Read Tales of St. Austin's: Revised Edition of Original Version by P.G. Wodehouse Free Online
Book Title: Tales of St. Austin's: Revised Edition of Original Version|
The author of the book: P.G. Wodehouse
Date of issue: December 7th 2014
ISBN: No data
ISBN 13: No data
Format files: PDF
The size of the: 24.45 MB
Read full description of the books Tales of St. Austin's: Revised Edition of Original Version:Long study of the classics had quickened his faculty for seeing sense in passages where there was none.
Is there any sense in Wodehouse? Let’s hope not too much! How rare to find someone who can take you to cloud cuckoo land and let you flit around with the broadest smile possible stretched from ear to ear ... and do it again, and again, and again. Even though the Tales of St Austin’s (1903) are not the madcap masterpieces of Bertie & Jeeves, Psmith, or Blandings, they still pull the curtain back on Wodehouse’s sheer glee in writing a sentence. Is there any other author who puts so much snicker into his prose?
Over the course of five years, I picked up Tales of St. Austin’s at least ten times before I finally settled into the book. The paper-thin plots and nearly indistinguishable characters (all "fine, strapping specimens of sturdy young English manhood") showed just enough personality to hold my interest. What hobbled me, though, was the lingo. All this schoolboy swotting, bucking up, and giving the beans had me perplexed. Just what is the difference between a beak and a bargees? Where is the crease and can someone please explain a leg before ... something or other? And how is it that the word rot can function as any part of speech? Too lazy in former days to look these words up in Websters, I’ve lately discovered a new world of meaning just a touch away in my iPod’s dictionary.
Wodehouse first published the stories in a Boys Life sort of magazine. He set out to refine Young England, but with a Mephistophelean smirk. These are stories about how to break the rules, enjoy the experience, and accept the consequences. The moral, though not always foremost, is never hard to find: cheaters get "touched up," effort is rewarded, justice in the end prevails, and the rotter gets his due ... most of the time. But they were also written to craft literary taste by subverting the idolized station of a Greco/Latin education and giving resounding thumbs up to humorists and adventure writers, and all the other writers whose stories don’t require notes.
What fun, though, some day, to annotate a critical edition of Wodehouse’s early works and highlight his gems of timeless wisdom. I don’t believe anyone has ever charged Wodehouse with being the wellspring of a liberal education, but there are enough literary allusions, parodies, and references in a few chapters of these Tales to build a satisfactory reading list for a college entry exam. Within thirty pages Wodehouse bemoans Euripides and Livy, recommends Rider Haggard, Dicken’s Pickwick Papers, and James Payn, parodies Thucydides, Horace, and the Psalmist, and tweaks Hamlet and Isaiah for comic relief.
Read information about the authorSir Pelham Grenville Wodehouse, KBE, was a comic writer who enjoyed enormous popular success during a career of more than seventy years and continues to be widely read over 40 years after his death. Despite the political and social upheavals that occurred during his life, much of which was spent in France and the United States, Wodehouse's main canvas remained that of prewar English upper-class society, reflecting his birth, education, and youthful writing career.
An acknowledged master of English prose, Wodehouse has been admired both by contemporaries such as Hilaire Belloc, Evelyn Waugh and Rudyard Kipling and by more recent writers such as Douglas Adams, Salman Rushdie and Terry Pratchett. Sean O'Casey famously called him "English literature's performing flea", a description that Wodehouse used as the title of a collection of his letters to a friend, Bill Townend.
Best known today for the Jeeves and Blandings Castle novels and short stories, Wodehouse was also a talented playwright and lyricist who was part author and writer of fifteen plays and of 250 lyrics for some thirty musical comedies. He worked with Cole Porter on the musical Anything Goes (1934) and frequently collaborated with Jerome Kern and Guy Bolton. He wrote the lyrics for the hit song Bill in Kern's Show Boat (1927), wrote the lyrics for the Gershwin/Romberg musical Rosalie (1928), and collaborated with Rudolf Friml on a musical version of The Three Musketeers (1928).
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