_, 232 _Kater Murr_, 58 Keats, John, 148 ---- _La Belle Dame sans Merci_, 148 ---- _Lamia_, 162 _Keeping His Promise_, 98 Kelpie, The, 155 Kennedy, Charles Rann, _Servant in the House, The_, 66, 305 Kennedy, Patrick, 243 ---- _Bardic Stories of Ireland_, 243 ---- _Fiction of the Irish Celts_, 243 _Kentucky's Ghost_, 199 _Kerfol_, 290 _Khaled_, 62, 70, 147 _Kinetoscope of Time, The_, 256 King, Basil, 203 ---- _Old Lady Pingree_, 203 _King Lear_, 13 _Kingdom Come_, 282, 306 Kingemann, 176 _King Hunger_, 207, 308 Kingsley, Charles, _Water Babies_, 240 Kipling, Rudyard, 53, 71, 99, 104, 180 ---- _At the End of the Passage_, 120 ---- _Brushwood Boy, The_, 195 ---- _Bubble Well Road_, 138 ---- _Courting of Dinah Shadd, The_, 152 ---- _Dog Harvey, The_, 291 ---- _Haunted Subalterns, The_, 138 ---- _In the House of Suddoo_, 146 ---- _Jungle Tales_, 232 ---- _Last of the Stories, The_, 197,215 ---- _Mark of the Beast, The_, 100, 167 ---- _Phantom Rickshaw, The_, 88, 94 ---- _Swept and Garnished_, 94, 282, 288 ---- _They_, 84, 93, 288 Kittredge, George Lyman, 30, 224 ---- _Arthur and Gorlogon_, 30 Kleist, 59 _Klosterheim_, 56 _Knock! Knock! Knock!_ 68 Kummer, Frederick Arnold, _Second Coming, The_, 281 Kundry, 181

L

_Le Belle Dame sans Merci_, 148 _La Città Morta_, 66, 299 _Lady from the Sea, The_, 66 _La Horla_, 61, 95 _Lair of the White Worm, The_, 188 _Lais_, 7 _Lamia_, 162 _La Morte Amoreuse_, 62, 163 _Land of Darkness, The_, 212 _Land of Heart's Desire, The_, 65, 240, 306 Lang, Andrew, 118, 188, 242 ---- _In Castle Perilous_, 118 ---- _St. Germain, the Deathless_, 188 _Lasselia_, 42 _Last Ghost in Harmony, The_, 104, 201 _Last Laugh, The_, 307 _Last of the Stories, The_, 197, 215 Later Influences, 54 _et seq._ Latham, Francis, _Midnight Bell_, 49 _Laughing Gas_, 278 _Lay of the Brown Rosary, The_, 148 _Leatherwood God, The_, 310 _Leaves from the Autobiography of a Soul in Paradise_, 207 Lee, Robert James: ---- _Astral Bridegroom, An_, 207 ---- _Car of Phoebus, The_, 207 ---- _Heretic, The_, 207 ---- _Leaves from the Autobiography of a Soul in Paradise_, 207 ---- _Life Elysian, The_, 207 ---- _Through the Mists_, 208 ---- _Vagrom Spirit, The_, 207 _Legend of Sleepy Hollow, The_, 89 _Legend of Sharp, A_, 134 Leprechauns, 239 _Letters from a Living Dead Man_, 207 _Le Vampire_, 159 Lewis, Arthur, 242 ---- _London Fairy Tales_, 242 Lewis, Mary L., _Stranger than Fiction_, 207 Lewis, Matthew Gregory ("Monk"), 14, 16, 77 ---- _Castle Specter, The_, 53 ---- _Monk, The_, 12, 16, 22, 24, 26, 27, 30, 33, 34, 35, 37, 177 _Liebgeber Schappe_, 122 Life after Death, 209 _et seq._ _Lifted Veil, The_, 257 _Ligeia_, 123, 191 _Likely Story, A_, 287 Lindsay, Nicholas Vachell, _General William Booth Enters into Heaven_, 217 _Little Crow of Paradise, The_, 234 _Little Gray Ghost, The_, 118 _Little Mermaid, The_, 155, 176, 233 _Little Pilgrim in the Unseen, The_, 212 _Little White Bird, The_, 240 Lloyd, N. M., _Last Ghost in Harmony, The_, 104, 201 Locke, Edward, _Case of Becky, The_, 305 Lodge, Sir Oliver, 74 ---- _Raymond, or Life and Death_, 75 _London Fairy Tales_, 242 London, Jack: ---- _Scarlet Plague, The_, 262 ---- _Star Rover, The_, 264 _Long Chamber, The_, 118 _Looking Backward_, 189, 262 _Los Amigos Fiasco, The_, 187, 270 _Loss of Breath, The_, 74 _Lot No. 49_, 62 _Louquier's Third Act_, 61 _Love Philter, The_, 267 _Lovers in Heaven_, 121, 144, 213 Lowell, James Russell, _Fable for Critics_, A, 57 Lucas, Charles, _History of Jack Smith, or the Castle of St. Donats, The_, 20 _Lycanthrope, The_, 39 Lytton, Edward George, Earle Lytton Bulwer-Lytton, 1st baron, 60

M

Macaulay, Thomas Babington, 110 _Macbeth_, 18, 98, 153, 295 Machen, Arthur, 52, 70, 79, 117, 247, 250, 300, 301 ---- _Bowmen and Others, The_, 204, 258, 282 ---- _Hill of Dreams, The_, 79 ---- _House of Souls, The_, 271 ---- _Monstrance, The_, 288 ---- _Red Hand, The_, 247 ---- _Seeing the Great God Pan_, 139 ---- _Three Impostors, The_, 247, 269 _Mad_, 61 _Mad Lady, The_, 286 _Madness_, 61 Maeterlinck, Maurice, 6, 42, 64, 299 ---- _Blind, The_, 64, 298 ---- _Blue-bird, The_, 64, 278, 289, 306 ---- _Interior_,64 ---- _Intruder, The_, 64, 304 ---- _Joyzelle_, 64 Magic, 306 _Magic Shadow, The_, 296 _Magic Skin, The_, 60 _Magnetiseur_, 58 Maighdeanmhara, The, 155 _Main Street_, 152 _Man and Superman_, 217 _Man in Black, The_, 137 _Man from the Gods, The_, 121 _Man Overboard_, 97 _Man with a Shadow, The_, 122 _Man Whom the Trees Loved, The_, 230, 272 _Man with the Pigeons, The_, 218 _Man Who had been in Fairyland, The_, 241 _MS. found in a Bottle, The_, 253 _Marble Faun, The_, 57 Marie de France, 30, 118 ---- _Bisclavret_, 30, 168 _Markheim_, 120 _Mark of the Beast, The_, 100, 167 Marlowe, Christopher, 27, 153 ---- _Doctor Faustus_, 15, 143 Marsh, Richard, _Beetle, The_, 290 _Martian, The_, 196, 207, 264 _Mass of Shadows, The_, 63 _Master Builder, The_, 35, 66 _Master Christian, The_, 309 Mather, Cotton, 130 Matthews, Brander: ---- _Dream Gown of the Japanese Ambassador, The_, 79 ---- _Kinetoscope of Time, The_, 256 ---- _Primer of Imaginary Geography, A_, 181, 216 ---- _Rival Ghosts_, 112 Maturin, Charles Robert, 9, 17, 38, 59, 182 ---- _Albigenses, The_, 9, 11, 94, 168, 288 ---- _Melmoth, the Wanderer_, 8, 10, 12, 24, 26, 36, 41, 44, 138 Maupassant, Guy de, 60, 69, 299 ---- _Cocotte_, 61 ---- _Coward, The_, 61 ---- _Ghost, The_, 60 ---- _Hand, The_, 61 ---- _La Horla_, 61, 95 ---- _Mad_, 61 ---- _Madness_, 61 ---- _Tress, The_, 61 ---- _Wolf, The_, 172 McDonald, George, _Portent, The_, 266 McLeod, Fiona: ---- _Dark Nameless One, The_, 155 ---- _Divine Adventure, The_, 248 ---- _Judgment of God, The_, 234 ---- _Sin Eater, The_, 138 Mechanistic Supernaturalism, 286 _et seq._ Meg Merrilies, 150 Meinhold, 56 _Melmoth Réconcilié_, 59 _Melmoth, the Wanderer_, 8, 10, 12, 24, 26, 36, 41, 44, 138 Meredith, George, 71, 127 ---- _Shaving of Shagpat, The_, 71 Merlin, 145 Mermaid, The, 234 _Mermaid, The_, 306 _Merman and the Seraph, The_, 234 Meroe, 145 _Mesmeric Revelations_, 266 _Messenger, The_, 88 _Metamorphoses_, 145 Metempsychosis, 180 _et seq._ _Metzengerstein_, 287, 291 _Middle Toe of the Right Foot, The_, 61, 92 Middleton, Jessie Adelaide, 92 ---- _Ghost with Half a Face, The_, 92 Middleton, Richard, 111, 288 ---- _Coffin Merchant, The_, 254 ---- _Ghost Ship, The_, 111, 293 ---- _Passing of Edward, The_, 99, 288 _Midnight Bell_, 49 _Midsummer Night's Dream, A_, 64 Milne-Horne, Mary Pamela, _Anansi Stories_, 232 Milton, John, 27, 133, 239 ---- _Comus_, 7, 148 ---- _Paradise Lost_, 144, 209, 211, 215 _Mine Host and the Witch_, 148 _Miracle, The_, 254 _Miracle Man, The_, 306 _Miss Mehitabel's Son_, 63, 68, 85, 287 _Mistaken Ghost, The_, 62 Mitchell, J. A., _Amos Judd_, 40, 257 Molnar, Fernac, _Devil, The_, 138 _Monastery, The_, 225 _Monk, The_, 12, 16, 22, 24, 26, 27, 30, 33, 35, 37, 177 _Monkey's Paw, The_, 98 _Monstrance, The_, 288 Moody, William Vaughn, _Faith Healer, The_, 306 _Moon Lady, The_, 233 _Moon Madness_, 139, 231 Moore, George, _Brook Kerith, The_, 310 _Morella_, 123, 190 Morris, William, 236, 250 ---- _Water of the Wondrous Isle, The_, 236 ---- _Well at the World's End, The_, 236 ---- _Wood beyond the World, The_, 236 Mosen, Julius, 176 _Mother in Paradise, The_, 213 Motives for Ghost Appearance, 113 _Mr. Isaacs_, 37, 71 _Mrs. Veal_, 205 _Mummy's Foot, The_, 62 _Mummy's Tale, The_, 110 _My Aunt Margaret's Mirror_, 225 Myers, _Human Personality_, 202 _Mysteries of Udolpho, The_, 9, 48 _Mysterious Mother, The_, 53 _Mysterious Stranger, The_, 142 _Mysterious Warnings_, 49 Mystery and Mystification in Gothicism, 43 _Mystery of Joseph Laquedem, The_, 181, 195 _Myths and Legends of Our Land_, 187

N

Nathan, George Jean, _Eternal Mystery, The_, 306 _Neckan, The_, 155, 233 _Nemesis of Fire, A_, 98 _Never Bet the Devil Your Head_, 140 _New Accelerator, The_, 286 _New Arabian Nights, The_, 70 _Night at an Inn, A_, 244, 303 _Night Call, The_, 83 _Nightingale and the Rose, The_, 235, 293 _Nightmare Abbey_, 51 Norris, Frank, _Vandover and the Brute_, 167 _Northanger Abbey_, 47, 51 _Notch on the Axe, The_, 89, 188 Noyes, Alfred, _Creation_, 277 _Nyria_, 207

O

O'Brien, Fitz-James, 61 ---- _Diamond Lens, The_, 274 ---- _What Was It? A Mystery_, 61, 96 _Occult Magazine, The_, 163 _Occurrence at Owl Creek Bridge, The_, 275 _Ode on the Popular Superstitions of the Highlands_, 74 O'Donnell, Elliot, 88, 110 ---- _Mummy's Tale, The_, 110 ---- _Werewolves_, 170 _Old Clothes_, 124, 194 _Old English Baron, The_, 16, 19, 40 _Old Fires and Profitable Ghosts_, 154 _Old Lady Mary_, 211 _Old Men of the Twilight, The_, 234 _Old Wives' Tale_, 110, 145 Oliphant, Mrs. Margaret: ---- _Beleaguered City, The_, 211 ---- _Land of Darkness, The_, 212 ---- _Little Pilgrim in the Unseen, The_, 212 ---- _Old Lady Mary_, 211, 298 ---- _Open Door, The_, 211 ---- _Portrait, The_, 211 _On Certain Proceedings of the Psychical Research Society_, 221 _On the Knocking at the Gate in Macbeth_, 295 _On the Stairs_, 61, 114, 122 _Open Door, The_, 211 Origin of Individual Gothic Tales, 13 _et seq._ O'Shaughnessy, Arthur, 168 _Our Last Walk_, 103 _Oval Portrait, The_, 58 Ovid, 166 _Owl's Ear, The_, 62

P

_Pagan Seal-wife, The_, 233 Page, Thomas Nelson, 226 Pain, Barry, 53, 79, 157 ---- _Blue Roses_, 268 ---- _Celestial Grocery, The_, 265, 300 ---- _Exchange, The_, 153, 156, 197 ---- _Glass of Supreme Moments, The_, 157 ---- _Love Philter, The_, 267 ---- _Moon Madness_, 139, 231 ---- _Undying Thing, The_, 271 ---- _Wrong Elixir, The_, 186 ---- _Zero_, 257 Paine, Albert Bigelow, _Elixir of Youth, The_, 186 _Pair of Hands, A_, 103, 288 Pangborn, Georgia Wood, _Substitute, The_, 88 _Paradise Lost_, 144, 209, 211, 215 _Parsifal_, 181 Parsons, Francis, _Borderland, The_, 124 Parsons, Mrs. M., _Mysterious Warnings_, 49 _Passing of Edward, The_, 99, 288 _Passing of the Third Floor Back, The_, 66, 303 _Passionate Crime, The_, 242 _Patience Worth_, 197, 207 _Paudeen O'Kelley and the Weasel_, 237 Peacock, Thomas Love, _Nightmare Abbey_, 51 Pearce, J. H., _Little Crow of Paradise, The_, 234 Peele, George, 145 ---- _Old Wives' Tale_, 110, 145, 202, 293 _Père Antoine's Date Palm_, 63 _Peter Ibbetson_, 186, 196, 206, 300 _Peter Pan_, 240, 306 _Peter Rugg, the Missing Man_, 189 _Phantom Rickshaw, The_, 88, 94 _Phantoms_, 68 Phelps, William Lyon, 41 ---- _Beginnings of the English Romantic Movement_, 41 Phillpotts, Eden, 83 ---- _Another Little Heath Hound_, 290 ---- _Children of the Mist_, 226 ---- _Ghost of Miser Brimpson, The_, 83 ---- _Witch, The_, 151, 226 _Picture of Dorian Gray, The_, 32, 60, 121, 134 _Pit and the Pendulum, The_, 253 _Plaint of the Wandering Jew, The_, 179 Planche, J. R., 160 ---- _Vampire, or the Bride of the Isles_, 160 _Plattner Case, The_, 260 _Plays of the Natural and the Supernatural_, 208 Pliny, 72 Poe, Edgar Allan, 58, 69, 252, 299 ---- _Berenice_, 62 ---- _Bon Bon_, 41, 95 ---- _Descent into the Maelstrom, The_, 231, 253 ---- _Devil in the Belfry, The_, 141 ---- _Eleonora_, 103 ---- _Facts in the Case of M. Waldemar, The_, 266 ---- _Fall of the House of Usher, The_, 295 ---- _Hans Pfaal_, 286 ---- _Ligeia_, 123, 191 ---- _Loss of Breath_, 74 ---- _MS. Found in a Bottle_, 253 ---- _Mesmeric Revelations_, 266 ---- _Metzengerstein_, 287, 291 ---- _Morella_, 123, 190 ---- _Never Bet the Devil Your Head_, 140 ---- _Oval Portrait, The_, 58 ---- _Pit and the Pendulum, The_, 253 ---- _Raven, The_, 56 ---- _Tale of the Ragged Mountains, A_, 58, 190 ---- _William Wilson_, 58, 120 Polidior, _Vampyre, The_, 160 Pomponius Mela, 166 _Portent, The_, 266 Portents in Gothic Romance, 39 _Portrait, The_, 211 Powell, J. W., 232 _Pretender, The_, 65 _Primer of Imaginary Geography, The_, 181, 216 _Primitive Culture_, 227 Prince, Morton, 305 ---- _Disassociation of a Personality, The_, 305 _Prince of India, The_, 179 Proby, W. C., _Spirit of the Castle, The_, 40 _Prophetic Pictures_, 121 _Prue and I_, 121, 258 _Psychic Invasion, A_, 106 Psychical Research, 73, 199 _et seq._ _Pursuit of the House-boat, The_, 112, 187, 216 Pushkin, Alexander, _Queen of Spades, The_, 69 _Putois_, 63 Pyle, Howard, _Evil Eye, The_, 152

Q

_Queen Mab_, 176 _Queen of Hearts, The_, 107, 113 _Queen of Sheba, The_, 122 _Queen of Spades, The_, 69 Quiller-Couch, A. T., 154 ---- _Magic Shadow, The_, 296 ---- _Mystery of Joseph Laquedem, The_, 181, 195 ---- _Old Fires and Profitable Ghosts_, 154 ---- _Pair of Hands, A_, 103, 288 ---- _Roll-call of the Reef, The_, 107 Quinet, Edgar, 176

R

Radcliffe, Anne, 9, 16, 23, 43, 44, 45, 46, 71, 82 ---- _Gaston de Blondeville_, 19 ---- _Italian, The_, 48 ---- _Mysteries of Udolpho, The_, 9, 48 ---- _Romance of the Castle, The_, 44 ---- _Sicilian Romance, A_, 45, 50, 301 Raleigh, Sir Walter, _English Novel, The_, 46 _Rappacini's Daughter_, 252, 272 _Raven, The_, 56 _Raymond, or Life and Death_, 75 _Readjustment_, 107 _Real Ghost Stories_, 282 _Rebellious Heroine, The_, 197 _Recent Carnival of Crime in Connecticut, The_, 122 _Red Debts_, 146 _Red Hand, The_, 247 _Red Ranrahan_, 186, 243 Reeve, Clara, 16 ---- _Old English Baron, The_, 16, 19, 40 _Regeneration of Lord Ernie, The_, 230 _Reinecke Fuchs_, 213 _Religion in Recent American Novels_, 310 _Remarkable Case of Davidson's Eyes, The_, 256 _Return, The_, 123, 198 _Return of Peter Grimm, The_, 201, 298 _Return of the Native, The_, 150 _Revolt, of the Angels, The_, 220 Reynard the Fox, 231 _Reynard the Fox, in South Africa_, 232 Rhodes, Benrimo and Harrison, _Willow Tree, The_, 306 Richter, Jean Paul, _Leibgeber Schappe_, 122 Rideout, Henry, _Ghost of the White Tiger, The_, 291 _Riders to the Sea_, 10, 304 _Riding to Lithend_, 152 _Rip Van Winkle_, 246 _Rival Ghosts_, 112 Roche, Regina Maria, 10, 43, 45, 50 ---- _Clermont_, 45, 49 _Roger of Wendover's Chronicles_, 175 Rohmer, Sax, 146 ---- _Flower of Silence, The_, 273 ---- _Fu-Manchu Stories_, 253, 268, 270, 272 _Roll-call of the Reef, The_, 107 _Romance of the Castle, The_, 40 _Romance of the Mummy, The_, 62 _Romance of Two Worlds, A_, 213 Romantic Movement, 55 _Romantic Reduplication and Psychology_, 122 _Rosary, The_, 306 _Rosmersholm_, 66 Rossetti, Christina, _Goblin Market_, 148 Rossetti, Dante Gabriel, _Sister Helen_, 67, 153 Royle, Edward Milton, _Unwritten Law, The_, 306 Russian Literature, 67

S

_St. Germain, the Deathless_, 188 _St. Irvyne, the Rosicrucian_, 17, 35, 36 _St. Leon_, 35, 36 _St. Oswyth_, 12 Saintsbury, George, _Tales of Mystery_, 48 _Saint, The_, 66 _Salathiel, or Tarry Thou Till I Come_, 179 _Sancta Susanna_, 307 Satire on Gothicism, 47 _et seq._ Satirical Supernaturalism, 294 _Scarlet Letter, The_, 152 _Scarlet Plague, The_, 262 Scenery, Gothic, 10 Schiller, _Robbers, The_, 16 Schlegel, 176 _Scholasticus_, 63 Science, Gothic, 33 Science, Supernatural, 251 _et seq._ Scott, Sir Walter, 38, 56, 115, 225, 246 ---- _Betrothed, The_, 225 ---- _Bride of Lammermoor, The_, 38 ---- _Guy Mannering_, 150 ---- _Monastery, The_, 225 ---- _My Aunt Margaret's Mirror_, 225 ---- _Talisman, The_, 134, 146, 147, 225 ---- _Two Drovers, The_, 151, 225 ---- _Woodstock_, 225 _Screaming Skull, The_, 60, 89, 92 _Sea Fit, The_, 230 _Sea Lady, The_, 234 _Second Coming, The_, 281 _Second Wife, The_, 122 _Secret of Goresthorpe Grange, The_, 79 _Secret Worship_, 105, 117, 137 _Seeing the Great God Pan_, 139 _Select Party, A_, 178 _Selfish Giant, The_, 246 Sensitives, 298 _Septimius Felton_, 143, 150, 183, 252 _Servant in the House, The_, 66, 305 _Shadow World, The_, 200 _Shadows on the Wall, The_, 78, 99, 104, 226 _Shadowy Third, The_, 203 Shakespeare, 13, 18, 56, 84, 115, 119 ---- _Hamlet_, 18, 118, 144 ---- _Julius Cæsar_, 18, 84 ---- _King Lear_, 13 ---- _Macbeth_, 17, 98, 152, 153, 295 ---- _Midsummer Night's Dream_, 64 ---- _Tempest, The_, 64 Sharp, William, 65, 285 ---- _Gypsy Christ, The_, 181 ---- _Vistas_, 65, 278 _Shaving of Shagpat, The_, 71 Shaw, George Bernard, _Man and Superman_, 217, 306 _She_, 183 Sheldon, Edward: ---- _Mermaid, The_, 234 _Shell of Sense, The_, 85, 212 Shelley, Mary, 14 ---- _Frankenstein_, 14, 17, 34 Shelley, Percy Bysshe, 17, 35, 176, 180,182 ---- _Fragment of an Unfinished Drama_, 48 ---- _Hellas_, 176 ---- _Queen Mab_, 176 ---- _St. Irvyne, the Rosicrucian_, 17, 35, 36 ---- _Witch of Atlas, The_, 148 ---- _Wandering Jew, The_, 176 ---- _Zastrozzi_, 10, 12 Shorthouse, J. H.: ---- _Countess Eve_, 138 ---- _John Inglesant_, 66, 87, 98 _Shropshire Folk Tales_, 291 _Sicilian Romance, A_, 45, 50, 301 Sidhe, The, 242 _Signal Man, The_, 114 _Silence_, 293 Silvani, Anita, 88, 207 ---- _Ahrinziman_, 88, 183, 213 _Silver Mirror, The_, 259 _Sin Eater, The_, 138 _Sinner, The_, 66 _Sister Helen_, 67, 153 Skinner, C. M., 187 ---- _Myths and Legends of Our Land_, 187 Smale, Fred C., _Afterwards_, 102, 202 Smith, Benjamin, _Merman and the Seraph, The_, 234 _Sociable Ghost, The_, 111 _Sogno d'un Mattino di Primavera_, 67, 300 _Sogno d'un Tramonto d'Autunno_, 67, 152 Solomon, Simeon, _Vision of Love Revealed in Sleep_, 79 _Song of Love Triumphant, The_, 68 _Songs from a Vagrom Spirit_, 207 _Song of the Wandering Jew, The_, 176 _Sorcerer, The_, 145 _Sorrows of Satan, The_, 136, 144 _Soul of the Moor, The_, 207 _Soul on Fire, A_, 193 _Souls on Fifth_, 123, 198, 215 Southey, Robert, _Thalaba_, 161 Spearmen, F. H., _Ghost at Point of Rock, The_, 83 _Speck on the Lens, The_, 255 _Specter Bridegroom, The_, 83, 110 _Spectral Mortgage, The_, 63 Spencer, Herbert, 251 Spenser, Edmund, 239 ---- _Faerie Queene, The_, 7 Speranza (Lady Wilde), 229, 240 ---- _Ancient Legends and Superstitions of Ireland_, 229 _Spider's Eye, The_, 62, 274 _Spirit of Turrettville, The_, 23 Spiritualism, 73, 199 _et seq._ Spofford, Harriet Prescott, 286 ---- _Mad Lady, The_, 286 _Spring Recital, A_, 208 _Star, The_, 264 _Star Rover, The_, 264 Stead, W. T., 74 Stephens, James, 219 ---- _Crock of Gold, The_, 241, 246 ---- _Demi-gods, The_, 219, 221 Stevenson, Robert Louis, 70 ---- _Bottle Imp, The_, 70 ---- _Dr. Jekyll and Mr. Hyde_, 120, 268, 305 ---- _Markheim_, 120 ---- _New Arabian Nights, The_, 70 ---- _Thrawn Janet_, 137 Stockton, Frank R., 293 ---- _Great Stone of Sardis, The_, 262 ---- _Spectral Mortgage, The_, 63 ---- _Tale of Negative Gravity, A_, 274, 286 ---- _Transferred Ghost, The_, 63, 87, 111, 122 Stoker, Bram, 78, 92, 117, 180 ---- _Dracula_, 78, 163, 188, 301 ---- _Jewel of Seven Stars, The_, 191, 274 ---- _Lair of the White Worm, The_, 188 _Stories of Red Ranrahan_, 186, 243 _Story of Days to Come, A_, 262 _Story of the Late Mr. Elvesham, The_, 122, 185 Stramm, August, 209, 251, 308 ---- _Daughter of the Moor, The_, 304 ---- _Sancta Susanna_, 307 _Strange Adventures of Phra, the Phoenician, The_, 188 _Strange Cases of Dr. Stanchion, The_, 254, 299 _Strange Story, A_, 90, 182 Stuart, Ruth McEnery, 226 _Styx River Anthology, The_, 216 Subjective Ghosts, 83 _Substitute, The_, 88 Sue, Eugene, 176, 178 ---- _Wandering Jew, The_, 176, 180 _Suggested by Some of the Proceedings of the Psychical Research Society_, 283 _Sunken Bell, The_, 158 Supernatural in Folk-tales, 233 _et seq._ _Supernatural in Tragedy, The_, 305 Supernatural Life, 174 _et seq._ Supernatural Science, 251 _et seq._ Sutton, Vida, _Kingdom Come_, 282, 306 _Swept and Garnished_, 94, 282, 288 Synge, John, 10, 229, 240 ---- _Riders to the Sea_, 10, 304 Swanson, Frederick, _Ghost Moth, The_, 290 Swift, Dean, 35

T

_Tale of Negative Gravity, A_, 274, 286 _Tale of the Ragged Mountains, A_, 58, 190 _Tales of the Alhambra_, 226 _Tales of Mystery_, 48 _Talisman, The_, 134, 146, 147, 225 _Tam O'Shanter_, 156 Tchekhoff: ---- _Black Monk, The_, 69 ---- _Sleepyhead_, 69 ---- _Ward No. 6_, 69 Temperament, Gothic, 46 _Tempest, The_, 64 _Temptation of the Clay, The_, 231 _Terror of Blue John Gap, The_, 272 _Terror of the Twins, The_, 122, 192 _Tess of the D' Urbervilles_, 143 Thackeray, W. M., 55, 89 ---- _Fairy Pantomime, A_, 240 ---- _Notch on the Axe, A_, 89, 188 _Thalaba_, 161 Theal, _Kaffir Tales_, 232 _Theodora_, 103 _They_, 84, 93, 288 _They That Mourn_, 85, 108 _They That Walk in Darkness_, 136 Thomas, Augustus, 306 ---- _Witching Hour, The_, 306 Thompson, Francis, _Hound of Heaven, The_, 283 Thorndike, Ashley Horace, 42 ---- _Tragedy_, 42 _Thrawn, Janet_, 137 _Three Impostors, The_, 247, 269 _Through the Mists_, 207 _Thurlow's Christmas Story_, 121 Thurston, E. Temple, _Passionate Crime, The_, 242 _Ticket-of-leave Angel, The_, 221 Tieck, Ludwig, 56, 59 _Time and the Gods_, 245 _Time Machine, The_, 189, 260 Tolstoi, Ivan, 68 ---- _Ivan, the Fool_, 68, 138, 144 Tompkins, Juliet Wilbur, _They That Mourn_, 85, 108 _Tragedy_, 42 _Transfer, The_, 164 _Transferred Ghost, The_, 63, 87, 111, 122 _Transmigration of a Soul, The_, 190 _Tress, The_, 61 _Trilby_, 267 _Triumph of Night, The_, 121 _Tryst, The_, 126, 211 Turgeniev, Ivan, 68, 69, 163 ---- _Clara Militch_, 68, 162 ---- _Dream, The_, 68 ---- _Knock! Knock! Knock!_, 68 ---- _Phantoms_, 68 ---- _Song of Love Triumphant, The_, 68 _Turn of the Screw, The_, 86, 91, 109 Twain, Mark, 142 ---- _Connecticut Yankee at King Arthur's Court, A_, 189, 262, 286 ---- _Extracts from Captain Stormfield's Visit to Heaven_, 201, 217 ---- _Mysterious Stranger, The_, 142, 303 ---- _Recent Carnival of Crime in Connecticut, The_, 122 _Twilight_, 268 _Two Drovers, The_, 151, 225 _Two Military Executions_, 116 _Two Voices_, 97 Tylor, _Primitive Culture_, 227 _Tyranny of the Dark, The_, 200

U

_Unburied, The_, 66, 301 _Uncle Remus Tales_, 232, 235 _Under the Greenwood Tree_, 150 _Undine_, 57 _Undiscovered Country, The_, 200, 267 _Unknown Masterpiece, The_, 60 _Undying Thing, The_, 271 _Unwritten Law, The_, 306 _Upper Berth, The_, 100 _Usury_, 198

V

Vampire, The, 159 _Vampire, The_, 68, 163 _Vampire Bride, The_, 159 _Vampire, or the Bride of the Isles, The_, 159 Vampires, 158 _et seq._ _Vampyre, The_, 160 _Vandover and the Brute_, 167 Van Dyke, Henry, _Night Call, The_, 83 Van Lerberghe, Charles, _Flaireurs_, 64 _Vathek_, 8, 17, 22, 25, 29, 33, 37, 70 _Vendetta of the Jungle, A_, 168 _Vera, the Medium_, 200 Vergil, _Culex_, 290 Views of Other Planets, 263 _Vikings of Helgeland, The_, 65 _Vine on the House, The_, 90 _Virtuoso's Collection, The_, 78 Vision of Judgment, A, 214 _Vision of Judgment, A_, 134 _Vision of Love Revealed in Sleep, A_, 79 _Vistas_, 65, 278 Vorse, Mary Heaton, _Second Wife, The_, 122, 192

W

Wallace, _Edgar, Bones, Sanders, and Another_, 156 Wallace, Lew, 179 ---- _Fair God, The_, 256 ---- _Prince of India_, 179 Wandering Jew, The, 8, 175 _et seq._ _Wandering Jew, The_, 176 _Wandering Jew, The_, 176 _Wandering Jew, The_, 176, 180 _Wandering Jew, A Christmas Carol, The_, 177 _Wandering Jew, or the Travels of Bareach, the Prolonged, The_, 178 _Wanderings of Cain, The_, 118 Walpole, Horace, 6, 8, 11, 14, 71, 92, 188, 309 ---- _Castle of Otranto, The_, 6, 8, 16, 17, 25, 31, 32, 36, 40, 41, 52, 101 ---- _Mysterious Mother, The_, 53 _War Letters from a Living Dead Man_, 207, 292 _War of the Wenuses, The_, 263 _War of the Worlds, The_, 263 Ward, Elizabeth Stuart Phelps, 199, 290 ---- _Day of My Death, The_, 199 ---- _Gates Ajar, The_, 210 ---- _Gates Between, The_, 210 ---- _Gates Beyond, The_, 210 ---- _Kentucky's Ghost_, 199 _Ward No. 6_, 69 _Warning, The_, 276 _Water Babies, The_, 240 _Water Ghost and Others, The_, 112 _Water of the Wondrous Isle, The_, 236 _Waters of Death, The_, 62 _Wave, The_, 194 Webster, John, _Duchess of Malfi, The_, 8, 166 Wedmore, Frederick, _Dream of Provence, A_, 293 _Well at the World's End, The_, 236 Wells, Carolyn, _Styx River Anthology, The_, 216 Wells, H. G.: ---- _Crystal Egg, The_, 263 ---- _Days of the Comet, The_, 264 ---- _Door in the Wall, The_, 258 ---- _Dream of Armageddon, A_, 196, 262 ---- _First Men in the Moon, The_, 264 ---- _Flowering of the Strange Orchid_, 62, 164, 273 ---- _In the Days of the Comet_, 264 ---- _Invisible Man, The_, 95, 269 ---- _Island of Dr. Moreau, The_, 271 ---- _Man Who Had Been in Fairyland, The_, 241 ---- _New Accelerator, The_, 286 ---- _Plattner Case, The_, 260 ---- _Remarkable Case of Davidson's Eyes, The_, 256 ---- _Sea Lady, The_, 234 ---- _Star, The_, 264 ---- _Story of Days to Come, A_, 262 ---- _Story of the Late Mr. Elvesham, The_, 122, 185 ---- _Time Machine, The_, 189, 260 ---- _Vision of Judgment, A_, 214 ---- _War of the Worlds, The_, 263 ---- _When the Sleeper Wakes_, 262 ---- _Wonderful Visit, The_, 218, 221, 302 Wentz, W. Y. E., 239 ---- _Fairy Faith in Celtic Countries_, 239 Werewolf, The, 166 _et seq._ _Werewolf, The_, 169, 172 Werewolves, 170 Weston, Jessie Adelaide, 146 ---- _Black Magic_, 146 ---- _Mummy's Foot, The_, 62 Wetmore, Elizabeth Bisland, _Doppelgänger, The_, 122 Weyman, Stanley J., _Man in Black, The_, 137 Wharton, Edith, 53, 121 ---- _Afterwards_, 302 ---- _Duchess at Prayer, The_, 121, 303 ---- _Eyes, The_, 297 ---- _Kerfol_, 290 ---- _Triumph of Night, The_, 121 _What Was It? A Mystery_, 61, 96 _When the Gods Slept_, 63, 74 _When the Sleeper Wakes_, 262 Whicher, George Frisbee, _Life and Romances of Mrs. Eliza Heywood_, 42 _White Lady of Avenel_, 225 _White People, The_, 203, 298 _White Sleep of Auber Hurn, The_, 121 Whitman, Stephen French, _Woman from Yonder, The_, 126, 187 Whitmore, E. C., 305 ---- _Supernatural in Tragedy, The_, 305 Wieland, 35, 39 Wilde, Oscar, 32, 240, 249 ---- _Fisherman and His Soul, The_, 134, 153, 236 ---- _Happy Prince, The_, 238 ---- _House of Judgment, The_, 214 ---- _Legend of Sharp, A_, 134 ---- _Nightingale and the Rose, The_, 235, 293 ---- _Picture of Dorian Gray, The_, 32, 60, 121, 134 ---- _Selfish Giant, The_, 246 Wilkinson, William Cleaver, 284 William of Newbury, 159 _William Wilson_, 58, 120 Williams, Blanche Colton, 83 Williams, Frances Fenwick: ---- _Soul on Fire, A_, 193 ---- _Theodora_, 193 _Willow Tree, The_, 306 _Wisdom of the King, The_, 154 _Witch, The_, 149 _Witch, The_, 151 Witch, The, 145 _et seq._ _Witch of Atlas, The_, 148 _Witch of Edmondton, The_, 150 _Witch of Endor, The_, 145 _Witch of Fife, The_, 148 _Witch of Prague, The_, 149, 195, 266 _Witch Hazel_, 157 Witches, Gothic, 26 _et seq._ _Witching Hour, The_, 306 _With Intent to Steal_, 62, 117 _Withered Arm, The_, 225 Wizard, The, 145 _et seq._ _Wolf, The_, 172 _Woman, The_, 66, 194, 300 _Woman from Yonder, The_, 126, 187 _Wonderful Visit, The_, 218, 221, 302 _Wood beyond the World, The_, 236 _Woodstock_, 225 _Wool-gatherer, The_, 23, 29, 30 _Word with a Mummy, A_, 62 Wordsworth, William, _Song of the Wandering Jew, The_, 176 _Wrong Elixir, The_, 186 _Wuthering Heights_, 86, 226

Y

Yeats, W. B., 226, 237, 240, 248, 285 ---- _Celtic Twilight, The_, 239 ---- _Countess Cathleen_, 65, 143 ---- _Curse of the Fires and the Shadows, The_, 154 ---- _Land of Heart's Desire, The_, 65, 240, 306 ---- _Old Men of the Twilight, The_, 234 ---- _Stories of Red Ranrahan_, 186, 243 ---- _Wisdom of the King, The_, 154 _Young Goodman Brown_, 151

Z

Zangwill, Israel, _They That Walk in Darkness_, 136 _Zastrozzi_, 17 _Zero_, 257 _Zofloya_, 10, 17, 28, 33, 37, 38, 53, 154, 251 Zola, Émile, 252

Transcriber's note

Words in italics were surrounded with _underscores_, bold with =signs=, and small capitals changed to all capitals. The footnotes were moved to directly after the paragraph they belong to.

Errors in punctuation and spacing were corrected without note, also some missing pagenumbers en incorrectly used italics in the index. All occasions of "Dorian Grey" were changed to "Dorian Gray", and all occasions of "Elixire des Teufels" or "Elixière des Teufels" changed to "Elixiere des Teufels". Also the following corrections were made, on page

30 "Bisclaveret" changed to "Bisclavret" (Marie de France's charming little lai, _Le Bisclavret_) 104 "Pangborne" changed to "Pangborn" (Georgia Wood Pangborn brings one out) 169 "replicaed" changed to "replicated" (a replicated mirage of a black monk) 171 "Dicken's" changed to "Dickens's" (those spoken of in Dickens's _Haunted House_) 174 "CHAPTER" added for consistency (CHAPTER V) 214 "hyprocrisy" changed to "hypocrisy" (hypocrisy of a so-called saint) 221 "mmortal" changed to "immortal" (turns his back on immortal glory) 231 "Reineche" changed to "Reinecke" (the German Reinecke Fuchs) 297 "aweful" changed to "awful" for consistency (with a loathly effect more awful than) 300 "of" added (the woman of fifty-two) 311 "or" changed to "of" (Ancient Records of the Abbey) 317 "347" changed to "247" (Gnomes, 247) 319 "Magnetizeur" changed to "Magnetiseur" (---- _Magnetiseur_, 58) 326 "Tchekhov" changed to "Tchekhoff" for consistency 329 "340" changed to "240" (---- _Land of Heart's Desire, The_, 56, 240, 306),

and in footnote

39 "Doppelganger" changed to "Doppelgänger" (In the _Doppelgänger_) 44 "Reconcilie" changed to "Réconcilié" (_Melmoth Réconcilié_) 87 "Panghorne" changed to "Pangborn" (By Georgia Wood Pangborn) 140 "Connecticutt" changed to "Connecticut" (_The Recent Carnival of Crime in Connecticut_) 140 "Amphitryton" changed to "Amphitryon" (in Kleist's _Amphitryon_) 153 "Bisclaverat" changed to "Bisclavret" (In her lay of _Bisclavret_.) 171 "Straford" changed to "Stratford" (by Stratford Jolly).

If necessary, these same words were also corrected in the index.

Otherwise the original was preserved, including unusual, archaic or inconsistent spelling and hyphenation. The index was not checked for errors in alfabetisation or page numbers. The subtitle of Chapter III was formatted different from the others in the original, this has not been changed. Some of the lemma's in the index appear to be identical, but they are probably meant to refer to different books with the same title.