The English resented the Dutch for their mercantile success and, combined with the spread of the plague in that region, were reluctant to trade with Holland. Similarly, the Dutch were not fond of England’s new king. This mutual animosity led to the Second Anglo-Dutch War, which began in 1665.

In the summer, the plague reached London and thrived in the crowded, hot conditions. Those with wealth or status panicked and fled to the countryside. By June, the roads were overwhelmed with citizens desperate to escape, prompting the mayor to close the city gates. Only individuals with a health certificate were allowed to leave, leading to a thriving black market for forged certificates. Death rates soared throughout the summer, peaking at an estimated six thousand per week in August. By fall, the plague began to wane, and by February 1666, the king deemed it safe to return to the city.

On September 2 of the same year, disaster struck again. Early in the morning, a small house fire ignited nearby buildings. Strong winds spread the flames, setting more houses ablaze. The fire became so uncontrollable that the only solution was to demolish unburned houses to prevent further spread. The fire raged for three days before it was subdued. However, relief turned to horror when the fire rekindled the next day, continuing its destruction. More houses had to be demolished to finally extinguish the blaze.

This disaster, combined with the already chaotic state of the British navy, resulted in their defeat by the Dutch, even though the war did not formally conclude until the Peace of Breda in 1667.

Description

Pepys recounts his memoirs with an authenticity that critics have noted as unparalleled in diary literature. Since Pepys did not write his entries for public consumption, he documented both mundane and significant events with a journalist's precision. For instance, on October 13, 1660, Pepys details the historic execution of one of Charles I’s adversaries: ‘‘I went out to Charing Cross, to see Major-general Harrison hanged, drawn, and quartered.’’ In the same entry, he also notes his rather routine afternoon, ‘‘setting up shelves in my study.’’

Pepys's descriptions become more elaborate when he is particularly inspired. One of the most renowned examples is his account of the Great Fire of London in 1666, where he describes his efforts to help. In an exceptionally vivid diary entry on September 2, 1666, Pepys writes: ‘‘The houses, too, so very thick thereabouts, and full of matter of burning, as pitch and tarr, in Thames-street; and warehouses of oyle, and wines, and brandy, and other things.’’ He uses colorful language to depict other aspects of the fire, such as ‘‘almost burned with a shower of fire-drops’’ and ‘‘the cracking of houses at their ruine.’’

Point of View

The Diary of Samuel Pepys offers a personal account, narrated exclusively from Pepys’s perspective. Consequently, events are viewed through the lens of a wealthy naval administrator, leaving certain viewpoints unexplored. This is evident in the contrast between Pepys and his subordinates, both at home and in the English navy. For example, on the morning of December 2, 1660, Pepys notes that his maid had not completed a task correctly, prompting him to beat her with a broom, which left him ‘‘vexed.’’ He mentions that ‘‘before I went out I left her appeased.’’ While Pepys may believe he has reconciled with the servant, ‘‘she cried extremely’’ during the beating, suggesting she might have a different perspective on the incident.

Similarly, Pepys claims to be concerned about the issues faced by his employees, the sailors, who have not been compensated for their work and therefore cannot provide for their families. This problem is widespread due to the navy's disorganization, and Pepys is well aware of it. While the sailors suffer from hunger, Pepys profits by collecting certain tariffs from his suppliers, increasing his wealth. Occasionally, he does try to assist his employees. For instance, on the evening of March 27, 1662, he pays a group of seamen their wages from his own funds and then goes "to dinner, very merry."

Although this is a commendable act, the narrative rarely addresses the needs of the sailors, focusing instead on Pepys' charitable deeds or how the unrest might affect his status. A seaman deprived of his wages would likely have a different viewpoint than Pepys, especially if he knew how Pepys was benefiting while he and his family went hungry.

1660s: London suffers two major catastrophes: the Great Plague of 1665 and the Great Fire of London in 1666. The city faces significant loss of life due to the rapid spread of both the plague and the fire in its densely populated areas.

Today: Numerous scientists dedicate their careers to researching various disasters—both natural and human-made—in order to develop strategies to prevent extensive damage.

1660s: During the lively Restoration period in England, following the strict governance of the Cromwellian Protectorate, many people enjoy theatrical performances that delve into topics previously banned.

Today: Due to rising incidents of violence in schools, workplaces, and other public spaces, many conservative groups call for the censorship of violent content in television and movies.

1660s: To restore England’s prestige after Charles II's return to the throne, English forces seize the Dutch port of New Amsterdam, a bustling trade hub. They rename it New York, in honor of the king’s brother, the Duke of York, who is also the Lord High Admiral of the navy.

Today: In an act of terror, planes are crashed into the World Trade Center in New York, a symbol of global commerce and prosperity. The mayor of New York pledges that the city will rebuild and refuse to be intimidated by terrorists.

The Diary of Samuel Pepys was released as an audiobook in 1996 by the HighBridge Company. Kenneth Branagh is the narrator for this edition.

Sources

Coote, Stephen, Samuel Pepys: A Life, Palgrave, 2001, pp. 65, 81, 104.

Gosse, Edmund, ‘‘Prose after the Restoration,’’ in A History of Eighteenth Century Literature (1660–1780), Macmillan and Co., 1889, pp. 73–104.

Jeffrey, Francis, ‘‘An Excerpt from a Review of Memoirs of Samuel Pepys, Esq.,’’ in the Edinburgh Review, Vol. XLIII, No. LXXXV, November 1825, pp. 23–54.

Johnson, Paul, ‘‘Honest, Shrewd and Naïve,’’ in the Spectator, Vol. 255, September 21, 1985, pp. 24–25.

Lubbock, Percy, Excerpt from Samuel Pepys, Hodder and Stoughton, 1909, p. 284.

Scott, Sir Walter, ‘‘An Excerpt from a Review of Memoirs of Samuel Pepys, Esq.,’’ in the Quarterly Review, Vol. XXXIII, No. LXVI, March 1826, pp. 281–314.

Warshaw, J., ‘‘Pepys as a Dramatic Critic,’’ in Drama, Vol. 10, No. 6–7, March–April 1920, pp. 209–13.

Whibley, Charles, ‘‘The Real Pepys,’’ in The Pageantry of Life, edited by William Heinemann, Folcroft Library Editions, 1973, pp. 107–23.

Further Reading

Coote, Stephen, Royal Survivor: The Life of Charles II, St. Martin’s Press, 2000. Biographer Coote explores Charles II’s reign, detailing his belief in the monarchy’s ancient rights, his political strategies, and his concealed Catholic faith.

Kennedy, Paul M., The Rise and Fall of British Naval Mastery, Humanity Books, 1986. This book delves into the political history of the British navy from the early 1600s to the 1970s.

Miller, John, The Restoration and the England of Charles II, Longman, 1997. This essay collection features contributions from recognized experts on the Restoration and Charles II.

Picard, Liza, Restoration London: From Poverty to Pets, from Medicine to Magic, from Slang to Sex, from Wallpaper to Women’s Rights, St. Martin’s Press, 1998. As the extensive subtitle suggests, this book is a treasure trove of information about everyday life in Restoration London, with The Diary of Samuel Pepys being one of its numerous sources.

Quinsey, Katherine M., Broken Boundaries: Women & Feminism in Restoration Drama, University Press of Kentucky, 1996. This essay collection investigates the transitional Restoration era, during which women gradually gained more rights in the theater, including performing onstage as actresses and contributing as writers behind the scenes.