scenes make this sermon in story form unforgettable. Kipling has given a striking story of a man haunted by his own phantom body, in _At the End of the Passage_. His own figure slipped silently before him as he went through his lonely house. "When he came in to dinner he found himself seated at the table. The vision rose and walked out hastily. Except that it cast no shadow it was in all respects real." The horror of this haunting specter of himself, this double of his own body and soul, drives the man to suicide, after which a peculiar twist of horror is given by the detail at the close, of the discovery by his comrade, of the man's own photograph imprinted on the dead retina and reproduced by the camera hours after his death. In Julian Hawthorne's allegory,[135] the dead man's spirit meets the devil, who is his own evil self incarnate. [134] _El Embozado._ [135] _Lovers in Heaven._ Edith Wharton's _Triumph of Night_ reveals a ghost of a living man standing behind his double's chair, visible to the person opposite and showing on the ghostly face the evil impulses that the living countenance cleverly masks. John Kendrick Bangs has his hero say,[136] "I came face to face with myself, with that other self in which I recognized, developed to the fullest extent, every bit of my capacity for an evil life," and Blackwood[137] relates the meeting of a musician and his ghostly double in an opera hall. Mr. Titbottom,[138] through the power of his magic spectacles reflecting his image in a mirror, sees himself as he really is, as he looks to God, and flees horror-stricken from the sight. This symbolic representation is akin to the _Prophetic Pictures_ of Hawthorne, where a woman's griefs and marks of age are shown in her pictured face before they are revealed in her actual experience, a pictured futurity. The most impressive instance of this relation between a human being and his portrait is in Oscar Wilde's _Picture of Dorian Gray_, that strange study of a man's real nature expressing itself on his painted likeness, while the living face bears no mark of sin or shame or age, until the tragic revelation at the end. Edith Wharton[139] also represents a supernatural dualism, the woman's statue showing on its marble face the changing horror of her own stricken countenance. _The White Sleep of Auber Hurn_ is a curious story of a spiritual double, a psychological study of a man who was in two places at once, seen by various persons who knew him in each case, being killed in a train wreck many miles away from his room where he was lying asleep in his bed,--a sleep that knows no waking.[140] [136] In _Thurlow's Christmas Story_. [137] In _The Man from the Gods_. [138] In George William Curtis's _Prue and I_. [139] In her _Duchess at Prayer_.