Ibsen, also, has strongly influenced the supernatural in both our drama and our fiction. His own work has a certain kinship with that of Hawthorne, showing a like symbolism and mysticism, a like transfusion of the unreal with the natural, so that one scarcely knows just how far he means our acceptance of the unearthly to extend. He leaves it in some cases an open question, while in others he frankly introduces the supernatural. The child's vision of the dead heroes riding to Valhalla, with his own mother who has killed herself, leading them,[53] the ghost that tries to make an unholy pact with the king,[54] the apparition and the supernatural voice crying out "He is the God of Love!"[55] illustrate Ibsen's earlier methods. The curious, almost inexplicable _Peer Gynt_, with its mixture of folk-lore and symbolism, its ironic laughter and satiric seriousness, seems to have had a suggestive influence on other works, such as _Countess Eve_,[56] where the personification of temptation in the form of committed sin reflects Ibsen's idea of Peer Gynt's imaginary children. The uncanny power of unspoken thought, the haunting force of ideas rather than the crude visible phantasms of the dead, as in the telepathy, or hypnotism, or what you will, in _The Master Builder_, the evasive, intangible haunting of the living by the dead as in _Rosmersholm_, the strange powers at work as in _The Lady from the Sea_, have had effect on the numerous psychic dramas and stories in English. The symbolic mysticism in _Emperor and Galilean_, showing the spirits of Cain and of Judas, with their sad ignorance of life's riddles, the vision of Christ in person, with His unceasing power over men's souls, foreshadowed the plays and stories bringing in the personality of Christ, as _The Servant in the House_, and _The Passing of the Third Floor Back_. [53] In _The Vikings of Helgeland_. [54] In _The Pretenders_. [55] In _Brand_. [56] By J. H. Shorthouse.