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.