The distinctions between materializations and astralizations, etherealizations and plain apparitions might furnish good plot structure. The personality of the "sensitives" alone would be fascinating material and the cosmic clashes of will possible under these conceived conditions suggest thrilling stories. Dreams constitute another definite source for ghostly plots in modern literature. While this was true to a certain extent in the Gothic novel, it is still more so in later fiction. Lafcadio Hearn[69] advances the theory that all the best plots for ghost stories in any language come from dreams. He advises the person who would write supernatural thrillers to study the phases of his own dream life. It would appear that all one needs to do is to look into his own nightmares and write. Hearn says: "All the great effects produced by poets and story writers and even by religious teachers, in the treatment of the supernatural fear or mystery, have been obtained directly or indirectly from dreams." Though one may not literally accept the whole of that statement, one must feel that the relation between dreams and supernatural impressions is strikingly close. The feeling of supernatural presence comes almost always at night when one is or has been asleep. The guilty man, awaking from sleep, thinks that he sees the specters of those he has wronged--because his dreams have embodied them for him. The lover beholds the spirit of his dead love, because in dreams his soul has gone in search of her. Very young children are unable to distinguish between dreams and reality, as is the case of savages of a low order, believing in the actuality of what they experience in dreams. And who can say that our dream life is altogether baseless and unreal? [69] In his _Interpretations of Literature_.