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The reviewers' rejection reflected a larger cultural bias: the was usually held in contempt by the educated as a tawdry and debased kind of writing; the genre had gained some respectability only through the works of and .A romance with superstitious elements, and moreover void of didactical intention, was considered a setback and not acceptable.

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The Monk also influenced Ann Radcliffe in her last novel, (1797).'s lurid tale of monastic debauchery, black magic and diabolism entitled (1796) offered the first continental novel to follow the conventions of the Gothic novel.Though Lewis's novel could be read as a pastiche of the emerging genre, self-parody that had been a constituent part of the Gothic from the time of the genre's inception with Walpole's Otranto.Sade critiqued the genre in the preface of his Reflections on the novel (1800) stating that the Gothic is "the inevitable product of the revolutionary shock with which the whole of Europe resounded".Contemporary critics of the genre also noted the correlation between the and the "terrorist school" of writing represented by Radcliffe and Lewis.The question now arose whether supernatural events that were not as evidently absurd as Walpole's would not lead the simpler minds to believe them possible.

Among other elements, Ann Radcliffe introduced the brooding figure of the Gothic villain ( in 1790), a literary device that would come to be defined as the .

Radcliffe's novels, above all (1794), were best-sellers.

However, along with most novels at the time, they were looked down upon by many well-educated people as sensationalist nonsense.

Sade considered The Monk to be superior to the work of Ann Radcliffe.

German gothic fiction is usually described by the term Schauerroman ("shudder novel").

In Germany, the Schauerroman ("shudder novel") gained traction with writers as , with novels like (1789), and , with novels like (1791/92).