UNSTOPPERED. I stopped paying attention to Tom Stoppard’s plays in the 80s. I’d like to say it was because I hadn’t time for the introductory seminars they increasingly seemed to require, but in fact it was because I figured I’d gotten the gist of him already -- sensible, witty people vs. nihilistic wreckers who are sometimes also witty; civilization either implicitly or explicitly in the balance – and I didn’t feel the need.

I have just read Stoppard’s Arcadia, which conforms to my horrible prejudice, but which I also enjoyed immensely. The play is split between an early-19th-century and a modern setting – in the early bit, Lord Byron lurks in shadow while a young prodigy seeks to harmonize the rigors of Newtonian physics with her budding love of life; in the modern bit, scholars squabble over their predecessors’ artifacts for position, recognition, and feelings of righteousness. The seminar we missed before the curtain was about math, statistics, chaos theory, etc., but the characters catch us up as best they can.

The historical forces implicated this time are the Enlightenment and the “Romantic Sham,” as it is put by Hannah, the play’s pivotal modern figure: “…a century of intellectual rigor turned in on itself. A mind in chaos suspected of genius. In a setting of cheap thrills and false emotion… the decline from thinking to feeling, you see.”

In an ordinary stage comedy, this would be the set-up for a come-down – hot leading man melts cool heroine! -- but Stoppard’s admirable perversity has ever been to side with coolness over heat. So Hannah and her droll maybe-fiancee Valentine are shown to be on the right track, while her opposite number, Bernard, is shown to be not only an impulsive Byronic, but also a cad (Stoppard’s villains are always cads – cads, or bounders, or both) -- and objectively wrong to boot! (Again, a requirement for Stoppard villains whenever he can possibly manage it.)

So not much has changed – or had changed by the time he wrote this. (His new play, Rock and Roll, is in London now.) Except, while Stoppard was seemingly resigned to the victory of moral relativism in Jumpers, in Arcadia he is more optimistic. For an old crank, he takes surprising pleasure in technology -- it allows Valentine to develop the prodigy’s stillborn ideas on a computer. Also, it aligns with Hannah’s thoroughness in chasing down the truth, which is portrayed as an expansive, pro-human gesture – while the volcanic Bernard, despite his Romantic gush, is shown to be more or less anti-human. There you go – Stoppard the techno-triumphalist! I surprised he doesn’t have a blog,

Still, I like it. Shavian didacticism in the cause of theatricality is no vice. I was at first infuriated at all the math talk, but was won over as it developed into a poetic parallel to Hannah’s thinking. Hannah is never exactly torn (between Bernard’s rasher way of thought and life, and Valentine’s quietism, it’s clear where she’ll end up), so her conflict is never quite dramatic, but like Stoppard she is passionately interested in abstract things, and some of her heat – or slightly-less-coolness – rubs off on the viewer, or reader. It ain’t catharsis, but what is these days?

Also, Stoppard is funny, really funny, in a (to some of us) irresistibly British way. Take this 19th century exchange between Lady Croom and her landscape architect, who has devised for her estate, in the fashion of the times, a “hermitage”:

LADY CROOM: And who is to live in it?
NOAKES: Why, the hermit.
LADY CROOM: Where is he?
NOAKES: Madam?
LADY CROOM: You surely do not supply a hermitage without a hermit?
NOAKES: Indeed, Madam --
LADY CROOM: Come, come, Mr. Noakes. If I am promised a fountain I expect it to come with water. What hermits do you have?
NOAKES: I have no hermits, my lady.
LADY CROOM: Not one? I am speechless.
NOAKES: I am sure a hermit can be found. One might advertise.
LADY CROOM: Advertise?
NOAKES: In the newspapers.
LADY CROOM: But surely a hermit who takes a newspaper is not a hermit in whom one can have complete confidence.

When you write that well, I guess you can make it about anything you like, can't you?