His next book, Die unsichtbare Loge ("The Invisible Lodge"), a romance published in 1793 under the pen-name Jean Paul (in honour of Jean-Jacques Rousseau), had all the qualities that were soon to make him famous, and its power was immediately recognized by some of the best critics of the day.

[1] Encouraged by the reception of Die unsichtbare Loge, Richter composed a number of books in rapid succession: Leben des vergnügten Schulmeisterleins Maria Wutz in Auenthal ("Life of the Cheerful Schoolmaster Maria Wutz", 1793), the best-selling Hesperus (1795), which made him famous, Biographische Belustigungen unter der Gehirnschale einer Riesin ("Biographical Recreations under the Brainpan of a Giantess", 1796), Leben des Quintus Fixlein ("Life of Quintus Fixlein", 1796), Der Jubelsenior ("The Parson in Jubilee", 1797), and Das Kampaner Tal ("The Valley of Campan", 1797).

Siebenkäs' slightly supernatural theme, involving a Doppelgänger and pseudocide, stirred some controversy over its interpretation of the Resurrection, but these criticisms served only to draw awareness to the author.

This series of writings assured Richter a place in German literature, and during the rest of his life every work he produced was welcomed by a wide circle of admirers.

In 1808 he was delivered from anxiety about outward necessities by Prince Primate Karl Theodor von Dalberg, who gave him an annual pension of 1,000 florins,[1] which was later continued by the king of Bavaria.

His later imaginative works were Dr Katzenbergers Badereise ("Dr Katzenberger's Trip to the Medicinal Springs", 1809), Des Feldpredigers Schmelzle Reise nach Flätz ("Army Chaplain Schmelzle's Voyage to Flätz", 1809), Leben Fibels ("Life of Fibel", 1812), and Der Komet, oder Nikolaus Marggraf ("The Comet, or, Nikolaus Markgraf", 1820–22).

In Vorschule der Aesthetik ("Introduction to Aesthetics", 1804) he expounded his ideas on art; he discussed the principles of education in Levana, oder Erziehungslehre ("Levana, or, Pedagogy", 1807); and the opinions suggested by current events he set forth in Friedenspredigt ("Peace Sermon", 1808), Dämmerungen für Deutschland ("Twilights for Germany", 1809), Mars und Phöbus Thronwechsel im Jahre 1814 ("Mars and Phoebus Exchange Thrones in the Year 1814", 1814), and Politische Fastenpredigten ("Political Lenten Sermons", 1817).

Jean Paul habitually played with a multitude of droll and bizarre ideas: his work is characterized by wild metaphors as well as by digressive and partly labyrinthine plots.

He mixed contemplation with literary theory: alongside spirited irony the reader finds bitter satire and mild humour; next to soberly realistic passages there are romanticized and often ironically curtailed idylls, social commentary and political statements.

This was due to the empathy with which Jean Paul created the female characters in his works: never before in German literature were women represented with such psychological depth.

Jean Paul's character may have been as diverse and as confusing as many of his novels: he was said to be very sociable and witty, while at the same time extremely sentimental: having an almost childlike nature, quickly moved to tears.

Although he always kept his distance from the classicists, who wanted to "absolutize" art, and although his theoretical approach (most notably in his Introduction to Aesthetics) was considerably influenced by Romanticism, it would be misleading to call him a Romantic without qualification.

He didn't try to indoctrinate but to portray human happiness, even (and especially) in an increasingly alienated environment — the rococo castles and bleak villages of Upper Franconia.

Jean Paul was not only the first to use and name the literary motif of the Doppelgänger, he also utilised it in countless variations (e.g. Siebenkäs and Leibgeber, Liane and Idoine, Roquairol and Albano).