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Books : Literature & Fiction : Authors, A-Z : ( P ) : Peacock, Thomas Love
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Thomas Love Peacock (1785-1866) was an English satirist and author. Peacock was a close friend of Percy Bysshe Shelley and they influenced each other's work. He wrote satirical novels, each with the same basic setting - characters at a table discussing and criticizing the philosophical opinions of the day. He worked for the British East India Company. His own place in literature is pre-eminently that of a satirist. That he has nevertheless been the favourite only of the few is owing partly to the highly intellectual quality of his work, but mainly to his lack of ordinary qualifications of the novelist, all pretension to which he entirely disclaims. He has no plot, little human interest, and no consistent delineation of character. His personages are mere puppets, or, at best, incarnations of abstract qualities such as grace or beauty. His comedy is Aristophanic. He suffers from that dramatist's faults and, though not as daring in invention, shares many of his strengths. His works include Headlong Hall (1815), Nightmare Abbey (1818), Maid Marian (1822), The Misfortunes of Elphin (1829), Crotchet Castle (1831), and Gryll Grange (1861).
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With a love triangle, the story depicts the consequences of insincere efforts. Peacock has shown that materialistic approach is the end of humanity and humane feelings; the result is destruction of personalities. Moralistic and captivating!
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But when Marionetta hinted that she was to leave the Abbey immediately, Scythrop snatched from its repository his ancestor's skull, filled it with Madeira, and presenting himself before Mr Glowry, threatened to drink off the contents if Mr Glowry did not immediately promise that Marionetta should not be taken from the Abbey without her own consent.
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"Money," said the stranger, "is to me mere chaff." And producing a bag from his pocket, and shaking it by one corner, he scattered on the floor a profusion of gold. The Vicar, who had seen nothing but paper money for twenty years, was astonished at these yellow apparitions, and picking up one inspected it with great curiosity. On one side was the phenomenon of a crowned head with a handsome and intelligent face, and the legend ARTHURUS REX.
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Long, 35 page, introduction by Richard Garnett. Red cloth. Rbrtyman's Library.
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Thomas Love Peacock was a lifelong and assiduous letter writer at a time when the letter was often an art-form in itself. He had a wide circle of friends and correspondents which included Shelley and many Radicals of the early nineteenth century. For the first time, this two-volume edition gathers together Peacock's extensive correspondence with scholarly annotation.
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This scarce antiquarian book is included in our special Legacy Reprint Series. In the interest of creating a more extensive selection of rare historical book reprints, we have chosen to reproduce this title even though it may possibly have occasional imperfections such as missing and blurred pages, missing text, poor pictures, markings, dark backgrounds and other reproduction issues beyond our control. Because this work is culturally important, we have made it available as a part of our commitment to protecting, preserving and promoting the world's literature.
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In the beginning of the sixth century, when Uther Pendragon held the nominal sovereignty of Britain over a number of petty kings, Gwythno Garanhir was king of Caredigion. The most valuable portion of his dominions was the Great Plain of Gwaelod, an extensive tract of level land, stretching along that part of the seacoast which now belongs to the counties of Merioneth and Cardigan. This district was populous and highly cultivated. It contained sixteen fortified towns, superior to all the towns and cities of the Cymry, excepting Caer Lleon upon Usk; and, like Caer Lleon, they bore in their architecture, their language, and their manners, vestiges of past intercourse with the Roman lords of the world. It contained also one of the three privileged ports of the isle of Britain, which was called the Port of Gwythno. This port, we may believe if we please, had not been unknown to the Phoenicians and Carthaginians, when they visited the island for metal, accommodating the inhabitants, in return, with luxuries which they would not otherwise have dreamed of, and which they could very well have done without; of course, in arranging the exchange of what they denominated equivalents, imposing on their simplicity, and taking advantage of their ignorance, according to the approved practice of civilized nations; which they called imparting the blessings of Phoenician and Carthaginian light. . . .
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1910. English poet and satirist, friend and biographer of Percy Bysshe Shelley, Peacock is best remembered as one of the great satirists of the Romantic period. Early in his writing career he made use of the Arthurian legends, mainly for satire, amusement, and instruction. This volume contains letters that Peacock wrote either to intellectual bookseller Thomas Hookham who introduced him to Shelley, or to Shelley himself.
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Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.
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"The place is quite a wilderness," said Squire Headlong: "for, during the latter part of my father's life, while I was finishing my education, he troubled himself about nothing but the cellar, and suffered everything else to go to rack and ruin. A mere wilderness, as you see, even now in December; but in summer a complete nursery of briers, a forest of thistles, a plantation of nettles, without any livestock but goats, that have eaten up all the bark of the trees. Here you see is the pedestal of a statue, with only half a leg and four toes remaining: there were many here once.
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The baron was inflexible in his resolution not to let Matilda leave the castle. The letter, which announced to her the approaching fate of young Gamwell, filled her with grief, and increased the irksomeness of a privation which already preyed sufficiently on her spirits, and began to undermine her health. She had no longer the consolation of the society of her old friend Father Michael.
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MAID MARIAN AND CROTCHET CASTLE BY THOMAS LOVE PEACOCK ILLUSTRATED BY F. H. TOWNSEND WITH AN INTRODUCTION BY GEORGE SAINTSBURY ILontoon MACMILLAN AND CO. AND NEW YORK 1895 INTRODUCTION DURING many years 7 reading, with ever fresh enjoyment, of Peacocks novels, I had until quite the other day indeed until a time later than that at which I undertook the pleasant duty of writing this preface been unable to understand what special model the author had had before him in these unique performances. Lord Houghton had noticed, and nobody who had any knowledge of the subject was likely to gainsay, the obvious indebtedness of Peacock to the French tale-tellers of the eighteenth century from Anthony Hamilton to Pigault-Lebrun though, by the way, Lord Houghtons attribution of the Compare Mathieu to Pigault-Lebrun was a mistake, or more probably a slip of memory. But in the model which Hamilton,, set, which Voltaire borrowed, and which others imitated from Voltaire, there was a very great deal which is quite different from Peacock different not merely in the details where differ ence was necessary, considering the time and country of the writers, but m other ways much more important. I had lot solved the problem when, some nine years since, I first wrote about Peacock in Macmillaris Magazine and I have not noticed that anybody has ever solved it. But a month or two ago I happened to be reading for a different purpose the old English version of Marmontels Contes Moraux a book which in the original I had not read since a period vii MAID MARIAN AND CROTCHET CASTLE before that at which I commenced Peacockian. And it so happened that one of the first things I hit upon was the phrase the beautiful Cephalis in the English version of Les Manages Samnites. It would be an insult to any practised reader of Peacock, and will be unnecessary when in a later volume of this series Headlong Hall has reappeared, to explain to others how and why the train at once caught fire. Cephalis is not a common name the adjective attached to it in the two writers alike as a sort of perpetual epithet connects the pair still closer and though in Peacock the name itself has a special propriety, though in Marmontel it is perfectly general, this, the Englishman being the later writer of the two, does not invalidate, but, on the contrary, strengthens the coincidence. Nor have I any doubt that these famous Moral Tales, which were immensely popular in England exactly at the time when Peacock was a boy and a very young man, give the line between the Hamiltonian-Voltairian conte and Peacock. In them the fantastic-sarcastic story is brought more home to the actual society of the day than is the case in Voltaires own. In them, though Marmontel sub mitted more than Peacock ever did to the philosophical fads and crazes of his own day, the undercurrent of satirical criticism on these fads is distinctly apparent. In both a slightly not by any means more than slightly pagan disposition to blink positive doctrines is made up by a vigorous advocacy of good fellowship and the general moral virtues, which stops a good deal short of the all-pervading depreciation of The Patriarch In both there is a quasi romantic touch. And in both, let me add, there is evidence of that latent conservatism which made the philosophe Marmontel in his later days a stout reactionary, viii INTRODUCTION and which causes little quivers very delightful to behold in English advocates of Progress who try to excuse and belittle at the same moment the senile delinquencies of Peacock. This, however, is only a curiosity of literature which happens to have come from the accident of studying two authors, both known, but one long neglected, at the same time. It seemed worth mentioning, but need not be further pursued...
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The Robin Hood tradition is best known in popular forms such as ballad, lyric, play, children's story and, in our own era, television and film. There have, however, also been a significant number of novelists who have devoted themselves to retelling and reshaping the story.
In particular, the nineteenth century provided some classical fictional reformulations of the outlaw saga, in which the hero and his activities were re-interpreted in ways relating to the concerns and values of the period. Robin appears, for instance, as a Gothic adventurer, a romantic hero, a lost heir, a precursor of Baden-Powell, and even as a loyal servant of parliamentary democracy in its alleged origin. The substantial novels that embody these conceptions of the outlaw are little known, and quite unavailable until now.
This collection reprints these nineteenth-century texts and in doing so re-establishes for scholars and readers a largely lost element of the remarkably rich and ever-popular myth.
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