the proportion and sense of artistic harmony that poetry requires. Strangeness and wonder are true elements of poetry, and magic is an element of the greatest art, but in solution as it were, not in the form observed in science. The miracles of the laboratory are too abrupt, too inconceivable save by intellectual analysis, and present too great a strain upon the powers of the imagination. They are fantastic, while true poetry is concerned with the fancy. Magic and wonder in verse must come from concepts that steal upon the imagination and make appeal through the emotions. Thus some forms of supernaturalism are admirably adapted to the province of poetry, such as the presence of spirits, visitations of angels or demons, ancient witchcraft, and so forth. The elements that have universal appeal through the sense of the supernatural move us in poetry, but the isolated instances, the peculiar problems that occur in scientific research if transferred to poetry would leave us cold. Yet they may come to be used in the next vers libre.
Nor do these situations come over into the drama save in rare instances. Theodore Dreiser, in a recent volume, Plays of the Natural and the Supernatural, makes use of certain motifs that are striking and modern, as where a physician goes on the operating-table, the dramatis personæ including Demyaphon (Nitrous Acid), and Alcepheron (a Power of Physics), 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.
The Ship Of Ishtar
By Abraham Merritt
Part I
I
THE COMING OF THE SHIP
A tendril of the strange fragrance spiraled up from the great stone block. Kenton felt it caress his face like a coaxing hand.
He had been aware of that fragrance—an alien perfume, subtly troubling, evocative of fleeting unfamiliar images, of thought-wisps that were gone before the mind could grasp them—ever since he had unsheathed from its coverings the thing Forsyth, the old archaeologist, had sent him from the sand shrouds of ages-dead Babylon.
Once again his eyes measured the block—four feet long, a little more than that in height, a trifle less in width. A faded yellow, its centuries hung about it like a half visible garment. On one face only was there inscription, a dozen parallel lines of archaic cuneiform; carved there, if Forsyth were right in his deductions, in the reign of Sargon of Akkad, sixty centuries ago. The surface of the stone was scarred and pitted and the wedge- shaped symbols mutilated, half obliterated.
Kenton leaned closer over it, and closer around him wound the scented spirals clinging like scores of tendrils, clinging like little fingers, wistful, supplicating, pleading—
Pleading for release! What nonsense was this he was dreaming? Kenton drew himself up. A hammer lay close at hand; he lifted it and struck the block, impatiently.
The block answered the blow!
It murmured; the murmuring grew louder; louder still, with faint bell tones like distant carillons of jade. The murmurings ceased, now they were only high, sweet chimings; clearer, ever more clear they rang, drawing closer, winging up through endless corridors of time.
There was a sharp crackling. The block split. From the break pulsed a radiance as of rosy pearls and with it wave after wave of the fragrance —no longer questing, no longer wistful nor supplicating.
Jubilant now! Triumphant!
Something was inside the block! Something that had lain hidden there since Sargon of Akkad, six thousand years ago!
The carillons of jade rang out again. Sharply they pealed, then turned and fled back the endless corridors
