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.