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!
* * * * *
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._
* * * * *
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.