Tag Archives: Eve Halliday

Top 50 P.G Wodehouse romances (voted by readers)

This February, I asked readers to nominate their favourite romances from the world of P.G. Wodehouse and to cast their votes in numerous polls on Twitter and Facebook. It’s an admittedly frivolous exercise, but we Wodehouse fans need not be steeped to the gills with serious purpose all the time. If our comments and discussion over the past month have led anyone to pick up a Wodehouse book, we have done our little bit to help spread sweetness and light in the world.

And there’s a lot of sweetness and light to spread — over 80 couples nominated from 58 different novels and story collections published between 1909 (The Gem Collector) and 1974 (Aunts Aren’t Gentlemen). Fans applied a liberal interpretation of ‘romance’ to include favourite couples Dolly and Soapy Molloy, Dahlia and Tom Travers, Bertie and Jeeves, and even Lord Emsworth and The Empress of Blandings –not romantic plots within the strict meaning of the act perhaps, but too beloved to leave out.

Over 660 votes and 130 comments were calculated, crunched and analysed to produce the ‘Top 50’ list below – a wonderful source of reading suggestions if you’re working your way through Wodehouse’s work.

While it would be a mistake to place too much importance on their order of appearance, a few clear favourites emerged. The central romance of Psmith & Eve Halliday in Leave it to Psmith was the stand-out favourite, 22 votes ahead of the second placed romance between Madeline Bassett and Gussie Fink-Nottle (and 38 votes ahead of third). As the leading lovers in Wodehouse’s best-known series, the inclusion of La Bassett and Spink-Bottle makes sense, despite the deplorable drippiness of these characters.

TOP 50 WODEHOUSE ROMANCES
Couple (First) Appear in
1 Psmith & Eve Halliday Leave it to Psmith (1923)
2 Madeline Bassett & Gussie Fink Nottle Right Ho, Jeeves (1934)
3 Bingo Little & Rosie M. Banks The Inimitable Jeeves (1923)
4 Ashe Marson & Joan Valentine Something Fresh (1915)
5 Ronnie Fish & Sue Brown Summer Lightning (1929)
6 George ‘Piggy’ Wooster & Maudie Wilberforce Indian Summer of an Uncle in Very Good, Jeeves (1930)
7 Jimmy Crocker & Ann Chester Piccadilly Jim (1918)
8 George Bevan & Lady Maud Marshmoreton A Damsel in Distress (1919)
9 Cuthbert Banks & Adeline Smethurst The Clicking of Cuthbert (1922)
10 Agnes Flack & Sidney McMurdo Those in Peril on the Tee in Mr Mulliner Speaking (1929)
11 Esmond Haddock & Corky Pirbright The Mating Season (1949)
12 Maudie Stubbs & Sir Gregory ‘Tubby’ Parsloe-Parsloe Pigs Have Wings (1952)
13 Archibald Mulliner & Aurelia Cammarleigh The Reverent Wooing of Archibald in Mr Mulliner Speaking (1929)
14 Sally Fairmile & Joss Weatherby Quick Service (1940)
15 Hugo Carmody & Millicent Threepwood Summer Lightning (1929)
16 Sally Nicholas & Ginger Kemp The Adventures of Sally (1922)
17 William Bates & Jane Packard Rodney Fails to Qualify in The Heart of a Goof (1926)
18 Dolly & Soapy Molloy Sam the Sudden (1925)
19 Mordred Mulliner & Annabelle Sprockett-Sprockett The Fiery Wooing of Mordred in Young Men in Spats (1936)
20 Jeff Miller & Anne Benedick Money in the Bank (1942)
21 Beatrice Chavender & J.B. Duff Quick Service (1940)
22 “Nobby” Hopwood & Boko Fittleworth Joy in the Morning (1947)
23 Madeline Bassett & Spode Stiff Upper Lip, Jeeves (engaged) (1963)
24 Pauline Stoker & Chuffy Chuffnell Thank You, Jeeves (1934)
25 Sacheverell Mulliner & Muriel Branksome The Voice from the Past in Mulliner Nights (1933)
26 Jill Mariner & Wally Mason Jill the Reckless (1921)
27 Tipton Plimsoll & Veronica Wedge Full Moon (1947)
28 Sam Shotter & Kay Derrick Sam the Sudden (1925)
29 Monty Bodkin & Sandy Miller Pearls, Girls and Monty Bodkin (1972)
30 Lord Emsworth & The Empress of Blandings Pig-Hoo-o-o-o-ey in Blandings Castle (1935)
31 Jerry Vail & Penny Donaldson Pigs Have Wings (1952)
32 Billie Dore & Lord Marshmoreton A Damsel in Distress (1919)
33 Bill Chalmers & Elizabeth Boyd Uneasy Money (1917)
34 George Mulliner & Susan Blake The Truth About George in Meet Mr Mulliner (1927)
35 Stiffy Byng & Stinker Pinker The Code of the Woosters (1938)
36 Ramsden Waters & Eunice Bray The Rough Stuff in The Clicking of Cuthbert (1922)
37 Bill Lister & Prue Garland Full Moon (1947)
38 Aunt Dahlia & Tom Travers Clustering Round Young Bingo in Carry On, Jeeves (1925)
39 Berry Conway & Ann Moon Big Money (1931)
40 Joe J. Vanringham & Jane Abbott Summer Moonshine (1937)
41 Adrian Mulliner & Lady Millicent Shipton-Bellinger The Smile that Wins in Mulliner Nights (1933)
42 Annabel Purvis & Freddie Fitch-Fitch Romance at Droitgate Spa in Eggs, Beans and Crumpets (1940)
43 Horace Appleby & Ada Cootes Do Butlers Burgle Banks? (1968)
44 Bobbie Wickhham & Reggie ‘Kipper’ Herring Jeeves in the Offing (1960)
45 Bertie & Jeeves The Inimitable Jeeves (1923)
46 Pat Wyvern & John Carroll Money for Nothing (1928)
47 Jane Hunnicut & Jerry West The Girl in Blue (1970)
48 Galahad Threepwood & Dolly Henderson Summer Lightning (mention only – Dolly never appears) (1929)
49 Captain Brabazon-Biggar & Mrs Spottsworth Ring for Jeeves (1953)
50 Freddie Widgeon & Sally Foster Ice in the Bedroom (1961)

That’s just the top 50 — there’s another 30 nominated romances where they came from!

Thanks to everyone who participated. It has been a real pleasure for me to revisit old favourites, and be reminded of some wonderful characters I’d forgotten. I hope you find this list whets your appetite to read or re-read a Wodehouse romance again soon.

HP

Happy P.G. Wodehouse Day!

What Ho, and Happy P.G. Wodehouse Day everyone!

That’s what I’m calling Valentine’s Day this year. And why not? It’s a good day for it. Saint Valentine can’t expect all the attention for himself. Nor can he bally well object — as the Patron Saint of affianced couples, love, and marriage — to us celebrating an author who wrote about these things in abundance.

St Valentine’s Day is also the anniversary of P.G. Wodehouse’s death in 1975. And if your romantic life on Valentine’s Day is as depressing as mine, Wodehouse is the man to turn to for solace and cheer.

This February, I’ve been on a mission to discover your favourite romances from Wodehouse’s world. If you’ll indulge me today (and I really feel somebody ought to), I’d like to share a few of my own favourites.

something-freshJoan Valentine and Ashe Marson

From: Something Fresh

Something Fresh was the book that marked my conversion from a Wodehouse reader to budding completist and fanatic. One of the many memorable features of this novel is the romance between the central  characters.

They are, like most of Wodehouse’s great couples, genuine equals. At the beginning of the story, they’re both earning a meagre income as writers for the same magazine. Joan is an intelligent and capable heroine, brimming with gumption. She motivates Ashe to leave his dingy apartment in search of adventure at Blandings Castle.

“Mr. Marson—”

“Don’t call me Mr. Marson.”

“Ashe, you don’t know what you are doing. You don’t know me. I’ve been knocking about the world for five years and I’m hard–hard right through. I should make you wretched.”

“You are not in the least hard–and you know it. Listen to me, Joan. Where’s your sense of fairness? You crash into my life, turn it upside down, dig me out of my quiet groove, revolutionize my whole existence; and now you propose to drop me and pay no further attention to me. Is it fair?”

“But I don’t. We shall always be the best of friends.”

“We shall–but we will get married first.”

“You are determined?”

“I am!”

Joan laughed happily.

“How perfectly splendid! I was terrified lest I might have made you change your mind.

P.G. Wodehouse's Psmith. Cover of the Bietti edition of Leave it to Psmith (1936).
P.G. Wodehouse’s Psmith. Cover of the Bietti edition of Leave it to Psmith (1936).

Psmith and Eve Halliday

From: Leave it to Psmith

Flamboyant, marvellous, ingenious Psmith is the shimmering star of Wodehouse’s early work and a favourite character of many Wodehouse fans,  including me. In Leave it to Psmith, he meets his romantic match in Eve Halliday. Eve is a strong  capable heroine with limited means, while Psmith has been reluctantly employed in the fish business. After a chance encounter, Psmith and Eve meet again at Blandings Castle.

Eve is a star character in her own right, shining though the story in a way that Psmith’s boyhood companion Mike Jackson (much as we’re fond of him) never managed to do. Had Wodehouse matched Psmith with anyone less worthy, we could not have forgiven him.

‘Cynthia advised me,’ proceeded Eve, ‘if ever I married, to marry someone eccentric. She said it was such fun . . . Well, I don’t suppose I am ever likely to meet anyone more eccentric than you, am I?’

‘I think you would be unwise to wait on the chance.’

‘The only thing is . . .’ said Eve reflectively. ‘“Mrs Smith” . . . It doesn’t sound much, does it?’

Psmith beamed encouragingly.

‘We must look into the future,’ he said. ‘We must remember that I am only at the beginning of what I am convinced is to be a singularly illustrious career. “Lady Psmith” is better . . . “Baroness Psmith” better still . . . And – who knows? – “The Duchess of Psmith” . . .’

mr mulliner speakingArchibald Mulliner and Aurelia Cammarleigh

From: ‘The Reverent Wooing of Archibald’ (Mr Mulliner Speaking)

People with a mere nodding acquaintance of Wodehouse are often surprised to learn that he created many central characters like Joan, Eve, Ashe and Psmith (especially in the stand-alone novels) who were obliged to work without the support of a large income. P.G. Wodehouse is much better known as the creator of Bertie Wooster and his fellow Drones — idle young men of independent wealth and sub-par intelligence.

And they don’t get much idler or sub-parer than Archibald Mulliner, a genial fellow whose only claim to fame is his ability to imitate a hen laying an egg.

– a ‘Charawk-chawk-chawk-chawk’ of such a calibre that few had ever been able to listen to it dry-eyed. Following which, it was Archibald’s custom to run round the room, flapping the sides of his coat, and albumen which she sees lying beside her in the straw.

Then, gradually, conviction comes.

‘It looks like an egg,’ one seems to hear her say. ‘It feels like an egg. It’s shaped like an egg. Damme, it is an egg!’

And at that, all doubting resolved, the crooning changes; takes on a firmer note; soars into the upper register; and finally swells into a maternal pæan of joy – a ‘Charawk-chawk-chawk-chawk’ of such a calibre that few had ever been able to listen to it dry-eyed. Following which, it was Archibald’s custom to run round the room, flapping the sides of his coat, and then, leaping onto a sofa or some convenient chair, to stand there with his arms at right angles, crowing himself purple in the face.

But even a hen-laying-egg impersonator can find love in Wodehouse’s generous world, although Archibald needs to apply the full extent of his talents to smooth the course of a difficult wooing.

Cyril Mulliner and Amelia Bassett

From: ‘Strychnine in the Soup’ (Mulliner Nights)

Some of the great Wodehouse romances take their time to develop. For others, love blossoms from the very beginning.

Mulliner Nights by P.G. Wodehouse

‘You are evidently fond of mystery plays.’

‘I love them.’

‘So do I. And mystery novels?’

‘Oh, yes!’

‘Have you read “Blood on the Banisters”?’

‘Oh, yes! I thought it was better than “Severed Throats”.’

‘So did I,’ said Cyril. ‘Much better. Brighter murders, subtler detectives, crisper clues.., better in every way.’

The two twin souls gazed into each other’s eyes. There is no surer foundation for a beautiful friendship than a mutual taste in literature.

‘My name is Amelia Bassett,’ said the girl.

‘Mine is Cyril Mulliner. Bassett?’ He frowned thoughtfully. ‘The name seems familiar.’

‘Perhaps you have heard of my mother. Lady Bassett. She’s rather a well-known big-game hunter and explorer. She tramps through jungles and things. She’s gone out to the lobby for a smoke.

This quotation ends with a hint of the difficulties to come, in the shape of Lady Bassett and her explorer chum Lester Maple Durham (pronounced Mum). These fierce obstacles to a happy union are not easily overcome – it will require all of Cyril’s courage, a goodish brace of cocktails, and a copy of Horatio Slingsby’s ‘Strychnine in the Soup’ to win the girl he loves.

Very Good, JeevesPiggy and Maudie

From: ‘Indian Summer of an Uncle’ (Very Good, Jeeves)

In Very Good, Jeeves, Bertie Wooster is reluctantly obliged – under instruction from his Aunt Agatha – to break up his Uncle George’s romance with Rhoda Platt, a young waitress.  With Jeeves’ assistance Bertie is successful in breaking off the romance, causing the occasional misguided critic to point to this story as evidence of misogyny on the part of the author and his characters. This view is drivel!

“Indian Summer of an Uncle” is a rare but triumphant example of a mature couple finding romance in fiction. Rhoda Platt’s Aunt, Maudie Wilberforce, is revealed as the former Criterion bar-maid to whom Uncle George (now Lord Yaxley) was one engaged. If the family considered her an unsuitable match then, she is even less appealing in advanced middle age.

I should think that in her day she must have been a very handsome girl, though even then on the substantial side. By the time she came into my life, she had taken on a good deal of excess weight. She looked like a photograph of an opera singer of the ’eighties.  Also the orange hair and the magenta dress.

But some extra girth and a dash or orange hair are no obstacle to love in Wodehouse’s world. Uncle George has no hesitation in choosing his former love over her pretty young niece.

As Bertie notes:

The first thing she did when she came in was to start talking about the lining of her stomach. You see the hideous significance of that, Jeeves? The lining of his stomach is Uncle George’s favourite topic of conversation. It means that he and she are kindred souls.

The reunion of Maudie Wilberforce and ‘Piggy’ Wooster is a touching scene, in which the lining of stomachs features heavily. And it gives an aged and girthed f. of the s. like myself some small hope for the future.

But that’s enough sentiment from me today. I’m off to read Honeysuckle Cottage.

If you can stomach a little more romance, Ashok Bhatia has also written something special for the occasion – on Cupid in Plumsville:

Happy wooing, friends!

HP 

Agatha Christie’s Hallowe’en Party for P.G. Wodehouse

HPartyAgatha Christie’s novel Hallowe’en Party, the 39th outing for Belgian detective Hercule Poirot, was first published In November 1969.

Christie dedicated it:

To P. G. Wodehouse — whose books and stories have brightened my life for many years. Also, to show my pleasure in his having been kind enough to tell me he enjoyed my books.

In February 2015, many of Agatha Christie’s letters were published to mark the 125th anniversary of her birth. They included a letter from P.G.Wodehouse, thanking Christie for the dedication.

Wodehouse and Christie were mutual admirers of each other’s work, and had begun corresponding fifteen years earlier, although a 1955 letter from Wodehouse to his friend Denis Mackail shows their relationship got off to a rocky start.

…I’m seething with fury. Sir Allen Lane of Penguin was over here not long ago and told me that Agatha Christie simply loved my stuff and I must write to her and tell her how much I liked hers. So with infinite sweat I wrote her a long gushing letter, and what comes back? About three lines, the sort of thing you write to an unknown fan. ‘So glad you have enjoyed my criminal adventures’ – that sort of thing.

The really bitter part was that she said the book of mine she liked best was The Little Nugget –1908 production. And the maddening thing is that one has got to go on reading her, because she is about the only writer today who is readable.

(Sophie Ratcliffe’s ‘P.G.Wodehouse: A Life in Letters’)

But as Wodehouse himself wrote, in ‘Strychnine in the Soup’ (Mulliner Nights): “There is no surer foundation for a beautiful friendship than a mutual taste in literature.” Despite this inauspicious beginning, Wodehouse and Christie continued corresponding until the early 1970s (Wodehouse died in 1975). As prolific and popular writers, they had much in common. They discussed their methods, their work, and in later years, their ailments.

In one letter, Wodehouse wrote to Christie:

I often wonder how you write, — I mean do you sit upright at a desk? I ask because I find these days I can’t get out of an arm chair and face my desk, and when I write in an arm chair I have the greatest difficulty in reading what I have written. This may be because I have a deckchair, a Boxer and one of our seven cats sitting on me. But oh, how I have slowed up. It’s terrible.

(Sophie Ratcliffe’s ‘P.G.Wodehouse: A Life in Letters’)

Agatha Christie’s letters to P.G. Wodehouse are contained in the Wodehouse archives, which I was privileged to view in 2016. Among the treasures I discovered during my visit, was a letter from Agatha Christie dated 15 October 1969, telling Wodehouse of her dedication of Halowe’en Party to him.

Other letters from Christie recount her pleasure on finishing a novel, frustrations with proof readers’ corrections, and her delight that their waxworks were ‘…sitting side by side in Madam Tussauds’ in 1974. These letters, many of them handwritten, were among the Wodehouse archives acquired by the British Library last year.

This will be welcome news for Wodehouse readers who are also fans of Agatha Christie – of whom there are many. A 2014 poll in the Fans of P.G. Wodehouse Facebook group suggests Agatha Christie is the Number 1 author Wodehouse lovers read when not reading Wodehouse.

I am happy to count myself among them. I started reading Agatha Christie in my early teens — a natural progression from Enid Blyton’s Famous Five series, which I had collected and read many times over as a child. By the time I encountered my first Wodehouse story, in my 21st year, I had a solid grounding in the culture and era in which he wrote, and the crime genre he so admired (which he often incorporated into his work). Having also read my allotted share of Shakespeare and Chaucer by this time, I was not frightened by the complexity of Wodehouse’s style, or his extensive literary, classical and biblical references.

Agatha Christie needs no endorsement from me — she is the top selling novelist of all time. But I particularly recommend her books to people wanting to prepare younger readers for enjoying Wodehouse at a later age.

Of course, I shall take it as read that some of you were child geniuses, devouring Wodehouse novels from the age of five, and that your own child began (under your expert tutelage) to read Wodehouse — and possibly Shakespeare — in the womb. Top stuff, old Bean! However, the average modern child is likely to be thoroughly put off Wodehouse, whose writing is more complex than he’s given credit for, if it’s thrust upon them too soon. I suggest these wilderness years can be productively spent reading Agatha Christie instead.

Murders are not as uncommon as you might think in the often gruesome world of Young Adult fiction. Unless your prospective younger reader is particularly sensitive, they may well appreciate the central murder in Hallowe’en Party — of a boastful thirteen year old called Joyce, during a children’s party.

Christie also created some terrific young heroines, try Cat Among the Pigeons, and The Secret Adversary.  When the time comes to move on to Wodehouse, the adventures of Joan Valentine in Something Fresh, and Eve Halliday in Leave it to Psmith, will make great places to start.

In fact, I think I’ll finish with a dash of Joan Valentine and Ashe Marson now.

To set the scene for you, Ashe is struggling to come up with a plot for his new mystery story, which he has decided to call ‘The Wand of Death’, when he is interrupted by a girl (Joan Valentine).

‘I am sorry for your troubles,’ said Ashe firmly, ‘but we are wandering from the point. What is a wand of death?’

A wand of death?’

‘A wand of death.’

The girl paused reflectively.

‘Why, of course it’s the sacred ebony stick stolen from the Indian temple which is supposed to bring death to whoever possesses it. The hero gets hold of it, and the priests dog him and send him threatening messages. What else could it be?’

Ashe could not restrain his admiration.

‘This is genius. I see it all. The hero calls in Gridley Quayle, and that patronizing ass, by the aid of a series of wicked coincidences, solves the mystery, and there I am with another month’s work done.’

She looked at him with interest.

‘Are you the author of “Gridley Quayle”?’

‘Don’t tell me you read him?’

‘I do not read him. But he is published by the same firm that publishes “Home Gossip”, and I can’t help seeing his cover sometimes while I am waiting to see the editress.’

Ashe felt like one who meets a boyhood’s chum on a desert island. Here was a real bond between them.

‘Do the Mammoth publish you too? Why we are comrades in misfortune — fellow-serfs. We should be friends. Shall we be friends?’

‘I should be delighted.’

(From: Something Fresh, 1915)

May all your pumpkins be prize-winners this Halloween.

HP

 

A note on the Psmith-Halliday romance by K.V.K. Murthy

32-23This February’s Great Wodehouse romances series continues with another guest author, K.V.K. Murthy, known to Facebook friends as James Joyce.  His piece takes us on a walk through romantic literary history with Psmith and Eve Halliday (Leave it to Psmith).

A note on the Psmith-Halliday romance

by K.V.K. Murthy

The question of favourites is mostly subjective, and Wodehouse’s vast canvas of miniature romances doubtless provides for each taste. The Gussie-Bassett, Tuppy-Angela, Bingo-Banks and others too numerous to mention are all miniatures :a concatenation (to use Jeeves’ word) of comical situation, Edwardian silly-assness and a bit of fat-headedness thrown in for seasoning. They are the staple of drawing-room one-act plays of a certain generation, given occasional revivals in schools to round off the Annual Day shindig. Barring minor changes in detail, they are all more or less cast from the same block. Wodehouse’s success with that block – or formula – lay in the plasticity of his language: in anybody else’s hands it would have spelt tedium, a tiresomely unfunny business.

But the Psmith-Halliday romance stands out, a class apart, with little in common with the other country-house capers. To begin with, this is not a miniature sketch: it is an epic, a work conceived on classical lines working on classical allusions (‘the fruit of an expensive education,’ as Psmith himself would say). If the whole comedy of errors is Bardic, Psmith’s first encounter with Eve, and his first act of devotion is pleasingly (and appropriately) Elizabethan: Eve’s hat, the rain, the hastily produced umbrella are nothing if not throwbacks to Sir Walter Raleigh’s famous act with his cloak for his Queen(Psmith indeed mentions this parallel to the unfortunate Walderwick).

Psmith’s courting is a stately progress, like a gavotte or apas-de-deux – matched perfectly by a languid stateliness of Wodehousian idiom absent from the miniature romances, which again underscores the Master’s fine ear for symphonic form (the book can actually be visualised as a symphony in four movements: a brief adagio, followed by an allegro ma non troppo, a longish andante, and a final presto).

If the romance begins on an Elizabethan note, it also seems to advance through epochs. In his initial moves to Eve, Psmith’s demeanour has faint courtly echoes of Andrew Marvell, although without the fatalistic overtones (in a bizarre coincidence there is even a Cynthia in one of his poems) – and with this we have stepped quietly and seamlessly into the Restoration. But we don’t linger long here.

Soon, Psmith and Eve decant us, seamlessly again, and charmingly – into the Regency. It doesn’t require too overwrought an imagination to see Psmith as a latter-day Beau Brummell – his fastidious appearance alone would have earned a hat doff from that laced and cravated dandy, to say nothing of his manner of speech- and Eve as a fine Belgravia belle (even if her origins in the book, though genteel, are decidedly not West End).

Whether Wodehouse saw these associations, much less intended them to be seen is a moot point. In any case it is only critics who look for them and find them, as this one did. And I’m sure the Master wouldn’t complain. But there is one other aspect which sets the Psmith-Halliday chronicle apart from all the others: its is a complete novel in the classical sense, in the elegant Jane Austen mould, a perfect marriage of form and content.

JJ

Great Wodehouse Romances: When Plum created Eve

Psmith and Eve (Source: http://en.wikipedia.org/wiki/File:Psmith.jpg)
Psmith and Eve Halliday in Leave it to Psmith

Rupert (or Ronald) Psmith was one of Wodehouse’s earliest heroes. He made his memorable first appearance in 1908 in a school story serialised in The Captain as ‘The Lost Lambs’, better known to many readers under the 1953 title Mike and Psmith. Alongside his bosom school chum Mike Jackson, Psmith (the P is silent as in pshrimp) made a successful transition from school stories to adult fiction in two further novels, Psmith in the City (1910) and Psmith Journalist (1915), before his final appearance in Leave it to Psmith (1923).

It is clear from comments in the growing Wodehouse Facebook community that my own love for this character is shared by many others, so it seems apt that when Wodehouse cast him as a romantic lead, he created Eve.

She was a girl of medium height, very straight and slim; and her fair hair , her cheerful smile, and the boyish suppleness of her body all contributed to a general effect of valiant gaiety, a sort of golden sunniness – accentuated by the fact that, like all girls who looked to Paris for inspiration in their dress that season, she was wearing black.

Leave it to Psmith

Aside from her outward charms, Eve Halliday is also an attractive character. She is one of Plum’s independent heroines, with no stern father or serious minded aunt to misguide her.  The prospect of pinching Lady Constance Keeble’s necklace (in aid of a good cause) does not faze her. She also shows herself to be a loyal friend, with an intelligent mind and an elegance of manner that make her a fitting mate for one of Plum’s most beloved characters.

Psmith agrees:

“This,” said Psmith, “is becoming more and more gratifying every moment. It seems that you and I were made for each other. I am your best friend’s best friend and we both have a taste for stealing other people’s jewellery. I cannot see how you can very well resist the conclusion that we are twin-souls.”

“Don’t be silly.”

“We shall get into that series of ‘Husbands and Wives Who Work Together’.”

At the end of Leave it to Psmith, the couple are engaged and Psmith is hired to replace The Efficient Baxter as Lord Emsworth’s secretary. Although Wodehouse later adapted the story (with Ian Hay) for the stage, he never revisited the Psmiths after their marriage. One possible explanation for this, given by Wodehouse biographer Frances Donaldson, is that Wodehouse could not envisage Psmith without a substantial income. Donaldson also suggests that Leave it to Psmith was written ‘only after much badgering’ by Plum’s daughter Leonora, to whom the book is also dedicated.

Another explanation has been given, by some brainy cove whose name escapes me for the moment (I have a feeling it was Plum himself, but cannot find the reference), is that Wodehouse found it difficult to envisage suitable plots for Psmith after his marriage. Having found his niche as a writer of romantic comedies, Wodehouse had little use for a married hero (Bertie Wooster was kept notably single). Although we are treated to a few short stories centred on the married life of Bingo and Rosie Little, these are exceptions.

The fate of the Psmiths after marriage continues to be a topic for speculation among Wodehouse readers. We want more of them! I have often thought of writing a little homage myself – along the lines of Sebastain Faulks, but without the advance.

Perhaps like the Molloys (Dolly and Soapy, to their friends) the Psmiths might build on their early forays in the necklace pinching business and turn their capable minds to crime. They would excel I am sure, provided they could overcome any moral objections. I see their criminal activities confined to pinching only from those who have the stuff in piles, coupled with a propensity to share their ill-gotten gains with the needy, combining the debonair style of Raffles with the generosity of Robin Hood.

Perhaps more plausibly, I can also imagine the Psmiths entering the crime detection business. From almost the first moment, when Psmith meets Mike Jackson in the common room at Sedleigh, there is something Holmesian about him. Wodehouse was a great fan of Arthur Conan-Doyle, and it is Psmith, not Sherlock Holmes, who first utters the phrase ‘Elementary, my dear Watson’  (in Psmith Journalist). Psmith has the perfect partner in Eve, who promises to be every bit as capable as Agatha Christie’s delightful Tuppence Beresford.

Plotting out the next few chapters in their lives, I see Psmith becoming the unexpected recipient of a modest inheritance (a distant Aunt, or perhaps a rich Uncle in Australia) that would enable the Psmiths to purchase a detective agency. They would excel in the detection business, although they may have to fight off some underhanded skulduggery from a competing agency run by Percy Pilbeam.

Great wealth may never be theirs, unless the Psmiths have the good fortune to recover a Maharaja’s ruby, or compromising letters for a wealthy heiress. But they would have enough to secure a modicum of comfort and keep the wolves at bay. Even in tough times, one suspects the enterprising Psmiths have the necessary wherewithal to succeed in life without ever having to fall back on the fish business.

HP

Wodehouse fans needed for Valentine series: The Great Wodehouse Romances

This Valentine’s Day, it will be 39 years since the death of P.G. Wodehouse. To mark the occasion, I am hoping to post a series of pieces on love and romance in the world of P. G. Wodehouse. It’s an ambitious task and I’m eager for other Wodehouse lovers to get involved.

Specifically, I’m keen to receive pieces on the theme of Wodehouse and love. I’m especially interested in covering the great romances of Wodehouse. Who are your favourite Wodehouse couples? What makes them special? I asked Fans of P G Wodehouse on Facebook – their favourites include:

  • Psmith and Eve Halliday (Leave it to Psmith)
  • Bingo Little and Rosie M Banks (The Inimitable Jeeves)
  • Dolly and Soapy Molloy
  • Madeline Bassett and Gussie Fink Nottle*
  • Madeline Bassett and Roderick Spode
  • Gussie Fink Nottle and Emerald Stoker
  • Stiffy Bing and Stinker Pinker
  • Archie and Lucille Moffam
  • Aunt Dahlia & Uncle Tom
  • Sally Fairmile and Joss Weatherby
  • Sally Nicholas and Lancelot ‘Ginger’ Kemp (The Adventures of Sally)
  • Ashe Marson & Joan Valentine
  • Ronnie Fish and Sue Brown
  • Anne Benedick & Jeff Miller
  • Pongo Twistleton and Sally Painter
  • Aunt Constance and Jimmy Schoonmaker
  • Lord Emsworth and the girlfriend
  • Lord Emsworth and the Empress of Blandings

* A contentious vote, as both end up with other mates.

What do you think?
Like many of you, Eve and Psmith are a favourite of mine. I also have a soft spot for Eustace Highnet and Jane Hubbard from The Girl on the Boat (1922).

If you would like to contribute a tribute to your favourite couple, or some other aspect of the theme of Wodehouse and love, please do send it to me. By all means write at length, but even a few paragraphs would suffice. You will naturally be attributed as the author, with much thanks and gratitude. Alternatively you could write on the theme at your own blog or webpage, and paste a link in the comments so I can reblog it here at Plumtopia.

This is an ambitious undertaking, but I think even a modest response will be a wonderful way to celebrate Plum this Valentine’s Day.

HP