Certain forces of nature are given supernatural power in drama and fiction, as the sea that is an awful, brooding Fate, in Synge's drama, or the wind and the flame in Algernon Blackwood's story, _The Regeneration of Lord Ernie_, or the goblin trees in another of his tales, that signify diabolic spirits, or the trees[191] that have a strange, compelling power over men, drawing them, going out bodily to meet them, luring them to destruction. Blackwood has stressed this form of supernaturalism to a marked degree. In _Sand_ he shows desert incantations that embody majestic forces, evocations of ancient deities that bring the Sphynx to life, and other sinister powers. He takes the folk-loristic aspects of nature and makes them live, personifying the forces of out-door life as mythology did. The trees, the sand, the fire, the snow, the wind, the stream, the sea are all alive, with personality, with emotion, and definite being. His trees are more awesome than the woods of Dunsinane, for they actually do move upon their foe. In _The Sea Fit_ he contends that the gods are not dead, but merely withdrawn, that one true worshiper can call them back to earth, especially the sea-gods. The sea comes in power for the man with the Viking soul and takes him to itself. His going is symbolic. Uttering the singing sound of falling waters, he bent forward, turned. The next instant, curving over like a falling wave he swept along the glistening surface of the sands and was gone. In fluid form, wave-like, his being slipped away into the Being of the Sea. [191] In _The Man Whom the Trees Loved_. The uncanny potentialities of fire are revealed[192] where the internal flame breaks out of itself, the inner fire that burns in the heart of the earth and in men's hearts. The artist trying to paint a great picture of the Fire-worshiper is consumed by an intense, rapturous fever, and as he dies his face is like a white flame. The snow appears embodied as a luring woman.[193] She tries to draw a man to his death, with dæmonic charm, seen as a lovely woman, but a snow demon. Blackwood shows the curious combination of the soul of a dead woman with the spirit of a place,[194] where a man is ejected by his own estate, turned out bodily as well as psychically, because he has become out of harmony with the locale. Nature here is sentient, emotional, possessing a child, expressing through her lips and hands a message of menace and warning. The moon is given diabolic power in one of Barry Pain's stories, and the maelstrom described by Poe has a sinister, more than human, power. August Stramm, the German dramatist, has given an uncanny force to the moor in one of his plays, making it the principal character as well as the setting for the action. This embodiment of nature's phases and phenomena as terrible powers goes back to ancient mythology with a revivifying influence. [192] In _The Heath Fire_. [193] In _The Glamor of the Snow_.