: P. G. Wodehouse
: The Clicking of Cuthbert
: Phoemixx Classics Ebooks
: 9783986479930
: 1
: CHF 4.40
:
: Comic, Cartoon, Humor, Satire
: English
: 222
: Wasserzeichen
: PC/MAC/eReader/Tablet
: ePUB
The Clicking of Cuthbert P. G. Wodehouse - Wodehouses brilliant but human brand of humor is perfectly suited to these stories of love, rivalry, revenge, and fulfillment on the links. While the Oldest Member sits in the clubhouse quoting Marcus Aurelius on patience and wisdom, outside on the green the fiercest human passions burn. All kinds of human life are here, from the cocky professional Sandy McHoots to the shy Ramsden Waters, whose only consolation is golf. And then, of course, there is the young, handsome Cuthbert Banks, who plus four on the Wood Hills links can not seem to win the affections of the girl who has won his heart.

Sir 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).

"Were you talking to Peter?"

"Yes. Just now. I can't understand what was the matter with him. He just turned on his heel and swung off."

"You oughtn't to turn on your heel when you swing," said James;"only on the ball of the foot."

"I beg your pardon?"

"Nothing, nothing. I wasn't thinking. The fact is, I've something on my mind. So has Peter. You mustn't think too hardly of him. We have been playing an important match, and it must have got on his nerves. You didn't happen by any chance to be watching us?"

"No."

"Ah! I wish you had seen me at the lake-hole. I did it one under par."

"Was your father playing?"

"You don't understand. I mean I did it in one better than even the finest player is supposed to do it. It's a mashie-shot, you know. You mustn't play too light, or you fall in the lake; and you mustn't play it too hard, or you go past the hole into the woods. It requires the nicest delicacy and judgment, such as I gave it. You might have to wait a year before seeing anyone do it in two again. I doubt if the 'pro.' often does it in two. Now, directly we came to this hole today, I made up my mind that there was going to be no mistake. The great secret of any shot at golf is ease, elegance, and the ability to relax. The majority of men, you will find, think it important that their address should be good."

"How snobbish! What does it matter where a man lives?"

"You don't absolutely follow me. I refer to the waggle and the stance before you make the stroke. Most players seem to fix in their minds the appearance of the angles which are presented by the position of the arms, legs, and club shaft, and it is largely the desire to retain these angles which results in their moving their heads and stiffening their muscles so that there is no freedom in the swing. There is only one point which vitally affects the stroke, and the only reason why that should be kept constant is that you are enabled to see your ball clearly. That is the pivotal point marked at the base of the neck, and a line drawn from this point to the ball should be at right angles to the line of flight."

James paused for a moment for air, and as he paused Miss Forrester spoke.

"This is all gibberish to me," she said.

"Gibberish!" gasped James."I am quoting verbatim from one of the best authorities on golf."

Miss Forrester swung her tennis racket irritably.

"Golf," she said,"bores me pallid. I think it is the silliest game ever invented!"

The trouble about telling a story is that words are so feeble a means of depicting the supreme moments of life. That is where the artist has the advantage over the historian. Were I an artist, I should show James at this point falling backwards with his feet together and his eyes shut, with a semi-circular dotted line marking the progress of his flight and a few stars above his head to indicate moral collapse. There are no words that can adequately describe the sheer, black horror that froze the blood in his veins as this frightful speech smote his ears.

He had never inquired into Miss Forrester's religious views before, but he had always assumed that they were sound. And now here she was polluting the golden summer air with the most hideous blasphemy. It would be incorrect to say that James's love was turned to hate. He did not hate Grace. The repulsion he felt was deeper than mere hate. What he felt was not altogether loathing and not wholly pity. It was a blend of the two.

There was a tense silence. The listening world stood still. Then, without a word, James Todd turned and tottered away.

Peter was working moodily in the twelfth bunker when his friend arrived. He looked up with a start. Then, seeing that the other was alone, he came forward hesitatingly.

"Am I to congratulate you?"

James breathed a deep breath.

"You are!" he said."On an escape!"

"She refused you?"

"She didn't get the chance. Old man, have you ever sent one right up the edge of that bunker in front of the seventh and just not gone in?"

"Very rarely."

"I did once. It was my second shot, from a good lie, with the light iron, and I followed well through and thought I had gone just too