Classical And Romantic Elements In Tom Stoppard's Arcadia

Classical and Romantic Elements in Arcadia Tom Stoppard, author of the contemporary English play Arcadia, dramatizes the relationship between romantic and classical elements, as well as knowledge of love and academic knowledge, by juxtaposing the past and the present in the latter text. The play starts off in the early Nineteenth Century with Thomasina Coverly, a bright teenager with philosophies about mathematics who studies with her tutor, Septimus Hodge, at Sidley Park. In the present time, meanwhile, Hannah Jarvis and Bernard Nightingale investigate a hermit who once lived on the grounds of Sidley Park. The characters are classified by their way of thinking and feeling to be romantic, classical, or both. The characters in the play who

He also creates obscurity of the elements through the gardens that surround Sidley Park. In doing so, furthermore, he also juxtaposes classical and romantic thought throughout the play to blur the boundaries between the two.

One way Stoppard distinguishes Classical thought in the play is through characters who advocate reason, order, and science. Lady Croom provides an exemplary demonstration of someone who represents Classicism. Lady Croom is a powerful and wise woman who portrays tyranny in the play. She is intelligent and witty yet, she is commanding and hardly allows anyone to have a voice or opinion. She dominates Sidley Park as if it is her own kingdom, and she is perceptive of all doings that occur on the estate. Lady Croom acts promptly if a character behaves in a way she does not desire. She states that “Your friend has gone before you, and I have dispatched the harlot Chater and her husband - and also my brother for bringing them here … for choosing unwisely in your acquaintance. Banishment” (Stoppard 69). Mrs. Chater and

In the first pages of the play, Thomasina expresses curiosity towards the concept of sex. In the opening line, for instance, she asks, “Septimus, what is a carnal embrace” (Stoppard 1). Although Thomasina’s character is partially classical, she demonstrates the desire for sexual knowledge through her question to Septimus, which proves she is a romantic as well. Thomasina also embraces a kiss with Septimus; Stoppard says that “Septimus, holding Thomasina, kisses her on the mouth. The waltz lesson pauses. She looks at him. He kisses her again, in earnest. She puts her arms round him” (94). Thomasina acknowledges her own emotions and engages in a romantic gesture. Near the end of the play, Thomasina realizes the importance of sexual knowledge and accommodates the concept. Bernard Nightingale is considered to be a pure romantic because he uses emotion rather than reason. Bernard hastily comes to the conclusion that Lord Byron killed Mr. Chater in a battle over love in order to receive fame and recognition. Bernard does not seem to have valid and concrete proof of his theory due to the fact that he has no academic knowledge to support his idea. Despite his failure and humiliation, Bernard does not learn his lesson. Hannah explains that she has an idea but no proof to support it, and Bernard instantly exclaims, “Publish!” (Stoppard 95-96). It is evident that