Howard Dunbar's _The Shell of Sense_ is another instance of jealousy
reaching beyond the grave. _The Messenger_, one of Robert W. Chambers's
early stories and an admirable example of the supernatural, has various
thrills, with its river of blood, its death's head moth, and the ancient
but very active skull of the Black Priest who was shot as a traitor to
his country, but lived on as an energetic and curseful ghost.

_The Shadows on the Wall_, by Mary E. Wilkins Freeman,--which one
prominent librarian considers the best ghost story ever written,--is
original in the method of its horrific manifestation. Isn't it more
devastating to one's sanity to see the shadow of a revenge ghost cast on
the wall,--to know that a vindictive spirit is beside one but
invisible--than to see the specter himself? Under such circumstances,
the sight of a skeleton or a sheeted phantom would be downright
comforting.

_The Mass of Shadows_, by Anatole France, is an example of the modern
tendency to show phantoms in groups, as contrasted with the solitary
habits of ancient specters. Here the spirits of those who had sinned for
love could meet and celebrate mass together in one evening of the year.

The delicate beauty of many of the modern ghostly stories is apparent in
_The Haunted Orchard_, by Richard Le Gallienne, for this prose poem has
an appeal of tenderness rather than of terror. And everybody who has
had affection for a dog will appreciate the pathos of the little sketch,
by Myla J. Closser, _At the Gate_. The dog appears more frequently as a
ghost than does any other animal, perhaps because man feels that he is
nearer the human,--though the horse is as intelligent and as much
beloved. There is an innate pathos about a dog somehow, that makes his
appearance in ghostly form more credible and sympathetic, while the