If he thought there was grave danger of some other bloke scooping her up, wouldn't that make him forget these dashed silly ideas of his and charge in, breathing fire through the nostrils?"

Mr Stoker plans to rent out the property to the famous "nerve specialist" (or, as Bertie prefers, "loony doctor") Sir Roderick Glossop, who intends to marry Chuffy's Aunt Myrtle.

Chuffy writes a love letter to Pauline, which Jeeves smuggles aboard the yacht by briefly entering Mr Stoker's employ; Pauline is so moved that she swims ashore to Bertie's house, planning to visit Chuffnell Hall in the morning.

Jeeves suggests that Bertie switch places with Sir Roderick, as he could hardly be charged with breaking into his own garage.

[5] Author Kristin Thompson makes the same statement about the story's construction, and adds that despite the feud, Bertie and Jeeves interact in a friendly manner after their initial argument, which allows Bertie and Jeeves to work together to help Chuffy and Pauline and move towards reconciliation.

[6] While Bertie Wooster is threatened with marriage in some of the earlier short stories in which he appears, he also faces other kinds of disaster which Jeeves helps him avoid.

[8] Another shift starting with Thank You, Jeeves is that, unlike many of the short stories, each Jeeves novel is set principally at a country house and the nearby surrounding area, allowing Wodehouse to bring more characters together to create longer, more complex stories.

He sometimes makes fun of purism, the excessive insistence on adherence to a particular use of language, as in chapter 9: "You have a perfect right to love who you like...""Whom, old man," I couldn't help saying.

Jeeves has made me rather a purist in these matters.In this quote, there is comic contrast between the tense situation and the comparatively petty concern about "correctness" in language.

[10] Wodehouse occasionally derives words from phrases using suffixation, for example the adjective "fiend-in-human-shape-y" in chapter 12.

[11] A transferred epithet is used in chapter 2: "Such, then, is the sequence of events which led up to Bertram Wooster [...] standing at the door [...] through the aromatic smoke of a meditative cigarette".

Examples include the following quotes: "We are the parfait gentle knights, and we feel that it ill beseems us to make a beeline for a girl like a man charging into a railway restaurant for a bowl of soup" (chapter 4), and "The light faded from her face, and in its stead there appeared the hurt, bewildered look of a barefoot dancer who, while halfway through the Vision of Salome, steps on a tin tack" (chapter 9).

Wodehouse also sometimes references violent imagery where there is no actual violence, for example in Thank You, Jeeves, chapter 14: "The poor old lad distinctly leaped.

The reader must infer to what extent Jeeves influences other characters or creates any of the problems he ultimately solves.

Interpreting events through hints provided by Bertie's narration presents what Thompson calls "a perpetual and delightful challenge to the reader".

[20] Blackface performances, widely considered offensive today, were popular at the time Wodehouse was writing this novel.

During this period, Al Jolson, Bing Crosby and Shirley Temple were among the many actors who performed in blackface.

[21] While planning Thank You, Jeeves, Wodehouse wrote a letter to his friend William Townend about ideas for the novel.

According to the letter, Wodehouse was considering ideas that do not appear in the final novel, including an idea of Bertie breaking into an animal breeder's house for butter and being confronted by a number of animals, and another idea in which Bertie ends up at a girls' school, gets chased by a Games Mistress (a woman who teaches sports), and subsequently hides in a dormitory, where the kids welcome him enthusiastically because they think he is a blackface minstrel.

[5] Thank You, Jeeves appeared in serial form in the Canadian magazine Family Herald and Weekly Star from 24 March to 11 August 1937, with illustrations by James H.

is also the name of a theatrical film from 1936, starring Arthur Treacher as Jeeves and David Niven as Bertie Wooster, and directed by Arthur Greville Collins; aside from the presence of Bertie and Jeeves, however, none of the characters or major plot elements are taken from the novel.

Directed by Rosalind Ayres, the radio drama also featured Gregory Cooke as Chuffy, Jennifer Tilly as Pauline Stoker, Guy Siner as Sir Roderick Glossop, Kenneth Danziger as Sergeant Voules, Alastair Duncan as Brinkley and Seabury, and Dominic Keating as Constable Dobson.

J. Washburn Stoker was voiced by Richard Riordan, who was Mayor of Los Angeles at the time of recording.