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as well as several Shadows, mysterious personages of vagueness. These Shadows here, as in The Blue Sphere, are not altogether clear as to motivation, yet they seem to stand for Fate interference in human destiny. In the latter play Fate is also represented by a Fast Mail which is one of the active characters, menacing and destroying a child.

      One reason why these motifs of science are not used in drama to any extent is that they are impossible of representation on the stage. Even the wizardry of modern producers would be unable to show a Power of Physics, or Nitrous Acid, save as they might be embodied, as were the symbolic characters in Maeterlinck’s Blue Bird, which would mean that they would lose their effect. And what would a stage manager do with the rhythm of the universe, which enters into Dreiser’s play? Many sounds can be managed off stage, but hardly that, one fancies. These themes are not even found in closet drama, where many other elements of supernaturalism which would be difficult or impossible of presentation on the stage trail off. William Sharp’s Vistas, for instance, could not be shown on the stage, yet the little plays in that volume are of wonderful dramatic power. The drama can stand a good deal of supernaturalism of various kinds, from the visible ghosts and devils of the Elizabethans to the atmospheric supernaturalism of Maeterlinck, but it could scarcely support the presentations of chemicals and gases and supernatural botany and biology that fiction handles with ease. The miraculous machinery would balk at stage action. Fancy the Time Machine staged, for instance!

      We notice in these scientific stories a widening of the sphere of supernatural fiction. It is extended to include more of the normal interests and activities of man than has formerly been the case. Here we notice a spirit similar to that of the leveling influence seen in the case of the ghosts, devils, witches, angels, and so forth, who have been made more human not only in appearance but in emotions and activities as well. Likewise these scientific elements have been elevated to the human. Supernatural as well as human attributes have been extended to material things, as animals are given supernormal powers in a sense different from and yet similar to those possessed by the enchanted animals in folk-lore. Science has its physical as well as psychic horrors which the scientific ghostly tales bring in.

      Not only are animals gifted with supernatural powers but plants as well are humanized, diabolized. We have strange murderous trees, vampire orchids, flowers that slay men in secret ways with all the smiling loveliness of a treacherous woman. The dæmonics of modern botany form an interesting phase of ghostly fiction and give a new thrill to supernaturalism. Inanimate, concrete things are endowed with unearthly cunning and strength, as well as animals and plants. The new type of fiction gives to chemicals and gases a hellish intelligence, a diabolic force of minds. It creates machinery and gives it an excess of force, a supernatural, more than human cunning, sometimes helpful, sometimes dæmonic. Machines have been spiritualized and some engines are philanthropic while some are like damned souls.

      This scientific supernaturalism concerns itself with mortal life, not with immortality as do some of the other aspects of the genre. It is concrete in its effects, not spiritual. Its incursions into futurity are earthly, not of heaven or hell, and its problems are of time, not of eternity. The form shows how clear, cold intelligence plays with miracles and applies the supernatural to daily life. The enthusiasm, wild and exaggerated in some ways, that sprang up over the prospects of what modern science and investigation would almost immediately do for the world in the latter half of the nineteenth century, had no more interesting effect than in the stimulating of scientific fictive supernaturalism. And though mankind has learned that science will not immediately bring the millennium, science still exercises a strong power over fiction. This type shows a strange effect of realism in supernaturalism, because of the scientific methods, for supernaturalism imposed on material things produces an effect of verisimilitude not gained in the realm of pure spirit. Too intellectually cold for the purposes of poetry, too abstract and elusive for presentation in drama, and too removed by its association with the fantastic aspects of investigation and the curiosities of science to be very appropriate for tragedy, which has hitherto been the chief medium of expressing the dramatic supernatural, science finds its fitting expression in prose fiction. It is an illustration of the widening range of the supernatural in fiction and as such is significant.

      Before Adam

      by Jack London

      “These are our ancestors, and their history is our history. Remember that as surely as we one day swung down out of the trees and walked upright, just as surely, on a far earlier day, did we crawl up out of the sea and achieve our first adventure on land.”

      I

      Pictures! Pictures! Pictures! Often, before I learned, did I wonder whence came the multitudes of pictures that thronged my dreams; for they were pictures the like of which I had never seen in real wake-a-day life. They tormented my childhood, making of my dreams a procession of nightmares and a little later convincing me that I was different from my kind, a creature unnatural and accursed.

      In my days only did I attain any measure of happiness. My nights marked the reign of fear—and such fear! I make bold to state that no man of all the men who walk the earth with me ever suffer fear of like kind and degree. For my fear is the fear of long ago, the fear that was rampant in the Younger World, and in the youth of the Younger World. In short, the fear that reigned supreme in that period known as the Mid-Pleistocene.

      What do I mean? I see explanation is necessary before I can tell you of the substance of my dreams. Otherwise, little could you know of the meaning of the things I know so well. As I write this, all the beings and happenings of that other world rise up before me in vast phantasmagoria, and I know that to you they would be rhymeless and reasonless.

      What to you the friendship of Lop-Ear, the warm lure of the Swift One, the lust and the atavism of Red-Eye? A screaming incoherence and no more. And a screaming incoherence, likewise, the doings of the Fire People and the Tree People, and the gibbering councils of the horde. For you know not the peace of the cool caves in the cliffs, the circus of the drinking-places at the end of the day. You have never felt the bite of the morning wind in the tree-tops, nor is the taste of young bark sweet in your mouth.

      It would be better, I dare say, for you to make your approach, as I made mine, through my childhood. As a boy I was very like other boys—in my waking hours. It was in my sleep that I was different. From my earliest recollection my sleep was a period of terror. Rarely were my dreams tinctured with happiness. As a rule, they were stuffed with fear—and with a fear so strange and alien that it had no ponderable quality. No fear that I experienced in my waking life resembled the fear that possessed me in my sleep. It was of a quality and kind that transcended all my experiences.

      For instance, I was a city boy, a city child, rather, to whom the country was an unexplored domain. Yet I never dreamed of cities; nor did a house ever occur in any of my dreams. Nor, for that matter, did any of my human kind ever break through the wall of my sleep. I, who had seen trees only in parks and illustrated books, wandered in my sleep through interminable forests. And further, these dream trees were not a mere blur on my vision. They were sharp and distinct. I was on terms of practised intimacy with them. I saw every branch and twig; I saw and knew every different leaf.

      Well do I remember the first time in my waking life that I saw an oak tree. As I looked at the leaves and branches and gnarls, it came to me with distressing vividness that I had seen that same kind of tree many and countless times in my sleep. So I was not surprised, still later on in my life, to recognize instantly, the first time I saw them, trees such as the spruce, the yew, the birch, and the laurel. I had seen them all before, and was seeing them even then, every night, in my sleep.

      This, as you have already discerned, violates the first law of dreaming, namely, that in one’s dreams one sees only what he has seen in his waking life, or combinations of the things he has seen in his waking life. But all my dreams violated this law. In my dreams I never saw ANYTHING of which I had knowledge in my waking life. My dream life and my waking life were lives apart, with not one thing in common save myself. I was the connecting link that somehow lived both lives.

      Early in my childhood I learned that nuts came from the grocer, berries

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