Thursday, June 18, 2026

The Dumb (?) Waiter

The Dumb (?) Waiter is the title of an obscure, short-lived and most likely lost comic sketch written by P. G. Wodehouse and Lennox Pawle, first produced in London at the Tivoli Theatre on October 24, 1910, according to A. Nicoll, English Drama, 1900-1930. The Beginnings of the Modern Period (2009), vol. 2, p. 1035. It is not mentioned in D. Jasen's The Theatre of P. G. Wodehouse (1979).

The most complete review I have been able to find is in The Era for October 29 of that year. It provides a few details of the piece's plot, language and humor:

THE TIVOLI.

Mr. Joseph Wilson's latest novelty at the Tivoli is a sketch without a plot, from the joint pens of Mr. Lennox Pawle, the popular comedian, and Mr. P. J. [sic] Wodehouse. It is entitled The Dumb (?) Waiter, the ironical significance of the adjective of the title being marked by a note of interrogation. In a restaurant scene a deaf-and-dumb gentleman and a Hebrew of uncultivated manners are dining. The Jew, after addressing several observations to the deaf mute, appropriates his evening newspaper, which is promptly snatched back by the silent one. After one or two little skirmishes the waiter arrives on the scene. He is quite a greasy specimen of his class, but his clatter of speech is prodigious. Like Gratiano, he speaks an infinite deal of nothing. His deaf-and-dumb customer has, he thinks, a sympathetic soul, and when he pours his family history into his ear, with incidental references to the doings and love-troubles of a kindly-hearted innkeeper, he has no idea that his talk flows "in one ear and out of the other." The old gentleman at last understands that he is being spoken to, and taking a small scrap of paper, he scribbles thereon: "Any statement of importance you have to make you must put it in writing. I am deaf and dumb." The sketch has the merit of giving a droll comedian a real chance as a humorist, and its chief recommendation is that it introduces to the London variety stage Mr. John Humphries, of whom too little is seen in the West End. Such a capital comedian should be permanently established in the metropolis. The music halls, at any rate, can do with him, for his waiter is a joyous optimist, and a refreshing exponent of a Cockney type as amusing as it is lifelike. Mr. Humphries may be said to have "found himself" in the halls. He should remain there.

Now, scanty as these particulars are, they allow us to connect the sketch with Wodehouse's short story "By Advice of Counsel," first published in The Strand Magazine in July of 1910 and collected in The Man Upstairs (1914).

In the story, a waiter recounts to a silent customer how he and his partner, Bailey, once lived comfortably off Jerry Moore, a meek bachelor. When Jerry falls for the domineering Jane Tuxton, the freeloaders fear losing their easy life. Hoping to sabotage the romance, Bailey advises the timid Jerry to flatter Jane's family by consulting them. However, Jerry is slightly deaf and mishears the advice. At dinner, Jerry aggressively insults the family and kicks their dog. Surprisingly, this sudden dominance captivates Jane, who accepts his proposal, leaving the scheming partners out in the cold. As he finishes his tale, however, the customer looks at the waiter inquiringly and says, "I don’t know what you are saying. If it is important, write it on a slip of paper. I am stone-deaf."

The similarities with the plot described in the Era review are unquestionable, starting with the almost identical concluding sentences. Both waiters are garrulous and speak with a strong Cockney accent. It seems clear that the sketch started life as an adaptation of the story, or at least a separate development of the same basic idea.

Nevertheless, even from the brief synopsis of the sketch we can tell that the two plots are different. The Jewish diner is an original addition, and the waiter's tale apparently concerns events relating to his family and an innkeeper. We don't know if the story of the innkeeper is similar to that of Jerry Moore. From the review alone, it might appear that the deafness of the customer is known to the public from the start, but it seems to me likely (and theatrically much more effective) that here too this fact was only revealed at the end, and that his stony silence is first interpreted as a sign of concentration and perhaps annoyance at the prattle of the waiter. As the notice suggests, it must have relied on the lead actor's delivery as much as on the quality of his lines. We need only imagine the story that we know translated to the stage to see that a flat or uninspired performance would ruin the sketch.

This is the first time I've heard of Lennox Pawle in association with Wodehouse. Immediately after the production Pawle went to America to start a career on Broadway: he was part of the all-British cast of Louis N. Parker's comedy Pomander Walk that opened in Montreal on December 12. There are two excellent articles on him at the Immortal Ephemera website, here and here, with plenty of additional information ahd photographs. As far as I'm aware, the only time Wodehouse used his surname at all in his writings was in the person of the nonexistent Mrs. Matilda Pawle, a creation of Judson Coker in Bill the Conqueror, but the connection is too tenuous to be much more than a coincidence.

As I said, the script of the sketch is probably not preserved, which is a pity, but I hope that this quick inquiry has provided at least a glimpse of what this minor production was like.

Wednesday, May 20, 2026

Meet Mr. Mulliner: a variorum edition

Meet Mr. Mulliner (variorum edition, PDF)

This is the eighth variorum edition that I have completed, and the third this year, although work on the texts began much earlier: some of the stories that make up this book were among the first I made full comparison tables for. When I revisited those tables in order to prepare this edition I realized how much the criteria and methodology have evolved over time, hopefully in the right direction. I'm thinking of writing a more detailed account of how these editions are produced, perhaps as a future blog post.

Meet Mr. Mulliner was the first compilation of Mulliner stories, all first published between 1925 and 1927. The last of the collection but first written, "Honeysuckle Cottage," was not in fact a Mulliner story in its origin, and had its introductory paragraphs rewritten for the book. Here I had to resort to printing both versions of the introduction in parallel columns.

Apart from this exceptional case, the bulk of the apparatus refers to differences between the "final" text, represented by the UK book, and the American magazine versions. The fewer changes between the British magazine texts and the book are still significant and worthy of note, and the differences from the American book and later editions are very few and probably accidental for the most part.

As before, the difference tables are available in the WIP page until I find a more permanent home for them.

Wednesday, April 29, 2026

Ode to P. G. Wodehouse on his 90th birthday, by B. A. Young

This brief tribute in verse appeared in the London Financial Times on October 14, 1971:

Ode to P. G. Wodehouse on his 90th birthday
by B. A. Young

Proclaim great Wodehouse, with a blare of trumpets,
And his great cohort of eggs, beans and crumpets—
Each one of them as instantly familiar
If not as Hamlet, anyway as Ophelia!
Here is Lord Emsworth, that immortal peer,
Scratching his Empress at her starboard ear,
With lesser Threepwoods jostling in the rear;
And ever lurking readily in reach,
Efficient Baxter and the butler, Beach.
Here idiotic Bertie Wooster weaves
His endless problems, all resolved by Jeeves;
Here Ukridge, Mulliner and Corky loom,
Infinite riches in a little room
(To pinch a phrase from Marlowe): and therewith
That seminal figure, polyvalent Psmith;
While, far but still unfaded, see young Mike in
His first eleven finery at Wrykyn.
Jeeves's ad libs had frequent wisdom in them:
Non cuivis homini contingit adire Corinthum
Might have been one (and he'd have made it scan
More elegantly than it seems I can).
Dear Plum, I needn't translate this for you,
Who doubtless know Horace through and through—
You've come to Corinth, and Olympus too.

The author, Bertram Alfred "Freddie" Young (1912-2001), was a long-time drama critic for the Financial Times. There isn't much information about him online, but here is an complete obituary in The Guardian. Some of his books are online: Bechuanaland (1966), The Colonists from Space (1979), The Mirror Up to Nature (1982) and The Rattigan Version (1988).

Some of Young's rhymes are quite clever, and his literary references are worthy of the subject. Christopher Marlowe's line comes from The Jew of Malta (1590), Act I: 

This is the ware wherein consists my wealth;
And thus methinks should men of judgment frame
Their means of traffic from the vulgar trade,
And, as their wealth increaseth, so inclose
Infinite riches in a little room.

The speaker is Barabas, a wealthy merchant sitting in his counting-house. He is surrounded by heaps of gold, but he expresses a preference for jewels and precious stones over bulky metal coins. 

The Latin line is a hexameter from Horace's Epistles, Book I.17:

Res gerere et captos ostendere civibus hostis
attingit solium Iovis et caelestia temptat:
principibus placuisse viris non ultima laus est.
non cuivis homini contingit adire Corinthum.
sedit qui timuit ne non succederet.

To achieve great deeds and to display captive foemen to one's fellow-citizens is to touch the throne of Jove and to scale the skies. Yet to have won favour with the foremost men is not the lowest glory. It is not every man's lot to get to Corinth. He who feared he might not win sat still.

The translator (H. Rushton Fairclough, in the Loeb edition) observes that the sentence is a "rendering of the Greek proverb, Οὐ παντὸς ἀνδρὸς ἐς Κόρινθον ἔσθ᾿ ὁ πλοῦς, which originally referred to the great expense of a self-indulgent life in Corinth. Here, however, the application is very different, viz. that not everyone can gain the prize of virtue."

Monday, April 27, 2026

Leonora Wodehouse: A short bibliography

In 1928 P. G. Wodehouse's stepdaughter Leonora decided to try her hand at writing. She described the circumstances in the brief autobiography that accompanied her 1931 article "The Mysterious Affair of the Skyscraper" thus:

Beverl[e]y Nichols said that to get something published you had to have some sort of a flair for writing. So we had a bet on it and I wrote my first article for the Evening Standard, proving I s'pose that anything, however bad, can be published. [...] The only magazines I've written for are Harper's Bazaar and the American, and the Strand in England, oh and the American Sketch here.

Here follows a list of all the essays and stories published under her own name or with a pseudonym that I have been able to find, with links to digitized copies (most of them, I'm afraid, behind paywalls) and other sources.

  • My PublicThe Evening Standard (UK), August 2, 1928
    (short humorous essay, evidently her first: it begins "Those are the first words I have ever written for publication, and it is a very grand sensation.")
  • I'm Glad I'm Not a ManThe Evening Standard (UK), September 15, 1928
    (another short essay)
  • P. G. Wodehouse at HomeThe Strand Magazine (UK), January 1929
    (published at Madame Eulalie here)
  • Myself as I Think Others See MeThe Queen (UK), November 27, 1929
    (essay)
  • Where I Mean to Spend My HoneymoonHarper's Bazaar (US), January 1930
    (humorous short story)
  • The Mysterious Affair of the SkyscraperThe Jersey Journal (US), March 28, 1931
    (essay; earliest found among among many reprints)
  • What His Daughter Thinks About P. G. WodehouseThe American Magazine (US), December 1931
    (abridged and slightly rewritten version of "at Home" above)
  • InquestThe Strand Magazine (UK), April 1932
    (detective story, signed "Loel Yeo"; collected in D. L. Sayers' 1935 anthology The Third Omnibus of Crime)
  • Poor Old Deadly Sins—They've Lost Their Glamour!Liverpool Evening Express (UK), March 8, 1934
    (essay)

The list is probably incomplete; I will update it if any new material turns up. As can be seen, in the paragraph quoted above she left out the Queen article, and mentioned the American Sketch, a society magazine edited at the time by Beverley Nichols. I haven't been able to find any issues of this, but excerpts from "I'm Glad" appeared in some newspapers in February 1929; since one of them gives as its source "the current American Sketch" this must be later than its appearance in the Evening Standard in September 1928. Still, there may be other contributions left to discover in the Sketch.

It is not clear yet what contribution to the American Magazine she is referring to, since "What His Daughter" appeared in December 1931, many months later than "Skyscraper." Her father wrote to D. Mackail on April 12, 1931 (Yours, Plum, p. 80):

[Leonora] wrote a short story and sent it in to the American Magazine without any name on it, so that it got no pull from the fact that I am writing for the American, and each of the four editors sent it on with enthusiastic comments, and they bought it for $300 and want lots more. She also sold an article for $150.
She really can write like blazes, and, thank goodness, is now very keen on it. Her stuff has a terrific amount of charm, and she has only got to stick to it to do awfully well.

Contributions to the American for that period are generally signed and their authors well identified at the FictionMags Index, and I haven't been able to pinpoint any likely candidate. Of course, it is possible that the story was paid for but never actually used. It may even be the same as "Inquest," only published in the UK. In any case, when the full text of the magazine for 1931 enters the public domain at the end of the year I intend to examine a few stories more closely.

It is only natural that she should be concerned that her articles weren't being accepted on their own merits. "My Public," for example, presents the writer as "daughter of P. G. Wodehouse, the novelist, who has decided to follow in her father's footsteps," and "I'm Glad" as "Daughter of P. G. Wodehouse, the Famous Novelist." So "Inquest," her longest work and the only "serious" narrative found so far, was published under the pseudonym "Loel Yeo," whose identity remained a mystery for decades. As noted above, it was first singled out by D. L. Sayers and kept being included in anthologies, including E. Lee, Murder Mixture (1963), J. G. M. Merson, Nine Detective Stories (1964), J. Adrian, Detective Stories from the Strand (1991), R. Collings, A Body in the Library (1991), and M. Edwards, Serpents in Eden (2016). As far as I know, the first to reveal the identity of the author was B. Phelps in P. G. Wodehouse: Man and Myth (1990), p. 112, but Adrian in his 1991 anthology missed that. He wrote (p. 214):

About Loel Yeo no information is to be gleaned apart from the fact that he (she?) wrote a single story, 'Inquest', for the Strand in 1932. Perhaps the author was the same Yeo (no given name appended) who published a number of light sketches on the war (gathered from the Daily Mail, Punch, and Outlook) under the title Soldier Man in 1917? And perhaps not. Loel Yeo does not appear to have written anything else for any other magazine of the day, and this, to say the least, is odd. Whoever he was, and whether or not Loel Yeo was his real name (anagrammatically, it doesn't make much sense), he could write. And not merely competently, either. There is assurance in the style, an authoritative building-up of tension, convincing characterization, a telling use of irony. No wonder Dorothy L. Sayers, a fine judge of good writing, snapped 'Inquest' up in 1934 [...]

His conjecture about the 1917 "Yeo" was way off the mark, but his praise would have made Wodehouse burst with paternal pride. Criticism of the story was always unanimously positive, even enthusiastic. Reviewing Adrian's anthology, K. Schactman wrote in Scarlet Street, Fall 1993:

Finally, Adrian presents us with an unsolved mystery—namely, the true identity of the author of "Inquest." The name "Loel Yeo" pops up once as the name of the author of this story and is never heard from again. Adrian has searched other magazines in vain, and has even tried using the name as an anagram, to no avail. He cannot believe that the wit, style, and substance shown in "Inquest" were whipped up as a one-shot deal, and neither can I. My best guess is that some literary giant, publicly disdainful of the genre, created it, but who? Here is a case demanding some genuine detective work. Happy hunting!

Similarly E. Dorall in New Straits Times, March 26, 1994:

Only 'Inquest' by an unknown writer, Loel Yeo, whose sole work of fiction this seems to be, is a total success. A simple but perfect crime story, it is stylistically, in its telling use of irony and building up of tension, probably the best piece in the volume.

And several others, all along the same lines.

———

I started collecting this material some months ago, and until last week I thought that Leonora had stopped writing after her marriage to Peter Cazalet in late 1932, naturally absorbed by her familial and social obligations. The discovery of "Deadly Sins" from 1934 proved me wrong, and opened up the possibility that there are yet more articles and stories to be unearthed from the thirties and maybe even early forties. All the ones I have read so far are certainly worth the archaeological effort. They show, in varying degrees, some of the qualities justly recognized in "Inquest," and deserve to be better known and perhaps collected and republished at some point.

(Special thanks to Ananth K. for his help in getting access to several of these items.)

Tuesday, April 14, 2026

Ukridge: a variorum edition

 Ukridge (variorum edition, PDF)

Ukridge (UK) / He Rather Enjoyed It (US) is the second story collection and the seventh book overall for which I have completed a variorum edition. Once more, it was greatly facilitated by previous work done by the Madame Eulalie team on the magazine versions of these stories.

It is well known that their texts are broadly divided into two groups: the Cosmopolitan versions on one hand, and the Strand versions on the other which were used as the base for all book editions. This is reflected in the apparatus, where the Cs will be seen to predominate. Still, the changes introduced in both first editions and in later British editions have some interest.

I have also formatted into a publishable form the long tables of textual differences that I always compile before putting together a variorum edition. For the moment they are available in the Drafts & WIP page linked on the right; with time I hope to have a separate page with a proper introduction. They are sometimes incomplete, and the information is essentially the same as that provided by the variorums, but they offer an overview of the relationships between the texts that is not as evident in the continuous text.

Wednesday, April 8, 2026

Dedicated to P. G. Wodehouse

Some weeks ago Madame Eulalie inaugurated a Books section, which included some interesting extended dedications from Wodehouse's early books. This made me wonder about people who had in turn dedicated their books to him, and I started hunting around for those. What follows is a list, most likely incomplete, of books dedicated to Wodehouse during his lifetime, with links to online copies when available, and to reliable sources when not. I will probably update this list as new examples come to my notice.

A few of these, like Agathe Christie, are well known, while others I had never heard of. Some of Wodehouse's personal and professional relationships with other authors, like Ian Hay or Gerald Fairlie, are documented in his biographies or correspondence, and attested by the dedications themselves. In other cases one may assume that the dedication was inspired by a general admiration of his books, without a personal connection.


1912 Leslie Havergal Bradshaw, The Right Sort (see R. Usborne, "New P. G. Wodehouse Material"):

To P. G. Wodehouse, the right sort.

———

1924 Herbert Westbrook, The Booby Prize (see B. Phelps, P. G. Wodehouse: Man and Myth, p. 80):

To P. G. Wodehouse I dedicate this book at the risk of impairing our ancient friendship.

———

1925 Edgar Wallace, A King by Night:

To my friend P. G. Wodehouse

———

1925 Edgar Wallace, The Gaunt Stranger (see W. O. G. Lofts and D. Adley, British Bibliography of Edgar Wallace):

To my friend P. G. Wodehouse

———

1930 Compton Mackenzie, April Fools:

To P. G. WODEHOUSE

My dear Plummy,
A short while ago you told me you were re-reading Poor Relations. With that in mind I am venturing to dedicate the sequel to you. But, of course, the real reason for writing your name on this page is that I want to be registered as one of your most devoted readers and to sign myself in admiration

Yours gratefully,
Compton Mackenzie

———

1931 E. Phillips Oppenheim, Up the Ladder of Gold:

To
My Friend
"PLUM" WODEHOUSE
Who tells me what I can scarcely believe,
that he enjoys my stories as much as I do his.

———

1931 Gerald Fairlie, The Man with Talent:

Dedication

For P. G. Wodehouse because of many happy hours with Plum before ever I knew him.

———

1932 Leslie Charteris, Getaway:

To
P. G. Wodehouse
who had time
to say a word for the Saint stories,
when he could have written them
so much better himself

———

1934 Ian Hay, David and Destiny:

To
my friend
P. G. Wodehouse
under whose remorseless goadings I have at last contrived to finish this book after seven years of labour grievously interrupted by periodical excursions (thrice in his company) into other and more frivolous fields of endeavour

———

1937 Anthony Berkeley, Trial and Error:

To P. G. Wodehouse

———

1960 Agatha Christie, 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 that he enjoys my books.

———

1970 Douglas Enefer, The Deadline Dolly:

To P. G. Wodehouse
for the unending pleasure
of all his books


Saturday, March 21, 2026

"P.G.W." in the Malvernian

The Malvernian is the school magazine of Malvern College in Malvern, Worcestershire, England (not to be confused with Malvern House, which P. G. Wodehouse attended between 1891 and 1893). A complete run of digitized copies is available at the College's website here.

The April 1901 issue contains a humorous article on country cricket, signed "P.G.W." Here it is in its entirety:

COUNTRY CRICKET.

"A chiel's amang ye takin' notes."

At last the task is completed! After a searching analysis we have divided country cricket into its component parts; reduced it, in fact, to the level of a formula. It has taken us many a summer holiday, but the deed is done, and we are at length able, with a heart swelling with proper pride, to offer the following facts for family consumption, with the assurance that they are not only scientifically correct, but wholly free from alkaloid and all other such deleterious ingredients.

To proceed, then. The first essential item in the village team is The Wag, the second, "Charles, his friend." The Wag is in nine cases out of ten the local Doctor—why, we cannot say, unless it be that a constant attendance at beds of sickness promotes a cheerful frame of mind.

In the event of the Doctor scratching for this post, the Curate is generally enrolled: though he is not quite so efficient as the disciple of Æsculapius, in that his jokes are apt to be less broad. Moreover, he will probably have certain scruples as to the exchanging of airy badinage with chance passers-by, the which should be the Wag's chief source of waggishness.

We now come to "Charles, his friend." He is an indispensable item. It must not be thought that, because his conversational powers are limited to a raucous laugh, he is therefore no help to the conversation. Far from it. A raucous laugh is a very present help in time of trouble, and what the Wag would do without Charles, we shudder to think.

Next the Captain. This onerous position generally falls to the lot of the Curate, the poor man being, in cases of emergency, obliged to sustain the posts of Captain and Wag simultaneously. The Captain may be distinguished by the profanum vulgus by the fact that he goes on to bowl first, and (please read this slowly and thoughtfully: it is an epigram) never comes off whether he comes off or not. Men may come and men may go at the other end with all the variety of a kaleidoscope, but he goes on for ever. It is, perhaps, superfluous to add that he can only bowl with wind and hill in his favour. When it is the turn of his side to bat, he naturally goes in first, "to give his men confidence."

Finally, the Hero. Every village team has its hero. He is generally a man who has failed ignominiously to justify his inclusion in a weak "Colts" Eleven, and is for that reason an object of veneration to all. He goes in first with the Captain, and shares the trundling with him, The rest of the team may be ranked as "villagers and retainers," after the fashion of Stageland.

P.G.W.

Naturally one wonders if "P.G.W." stands for P. G. Wodehouse. More precisely, if it stands for Pelham Grenville Wodehouse the humorist, because even "P. G. Wodehouse" in this case wouldn't narrow it down enough, as we will see below.

As far as I know, there is no positive evidence to answer the question one way or another, in the form of a clear, unambiguous statement by one of the parties involved (writer or editor). On one hand, Wodehouse the writer did keep in his early years a record of "Money Received for Literary Work" which has been examined to exhaustion by scholars. While a few obscure items in it are yet to be tracked down, it certainly doesn't contain an entry that could correspond to this one. But a non-commercial magazine like the Malvernian wouldn't normally offer payment for contributions, most of which are volunteered by current and former school members, and so "Money Received" would not necessarily have anything to say about it. (I believe it does not contain entries for PGW's many contributions to his own school magazine, the Alleynian.) On the other hand, the magazine may or may not have kept a record of authors, but in any case this is not available to me.

Internal evidence is always tricky. It comes down to how "Wodehousian" one feels the article is, in terms of style, quality and subject matter, always taking into account the very early date. This can only be a subjective appreciation. For my part, I wouldn't have any problem believing this piece is authentic on its own merits: cricket in general, and even village cricket, feature prominently in PGW's articles and stories in the 1900s. A few references and turns of phrase can be linked to specific passages in contemporary works, such as "Charles, his friend," whose "conversational powers are limited to a raucous laugh:" compare "The other youth was apparently of the 'Charles-his-friend' variety, content to look on and applaud, and generally play chorus to his companion's 'lead.'" (The Manoeuvres of Charteris). [Although the "Charles his friend" figure is not Wodehouse's own creation. There may be a future blog topic on this one.] Arthur R. has pointed out others, like "airy badinage" (found in Love Among the Chickens), "a very present help in time of trouble" (used in "The Comeback of Battling Billson") or "villagers and retainers" (in The Head of Kay's). None of these are exclusive to Wodehouse, but they add up. The last one is especially strong, because in the novel the phrase seems to be associated with the last type described in the article: "I'm going to play 'villagers and retainers' to your 'hero'" (although in context the speaker isn't really thinking in terms of cricket.)

The mention of "a weak 'Colts' Eleven" is also interesting, because to the best of my knowledge Wodehouse only ever used "Colts" in this sense ("A young or inexperienced person, a 'green hand'; now in Sport (orig. Cricket), a young or inexperienced player; a member of a junior team; also in pl., the team itself" according to the OED) in his articles about Malvern College that I will comment on later. Finally, the use of classical references (Æsculapius, profanum vulgus) and "Stageland" (theatrical) language are also Wodehousean traits.

However, it is easy to lose perspective and overlook how much Wodehouse's early style owes to the milieu of the school magazines in which it developed, especially if one's main source of familiarity with that milieu is Wodehouse himself. In other words, there is a risk of viewing specific tropes and expressions as characteristic of the author, when they really are the common stock of school magazine writers. In the course of my research on this piece I came across a number of unsigned articles in the Malvernian for which a case for Wodehouse's authorship could be made based on internal evidence alone. I hope to be able to expand on those in a future post.

The circumstantial evidence is where things get interesting. The main difficulty, of course, of supposing that Wodehouse could have been the author of this piece is that in principle there is little reason why he should be writing for the magazine of a school of which he wasn't a pupil. He contributed regularly to the Alleynian, published by his alma mater Dulwich, until as late as 1939, but to no other school magazine that I know of (not counting, of course, the Public School Magazine, which was a regular commercial publication).

But Wodehouse did have a connection of sorts with Malvern College at that particular time. In 1900 he wrote two articles for the PSM about the College: "Cricket at Malvern" (September) and the longer "Malvern College" (November), both available at Madame Eulalie. They are introductions to Malvern's history, customs, architecture, and above all sports. They show that he spent time at the College collecting material, exploring the grounds and interviewing the natives. [There is a much earlier connection as well. He once wrote to the author of A History of Malvern College 1865-1965: "When I was a small boy, I used to spend part of the summer holidays with an uncle who was Vicar of Upton-on-Severn, and I played a lot of boys' cricket, some of it on the Malvern ground. From those early days, the place fascinated me" (Wodehouse at the Wicket, pp. 199-200).] 

One may speculate (but only speculate) that during his visit to the College he made the acquaintance of the Malvernian editor and was eventually invited to contribute a short piece to the magazine. That he knew the editor is at least certain. The October 1900 issue contains this brief note concerning the second of Wodehouse's articles:

An article is appearing in the November number of the Public School Magazine, entitled "Malvern College." It is profusely illustrated, principally by amateur photographs taken by Malvernians, and boasts as frontispiece a signed photograph of the Headmaster. This article derives peculiar interest from the fact that it is written not by a professional journalist, nor by anyone connected with the school, but by the ex-Editor of the Alleynian. His criticism upon the Malvernian is interesting, and both is, and is likely to be, thoroughly justified by the facts of the case. The Malvernian, says he, "is fairly good, as school magazines go!" The school magazine consists of a conglomeration of facts concerning the School which, with perhaps unconscious irony, the editor is wont to describe as "news." He is also permitted to insert now and then an article of "literary merit," such as, for instance, a dissertation on the "Leonids," or a description of how fish are caught in Norway. As the School Library possesses a copy of the "Encyclopaedia Britannica," it would be superfluous and presumptuous to try to improve upon it; and waste of time to write what is never read. If the standard of interest is to be raised, the canons should be more liberal than they are.

This was written before the second PSM article appeared, and the phrase on the Malvernian did not make it into the published version, which devotes its last paragraph to the magazine and its current editor. The conclusion is that the editor must have seen it in an earlier draft, and his response to it may have caused Wodehouse to delete or rephrase it. In the November issue we find the editor handsomely acknowledging the change:

The Public School Magazine has at length appeared, in which is published the article on Malvern College. While not pretending to be absolutely exhaustive, the letterpress gives much interesting information in a pleasant manner, and is only equalled by the excellence of the illustrations. But nowhere do we perceive the criticism on the Malvernian, so confidently predicted in October. We must offer apologies to the Editor of the P. S. M. We had excellent reason for believing that this remark would appear, and it speaks volumes for Mr. Wodebouse's charity that he did not allow it to go to press.

The next step is to find another candidate, someone whose initials matched "P.G.W." and was likely to contribute to the magazine at the time. I browsed all the issues for several years preceding and following 1901 without finding anyone even partially suitable. Another wonderful resource available at the Malvern website is the collection of College Registers with complete information about everyone who attended the school, with dates, family, background and accomplishments. Again, nobody with these initials was a student at Malvern between 1891 and 1901.

[Curiously enough, the place was full of Wodehouses. Two brothers, William Stanley and Charles Edward, sons of W. H. Wodehouse of Woolmers Park, Hertford, attended Malvern between 1865 and 1872. Then six sons of the second were there between 1897 and 1912, from Sydney Herbert Wodehouse, 1897-1900, to Frederick Guy de Picquigny Wodehouse, 1908-1911. There was even a P. G. (Percy George) Wodehouse, but he could hardly be the candidate I was looking for, since he was born in 1888 and only entered the College in 1903. This overpopulation of Wodehouses makes the task of searching for ours through the issues of the Malvernian difficult, since they keep popping up in cricket and other reports.

At the end of his second article, our PGW thanks "Mr. Bullock, for the very kind way in which they assisted me in preparing this article." This must be E. C. Bullock, a housemaster at Malvern who may have acted as cicerone during Wodehouse's visit. Bullock's House had opened in 1898, and in 1900 was home to the second of the six Wodehouse brothers I mentioned before. All later representatives of the family went to Bullock's too. It may be guessed that Mr. Bullock noticed the coincidence and asked our PGW if they were any relations.]

The author could also be an Old Malvernian, although contributions by these usually have "O.M." added to their signatures. But there is a bit of evidence to the contrary in the epigraph "A chiel's amang ye takin' notes," which is a well-known line from the poem "On The Late Captain Grose's Peregrinations Thro' Scotland" by the poet Burns:

Hear, Land o' Cakes, and brither Scots,
Frae Maidenkirk to Johny Groats;—
If there's a hole in a' your coats,
I rede you tent it:
A chiel's amang ye takin' notes,
And, faith, he'll prent it.

["Listen up, Scotland, and brother Scots, / From Maidenkirk to John o' Groats; / If there's a hole in any of your coats, / I advise you to fix it: / A guy is among you taking notes, / And, in faith, he'll print it."]

Burns wrote this poem for the English antiquarian Francis Grose (1731-1791), whom he met in 1789 when Grose was touring the country collecting materials for his Antiquities of Scotland. It was first published in the Edinburgh Evening Courant on August 11, 1789 under the title "Address to the People of Scotland, respecting Francis Grose, Esq." and then collected in the 1793 edition of Burns' Poems, Chiefly in the Scottish Dialect with its new title. It is a humorous warning to his countrymen that there is a stranger in their midst taking notes that will be presented to the world at large, so they had better fix or at least hide any flaws they don't want to see publicized. It is often quoted accompanying travel notes and similar works where the author puts down his or her impressions of foreign parts.

The implication for the piece under discussion is that the writer is not local (a current student, a staff member, or an O.M.) but a "foreigner," and outsider visiting the school with the express purpose of writing about it. This however does not apply to the subject matter of the piece (country cricket, not Malvern-related), but fits admirably Wodehouse's commision by the PSM of writing his two articles, his own Antiquities of Malvern.

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This is all the evidence, either positive (mostly negative), internal or circumstantial I've been able to collect concerning the possibility that the article was written by P. G. Wodehouse. I don't believe it is conclusive but, putting it all in the balance, I'm inclined to think the article is genuine. Still, I would like to see further evidence. Meanwhile, there are a few unsigned articles in the Malvernian from 1900 which deserve attention, but which I have to leave for the subject of another post.