), where he zealously studied German, and
incidentally, met Goethe, seems to have left more obvious marks
on his literary career. To Lewis, Goethe is pre-eminently the
author of _The Sorrows of Werther_; and Schiller, he remarks
casually, "has, written several other plays besides _The
Robbers."_[41] He probably read Heinse's _Ardinghello_(1787),
Tieck's _Abdallah_ (1792-3), and _William Lovell_ (1794-6), many
of the innumerable dramas of Kotzebue, the romances of Weit
Weber, and other specimens of what Carlyle describes as "the bowl
and dagger department," where

"Black Forests and Lubberland, sensuality and horror,
the spectre nun and the charmed moonshine, shall not be
wanting. Boisterous outlaws also, with huge whiskers,
and the most cat o' mountain aspect; tear-stained
sentimentalists, the grimmest man-eaters, ghosts and
the like suspicious characters will be found in
abundance."[42]

Throughout his life he seems to have made a hobby of the
literature that arouses violent emotion and mental excitement, or
lacerates the nerves, or shocks and startles. The lifelike and
the natural are not powerful enough for his taste, though some of
his _Romantic Tales_(1808), such as _My Uncle's Garret Window_,
are uncommonly tame. Like the painter of a hoarding who must at
all costs arrest attention, he magnifies, exaggerates and
distorts. Once when rebuked for introducing black guards into a
country where they did not exist, he is said to have declared
that he would have made them sky-blue if he thought they would
produce any more effect.[43] Referring to _The Monk_, he
confesses: "Unluckily, in working it up, I thought that the
stronger my colours, the more effect would my picture
produce."[44]

One of his early attempts at fiction was a romance which he later
converted into his popular drama, _The Castle Spectre_. This play
was staged in 1798, and was reconverted by Miss Sarah Wilkinson
in 1820 into a romance. Lewis spreads his banquet with a lavish
hand, and crudities and absurdities abound, but he has a knack of
choosing situations well adapted for stage effect. The play,
aptly described by Coleridge as a "peccant thing of Noise, Froth
and Impermanence,"[45] would offer a happy hunting ground to
those who delight in the pursuit of "parallel passages." At the
age of twenty, during his residence at the Hague as _attache_ to
the British embassy, in the summer of 1794, he composed in ten