Modern Italian literature, as represented by Fogazzaro and D'Annunzio, introduces the ghostly in fiction and in the drama, and has had its effect on our literature. Fogazzaro's novels are essentially realistic in pattern, yet he uses the supernatural in them, as in miraculous visions,[57] and metempsychosis and madness associated with the supernatural.[58] D'Annunzio's handling of the unearthly is more repulsive, more psychically gruesome, as the malignant power of the ancient curse in _La Città Morta_, where the undying evil in an old tomb causes such revolting horror in the action of the play. This has a counterpart in a story,[59] by Josephine Daskam Bacon, where a packet of letters from two evil lovers lie buried in a hearth and by their subtle influence corrupt the soul of every woman who occupies the room. D'Annunzio uses the witch motive powerfully,[60] madness that borders on the supernatural,[61] and the idea of evil magic exorcised by melting an image of wax to cause an enemy's death[62] which suggests Rossetti's poem using that incident, the unforgettable _Sister Helen_. [57] In _The Sinner_ and _The Saint_. [58] In _The Woman_. [59] _The Unburied._ [60] In _The Daughter of Jorio_. [61] In _Sogno d'un Mattino di Primavera_. [62] In _Sogno d'un Tramonto d'Autunno_. Likewise a new force in the work of the Russian school has affected our fiction of the ghostly in recent years. Russian literature is a new field of thought for English people, since it is only of late years that translations have been easily accessible, and, because of the extreme difficulty of the language, very few outsiders read Russian. As German Romanticism began to have its definite power over English supernatural fiction in the early part of the nineteenth century by the extension of interest in and study of German literature, and the more frequent translation of German works, so in this generation Russian literature has been introduced to English people and is having its influence.