A certain supernatural element of style seems to lend itself to some of the writers of strange fiction. Some of Oscar Wilde's sentences unfold like wild, exotic flowers, in a perfumed beauty that suggests a subtle poison at the heart. Lord Dunsany writes joyously of fantastic creatures with a happy grace, sometimes like a lilting laugh, sometimes a lyric rhapsody. His evoked beings are sportive or awesome but never unclean. Arthur Machen's stories have an effect like a slimy trail of some loathly beast or serpent. William Morris's style is like an old Norse rune, while Algernon Blackwood makes us think of awakened, elemental forces hostile to man. We feel bodiless emotions, feelings unclothed with flesh, sad formless spirits blown on the winds of the world. These folk-tales reflect the sweet carelessness of the Irish soul, the stern sadness of the Scotch, the psychic subtlety of the modern English. And as the study of folk-lore has influenced the fiction of the supernatural, so these published romances have aroused a wondering interest in the legendry of the past and made of folk-lore a science. CHAPTER VII Supernatural Science The application of modern science to supernaturalism, or of the supernatural to modern science, is one of the distinctive features of recent literature. Ghostly fiction took a new and definite turn with the rapid advance in scientific knowledge and investigation in the latter part of the nineteenth century, for the work of Darwin, Spencer, Huxley, and their co-laborers did as much to quicken thought in romance as in other lines. Previous literature had made but scant effort to reflect even the crude science of the times, and what was written was so unconvincing that it made comparatively little impress. Almost the only science that Gothic fiction dealt with, to any noticeable extent, was associated with alchemy and astrology. The alchemist sought the philosopher's stone and the elixir of life while the astrologer tried to divine human destiny by the stars. Zofloya dabbled in diabolic chemistry, and Frankenstein created a man-monster that was noteworthy as an incursion into supernatural biology, yet they are almost isolated instances. Now each advance in science has had its reflection in supernatural fiction and each phase of research contributes plot material, while some of the elements once considered wholly of the devil are now scientific. The sorcerer has given place to the bacteriologist and the botanist, the marvels of discovery have displaced miracles as basis for unearthly plot material, and it is from the laboratory that the ghostly stories are now evolved, rather than from the vault and charnel-room as in the past. Science not only furnishes extraordinary situations for curdling tales, but it is an excellent hook to hang supernatural tales upon, for it gives an excuse for believing anything, however incredible. Man is willing to accept the impossible, if he be but given a modern excuse for it. He will