“I have a horrible feeling that [my first name is] Lancelot.

“Good God!” said Archie. “It couldn’t really be that, could it?”

(P. G. Wodehouse, The Indiscretions of Archie, 1921)

Names & Naming

This matter of names is of vital importance to those who practice the Arts. There is nothing about which they have to be more careful.

(P.G. Wodehouse, Over Seventy, 1957)

Billie (f)

Her friends called her Billie. He did not blame them. It was a delightful name and suited her to perfection . . . . It certainly ran pleasantly off the tongue.

(P. G. Wodehouse, The Girl on the Boat, 1922)


There was something wonderful about the name, a sort of music. This was odd, because the name, as a name, was far from being a favourite of his. Until that moment childish associations had prejudiced him against it. It had been inextricably involved in his mind with an atmosphere of stuffy schoolrooms and general misery, for it had been his misfortune that his budding mind was constitutionally incapable of remembering who had been Queen of England at the time of the Spanish Armada – a fact that had caused a good deal of friction with a rather sharp-tempered governess. But now it seemed the only possible name for a girl to have, the only label that could even remotely suggest those feminine charms which he found in this girl beside him. There was poetry in every syllable of it. It was like one of those deep chords which fill the hearer with vague yearnings for strange and beautiful things. He asked for nothing better than to stand here repeating it.

(P. G. Wodehouse, Uneasy Money, 1917)


“What a perfectly ghastly name . . . . I wouldn’t say a word against your mother, of course – . . . . But I can’t possibly call you Imogen.”

(P. G. Wodehouse, Summer Moonshine, 1938)