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Thursday 28 March 1661

Up early among my workmen, then Mr. Creed coming to see me I went along with him to Sir Robert Slingsby (he being newly maister of that title by being made a Baronett) to discourse about Mr. Creed’s accounts to be made up, and from thence by coach to my cozen Thomas Pepys, to borrow 1000l. for my Lord, which I am to expect an answer to tomorrow. So to my Lord’s, and there staid and dined, and after dinner did get my Lord to view Mr. Shepley’s accounts as I had examined them, and also to sign me a bond for my 500l.. Then with Mr. Shepley to the Theatre and saw “Rollo” ill acted. That done to drink a cup of ale and so by coach to London, and having set him down in Cheapside I went home, where I found a great deal of work done to-day, and also 70l. paid me by the Treasurer upon the bill of exchange that I have had hopes of so long, so that, my heart in great content; I went to bed.

Friday 29 March 1661Wednesday 27 March 1661

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  • A cursory search reveals the play is another by John Fletcher: “The Bloody Brother; or, The Tragedy of Rollo, Duke of Normandy,” 1639—-or thereabouts. Anyone care to furnish particulars?

  • “to sign me a bond for my 500l.”

    L&M have an intersting footnote about this transaction: “This loan was increased to

  • The Bloody Brother; or, The Tragedy of Rollo

    L&M footnote: “The bloody brother, or Rollo, Duke of Normandy, a tragedy by John Fletcher and several others, written c. 1617; published 1639. Now at the [Theatre Royal], Vere St. The cast listed by Downes (pp. 5-6) includes Hart as Rollo, Kynaston as Otto, Mrs Corey as the Duchess and Mrs Marshall as Edith.”

    And this from Bartleby (http://www.bartleby.com/216/0513.html ):
    “The date of The Bloody Brother, or Rollo, Duke of Normandy is uncertain; but it was probably produced about the year 1616. It is an effective drama, and was reckoned by Rymer with Philaster, The Maides Tragedy and A King and no King, as among the most celebrated tragedies of its age. Four authors seem to have been concerned in this play, and it is probable that the remarkable political reflections in the first scene of the fourth act are to be ascribed to Jonson. A small part only is by Fletcher, to whom, however, are due the striking scenes between Rollo and Edith in the third and fifth acts. Of the former of these scenes, Coleridge remarks that it exhibits ‘probably the grandest working of passion in all Beaumont and Fletcher’s dramas’; the latter he criticises severely because of the momentary weakening of Edith’s resolve, comparing her with lady Anne in Richard III.”

  • Big money today…

    The sums of money mentioned in today’s entry are huge! 1000

  • Is this the same one Sam mentioned yesterday for 60

  • I realize this is not the place for it, but I could not find a niche in the Background Info: in a secondhand bookshop I found an edition of Sam’s Diary in three beautiful volumes published in the Everyman’s Library. It is edited by John Warrington. Unfortunately the editor abridged it “guided by its human appeal and historic interest”. Does anybody know something about this edition? As I said it is a beautiful publication in 3 bound volumes with some 500 pages each. It was first published in this series in 1906; revised and reset 1953 and the edition I found reprinted 1963.

  • Warrington

    As far as I can tell (from Bookfinder), it’s based on Bright’s transcription of the diary, which our Wheatley ed. is also based on in large part. Per L&M, Bright published his version in the 1870s, and included about 4/5 of the diary altogether. Who knows how much of that Everyman might have further cut for their edition. He apparently also bowdlerized the text more than Wheatley and made a number of historical errors—in a 1667 entry the Queen of Sweden becomes the ‘Queen of Sheba’, for instance.

  • Annotations like this are better suited to the discussion list: http://www.smartgroups.com/groups/pepysdiary

    Annotations on diary entries should be relevant to the particular entry. Thanks.

  • Not sure I understand the

  • Thanks, Emilio, for the Fletcher. My info came from Bartleby.com too, but I forgot that date of first publication (thus the “1639”) for Renaissance plays can be decades after first performance. Nota bene, for future references.

  • the

  • re: the

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