The majority of his tales are set in country houses, replete with conservatories, libraries, gun rooms, stables and butler’s pantries. Letters arrive by several posts a day, telegrams by the hour. Trains run on time from village stations. Other than the pinching of policemens’ helmets, there is order and serenity. Necklaces are filched, silverware is purloined, butlers snaffle port, chums are impersonated, romances develop in rose gardens, but nothing lurks to fundamentally reorder society.
There was one exception. The object of Wodehousian scorn was the moustachioed leader of Britain’s black-shirted Fascists, Sir Oswald Mosley, 6th Baronet. A fencing champion at school, dashing war record in the Flying Corps, and a Member of Parliament, he was the recipient of an inherited title, with a family tree that stretched back to the 12th century, a country house and a Mayfair residence. In Wodehouseland, Mosley is transformed into the equally aristocratic Roderick Spode, 7th Earl of Sidcup.
Plum was intolerant of even the vaguest of threats to the established order of things. He voiced his dislike of Spode through Bertie Wooster, likening the fascist leader to one of “those pictures in the papers of dictators, with tilted chins and blazing eyes, inflaming the populace with fiery words on the occasion of the opening of a new skittle alley”. Plum focussed his gaze on the Spode/Mosley moustache, which was “like the faint discoloured smear left by a squashed black beetle on the side of a kitchen sink”, describing its owner as “one who caught the eye and arrested it”.
The proto-dictator appeared, thought Wodehouse, “as if Nature had intended to make a gorilla but had changed its mind at the last moment”. Every reader would have known it was Mosley in the crosshairs, because Spode was the leader of a fascist group called the “Saviours of Britain, also known as the Black Shorts”. The transition of attire is because, as another of Wodehouse’s masterful creations, Gussie Fink-Nottle, observed, “by the time Spode formed his Association, there were no black shirts left in the shops”.
A different Wodehouse character warned, “Never put anything on paper … and never trust a man with a small black moustache.” Indeed, anyone “whose moustache rose and fell like seaweed on an ebb-tide” was best avoided. Plum could have been referring to Mosley or Hitler. The former, as leader of Britain’s real-life black shirts, was an unashamed admirer of the latter, and he interned in Holloway prison during the war. Afterwards, as an advocate of what we today would call Holocaust denial, he moved to Paris where he died in 1980. His political journey was interesting. Mosley started as a Conservative, drifted leftwards into the Labour Party, then further left into his own independent party, which evolved into the right-wing British Union of Fascists.
Modelled on the Italian and German fascist movements, Mosley and his supporters came to believe that “Jewish interests commanded commerce, the Press, the cinema, dominated the City of London, and killed British industry with their sweatshops”. Fascism lurking in the upper classes troubled Plum Wodehouse so greatly that Spode and his Black Shorts appeared in five of his works between 1938–74.
Peter Caddick-Adams, “Coups and coronets”, The Critic, 2022-12-13.
April 1, 2023
QotD: P.G. Wodehouse and Sir Oswald Mosley
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