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]

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][B][C][D][E]
[F][G][H][I][J]
[K][L][M][N][O]
[P][Q][R][S][T]
[U][V][W][Y][Z]