P. G. Wodehouse is essentially a romantic at heart. Matters of the heart play a vital role in almost all the narratives dished out by him.
Bertie Wooster keeps avoiding a walk down the aisle, thanks to the support he gets from Jeeves. Yet, at the end of The Mating Season, we find him basking in the glow of satisfaction at having been instrumental in putting the affairs of quite a few couples in order.
In the Blandings saga, we meet a morose Gertrude who is pining for Beefy Bingham, her lover. She spreads depression in the house and, worse still, tries to be “helpful” to Lord Emsworth by tidying his study.
Mr. Mulliner keeps recounting love stories of various nephews and nieces of his. Ukridge may try and run a chicken farm, but the subplot of the love affair between Jeremy Garnet and Phyllis runs throughout the narrative. The spell of a quiet summer evening prompts Jeremy to confide his love to Phyllis.
The Literary Parabola of Seasons
It is hard to think of romance without thinking about the seasons. Whether it is the first warmth of spring pulling us out of hibernation or the quiet reflection that comes with autumn, there is an innate connection between the rhythm of nature and the emotional lives we lead. Wodehouse, of course, recognises this. He does not just use the seasons as convenient backdrops for romantic entanglements; he weaves them into the very fabric of his characters’ emotional journeys. Like that feeling of optimism you get on the first sunny day after months of grey skies, Wodehouse’s characters are often moved by the weather in ways they barely recognize themselves. It is this subtlety—this almost imperceptible nudge from nature—that aligns him with the great literary tradition of using the external world to reflect inner states.
The motif of seasons is deeply embedded in literature, symbolising various emotional and psychological states of characters. Many English literary experts have skilfully employed seasons to reflect inner turmoil, personal growth, and other emotional shifts.
In Sonnet 18 (“Shall I compare thee to a summer’s day?”), Shakespeare compares the beloved to a summer’s day, symbolising beauty, and vitality, while also lamenting the fleeting nature of summer and, by extension, life, and youth. In The Winter’s Tale, the season of winter represents both the coldness of jealousy and tyranny as seen in King Leontes’ irrational behaviour, whereas spring (in the later acts) symbolises rebirth, redemption, and forgiveness.
In his poem To Autumn, John Keats captures the beauty and melancholy of autumn, a season of maturity and ripeness and goes on to meditate on the bittersweetness of life’s temporality.
Tess of the d’Urbervilles by Thomas Hardy aligns Tess’s emotional journey with the changing seasons. The novel starts in spring, symbolising Tess’s innocence, and moves through summer and autumn, reflecting her growing despair and tragedy. Winter, in the end, represents death and loss.
In A Christmas Carol, Charles Dickens uses winter as a backdrop to explore themes of coldness, isolation, and redemption. The harsh, biting cold reflects Ebenezer Scrooge’s miserly, frozen heart. Yet, through transformation, the holiday spirit (and warming of his heart) mirrors a kind of internal spring-like rejuvenation.
Robert Frost, in Stopping by Woods on a Snowy Evening, depicts winter as representing solitude, contemplation, and the pull of death. The character’s momentary pause in a quiet, snow-covered wood suggests the allure of rest and surrender, while the journey he must continue reflects the mundane obligations of life.
These writers masterfully intertwined the natural cycle of seasons with human emotions, adding symbolic depth to their character’s emotional and psychological experiences. The ever-changing seasons become metaphors for the ups and downs of human life, making them a timeless tool in literary exploration.
The USP of Wodehouse
What sets Wodehouse apart is his imaginative use of Cupid’s machinations during different seasons. Cupid is indubitably one of the author’s most important comrade-in-arms. But the freedom to strike at will does not come without its attendant responsibilities. Love is in the air. Devotion is permitted. But physical intimacy is a taboo. Aphrodite has limited access to the goings-on. Eroticism is denied entry. An occasional occurrence which could amount to mild titillation alone is allowed. Across the oeuvre, Cupid is subject to strict Victorian norms of behaviour.
However, all this does not lessen his ingenuity in bringing lovers together. There are occasions on which even a member of either the feline or the canine species facilitates the development of a bond. Behind the frivolity and farcical events of Wodehouse’s narratives, Cupid ensures an almost imperceptible use of natural elements to influence the lives of the author’s characters. While stuck together on a rock by the seaside, a high tide in Mr. Wilton’s Holiday leads to a reconciliation between Jack and Mary.
Cupid even goes on to use different seasons as arrows in his quiver to smoothen the way to new relationships blossoming. In many of the relationships between two love birds, seasons provide a perfect backdrop. While the seasons may appear incidental to the plot, these not only embody the emotional states of the characters but also serve as invisible matchmakers.
Seasons become mere puppets in the deft hands of Cupid in a few cases. These play a key role in nudging Wodehouse’s characters toward romantic resolutions. Spring, summer, autumn, and winter often serve as metaphorical agents of Cupid, facilitating encounters, softening hearts, and reuniting sundered hearts. In fact, in such cases, seasons don the hat of an active participant in the narrative, behaving like key actors involved in the act.
Let us consider a few examples to see how Cupid assists Wodehouse in propelling the romantic chemistry between his characters by using various seasons as either a backdrop or a catalyst.
Spring: The Season of Blossoming Love
In Wodehouse’s fiction, spring invariably represents renewal, hope, and the blossoming of love. The imagery of spring, with its vibrant colours, warming temperatures, and burgeoning life, mirrors the rekindling or the birth of romantic feelings among characters. Wodehouse takes advantage of spring’s association with new beginnings to nudge his characters towards forging romantic affiliations, often underlining the season’s role as Cupid’s chief lieutenant.
Bertie Wooster takes some inspiration from Tennyson when he says:
“In the spring, Jeeves, a livelier iris gleams upon the burnish’d dove.”
He even imagines a charming girl to come up to him and seek his assistance in saving her from assassins.
“I don’t know if you know that sort of feeling you get on these days around the end of April and the beginning of May, when the sky’s a light blue, with cotton-wool clouds, and there’s a bit of a breeze blowing from the west? Kind of uplifted feeling. Romantic, if you know what I mean. I’m not much of a ladies’ man, but on this particular morning it seemed to me that what I really wanted was some charming girl to buzz up and ask me to save her from assassins or something.”
Similarly, in No Wedding Bells for Bingo, Cupid assists Wodehouse in explicitly tying romantic developments to the season. Bertie Wooster’s bumbling friends, eager to woo their respective partners, often find their romantic aspirations coming to fruition as spring blooms. Wodehouse seems to imply that the very air of spring carries romance, infecting even the most hopeless of suitors with renewed vigour and enthusiasm. Even Jeeves, who, when surprised, raises his eyebrows merely a fraction of an inch, is affected by spring fever. Towards the end of the story, we find that Bertie tells Bingo Little’s uncle that Bingo wants to marry Mabel, a waiter, and he, moved by the books read out to him, approves. Uncle declares that he plans to marry his cook, in whom Jeeves had shown interest earlier. However, Jeeves has already scratched the fixture and instead has another engagement of sorts with another girl, Mabel, the waiter whom Bingo had wanted to marry!
In Something Fresh, the sunshine of a fair spring morning incites a feeling of novel jauntiness amongst the residents of London. This is followed by the scene where Ashe Marson and Joan Valentine discover each other, and the seeds of romance get planted.
It is not that Cupid’s arrows prove to be effective in all the cases.
The spring motif continues with novels like Uncle Fred in the Springtime wherein the affair between Valerie and Horace comes to a satisfactory conclusion. However, Cupid’s arrows fail in the case of Polly and Gilpin. In Spring Fever too, Terry, who is initially wary of Mike due to his overwhelming good looks, warms up to him when she sees his battered face after a failed burglary attempt. Stanwood and Eileen also get together. But Mrs Punter runs off with Augustus Robb, leaving Shorty and Spink ruing their loss in love.
In the short story The Custody of the Pumpkin, the annual Spring Flower Show provides the backdrop for a classic Wodehouse romance. Lord Emsworth, obsessed with his prized pumpkin, is blissfully unaware that his son, Freddie Threepwood, is using the occasion to court a gardener’s daughter. The setting, with its blossoming flowers, is emblematic of the unanticipated flourishing of romance. While Lord Emsworth is preoccupied with his vegetables, spring’s inherent charm works on Freddie and his love interest, quietly orchestrating their courtship. Spring’s effect here is subtle but inevitable, as the characters seem unable to resist its influence.
Spring is also often a time for transformation in Wodehouse’s world. Characters who, during winter, might have been cynical, brooding, or emotionally distant, find themselves rejuvenated as the warmer weather arrives. When the ogre of winter is around, the characters’ instincts for self-preservation often dominate their tender thoughts of love. But once the winter is gone, the seasonal change from gloom to joie de vivre affects not only flora and fauna but also causes an emotional thawing amongst the Homo sapiens. Cupid assists Wodehouse in using this to show characters moving from a state of emotional hibernation to one of action and, eventually, romantic fulfilment.
Summer: Love in Full Bloom
If spring is the season of new beginnings, then summer in Wodehouse’s works represents the full bloom of love. It is as if Cupid decides to deploy the season at full throttle, its quiver operating on all its six cylinders. The warmth of the sun, long days, outdoor events such as garden parties and village fairs, a quick swim in a lake, and occasional bouts of rain create ideal conditions for love to grow further, often leading to a cementing of romantic affiliations. The languid pace of summer reflects the unhurried nature of developing affections, where flirtations deepen, and scales fall from couples’ eyes as they realise their love for each other.
Summer is the time when you can hear a snail clear its throat a mile away. When the sun is finishing its obligations for the day and rushing to a well-earned night of rest and repose, gnats and many other kinds of insects start fooling about all over the place.
In Right Ho, Jeeves, Bertie tells us it is July twenty-fifth when he returns from a trip to Cannes looking bronzed and fit. While at Cannes, a crisis arises in the matter of Tuppy Glossop and Angela Travers. They fall out due to Angela saying that Tuppy was getting fat and Tuppy not believing that a shark attacked her while at Cannes. Gussie Fink-Nottle is besotted with Madeline Bassett but does not have the courage to express his love to her. Eventually, it takes a dangerous midnight cycle ride by Bertie for Angela and Tuppy to reconcile their differences and for Madeline and Gussie to make up.
In The Mating Season, Madeline is yet again convinced that Bertie is secretly pining for her when he catches a 2.45 AM Milk Train and hides in the shrubbery, aiming to intercept the morning post which carries a letter from Gussie scratching the fixture with Madeline, thereby throwing a spanner in his plans to retain his bachelorhood. By the time the narrative ends, we find that Madeline and Gussie are reunited, Esmond Haddock has defied his aunts and is engaged to Corky, Constable Dobbs is reconciled with Queenie, and Gertrude has eloped with Catsmeat. Bertie’s bachelor status remains protected.
Cupid’s Benign Arrows
Cupid’s quiver contains many kinds of arrows. Other than the normal ones directed at consenting adults, on a few occasions, he also shoots the benign kind which are devoid of amorous intentions of any kind. Instead, these uplift the Spiritual Quotient of the ones at the receiving end. Or the kind that make one live up to the expectations of someone who is much younger in age, thereby also proving oneself worthy of one’s glorious ancestors.
In The Love that Purifies, we come across boys of a tender age who happen to be infatuated with Hollywood divas. We have Thos, who is besotted with Greta Garbo. We have Bonzo, who is in awe of Lilian Gish. Then, we have Sebastian Moon, whose affections are focused on Clara Bow. How these infatuations transform the behaviour of young boys is the nub or crux of the story. We are reminded that even menaces to society, in general, assume a saintly disposition when under the influence of the charms of their transient heartthrobs.
In Lord Emsworth and the Girl Friend, we discover that the lordship detests wearing stiff collars and making speeches. However, on the Parva School Treat Day, coinciding with the August Bank Holiday, when Blandings Castle becomes, in his lordship’s opinion, a miniature Inferno, he has little option but to fall in line with the command of Lady Constance Keeble. But that does not come in the way of his developing a respectful devotion towards Gladys. When she desires to have some flarze and gets spotted by Angus McAllister when doing so, the latter comes out of the potting shed at forty-five miles per hour. Gladys is quick to seek protection. She not only clutches the tails of Lord Emsworth’s coat but also slips her small, hot hand into his. It is a mute vote of confidence, and Lord Emsworth intends to be worthy of it. He stands up to the gardener and even defies his sister by refusing to deliver a speech.
The experience of Esmond Haddock and Lord Emsworth shows us that when Cupid strikes, even spines made of cottage cheese get transformed into those made of chilled steel!
When Rain Gods Assist Cupid
In Summer Lightning, Hugo Carmody is surprised to find that it has been raining and decides to rush to the cottage nearby.
Ho! for the cottage, felt Hugo, and headed for it at a gallop. He had just reached the door, when it was flung open. There was a noise rather like that made by a rising pheasant, and the next moment something white had flung itself into his arms and was weeping emotionally on his chest.
The ‘something white’ is Millicent, Lord Emsworth’s niece, frightened by the Empress stashed in the gamekeeper’s cottage.
In Leave it to Psmith, the hero’s first encounter with Eve comes about when she is caught in a sudden spell of rain beneath the awning of Messers Thorpe & Briscoe. Even though he says he is above softer emotions in general, Eve, who is sumptuously upholstered at the time, stirs a chord within him. Chivalry comes into play. Stealing the best umbrella available in the cloakroom of the club and rushing out to offer it to her is the work of a moment for him. Had Cupid not been assisted by the Rain Gods at the time, his machinations might have been in vain.
Summer’s role as Cupid’s agent is also evident in the way characters often find themselves outdoors during the warm months, in situations that lend themselves to romantic misunderstandings and reconciliations. Wodehouse’s characters often attend tennis matches, picnics, and boating excursions during the summer, all of which provide opportunities for private conversations, furtive glances, and sudden declarations of love. The idyllic natural settings serve as romantic catalysts, drawing characters together under the spell of the summer sun.
Moreover, summer’s association with heat and intensity often mirrors the emotional heat of Wodehouse’s love stories. The heightened emotions of characters — whether it is the confusion of unspoken feelings, jealousy, or the passion of newfound love — often come to a head during this season.
Autumn: The Season of Mists and Mellow Fruitfulness
Autumn, with its falling leaves and cooling air, often signals a time of reflection in Wodehouse’s works. This season is less about the exuberance of new love and more about characters realizing their feelings, coming to terms with past mistakes, or making decisions about their romantic futures. In many ways, autumn represents a transitional phase in the romantic arc of Wodehouse’s characters — a period of contemplation before the final act of a romantic resolve. Cupid, perhaps tired of the hectic time he has had in the previous two seasons – spring and summer – does a bit of introspection, reviewing the progress of the arrows shot earlier on whatever technical gizmo he uses to keep a track of things, and deciding the future course of action in each case.
In The Code of the Woosters, Jeeves tells Bertie that autumn is a season of mists and mellow fruitfulness.
One of the reasons for Bertie visiting Totleigh Towers is to heal a rift between Gussie Fink-Nottle and Madeline, Sir Watkyn’s daughter. Madeline incorrectly believes Bertie to be in love with her, and she has promised to marry him if her engagement should ever fail. To avoid this calamity to befall him, Bertie persuades Madeline to invite him down, but he learns upon arriving that Gussie and Madeline have already reconciled. A parallel romantic track is that of Stiffy Byng and Harold Pinker. A silver cow creamer, a notebook of Gussie’s which insults the host, Sir Watkyn Bassett, a policeman’s helmet, and the Eulalie effect on Roderick Spode – all take turns to play a spoilsport. Eventually, Cupid succeeds in his mission and both the couples get united.
In Jeeves and the Old School Chum, when a carefully packed lunch basket goes missing at the Lakenham Races, and the car carrying Rosie M Banks and her old school friend Laura Pyke runs out of fuel in the middle of nowhere, a fight ensues between the two friends. Bingo Little wins an intense argument with the owner of a house nearby and ensures that his wife gets her afternoon cup of tea. The romance between the couple is back on its throne.
She turned for an instant to Bingo, and there was a look in her eyes that one of those damsels in distress might have given the knight as he shot his cuffs and turned away from the dead dragon. It was a look of adoration, of almost reverent respect. Just the sort of look, in fact, that a husband likes to see.
“Darling!” she said.
“Darling!” said Bingo.
“Angel!” said Mrs Bingo.
“Precious!” said Bingo.
Cupid is thus successful in rekindling the romance between the wife and the husband, which had earlier come under strain owing to a clash between Bingo’s dietary habits and Laura Pyke’s strict diet regime based only on fat-soluble vitamins.
The Indian Summer
Many of Wodehouse’s fans are aware of his evocative use of the term Indian Summer, which is said to be a period of unseasonably warm, dry weather that sometimes occurs in autumn in temperate regions of the northern hemisphere. The UK Met Office Meteorological Glossary published in 1916 defines an Indian summer “a warm, calm spell of weather occurring in autumn, especially in October and November”.
In Indian Summer of an Uncle, Wodehouse touches upon yet another facet of love – that of a more mature variety. When Uncle Goerge starts planning a walk down the aisle with a much younger Rhoda Platt, Jeeves explains the phenomenon as follows:
“One must remember, however, that it is not unusual to find gentlemen of a certain age yielding to what might be described as a sentimental urge. They appear to experience what I may term a sort of Indian summer, a kind of temporarily renewed youth.”
For those in an advanced age, holding hands and physical intimacy gets relegated to the background. Instead, common ailments and related medications and therapies rule the roost. At times, the lining of the stomach paves the way for a couple to start sharing the trials and tribulations of life with each other. When Piggy and Maudie, the latter being the aunt of Rhoda Platt, happen to meet after a gap of many years, Cupid is quick to seize the initiative and ensures that their romance gets rekindled.
While autumn may lack the vibrancy of spring and summer, its quiet beauty is essential to Wodehouse’s romantic narratives. It allows characters the space to reflect, reconsider, and eventually take action to secure their happy endings. In this way, autumn becomes an integral agent of Cupid, providing the emotional clarity needed for love to succeed.
Autumn’s natural imagery — with its sudden riot of beige, yellow and brown colours, and the promise of winter’s chill and its eventual strokes of brilliant white on the landscape — often evokes a sense of urgency in Wodehouse’s characters. As the days grow shorter, characters are compelled to make decisions about their romantic futures. Cupid can be seen using this season to build tension, pushing characters toward decisive action. The cooling air of autumn can often be seen as a metaphor for the characters’ cooling patience, forcing them to act before it is too late.
Winter: Love Amidst the Chill
Though less frequently employed in Wodehouse’s works, winter nonetheless plays a significant role in his romantic comedies. The cold, stark landscape of winter can serve as a powerful contrast to the warmth of human affection. In some of his stories, the challenges of winter — whether it be physical cold, isolation, or the dormant state of nature — underscore the importance of companionship and love as a source of warmth and vitality.
In The Ordeal of Young Tuppy, the latter and Angela have again had the proverbial lover’s tiff. While on a rebound, Tuppy starts flirting with an athletic girl named Miss Dalgleish who lives near Bleaching. The girl is fond of dogs; Bertie supposes Tuppy wants an Irish water-spaniel to give her as a Christmas gift. To impress the girl, Tuppy participates in a local game of football, where he performs well but is sad to find out later that the girl was not present on the occasion, having rushed off to London looking for an Irish water-spaniel. A fake telegram imploring Tuppy to rush to the aid of an ailing Angela lands up, restoring the relationship between the two.
In Something Fresh, a concatenation of circumstances leads to Ashe Marson travelling in an open cart from Market Blandings to the Castle in biting cold. Wodehouse describes cold as an ogre that drives all beautiful things into hiding.
Below the surface of a frost-bound garden there lurk hidden bulbs, which are only biding their time to burst forth in a riot of laughing colour; but shivering Nature dare not put forth her flowers until the ogre has gone. Not otherwise does cold suppress love. A man in an open cart on an English Spring night may continue to be in love; but love is not the emotion uppermost in his bosom. It shrinks within him and waits for better times.
In The Knightly Quest of Mervyn, Mervyn Mulliner wants to marry Clarice Mallaby. She thinks he is a chump and does not consent to marry him. Mervyn wants to prove himself and asks her to give him a quest, like the knights of old. It is December, and she has always wanted to eat strawberries in the middle of winter, so she tells Mervyn that she will reconsider his proposal of marriage if he acquires a basket of strawberries for her before the end of the month. After having had many setbacks in his knightly mission, he lands up at Clarice’s house and intercepts a package which has strawberries for her from Oofy Posser in whom Mervyn had earlier confided. He gets an idea and calls out to Clarice that he brought her strawberries. However, by the time she reaches the room, he has absent-mindedly eaten all the strawberries. Clarice throws him out in the chilly weather, not even allowing him to retrieve his hat. Cupid fails yet again, though Mr Mulliner concludes the story to his companions at Angler’s Rest thus:
“So there the matter rests. The whole thing has been a great blow to my cousin’s son, for he considers — and rightly, I suppose — that, if you really come down to it, he failed in his quest. Nevertheless, I think that we must give him credit for the possession of the old knightly spirit to which our friend here was alluding just now.
He meant well. He did his best. And even of a Mulliner more cannot be said than that.”
In A Damsel in Distress, Maud is shocked to see how fat Geoffrey has become since the one year they met in Wales. Though he has inherited a great deal of money, he now sports a triple chin and talks only of food. Winter forms a backdrop when Geoffery speaks of his having lived on a yacht during the previous winter.
Upon discovering that the party of the other part is now close to thirty pounds overweight, the tender emotion of love in Maud’s bosom evaporates. She realises her mistake. She rushes to the nearest phone, gets George on the line, and asks if he has gained any weight in the last year and if he has ever been to Florida during winter and relished a fish called pompano! When George replies in the negative, Cupid’s endeavours succeed, and their romantic affiliation is sealed.
Winter’s challenges — both literal and metaphorical — often lead characters to realise the value of love as a source of comfort and joy in an otherwise cold world. The season’s emphasis on survival and endurance mirrors the perseverance required for love to thrive despite obstacles. In many ways, Cupid uses the season of winter as a test of true love, as couples must navigate the season’s difficulties to find warmth and happiness in each other’s company.
Though less romantic on the surface than spring or summer, winter provides Wodehouse with opportunities to explore the depth and resilience of romantic relationships. It is a season where love tries to prove its worth by enduring hardship and by a conduct which is not only chivalrous but also knightly. Seeds of love may occasionally lie dormant in the frozen soil, ready to sprout as and when the season of spring kicks in.
The Six Seasons of Kalidasa
Yet another literary figure who, like Wodehouse, has captured different seasons with highly insightful narratives is Kalidasa.
Kalidasa, said to be born in India in the fourth century AD, is widely regarded as the greatest poet and dramatist in the Sanskrit language. His evocative portrayal of female beauty, an enthusiastic depiction of the affairs of the heart, and the diverse ways in which ladies dress up for a romantic encounter with their beloved in each of the six seasons typical of a tropical country would have surely attracted Cupid’s attention.
In one of his seminal works, Ritusamhara (Medley of Seasons), Kalidasa describes six seasons in his inimitable style: Spring (Vasanta), Summer (Greeshma), Monsoon (Varsha), Autumn (Sharad/Patjhad), Pre-winter (Hemant), and Winter (Shishir). Each one is dealt with evocative descriptions of the elements of nature. The seasons form a backdrop for the affairs of the heart and the sensuous pleasures of the skin.
In Harmony with Mother Nature
In the works of P.G. Wodehouse, the seasons play a subtle yet significant role in shaping the romantic lives of his characters. Spring brings new beginnings and the promise of love, summer sees romance in full bloom, autumn provides space for reflection and realisation, and winter challenges love to survive amidst the cold. Each season, with its unique qualities, acts as an agent of Cupid, quietly orchestrating the romantic entanglements and resolutions that define Wodehouse’s timeless comedies.
All of us have occasionally experienced that curious, unexplainable surge of nostalgia that comes with a crisp autumn breeze or a sudden downpour in summer. An often-overlooked slice of his literary brilliance is how he grounds quite a few exaggerated situations in something so universal — the changing seasons. We have all watched relationships blossom in spring, only to weather the storms of winter. Wodehouse reminds us, with a wink and a smile, that love, like the seasons, goes through its cycles. And while his characters might find themselves tangled in knots, he trusts that much like nature itself, things have a way of sorting themselves out in time. In a world that so often feels chaotic, it is this quiet reassurance that keeps us coming back to his stories, much like the comfort of the seasons returning year after year.
By aligning the emotional journeys of his characters with the changing seasons, Wodehouse creates a world where love is not only a matter of human interaction but also a natural phenomenon, influenced by the rhythms of the earth itself. The seasons, in their silent and invisible way, become crucial agents in the hands of Cupid to stage the grand drama of attraction, affection, desire, infatuation, and love.
After all, he is supposed to be the son of the love goddess Venus and the god of war Mars. His role in nudging Wodehouse’s characters towards a conclusion of their affairs of the heart deserves to be appreciated and applauded.
Notes:
- This article is inspired by Plumtopia’s blog post ‘The Four Seasons of Wodehouse’ (link below).
- Inputs from a Wodehouse expert and Suryamouli Datta are gratefully acknowledged.
- Plum’s caricature courtesy Suvarna Sanyal.
- A version of this article appears in the March 2025 issue of Wooster Sauce, quarterly journal of the P G Wodehouse Society (UK).
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