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When Samuel Pepy sDIARY was first published, it became evident that here, in the private jottings of this Restoration man-about-town, was captured the spirit of that urbane and bawdy era. The DIARY also revealed that Pepys was a devoted play-goer who faithfully recorded his impressions of plays, players, theatre audiences, and current tastes in drama. These acute observations are particularly valu... More

When Samuel Pepy sDIARY was first published, it became evident that here, in the private jottings of this Restoration man-about-town, was captured the spirit of that urbane and bawdy era. The DIARY also revealed that Pepys was a devoted play-goer who faithfully recorded his impressions of plays, players, theatre audiences, and current tastes in drama. These acute observations are particularly valuable because they record the great changes then taking place in the art of the drama and in the techniques of stage productions. The DIARY has come to be regarded as the standard reference for the Restoration theatre. Helen Mc Afee has grouped all Pepys theatre references under separate headings that cover plays, performers, productions, and audiences. Introductory essays consider Pepys as a theatre historian and evaluate the DIARYs theatre record. Extensive parallel passages from the writings of such contemporaries as Downes, Langbaine, and Evelyn are given. The notes and commentary serve to illuminate the references found in the DIARY. 364pp. I llustrated. Index and bibliography. (F irst published in 1916) L.C. Cat. Card No.
(Typographical errors above are due to OCR software and don't occur in the book.)

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