P.G. Wodehouse Under the Feminist Lens

        “‘Every schoolboy,’ wrote Ogden Nash, ‘knows that no one can hold a candle to P. G. Wodehouse.’ His novels and short stories were among the best-selling works of their generation, but it should be remembered that Wodehouse’s appeal transcended his popular audience” (Griffin). With seamlessly complex plots, relentless verbal ingenuity, and richly humorous characters, P.G. Wodehouse created his unique series of books. In addition to writing more than ninety novels, P.G. Wodehouse wrote hundreds of short stories, some eighteen plays, the lyrics for thirty-three theatrical musicals, and a vast, uncollected body of essays, reviews, poems, and sketches. Wodehouse is regarded as one of the greatest (if not the greatest) humorists of the twentieth century. Whether or not he meant to, Wodehouse included feminism throughout his writings.

        Pelham Grenville Wodehouse was born on October 15th, 1881 in Guildford, England into a very distinguished family. His father’s family was a cadet branch of a long line of Norfolk knights, with substantial ties to aristocracy, the military, and higher positions of the Anglican church. As for his mothers side of the family, they were solidly middle-class citizens, and distinguished by clerics, generals, artists, and writers. Pelham was the youngest of three boys. Soon after P.G. was born, him and his mother, along with his other siblings, returned to Hong Kong where Mr. Wodehouse had been stationed as a judge. When Pelham turned two years old, Mrs. Wodehouse arranged for the care of the three boys back in England. The boys ended up being raised from a distance and also by governesses, school administrators, and

aunts. He saw his parents only on their rare visits back to England. P.G. made his way

through many schools, one of which attempted to prepare him for the navy. After pleading to join his brothers, he was eventually moved to Dulwich College where he greatly succeeded both as a student and as an athlete and remained until his graduation in 1900. While in school, he read voraciously from authors such as Rudyard Kipling and Arthur Conan Doyle, whom he had a particular love for. This was the impetus for his new found ambition to write (White).

        After graduating from Dulwich, he hoped to follow his older brother to Oxford. However, his father could not afford expensive education for the both of them and P.G. was sent to the Hong Kong and Shanghai bank in London to prepare for a career as a banker in the East. Unfortunately, he had no interest or talent whatsoever in banking. He was determined not to follow in his father’s footsteps so in addition to banking, he began to establish his writing career; he wrote occasional pieces for newspapers and magazines including twice-daily snippets for a column in the London Globe. During this time, Wodehouse was racing against the clock to prove that he could earn a living by writing so that he would not have to transfer on assignment with the bank. By 1902, he had published more than eighty short pieces, mostly for two magazines for adolescent boys, and also began working steadily as a newspaper journalist. In September of the same year, after his first novel was published, Wodehouse resigned from the bank (White).

        Between 1902 and 1909, he worked for The Globe, continued to publish as a freelancer, and published a collection of short stories. in 1904, Wodehouse travelled to the United States and thus began his love affair with the country. He was especially fascinated with New York and would spend most of his savings and five-week holiday from The Globe to travel there. He was intrigued by the New York underworld, its gangs, and their hold on corrupt authorities. When he returned to England, he realised that his knowledge of America was in high demand. Later in life he stated, “In 1904 anyone in the London writing world who had been to America was regarded with awe… My income rose like a rocketing pheasant.” Throughout his life, Wodehouse published his work in both countries, sometimes slightly revised and sometimes under different titles, but always with separate American and British publishers. His New York observations led to his well known Psmith series (White).

Wodehouse’s career became increasingly transatlantic between the 1910s and 1920s. In 1914, while in the United States, he met a beautiful young woman named Ethel Rowley. Within a month they were married and by every account an exceptionally happy if not particularly passionate marriage. Ethel managed everything about P.G’s life except for his writing and protected his time for writing with great care. She also brought to the marriage a nine year old daughter, Leonora whom Wodehouse truly loved and adopted. He ended up writing her his dearest and sweetest letters and based all his heroines on her looks and personality (White).

Soon after, Wodehouse became highly successful. Kept from returning to England by the outbreak of World War I, he focused on writing for publishing and theater. He also got involved with musicals, working with Jerome Kern and Guy Bolton on thirteen total romantic comedies. In 1917, at the height of their fame, they had five shows on broadway. During the 1920s and 1930s, Wodehouse’s mature writing style emerged, combining the style of romantic comedy with sentiment and even seriousness at times, along with troubles drawn from real life (White).

Between the wars, P.G. Wodehouse was an extremely busy author. He kept to his daily routine his whole life. He and Ethel crossed the Atlantic many times leasing properties in

both New York and in the home counties surrounding London, and, in the late 1930s purchased an estate in Le Touquet, France. In this period, Wodehouse developed his best characters and sagas. The Jeeves and Wooster stories, the Blandings saga, the Mulliner stories, and the golf stories all germinated in the 1920s and reached their heights in the 1930s.

At the height of his success, Woodhouse was wooed by Hollywood and in 1931 signed a contract with MGM. However, he found his talents were being wasted there and made the tactical error of explaining this to a Los Angeles news reporter. Not long after, he was fired and eventually left California for good in 1937, returning to Le Touquet for peace and quiet, and to resume his writing (White).

Unfortunately, on July twenty-first of 1940, after the Germans occupied Le Touquet, Wodehouse was interned, bringing with him some Shakespeare and a pair of pajamas. While he was interned, he was moved around multiple times and treated terribly for most of the time. Eventually, he was moved to Tost, Poland where he was treated reasonably well and allowed to continue writing. By early 1941, Wodehouse’s American friends had begun a campaign to the Germans to have him released. He was to be released soon anyways because of the fact that he was turning sixty, so the Germans granted their wishes and released him in June of that year but kept him under close watch. Not long after discharge, an American journalist convinced Wodehouse to make a radio broadcast for an American audience based on his experience as an internee. His attitude was very lighthearted and  his tone was free of any bitterness, though the Germans did not escape his satiric attack. Great Britain caught way of these broadcasts and was left in disgust. They believed he was a traitor to his own country. He, however, still being slightly detained in Berlin, had no knowledge of this. In 1945, when he and his wife returned to Paris, they were threatened with arrest by both the French and British. Ultimately, they declined to press charges, nevertheless, Wodehouse never returned back to Britain again due to the backlash he faced (White).

Finding publishers and an audience was difficult during the immediate postwar years because of the Berlin broadcasts. Many he even worked with beforehand, now refused to publish him. He slowly regained his audience though, publishing a novel every year or two.

Soon after their return to the United States, the Wodehouses purchased a small estate on Long Island where P.G. continued in his daily routine and lived until the end of his very long life. Towards the end of his life, his works became very bland. Finally, on February fourteenth of 1975, Wodehouse died at the age of ninety-three of a heart attack (White).

Feminist literary criticism helps readers look at literature in a different light. It applies the philosophies and perspectives of feminism to the literature being read. There are many different kinds of feminist literary theory. Some theorists examine the language and symbols that are used and how that language and use of symbols is “gendered.” Others remind readers that men and women write differently and analyze how the gender of the author affects how literature is written. Many feminist critics look at how the characters, especially the female characters, are portrayed and ask readers to consider how the portrayal of female characters “reinforces or undermines” sexual stereotypes. Feminist literary theory also suggests that the gender of the reader often affects a person's response to a text. For example, feminist critics may claim that certain male writers address their readers as if they were all men and exclude the female reader.

Like feminism itself, feminist literary theory asks readers to consider the relationships between men and women and their relative roles in society. Much feminist literary theory reminds many that the relationship between men and women in society is often unequal and reflects a particular patriarchal ideology. Those unequal relationships may appear in a variety of ways in the production of literature and within literary texts. Feminist theorists invite readers to pay particular attention to the patterns of thought, behavior, values, and power in those relationships.

Feminist literary critics remind readers that literary values, conventions, and even the production of literature, have themselves been historically shaped by men. They ask readers to consider writings by women, both new and forgotten, and also ask them to consider viewing familiar literature through a feminist perspective.

Many apply this lens by closely examining the portrayal of the characters, both female and male, the language of the text, the attitude of the author, and the relationship between the characters. They also consider the comments the author seems to be making about society as a whole (Foster).

The Code of the Woosters is one of Wodehouse’s most well known books due to the beautifully developed characters and the complicated yet humorous plot. “Alexander Cockburn claimed in the introduction that Wodehouse’s Bertie and Jeeves narratives constitute the central achievement in the twentieth century” (White). It is part of the Jeeves and Wooster collection, which is one of his most renown series. Within The Code of the Woosters, Wodehouse creates many complex characters and some flat characters as well. As characters arise, he tends to depict them in a very stereotypical way, especially the women.

This is where the feminist lens can be applied. At the beginning of the book, Wodehouse introduces the main character Bertram Wooster and also his ridiculously wacky yet beloved Aunt Dahlia. Wodehouse, having lived with his aunts during his childhood, was indeed influenced by them and picked up on many of their traits. He, no doubt, instilled these traits into Aunt Dahlia and also an Aunt Agatha that Wooster alludes to a couple times throughout the book. Aunt Dahlia is a very loved Aunt; her and Wooster have a tight bond. They also act very sarcastic and satirical towards one another.Throughout the book, it is learned that the both of them would do mostly anything and make whatever sacrifices needed in order for the other to be happy. “The thought that Aunt Dahlia was prepared to sacrifice this wonder man merely to save a nephew from the cooler was one that struck home and stirred” (Wodehouse 242). Wodehouse obviously held his aunt to high esteem. The way he portrays Aunt Dahlia and even makes her humorous, informs the reader that he adored his own aunt, especially since he valued humor so much.

Another female character that Wodehouse emphasizes in The Code of the Woosters is Madeline Bassett. She is the son of Sir Watkyn Bassett and resides at Totleigh Towers. At some point in the past, Wooster and her were engaged due to a misunderstanding. Ever since then, Madeline believed that he was in love with her. Wooster describes her in Right Ho, Jeeves as "a pretty enough girl in a droopy, blonde, saucer-eyed way, but not the sort of breath-taker that takes the breath", though elsewhere he describes her as "physically in the pin-up class" (Wodehouse). These moderate charms must be considered in balance with her personality, which is that of the soppiest, mushiest, and most sentimental that ever was. Her general conversational style is all too apt to revolve around elves, gnomes, flowers, and small furry creatures along with talking “baby talk.” By characterizing Madeline as such, Wodehouse

is setting the stereotype of a flighty young woman. This portrayal is made to seem altogether

quite demeaning. Whenever Wodehouse has her enter the story or involves her in any dialogue, he is sure to stick to the effervescent and birdbrained characterization. She is not very complex but rather is depicted as though she lives in her own little world; a world where “every time a fairy blows its wee nose a baby is born” (Wodehouse 9). However, Augustus Fink-Nottle, one of Bertie’s close childhood friends, has fallen madly in love with this Madeline Bassett. Wodehouse describes Gussie as an odd bird, often toying around with newts and keeping to himself. This reflects upon what kind of a person Madeline is. She appreciates his quirkiness and loves him despite of all of his oddities. Also, at one point in the book, there occurred a “serious rift” between Madeline and Gussie. This ended up being nothing more than jealousy and silliness from Madeline upon seeing Gussie extract a fly from her cousin’s eye. This exhibits the typical girl reaction; her overreacting and making a problem out of essentially nothing at all. Overall, Wodehouse makes her look like quite foolish.

The final female Wodehouse expounds on in his book, The Code of the Woosters, is Stephanie Byng, commonly known as Stiffy. She is Madeline Bassett’s cousin and also Sir Watkyn’s niece. Wodehouse depicts Wooster and Stiffy’s meeting as such: “A girl came around the corner, an attractive young prune upholstered in heather-mixture tweeds, and I recognized the familiar features of S. Byng” (Wodehouse). Upon meeting Stiffy, the reader quickly learns of her character. Her disposition is (whether she realizes it or not) slightly haughty and egotistical. Wodehouse sets the stereotype of an independent, in-charge woman with Stephanie. When Constable Oates, the town Policeman, rides by on his bike, he is attacked by her beloved scottie dog, Bartholomew. She then goes on to blame the Constable for even riding a bicycle in the first place, stating that Bartholomew hates bicycles. Here she

shows she definitely has her own mind and is not afraid to say what she feels. She also assumes that Wooster will do anything to help her and her secret fiance, including swipe her uncle’s cherished cow-creamer. She doesn’t stop until she gets her way. Wodehouse describes her as being very selfish in the way she acts. She is not interested in the least about what the consequences will be for anyone, just as long as she gets what she wants. This even holds true with what she asks her curate fiance, Harold, to do, which is pinch Constable Oates’ helmet. He had the potential to lose his position as curate and be kicked out of the church forever if he were to be caught. She is willing to take that risk just so she can get back at the Constable and have her way. Sadly, the relationship between Stiffy and Harold is simply Harold succumbing to her wishes and doing whatever he can to keep her happy. This slightly inconsiderate and uncharitable attitude of Stiffy’s is not of good mien but does, however, create a more definitive character. This demeanor is especially seen when Stiffy blackmails Bertie and threatens him with a very important notebook if he is not to obey her and do exactly what she says. He has the potential of going to jail, but Ms. Byng could care less. “It is not so much the behavior of Stiffy that I find so revolting. She is a female, and the tendency of females to be unable to distinguish between right and wrong is notorious” (Wodehouse 155). Bertie recognizes her incapability to choose what is actually right and her tendency to choose what benefits her.

Among Wodehouse’s other popular and exciting books is Something Fresh. While not in the same class as later Wodehouse novels, Something Fresh has the honor of being the first novel in the Blandings Castle saga. It is written with very simple and witty language with a plot that is still very appealing. It is filled with many funny moments and none of them ever seem out of proportion. It has many interesting and well-formed characters as well. The

heroine of Something Fresh, Miss Joan Valentine is a tall girl with gold hair and blue eyes. She is a plucky, highly capable and unflappable young lady who lived in New York and later lived in Paris with her father. When her father died, he left her penniless. She worked very hard in order to become the woman she is. Before becoming editor of Home Gossip, she worked at many things, including spells in a shop, doing typewriting, on the stage, as a governess, and as a lady's maid, during which time she picked up plenty of useful knowledge of life. Wodehouse depicts Miss Valentine as an extremely independent, self-sufficient, capable, and determined woman. He builds her up to be almost idyllic. However, at this point in time, society was not extremely accepting of independent, working women. He, no doubt, modelled this character after his dear stepdaughter, Leonora, whom he had great adoration for. Towards the beginning of the book, when Joan first meets a fellow journalist named Ashe Marson, she displays her lightheartedness and optimistic outlook on life when she says, “Don't get into a groove. Be an adventurer. Snatch at the next chance, whatever it is" (Wodehouse “Something Fresh”). Meeting Joan stimulates him to broaden his horizons and take on something new and exciting. Ashe later falls in love with her due to this splendid attitude. Even though she is an independent woman, she comes to know and accept the chivalry of Ashe Marson. She is a pertinent character and for good reason too. Wodehouse’s attitude towards her in the book is one of complete admiration. He takes great care to describe her in a flattering way and also makes her very witty and lovable. This is one of his few female characters that is held to a beautifully high standard.

        Other than his many wondrous novels, Wodehouse also published (as previously mentioned) hundreds of short stories. Within many of his short stories and some novels resides an unforgettable woman: Honoria Glossop. The way Wodehouse illustrates Honoria is

not like many of his other female characters. He tends to stick to the sappy, selfish, or independent characterizations. When it comes to Ms. Glossop, he breaks the chain. Honoria Glossop is a particularly formidable female. She is of a rather muscular, sporty temperament, and as such remains unattached. Honoria is the daughter of the renowned nerve specialist Sir Roderick Glossop and his wife Lady Glossop. Honoria was on many occasions in the stories engaged to Bertie Wooster, something which he, when it came to mind, disliked very much. Especially as she persisted in trying to 'improve his mind' with the aid of several books on famous philosophers. However, he managed to shake her off by outraging her parents, thanks to the aid of his valet, Jeeves, whom she dislikes intensely. Since then, she has held a torch for Bertie, and he does his best to keep as far away from her as possible. This relationship between her and Wooster is one of complete discontent. Wodehouse depicts Wooster’s attitude towards her in this excerpt from Scoring Off Jeeves: “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. To me the girl was simply nothing more nor less than a pot of poison. One of those dashed large, brainy, strenuous, dynamic girls. 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-catch-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” (“Scoring Off Jeeves”). Wodehouse makes Honoria look like a manly woman, which was not so common in those days. A “brainy” and “dynamic” girl was almost frowned upon in that time. Even though she is not the most honored or beautiful female character in Wodehouse’s books, she is certainly one to be remembered due to how peculiar she is.

        Sir Pelham Grenville Wodehouse, was a comic writer who enjoyed enormous popular success during a career of more than seventy years and continues to be widely read over thirty years after his death. He was a master of comical literature and complex plots, and will continued to be known as such. His characters are essential and most probably the reason for such success; his building of characters was plain genius. Wodehouse says, “I know I was writing stories when I was five. I don't know what I did before that. Just loafed I suppose.” Writing was his life, not just a job and this could be understood by simply sitting down and reading one of his books.

Works Cited

Griffin, John R. "P. G. Wodehouse." Critical Survey Of Long Fiction, Fourth Edition (2010): 1-6. Literary Reference Center. Web. 7 Oct. 2013.

White, Laura M. "P.G. Wodehouse." N.p., n.d. Web. 30 Oct. 2013.

Foster, N. "Lenses Through Which to View Literature." Lenses Through Which to View Literature. Tripod, 9 Apr. 2004. Web. 30 Oct. 2013.

Wodehouse, Pelham G. The Code of the Woosters. Leipzig: Tauchnitz, 1939. Print.

Wodehouse, P. G. Right Ho, Jeeves. Woodstock, NY: Overlook, 2000. Print.

Wodehouse, Pelham G. Something New. N.p.: n.p., n.d. Something New. Gutenburg, 12 Sept. 2012. Web. 30 Oct. 2013.

"Scoring Off Jeeves." Madame Eulalie - The Strand (UK). N.p., n.d. Web. 31 Oct. 2013.