yuèdòuP·G· wǔ dé háo sī P. G. Wodehousezài小说之家dezuòpǐn!!! | |||
zuò wéi gōng rèn de yīng wén sǎnwén dà jiā， wǔ dé háo sī shòu dào hěn duō yǔ tā tóng shí dài de hé hòu lái de xiàn dài zuò jiā de qīn pèi， qián zhě rú hǎi lāi 'ěr · bèi luò kè、 yī fū lín · wò， yǐ jí jí bǔ lín， hòu zhě rú dào gé lā sī · yà dāng sī， sà 'ěr màn · lǔ xī dí yǐ jí tè lǐ · pǔ lā qiē tè。 xiào 'ēn · ào kǎi xī xíng xiàng dì chēng wǔ dé háo sī shì “ yīng guó wén xué biǎo yǎn de tiào zǎo shì chǎng ”（ Englishliterature'sperformingflea）， wǔ dé háo sī zài xiě gěi péng yǒu BillTownend de yī xì liè xìn zhōng， yǐ cǐ zuò wéi biāo tí。
chú liǎo zuì fù shèng míng de《 Jeeves》 xì liè hé《 bù lán dīng sī chéng bǎo》 xì liè xiǎo shuō jí duǎn piān xiǎo shuō wài， wǔ dé háo sī dāng guò biān jù， cānyù chuàng zuò liǎo 15 bù jù běn， hái gěi sān shí jǐ gè gē wǔ xǐ jù piàn xiě guò 250 shǒu gē cí。 bǐ rú 1934 nián， tā yǔ kē 'ěr · bō tè hé zuò guò gē wǔ jù《 shuāng yuán zhēng huī》。 zuòqǔ jiā jié luó mǔ · kè 'ēn、 gài yī · bó 'ěr dùn yě cháng yǔ tā hé zuò， lì rú tā gěi jié luó mǔ · kè 'ēn de《 huà háng xuán gōng》（ 1927） zhōng de rè mén gēqǔ《 Bill》 xiě liǎo gē cí， gěi gé shí wēn yǔ lóng bó gé de gē wǔ jù《 luó suō lì》（ 1928） zuò cí， yǔ lǔ dào fū · fú lǐ mǔ 'ěr hé xiě liǎo gǎi biān zì《 sān gè huǒ qiāng shǒu》 de gē wǔ jù。（ 1928 nián）。
zǎo qī shēng huó
pèi lè mǔ · wǔ dé háo sī， qīn péng hǎo yǒu dū jiào tā“ méi zǐ”（ bǎ Pelham kuài diǎn niàn， hěn róng yì dú chéng Plum）， tā mǔ qīn 'āi lì nuò（ Eleanor） hái zài gé dé jùn chuàn mén shí， tā jiù tí qián chū shì liǎo。 tā fù qīn hēng lì（ 1845 nián－ 1929 nián） shì zhù xiāng gǎng de yīng guó fǎ guān。 jǐ gè shì jì yǐ qián， wǔ dé háo sī jiā zú jiù kāi shǐ shì shì dài dài zhù zài nuò fú kè jùn。 wǔ dé háo sī de míng zì Pelham， shì jì chéng tā zǔ fù lǎo pèi lè mǔ de。
sān suì shí， wǔ dé háo sī jiù bèi dài huí yīng gé lán， yóu nǎi mā fǔ yǎng。 15 suì yǐ qián， tā niǎn zhuǎn yú duō gè jì sù xué xiào， gēn fù mǔ xiāng chù de rì zǐ jiā qǐ lái bù dào liù gè yuè。 tā gēn tā gē gē 'ā mǐ 'ēn（ Armine） shí fēn qīn jìn， èr réndōu rè 'ài yì shù， shí cháng jiāo huàn xīn dé。 wǔ dé háo sī yòng bù jiànduàn dì xiě zuò lái tián bǔ shēng huó de kōng xū。 xué xiào fàng jiǎ shí， tā dà duō shù shí jiān shì gēn tā zhè gè huò nà gè gū mā zài yī qǐ， suǒ yǐ hěn kě néng tā duì“ yī qún jī jī zhā zhā de gū mā” de kǒng jù， shì cóng zhè lǐ kāi shǐ de， fǎn yìng zài xiǎo shuō lǐ shì BertieWooster xià rén de gū mā Agatha hé gū mā Dahlia， shì《 bù lán dīng sī chéng bǎo》 zhōng duì zhí zǐ zhí nǚ tè bié yán lì de kāng sī tǎn sī · jī bǎifū rén。
wǔ dé háo sī zhōng xué jiù dú yú lún dūn shì jiāo de dá lì qí xué yuàn（ DulwichCollege）， yī suǒ zhù míng de sī lì jì sù nán xiào， hòu lái zhè suǒ xué xiào de tú shū guǎn yě yǐ tā de míng zì mìng míng。 zài dá lì qí de shēng huó hěn dé yì， tā jì shì chū sè de xué shēng， zài tǐ yù fāng miàn yě yòu tè cháng。 tā shì gǔ diǎn wén xué liù jí chéng yuán（ zhǐ yòu zuì jié chū de xué shēng cái yòu zī gé jiā rù）， rèn xué shēng huì cháng， fù zé biān ji xiào kān《 TheAlleynian》， duō cì zài yīnyuè jù hé wǔ tái jù shàngdàng nán zhùjué， cān jiā liǎo dì shí yī jiè bǎn qiú bǐ sài， hé dì shí wǔ jiè yīng shì gǎn lǎn qiú bǐ sài， gěi xué xiào zhēng liǎo guāng， tā hái dài biǎo xué yuàn cān jiā quán jī bǐ sài（ hòu lái yīn wéi shì lì bù hǎo méi qù chéng）， dài biǎo xiǎo zǔ cān jiā tián jìng xiàng mù。
wǔ dé háo sī de gē gē 'ā mǐ 'ēn（ Armine）， huò dé niú jīn dà xué de gǔ diǎn wén xué jiǎng xué jīn（ hòu lái bì yè ná dào yī děng xué wèi）。 pèi lè mǔ běn lái jìhuà xiàng tā gē gē yī yàng shàng niú jīn， dàn yóu yú yìn dù lú bǐ biǎn zhí， tā bà bà de gōng zī suō shuǐ， pò shǐ tā fàng qì zhè gè xiǎng fǎ。 bà bà gěi tā zài“ xiāng gǎng shàng hǎi yínháng”（ jiù shì xiàn zài de huì fēng yínháng） zhǎo liǎo fèn gōng zuò， zài lún dūn gān liǎo liǎng nián yǐ hòu， tā bèi pài wǎng hǎi wài zhī xíng。 dàn shì， wǔ dé háo sī duì yínháng de chāishi sī háo bù gǎn xīng qù， yě zhī dào zì jǐ bù shì nà kuài liào。 zài yínháng shàng bān de shí hòu， tā jiù lì yòng kòngyú shí jiān lái xiě zuò。 1902 nián， chéng wéi《 huán qiú》（ rú jīn tíng kān liǎo） de jì zhě， hòu lái gāng hǎo yòu gè péng yǒu lí rèn， wǔ dé háo sī jiù jiē guǎn liǎo tā de yōu mò xiǎo pǐn zhuān lán。 tā dìng qī gěi《 pān qù》 zá zhì tóu gǎo， hái gěi nán shēng kàn de zá zhì《 duì cháng》、《 gōng xué》 xiě gù shì， zhè xiē wén zhāng hòu lái jié jí chū bǎn， chéng wéi tā dì yī běn xiǎo shuō jí。 1909 nián， tā zài gé lín wēi zhì shí， mài gěi《 dà dū huì》 hé《 kē lì 'ěr》 zá zhì liǎng bù duǎn piān xiǎo shuō， zuàn liǎo 500 měi yuán， bǐ tā yǐ qián zuàn de duō。 yú shì tā cí diào《 huán qiú》 de gōng zuò， liú zài niǔ yuē， tā dìng qī gěi chuàng kān bù jiǔ de《 míng lì chǎng》 zá zhì zhuàn gǎo（ yòng de shì xǔ duō bù tóng de bǐ míng）。 dàn qián hái shì bù gòu huā， 1915 nián， hái méi děng《 xīng qī liù wǎn yóu bào》 liánzǎi tā de《 SomethingNew》， tā jiù yíng lái liǎo“ shǒu cì pò chǎn”。 zài zhè qián hòu， tā kāi shǐ yǔ gài yī · bó 'ěr dùn， jié luó mǔ · kè 'ēn hé zuò（ zuì hòu dá dào 18 bù） gē wǔ xǐ jù piàn。
sān shí nián dài， tā zài hǎo lāi wù dāng guò liǎng cì duǎn qī de biān jù， zì chēng dài yù bù fěi。 tā yě yòu xǔ duō xiǎo shuō yě zài《 xīng qī liù wǎn yóu bào》 hé《 hǎi bīn》 děng zá zhì shàng liánzǎi， gǎo fèi yě bù shǎo。
1914 nián， wǔ dé háo sī qǔ liǎo EthelWayman wéi qī， qī zǐ dài guò lái yī gè nǚ 'ér Leonora。 wǔ dé háo sī méi yòu qīn shēng de hái zǐ。 kě néng shì yīn wéi tā qīng chūn qī de shí hòu dé liǎo sāi xiàn yán， dǎo zhì tā bù néng shēng yù。
yuǎn lí yīng guó de rì zǐ
suī rán wǔ dé háo sī hé tā de xiǎo shuō dū gōng rèn wéi shǔ yú diǎn xíng dídí yīng guó fēng gé， dàn 1914 nián yǐ hòu， tā jiù zài yīng guó hé měi guó liǎng tóu páo。 1934 nián， zài yīng měi liǎng guó duì tā zuò pǐn shuāngchóng kè shuì de yā lì xià， tā xuǎn zé dìng jū fǎ guó。 tā yě duì zhèng zhì hé guó jì jú shì jí qí lěng dàn。 1939 nián 'èr zhàn bào fā， tā réng liú zài fǎ guó de lè tú kǎi（ LeTouquet） hǎi biān de jiā lǐ， méi yòu huí dào yīng guó， xiǎn rán tā méi yòu rèn shí dào guó jì chōng tū de yán zhòng。 suí hòu tā zài 1940 nián， bèi dé guó jiān jìn， jū liú liǎo yī nián， qǐ chū zài bǐ lì shí， hòu lái zhuǎn wǎng shàng xī lǐ xī yà（ xiàn zài bō lán jìng nèi） de Tost（ jí xiàn zài de tuō xiè kè， Toszek）。 tā céng shuō，“ rú guǒ shàng xī lǐ xī yà dū zhè yàng， hěn nán xiǎng xiàng xià xī lǐ xī yà gāi shì shénme dì bù。”
zài tuō sī tè， wèile huó yuè qì fēn， tā cháng gěi yù yǒu men jiǎng yōu mò duàn zǐ。 chū yù yǐ hòu， zài tā hái yòu jǐ gè yuè jiù yào guò liù shí suì shēng rì de shí hòu， nà cuì sǒng yǒng tā yǐ yù zhōng de yōu mò duàn zǐ wéi jī chǔ xiě liǎo yī xì liè guǎng bō jù， tīng zhòng duì xiàng shì měi guó。 wǔ dé háo sī rèn wéi zì jǐ zài jiān jìn qī jiān hái néng bǎo chí lè guān wán qiáng， zhè yī diǎn hěn zhí dé qīn pèi。 rán 'ér， zhàn shí de yīng guó， rén men méi yòu kāi wán xiào de xián qíng yì zhì， ér qiě zhè gè guǎng bō ràng tā zāo shòu xǔ duō fēinàn， rén men zhǐ zé tā zhàn zài nà cuì zhè biān， chū mài zǔ guó。 yòu de tú shū guǎn shèn zhì qǔ dì liǎo tā de shū。 pī píng tā zuì yán zhòng de rén shì A.A. mǐ 'ěr 'ēn，《 wéi ní xióng》 de zuò zhě。 zuò wéi fǎn jī， wǔ dé háo sī yǐ huāng dàn rén wù TimothyBobbin zuò wéi zhùjué， xiě liǎo yī xì liè dǎ yóu shī， xì fǎng liǎo mǐ 'ěr 'ēn xiě de 'ér tóng yōu mò shī gē。 wǔ dé háo sī de wéi hù zhě zhōng yòu yī fū lín · wò hé qiáo zhì · ào wēi 'ěr。 yīng guó 'ān quán jú jūn qíng 5 jú de yī xiàng diào chá zhī chí 'ào wēi 'ěr de guān diǎn， jí wǔ dé háo sī rén shì yòu zhì kě xiào， dàn jué bù shì pàn guó zéi。 1980 nián dài jiě mì de wén jiàn xiǎn shì， zài bā lí jū zhù qī jiān， nà cuì zhī fù liǎo wǔ dé háo sī shēng huó fèi。 dàn 1999 nián， jūn qíng 5 jú gēn jù yīng guó gōng gòng dàng 'àn guǎn de dàng 'àn zī liào， zhèng míng tā shì qīng bái de。
zhǒng zhǒng pī píng pò shǐ wǔ dé háo sī hé fū rén bān qù niǔ yuē， yǒng jiǔ dìng jū xià lái。 wǔ dé háo sī bèi dé guó jiān jìn qī jiān， Leonora qù shì liǎo， chú liǎo Leonora， tā men méi yòu dì 'èr gè hái zǐ liǎo。 1955 nián， tā chéng wéi měi guó gōng mín， zài méi huí dào zǔ guó， zài niǔ yuē cháng dǎo de Remsenburg dù guò yú shēng。
wǎn nián
zài tā 93 suì qù shì qián bù jiǔ， bèi fēng wéi dé（ dì 'èr děng） gāo jí yīng dì guó xūn jué shì。 zhī suǒ yǐ zhè me wǎn cái dé dào xūn wèi， shì yīn wéi shòu“ dé guó guǎng bō shì jiàn” de qiān lián。 zài jiē shòu BBC cǎi fǎng shí tā shuō， zì jǐ yǐ jīng dé dào jué wèi， yòu zài dù suō fū rén là xiàng guǎn lǐ yòu zì jǐ de là xiàng， tā yǐ jīng bié wú suǒ qiú liǎo。 kǎo lǜ dào jiàn kāng zhuàng kuàng， yī shēng jiàn yì tā bù yào qù lún dūn， xūn wèi shì tā qī zǐ hòu lái xiàng yīng guó lǐng shì dài lǐng de。
2000 nián， wèile jì niàn wǔ dé háo sī， yǐ tā de míng zì mìng míng de“ bō líng gé dà zhòng wǔ dé háo sī jiǎng”（ BollingerEverymanWodehousePrize） chéng lì liǎo， gāi jiǎng měi nián bān fā gěi yīng guó zuì jiā yōu mò zuò pǐn。
chuàng zuò tài dù
wǔ dé háo sī duì zì jǐ de zuò pǐn hěn qiān xū， 1957 nián， zài《 nián guò qī shí》（ OverSeventy） zhōng， tā zì yún：“ wǒ cóng shì suǒ wèi de qīng wén xué， gān zhèyīháng de rén， yòu shí bèi chēng wéi yōu mò jiā， cháng wéi zhī shí fènzǐ suǒ bù chǐ。”
wén xué pǐn wèi jí yǐng xiǎng
zài yī piān wén zhāng lǐ， wǔ dé háo sī tí dào liǎo jǐ gè dāng dài tā shí fēn jìng zhòng de yōu mò jiā。 qí zhōng bāo kuò fú lán kè · shā lì wén， A.P. hè bó tè， hé yà lì kè sī · ā tè jīn sēn， wǔ dé háo sī zài《 nián guò qī shí》 zhōng， céng wéi hòu zhě jiàn kāng de měi kuàng yù xià gǎn dào wǎn xī，“ wǒ xī wàng zài měi gè jiē jiǎo kàn dào yī gè A.P. hè bó tè， zài měi gè xiǎo jiǔ guǎn kàn dào yī gè yà lì kè sī · ā tè jīn sēn。” tā zài《 shèng 'ào sī dīng gù shì jí》 zhōng fěng cì liǎo xiàn dài wén xué pī píng。《 tānɡ mǔ · bù lǎng wèn tí》（ TheTomBrownQuestion） xì fǎng liǎo fēn xī hé mǎ de xué zhě，《 zhù jiě》（ Notes） pī píng liǎo gǔ diǎn wén xué hé yīng guó wén xué píng lùn jiā， bìng qiě chū rén yì wài dì xiáng tán liǎo bù lǎng níng de yì yì。 zài《 zuò pǐn》（ Work） zhōng， wǔ dé háo sī chēng wéi jí 'ěr“ shēng yìng”，“ jiǎ dà kōng”， xiāng fǎn， āi sī kù luó sī shì“ tiáopí guǐ”。 suō shì bǐ yà hé dīng ní shēng duì tā yǐng xiǎng hěn dà， zài jū liú qī jiān tā suí shēn xié dài de zhèng shì tā men de shū。 wǔ dé háo sī sì hū duì chuán tǒng de yīng guó jīng sǒng xiǎo shuō yě hěn gǎn xīng qù， 1960 nián dài jiā wén · lāi 'ěr hé qiáo zhì · mài kè táng nà · fú léi zé de xiǎo shuō yī chū bǎn， tā jiù jī jié chēng zàn。 hòu lái， tā 'ài kàn nà 'ōu · mǎ shí hé léi kè sī。 shǐ táo tè xiě de tuī lǐ xiǎo shuō， ài kàn diàn shì jù《 TheEdgeofNight》， lè cǐ bù pí。
bǐ xià rén wù
wǔ dé háo sī bǐ xià de rén wù， bìng bù shì yī kāi shǐ jiù shòu rén huān yíng， yóu qí shì quē xīn yǎn 'ér de wán kù zǐ dì BertieWooster。 yīng guó gōng gòng dàng 'àn guǎn de zī liào tòu lù， 1967 nián， wǔ dé háo sī huò dé míng yù xūn wèi， zhù huá shèng dùn de yīng guó dà shǐ PatrickDean jué shì zé rèn wéi，“ wǔ dé háo sī bǐ xià de BertieWooster zhè zhǒng rén， zhèng shì wǒ men yīng guó rén yào jié lì gēn chú de。”
wǔ dé háo sī bǐ xià de rén wù cháng cháng shì guài tāi， yòu xiē tè shū de liàn wù qíng jié， bǐ rú Emsworth xūn jué mí liàn zhū， GussieFink-Nottle mí liàn róng yuán， ArchibaldMulliner mí liàn wà zǐ。 quē xīn yǎn 'ér de zhù rén gōng， shàn liáng wēn hòu， yǔ shì wú zhēng， běn lái hǎo xīn tì péng yǒu chū zhù yì， dàn wú yī lì wài dì bǎ shì qíng gǎo dé gèng zāo。
rán 'ér， wǔ dé háo sī bǐ xià de guì zú， xǔ duō dū bàn yǎn“ chǒujué”。 tā bǐ xià jīng diǎn de wán kù zǐ dì wǎng wǎng shì guài rén， zǒng shǐ zì jǐ xiàn rù má fán de jìng dì。
qīn qī， yóu qí shì gū mā hé shū shū， tōng cháng bèi kuā zhāng dì miáo huì chéng zhǎng wò hūn yīn hé jīng jì dà quán de juésè， huò zhě zhì shǎo zuò wéi ràng shēng huó chōng mǎn kǔ nán de cún zài。 tā de xiǎo shuō lǐ， péng yǒu wǎng wǎng bù shì nì jìng zhōng de 'ān wèi， ér shì má fán de yuān sǒu。 zhù rén gōng láo qí jīn gǔ 'è qí tǐ fū， zhǐ wéi huàn dé péng yǒu yī xiào。 gù shì zhōng de huài rén（ yóu qí shì qíng dí） cháng cháng hěn kě pà， xìng hǎo zài zuì hòu dà tuán yuán shì de jié wěi， tā mendōu huì dé dào yīngyǒu de chéng fá。
jǐng chá hé zhì 'ān guǎn de xíng xiàng wǎng wǎng shì yòu wēi xié xìng de， dàn róng yì shòu piàn shàngdàng de， bèi tā men zhuā liǎo hěn hǎo bàn， zhǐ yào dì lín shí bào gè jiǎ míng zì jiù hǎo liǎo。 tōu jǐng chá tóu kuī zhè yī dòng jī bèi duō cì tí qǐ。
wǔ dé háo sī huí dào gǔ luó mǎ xǐ jù de chuàng zuò shǒu fǎ（ lì rú xǐ jù jiā pǔ láo tú sī）， shǐ yòng lèi xíng juésè， tā bǐ xià de pú rén yuǎn bǐ zhù rén yòu tóu nǎo dé duō， yóu yǐ Jeeves zuì shèn。 Jeeves wú shù cì bǎ BertieWooster cóng shuǐ shēn huǒ rè de chǔjìng zhōng zhěng jiù chū lái。 tóng yàng de shǒu fǎ yě yìng yòng zài jīng míng néng gān de mì shū Baxter yǔ xī lǐ hú tú de Emsworth xūn jué de guān xì shàng。
qíng jié
suī rán tā de qíng jié mào sì gōng shì huà， dàn wǔ dé háo sī de tiān cái zài yú， chéng gōng dì pū shè liǎo jǐ tiáo fù zá jiāo cuò de zhù xiàn， ràng gù shì de zhù rén gōng má fán chóngchóng， zuì hòu jié wěi háo wú lì wài dì dōushì jiē dà huān xǐ。 yī bān， zhù rén gōng de qīn qī huò péng yǒu yù dào shénme nán tí， qiǎngpò zhù rén gōng tàng zhè tàng hún shuǐ， zuì hòu kàn sì bù kě néng wán chéng de rèn wù dū piào liàng dì jiě jué liǎo。 cháng piān de zuò pǐn xiàn suǒ pū shè dé hěn qiǎo miào， wǎng wǎng gù shì fā zhǎn dào yī bàn shí zhù rén gōng shēn xiàn duō zhòng kùn jìng。 jié chū de lì zǐ shì《 TheCodeoftheWoosters》， duō shù zhāng jié lǐ， gù shì de zuì hòu yī jù fā shēng xì jù huà de zhuǎn zhé， bǎ zhù rén gōng tuī xiàng gèng jí shǒu de chǔjìng。
dìng hūn shì tā de xiǎo shuō zhōng cháng jiàn de zhù tí， nán rén cháng cháng yīn wéi mǒu zhǒng zǔ 'ài bù néng gēn xīn 'ài de nǚ rén dìng hūn， qià hǎo zài zhè shí hòu， tā bù zhī dào zěn me jiù gēn yī gè tā bù 'ài de nǚ rén dìng hūn liǎo， xū yào zhǎo gè lǐ yóu chōu shēn， dàn yòu bù néng zhí jiē qǔ xiāo hūn yuē（ yòu bèi shēn shì jīng shén）。 lì rú《 SomethingFresh》 zhōng de Freddie， tā gēn Peters xiǎo jiě de hūn shì gào chuī， yīn wéi tā gēn GeorgeEmerson sī bēn liǎo。 nǚ péng yǒu bǎ bái chī de wèi hūn fū dèng liǎo， gēn zhāoqì péng bó de nán rén páo liǎo， běn lái gāi shì jiàn nán guò de shì， dàn zuò zhě qiǎo miào dì bǎ fēn wéi chǔlǐ dé qīng sōng yú kuài， Freddie duì cǐ yī diǎn yě bù dāng huí shì， tā gèng gǎn xīng qù de shì yǔ lìng rén zūn jìng de zhēn tàn xiǎo shuō jiā AsheMarson jiàn miàn。（《 SomethingFresh》 zhōng zuò zhě sù zào de rén wù xíng xiàng， dān shēn nán qīng nián， bì yè yú niú jīn， dāng guò jiā tíng jiào shī， zài bào zhǐ shàng fā biǎo guò zhēn tàn xiǎo shuō）
mào míng dǐng tì hé suí zhī 'ér lái de hùn luàn zài《 bù lán dīng sī chéng bǎo》 xì liè xiǎo shuō lǐ yóu wéi cháng jiàn。
dǔ bó yě shì cháng chū xiàn de qíng jié， ér qiě dǔ jú de jiēguǒ wǎng wǎng yòu rén mù hòu cāo zòng。
lìng yī gè xiǎn zhù de zhù tí shì jiǔ， hěn duō qíng jié wéi rào zhù rén gōng hē zuì zhǎn kāi。 wǔ dé háo sī zì jǐ jiù hǎo jiǔ， zhè yī diǎn hěn qīng chǔ， tā xíng róng guò zhǒng zhǒng zuì tài， bèi hòu rén fèng wéi jīng diǎn： zuì rú shī líng de zhǐ nán zhēn fēn bù chū dōng nán xī běi， wèi lǐ fān jiāng dǎo hǎi rú hùn níng tǔ jiǎo bàn chē， děng děng。 cǐ wài， tā hái duō cì tí dào yī zhǒng jiào“ wǔ yuè huáng hòu” de jiǔ， jiè Fred shū shū zhī kǒu， shì zhè me xíng róng tā de，“ rèn hé yī zhǒng pǐn zhì shàng hǎo de gān xiāng bīn， duì shàng bái lán dì lì kǒu jiǔ、 yǎ mǎ yì、 huí xiāng jiǔ、 huáng sè lì kǒu jiǔ、 liè xìng hēi pí jiǔ， jiù kě yǐ xiǎng yòng liǎo。” gù shì lǐ de rén wù cháng cháng jiè cǐ zhuàng dǎn， lì rú xiàng xīn shàng rén qiú hūn。
zuò pǐn
wǔ dé háo sī zhù zuò pō fēng， zài tā cháng dá 73 nián de xiě zuò shēng yá zhōng（ 1902-1975）， yī gòng xiě liǎo 96 běn shū， bāo kuò xiǎo shuō， duǎn piān gù shì jí， gē wǔ xǐ jù。 duǎn piān gù shì hé cháng piān xiǎo shuō lǐ， xǔ duō juésè hé chǎng jǐng shì chóngfù chū xiàn， guàn chuān shǐ zhōng de， dú zhě jiù yǐ cǐ bǎ tā de zuò pǐn fēn wéi jǐ gè“ xì liè”。
《 bù lán dīng sī chéng bǎo》 xì liè
（ hòu lái wǔ dé háo sī mìng míng wéi《 bù lán dīng sī chéng bǎo chuán qí》） xiǎo shuō xū gòu liǎo jū zhù zài bù lán dīng sī chéng bǎo de xiāng cūn guì zú de shēng huó。 zhù yào juésè yòu guài tāi Emsworth xūn jué， tè bié mí liàn tā nà tóu dé jiǎng de zhū héng héng“ bù lán dīng sī huáng hòu”， yī dù yě tóng yàng mí liàn huò jiǎng de nán guā héng héng“ bù lán dīng sī xī wàng zhī xīng”。
《 wú shì máng jù lè bù》 xì liè
jiǎng de shì lún dūn yī jiā nào hōng hōng de jù lè bù lǐ， yī qún wú suǒ shì shì de yòu qián rén de nà diǎn pò shì 'ér。 wú shì máng jù lè bù de gù shì chū zì Jeeves xì liè xiǎo shuō， yě yīn wéi yī xì liè duǎn piān gù shì 'ér zì chéng yī xì。 dài biǎo rén wù rú jù lè bù chéng yuán FreddieWidgeon hé BingoLittle， yǐ jí duō cì chū xiàn de xiǎo juésè bǎi wàn fù wēng OofyProsser。
《 gāo 'ěr fū qiú hé OldestMember》 xì liè
gù shì shì wéi rào wò dé háo sī zuì gǎn xīng qù de shì wù héng héng gāo 'ěr fū qiú zhǎn kāi de， gù shì zhōng de rén wù dū bǎ gāo 'ěr fū qiú dāng zuò bì shēng zhuī qiú de shì yè。 zhù rén gōng méi yòu míng zì， tā shì gāo 'ěr fū qiú jù lè bù zī gé zuì lǎo de chéng yuán， suǒ yǐ rén chēng TheOldestMember。
《 Jeeves hé Wooster》 xì liè
shì yǐ yòu qián 'ér méi dà nǎo de BertieWooster de kǒu wěn xù shù de。 tā hé tā de péng yǒu men cháng bǎ zì jǐ xiàn rù huāng miù yòu dǎo méi de kùn jìng， ér tā zú zhì duō móu de nán pú Jeeves zǒng yòu bàn fǎ zhěng jiù tā men yú wēinàn zhī jì。《 Jeeves hé Wooster》 xì liè， huò jiǎn chēng《 Jeeves》 xì liè xiǎo shuō， shì wǔ dé háo sī zuì zhù míng de zuò pǐn。 tā de jià zhí hái zài yú， lǐ miàn yòu hěn duō 'èr zhàn qián yīng yǔ lǐ yǔ。 bǐ rú Bertie cháng shuō de "Whatho!","pipped","bally"， děng děng。 zhè yī diǎn， wǔ dé háo sī zhī yú yīng guó wén xué， yǔ dá méng · lǔ ní 'ēn zhī yú měi guó wén xué yòu lèi sì zhī chù。
《 Mulliner xiān shēng》 xì liè
zhù rén gōng Mulliner， xǐ huān zài jiǔ bā lǐ tāo tāo bù jué dì jiǎng shù tā men Mulliner jiā zú de qí tán guài shì。 yòu shí tīng zhòng huì duì tā de cháng piān dà lùn gǎn dào yàn juàn， yòu yì sī de shì， tīng zhòng de shēn fèn bù yòng míng zì， ér shì yòng tā men hē de yǐn liào biǎo shì， lì rú“ rè sū gé lán wēi shì jì jiā níng méng”， huò zhě“ shuāng fèn wēi shì jì jiā shuǐ”。
xiào yuán xì liè
wǔ dé háo sī de zǎo qī chuàng zuò， xiāng duì xiě shí。 xū gòu liǎo shèng 'ào sī dīng gōng xué hé Wrykyn gōng xué。
《 ThePsmith》 xì liè
zhù rén gōng shì gè wàn shì tōng， jǔ zhǐ yōu yǎ， mèi lì fēi fán。 zuì hòu yī bù Psmith xiǎo shuō《 jiāo gěi Psmith》 zhōng，《 bù lán dīng sī chéng bǎo》 gù shì yòu jiāo chā héng héng Psmith zhù zài bù lán dīng sī chéng bǎo， wéi Emsworth xūn jué gōng zuò， hái hé Emsworth de cì zǐ FreddieThreepwood jiāo liǎo péng yǒu。 Psmith zhè gè rén wù shǒu cì chū chǎng， shì zài xiào yuán xì liè xiǎo shuō《 Mike》 zhōng。
《 TheUkridge》 xì liè
zhù rén gōng StanleyFeatherstonehaughUkridge shì yī gè yòu mèi lì dàn méi yòu yuán zé de rén， zǒng shì xiǎng fǎ shè fǎ piàn péng yǒu de qián huā。
《 Fred shū shū》 xì liè
zhù rén gōng shì yī gè gǔ guài de bó jué， zhù zài Ickenham， zǒng xiǎng fǎ shè fǎ táo tuō qī zǐ de kòng zhì， qī zǐ yī bù zài bàng biān， tā jiù nào téng dé tiān fān dì fù， ér zì jǐ jué dé zhè yàng“ qīng sōng tián mì”。 wán pí dà dǎn， xǐ huān 'è zuò jù， bǐ rú jīng cháng qiáo zhuāng dǎ bàn chéng bié rén。 tā de zhè xiē gù shì yóu zhí zǐ hé péng yǒu Reginald"Pongo"Twistleton de shì jiǎo zhǎn kāi de， tā zài bù lán dīng sī chéng bǎo zhōng yě biǎo yǎn guò tā de“ qiáo zhuāng xì”。
zuò pǐn gǎi biān
hé tā shù liàng pō fēng de zhù zuò xiāng bǐ， gēn jù tā yuán zhù gǎi biān de zuò pǐn què wéi shù bù duō。 tā bù yuàn yì kàn dào bié rén bǎ Jeeves xì liè ná qù gǎi biān：
“ xiàng Jeeves zhè yàng de bó xué duō cái de rén， guò rén zhī chù jiù zài yú tā zuì qǐ mǎ de rén gé bù yǔn xǔ zì jǐ wèile jīn qián 'ér chū mài yì shù。 zhè xiē nián lái， yòu rén yào wǒ wèile shāng yè lì yì， bǎ tā chū mài gěi jù yuàn lǎo bǎn， diàn yǐng jù tóu， xǐ jù zhì piàn rén， shèn zhì yī jiā měi guó bào zhǐ de biān ji dǎ suàn yòng tā de xíng xiàng lái gǎo lián huán huà。 jìn guǎn hé tóng hěn yòu yòu huò lì， dàn zhǐ yào tīng dào Jeeves 'àn shì fǎn duì de ké sòu shēng， hé tā dī shēng shuō“ wǒ bìng bù zàn tóng， xiān shēng。” wǒ jiù liáng xīn fā xiàn liǎo。 Jeeves zhī dào zì jǐ de wèi zhì， zhǐ zài shū de fēng miàn hé fēng dǐ zhī jiān。”（ 1967， zhāi zì《 Jeeves de shì jiè》 quán jí zhōng de yǐn yán）
jiù suàn yóu tā zì jǐ bǎ zuò pǐn gǎi biān chéng diàn yǐng， tā yě bù gǎn xīng qù。 1930 nián， mǐ gāo méi diàn yǐng zhì piàn gōng sī bǎ tā pìn qǐng lái， què hěn shǎo yòng dào tā：“ tā men měi xīng qī fù gěi wǒ 2000 měi jīn …… què zhǎo bù dào shì ràng wǒ gān。” hòu lái 1937 nián， tā huí dào mǐ gāo méi， chuàng zuò diàn yǐng jù běn《 luó suō lì》， měi xīng qī ná 2500 měi yuán de bào chóu， shū shū fú fú dì zhù zài hǎo lāi wù， dàn jí biàn zhè yàng， tā hái shuō“ wǒ duì zhè yàng de shēng huó bìng bù mǎn yì， wǒ bù xǐ huān gǎo diàn yǐng zhè tào dōng xī。”
rán 'ér， tā gēn yī 'ēn · hǎi yī（ IanHay） hé zuò hěn yú kuài， 1928 nián， hǎi yī bǎ wǔ dé háo sī de《 kùn kǔ zhōng de nián qīng nǚ rén》（ ADamselinDistress） gǎi biān chéng wǔ tái jù， yóu hǎi yī， wǔ dé háo sī hé A.A. mǐ 'ěr 'ēn gòng tóng tóu zī zhì zuò。 wǔ dé háo sī hé hǎi yī yī qǐ qù sū gé lán dù jiǎ， fā xiàn bǐ cǐ yòu hěn duō gòng tóng 'àihào。 1929 nián， wǔ dé háo sī jì xù yú hǎi yī hé zuò， bǎ hǎi yī de xiǎo shuō《 miē miē xiǎo hēi yáng》 bān shàng wǔ tái， 1930 nián， èr rén yòu hé xiě liǎo jù běn《 jiāo gěi Psmith》。
1937 nián， yóu wǔ dé háo sī biān jù de gē wǔ piàn《 kùn kǔ zhōng de nián qīng nǚ rén》 shàng yìng， fú léi dé · ā sī tài 'ěr， qiáo zhì · bó 'ēn sī， gé léi xī · ài lún， hé qióng · fāng dēng zhù yǎn， gé shí wēn xiōng dì chuàng zuò cí qū。 1962 nián， gǎi biān diàn yǐng《 TheGirlOnTheBoat》， yóu nuò màn · wēn sī dùn， mǐ lì sēn tè · mǎ dīng， yǐ jí lǐ chá dé · bù lài 'ěr sī zhù yǎn。
bù lán dīng sī chéng bǎo xì liè hé Jeeves xì liè xiǎo shuō dōubèi BBC gǎi biān guò diàn shì jù： Jeeves xì liè bèi gǎi biān guò liǎng cì， yī cì shì zài 1960 nián dài de diàn shì jù《 Wooster de shì jiè》， yóu yī 'ēn · kǎ mài kè 'ěr bàn yǎn BertieWooster， DennisPrice bàn yǎn Jeeves； dì 'èr cì shì zài 1990 nián dài de diàn shì jù《 wàn néng guǎn jiā》（ JeevesandWooster）， xiū · láo ruì bàn yǎn BertieWooster， shǐ dì fēn · fú lāi bàn yǎn Jeeves。 lìng wài， dài wéi · ní wén hé 'ā sè · tè léi chè yě fēn bié yǎn guò Bertie hé Jeeves， zài 1930 nián dài de duǎn piān diàn yǐng《 xiè xiè， Jeeves》， duì yuán zhù gǎi dòng hěn dà de。 xù jí《 jiā bǎ jìn 'ér， Jeeves》 zài méi yòu Bertie de qíng kuàng xià， tè léi chè dān dú yǎn liǎo Jeeves。
1975 nián， ān dé lǔ · láo 'āi dé · wéi bó chuàng zuò liǎo yī chù chū yīnyuè jù， yuán míng jiào《 Jeeves》， 1996 nián， chóngxīn xiū gǎi hòu de jù běn gēngmíng wéi《 ByJeeves》， dà shòu huān yíng， hòu lái zài bǎi lǎo huì shàng yǎn， yǎn chū hái lù zhì liǎo diàn yǐng bǎn， diàn shì tái yě fàng yìng guò。
1995 nián， BBC pāi liǎo diàn yǐng《 HeavyWeather》， bǐ dé · ào tú shì yǎn Emsworth xūn jué， lǐ chá dé · bù lài 'ěr sī，（ zhī qián yǎn guò《 TheGirlOnTheBoat》） shì yǎn Emsworth de gē gē GalahadThreepwood。
1936 nián，《 PiccadillyJim》 shǒu cì pāi chéng diàn yǐng， yóu luó bó tè · méng gē mǎ lì zhù yǎn。 2004 nián， JulianFellowes xiě liǎo lìng yī gè bǎn běn de jù běn， yóu SamRockwell zhù yǎn， bù guò diàn yǐng bìng bù chéng gōng。
1975 nián， BBC bō chū liǎo yī bù tí wéi《 wǔ dé háo sī jù chǎng》 de diàn shì jù， gāi jù zhù yào gēn jù shì“ Mulliner” xì liè gù shì pāi de， zhù yǎn shì JohnAlderton hé PaulineCollins。 dì yī jí shì wǔ dé háo sī qīn zì jiè shào de， xiǎng lái hěn bù tóng xún cháng， nà shí tā 93 suì gāo líng liǎo， jiù zài diàn shì jù bō fàng de dāng nián tā qù shì liǎo。 yóu DudleyMoore hé JohnGielgud zhù yǎn de《 yà sè》 jí qí xù jí《 yà sè 2： OntheRocks》， yě shì gēn jù“ Bertie hé Jeeves” xì liè zhōng de rén wù gǎi biān de， suī rán méi yòu zhèng shì chéng rèn， dàn diàn yǐng zhōng de hěn duō tái cí hé qíng jié， bāo kuò gēn dìng hūn yòu guān de qíng jié， dū zhí jiē shòu wǔ dé háo sī rén wù de yǐng xiǎng。
xiǎng zhī dào gèng duō shì jiè fàn wéi nèi shòu wǔ dé háo sī yǐng xiǎng de diàn yǐng diàn shì zuò pǐn， kě cān kǎo BrianTaves xiě de rén wù shǐ《 wǔ dé háo sī yú hǎo lāi wù： biān jù， fěng cì yǔ gǎi biān》（ P.G.WodehouseandHollywood:Screenwriting,Satires,andAdaptations） McFarland,2006。
zhù shì
^ hǎi lāi 'ěr · bèi luò kè HilaireBelloc(1870~1953)， 20 shì jì zǎo qī de zuì duō chǎn de yīng guó shī rén、 shǐ xué jiā hé sǎnwén zuò jiā。 1894 nián rù niú jīn dà xué， yǐ yōu yì chéng jì bì yè。 zǎo qī zuò pǐn yòu：《 yùn wén hé 14 xíng shī》（ VersesandSonnets,1895）、《 huài hái zǐ de dòng wù gù shì shū》（ TheBadChild'sBookofBeasts）。 duì zhèng zhì yòu hěn duō yī zhēn jiàn xuè yòu yōu mò fěng cì de píng lùn。
^ yī fū lín · wò EvelynWaugh（ 1903-1966） yīng guó zuò jiā。 zhù yòu《 chóngfǎn bù lāi cí hǎi dé zhuāng yuán》，《 yī bǎ chén tǔ》，《 róng yù zhī jiàn》，《 xié 'è de qū tǐ》 děng。
^ dào gé lā sī · yà dāng sī DouglasAdams（ 1952 héng 2001） yīng guó zhù míng de kē huàn xiǎo shuō zuò jiā， yě shì yōu mò fěng cì wén xué de dài biǎo rén wù、 dì yī gè chéng gōng jié hé xǐ jù hé kē huàn de zuò jiā。 bù guò， tā bìng bù bǎ zì jǐ dìng wèi wéi kē huàn zuò jiā， ér shì xǐ jù zuò jiā， zhǐ shì bǎ kē huàn dàngchéng xǐ jù de yī zhǒng biǎo xiàn fāng shì。 tóng shí tā yě shì yī wèi guǎng bō jù zuò jiā hé yīnyuè jiā。 tā yóu qí yǐ《 yín hé xì màn yóu zhǐ nán》 xì liè zuò pǐn chū míng。 zhè bù zuò pǐn yǐ guǎng bō jù qǐ jiā， hòu lái fā zhǎn chéng bāo kuò wǔ běn shū de“ sān bù qū”， pāi chéng diàn shì lián xù jù。 yà dāng sī shì shì hòu hái pāi chéng diàn yǐng。
^ sà 'ěr màn · lǔ xī dí jué shì SirSalmanRushdie（ 1947 nián 6 yuè 19 rì－）， yòu yì wéi sà 'ěr màn · lā shí dí， shēng yú mèng mǎi， shí sì suì yí jū yīng guó dú shū。 qí zuò pǐn fēng gé wǎng wǎng bèi guī lèi wéi mó huàn xiě shí zhù yì， zuò pǐn xiǎn shì chū dōng xī fāng wén huà de shuāngchóng yǐng xiǎng。 zuò pǐn《 wǔ yè zhī zǐ》 huò dé 1981 nián bù kè jiǎng， nèi róng chōng mǎn fēng fù de xiǎng xiàng。《 sǎ dàn shī piān》（ TheSatanicVerse'， huò yì《 mó guǐ shī piān》） yīn wéi zé mà yī sī lán jiào de bù gōng píng， ér zāo yī lǎng jīng shén lǐng xiù sài yì dé · lǔ huò lā · huò méi ní xià dá zhuī shā lìng。
^ tè lǐ · pǔ lā qiē tè TerryPratchett(1948-)， yīng guó zhù míng huàn xiǎng xiǎo shuō jiā， yòu“ huàn xiǎng xiǎo shuō jiā chāo jí jù xīng” zhī chēng。 tè lǐ · pǔ lā qiē tè shì dāng dài zuì zhù míng de yōu mò qí huàn zuò jiā， tóng shí yě shì yīng yǔ wén tán zuì jù yǐng xiǎng lì de fěng cì zuò jiā zhī yī。 bèi rén yù wéi“ bǐ fēng xī lì、 shàn yú fěng cì de J·R·R· tuō 'ěr jīn”。 shēn shòu dú zhě tuī chóng de“ dié xíng shì jiè” xì liè qí huàn xiǎo shuō shì pǔ lā qiē tè de dài biǎo zuò pǐn， wèitā yíng dé liǎo shì jiè shēng yù。 gāi xì liè cóng 1983 nián《 mó fǎ de yán sè》 wèn shì suàn qǐ， dào 2006 nián， gòng chū bǎn liǎo 36 bù cháng piān xiǎo shuō， qí zhōng duō bù bèi gǎi biān chéng liǎo màn huà、 dòng huà、 wǔ tái jù、 diàn shì jù、 guǎng bō jù、 zhuō miàn yóu xì hé diàn nǎo yóu xì děng。
^ xiào 'ēn · ào kǎi xī SeanO'Casey（ 1880 ～ 1964） ài 'ěr lán jù zuò jiā。 zhù yòu《 dū bǎi lín sān bù qū》。 1918 nián kāi shǐ xiě jù běn， chéng wéi hé J.M. xīn gé qián hòu huī yìng de liǎng dà 'ài 'ěr lán jù zuò jiā zhī yī。 ào kǎi xī bèi chēng wéi“ yī gè lái zì gōng rén jiē jí de cū guǎng de tiān cái”， zuì yōu xiù de 'ài 'ěr lán jù zuò jiā zhī yī。 tā de zǎo qī jù zuò， yǐ dū bǎi lín wéi bèi jǐng de sān bù qū， bèi rèn wéi shì tā de jié zuò。 dào gé lā sī · yà dāng sī DouglasAdams（ 1952 héng 2001） yīng guó zhù míng de kē huàn xiǎo shuō zuò jiā， yě shì yōu mò fěng cì wén xué de dài biǎo rén wù、 dì yī gè chéng gōng jié hé xǐ jù hé kē huàn de zuò jiā。 bù guò， tā bìng bù bǎ zì jǐ dìng wèi wéi kē huàn zuò jiā， ér shì xǐ jù zuò jiā， zhǐ shì bǎ kē huàn dàngchéng xǐ jù de yī zhǒng biǎo xiàn fāng shì。 tóng shí tā yě shì yī wèi guǎng bō jù zuò jiā hé yīnyuè jiā。 tā yóu qí yǐ《 yín hé xì màn yóu zhǐ nán》 xì liè zuò pǐn chū míng。 zhè bù zuò pǐn yǐ guǎng bō jù qǐ jiā， hòu lái fā zhǎn chéng bāo kuò wǔ běn shū de“ sān bù qū”， pāi chéng diàn shì lián xù jù。 yà dāng sī shì shì hòu hái pāi chéng diàn yǐng。
^《 shuāng yuán zhēng huī》，《 AnythingGoes》， yòu yì《 suí xīn suǒ yù》。
^ jié luó mǔ · kè 'ēn Kern,Jerome。（ 1885-1945）。 měi guó zuòqǔ jiā。 shī cóng bǎo luó · jiā lì kē。 1904 nián xiě chéng dì yī shǒu chéng míng gēqǔ。 zuò pǐn yòu liú xíng yīnyuè xǐ jù duō bù， bāo kuò《 ò， hái zǐ》（ Oh,Boy） (1917)；《 sà lì》（ Sally）（ 1920）、《 yáng guāng míng mèi》（ Sunny） (1925)；《 yǎn yì chuán》（ ShowBoat） (1927)；《 kōng zhōng yīnyuè》（ MusicintheAir）（ 1932） hé《 luó bèi tǎ》（ Roberta）（ 1933）。 yóu bǎo luó · luó bó xùn（ PaulRobeson） shǒu cì yǎn chàng de《 lǎo rén hé》（ Ol'ManRiver） yǐ jí《 bù yóu dé bù 'ài wǒ nà hàn zǐ》（ Can'thelpLovingthatManofMine） dōushì《 yǎn yì chuán》 zhōng de chāqǔ。 hái zuò yòu《 yān chén jìn rù nǐ de yǎn zhōng》 děng liú xíng qǔdiào， yòu jǐ shǒu shì diàn yǐng chāqǔ。
^《 huà háng xuán gōng》，《 ShowBoat》， yòu yì《 yǎn yì chuán》。
^ qiáo zhì · gé shí wēn Gershwin,George（ 1898--1937） měi guó zuòqǔ jiā、 gāng qín jiā。 dài biǎo zuò《 lán sè kuáng xiǎng qū》（ RhapsodyinBlue）。 wéi yīnyuè xǐ jù hé diàn yǐng chuàng zuò gēqǔ [ qí zhōng bù shǎo gē cí chū zì tā gē gē 'ài lā（ Ira） jí yī sī léi 'ěr（ Israel） de shǒu bǐ ]， ér qiě yě xiě dà xíng zuò pǐn。 jì 1925 nián de gāng qín xié zòu qū zhī hòu，《 yī gè měi guó rén zài bā lí》（ AnAmericaninParis）、 yòu yī shǒu《 kuáng xiǎng qū》（ Rhapsody）、《 gǔ bā xù qū》（ CubanOverture） děng zuò pǐn jiē zhǒng 'ér zhì； 1935 nián xiě chéng de《 bō jí yǔ bèi sī》（ PorgyandBess） zhì jīn réng shì měi guó zuòqǔ jiā de gē jù zhōng wéi yī néng zài bǎo liú jù mù zhōng lì yú bù bài zhī dì de zuò pǐn。 gé shí wēn de xuán lǜ cái huá shì bù tóng fán xiǎng de。 tā de gē qū zhōng yùn cáng zhe 20 shì jì 20 nián dài niǔ yuē de jīng suǐ。
^ xī gé méng dé · lóng bó gé Romberg,Sigmund。（ 1887 nián shēng yú xiōng yá lì de sài gé dé； 1951 nián zú yú niǔ yuē）。 xiōng yá lì chū shēng de zuòqǔ jiā。 zài wéi yě nà shī cóng huò yī bèi gé（ Heuberger）。 1913 nián dìng jū niǔ yuē， chéng wéi měi guó gōng mín。 céng lián xù xiě chū yī xì liè de tōng sú qīng gē jù， qí zhōng bāo kuò《 wǔ yuè shí guāng》（ Maytime,1917）、《 kāi huā shí jié》（ BlossomTime）（ gēn jù shū bó tè de xuán lǜ xiě chéng， 1921）、《 xué shēng wáng zǐ》（ TheStudentPrince）（ 1924）、《 shā mò qíng gē》（ TheDesertSong）（ 1926）、《 xīn yuè》（ NewMoon）（ 1928）、 yǐ jí《 zài zhōng yāng gōng yuán》（ UpinCentralPark）（ 1945）。
^ lǔ dào fū · fú lǐ mǔ 'ěr Friml,Rudolph。（ 1879 nián shēng yú bù lā gé； 1972 nián zú yú hǎo lāi wù）。 jié kè zuòqǔ jiā。 1906 nián dìng jū měi guó。 1901 nián yǐ gāng qín jiā shēn fèn chū cì fǎng wèn měi guó， yǔ yáng · kù bèi lì kè（ JanKubelik） tóng xíng。 céng yǔ niǔ yuē jiāo xiǎng yuètuán hé zuò yǎn zòu zì jǐ de gāng qín xié zòu qū。 zuò pǐn yòu gāng qín qū hé shì nèi lè。 zhù yào yīn qí tōng sú guó gē jù 'ér yáng míng yú shì：《 yíng huǒ chóng》（ TheFirefly）（ 1912 nián）；《 kǎ jīn kǎ》（ Katinka） (1916)；《 luó sī · mǎ lì》（ RoseMarie）（ 1924 nián）；《 liú làng guó wáng》（ TheVagabondKing）（ 1925 nián）。 tā de tōng sú gēqǔ《 lǘ zhī xiǎo yè qū》 (DonkeySerenade)1937 nián dāng《 yíng huǒ chóng》 pāi chéng diàn yǐng shí， shì jiā jìn diàn yǐng de。
^ fú lán kè · shā lì wén FrankSullivan(1892-1976) měi guó jì zhě， yōu mò jiā。
^A.P. hè bó tè jué shì SirAlanPatrickHerbert（ 1890-1971） yīng guó yōu mò jiā， xiǎo shuō jiā， guó huì yì yuán， lǜ shī。 bì yè yú niú jīn， zuò guó huì yì yuán shí， zhù zhāng fèi chú yú lè shuì， gǎi gé lí hūn fǎ hé yín huì shěn chá zhì dù。
^ yà lì kè sī · ā tè jīn sēn AlexAtkinson(1916-1962) yīng guó jì zhě， xiǎo shuō jiā， biān jù， dài biǎo zuò shì 1958 nián yǔ chā huà jiā RonaldSearle hé zuò de《 TheBigCityortheNewMayhew》， dēngzǎi zài《 pān qù》 zá zhì。
^《 shèng 'ào sī dīng gù shì jí》《 TalesofSt.Austin ’ s》 wǔ dé háo sī de duǎn piān xiǎo shuō hé suí bǐ jí。 1903 nián yú lún dūn shǒu cì fā xíng， shōu lù liǎo xiān qián fā biǎo zài《 duì cháng》、《 gōng xué》 děng zá zhì shàng de wén zhāng。
^ jiā wén · lāi 'ěr GavinLyall， yīng guó tuī lǐ xiǎo shuō jiā， zhù yòu《 shè jī jiǎo běn》 ShootingScript(1966)。
^ qiáo zhì · mài kè táng nà · fú léi zé GeorgeMacDonaldFraser（ 1926～ 2008） yīng guó chàng xiāo shū zuò jiā。 shēng yú kǎ lāi 'ěr， 18 suì jiā rù biān jìng tuán， cān jiā guò 'èr zhàn。 tuì wǔ hòu jìn rù xīn wén yè， zài《 gé lā sī gē xiān qū bào》 bào shè gōng zuò， hòu shēng zhì fù zǒng biān ji， yī dù dān rèn zǒng biān ji。 tā zhuàn xiě de diàn yǐng jù běn bāo kuò 1973 nián de《 sān gè huǒ qiāng shǒu》 hé 10 duō nián hòu 007 xì liè zhōng de《 bā zhǎo nǚ》。 tā chuàng zuò de 12 běn fú lā shí màn xì liè cóng shū xū gòu liǎo wéi duō lì yà shì huā huā gōng zǐ hā lǐ · fú lā shí màn de mào xiǎn shēng yá； gāi xì liè cóng shū zài shí jǐ suì de nán hái dāng zhōng hěn liú xíng。 fú léi zé 2006 nián céng shuō， zhè xiē shū néng qǔ dé chéng gōng bùzúwèi qí，“ rén men xǐ huān wú lài、 xiǎo hùn hùn”； dàn pī píng rén shì rèn wéi， zhè xiē shū zhǒng zú sè cǎi tài nóng。 fú léi zé 1999 nián zài yīng guó nǚ wáng shēng chén rì bèi shòu yú yīng dì guó jūn guān xūn zhāng。 fú léi zé shì wèi fēi cháng qiān hé、 dī diào de rén， chú liǎo shòu xūn nà cì， tā hěn shǎo chū xiàn zài gōng kāi chǎng hé。
^ nà 'ōu · mǎ shí NgaioMarsh（ 1895-1982） móu shā xiǎo shuō nǚ wáng。 xīn xī lán rén， zǎo suì dāng guò yǎn yuán， wǎn nián zài xīn xī lán xì jù jiè hái hěn huó yuè， xiǎo shuō yě duō shè bǐ yǎn yì， bǐ xià zhù míng rén wù shì zǒng tàn cháng RoderickAlleyn， yī jiǔ sān sì nián dào yī jiǔ sì qī nián de míng zhù shì《 yī gè sǐ liǎo de nán rén》（ AManLayDead）、《 VintageMurder》、《 SurfeitofLampreys》、《 yáng máo dài》（ DiedintheWool） hé《 FinalCurtain》。 yīng guó huáng shì gěi tā fēng liǎo jué wèi。
^ léi kè sī。 shǐ táo tè RexStout（ 1886-1975） měi jí zuò jiā， chuàng zào chū tuī lǐ shǐ shàng xiǎng dāng dāng de dà zhēn tàn ní luó · wǔ 'ěr fù（ NeroWolfe）， yǔ jiǎ dé nà（ ErleStanleyGardner） bǐ xià chuàng zào de pài ruì . méi sēn（ PerryMason） bìng chēng“ ān lè yǐ shén tàn”。
^ míng yù xūn wèi（ OrderoftheCompanionsofHonour） shì yīng guó hé yīng lián bāng de yī zhǒng xūn zhāng。 yóu yīng huáng qiáo zhì wǔ shì yú 1917 nián 6 yuè chuàng shè， yòng yǐ biǎo zhāng zài yì shù、 yīnyuè、 wén xué、 zì rán kē xué、 zhèng zhì、 gōng yè hé zōng jiào fāng miàn huò dé zhòng dà chéng jiù de rén shì。 chú jūn zhù yǐ wài， míng yù xūn wèi de shù liàng xiàn dìng 65 rén。 míng yù xūn wèi zhǐ yòu yī děng， bìng bù shǔ yú qí shì xūn zhāng， suǒ yǐ shòu xūn zhě bù kě guān shàng“ jué shì” tóu xián， dàn kě yǐ zài míng chēng hòu guān shàng“ CH” zì yàng。
^ pǔ láo tú sī Plautus gǔ luó mǎ zuì zhòng yào de xǐ jù zuò jiā。 tā de xǐ jù dōushì yóu gǔ xī là xīn xǐ jù gǎi biān 'ér chéng de， jù yòu yī dìng de xiàn shí yì yì。 pǔ láo tú sī de xǔ duō jù běn， cóng wén yì fù xīng shí qī kāi shǐ jiù chéng liǎo 'ōu zhōu gè guó xì jù jiā xué xí hé mó fǎng de duì xiàng， yě gěi hòu rén tí gōng liǎo xī là xīn xǐ jù de mǒu xiē zhī shí。
^ lèi xíng juésè stockcharacters。 lèi xíng juésè yī bān jù yòu xìng gé tè zhēng tū chū， gài kuò xìng qiáng de tè diǎn， tā men de yī yán yī xíng dū tū chū dì biǎo xiàn liǎo qí zhù dǎo xìng gé。 rú mò lǐ 'āi bǐ xià de《 wěi jūn zǐ》 zhōng de dá diū fū， jīhū jiù shì wěi shàn de huà shēn， ér tā de《 qiān lìn rén》 zhōng de 'ā 'ěr bā gòng yě jí zhōng liǎo lìn sè guǐ de jī běn tè diǎn。
^ fú léi dé · ā sī tài 'ěr FredAstaire（ 1899-1987） měi guó chū shēn de diàn yǐng yǎn yuán、 wǔ zhě、 wǔ tái jù yǎn yuán、 biān wǔ jiā yǔ gē shǒu。 tā zài wǔ tái yǔ dà yín mù shàng de yǎn chū shēng yá cháng dá 76 nián， zài zhè duàn qī jiān tā cānyù liǎo sān shí yī bù gē wǔ jù de yǎn chū。 yà sī tǎn zuì cháng yǔ jīn jiě · luó jié sī yī tóng tí jí， zhè liǎng rén céng dā dàng yǎn chū shí bù diàn yǐng。
^ qiáo zhì · bó 'ēn sī GeorgeBurns（ 1896-） cóng xiǎo jiù zài zá shuǎ jù wǔ tái shàng yǎn chū， hòu yòu chéng wéi xǐ jù yǎn yuán。 1925 nián tā yǔ gé léi xī . ài lún zǔ chéng yī duì xǐ jù dā dàng， tā men zài sān、 sì shí nián dài hé zuò liǎo《 wú xiàn diàn bō yīn dà huì》、《 dà xué shēng de yōu mò》 děng 'èr shí duō bù yǐngpiān。 zài jīng guò sān shí wǔ nián de yǐn tuì hòu， tā yú 1975 nián chóngfǎn yín mù， yǐ xǐ jù piàn《 yáng guāng shàonián》 zhōng de jīng zhàn yǎn chū huò dé liǎo dì sì shí bā jiè 'ào sī kǎ zuì jiā nán pèijué jīn xiàng jiǎng。 cǐ hòu tā hái yǎn chū liǎo《 ō， shàng dì》（ 1977） hé《 bǐ bù jūn cáo de dān shēn hàn jù lè bù yuèduì》 děng piàn。
^ gé léi xī · ài lún GracieAllen（ 1895-） měi guó diàn yǐng、 xì jù nǚ yǎn yuán， chū shēn yú jiù jīn shān shì de gē wǔ zá shuǎ yì rén jiā tíng， cóng xiǎo kāi shǐ biǎo yǎn shēng yá。 1922 nián hé qiáo zhì · bó 'ēn sī zǔ zhì bó 'ēn sī - ài lún xǐ jù yǎn chū duì。 1926 nián hòu chéng wéi gē wǔ、 diàn yǐng、 guǎng bō、 diàn shì jiè zhù míng nǚ yǎn yuán。 zài diàn yǐng fāng miàn， gé léi xī · ài lún gòng cān jiā yǎn chū liǎo yuē 'èr shí bù gù shì piàn hé dà liàng duǎn piàn。 zhù yào yòu《 wú xiàn diàn bō yīn dà huì》（ 1932）、《 dà xué shēng de yōu mò》（ 1933）、《 duō jiǎo liàn 'ài》（ 1934）、《 xué yuàn jiàqī》（ 1936）、《 gé léi xī · ài lún móu shā 'àn》（ 1939）、《 nuò 'ēn fū fù》（ 1942）、《 shuāng shū duó luán》（ 1944） děng。
^ qióng · fāng dēng JoanFontaine（ 1917-） měi guó nǚ yǎn yuán， dài biǎo zuò《 hú dié mèng》，《 shēn guī yí yún》。
^ dài wéi · ní wén DavidNiven（ 1910-） dì 31 jiè 'ào sī kǎ yǐng dì。 shēng yú lún dūn yī gè guì zú jiā tíng， fù qīn céng rèn jūn guān。 shàonián shí qī jiù dú yú sāng hè sī tè jūn shì xué xiào， bì yè hòu cān jiā sū gé lán qīng qí bīng tuán， 6 nián hòu tuì wǔ， cóng shì jì zhě děng duō zhǒng zhí yè。 hòu dào hǎo lāi wù dāng lín shí yǎn yuán， yīn chū zhòng de cái huá hé yōu yǎ de fēng dù， zhú jiàn shēng zhì yī hào zhùjué。 50 nián dài shì tā yì shù shēng yá de dǐng shèng shí qī， qí zhōng yǐ《 huán qiú shì jiè bā shí tiān》 zuì wéi chū míng。 1958 nián yǐ《 fēn lí de zhuō zǐ》 róng yīng 'ào sī kǎ zuì jiā nán zhùjué jīn xiàng jiǎng hé niǔ yuē diàn yǐng píng lùn jiǎng de zuì jiā nán yǎn yuán jiǎng。 1981 nián yīn bìng qù shì， gòng pāi yòu yǐngpiān 100 yú bù， zhù yào dài biǎo zuò yòu《 gū jūn xuè zhàn jì》、《 tiě xuè zhōng hún》、《 měi mǎn yīn yuán》、《 cǎi fèng cháo yáng》、《 yuè liàng shì lán de》、《 jīn guī xù》、《 hóng táo wáng hòu》、《 ní luó hé cǎn 'àn》、《 táo wǎng yǎ diǎn nà》 děng。
^ ān dé lǔ · láo 'āi dé · wéi bó AndrewLloydWebber,BaronLloyd-Webber（ 1948-） shēng yú yīng guó lún dūn， shì yī wèi fēi cháng chéng gōng de yīnyuè jù zuòqǔ jiā。 tā de dì dì shì dà tí qín jiā zhū lì 'ān · láo 'āi dé · wéi bó。 wéi bó shì 20 shì jì wǎn qī zuì shòu huān yíng yě pō yòu zhēng yì de jù yuàn zuòqǔ jiā， tā wéi bǎi lǎo huì hé lún dūn xī qū jù yuàn chuàng zuò liǎo dà liàng de zuò pǐn。 wéi bó de jù yòu dài biǎo xìng de gēqǔ yòu： yé sū jī dū wàn shì jù xīng zhōng de "IDon'tKnowHowtoLoveHim"，《 ài wēi tǎ》（ bèi lóng fū rén） zhōng de "Don'tCryforMe,Argentina"， māo zhōng de "Memory"， gē jù mèi yǐng zhōng de "TheMusicoftheNight"。
^ bǐ dé · ào tú PeterO'Toole（ 1932-） píng jiè《 mò lù 'ài shén》 huò dì 79 jiè 'ào sī kǎ zuì jiā nán zhùjué tí míng。
^ luó bó tè · méng gē mǎ lì RobertMontgomery（ 1904-1981） měi guó yǎn yuán， dǎo yǎn。 yǎn chū《 hú shàng yàn shī》《 shǐ mì sī fū fù》《 zuǒ dān xiān shēng chū mǎ》 děng。
An acknowledged master of English prose, Wodehouse has been admired both by contemporaries such as Hilaire Belloc, Evelyn Waugh and Rudyard Kipling and by modern writers such as Stephen Fry, Douglas Adams, Salman Rushdie, Zadie Smith and Terry Pratchett. Journalist and writer Christopher Hitchens commented, "there is not, and never will be, anything to touch him."
Best known today for the Jeeves and Blandings Castle novels and short stories, Wodehouse was also a playwright and lyricist who was part author and writer of 15 plays and of 250 lyrics for some 30 musical comedies, many of them produced in collaboration with Jerome Kern and Guy Bolton. He worked with Cole Porter on the musical Anything Goes (1934), wrote the lyrics for the hit song "Bill" in Kern's Show Boat (1927), wrote lyrics to Sigmund Romberg's music for the Gershwin – Romberg musical Rosalie (1928), and collaborated with Rudolf Friml on a musical version of The Three Musketeers (1928).
Early life
Wodehouse, called "Plum" by most family and friends, was born prematurely to Eleanor Wodehouse (née Deane) while she was visiting Guildford and he was baptised at St. Nicolas' Church, Guildford. His aunt Mary Deane was the author of the novel Mr. Zinzan of Bath; or, Seen in an Old Mirror. His father, Henry Ernest Wodehouse (1845–1929), was a British judge in Hong Kong. The Wodehouse family had been settled in Norfolk for many centuries. Wodehouse's great-grandfather Reverend Philip Wodehouse was the second son of Sir Armine Wodehouse, 5th Baronet, whose eldest son John Wodehouse, 1st Baron Wodehouse, was the ancestor of the Earls of Kimberley. His godfather was Pelham von Donop, after whom he was named.
When he was just three years old, Wodehouse was brought back to England and placed in the care of a nanny. He attended various boarding schools and, between the ages of three and 15 years, saw his parents for barely six months in total. Wodehouse grew very close to his brother, who shared his love for art. Wodehouse filled the voids in his life by writing relentlessly. He spent quite a few of his school holidays with one aunt or another; it has been speculated that this gave him a healthy horror of the "gaggle of aunts", reflected in Bertie Wooster's formidable aunts Agatha and Dahlia, as well as Lady Constance Keeble's tyranny over her many nieces and nephews in the Blandings Castle series.
Wodehouse's first school was The Chalet School, Croydon (now Elmhurst School for Boys), which he attended between 1886 and 1889, together with his two older brothers. (Richard, the youngest of the four Wodehouse brothers, was much younger and became somewhat noteworthy as a cricketer in Asia.) In 1889, the oldest brother, Peveril, was diagnosed as having a weak chest, and the three brothers were sent to Elizabeth College, Guernsey, where Peveril could benefit from the sea air. Wodehouse remained at Elizabeth College for two years, until, at age 10, it became time for him to move to a preparatory school. Wodehouse's first prep school was Malvern House, at Kearsney, near Dover, which specialised in preparing boys for entry to the Royal Naval College at Dartmouth. Wodehouse spent two unhappy years at Malvern House before finally persuading his father to send him to Dulwich College, where his elder brother Armine was already a student.
He enjoyed his time at Dulwich, where he was successful both as a student and as a sportsman: he was a member of the Classics VIth Form (traditionally, the preserve of the brightest students) and a School prefect, he edited the college magazine, The Alleynian, sang and acted leading roles in musical and theatrical productions, and gained his school colours as a member of the cricket First XI and rugby football First XV; he also represented the school at boxing (until barred by poor eyesight) and his house at athletics. The library at Dulwich is now named after him.
Wodehouse's elder brother, Armine, had won a classics scholarship to Oxford University (where he gained a first class degree) and Pelham was widely expected to follow in his brother's footsteps, but a fall in the value of the Indian rupee (in which currency his father's pension was expressed) forced him to abandon such plans. His father found him a position with the Hong Kong and Shanghai Bank (now known as HSBC), where, after two years' training in London, he would have been posted to an overseas branch. However, Wodehouse was never interested in banking as a career and "never learned a thing about banking". (Some of his experiences in the bank were recounted in Psmith in the City.) He wrote part-time while working in the bank, and in 1902 became a journalist with The Globe (a now defunct newspaper), taking over the comic column from a friend who had resigned.
Wodehouse contributed items to Punch, Vanity Fair (1903–1906), Daily Express (1904) and The World: A Journal for Men and Women (1906/1907). He also wrote stories for schoolboy's magazines (The Captain and Public School Magazine) that were compiled to form his first published novels and four playlets with his friend Bertram Fletcher Robinson. During 1909, Wodehouse stayed in Greenwich Village and "sold two short stories to Cosmopolitan and Collier's for a total of $500 – much more than I had ever earned before." He then resigned from The Globe and stayed in New York, where he became a regular contributor (under a variety of pseudonyms) to the newly-founded American Vanity Fair (1913). However "the wolf was always at the door", and it was not until The Saturday Evening Post serialised Something New in 1915 that he had his "first break". Around this time he began collaborating with Guy Bolton and Jerome Kern on (eventually eighteen) musical comedies.
In 1914, Wodehouse married Ethel Wayman and gained a stepdaughter called Leonora. He had no biological children, and it is possible that he was rendered infertile after contracting mumps as an adolescent.
During the 1930s, he had two brief stints as a screenwriter in Hollywood, where he claimed he was greatly overpaid. Many of his novels were also serialised in magazines such as The Saturday Evening Post and The Strand, which also paid well.
Life beyond Britain
Although Wodehouse and his novels are considered quintessentially English, from 1914 onward he split his time between England and the United States. In 1934, he took up residence in France, to avoid double taxation on his earnings by the tax authorities in Britain and the U.S. He was also profoundly uninterested in politics and world affairs. When World War II broke out in 1939 he remained at his seaside home in Le Touquet, France, instead of returning to England, apparently failing to recognise the seriousness of the conflict. (One version says that his wife couldn't bear to leave their dog, Wonder). He was subsequently taken prisoner by the Germans in 1940 and interned by them for a year, first in Belgium, then at Tost (now Toszek) in Upper Silesia (now in Poland). He is recorded as having said, "If this is Upper Silesia, one wonders what Lower Silesia must be like..."
While at Tost, he entertained his fellow prisoners with witty dialogues. After being released from internment, a few months short of his 60th birthday, he used these dialogues as a basis for a series of radio broadcasts aimed at America (then not at war) that the Germans tricked him into making from Berlin. Wodehouse believed he would be admired as showing himself to have 'kept a stiff upper lip' during his internment. Wartime England was in no mood for light-hearted banter, however, and the broadcasts led to many accusations of collaborationism with the Germans and even treason. Some libraries banned his books. Foremost among his critics was A. A. Milne, author of the Winnie the Pooh books; Wodehouse took revenge in a short story parody in which a character based on Milne writes about his son, a ridiculous character named "Timothy Bobbin". Another critic was the playwright Sean O'Casey who, in a letter to The Daily Telegraph in July 1941, wrote: "If England has any dignity left in the way of literature, she will forget for ever the pitiful antics of English literature's performing flea." Wodehouse deflected the insult by giving the title Performing Flea to a collection of his letters to a friend, Bill Townend. Among Wodehouse's defenders were Evelyn Waugh and George Orwell. An investigation by the British security service MI5 concurred with Orwell's opinion, concluding that Wodehouse was naïve and foolish but not a traitor. Documents declassified in the 1980s revealed that while living in Paris, his living expenses were paid by the Nazis. However, papers released by the British Public Record Office in 1999 showed these had been accounted for by MI5 investigators when establishing Wodehouse's innocence.
The criticism led Wodehouse and his wife to move permanently to New York. Apart from Leonora, who died during Wodehouse's internment in Germany, they had no children. He became an American citizen in 1955 and never returned to his homeland, spending the remainder of his life in Remsenburg, New York.
Later life
He was appointed a Knight Commander of the Order of the British Empire (KBE) in the 1975 New Year Honours, six weeks before his death at the age of 93. It is widely believed that the honour was not given earlier because of lingering resentment about the German broadcasts. In a BBC interview he said that he had no ambitions left now that he had been knighted and there was a waxwork of him in Madame Tussaud's Wax Museum. His doctor advised him not to travel to London to be knighted, and his wife later received the award on his behalf from the British consul.
The Bollinger Everyman Wodehouse Prize, given annually for the finest example of comic writing in the UK, was established and named in his honour in 2000.
Writing style
Wodehouse took a modest attitude to his own works. In Over Seventy (1957) he wrote:
"I go in for what is known in the trade as 'light writing' and those who do that – humorists they are sometimes called – are looked down upon by the intelligentsia and sneered at."
However, he also lightly taunted his critics, as in the introduction to Summer Lightning.
"A certain critic—for such men, I regret to say, do exist—made the nasty remark about my last novel that it contained 'all the old Wodehouse characters under different names'. He has probably by now been eaten by bears, like the children who made mock of the prophet Elisha; but if he still survives he will not be able to make a similar charge against Summer Lightning. With my superior intelligence, I have outgeneralled the man this time by putting in all the old Wodehouse characters under the same names. Pretty silly it will make him feel, I rather fancy."
His writing style is notable for its unique blend of contemporary London clubroom slang with elegant, classically-informed drawing-room English; for example:
"I once got engaged to his daughter Honoria, a ghastly dynamic exhibit who read Nietzsche and had a laugh like waves breaking on a stern and rockbound coast."
Literary tastes and influence
In the above-mentioned article, Wodehouse names some contemporary humorists whom he held in high regard. These include Frank Sullivan, A. P. Herbert, and Alex Atkinson. Two essays in Tales of St. Austin’s satirise modern literary criticism: "The Tom Brown Question" is a parody of Homeric analysts, and "Notes" criticises both classical and English critics, with an ironic exception for those explicating the meaning of Browning. In "Work", Wodehouse calls the claim that "Virgil is hard" "a shallow falsehood", but notes that "Aeschylus, on the other hand, is a demon". Shakespeare and Tennyson were also obvious influences; their works were the only books Wodehouse took with him in his internment. He frequently quotes Kipling and Omar Khayyam. Wodehouse enjoyed the traditional English thriller: one of his characters declares that "It is impossible not be thrilled by Edgar Wallace", and he dedicated Sam the Sudden to Wallace, while Agatha Christie dedicated her Hallowe'en Party "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 the 1960s he gave important praise for the debut novels of Gavin Lyall and George MacDonald Fraser. In later life, he read mysteries by Ngaio Marsh and Rex Stout, and unfailingly watched the soap opera The Edge of Night.
Character
Wodehouse's characters, however, were not always popular with the establishment, notably the foppish foolishness of Bertie Wooster. Papers released by the Public Record Office have disclosed that when Wodehouse was recommended in 1967 for the Order of the Companions of Honour, Sir Patrick Dean, the British ambassador in Washington, argued that it "would also give currency to a Bertie Wooster image of the British character which we are doing our best to eradicate."
Wodehouse's characters are often eccentric, with peculiar attachments, such as to pigs (Lord Emsworth), newts (Gussie Fink-Nottle), antique silver (Bertie's Uncle Tom Travers), golf-collectables (numerous characters) or socks (Archibald Mulliner). His "mentally negligible" good-natured characters invariably make their lot worse by their half-witted schemes to improve a bad situation.
In many cases the classic eccentricities of Wodehouse's upper class give rise to plot complications. The very first Jeeves story ("Jeeves Takes Charge") concerns an attempt to prevent publication of an old man's memoirs, which contain embarrassing stories about aristocrats and other prestigious persons in their youth.
Relatives, especially aunts and uncles, are commonly depicted with an exaggerated power to help or impede marriage or financial prospects, or simply to make life miserable. (Bertie speaks of "Aunt Agatha getting after [someone] with her hatchet".) Several of the Jeeves stories involve helping a pal to deceive a wealthy relative on whom the pal depends financially ("The Aunt and the Sluggard", "Comrade Bingo"). When Bertie Wooster is first introduced ("Jeeves Takes Charge"), he is himself dependent upon his Uncle Willoughby, and only when this uncle hands in his dinner pail (dies) does Bertram become independently wealthy.
Children of both genders are invariably troublesome, annoying, and malicious. The most egregious is Edwin the Boy Scout, whose attempts at "acts of kindness" cause disasters of widely varying severity in several Jeeves novels and short stories.
Friends are often more a trouble than a comfort in Wodehouse stories: Bertie Wooster in particular is often obliged to put himself to trouble, and sometimes to endure considerable suffering, in order to help a friend. (The Code of the Woosters, in the novel of the same name, is "Never let a pal down.") Antagonists (particularly rivals in love) are frequently terrifying and just as often get their comeuppance in a gratifying fashion.
Policemen and magistrates are typically portrayed as threatening, yet easy to fool, often through the simple expedient of giving a false name. A recurring motif is the theft of policemen's helmets. One of the most dislikeable characters in the entire opus is a magistrate, Sir Watkyn Bassett.
In a manner going back to the stock characters of Roman comedy (such as Plautus), Wodehouse's servants are frequently far cleverer than their masters. This is quintessentially true with Jeeves, who always pulls Bertie Wooster out of the direst scrapes by means of cunning and resource, often by deceptively manipulating him (e.g. "Bertie Changes his Mind", Right Ho, Jeeves) or by convincing him to sacrifice himself. It recurs elsewhere, such as the efficient (though despised) Baxter, secretary to the befogged Lord Emsworth.
Another recurring type is the successful, square-jawed, ruthless American business executive, most notably in Thank You, Jeeves and in the golf story "The Heel of Achilles" but also in later stories about the Mulliners in Hollywood.
Big bruisers who come and go unexpectedly, muttering threats, abound in Wodehouse, including first and foremost Roderick Spode and Tuppy Glossop but also any number of bookies' henchmen, jealous lovers, nosy neighbours, burglars, and what we now call animal-rights activists.
Many stories involve a strong-willed, independent, middle-aged (or older) female troublemaker. Examples include Bertie Wooster's Aunt Agatha; Lord Emsworth's many sisters, especially Lady Constance Keeble; Headmistress Mapleton in "Jeeves and the Kid Clementina"; Lady Bassett in the Mulliner short story "Strychnine in the Soup"; and the poisonous Princess von und zu Dworniczek in Summer Moonshine. Even Aunt Dahlia, the exceptional aunt who is a "good egg", makes plenty of troublesome demands on Bertie. Most abhorrent are the female writers, young and old, such as Ukridge's Aunt Julia, Bertie Wooster's cousin (and sometime fiancée) Florence Craye, and, when the evil fit is upon her, Bingo Little's wife Rosie M. Banks.
Plot
Even if the broad outlines of his plots were typically formulaic, Wodehouse was known for his consummate skill at their detailed construction and development. This did not come immediately to him; in the early Psmith novels Psmith In The City and Psmith, Journalist, the device by which the author rescues the protagonists from their mounting difficulties is a simple infusion of cash from Psmith's father. This would soon change, and by the 1920s his novels were already showing off his genius for creating multiple layers of comedic complications that the characters must endure to reach the invariable happy ending. Typically, a relative or friend makes some demand that forces a character into a bizarre situation from which it seems impossible to recover, only to resolve itself in a clever and satisfying finale. The layers pile up thickly in the longer works, with a character getting into multiple dangerous situations by mid-story. An outstanding example of this is The Code of the Woosters where most of the chapters have an essential plot point reversed in the last sentence, catapulting the characters forward into greater diplomatic disasters. A key figure in most Wodehouse stories is a "fixer" whose genius soars above the incompetent blather and crude bluster of most of the other characters, Jeeves being the best known example. Other characters in this vein are Lord Ickenham ("Uncle Fred") and Galahad Threepwood, who perform much the same role in the Blandings Castle stories—though never both at the same time—and Psmith, who does the same thing in the stories that bear his name.
Engagements are a common theme in Wodehouse stories. A man may be unable to become engaged to the woman he loves due to some impediment such as poverty, feelings of inferiority, or a relative's objection. Just as often, a protagonist unwillingly or unwittingly gets engaged to a woman he does not love, and must find some back-door way out other than breaking it off directly (which goes against a gentleman's code of honour and renders him vulnerable to a lawsuit for breach of promise). The most widely-read case in point is Bertie Wooster's engagement to the objectionable Madeline Bassett in Right Ho, Jeeves, which recurs in several subsequent novels.
Impersonations, and resulting confusion, are particularly common in the Blandings books, but also occur in other works. Often the impersonation is discovered, but the impersonator is able to silence the discoverer by means of bribery or blackmail, as in Leave it to Psmith and Uncle Fred in the Springtime.
Gambling often plays a large role in Wodehouse plots, typically with someone manipulating the outcome of the wager.
Another subject which features strongly in Wodehouse's plots is alcohol, and many plots revolve around the tipsiness of a major character. In The Mating Season, he enumerated what many people consider as the definitive list of hangovers: the Broken Compass, the Sewing Machine, the Comet, the Atomic, the Cement Mixer and the Gremlin Boogie. Furthermore, he makes several references to a drink called the "May Queen", described by Uncle Fred as "any good dry champagne, to which is added brandy, armagnac, kümmel, yellow chartreuse, and old stout, to taste", which inspires several characters to acts of daring, such as proposing to their true loves. Sometimes, other psychoactive substances are featured, for instance in Laughing Gas and the short story "Mulliner's Buck-U-Uppo".
Writing
Main articles: List of books by P. G. Wodehouse and List of short stories by P. G. Wodehouse
Wodehouse was a prolific author, writing 96 books in his remarkable seventy-three year long career (1902 to 1975). His works include novels, collections of short stories, and musical comedies. Many characters and locations appear repeatedly throughout his short stories and novels, leading readers to classify his work by "series":
The Blandings Castle stories (later dubbed "the Blandings Castle Saga" by Wodehouse), about the upper-class inhabitants of the fictional rural Blandings Castle. Includes the eccentric Lord Emsworth, obsessed by his prize-winning pig, the "Empress of Blandings", and at one point by his equally prize-winning pumpkin ("Hope of Blandings", but, mockingly, "Percy" to Emsworth's unappreciative second son Freddie Threepwood).
The Drones Club stories, about the mishaps of certain members of a raucous social club for London's idle rich. Drones Club stories always involve unnamed club members known as "Eggs", "Beans" and "Crumpets" (after the habit of addressing each other as "old egg", "old bean" or "old crumpet"); in each story, a well-informed Crumpet will endeavour to tell an Egg or Bean of the latest exploits of another Drones Club member, most frequently Freddie Widgeon or Bingo Little. Also featured are a cast of recurrent bit players such as Club millionaire Oofy Prosser.
The Golf and Oldest Member stories. They are built around one of Wodehouse's passions, the sport of golf, which all characters involved consider the only important pursuit in life. The Oldest Member of the golf course clubhouse tells most of them, usually to unwilling listeners who would prefer to be elsewhere.
The Jeeves and Wooster stories, narrated by the wealthy, scatterbrained Bertie Wooster. A number of stories and novels that recount the improbable and unfortunate situations in which he and his friends find themselves and the manner in which his ingenious valet Jeeves is always able to extricate them. Collectively called "the Jeeves stories", or "Jeeves and Wooster", they are Wodehouse's most famous. The Jeeves stories are a valuable compendium of pre-World War II English slang in use.
The Mr Mulliner stories, narrated by a genial pub raconteur who can take any topic of conversation and turn it into an involved, implausible story about a member of his family. Most of Mr. Mulliner's stories involve one or another of his innumerable nephews. His listeners are always identified solely by their drinks, e.g., a "Hot Scotch and Lemon" or a "Double Whisky and Splash".
The School stories, which launched Wodehouse's career with their comparative realism. They are often located at the fictional public schools of St. Austin's or Wrykyn.
The Psmith stories, about an ingenious jack-of-all-trades with a charming, exaggeratedly refined manner. The final Psmith story, Leave it to Psmith, overlaps the Blandings stories in that Psmith works for Lord Emsworth, lives for a time at Blandings Castle, and becomes a friend of Freddie Threepwood. Psmith first appeared in the school novel Mike.
The Ukridge stories, about the charming but unprincipled Stanley Featherstonehaugh Ukridge, always looking to enlarge his income through the reluctant assistance of his friend in his schemes. Besides the short stories, there is one novel about him: Love Among the Chickens.
The Uncle Fred stories, about the eccentric Earl of Ickenham. Whenever he can escape his wife's chaperonage, he likes to spread what he calls "sweetness and light" and others are likely to call chaos. His escapades, always involving impersonations of some sort, are usually told from the viewpoint of his nephew and reluctant companion Reginald "Pongo" Twistleton. Several times he performs his "art" at Blandings Castle.
The stand-alone stories. Stories which are not part of a series (although they may contain overlapping minor characters), such as Piccadilly Jim, Quick Service, Summer Moonshine, Sam the Sudden, and Laughing Gas.
Almost all of these series overlap: Psmith appears in a "School" story and a Blandings novel; Bertie Wooster is a member of the Drones Club; Uncle Fred and Pongo Twistleton appear in both the Blandings Saga and the Drones club stories; Bingo Little is a regular character in the Jeeves Stories and the Drones Club stories, etc.
Adaptation
See also: Category:Works derived from P. G. Wodehouse
Considering the extent of his success, there have been comparatively few adaptations of Wodehouse's works. He was reluctant to allow others to adapt the Jeeves stories:
"One great advantage in being a historian to a man like Jeeves is that his mere personality prevents one selling one's artistic soul for gold. In recent years I have had lucrative offers for his services from theatrical managers, motion-picture magnates, the proprietors of one or two widely advertised commodities, and even the editor of the comic supplement of an American newspaper, who wanted him for a "comic strip". But, tempting though the terms were, it only needed Jeeves' deprecating cough and his murmured "I would scarcely advocate it, sir," to put the jack under my better nature. Jeeves knows his place, and it is between the covers of a book." (from Wodehouse's introduction to the compilation The World of Jeeves, 1967)
Doing his own adaptations for film did not attract him either. He had been retained by MGM in 1930 but little used: "They paid me $2,000 a week.... Yet apparently they had the greatest difficulty in finding anything for me to do." He returned to MGM in 1937 to work on the screenplay of Rosalie, but even though he was now being paid $2,500 a week and living luxuriously in Hollywood, he said "I'm not enjoying life much just now. I don't like doing pictures."
However, he formed a warm working relationship with Ian Hay, who adapted A Damsel in Distress as a stage play in 1928, with Hay, Wodehouse and A. A. Milne all investing in the production. Wodehouse and Hay holidayed together in Scotland, finding "a lot of interests in common". Wodehouse went on to help dramatise Hay's story Baa Baa Black Sheep in 1929, and in 1930 they co-wrote the stage version of Leave It to Psmith.
Wodehouse wrote the screenplay for the musical film A Damsel in Distress released in 1937, starring Fred Astaire, George Burns, Gracie Allen, and Joan Fontaine, with music and lyrics by George and Ira Gershwin. A 1962 film adaptation of The Girl On The Boat starred Norman Wisdom, Millicent Martin and Richard Briers.
The Blandings, Jeeves, Ukridge and Mulliner stories have all been adapted for television. The Jeeves series has been adapted for television twice, once in the 1960s (by the BBC), with the title The World of Wooster, starring Ian Carmichael as Bertie Wooster, and Dennis Price as Jeeves, and again in the 1990s (by Granada Television for ITV), with the title Jeeves and Wooster, starring Hugh Laurie as Bertie and Stephen Fry as Jeeves. David Niven and Arthur Treacher also starred as Bertie and Jeeves, respectively, in a short 1930s film that had the title Thank You, Jeeves!, though neither this nor the sequel, Step Lively, Jeeves, also starring Treacher as Jeeves but without Bertie, bears any relation to a Wodehouse story.
In 1975, Andrew Lloyd Webber made a musical, originally titled Jeeves. In 1996, it was rewritten as the more successful By Jeeves, which made it to Broadway, and a performance recorded as a video film, also shown on TV.
A version of Heavy Weather was filmed by the BBC in 1995 starring Peter O'Toole as Lord Emsworth and Richard Briers, again, as Lord Emsworth's brother, Galahad Threepwood.
Piccadilly Jim was first filmed in 1919, and again in 1936, starring Robert Montgomery. In 2004, Julian Fellowes wrote another screen adaptation which starred Sam Rockwell. This version was not successful.
There was also a series of BBC adaptations of various short works, mostly from the Mulliner series, under the title of Wodehouse Playhouse starring John Alderton and Pauline Collins, which aired starting in 1975. The first series was introduced by Wodehouse himself, aged 93.
Arthur, starring Dudley Moore and Sir John Gielgud, and its sequel Arthur II: On the Rocks, were also an adaptation of the characters of Bertie and Jeeves, although not officially acknowledged, and many of the lines and incidents from the movie, including the main plot involving an engagement, were directly influenced by Wodehouse's characters.
Wodehouse's involvement with film and television from around the world is chronicled in Brian Taves, P.G. Wodehouse and Hollywood: Screenwriting, Satires, and Adaptations (McFarland, 2006).
Czech author Zdeněk Jirotka based his Saturnin novel largely on the character of Jeeves.
Major character
Lists of P. G. Wodehouse character
Characters in all Wodehouse storie
Characters in the Blandings storie
Characters in the Drones Club storie
Characters in the Jeeves storie
Characters in the Mulliner storie
Characters in the Ukridge storie
Characters in other storie
v • d • e
Major characters of primary importance
Wodehouse's work contains a number of recurring protagonists, narrators and principal characters, including:
Bertie Wooster and his valet Jeeves; his Aunt Dahlia and Aunt Agatha
Lord Emsworth of Blandings Castle, and his large family
Mr Mulliner, irrepressible pub raconteur of family storie
The Oldest Member, irrepressible nineteenth hole raconteur of golf storie
Psmith, monocled dandy and practical socialist
Ukridge, irrepressible entrepreneur and cheerful opportunist
Uncle Fred (Frederick Cornwallis, Fifth Earl of Ickenham), considered, in some circles, a disgrace to the Peerage. Spreading "sweetness and light" through impersonation
Major characters of secondary importance
Certain of Wodehouse's less central characters are particularly well-known, despite being less critical elements of his works as a whole.
Anatole, French chef extraordinaire, very temperamental
Galahad Threepwood, Lord Emsworth's brother, lifelong bachelor with a mis-spent youth and a kind heart
Sebastian Beach, Lord Emsworth's butler
Rupert Baxter, Lord Emsworth's efficient but annoying secretary
Major Brabazon-Plank, Amazon explorer, afraid of bonnie babie
Sir Roderick Glossop, intimidating psychiatrist
Honoria Glossop, Sir Roderick's daughter and sometime fiancée of Bertie Wooster, demanding, imperious, athletic
Tuppy Glossop, Sir Roderick's nephew, muscular rugby-player
Roderick Spode, later 7th Earl of Sidcup, amateur dictator, very tall and muscular, based on British fascist Oswald Mosley
Pongo Twistleton, Uncle Fred's nephew
Oofy Prosser, millionaire member of the Drones Club
Monty Bodkin, second richest member of the Drones Club (second to Oofy Prosser)
Bingo Little, friend of Bertie Wooster, with a complicated love-life
Rodney Spelvin, big, muscular golfer, inclined to jealousy
Agnes Flack, big, muscular, female golfer
Freddie Widgeon, member of the Drones Club
Gussie Fink-Nottle, fish-faced, socially awkward newt-fancier who cannot hold his liquor
Sir Watkyn Bassett, owner of Totleigh Tower
Madeline Bassett, daughter of Sir Watkyn, very pretty but disturbingly drippy and poetical; often voices conviction that "the stars are God's daisy-chain" and other goofy sentiment
Bobbie Wickham, attractive but ruthless red-haired girl, very demanding and fond of practical joke
Florence Craye, Bertie Wooster's cousin and sometimes fiancee, and author of the novel Spindrift
Lord Uffenham, owner and butler of Shipley Hall
Mike Jackson, Psmith's steadfast, cricket-playing friend
Archibald Mulliner, sock collector who can mimic a hen laying an egg
Extremely minor, but ubiquitous, character
Lord Knubble of Knopp, mentioned in Mulliner stories and Golf Stories and other stories as well; references to him are always so brief and inconsequential that they may not be fully catalogued. Most often mentioned in connection with other characters, without actually appearing. A thin, well-dressed, "horse-faced" man, who occasionally appears at house parties and loses at cards. Very wealthy in spite of this.