Arcadia (play)

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Arcadia
Cover of first edition
Written by	Tom Stoppard
Date premiered	13 April 1993
Place premiered	Lyttelton Theatre Royal National Theatre London
Original language	English
Subject	History, science, philosophy, mathematics, love, death
Genre	Comedy/drama
Setting	A Derbyshire country estate in both the past (1809, 1812) and the present (1989)
IBDB profile

This article may contain original research or unverified claims. Please improve the article by adding references. See the talk page for details. (March 2009)

Arcadia is a 1993 play by Tom Stoppard concerning the relationship between past and present and between order and disorder and the certainty of knowledge.

Contents 1 Synopsis 2 Plot 3 Characters 4 Genre 5 Style 6 Language 7 Themes 8 Title 9 Contextual information 10 Productions 11 Reception 12 Awards and nominations 13 Notes 14 References 15 External links

[edit] Synopsis

Arcadia is set in Sidley Park, an English country house, in the years 1809–1812 and 1989, juxtaposing the activities of two modern scholars and the house's current residents with the lives of those who lived there 180 years earlier.

In 1809, Thomasina Coverly, the daughter of the house, is a precocious teenager with ideas about mathematics well ahead of her time. She studies with her tutor, Septimus Hodge, a friend of Lord Byron (who is an unseen guest in the house). In 1989, a writer and an academic converge on the house: Hannah Jarvis, the writer, is investigating a hermit who once lived on the grounds; Bernard Nightingale, a professor of literature, is investigating a mysterious chapter in the life of Byron. As their investigations unfold, helped by Valentine Coverly, a post-graduate student in mathematical biology, the truth about what happened in 1809 is gradually revealed.

The play's set features a large table, which is used by the characters in both 1809 and 1989. Props are not removed when the play switches time period, so that the books, coffee mugs, quill pens, portfolios, and laptop computers of 1809 and 1989 appear alongside each other in a blurring of past and present.

[edit] Plot

Scene 1 opens in April 10, 1809, in a garden front room of a country house in Derbyshire with tutor Septimus Hodge trying to distract his 13-year-old pupil Thomasina from her enquires as to the meaning of a "carnal embrace" by challenging her to prove Fermat's Last Theorem so he can focus on reading the poem "The Couch of Eros", a piece written by another character, Mr Ezra Chater. Thomasina starts questioning why the jam in rice pudding can never be unstirred, which leads her on to the topic of determinism, beginning to develop a theory regarding the chaotic shapes of nature. This however is interrupted by Mr Chater himself who is shortly revealed to be angry that his wife, Mrs Chater, was caught engaging in "a perpendicular poke" in the gazebo with Septimus, and has come intending to challenge Septimus to a duel. Septimus defuses the situation by heaping oleaginous praise on "The Couch of Eros", a tactic that works, as at this point Chater doesn't realise that it was Septimus that had previously negatively reviewed an earlier work of his, "The Maid of Turkey". Gardener Noakes enters, shortly accompanied by Captain Brice and Lady Croom, who then proceed to discuss the proposed modifications to the gardens, with Thomasina drawing a picture of a imaginary hermit (in the biblical style of John the Baptist) onto Mr. Noakes's picture of the garden (with its fantasy hermitage) as he sees it in the future.

In scene 2, the setting shifts to the present day, with Hannah Jarvis researching about the house, garden and specifically the hermit, for a study centering on Hermits and the romantic imagination. Bernard Nightingale enters, escorted by Chloe Coverley, who fails to impart to Hannah the true identity of Bernard, as he gave Hannah's last book a poor review. Valentine Coverley, also doing research, though into the population biology of the grouse in the surrounding grounds, based on data from the historical "game books". When eventually Bernard's identity is revealed after a verbal misstep by Chloe, Hannah initially reacts angrily but regardless she agrees to share the research material he requested, allowing him to propose his theory that one of the 1809 inhabitants, Mr. Chater, was killed in a duel by Lord Byron.

The third scene reverts back to the initial timeframe, again in a tutorial session between Septimus and Thomasina, this time in Latin translation. Again the focus of the lesson diverts somewhat, here on to the destruction of the Alexandrian Library, which upsets Thomasina, who mourns the loss of the knowledge contained there, though Septimus's response is that all that is lost will eventually turn up again. The discussion is once again interrupted by Mr Chater, who once again challenges Septimus to a duel, having finally realised, learning off-stage from Lord Byron, that Septimus was behind the negative reviews of his work.

Scene 4 sees Hannah rediscover Thomasina's primer containing her ideas on iteration and chaos theory, recalling the previous scene's assertion that what is lost is eventually rediscovered. Valentine reacts with interest to this, as his own research in the present day centres around similar areas and concepts.

In the first scene of act 2, Hannah, Valentine and Chloe are given an advanced lecture from Bernard detailing Byron's supposed role in Chater's supposed murder. Bernard becomes agitated when Hannah and Valentine challenge the security and logic of his argument, responding by launching into a diatribe about the irrelevance of science, before departing to share the lecture in the capital and make promotional appearances in the media. Hannah meanwhile begins to suspect that the hermit of Sidley Park, who was reportedly obsessed with algebra, could have been Septimus.

Reverting to 1813, scene 6 reveals that the duel never occurred, with the Chaters instead having departed for the West Indies, and Byron having left also. Septimus has killed a rabbit for Thomasina (who is approaching her seventeenth birthday at this point). Septimus returns to find Lady Croom searching for him, after finding two letters that Septimus had written in case he was killed by Chater, one a love letter addressed to herself and the other, written to Thomasina, regarding rice pudding. Lady Croom then invited Septimus to her quarters.

The seventh scene takes place in both 1813 and the present day, with the action of each in the shared setting effectively running concurrently. Furthermore, in the present day, some of the characters are in fancy dress for a party, meaning that the clothes and appearance of both casts are to some extent similar. Chloe is reading newspaper reports on the Byron murder theory as proposed by Bernard, before talking about determinism with Valentine, in a conversation echoing the one between Septimus and Thomasina earlier. Valentine uses his computer to further advance the ideas proposed by Thomasina, and discusses the concept of entropy, and whether or not it was Thomasina or Septimus who was the genius behind the theories.

Meanwhile, Thomasina asks Septimus to teach her to dance. Lady Croom enters, complaining to Mr Noakes about the noise of his steam engine, before Thomasina explains that the machine operates under the laws of entropy (not yet propounded at the time)which prove that the universe is winding down. In the present, Bernard arrives at the house where he is met by Hannah, who has discovered evidence, a letter showing the true cause of Mr. Chater's death, that totally discredits his argument and vindicates Lord Byron. While Septimus waits for appropriate music for a dance lesson that Thomasina has asked for, he examines the picture she made to illustrate the irreversibility of heat, an action mirrored in the present setting with Valentine and Hannah also looking at the same diagram and discussing its significance. Bernard is forced to depart having been caught in a compromising position with Chloe. Eventually a waltz starts. Septimus dances with Thomasina, their relationship of teacher and pupil increasingly complicated by hints of romance, while Hannah joins in with Gus. We have been told earlier in the play that, later on that night, Thomasina is to die as a result of a fire. We are left to conjecture whether Septimus, after the death of Thomasina, and faced with her challenge to the laws of the universe as propounded by Newton, indeed becomes the hermit obsessed with applying "honest English algebra" to the question of the future of the universe.

[edit] Characters

Characters of 1809

• Thomasina Coverly: The 13-year-old daughter of Lord and Lady Croom, Thomasina is a precocious young genius. She comes to understand chaos theory and theorizes the second law of thermodynamics, before either is officially recognized and established in mathematical and scientific communities.

• Septimus Hodge: Thomasina's tutor and the academic colleague and friend of Lord Byron (an unseen but important character in the play). While teaching Thomasina he works on his own research, and has affairs with the older women of the house. When she is older, he begins to fall in love with her, and after her death it is implied that he becomes the "hermit of Sidley Park", working on the young girl's theories until his own death.

• Jellaby: The Crooms' butler at Sidley Park. His chief functions are to spread gossip and deliver letters.

• Ezra Chater: An unsuccessful poet staying at Sidley Park. His wife's affairs lead him to challenge Septimus to a duel. Later, it is revealed that he is the same person as a Mr. Chater, the botanist who dies of a monkey bite in Martinique (after he has travelled there with his wife and Captain Brice).

• Mrs. (Charity) Chater: Though she never appears on stage, Mrs. Chater and her affairs play a vital role in the conflict of the story. She sleeps with Septimus, and the repeatedly cuckolded Mr. Chater challenges him to a duel. She sleeps with Lord Byron and gets him, her husband, Captain Brice, and herself essentially kicked out of Sidley Park.

• Richard Noakes: Mr. Noakes is Lady Croom's gardener. Throughout the play he is working on transforming the romantic, Arcadia-like landscape of Sidley Park into the Gothic style popular at the time (an idea that Lady Croom begrudgingly agrees to). He is key in discovering and exposing Septimus and Mrs. Chater's affair.

• Lady Croom: Thomasina's mother, who rules the Coverly estate with an iron fist. There is a good deal of flirtation between her and Septimus (as well as other gentlemen) through the play. A second Lady Croom, Chloe's mother in the modern half of the play, never appears on stage.

• Captain Brice: The brother of Lady Croom (of 1809) is a sea captain who falls in love with Mrs. Chater. He takes her and her husband to the West Indies at the end of the play. After Mr. Chater's death, Captain Brice marries Mrs. Chater.

Characters of the present

• Hannah Jarvis: The author of a popular best-seller on Byron's mistress Lady Caroline Lamb, Hanna is researching the elusive hermit of Sidley Park, who lived in the hermitage there in the early 1800s. Hannah collaborates (sometimes warily) with Bernard (and also with Valentine), though she rejects the romantic advances of both in order to focus on her work.

• Chloe Coverly: At 18, Chloe is the modern day equivalent of Thomasina (likewise, she is the daughter of the modern Lady Croom). Like Thomasina, Chloe is very perceptive and intelligent. She proposes a theory that the Newtonian universe does not work because of sex and the problems that it causes between people. Chloe initially tries to set up Hannah and Bernard, but later ends up sleeping with him herself.

• Bernard Nightingale: A don at a modern university, Bernard comes to Sidley Park hoping to work with Hannah on his theory about Lord Byron staying at the estate. Foolishly, he disregards searching for further proof of his theories, and, hoping for fame, he announces on TV his theory that Lord Byron killed Ezra Chater in a duel. At the end of the play, Hannah proves him wrong, much to his chagrin.

• Valentine Coverly: A graduate student of mathematics, Valentine is Chloe's older brother. After poring over several old documents, he reluctantly comes to acknowledge Thomasina's genius.

• Gus/Augustus Coverly: Played by the same actor, this character spans the gap between past and present. Augustus is Thomasina's trouble-making younger brother, who appears in only a few brief scenes. Gus is Valentine and Chloe's younger brother, who has been mute since the age of five. Gus helps to pass several important props from past to present, and helps connect key moments in the play.

[edit] Genre

The genre of Arcadia is, at the surface, a drama in the specialized, modern sense of being somewhere between a tragedy and a comedy. It involves some elements of classical tragedy—"noble" characters and the the audience's knowledge of Thomasina's impending death—but the predominant element is comedy, in the way that the characters interact with each other and their witty, epigrammatic dialogue.^[1]

[edit] Style

Arcadia can be defined as a theatrically realistic play.^[2] It is comprehensible: the plot is both logical and probable, following linear series of events. Arcadia's only true deviation from this definition is the inclusion of two separate, though interrelated, plotlines: both follow a linear structure along parallel lines. An example of this comes after we see the historical Thomasina deriving her mathematical equations to describe the forms of nature; we later see Val, with his computer, plotting them to produce the image of a leaf. The setting and characters are true-to-life, without being archetypal. Although Stoppard has used language reflective of his periods—modern or historical lexicon and speech patterns in keeping with his characterizations—this is a stylised dialogue used to convey "look and feel", according to the perception of the modern audience.^[3]

[edit] Language

In its simplest form, the language of Arcadia switches between the colloquialisms of early 19th century England and those of modern England. The characters are all of a relatively high class or academic standing, leading them to speak (on the majority) in somewhat elevated language. Literature is one of the main topics in Arcadia and as a result, language in its various forms (especially poetry) is frequently discussed by the characters. Over the course of the play they try to constantly outwit one another with their words.

[edit] Themes

Arcadia explores the nature of evidence and truth in the context of modern ideas about history, mathematics and physics. It shows how the clues left by the past are interpreted by scholars. The play refers to a wide array of subjects, including mathematics, physics, thermodynamics, computer algorithms, fractals, population dynamics, chaos theory vs. determinism (especially in the context of love and death), classics, landscape design, romanticism vs. classicism, English literature (particularly poetry), Byron, 18th century periodicals, modern academia, and even South Pacific botany. These are the concrete topics of conversation; the more abstract philosophical resonances veer off into epistemology, nihilism, the origins of lust, and madness.

The themes presented within Arcadia are based in a series of dichotomies. The most prominent of these is the idea of chaos versus order, presented through Stoppard's discussion of chaos theory within the play. The action of Arcadia and the characters within it reflect this theory; everything is gradually dispersing into a state of chaos and entropy (represented by the final scene), and yet within that chaos, order can be found. Valentine summarizes this idea: "In an ocean of ashes, islands of order. Patterns making themselves out of nothing." Within the chaos that develops over the course of the play—through the overlap of time periods, through increasingly complicated ideas that are presented, through the variances between what is correct and what is assumed—connections and order can still be recognized. The characters attempt to define the order of the world through their ideas and theories, and they are continually overturned (as with Bernard's theory). Yet order manages to resurface when they manage to exert their free will over fate: Bernard accepts the defeat of his ideas, Septimus refuses Thomasina's invitation.

The table which collects props from both time periods throughout the play is a strong example of the chaos/order dichotomy. In "Science in Hapgood and Arcadia", Paul Edwards explains this representation: "At the end of the play, the table has accumulated a variety of objects that, if one saw them without having seen the play, would seem completely random and disordered. Entropy is high. But if one has seen the play, one has full information about the objects and the hidden 'order' of their arrangement, brought about by the performance itself. Entropy is low; this can be proved by reflecting that tomorrow night's performance of the play will finish with the table in a virtually identical 'disorder'—which therefore cannot really be disorder at all."

A secondary theme within Arcadia is the dichotomy of Classicism versus Romanticism. It is exemplified primarily through the argument between Lady Croom and Mr. Noakes over the changes being made to the garden. This shows a direct shift between the tidiness and order of Classic style to the rugged, Gothic appearance of the Romantic. This dichotomy is also presented through Septimus and Thomasina, as she argues her new theories and ideas that refute classic Newtonian ideals while he defends them. Hannah's search for the poetic meaning behind the hermit of Sidley Park also remarks on this theme. She passionately exclaims to Bernard, "The whole Romantic sham, Bernard! It's what happened to the Enlightenment, isn't it? A century of intellectual rigour turned in on itself. A mind in chaos suspected of genius…The decline from thinking to feeling."

Another theme of the play, which falls under the category of chaos, is the irreversibility of time. This is examined scientifically through Thomasina's remarks on Newtonian equations, which work both backwards and forwards. And yet in reality, things, like Thomasina's rice pudding (which inspires these remarks), cannot be "unstirred". Heat flows in only one direction. The idea of heat (and the second law of thermodynamics) is thus represented through the actions of the characters. They burn bridges in relationships, they burn letters, candles burn, and in the end, it is revealed that Thomasina will burn to death. The finality of things is always present.

The end of the play brings all of these dichotomies and themes together, showing that though things may appear to contradict—Romanticism and Classicism, intuition and logic, thought and feeling—they can exist, paradoxically, in the same time and space. Order is found amid the chaos.

[edit] Title

The title is an abbreviation of an initial, pre-publication, title: "Et in Arcadia ego"^[4] (with Arcadia referring to the pastoral ideal of Arcadia), a phrase most commonly interpreted as a memento mori spoken by Death. The phrase translates as "and in Arcadia I am", frequently rendered as "I [Death] too am in Arcadia" or "Even in Arcadia I [Death] am", although the meaning of the phrase is enigmatic and the subject of much academic discourse.^[5][6]

Discussing paintings of pleasant landscapes, Lady Croom mistranslates the phrase as "here I am in Arcadia", on which Thomasina drily comments, "Yes Mama, if you would have it so". Thomasina's tutor Septimus notices; later, knowing that she will appreciate the true meaning, he offers the translation "Even in Arcadia, there am I". He is right: "Oh, phooey to Death!" she replies.^[7] Although these brief exchanges are the only direct references in the work to the play's title, they presage the fates of the two main characters: Thomasina's early death and Septimus's voluntary exile from life.^[4] Stoppard originally wanted to make this connection plainer by using Et in Arcadia Ego for the title but "box office sense prevailed".^[4]

In a more obvious sense, the title also alludes to the ideal of nature as a rustic paradise, with the landscaping of the estate to give a less stylised, irregular form as a major theme in the play. This serves as a recurring reference to the different ways in which "true nature" can be understood, and as a pragmatic parallel to Thomasina's theoretical method of describing the structure of the natural world using mathematics.^[4]

[edit] Contextual information

This section contains too many quotations for an encyclopedic entry. Please help improve the article by removing excessive quotations or transferring them to Wikiquote. Help is available. (March 2009)

In Arcadia, Stoppard presents his audience with several highly complicated mathematical and scientific concepts. Stoppard uses these theories and ideas within the play to illuminate relationships between characters that otherwise would not be conveyed as poignantly.

One of the main thematic concepts in the show is chaos theory. Two authors describe this extremely complicated concept within the context of Arcadia.

The first of these is Paul Edwards in his essay "Science in Hapgood and Arcadia" in the Cambridge Companion to Tom Stoppard. "Chaos mathematics is about the recovers of information from apparently chaotic and random systems where entropy is high… It is 'asymmetric' (unlike the equations of classical physics), yet it finds regularities that prove to be the regularities of nature itself. Strikingly, this mathematics can generate patterns of amazing complexity, but it also has the power to generate seemingly natural or organic shapes that defeat Newtonian geometry. The promise, then, (however questionable it is in reality) is that information, and by extension, nature itself, can overcome the tendency to increase in entropy" (p. 181).

The second is an excerpt from the chapter on Arcadia in John Fleming's book Stoppard's Theatre: Finding Order amid Chaos. "Deterministic chaos deals with systems of unpredictable determinism, but the uncertainty does not result in pure randomness but rather in complex patterns. Traditionally, scientists expected dynamic systems to settle into stable, predictable behavior. However, deterministic chaos has shown that as many of these systems respond to variations in input… Surprisingly, within these random states, windows of order reappear… 'There is order in chaos—an unpredictable order, but a determined order nonetheless, and not merely random behavior…'" (p. 193-194).

Further scientific and mathematical concepts covered in Arcadia are the second law of thermodynamics, and in relation to it, entropy. Fleming describes these two principles. "Entropy is the measure of the randomness or disorder of a system. The law of increase of entropy states that as a whole the universe is evolving from order to disorder. This relates to the Second Law of Thermodynamics, which states that heat can flow in only one direction, from hotter to colder. Since these equations, unlike Newton's laws of motion, do not go backward and forward, there is an 'arrow of time' that points toward the eventual 'heat death' of the universe" (p. 194).

By using all of these concepts within Arcadia, Stoppard exposes how "there is an underlying order to seemingly random events." The characters in the play discuss these topics while their interactions reflect them.

Some ideas in the play recall Goethe's novella Elective Affinities: Stoppard's characters "Thomasina" and "Septimus" have parallels in Goethe's "Ottalie" and "Eduard", and the historical section of the play is set in 1809, the year of the novella.^[8]

[edit] Productions

Arcadia first opened at the Royal National Theatre in London on 13 April 1993, and has played at many theatres since. It won the 1993 Olivier Award for Best Play and the 1995 New York Drama Critics' Circle Award.

The original 1993 production was directed by Trevor Nunn and featured Rufus Sewell as Septimus Hodge, Felicity Kendal (Stoppard's then lover) as Hannah Jarvis, Bill Nighy as Bernard Nightingale, Emma Fielding as Thomasina Coverly, Alan Mitchell as Jellaby, Derek Hutchinson as Ezra Chater, Sidney Livingston as Richard Noakes, Harriet Walter as Lady Croom, Graham Sinclair as Captain Brice, Harriet Harrison as Chloe Coverly, Timothy Matthews as Augustus Coverly and Gus Coverly, and Samuel West as Valentine Coverly.

The first New York production opened in March 1995 at the Vivian Beaumont Theatre. It was again directed by Trevor Nunn, but the entire cast changed. It starred Billy Crudup as Septimus, Blair Brown as Hannah, Victor Garber as Bernard, Robert Sean Leonard as Valentine, and Jennifer Dundas as Thomasina. This production was the Broadway debut of Paul Giamatti, who played Ezra Chater. The other actors were Lisa Banes (Lady Croom), Richard Clarke (Jellaby), John Griffin (Gus/Augustus), Peter Maloney (Noakes), David Manis (Captain Brice, RN), and Haviland Morris (Chloe). This production was nominated for the 1995 Tony Award for Best Play, but lost to Terrence McNally's Love! Valour! Compassion!. Jennifer Dundas and Lisa Banes had already played daughter and mother once before, in The Hotel New Hampshire.

In 1996–1997, the first major U.S. regional production was mounted at the Arena Stage in Washington, D.C.^[9]

On 27 May 2009, David Leveaux as director opened the latest London production of Arcadia at the Duke of York's Theatre and features Samantha Bond, Nancy Carroll, Jessie Cave, Trevor Cooper, Sam Cox, Lucy Griffiths, Tom Hodgkins, Hugh Mitchell, Neil Pearson, George Potts, Dan Stevens and Ed Stoppard.

[edit] Reception

The Times, reviewing the first production, praised the "perfect marriage of ideas and high comedy",^[10] but for some the ideas overwhelmed the comedy: "...too clever by about two-and-three-quarters. One comes away instructed with more than one can usefully wish to know..." noted The Daily Mail.^[11] The play's West End transfer, after an eight-month run at the National, gave an opportunity for re-appraisal and The Daily Telegraph commented: "I have never left a play more convinced that I had just witnessed a masterpiece".^[12]

Vincent Canby of The New York Times described the play as "Tom Stoppard's richest, most ravishing comedy to date, a play of wit, intellect, language, brio and, new for him, emotion."^[13]

Arcadia was voted onto the shortlist for the Royal Institution award for "the best science book ever written". The winner, announced on 19 October 2006, was The Periodic Table by Primo Levi.^[14]

[edit] Awards and nominations

Awards

• 1994 Laurence Olivier Award for Best New Play

Nominations

• 1995 Drama Desk Award for Outstanding Play
• 1995 Tony Award for Best Play

[edit] Notes

[edit] References

• The Cambridge Companion to Tom Stoppard. Ed. Katherine E. Kelly. Cambridge, New York, Oakleigh, Madrid, Cape Town: Cambridge University Press, 2001.
• Fleming, John. Stoppard's Theatre: Finding Order amid Chaos. Austin: University of Texas Press, 2001.
• Rush, David. A Student Guide to Play Analysis. Carbondale: Southern Illinois University Press, 2005.
• Stoppard, Tom. Arcadia: A Play in Two Acts. New York, Hollywood, London, Toronto: Samuel French, 1993.

[edit] External links

• Arcadia (play) at the Internet Broadway Database
• A list of Arcadia-related articles and other links
• Chaos, Fractals, and Arcadia, written by Robert L. Devaney from Boston University.
• Photographs of 1993 London staging
• London Production of Arcadia

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