tory according to his fancy. Scott alludes to a Scottish
version of what is evidently a widespread legend.[49] The
resemblance of the catastrophe--presumably the appearance of
Satan in the form of Lucifer--to the scene in Mickle's
_Sorcerer_, which was published among Lewis's _Tales of Wonder_
(1801), is vague enough to be accidental. There are blue flames
and sorcery, and an apparition in both, but that is all the two
scenes have in common. The tyrannical abbess may be a heritage
from _The Romance of the Forest_, but, if so she is exaggerated
almost beyond recognition.

In fashioning as the villain of her latest novel, _The Italian_,
a monk, whose birth is wrapt in obscurity, Mrs. Radcliffe may
have been influenced by Lewis's _Monk_ which had appeared two
years before. Both Schedoni and Ambrosio are reputed saints, both
are plunged into the blackest guilt, and both are victims of the
Inquisition. Mrs. Radcliffe, it is true, recoils from introducing
the enemy of mankind, but, before the secrets are finally
revealed, we almost suspect Schedoni of having dabbled in the
Black Arts, and his actual crime falls short of our expectations.
The "explained supernatural" plays a less prominent part in _The
Italian_ than in the previous novels, and Mrs. Radcliffe relies
for her effect rather on sheer terror. The dramatic scene where
Schedoni stealthily approaches the sleeping Ellena at midnight
recalls the more highly coloured, but less impressive scene in
Antonia's bedchamber. The fate of Bianchi, Ellena's aunt, is
strangely reminiscent of that of Elvira, Antonia's mother. The
convent scenes and the overbearing abbess had been introduced
into Mrs. Radcliffe's earlier novels; but in _The Italian_, the
anti-Roman feeling is more strongly emphasised than usual. This
may or may not have been due to the influence of Lewis. There is
no direct evidence that Mrs. Radcliffe had read _The Monk_, but
the book was so notorious that a fellow novelist would be almost
certain to explore its pages. Hoffmann's romance, _Elixir des
Teufels_ (1816), is manifestly written under its inspiration.
Coincidence could not account for the remarkable resemblances to
incidents in the story of Ambrosio.

The far-famed collection of _Tales of Terror_ appeared in 1799,
_The Tales of Wonder_ in 1801. The rest of Lewis's work consists
mainly of translations and adaptations from the German. He
revelled in the horrific school of melodrama. He delighted in the
k