Think of being haunted by an unbudging brown back! No wonder it drove the young husband to spend his wedding night huddled on the stairs. We have instances of a ghost in a red vest, a relentless revenge spirit that hounds from ocean to ocean his murderer and the betrayer of his daughter, and another of a ghost in a red shirt. There is on the whole as much variety and appropriateness of costume in modern ghost fiction as in Broadway melodrama. [91] In _On the Stairs_. [92] By F. Converse. [93] In _Swept and Garnished_. [94] _Phantom Rickshaw._ [95] By Laurence Clarke. Another point of difference between the specters of to-day and those of the past is in the extension of their avenues of approach to us. Ghostly appeal to the senses is more varied now than in earlier times. The classical as well as the Gothic ghosts appealed in general only to the sight and hearing, as well as, of course, to the sixth sense that realizes the presence of a supernatural being. Ghosts were seen and heard and were content with that. But nowadays more points of contact are open to them and they haunt us through the touch, the smell, as well as sight and hearing. The taste as a medium of impression has not yet been exploited by fiction writers though doubtless it will be worked out soon. There is a folk-tale of the Skibos that wolves eat ghosts and find them very appetizing and the devil in Poe's _Bon Bon_ says he eats the spirits of mortals. One might imagine what haunting dyspepsia could result if an ill-tempered spook were devoured against his will. It is conceivable, too, that gastronomic ghosts might haunt cannibals; and who knows that the dark brown taste in the mouths of riotous livers is not some specter striving to express itself through that medium instead of being _merely_ riotous livers?