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Examples

  • The Creature's love of music, and his remarkable responses to it, are retained from Mary Shelley's tale in Peake's Presumption, where music functions almost in the fashion of a leitmotif in marking the Creature's stage presence, his entrances and exits.

    Novel into Drama and onto the Stage 2008

  • In the original playbill the Creature is not even given a descriptive name but is instead represented merely by a set of dashes, so thoroughly has he been divested in Peake's script of any personal identity or human dignity.

    Cast and Characters 2008

  • Keeley first appeared in this part, which Peake is said to have written expressly for him (Oxberry, 5: 151).

    Cast and Characters 2008

  • Peake is one of the few fantasists whose style is rich enough to compensate for the lack of grounding.

    The Great Debate Hal Duncan 2005

  • In fact, it appears explicitly only in Peake's 1823 Another Piece of Presumption, a parody of his own Presumption, where the tailor Frankinstitch murders his apprentices and sews pieces of them together to make the monster.

    Notes, "Patriarchal Fantasy and the Fecal Child in Mary Shelley's _Frankenstein_ and its Adaptations", Frankenstein's Dream 2003

  • I must here inform you that the word Peake, or Pike, in old

    Travels in England in 1782 2004

  • I must here inform you that the word Peake, or Pike, in old English signifies a point or summit.

    Travels in England in 1782 Karl Philipp Moritz 1775

  • "But they haint any harness," said Tommy, using the word Peake always used, -- "I mean, hisn't any -- no, I mean haven't any harness.

    Tommy Trot's Visit to Santa Claus Thomas Nelson Page 1887

  • Though Horne, nor clumsy Serle, could save his "Peake,"

    The Age Reviewed 2010

  • Pre-Karloffian dramatizations played an important role in disseminating popular conceptions — and misconceptions — of Mary Shelley's novel, from the incipient gothic melodramas such as Peake's

    Plays 2010

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