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Recently, over the morning eggs and b., I stumbled across a thoughtful piece by Alessandro Giuliani called Wodehouse Game. I was prompted to reply, but when my comments hit the 1200-word mark – and diverged substantially from the original piece, I felt the decent thing to do was post it here, rather than infest someone else’s blog with my rambling.
The premise of Alessandro Giuliani’s piece is that men are repelled by women who are smarter or physically more dominant than them. P.G. Wodehouse’s Florence Craye is provided as an example:
The root of the trouble was that she was one of those intellectual girls, steeped to the gills in serious purpose, who are unable to see a male soul without wanting to get behind it and shove.
Florence Craye is a well-chosen example that illustrates Alessandro Giuliani’s point. She is one of many characters from the world of fiction (male and female) who illustrate the adage that beauty is only skin deep. The premise gives Wodehouse some good plots involving Bertie Wooster and his fellow drones. They are the kind of chumps we can believe would idolise a woman’s exterior and find themselves entangled, without first taking due care to investigate her character.
But there are also examples from Wodehouse’s world that exemplify the opposite view – that men can and do fall in love with women who are their intellectual and physical equals, or betters.
Wodehouse created a diverse range of female characters in over 90+ published works, of whom Florence Craye is just one example. His heroines are frequently intelligent, without repulsing the men around them. Joan Valentine (Something Fresh) and Eve Halliday (Leave it to Psmith) spring to mind as two of my favourite examples, but there are many Wodehouse heroines, sympathetically written without censure from the author for being clever or dominant characters.
In The Girl On The Boat, feeble young Eustace Hignett falls in love with the stronger and more capable Jane Hubbard, an African explorer. Their mutual adoration and romance is delightfully drawn by Wodehouse. Jane’s strength and cool headedness is exactly what Eustace needs, and Wodehouse presents them as a perfect and natural fit for each other – there is no suggestion that Eustace has been trapped, or has any cause to resents his union with a dominant female.
…Eustace was lying in bed, listening to Jane Hubbard as she told the story of how an alligator had once got into her tent while she was camping on the banks of the Issawassi River in Central Africa. Ever since he had become ill, it had been the large-hearted girl’s kindly practice to soothe him to rest with some such narrative from her energetic past.
‘And what happened then?’ asked Eustace, breathlessly.
He had raised himself on one elbow in his bed. His eyes shone excitedly from a face which was almost the exact shape of an Association football; for he had reached the stage of mumps when the patient begins to swell as though somebody were inflating him with a bicycle -pump.
‘Oh, I jabbed him in the eye with a pair of nail-scissors, and he went away!’ said Jane Hubbard.
‘You know, you’re wonderful!’ cried Eustace. ‘Simply wonderful!’
Jane Hubbard flushed a little beneath her tan. She loved his pretty enthusiasm. He was so genuinely stirred by what were to her the merest commonplaces of life.
‘Why, if an alligator got into my tent,’ said Eustace, ‘I simply wouldn’t know what to do! I should be nonplussed.’
Most of the criticisms I read about Wodehouse’s portrayal of women are put forward by people who haven’t read much Wodehouse beyond the Jeeves stories. These stories are written in the wonderful, half-witted narrative voice of Bertie Wooster — a unique comedic creation who cannot seriously be considered a mouthpiece for his creator’s personal views. Nor are his relationships with women the only type of male-female relationships in Wodehouse’s fictional world.
I’ve read Wodehouse’s published works several times over and I find him a great egalitarian. His cast of characters includes heroes, heroines, blighters and stinkers –of all shapes and sizes, age and genders. The behaviour and opinions of his characters can be used to exemplify a wide range of contradictory world views. Provided we don’t take it too seriously, this ‘Wodehouse Game’ can be fun and instructive to play.
People often come to Plumtopia looking for advice on how to get started reading P.G. Wodehouse, the Jeeves and Wooster series in particular. It’s a good question.
The short answer, is that there is no single correct approach to reading Wodehouse –and if you ask the question in one of the many online Wodehouse forums, you’ll get at least a dozen answers. Picking up the first book you come across is often as good a starting point as any, and running across occasional spoilers shouldn’t dampen your enjoyment of Wodehouse’s writing.
But the short answer isn’t particularly helpful if you’re looking for practical advice. This post, and the short series to follow, offers a guide to readers wanting to discover the joys of Jeeves and Wooster, Blandings, and the wider world of ‘hidden gems‘ that Wodehouse has to offer.
A suggested reading list for getting started is provided below, followed by some general guidance for new readers.
Reading suggestions for getting started
Jeeves and Wooster: Start your adventure with Wodehouse’s best known characters in The Inimitable Jeeves (1923). It’s not a novel, but a fine collection of short stories –many of them classics– from the very start of the saga. If you prefer to start with a novel, try Right Ho, Jeeves (1934; US title Brinkley Manor). See my second piece in this series for a complete Jeeves and Wooster reading list.
Even Comrade Butt cast off his gloom for a space and immersed his whole being in scrambled eggs, only coming to the surface at intervals to grab another cup of tea.
The Inimitable Jeeves
Blandings: Blandings Castle is arguably literature’s finest Utopia. Or as Evelyn Waugh put it: ‘the gardens of Blandings Castle are the original gardens of Eden from which we are all exiled.’ Dip your toe into Paradise with the first Blandings novel Something Fresh (1915; US title Something New), or the classic short story collection Blandings Castle and Elsewhere (1935).
“Unlike the male codfish, which, suddenly finding itself the parent of three million five hundred thousand little codfish, cheerfully resolves to love them all, the British aristocracy is apt to look with a somewhat jaundiced eye on its younger sons.”
‘The Custody of the Pumpkin’ in Blandings Castle and Elsewhere
Psmith: Rupert or Ronald Psmith (the ‘p’ is silent as in pshrimp) is a favourite among Wodehouse lovers. Start with his first appearance in the brilliant school stories, currently in print as Mike and Psmith. If you prefer an adult novel, his final outing in Leave it to Psmith (1923) is wonderful (and won’t spoil your enjoyment of the earlier stories).
Mike nodded. A sombre nod. The nod Napoleon might have given if somebody had met him in 1812 and said, “So, you’re back from Moscow, eh?”
Mike and Psmith
Ukridge: He’s the character Wodehouse readers love to hate — a blighter and a scoundrel to be sure, but his adventures are comedy gold. Start with the short story collection Ukridge (1924) or the novel Love Among the Chickens (revised in 1921).
Somebody met him in New York, just off a cattle-ship. Somebody else saw him in Buenos Ayres. Somebody, again, spoke sadly of having been pounced on by him at Monte Carlo and touched for a fiver. It was not until I settled down in London that he came back into my life. We met in Piccadilly one day, and resumed our relations where they had broken off. Old associations are strong, and the fact that he was about my build and so could wear my socks and shirts drew us very close together.
‘Ukridge’s Dog College’ in Ukridge
Uncle Fred: Pongo Twistleton’s Uncle Fred is a dapper old gent with a twinkle in his eye, and a penchant for adventure — a man who can adopt an alias at the drop of a hat, and frequently does. Start with his first appearance in the short story, Uncle Fred Flits By (1935), in the collection Young Men in Spats (1936). The first novel Uncle Fred in the Springtime (1939) is part of the Blandings series –save this treat for later if you can.
I don’t know if you happen to know what the word ‘excesses’ means, but those are what Pongo’s Uncle Fred from the country, when in London, invariably commits.
‘Uncle Fred Flits By’ in Young Men in Spats
Short Stories: Wodehouse was a master of the short story format, and would be classed alongside greats like Chekhov if he hadn’t been a humourist. The Mulliner stories are outstanding. Start anywhere you like, but Meet Mr. Mulliner (1927) is the first. The Oldest Member golf stories are also terrific –try The Clicking of Cuthbert (1922; US title Golf Without Tears). No understanding of golf is required to enjoy them.
Vladimir specialized in grey studies of hopeless misery, where nothing happened till page three hundred and eighty, when the moujik decided to commit suicide.
The Clicking of Cuthbert
The novels: Plot spoilers are less of a problem with Wodehouse’s ‘stand-alone’ novels, although some are connected by recurring characters. There are plenty of novels to choose from, but if you’re chronologically inclined, some good examples from his early period include Uneasy Money (1916), Piccadilly Jim (1917) and The Small Bachelor (1927).
The residence of Mr. Peter Pett, the well-known financier, on Riverside Drive is one the leading eyesores of that breezy and expensive boulevard. As you pass by in your limousine, or while enjoying ten cents worth of fresh air on top of a green omnibus, it jumps out and bites at you.
Where to buy them
Your local bookstore is unlikely to stock much Wodehouse (or know where to start, unless you’re lucky), but they should be able to order books for you. If your local booksellers are as lovely as mine, this adds considerably to the pleasure.
Links to books currently in print and available for purchase online have been included in the text. Out of print books are frequently available second-hand at reasonable prices. Don’t be alarmed by the price of expensive first and collectable editions. It is possible to read your way through Wodehouse cheaply, particularly if you’re happy with paperbacks and don’t mind which editions you buy. Most titles are also available as Ebooks, including those which are out of print.
Understanding the chronological challenge
Many of Wodehouse’s stories first appeared in magazines such as The Strand (UK) and The Saturday Evening Post (US), but weren’t always published in book form in the same order – or under the same titles. If you read Wodehouse in order of publication you will encounter ‘spoilers’, particularly in the Blandings series. Wodehouse also rewrote some of his early stories, so the beginning isn’t always the best place to start. It’s also helpful to know that Wodehouse’s books were often published under different titles in the UK and US.
In putting this series together, I’ve referred to many excellent online resources that exist for Wodehouse fans (such as Neil Midkiff’s outstanding short story and novel listings) and have benefitted from the invaluable advice of Wodehouse expert Tony Ring. Any errors, omissions and loony opinions that remain are entirely my own.
The next piece in the series provides a reading list for the Jeeves and Bertie Wooster stories.
It is not unreasonable to assume that, when the assorted dignitaries of Bath bunged off their application for UNESCO World Heritage listing, the fact that P.G. Wodehouse lived here as a boy was pretty high up on their list of reasons. No doubt it weighed heavily with the judges. And yet, in all the historical and literary guides to Bath I find no mention of Wodehouse. Walking tours do not pass his former residence. No miniature of his likeness can be viewed in the Jane Austen or Holbourne Museums. How can this be?
I suspect the answer lies in the rather embarrassing truth (one not so universally acknowledged) that of all the places in which P.G. Wodehouse resided, Bath appears to be the only one in which he did not write. He wrote as a school boy. He wrote in London, and in Emsworth (Hampshire). He wrote in New York and Long Island, in Hollywood and in France. He even continued writing while imprisoned in a succession of German prison camps in 1940-41. When he died in 1975, there was an ‘unfinished manuscript beside his chair’. But in Bath, Somerset, where this prolific life-long writer lived for three years, he produced nothing at all.
By his own admission:
From my earliest years I had always wanted to be a writer. I started turning out the stuff at the age of five. (What I was doing before that, I don’t remember. Just loafing, I suppose.)
Over Seventy (1956)
It was in Bath, Somerset, that P.G. Wodehouse spent these loafing years.
P.G Wodehouse was born in Guildford in 1881 while his mother was visiting England from Hong Kong. Wodehouse’s father was in the colonial Civil Service, and the infant Plum returned to Hong Kong with his mother. In 1883, young Wodehouse returned to England to live with his brothers Peveril and Armine at number 17 Sion Hill, Bath. There the Wodehouse boys lived under the care of Nanny Roper, surrounded by maternal relations (the Deane family) who lived next door and elsewhere in Sion Hill.
Modern day Sion Hill is part of the Cotswold Way public walking trail from Bath to Chipping Camden. It abuts the Bath Approach Golf Course and Victoria Park , with stunning views over the city. Bath’s iconic Lansdown and Royal Crescents are an easy downhill walk away.
The same cannot be said going up the hill, which I foolishly attempted on a bicycle in the rain. It was a mad scheme, particularly when a number 700 omnibus would have sufficed. But as I huffed and puffed and cursed my way up the hill, I reflected that my chosen method of conveyance added a dash of Wodehouse spirit to the occasion, invoking poor Bertie Wooster’s distraught eighteen-mile round trip from Brinkley Court to Kingham in Right Ho, Jeeves.
Arriving at Sion Hill in a dishevelled state of the kind guaranteed to raise even the most broad-minded Bath eyebrows, I abandoned my scheme of knocking on doors with an introductory ‘What Ho!’ Instead, I snapped a few souvenir photographs and soaked up the genteel atmosphere of young Wodehouse’s formative surroundings.
Following Sion Hill as it loops around past local allotments and the Golf Course, the city of Bath appears deceptively distant, an impressionist canvas of blurred green and sun-flecked stone. Here on the hill the soundscape is idyllic too, dominated by the rustle of the trees, not the bustle of town. Jane Austen, who famously disliked Bath, might have preferred it from this distance.
There is a sense of well-heeled serenity here that makes it easy to imagine the young Wodehouse boys at play, over a century ago. The possibilities for exploration are just the sort a growing lad requires before returning home for tea with Nanny Roper.
Some have suggested Miss Roper may have been the model for Wodehouse’s fictional nanny, Nurse Wilks in Portrait of a Disciplinarian. One can readily imagine Miss Roper having good cause to thunder at her charges to ‘WIPE YOUR BOOTS!’
As Mr Mulliner’s nephew Frederick reflected:
The images which we form in childhood are slow to fade: and Frederick had been under the impression that Nurse Wilks was fully six feet tall, with the shoulders of a weight-lifter and eyes that glittered cruelly beneath beetling brows. What he saw now was a little old woman with a wrinkled face, who looked as if a puff of wind would blow her away.
Portrait of a Disciplinarian (in Meet Mr Mulliner) 1927
Frederick Mulliner’s Nurse Wilks is not quite a spent force.
The voice, thundering from a quarter whence hitherto only soft cooings had proceeded, affected Frederick Mulliner a little like the touching off of a mine beneath his feet. Spinning round he perceived a different person altogether from the mild and kindly hostess of a moment back. It was plain that there yet lingered in Nurse Wilks not a little of the ancient fire. Her mouth was tightly compressed and her eyes gleamed dangerously.
‘Theideaofyourbringingyournastydirtybootsintomynicecleanhousewithoutwipingthem!’ said Nurse Wilks
Almost 90 years later, P.G. Wodehouse introduced the television adaptation of Portrait of a Disciplinarian as part of the excellent Wodehouse Playhouse series, with Daphne Heard playing Nurse Wilks to perfection.
I left Sion Hill with a contented feeling that Wodehouse’s formative years were spent in such an appealing place, and that these loafing years were not perhaps, so entirely misspent as Wodehouse would have us believe.
The young Plum left Bath in 1886 to attend the Chalet School, in Croydon, Surrey. His literary career began shortly thereafter when, at the age of five, he composed his first poem.
My journey to Sion Hill ended, as these jaunts so often do, with a nourishing beaker at a local pub, where I was chuffed to observe that a table for two had been reserved in the name of Murphy — it provided a fitting moment to toast Norman Murphy who had kindly provided me with the Bath addresses.
Last weekend I visited the charming Wiltshire town of Bradford on Avon for a bit of browsing and sluicing with fellow members of the PG Wodehouse Society — the first, we hope, of many gatherings in the South-West. Our luncheon took place at an outstanding local pub called The Longs Arms and we were unanimous in the view that, should we ever extend our activities to include compiling a Pub Guide for Wodehouse fans, the Longs Arms would make a worthy inclusion — the only obstacle being a lack of any obvious Wodehouse connection, unless you’re prepared to accept Haddock on the menu and the Mullineresque conversation of our very own ‘oldest member’, Graham.
From the moment I alighted from the train at Bradford on Avon, I was struck with Wodehouse associations (fortunately not at the base of the skull). The most obvious of these is the town’s celebration of ‘The Gudgeon’ in the title of their town newsletter, a local ale, and more. The Gudeon they’re honouring is of course the fishy variety, and not the memorable character created by P.G. Wodehouse.
Hilda Gudgeon has long held a special place in my heart, though she appears only briefly in The Mating Season as Madeline Bassett’s school friend. Bertie describes her as ‘a solid, hefty girl, of the type which plays five sets of tennis without turning a hair…’. This Gudgeon is refreshingly unlike Madeline, and Bertie is initially disposed to like her (a view he revises when she offers to boost his chances of a union with Madeline).
‘Good morning, Hilda,’ said the Basset in that soupy, treacly voice which had got her so disliked by all right-thinking men. ‘What a lovely, lovely morning.’
The solid girl said she didn’t see what was so particularly hot about it, adding that personally she found all mornings foul. She spoke morosely, and I could see that her disappointment in love had soured her, poor soul. I mourned for her distress, and had the circumstances been different, might have reached up and patted her on the head.
If being unlike Madeline Basset isn’t enough inducement, Hilda Gudgeon is also fond of cricket:
‘…Have you seen the paper this morning? It says there’s some talk of altering the leg-before-wicket rule again. Odd how your outlook changes when your heart’s broken. I can remember a time when I’d have been all excited if they altered the leg-before-wicket rule. Now I don’t give a damn. Let ‘em alter it, and I hope they have a fine day for it.’
As you may recall from a previous post, cricket was my first love before discovering Wodehouse, and I’ve always looked on Hilda Gudgeon as a kindred soul –I even made her the central character of my attempt at Wodehouse homage. Seeing The Gudgeon so revered by the good people of Wilshire filled me with joie de vivre. I purchased both their newsletter and their ale – and what’s more, I’d do it again!
Leaving Gudgeons to one side for the moment, though preferably not in the sun, there are Wodehouse connections in the area surrounding Bradford on Avon. Young Wodehouse spent boyhood holidays with relations in Wiltshire and nearby Somerset, making it probable that he would have visited the town. His mother’s family, the Deanes, excelled at the production of spinster Aunts, a gaggle of whom lived just five and half miles away in the village of Box. Deanes also pop up in the registers at Freshford village, three miles to the West, and the area known as ‘the Deverells’ is roughly twenty miles away. This combination of Aunts, Deverills, Gudgeons and Haddock can only mean one thing to a Wodehouse fan – The Mating Season.
We may never know if young Wodehouse passed the Longs Arms on a country walk, or called in for a whiskey and splash with the local raconteur, but if you’re looking for a fine lunch (with an enticing menu that changes daily) in Wodehouse territory, I heartily recommend it. Better still, why not join us next time? We’re planning further exploratory jaunts in the region so please get in touch. We look forward to meeting you, although… I can’t promise that I won’t slap you on the back and address you with offensive familiarity — in the spirit of the Gudgeons.
The solid girl, whom I had dimly heard telling the gardener he needn’t be afraid of breaking that spade by leaning on it, came back and immediately proceeded, in what I considered an offensively familiar manner, to give me a hearty slap on the back.
‘Well, Wooster, old bloke,’ she said.
‘Well, Gudgeon, old bird,’ I replied courteously.
A hearty farewell to you!
The Code of the Woosters was one of Stefan Nilsson’s suggestions for including a book by P.G. Wodehouse in your 2016 Reading Challenge – as a 20th Century Classic. A classic it most certainly is, not just in the eyes of Wodehouse readers. The Code of the Woosters frequently pops up in literary lists of ‘books you must read’.
Its plot and characters are arguably Wodehouse’s best known. The story opens with Bertie sipping one of Jeeves’ famous hangover cures, the morning after a binge honouring Gussie Fink-Nottle. Bertie’s respite is curtailed by a visit to his Aunt Dahlia.
Little knowing, as I crossed that threshold, that in about two shakes of a duck’s tail I was to become involved in an imbroglio that would test the Wooster soul as it had seldom been tested before. I allude to the sinister affair of Gussie Fink-Nottle, Madeline Bassett, old Pop Bassett, Stiffy Byng, the Rev. H. P. (‘Stinker’) Pinker, the eighteenth-century cow creamer, and the small brown leather-covered notebook.
Bertie is propelled to Totleigh Towers, lair of Sir Watkyn Bassett and his soupy daughter Madeline, where he must wade knee-deep in a stew of Aunts, amateur dictators, policemen’s helmets and silver cow-creamers –to say nothing of the dog Bartholomew.
Among Wodehouse enthusiasts, devotion to The Code of the Woosters borders on the cultish. Perfectly sensible people who previously had no earthly use for cow creamers, find themselves squealing with delight when they meet one. In serious cases, fans have been known to collect them, to display proudly on the mantelpiece abaft their statue of the Infant Samuel at Prayer. Once the enthusiast reaches this stage, it is advisable to join one of the excellent P.G. Wodehouse societies where similarly afflicted subjects gather in gangs and kid ourselves that such behaviour is normal. One devotee, Mr Ashok Bhatia, has gone a step further in trying to de-codify the Code of the Woosters .
The Code of the Woosters has been adapted multiple times for television and radio. Since 2013, it has been going about on the stage under a false name – as Perfect Nonsense – with great success. The continued popularity of this story almost 80 years after its original publication, and its inclusion by literary list-makers as exemplifying Wodehouse at his best, assures this novel’s place as a 20th Century Classic.
The Code of the Woosters is also where you’ll find some of Wodehouse’s most quoted lines:
He spoke with a certain what-is-it in his voice, and I could see that, if not actually disgruntled, he was far from being gruntled.
Quoting Wodehouse is all very well in moderation, but nothing compares to reading his words in situ. If you are looking for a book by P.G. Wodehouse to include in your 2016 Reading Challenge, it’s a great place to start.
How to enter my 2016 Mini Reading Challenge
Just read a book by P.G. Wodehouse in 2016 and post a comment to the original challenge page (link below), telling us:
• which P.G. Wodehouse book you read in 2016; and
• which reading challenge and category you included it under.
You don’t have to be actively participating in any other reading challenge to enter.
For details and to enter, visit:
The 2016 Mini Reading Challenge: include a book by P.G. Wodehouse.
Hot on the heels of the Blandings centenary in June comes the 100th anniversary of P.G. Wodehouse’s Bertie Wooster and Reginald Jeeves. The characters first appeared together in the story ‘Extricating Young Gussie’, published in September 1915 in the Saturday Evening Post.
The centenary has been commemorated with a flurry of articles (try What ho! Celebrating 100 years of Bertie, Jeeves and Blandings by Aparna Narrain). But in spite of praise for Wodehouse and his beloved duo, who made their final appearance in 1974’s Aunts Aren’t Gentlemen, ‘Extricating Young Gussie’ continues to hide it’s light under a bushel. If indeed that’s what lights do.
In his introduction to the 1967 omnibus The World of Jeeves, Wodehouse laments giving Jeeves just two lines, and no important role in the story:
It was only some time later, when I was going into the strange affair which is related under the title of ‘The Artistic Career of Corky’, that the man’s qualities dawned upon me. I still blush to think of the off-hand way I treated him at our first encounter.
‘Extricating Young Gussie’ was the only story omitted from The World of Jeeves omnibus, but readers wanting to assess its merit for themselves can find it in the 1917 short story collection The Man with Two Left Feet. The story begins:
She sprang it on me before breakfast. There in seven words you have a complete character sketch of my Aunt Agatha. I could go on indefinitely about brutality and lack of consideration. I merely say that she routed me out of bed to listen to her painful story somewhere in the small hours. It can’t have been half past eleven when Jeeves, my man, woke me out of the dreamless and broke the news:
‘Mrs Gregson to see you, sir.’
Jeeves makes one more personal appearance:
Jeeves came in with the tea.
‘Jeeves,’ I said, ‘we start for America on Saturday.’
‘Very good, sir,’ he said; ‘which suit will you wear?’
And he is referred to in another passage, when Bertie arrives in New York:
I left Jeeves to get my baggage safely past an aggregation of suspicious-minded pirates who were digging for buried treasures among my new shirts, and drove to Gussie’s hotel, where I requested the squad of gentlemanly clerks behind the desk to produce him.
Many readers, and evidently Wodehouse himself, look back on ‘Extricating Young Gussie’ as a poor beginning for this reason. It doesn’t fit the Jeeves and Wooster formula we’ve come to know and love. Some of the centenary commentators (presumably those who’ve not read it) also find fault with it as a story. In my previous piece ‘Getting started with Bertie and Jeeves: a chronological challenge’ I too was dismissive, claiming that ‘… it’s not essential reading for the new Wodehouse reader.’
Dutifully re-reading ‘Extricating Young Gussie’ for the 100th Anniversary in the belief that this was not Wodehouse’s best, I was thrilled to find the story better than I had (mis)remembered. It’s well-crafted, enjoyable and complete without Jeeves playing a major role. If we are disappointed with it (and I wasn’t) it is only because we’ve developed high expectations of Jeeves through the later stories. But there is much to like without him, and Bertie’s narrative voice and character (developed via an earlier prototype called Reggie Pepper) are firmly established:
If I ever breakfasted at half past eight I should walk on the Embankment, trying to end it all in a watery grave.
And Bertie is in excellent form on the subject of Aunt Agatha.
My experience is that when Aunt Agatha wants you to do a thing you do it, or else you find yourself wondering why those fellows in the olden days made such a fuss when they had trouble with the Spanish Inquisition.
The story takes Bertie from London to New York at Aunt Agatha’s insistence, to break the engagement of his cousin Gussie to a vaudeville performer.
…according to Gussie she does something which he describes as a single on the big time. What this degraded performance may be I have not the least notion.
Bertie treats us to a personal tour of New York hotels, bars and theatre. On arrival, he tells us:
New York is a large city conveniently situated on the edge of America, so that you step off the liner right on to it without an effort. You can’t lose your way. You go out of a barn and down some stairs, and there you are, right in among it.
In fact, the whole bally story is so packed with good stuff that when the conscientious blogger (that’s me) starts quoting, it becomes dashed difficult to stop. Rather than continue to cherry-pick the best bits for another twenty seven pages, I urge you to read them in situ, especially if it’s been some years since you encountered it. The older Wodehouse might have found fault with it, but we don’t have to agree with him.
It was rotten. The poor nut had got stage fright so badly that it practically eliminated his voice. He sounded like some far-off echo of the past ‘yodelling’ through a woollen blanket.
Happy Jeeves & Wooster centenary, everyone!
Meet Jeeves, the world’s most famous valet and P.G. Wodehouse’s best known character. The name Jeeves has come to symbolise the epitome of efficient service to millions who’ve never even read Wodehouse. Among fans, he is spoken of with a reverence usually reserved for deities. And how many of us have wished for a Jeeves in our lives? But is this rosy view of Jeeves’ as Bertie Wooster’s domestic saviour justified, when so often it is Jeeves who contrives the situations from which Bertie must be rescued? Nor is his support lacking in self-interest. In Wodehouse’s idyllic world, is Jeeves more serpent than servant?
The story of Jeeves’ introduction to the Wooster home is told in ‘Jeeves Takes Charge’ (Carry On Jeeves). Jeeves enters Bertie’s employment after Bertie’s previous man, Meadowes, is caught pinching his socks.
I was reluctantly compelled to hand the misguided blighter the mitten and go to London to ask the registry office to dig up another specimen for my approval. They sent me Jeeves.
Jeeves enters in style, his almost supernatural powers evident from the first.
…he floated noiselessly through the doorway like a healing zephyr. That impressed me from the start. Meadowes had had flat feet and used to clump. This fellow didn’t seem to have any feet at all. He just streamed in.
Jeeves’ first act is to mix Bertie a hangover remedy that instantly transforms his new employer from a weakened state, winning his approval. A mere page after his arrival however, Bertie notices ‘…a kind of rummy something about his manner’ when Bertie announces he is engaged to Lady Florence Craye. The page after that, Jeeves conveys his disapproval of Bertie’s check suit.
Again there was that kind of rummy something in his manner. It was the way he said it, don’t you know. He didn’t like the suit. I pulled myself together to assert myself. Something seemed to tell me that, unless I was jolly careful and nipped this lad in the bud, he would be starting to boss me. He had the aspect of a distinctly resolute blighter.
Bertie tells us Florence Craye is ‘…a dear girl, and, seen sideways, most awfully good-looking; but if she had a fault it was a tendency to be a bit imperious with the domestic staff.’ Florence orders Bertie to destroy his Uncle Willoughby’s memoirs, which contain some rather fruity stories about her father, before they reach his publisher. Bertie pinches the manuscript and asks Jeeves to dispose of the remains, but Jeeves posts it to the publisher. When Florence cancels their engagement, Bertie is appalled to discover Jeeves’ presumptuous interference in his affairs and sacks him.
Jeeves slips off the mask of deference and explains his motives:
“As I am no longer in your employment, sir, I can speak freely without appearing to take a liberty. In my opinion you and Lady Florence were quite unsuitably matched.”
He speaks at length of Florence’s bad temper, her reputation in the servants’ hall, and her plans for Bertie’s education — having started him on Types of Ethical Theory, she was preparing to introduce him to Nietzsche.
“…You would not enjoy Nietzsche, sir. He is fundamentally unsound.”
On reflection, Bertie sees that he is well out of the engagement, and we feel relieved for him. But he reinstates Jeeves without pausing to question Jeeves’ methods or motives. It is certainly in Jeeves’ interests to remove Lady Florence as a dominating force in Bertie’s life (as he does with Bertie’s later love-interests). Even if we feel Jeeves’ motives are sound, his underhanded methods are not. To interfere in the love-life of a friend is a moral grey-area, but as a new employee it definitely crosses the line.
Poor Bertie is too preoccupied with his lucky escape from Florence Craye, and hailing Jeeves as his saviour, to appreciate that he may have succumbed to an equally dominant force in Jeeves.
“Oh, Jeeves,” I said; “about that check suit.”
“Is it really a frost?”
“A trifle too bizarre, sir, in my opinion.”
“But lots of fellows have asked me who my tailor is.”
“Doubtless in order to avoid him, sir.”
“He’s supposed to be one of the best men in London.”
“I am saying nothing against his moral character, sir.”
I hesitated a bit. I had a feeling that I was passing into this chappie’s clutches and that if I gave in now I should become just like poor old Aubrey Fothergill, unable to call my soul my own. On the other hand, this was obviously a cove of rare intelligence, and it would be a comfort in lots of ways to have him doing the thinking for me. I made up my mind.
“All right, Jeeves,” I said. “You know! Give the bally thing away to somebody!”
He looked at me like a father gazing tenderly at the wayward child.
“Thank you, sir. I gave it to the under-gardener last night. A little more tea, sir?”
And so, like the young Dorian Grey, our hero Wooster makes his pact. If this was the first installment in a sci-fi serial, we would have sufficient clues to mistrust Jeeves’ and gnash our teeth between episodes in fear for Bertie’s safety. But somehow we do not. We too are under Jeeves’ spell. Snake or saviour? It’s too soon to tell.
‘The only one of the family I really know is the girl.’ I had hardly spoken these words when the most extraordinary change came over young Bingo’s face. His eyes bulged, his cheeks flushed, and his Adam’s apple hopped about like one of those india-rubber balls on the top of the fountain in a shooting gallery.
‘Oh, Bertie!’ he said, in a strangled sort of voice.
I looked at the poor fish anxiously. I knew that he was always falling in love with someone, but it didn’t seem possible that even he could have fallen in love with Honoria Glossop.
This is our introduction to Honoria Glossop, in Chapter Five of The Inimitable Jeeves, and our second encounter with young Bingo, who in Chapter Two was in love with a waitress named Mabel.
Bertie Wooster is astonished that Bingo could love Honoria (daughter of noted ‘nerve specialist’ Sir Roderick Glossop), whom he describes as:
One of those dashed large, brainy, strenuous, dynamic girls you see so many of these days. She had been at Girton, where, in addition to enlarging her brain to the most frightful extent, she had gone in for every kind of sport and developed the physique of a middle-weight catch-as-can wrestler. I’m not sure she didn’t box for the ‘Varsity while she was up. The effect she had on me whenever she appeared was to make me want to slide into a cellar and lie low till they blew the All-Clear.
Honoria Glossop is no model of delicate femininity. She excels in sports and has a serious, educated sort of mind that she’s not afraid to use. Poor Bertie quivers in her presence, no doubt scarred from his former engagement to Lady Florence Cray, who made him read Types of Ethical Theory and was about to start him on Nietzsche.
Whatever his faults, Bingo Little does not share Bertie’s prejudices. He has the endearing capacity to appreciate the merits in any woman. Bertie shrinks from Honoria’s Amazonian qualities, Bingo admires them.
‘Have you told her?’
‘No. I haven’t the nerve. But we walk together in the garden most evenings, and it sometimes seems to me that there is a look in her eyes.’
‘I know that look. Like a sergeant-major.’
‘Nothing of the kind! Like a tender goddess.’
‘Half a second, old thing,’ I said. ‘Are you sure we’re talking about the same girl? The one I mean is Honoria. Perhaps there is a younger sister or something I’ve not heard of?’
‘Her name is Honoria,’ bawled Bingo reverently.
‘And she strikes you as a tender goddess?
‘God bless you!’ I said.
‘She walks in beauty like the night of cloudless climes and starry skies; and all that’s best of dark and bright meet in her aspect and her eyes. Another bit of bread and cheese,’ he said to the lad behind the bar.
I include Bingo’s poetic testimony here because Bertie’s assessment of Honoria is so often accepted as the only plausible one. Considered objectively, Honoria has her good points; she is bright, capable and jolly. Her characteristic laugh — ‘like a train going into a tunnel’ or ‘the Scotch express going under a bridge’ — may delight her pals and admirers. Fond as I am of Bertie, we should remember that he is an unreliable narrator whose view is prejudiced by his own character and tastes, just as Bingo’s assessment is blinded, if briefly, by love.
And I mean briefly — Bingo’s love for Honoria lasts exactly ten pages in my old Penguin edition. The spell is broken not by any action on her part, but by the appearance of another eligible female on the premises:
Walking across the lawn I saw the most radiant, the most beautiful girl in the world. There is none like her, none. Bertie, do you believe in love at first sight? You do believe in love at first sight, don’t you Bertie, old man? Directly I saw her, she seemed to draw me like a magnet. I seemed to forget everything. We two were alone in a world of music and sunshine. I joined her. I got into conversation. She is a Miss Braythwayt, Bertie—Daphne Braythwayt. Directly our eyes met, I realized that what I had imagined to be my love for Honoria Glossop had been a mere passing whim. Bertie, you do believe in love at first sight, don’t you? She is so wonderful, so sympathetic. Like a tender goddess——”
If Bingo’s endearing capacity to fall in love with any woman has a down-side, it’s his lack of constancy. We hear nothing further of Miss Braythwayt, and when we meet ‘Comrade Bingo’ again in Chapter 11 he in love with someone new (I look forward to discussing that particular romance another day).
Meanwhile, Bingo thinks nothing of leaving Bertie with the unpleasant task of disengaging himself from Honoria Glossop, a feat he has to perform again in ‘Jeeves and the Greasy Bird’ (Plum Pie). Bertie also saves old pal ‘Biffy’ Biffen from marrying Honoria in ‘The Rummy Affair Of Old Biffy’ (in Carry On, Jeeves):
Of course, there are probably fellows in the world — tough, hardy blokes with strong chins and glittering eyes — who could get engaged to this Glossop menace and like it; but I knew perfectly well that Biffy was not one of them.
Honoria, you see, is one of those robust, dynamic girls with the muscles of a welter-weight and a laugh like a squadron of cavalry charging over a tin bridge. A beastly thing to have to face over the breakfast table. Brainy, moreover. The sort of girl who reduces you to pulp with sixteen sets of tennis and a few rounds of golf, and then comes down to dinner as fresh as a daisy, expecting you to take an intelligent interest in Freud.
After some rough treatment from these flitting and sipping Drones, Honoria Glossop’s friends and well-wishers will be pleased to hear that she seems set to marry the ‘angry young novelist’ Blair Eggleston at the conclusion of ‘Jeeves and the Greasy Bird’. The news was certainly a great relief to Bertie Wooster.
In December, I had the delightful privilege of seeing Perfect Nonsense on tour at the Theatre Royal in Bath. For anyone not already aware, Perfect Nonsense is a stage adaptation (by David and Robert Goodale) of The Code of the Woosters. It’s been well received by West End audiences since opening in 2013, and is now touring the UK until mid-2015 (see the official site for details). If you’re planning to see the show and don’t want to read my review, look away now.
The Goodale brothers’ clever adaptation sticks closely to Wodehouse’s original story and delicious dialogue, ensuring a production that is pure Wodehouse. But Perfect Nonsense is not a mere staging of the book. The Goodales have added their own comic twist by having all the characters played by just three actors.
The play opens with Bertie Wooster reclining in a favourite armchair. He begins to tell us the sorry tale of his recent entanglement with Madeline Bassett, Gussie Fink-Nottle, old pop Bassett, Sir Roderick Spode and an eighteenth-century cow-creamer. Wodehouse fans in the audience will know where this is going. To assist in the retelling, Bertie enlists the help of Jeeves, and Seppings (Aunt Dahlia’s butler) to ‘play’ the other characters in his narrative.
This ingenious strategy adds something new for Wodehouse fans, without detracting from Wodehouse’s original work — it is also great fun. Jeeves and Seppings undergo an exhausting repertoire of inventive costume changes, in which lampshades become hats and curtains become dresses. The hard-working Seppings is, at one point, dressed as Aunt Dahlia inside a giant Spode suit. John Gordon Sinclair and Robert Goodale were utterly entertaining and memorable as Jeeves and Seppings (played by Matthew Macfadyen and Mark Hadfield in the original cast).
Bertie’s role is physically less demanding, with no elaborate costume or character changes to contend with, but requires a delicate balance of jovial stupidity. It’s not an exact science, but Wodehouse fans can be unforgiving when actors get it wrong. Stephen Mangan was well received in the original cast, and I thought Joel Sams did a sound job (as cover for James Lance) in Bath.
Inventive sets were a highlight of this production, with two revolving interiors that cunningly transformed from Bertie’s London flat into an antique shop in the Brompton Road, various locations around Totleigh Towers, and even accommodated a thrilling drive in Bertie’s two-seater. Set changes were comically incorporated into the theatrics: Jeeves twiddles a handle on the wall to change the painting over the fireplace, while Bertie jiggles paper flames at the end of two sticks. The dog Bartholomew also makes notable appearances. These small details added to the joy of the performance, without detracting from the complicated storyline or Wodehouse’s original dialogue.
No doubt a Wodehouse purist, for such creatures I regret to say exist, would find something in this adaptation to pick on. It is often argued that Wodehouse ought not be adapted at all – that it somehow sullies the perfection of his art. But while comic prose was certainly his forte, Wodehouse’s versatility as a writer included a long association with the theatre, predominantly as a lyricist, but also as a writer and critic. As an added bonus, a reminder of Wodehouse’s theatrical career is provided by Tony Ring in the Perfect Nonsense programme.
During his lifetime, P.G. Wodehouse demonstrated a willingness to experiment with different forms and genres, and to collaborate with others. Intelligent adaptations like Perfect Nonsense remind us of this wider legacy, and remain welcome by fans who simply cannot get enough of his stuff.
* * *
Thanks to regular readers who contacted me during my recent absence from Plumtopia. Awfully decent of you! Results of the Wodehouse Survey are currently being collated into a paper for the 2015 convention and will be shared here in due course.
When I was a young girl, I would watch my dad laughing out loud as he read P.G. Wodehouse. Wanting to be in on the joke, I would flip through the pages of the Jeeves and Wooster stories, laughing out loud in imitation even though I didn’t understand what was going on. As I got older and both my love of literature and sense of humor developed, my enjoyment of the books became authentic. Wodehouse’s writing style is light and his character descriptions are hilarious, and because of that, Jeeves and Wooster have long been my favorite literary duo.
Hollandaise perfectly describes the relationship between Bertie Wooster and his valet, Jeeves. This sauce has so much potential to go wrong – too much heat and it can split, and too little heat and it won’t get cooking. It takes the sharp attention of the chef’s eye to keep it together. In each…
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