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the Chinese wonder-worker in Sax Rohmer’s series of stories bearing that name, is a representative example of the modern use of chemistry for supernormal effect. He employs all the forces of up-to-the-minute science to compass his diabolic ends and works miracles of chemistry by seemingly natural methods. By a hypodermic injection he can instantly drive a man to acute insanity incurable save by a counter-injection which only Fu-Manchu can give, but which as instantly restores the reason. By another needle he can cause a person to die—to all intents and purposes, at least,—and after the body has been buried for days he can restore it to life by another prick of the needle. He terrorizes England by his infernal powers, killing off or converting to slavery the leading intelligences that oppose him.

      Stevenson’s Dr. Jekyll and Mr. Hyde is perhaps the best-known instance of chemical supernaturalism. Here the magic drug not only changes the body, evolving from the respectable Dr. Jekyll his baser self in the form of Mr. Hyde, enabling him to give rein to his criminal instincts without bringing reproach on his reputation, but has the subtle power to fix the personality of evil, so that each time the drug is used Hyde is given a stronger force and Jekyll is weakened. This fictive sermon on dual nature, the ascendence of evil over the nobler soul if it be indulged, seems yet an appallingly real story of human life. In a similar fashion Arthur Machen uses supernatural chemistry most hideously in The Three Impostors, where a certain powder perverts the soul, making man a sharer in the unspeakable orgies of ancient evil forces.

      The Invisible Man, by H. G. Wells, shows an unusual application of chemistry to ghostly fiction that gives a peculiar effect of reality because its style is that of scientific realism. By experimentation with drugs a man finds a combination that will render living tissue absolutely invisible. When he swallows a portion of it, he cannot be seen. His clothes appear to be walking around by themselves and the complications are uncanny. As one may see, the comic possibilities are prominent and for a time we laugh over the mystification of the persons with whom he comes in contact, but soon stark tragedy results. During the man-chase, as the hunted creature seeks to escape, the people hear the thud-thud of running steps, watch bloody footprints form before their eyes, yet see nothing else. Here is a genuine thrill that is new in fiction. The man gradually becomes visible, but only in death is his dreadful figure seen completely again. This modern method of transferring to science the idea of invisibility so prominent in connection with ghosts, showing the invisibility as the result of a chemical compound, not of supernatural intervention, affecting a living man not a spirit, makes the effect of supernaturalism more vivid even than in the case of ghosts.

      These are only suggestions of the varied uses to which chemistry has been put in producing ghostly plots and utilizing in novel ways the conventional motifs of older stories. These themes are more popular now than they would have been half a century ago because now the average reader knows more about scientific facts and is better prepared to appreciate them. A man ignorant of chemistry would care nothing for the throes of Dr. Jekyll or the complicating experiences of the invisible man, because he would have slight basis for his imagination to build upon. Each widening of the popular intelligence and each branch of science added to the mental store of the ordinary reader is a distinct gain to fiction.

      Supernatural biology looms large in modern fiction, though it is not always easy to differentiate between the predominance of chemical and biological motifs. In many cases the two are tangled up together, and as, in the stories of dual personality and invisibility just mentioned, one may not readily say which is uppermost, the biological or the chemical side, for the experiments are of the effects of certain drugs upon living human tissue. There are various similar instances in the fiction of scientific supernaturalism. Hawthorne’s The Birthmark is a case of chemical biology, where the husband seeking to remove by powerful drugs the mark from his wife’s cheek succeeds in doing so but causes her death. Here the supernaturalism is symbolic, suggested rather than boldly stated, as is usually the case with Hawthorne’s work.

      A. Conan Doyle in The Los Amigos Fiasco shows supernaturalism based on the effect of electricity on the body, for the lynchers in trying to kill a man by connecting him with a dynamo succeed in so magnetizing him that he can’t be killed in any way. Sax Rohmer tells one Fu-Manchu story of a mysterious murder committed by means of an imprisoned gas that escapes from a mummy case and poisons those exposed to it, and, in another, he introduces a diabolic red insect attracted by the scent of a poisonous orchid, that bites the marked victim.

      Wells’s The Island of Dr. Moreau is a ghastly study in vivisection. Two scientists on a remote island with no other human inhabitants try unspeakable experiments on animals, trying by pruning and grafting and training the living tissue to make them human. They do succeed in a measure, for they teach the beasts to talk and to observe a sort of jungle law laid down by man, yet the effect is sickening. The animals are not human and never can be, and these revolting experiments deprive them of all animal dignity without adding any of the human. In the end they revert to savagery, becoming even more bestial than before. The most dreadful biological experiments in recent fiction are described in Arthur Machen’s volume of short stories, The House of Souls. In one story an operation on the brain enables a victim to “see the great god Pan,” to have revelations of ancient supernaturalism wherein Pan and the devil are united in one character. In another, a delicate cutting of the brain removes the soul,—which takes the form of a wonderful jewel,—and utterly diabolizes the character. These curious and revolting stories are advanced instances of scientific diabolism and leave a smear on the mind. They are more horrible than the creation of Frankenstein’s man-monster, for here moral monsters are evolved.

      Medicated supernaturalism associated with prenatal influence occurs in various stories where a supernormal twist is given because of some event out of the ordinary. Ambrose Bierce’s The Eyes of the Panther, a story of a young woman who is a panther for part of the time as a result of a shock, is associated with the snake nature of Elsie Venner. Barry Pain’s The Undying Thing is one of the most horrible of such complications, for because of a mother’s fright over a pack of wolves a monster is born, neither wolf nor human, neither animal nor man, neither mortal nor immortal. It is hidden in a secret cave to die, yet lives on, though not living, to fulfil a curse upon the ancient house. A. Conan Doyle’s The Terror of Blue John Gap is a story of a monstrous animal, like a bear yet bigger than an elephant, that ravages the countryside. The theory for its being is that it is a survival, in a subterranean cave, of a long-extinct type, from prehistoric times, that comes out in its blindness to destroy. There are other examples of supernormal animals in modern fiction, yet these suffice to illustrate the genre.

      Botany furnishes its ghostly plots in fiction as well as other branches of science, for we have plant vampires and witches and devils. Trees and flowers are highly psychic and run a gamut of emotions. Hawthorne shows us supernatural plants in several of his novels and stories, such as the mysterious plant growing from a secret grave, which has a strange poisonous power, or the flowers from Gaffer Dolliver’s garden that shine like jewels and lend a glow to the living face near them, when worn on a woman’s breast. In Rappaccini’s Daughter the garden is full of flowers of subtle poison, so insidious that their venom has entered into the life of the young girl, rendering her a living menace to those around her. She is the victim of her father’s dæmonic experiments in the effects of poison on the human body, and her kiss means death. Algernon Blackwood tells of the uncanny power of motion and emotion possessed by the trees, where the forest exercises a magnetic force upon human beings sympathetic to them, going out after men and luring them to their fate. He describes the cedar as friendly to man and attempting but in vain to protect him from the creeping malignant power of the forest.

      Fu-Manchu, Sax Rohmer’s Chinese horror, performs various experiments in botany to further his dreadful ends. He develops a species of poisonous fungi till they become giant in size and acquire certain powers through being kept in the darkness. When a light is turned on them, the fungi explode, turning loose, on the men he would murder, fumes that drive them mad. From the ceiling above are released ripe spores of the giant Empusa, for the air in the second cellar, being surcharged with oxygen, makes them germinate instantly. They fall like powdered snow upon the victims and the horrible fungi grow magically, spreading over the writhing bodies of the mad-men and wrapping them in ghostly shrouds. In The Flower of

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