Thomas Love Peacock Published his The Misfortunes of Elphin in an attempt to satirize what he viewed as affectations employed by his contemporary fiction writers, also taking aim at his traditional targets, including theories regarding universal education, the removal from public usage of land by the gentry, and irresponsible politics.

He chose a legend dear to the Englishman’s heart, that of King Arthur and his fabled knights. Welsh mythology was especially interesting to Peacock, who had married a Welsh wife. He departed from his usual approach of gathering a group of characters together to engage in Socratic dialogue with little semblance of plot, instead presenting a traditional adventure narrative. While he drew his ideas for plotlines from historical works such as Bishop Percy’s Reliques of Ancient English Poetry (1765), the embellishments were his own.

Containing familiar aspects of various legends, the novel follows the fortune of one Elphin, a king who comes to the throne of Ceredigion, inheriting many problems, including a loss of territory, the loyalty of his people, and material support. The losses were incurred by Seithenyn, a drunken member of foreign royalty, described early on as “Prince Seithenyn ap Seithyn Saidi, who held the office of Arglwyd Gorwarcheidwad yr Argae Breninawl, which signifies, in English, Lord High Commissioner of Royal Embankment; and he executed it as a personage so denominated might be expected to do: he drank the profits, and left the embankment to his deputies, who left it to their assistants, who left it to itself.”

Peacock characterizes the typical politico as one who, once elected, did as he pleased with little regard for the needs of those who elected him, but in Seithenyn he also supplied one of literature’s distinctive comic figures. A drunk who spouts nonsense logic in the vein of Shakespeare’s Falstaff, he also proves important to Peacock’s satire. In justifying neglecting his duties and allowing the floods to overflow the embankment, he represents the Tory opposition to constitutional reform that Peacock’s readers would have easily recognized.

Foreshadowing his later injection of various drinking songs, and ballads, some traditionally Welsh, others written by Peacock, the narrator reveals that Elphin’s father, King Gwythno, had been warned of the perils of Gwynhidwy, a white mermaid, symbolic of the power of the sea. A happy but foolish ruler, he appointed the incompetent Seithenyn to a crucial task, likely a statement by Peacock against failed foreign policies.

Elphin receives the same warning against the dangers of the sea, but he pays more attention to it than did his father. When he attempts to urge Seithenyn to repair the embankment, the inebriated prince replies, “Our ancestors were wiser than we: they built it in their wisdom; and, if we should be so rash as to try to mend it, we should only mar it.” Again Peacock parodies politicians who lack innovation, imagination, and initiative.

Readers understand the sarcasm in the narrator’s remark that he and his audience are “happy that our own public guardians are too virtuous to act or talk like Seithenyn, and that we ourselves are too wise not to perceive, and too free not to prevent it, if they should be so disposed.” Many such remarks utilize the 16th century to reflect on shortcomings of the 19th century.

Romance blooms as Elphin falls in love with and marries Seithenyn’s daughter, Angharad, just before the embankment gives way. They later come upon the foundling, Taliesin, a child abandoned in the flooded ruin of the country, and Angharad delightedly adopts him. Two years later the couple produces a daughter, Melanghel, and Elphin being an expert fisherman, they found a fishery that becomes successful and pleases the old king, who spends time playing with his granddaughter.

Taliesin becomes a member of the bards, the “general motto of their order” being “Y GWIR YN ERBYN Y BYD: the Truth against the World.” Peacock quickly adds that, while this was the ideal, “many of them, instead of acting up to this splendid profession, chose to advance their personal fortunes by appealing to the selfishness, the passions, and the prejudices of kings, factions, and the rabble.” His attitude regarding artists who misuse their talents is clear. In short order, he also lambastes the press and the outrageous claims of political and physical science, medicine in particular.

Dramatic speeches enrich the narrative fabric of Elphin’s struggles, including his imprisonment many years later by his evil neighbor and competitor, Maelgon, in the Stone Tower of Dignawy. The songs and poetry retain focus firmly on the society’s bards, Taliesin in particular, who heroically rescues Elphin through the aid of Arthur. The tale concludes on a strong romantic note, as Taliesin is given the hand of Elphin’s daughter.

Throughout, Peacock emphasizes the importance of the arts, through music, poetry, and storytelling, to enrich man’s humanity and to spur him to great acts. However, he makes clear that art should be produced for art’s sake, not in order to win critical or political favor.

He begins one chapter lampooning pride among poets by writing, “amongst the Christmas amusements of Caer Lleon, a grand Bardic Congress was held in the Roman theatre, when the principal bards of Britain contended for the pre-eminence in the art of poetry, and in its appropriate moral and mystical knowledge.”

The Misfortunes of Elphin represents classic Peacock, displaying a sharp irony in the dissection and study of his culture. He ridicules all dogma by not propagating any particular personal theory. The novel did not prove popular in its day, likely due to its mix of romance and satire, which made readers uncomfortable. However, later readers found its celebration of the ridiculous in human nature most entertaining; it is available in print and electronic texts.

Bibliography
Dawson, Carl. His Fine Wit: A Study of Thomas Love Peacock. Berkeley: University of California Press, 1960.
Dodson, Charles B. Introduction to Thomas Love Peacock: Nightmare Abbey, The Misfortunes of Elphin, Crotchet Castle. Holt, Rinehart, and Winston, 1971, vii–xxviii.

Categories: British Literature, Literature, Novel Analysis

Tags: 19th century british fiction, 19th century satire, Analysis of Thomas Love Peacock's The Misfortunes of Elphin, Angharad and Elphin, art for art’s sake, Arthurian legend satire, Bardic tradition in literature, British Romanticism satire, Caer Lleon bards, critique of Tory politics, Elphin character study, King Arthur fiction, King Gwythno, literary bards, Maelgon villain, Peacock and political satire, Peacock satire, Peacock’s use of legend, political allegory in fiction, Romantic era novels, romantic satire novel, satire of education, satire of literary pride, satire of politics, satire of science, satire of the press, Seithenyn character analysis, Taliesin in literature, The Misfortunes of Elphin, Thomas Love Peacock, Thomas Love Peacock's The Misfortunes of Elphin, Welsh folklore fiction, Welsh mythology in literature