With this change in form comes a corresponding change in the materials of ghostly narration. Poetry in general in all times has freely used the various elements of supernaturalism. The epic has certain distinct themes, such as visits to the lower world, visions of heaven, and conflict between mortal and divine powers, and brings in mythological characters, gods, goddesses, demigods, and the like. Fate is a moving figure in the older dramas, while the liturgical plays introduced devils, angels, and even the Deity as characters in the action. In the classical and Elizabethan drama we see ghosts, witches, magicians, as _dramatis personæ_. Medieval romances, prose as well as metrical and alliterative, _chansons de geste_, _lais_, and so forth, drew considerably on the supernatural for complicating material in various forms, and undoubtedly much of our present element comes from medievalism. Tales of the Celtic Otherworld, of fairy-lore, of magic, so popular in early romance, show a strong revival to-day. The Gothic novel is more closely related to the drama than to the epic or to such poetry as _The Faerie Queene_ or _Comus_. On the other hand, the later novels and stories, while less influenced by the dramatic tradition, show more of the epic trace than does the Gothic romance. The epic tours through heaven and hell, the lavish use of angels, devils, and even of Deity, the introduction of mythological characters and figures which are not seen in Gothic fiction, appear to a considerable extent in the stories of recent times. In Gothicism we find that the Deity disappears though the devil remains. There are no vampires, so far as I have been able to find, though the were-wolf and the lycanthrope appear, which were absent from the drama (save in _The Duchess of Malfi_). Other elements are seen, such as the beginnings of the scientific supernaturalism which is to become so prominent in later times. The Wandering Jew comes in and the elixir of life and the philosopher's stone achieve importance. Mechanical supernaturalism and the uncanny power given to inanimate objects seem to have their origins here, to be greatly developed further on. Supernaturalism associated with animals, related both to the mythological stories of the past and to the more horrific aspects of later fiction, are noted in the terror romance. Allegory and symbolism are present in a slight degree, as in _Melmoth_ and Vathek's Hall of Eblis, though not emphasized as in more modern literature. Humor is largely lacking in the Gothic romance, save as the writers furnish it unintentionally. In Gothicism itself we have practically no satire, though Jane Austen and Barrett satirize the terror novel itself in delicious burlesques that laugh it out of court.