Thomas Love Peacock


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Peacock, Thomas Love,

1785–1866, English novelist and poet. He was employed by the East India Company from 1819 to 1856, serving as its chief examiner the final 20 years. Peacock's novels, comic and delightfully satirical, parody the intellectual modes and pretenses of his age. Nightmare Abbey (1818), his best-known work, satirizes the English romantic movement and contains characters based on Coleridge, Byron, and Shelley. Other novels include Headlong Hall (1816), Melincourt (1817), Maid Marian (1822), Crotchet Castle (1831), and Gryll Grange (1860). Peacock's best poems—lyrics and drinking songs—are interspersed in his novels. He was one of Shelley's most intimate friends, and after the famous poet's death Peacock was his literary executor.

Bibliography

See his works (ed. by H. F. B. Brett-Smith and C. E. Jones, 10 vol., 1924–34); biography by C. Van Doren (1911, repr. 1966); study by B. Burns (1985).

References in periodicals archive ?
Newman Ivey White notes that Shelley's correspondence with Thomas Love peacock indicates the poet had finished the first three acts of Prometheus Unbound shortly before 6 April 1819 (II: 115).
Thomas Love Peacock was well connected to Welsh literary circles, and The Misfortunes of Elphin was translated from Welsh.
5) It is not clear how or when Edith Nicolls Clarke acquired this manuscript, for the collection includes papers of Thomas Love Peacock, Mary Ellen Meredith, and Henry Wallis, along with some of Edith's own correspondence.
1) "Biographical Notice," The Works of Thomas Love Peacock, ed.
He translated works by Honore de Balzac, Charles Baudelaire, Thomas Love Peacock, D.
Shelley's friend Thomas Love Peacock suggested the title.
The influence of Meredith's father - in - law, Thomas Love Peacock, is evident in the writer ' s hatred of egotism and sentimentality, in his affirmation of the intellectual equality of women with men, and above all in his belief in the beneficial power of laughter -- a belief expounded in the critical work The Idea of Comedy and the Uses of the Comic Spirit (1877), in which he put forth the thesis that comedy corrected the excesses of sentimentality, selfishness, and vanity.