Arcadia (play) - Knowledge

606:. This appears most clearly in the running arguments between Noakes and Lady Croom about proposed changes to the garden. Their disagreements are about changing from the tidy order of Classic style to the rugged naturalism and Gothic mystery of the Romantic. A parallel dichotomy is expressed by Septimus and Thomasina: He instructs her in the Newtonian vision of the universe, while she keeps posing questions and proposing theories that undercut it. Hannah's search for the hermit of Sidley Park also touches on this theme. "The whole Romantic sham!" she passionately exclaims to 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." 728: 3180: 740: 578:

in the party's chaos, relationships collapse, and the characters die or disperse. Yet within that chaos, order can still be found. As Valentine declares: "In an ocean of ashes, islands of order. Patterns making themselves out of nothing." Although the play's world grows increasingly chaotic – with overlapping time periods, increasingly complex ideas, and ever greater variations in social norms and assumptions – connections and order can still be discerned. The characters attempt to find and articulate the order they perceive in their world, even as it is continually overturned.

3814: 829:), 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". John Fleming, in his book 868:, Stoppard uses all these concepts to reveal that "there is an underlying order to seemingly random events." The characters discuss these topics, while their interactions reflect them. Often these discussions themselves create order and connections beneath the appearance of disunity. For example, both Thomasina's theories on heat and Valentine's search for a "signal" in the "noise" of the local grouse population refer to the physicist 2659: 853:. 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 spontaneously flows in only one direction, from hotter to colder. Since these equations, unlike 786:

Arcadia, there am I". He is right – "Oh, phooey to Death!" she exclaims. Although these brief exchanges are the only direct references in the play to its title, they presage the two main characters' fates: Thomasina's early death, and Septimus's voluntary exile from life. Stoppard originally wanted to make this connection more explicit by using

244:, which upsets Thomasina. She mourns the loss of the knowledge stored there, and Septimus responds that all that was lost will eventually turn up again. They are interrupted by Chater, who succeeds in challenging Septimus to a duel, having learned (from Lord Byron off-stage) that Septimus wrote the damning review of his work. 837:

to settle into stable, predictable behavior." But as systems respond to variations in input, they become more random or chaotic. "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

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work both backwards and forwards, things in reality – like her rice pudding – cannot be "unstirred." Heat, too, she notes, flows in only one direction (the second law of thermodynamics). This is embodied by the characters, who burn bridges in relationships, burn candles, and burn letters – and in the

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Septimus Hodge: Thomasina's tutor, and the academic colleague and friend of Lord Byron (an unseen but important character). While teaching Thomasina, he works on his own research and has affairs with the older women of the house. When Thomasina is older, he falls in love with her; after her death, he

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s themes are presented in a series of dichotomies. Most prominent is chaos versus order. The play's characters and action embody this, moving from a settled social order, in which relationships arise, toward the final scene, where the social order – and even the separation of the two eras – dissolve

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starts, and Septimus dances with Thomasina, revealing that their relationship is increasingly complicated by hints of romance. Gus (Valentine and Chloe's younger brother, who has been silent for the entire play) hands another of Thomasina's drawings to a surprised Hannah. It depicts Septimus and the

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Bernard Nightingale: A don at a modern university in Sussex, England. Bernard comes to Sidley Park hoping to work with Hannah on his theory about Lord Byron staying at the estate. Instead of seeking further evidence, he announces on TV his theory that Lord Byron killed Ezra Chater in a duel. At the

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Chloe Coverly: The 18-year-old daughter of the modern Lady Croom. While her mind is not as rigorous as Thomasina's, Chloe likes to propose wild ideas. She argues that the Newtonian universe has been destabilized by sex and the problems it causes. She tries to set up Hannah with Bernard, but ends up

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In a more obvious sense, the title also invokes the ideal of nature as an ordered paradise, while the estate's landscape steadily evolves into a more irregular form. This provides a recurring image of the different ways in which "true nature" can be understood, and a homely parallel to Thomasina's

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Consciously echoed phrases, across the time frames, help to unify the play. For example, Chloe asks Valentine if "the future is all programmed like a computer", and whether she is the first to think that theory discredited "because of sex". Thomasina has been there before: "If you could stop every

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in the surrounding grounds, using the house's "game books". When Chloe accidentally reveals Bernard's identity, Hannah reacts angrily; but she agrees to share her research material. This enables him to propose the theory that one of the 1809 inhabitants, Ezra Chater, was killed by Lord Byron in a

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to make plain the relationships between the characters. For example, Septimus, after failing to deflect a question from Thomasina with a joke, bluntly explains to his pupil the nature of "carnal embrace" – but this bluntness is far removed from that with which he dismisses Chater's self-deceiving

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as winding down. In the present, Bernard arrives and is met by Hannah, who has found a letter detailing the facts of Chater's death – this discovery totally discredits Bernard's theory and vindicates Lord Byron's reputation. While Septimus awaits appropriate music for Thomasina's dance lesson, he

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Charity Chater: Ezra Chater's wife. Though she, like Byron, never appears onstage, she plays a vital role. She sleeps with Septimus, and her repeatedly cuckolded husband challenges him to a duel. She sleeps with Lord Byron and gets him, Captain Brice, her husband and herself expelled from Sidley

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Bernard gives Hannah, Valentine, and Chloe a preview of his lecture theorising that Lord Byron shot and killed Chater in a duel. When Hannah and Valentine challenge his logic, Bernard launches into a diatribe about the irrelevance of science, then departs for his lecture (and a promotional media

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for a party, so that both casts appear similarly attired. After reading a newspaper report on the Byron murder theory, Chloe talks about determinism with Valentine, echoing the discussion between Septimus and Thomasina. Chloe, however, believes that sex is the force that disrupts the universe's

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as a metaphor for ineluctable, inevitable "human chemistry" in the same way as Stoppard makes use of the force of determinism acting on his characters. A feature of both works is the preoccupation with remodelling country house landscapes; Goethe's young character "Ottilie" (the counterpart to

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Lady Croom, enthusing about paintings of pretty landscapes, translates the phrase as "Here I am in Arcadia!" Thomasina drily comments, "Yes Mama, if you would have it so". Septimus notices; later, suspecting his pupil will appreciate the motto's true meaning, he offers the translation "Even in

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In the modern sequences, the dialogue is more realistic. But Bernard consciously assumes some stylisation of language: He rehearses his public lecture in heightened, flamboyant rhetoric; and he unleashes a polemic against Valentine's scientific thought (describing the concept as no more than

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defence of his wife's reputation (which, Septimus says, "could not be adequately defended with a platoon of musketry"). With Lady Croom, in responding to his employer's description of Mrs. Chater as a "harlot", Septimus delicately admits that "her passion is not as fixed" as one might wish.

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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

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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". But other New York reviews were mixed or unfavourable, complaining of the anachronisms and lack of realism. The production left

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The play's end brings all these dichotomous themes together, showing that while 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.

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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.

136:, which explores the relationship between past and present, order and disorder, certainty and uncertainty. It has been praised by many critics as the finest play from "one of the most significant contemporary playwrights" in the English language. In 2006, the 409:

Lady Croom: Thomasina's mother. She rules the Coverly estate with an iron fist, but flirts with Septimus and other gentlemen throughout the play. A second Lady Croom, the mother of Valentine, Chloe, and Gus in the modern half of the play, never appears on

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Richard Noakes: Lady Croom's gardener. Throughout the play, he is working to transform Sidley Park's classical, Arcadia-like landscape into the popular Gothic style – which Lady Croom begrudgingly accepts. He is key in exposing Septimus's and Mrs. Chater's

301:; he returns to find Lady Croom searching for him. She has found two letters, a love letter addressed to her, and another to Thomasina about rice pudding, both written by Septimus in case he died in a duel. She invites Septimus to an amorous rendezvous. 715:

atom in its position and direction ... you could write the formula for all the future," she tells Septimus, then adds, "Am I the first person to have thought of this?" The difference is significant: Chloe's intuitive version allows for the effects of

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Captain Brice: The brother of Lady Croom (of 1809). He 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 the widowed Charity

889:: Stoppard's characters "Thomasina" and "Septimus" have parallels in Goethe's "Ottilie" and "Eduard", and the historical section of Stoppard's play is set in 1809, the year of Goethe's novella. Among other parallels, the older work takes the 449:

Gus Coverly: 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. (Gus and Augustus are played by the same

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Richard Noakes enters, shortly accompanied by Captain Brice and Lady Croom; the three discuss proposed modifications to the Arcadian style gardens, while Thomasina sketches an imaginary hermit on Noakes's technical drawing of the garden.

833:, makes a similar observation. "Deterministic chaos", he writes, "deals with systems of unpredictable determinism. ... he uncertainty does not result in pure randomness, but rather in complex patterns. Traditionally, scientists expected 346:

tortoise, confirming her suspicion that the hermit, who had a tortoise called Plautus, was Septimus. After Thomasina's tragic death, he apparently became a hermit. Accepting her challenge to the laws of the universe as propounded by

810:, Stoppard presents his audience with several highly complex but fundamental mathematical and scientific concepts. He also uses these theories and ideas to illuminate relationships among his characters, adding to their poignancy. 662:

s major deviation from realism, of course, is in having two plotlines that are linear and parallel. Thus we see Thomasina deriving her mathematical equations to describe the forms of nature; we later see Val, with his computer,

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imagination. Bernard Nightingale enters with Chloe Coverly; she conceals the professor's identity from Hannah, as Nightingale had given Hannah's last book a poor review. Chloe's brother, Valentine, is gathering data on the

499:, "which is about this new kind of mathematics. That sounds fairly daunting if one's talking about a play. I thought, here is a marvellous metaphor." Besides chaos, the play attends to a wide array of subjects, including 197:. Septimus tries to defuse the situation by heaping praise on Chater's "The Couch of Eros". The tactic works, because Chater does not know it was Septimus who had savaged an earlier work of his, "The Maid of Turkey". 710:

in improvised, colloquial terms. In the modern era, Valentine explains the significance of Thomasina's rediscovered notebook with careful detail, reflecting Stoppard's research into his play's scientific materials.

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and to a beginning theory about chaotic shapes in nature. This is interrupted by Chater himself, who is angry that his wife was caught in the aforementioned "carnal embrace" with Septimus; he has come to demand a

1232:", noting that "several central roles are slightly miscast", and "some of the performances from the Anglo-American cast are pitched to the point of incoherence." Similar concerns were raised by critics from the 1147:, reviewing the first production in 1993, praised it as a "perfect marriage of ideas and high comedy". But for some, the ideas overwhelmed the comedy: "oo clever by about two-and-three-quarters," noted critic 653:

play, compared to Stoppard's other works, though the realism is "much enhanced and teased about by the alternation of two eras". The setting and characters are true-to-life, without being archetypal. It is

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of early 19th-century England and those of modern England. Stoppard's language reflects his periods, historical and modern, and he uses speech patterns and lexicons in keeping with his characters.

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The center-stage table that collects props from both time periods throughout the play is a vivid metaphor of the chaos/order dichotomy. As Paul Edwards, professor of English and History of Art at

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staying at Sidley Park. His wife's romantic affairs lead him to challenge Septimus to a duel. Later, it is revealed that he is the amateur botanist "Mr. Chater," who dies of a monkey bite in

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of Sidley Park, said to have lived there in the early 19th century. Hannah collaborates (warily) with Bernard and also with Valentine, though she rejects the romantic advances of both.

2018: 825:", notes that "chaos mathematics is about the recovery of information from apparently chaotic and random systems where entropy is high. It is 'asymmetric' (unlike the equations of 31: 318:. He wonders whether Thomasina or Septimus was the genius behind the theories. Hannah and Valentine mention that Thomasina died in a fire on the eve of her seventeenth birthday. 264:; this recalls Septimus' assertion that what was lost is eventually rediscovered. Valentine reacts with interest to the notes, as his own research centres on similar concepts. 2293: 152:

In 1809, Thomasina Coverly, the daughter of the house, is a precocious teenager with ideas about mathematics, nature, and physics well ahead of her time. She studies with her

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Meanwhile, Thomasina asks Septimus to teach her to dance, to prepare for her forthcoming 17th birthday party. Lady Croom enters, complaining to Noakes about the noise of his

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Thomasina Coverly: The 13-year-old (later 16-year-old) daughter of Lord and Lady Croom, Thomasina is a precocious genius. She comes to understand chaos theory and the

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combines an astonishing range of disparate elements — romance, humor, tragedy, sorrow, scientific history, and even gardening — into an entirely unique work of art."

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refers to the pastoral ideal; the phrase literally translates, "and in Arcadia I am". The tradition of placing a tomb in a pastoral idyll can be traced to Virgil's

184:; he also wants to focus on reading the poem "The Couch of Eros" by Ezra Chater, who with his wife is a guest at the house. Thomasina starts asking why jam mixed in 2372: 4306: 338:; his action mirrors that of Hannah and Valentine, who pondered the same diagram. Bernard is caught in a compromising position with Chloe, and is asked to depart. 2746: 160:(an unseen guest in the house). In the present, writer Hannah Jarvis and literature professor Bernard Nightingale converge on the house: she is investigating a 698:

The play's scientific concepts are set forth primarily in the historical scenes, where Thomasina delivers her precocious (or even anachronistic) references to

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Valentine Coverly: Chloe's older brother. A graduate student of mathematics, he pores over several old documents and comes to acknowledge Thomasina's genius.

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The play opens on 10 April 1809, in a garden-front room of the house. Septimus Hodge is trying to distract 13-year-old Thomasina from her curiosity about "

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Augustus Coverly: Thomasina's trouble-making younger brother. He appears in only a few brief scenes. (Gus and Augustus are played by the same actor.)

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But his is a stylised dialogue, conveying the "look and feel" of the past as perceived by the modern audience. Still, it has sufficient latitude in

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appearance) in London. Hannah begins to suspect that the hermit of Sidley Park – who was reportedly obsessed with algebraic computations about the

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Standing above them all, making the case for the entire genre , is perhaps the greatest play of its time: Arcadia by Tom Stoppard.

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The present day. Hannah Jarvis is researching the house, the garden, and specifically the hermit, for a study of hermits and the

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Another major theme is entropy and the irreversibility of time. Thomasina examines this scientifically, remarking that while

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ordered plan. Valentine, using his computer to extrapolate Thomasina's ideas, relates them to the later developed concept of

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that the play "gets richer with each viewing. ... here is poetry and passion behind the mathematics and metaphysics."

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Thomasina's insights into thermodynamics and heat transfer, and the idea that the universe is cooling, echo the poem "

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duel. Bernard notes that records of Chater the poet disappeared after 1809, and the only other Chater of record is a

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makes better reading than seeing". The book review website The Pequod rated the play a 10.0 (out of 10.0), saying "

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with Captain Brice. Chater served as the expedition's botanist and his wife Charity was the captain's secret

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explores the nature of evidence and truth in the context of modern ideas about history, mathematics, and

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critic commented: "I have never left a play more convinced that I had just witnessed a masterpiece".

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Returning to 1809, we learn that the duel never occurred. Instead, the Chater couple left for the

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Both 1812 and the present, the actions running concurrently. Some present-day characters are in

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award for "the best science book ever written". The winner, announced on 19 October 2006, was

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

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The 2009 London revival prompted more critics to laud the play as "Stoppard's finest work".

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Edwards, Paul (2001). "Science in Hapgood and Arcadia". In Kelly, Katherine E. (ed.).

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as Lady Croom, Graham Sinclair as Captain Brice, Harriet Harrison as Chloe Coverly,

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called the production "a half-terrific revival of Mr. Stoppard's entirely terrific

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as Thomasina Coverly, Allan Mitchell as Jellaby, Derek Hutchinson as Ezra Chater,

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becomes the "hermit of Sidley Park", working on her theories until his own death.

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Wilson, Raymond J. III (2003). "Gardens in Stoppard, Austen and Goethe". In

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In December 1996, the first major US regional production was mounted at the

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The 19th century. Septimus is tutoring Thomasina, this time in translating

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dated in 1618-1622. Both the image and the motto are commonly considered a

716: 556: 490: 369: 322: 261: 185: 168:– the truth about what happened in Thomasina's time is gradually revealed. 133: 100: 44: 2672: 277:, the theory suggested in Thomasina's diagram – could have been Septimus. 4210: 3528: 3358: 3149: 3092: 2611: 2583: 2560:. Vol. 78. Dordrecht, Netherlands: Kluwer Academic. pp. 59–66. 2192: 1743: 1202: 1148: 1085: 1057: 1049: 1034: 985: 977: 958: 926: 603: 528: 516: 310: 286: 211: 189: 1390:

Gale Edwards, 1994, Director of "Arcadia" for the Sydney Theatre Company

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end, Thomasina herself (like a short-lived candle) burns to death.

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and a comedy. It involves some elements of classical tragedy – "

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Hannah Jarvis: The author of a best-seller on Byron's mistress

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end of the play, Hannah proves him wrong, much to his chagrin.

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theoretical description of the natural world's structure and

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confirms the status of the play as Stoppard's "finest work".

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The first New York production opened in March 1995, at the

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The play's title is abbreviated from its initial version:

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would be recognised "as the greatest play of its time".

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as Thomasina. This production was the Broadway debut of

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in London on 13 April 1993, in a production directed by

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Closely related scientific and mathematical concepts in

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can never be unstirred, which leads her to the topic of

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The 2011 Broadway staging met with a mixed reception.

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History, science, philosophy, mathematics, love, death

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Tom Stoppard's "Arcadia," at Twenty – The New Yorker

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Levi's memoir beats Darwin to win science book title

2518:. Carbondale: Southern Illinois University Press. 1402: 4307:The Curious Incident of the Dog in the Night-Time 3784:"The Haunting of Villa Diodati" (2020 TV episode) 2177:(14 April 1993). "Ideas meet their comic match". 1040:On 27 May 2009, a London production, directed by 790:for the title, but "box office sense prevailed". 4404: 1742: 1506:Edwards, Paul (2001). Kelly, Katherine E (ed.). 1004:, who played Ezra Chater. The other actors were 3441:(1819–1824; incomplete upon Byron's 1824 death) 2213:(26 May 1994). "Stoppard's thrilling workout". 1372: 1076:(Chloë Coverly), Tom Hodgkins (Captain Brice), 894:Thomasina) dies as an indirect result of this. 857:, do not go backward and forward, there is an ' 748:is most known as the title of this painting by 519:(especially in the context of love and death), 334:examines the sketch she made to illustrate the 117:in both the past (1809, 1812) and "the present" 2105:Recoups Production Costs, Finishes Run Sept 12 625:", caused by atmospheric ash from the volcano 380:could be used, foreseeing the binary computer. 3977: 3844: 3120: 2722: 1926: 252:The present. Hannah rediscovers Thomasina's 4040:The Life and Adventures of Nicholas Nickleby 2499:. Modern Theatre Guides. London: Continuum. 2478:Stoppard's Theatre: Finding Order amid Chaos 1453:. University of Michigan Press. p. 224. 980:, but with an entirely new cast. It starred 891:theory of affinity between chemical elements 831:Stoppard's Theatre: Finding Order amid Chaos 813:One of the play's main thematic concepts is 421: 2173: 2032: 2030: 1929:Theatre and Evolution from Ibsen to Beckett 1795:. Cambridge University Press. p. 181. 1766:The Oxford Dictionary of Quotations:Arcadia 3984: 3970: 3851: 3837: 3127: 3113: 2729: 2715: 2317: 2240:Simon, John (10 April 1995). "Wits' End". 1931:. Columbia University Press. p. 135. 1927:Shepherd-Barr, Kirsten E. (3 March 2015). 1904:The Cambridge introduction to Tom Stoppard 1369:, 20 October 2006, accessed 30 March 2012. 242:the destruction of the Alexandrian Library 240:. Again their focus diverts, this time to 29: 2586:(2009). Full-cast performance featuring: 2422: 1839: 1501: 1499: 1497: 1269: 1180:with the view that "Stoppard overdoes it… 817:. Paul Edwards, in his essay "Science in 801: 4483:Plays set in mansions and country houses 3993:Laurence Olivier Award for Best New Play 2532: 2370: 2027: 1901: 1778: 1760: 1750:. Harmondsworth, England: Penguin Books. 1699: 1687: 1663: 1639: 1627: 1615: 1603: 1591: 1567: 1555: 1282:Laurence Olivier Award for Best New Play 901: 738: 726: 462:is, on the surface, somewhere between a 3036:Rosencrantz & Guildenstern Are Dead 2494: 2475: 2459:The Cambridge Companion to Tom Stoppard 2227: 2209: 1827: 1815: 1793:The Cambridge Companion to Tom Stoppard 1790: 1730: 1711: 1675: 1651: 1579: 1508:The Cambridge Companion to Tom Stoppard 1505: 1448: 1436: 1345: 4405: 2551: 2191: 1889: 1530: 1494: 1016:Award, and was nominated for the 1995 961:as Valentine Coverly. It won the 1993 3965: 3832: 3108: 2762:Rosencrantz and Guildenstern Are Dead 2710: 2480:. Austin: University of Texas Press. 2456: 2279: 2239: 2036: 1463: 1400: 1328:Tony Award for Best Revival of a Play 1309:was voted onto the shortlist for the 1295:Drama Desk Award for Outstanding Play 1132:Tony Award for Best Revival of a Play 667:them to produce the image of a leaf. 358: 4433:Laurence Olivier Award-winning plays 2513: 2435:from the original on 8 February 2007 2423:Randerson, James (21 October 2006). 2338: 2071:"Stoppard's Coolly Clever 'Arcadia'" 2065: 1748:The Penguin Dictionary of Quotations 772:, while the phrase first appears in 431:. Hannah is researching the elusive 162:hermit who once lived on the grounds 2318:Billington, Michael (5 June 2009). 13: 3327:English Bards and Scotch Reviewers 2398:"Broadway Review Roundup: ARCADIA" 2292:. Whatsonstage.com. Archived from 267: 171: 138:Royal Institution of Great Britain 14: 4494: 4478:Cultural depictions of Lord Byron 4339:Harry Potter and the Cursed Child 2688:-related articles and other links 2650: 2457:Kelly, Katherine E., ed. (2001). 1840:Colangelo, Jeremy (4 June 2019). 1012:(Chloe). This production won the 3813: 3812: 3178: 2736: 2657: 2516:A Student Guide to Play Analysis 957:as Augustus and Gus Coverly and 2836:Dogg's Hamlet, Cahoot's Macbeth 2416: 2390: 2371:Brantley, Ben (18 March 2011). 2364: 2332: 2311: 2273: 2248: 2233: 2203: 2185: 2167: 2135: 2109: 2090: 2059: 2008: 1987: 1966: 1945: 1920: 1895: 1833: 1784: 1754: 1736: 1531:Hunter, Jim (2000). "Arcadia". 1524: 4251:On the Shore of the Wide World 3610:The Destruction of Sennacherib 3134: 2822:Every Good Boy Deserves Favour 2747:List of awards and nominations 2461:. Cambridge University Press. 1457: 1442: 1394: 1383: 1355: 1014:New York Drama Critics' Circle 897: 879:Some ideas in the play recall 180:" by challenging her to prove 132:written by English playwright 1: 4463:Disney Theatrical Productions 4458:Plays set in the 19th century 4192:Goodnight Children Everywhere 3634:So, we'll go no more a roving 2952:Artist Descending a Staircase 2450: 2017:Retrieved on 8 October 2009 1473:American Conservatory Theater 1094:returned to Broadway, at the 390:Ezra Chater: An unsuccessful 353: 2693:Chaos, Fractals, and Arcadia 2339:Hari, Johann (22 May 2009). 2151:. 3 May 2011. Archived from 1902:Demastes, William W (2012). 1451:Tom Stoppard in Conversation 1401:Emmer, Michele, ed. (2005). 1137: 847:second law of thermodynamics 735:alludes to a pastoral ideal. 366:second law of thermodynamics 156:Septimus Hodge, a friend of 7: 3588:Maid of Athens, ere we part 2582:Audio Theatre Collections, 2535:Arcadia: A Play in Two Acts 976:. It was again directed by 872:and his development of the 670: 594:A closely related theme in 496:Chaos: Making a New Science 297:for Thomasina, who favours 147: 10: 4499: 3866:Johann Wolfgang von Goethe 3335:Childe Harold's Pilgrimage 2679:Internet Broadway Database 1995:"National Theatre Archive" 1974:"National Theatre Archive" 1953:"National Theatre Archive" 756:("The Arcadian Shepherds") 439:sleeping with him herself. 304: 280: 275:heat death of the universe 247: 231: 205: 142:best science-related works 4202: 4136:Six Degrees of Separation 3999: 3934: 3915: 3872: 3808: 3792: 3689:The Bride of Frankenstein 3672: 3643: 3563: 3488: 3308: 3195:Anne Isabella, Lady Byron 3187: 3176: 3142: 2991:The Romantic Englishwoman 2982: 2943: 2753: 2744: 2282:"Critics Hail Stoppard's 1361:Randerson, James (2006) " 1027:Love! Valour! Compassion! 1020:for Best Play, losing to 551:, and even South Pacific 477: 422:Characters of the present 106: 96: 88: 80: 58: 50: 40: 28: 23: 16:1993 play by Tom Stoppard 4088:Les Liaisons Dangereuses 4048:Children of a Lesser God 4024:Whose Life Is It Anyway? 3553:The Deformed Transformed 2959:The Dog It Was That Died 2776:The Real Inspector Hound 2554:Tymieniecka, Anna-Teresa 2497:Tom Stoppard's "Arcadia" 1333: 1301:Tony Award for Best Play 1080:(Augustus/Gus Coverly), 941:as Bernard Nightingale, 722: 640: 454: 256:containing her ideas on 4428:Mathematics and culture 3897:The Elective Affinities 3391:The Prisoner of Chillon 1247:The Wall Street Journal 1096:Ethel Barrymore Theatre 974:Vivian Beaumont Theater 967:Evening Standard Awards 855:Newton's laws of motion 645:Jim Hunter writes that 539:(particularly poetry), 336:irreversibility of heat 4016:The Fire that Consumes 3462:The Vision of Judgment 3256:(maternal half-sister) 3170:Timeline of Lord Byron 2533:Stoppard, Tom (1993). 2495:Fleming, John (2008). 2476:Fleming, John (2001). 2256:"Arcadia | The Pequod" 2015:Evening Standard Award 1746:; Cohen, M.J. (1960). 1464:Broderson, Elizabeth. 1449:Delaney, Paul (1994). 1409:. MIT Press. pp. 1270:Awards and nominations 1241:The Hollywood Reporter 1046:Duke of York's Theatre 923:Royal National Theatre 915: 802:Contextual information 757: 736: 704:deterministic universe 592: 329:), which describe the 69:Royal National Theatre 35:Cover of first edition 4438:Plays by Tom Stoppard 4267:A Disappearing Number 3454:The Prophecy of Dante 3280:John William Polidori 3213:John "Mad Jack" Byron 2906:The Invention of Love 2674:Arcadia 2175:Nightingale, Benedict 1118:(Thomasina Coverly), 1060:(Thomasina Coverly), 905: 754:Les bergers d'Arcadie 742: 730: 679:switches between the 623:Year Without a Summer 598:is the opposition of 587: 563:, and the origins of 182:Fermat's Last Theorem 4453:Plays set in England 4423:Existentialist plays 4128:Death and the Maiden 3950:The Nemesis of Faith 3753:Rowing with the Wind 3375:The Siege of Corinth 3295:Edward John Trelawny 3285:Percy Bysshe Shelley 2850:Undiscovered Country 2558:Analecta Husserliana 2514:Rush, David (2005). 2155:on 14 September 2011 2069:(20 December 1996). 1037:in Washington, D.C. 921:first opened at the 493:'s 1987 bestseller, 166:mathematical biology 140:named it one of the 4473:Fiction set in 1812 4468:Fiction set in 1809 4448:Plays about science 4120:Dancing at Lughnasa 4064:Glengarry Glen Ross 3924:Elective Affinities 3881:Elective Affinities 3861:Elective Affinities 3652:Fragment of a Novel 3603:She Walks in Beauty 3422:The Lament of Tasso 3351:The Bride of Abydos 3065:Shakespeare in Love 3016:Squaring the Circle 2998:Three Men in a Boat 2966:In the Native State 2913:The Coast of Utopia 2624:Serena Scott Thomas 2215:The Daily Telegraph 2096:It was produced by 2076:The Washington Post 1818:, pp. 193–194. 1253:New York Daily News 1154:The Daily Telegraph 994:Robert Sean Leonard 949:as Richard Noakes, 933:as Septimus Hodge, 886:Elective Affinities 798:using mathematics. 774:Guercino's painting 611:Newtonian equations 583:Bath Spa University 513:population dynamics 199:Landscape architect 4369:No Ceremony (2021) 4227:Vincent in Brixton 4104:Our Country's Good 3905:Sometime in August 3721:Lady Caroline Lamb 3697:The Bad Lord Byron 3300:Michael C. Burgess 3249:Lady Caroline Lamb 3229:Contessa Guiccioli 2638:. (Available as e- 2580:L.A. Theatre Works 2377:The New York Times 2123:. 29 December 2010 2046:The New York Times 2021:4 May 2012 at the 1466:"Chaos in Arcadia" 1405:The Visual Mind II 1316:The Periodic Table 1225:The New York Times 1193:Michael Billington 1166:The New York Times 1122:(Septimus Hodge), 1068:(Richard Noakes), 1052:(Septimus Hodge), 947:Sidney Livingstone 937:as Hannah Jarvis, 916: 838:random behavior." 758: 737: 708:iterated equations 537:English literature 429:Lady Caroline Lamb 359:Characters of 1809 217:population biology 4400: 4399: 3959: 3958: 3826: 3825: 3470:The Age of Bronze 3319:Hours of Idleness 3239:John Cam Hobhouse 3102: 3101: 3029:Empire of the Sun 2815:Professional Foul 2701:Boston University 2697:Robert L. Devaney 2636:978-1-5808-1596-3 2616:Darren Richardson 2608:Christopher Neame 2567:978-1-4020-0858-0 2544:978-0-573-69566-7 2537:. Samuel French. 2525:978-0-8093-2609-9 2506:978-0-8264-9621-8 2487:978-0-292-72533-1 2468:978-0-521-64592-8 2402:BroadwayWorld.com 2320:"Review: Arcadia" 2296:on 10 August 2011 2280:Bosanquet, Theo. 2242:New York Magazine 2121:Broadwayworld.com 2040:(31 March 1995). 1938:978-0-231-16470-2 1913:978-1-107-02195-2 1892:, pp. 59–66. 1802:978-0-521-64178-4 1733:, pp. 57–58. 1714:, pp. 65–66. 1678:, pp. 48–51. 1666:, pp. 56–63. 1642:, pp. 80–82. 1352:as finest play." 1311:Royal Institution 1259:Time Out New York 1177:New York Magazine 1056:(Hannah Jarvis), 996:as Valentine and 874:Fourier transform 827:classical physics 788:Et in Arcadia Ego 762:Et in Arcadia ego 745:Et in Arcadia ego 631:Dutch East Indies 378:Analytical engine 121: 120: 81:Original language 65:Lyttelton Theatre 4490: 4323:King Charles III 4243:The History Boys 3986: 3979: 3972: 3963: 3962: 3853: 3846: 3839: 3830: 3829: 3816: 3815: 3581:Epitaph to a Dog 3537:Heaven and Earth 3244:Douglas Kinnaird 3219:Claire Clairmont 3182: 3129: 3122: 3115: 3106: 3105: 3044:The Russia House 2927:The Hard Problem 2843:15-Minute Hamlet 2769:Enter a Free Man 2731: 2724: 2717: 2708: 2707: 2667: 2662: 2661: 2571: 2548: 2529: 2510: 2491: 2472: 2445: 2444: 2442: 2440: 2420: 2414: 2413: 2411: 2409: 2394: 2388: 2387: 2385: 2383: 2368: 2362: 2361: 2356: 2354: 2336: 2330: 2329: 2315: 2309: 2308: 2303: 2301: 2277: 2271: 2270: 2268: 2266: 2252: 2246: 2245: 2237: 2231: 2225: 2219: 2218: 2211:Spencer, Charles 2207: 2201: 2200: 2189: 2183: 2182: 2171: 2165: 2164: 2162: 2160: 2139: 2133: 2132: 2130: 2128: 2113: 2107: 2094: 2088: 2087: 2085: 2083: 2063: 2057: 2056: 2054: 2052: 2034: 2025: 2012: 2006: 2005: 2003: 2001: 1991: 1985: 1984: 1982: 1980: 1970: 1964: 1963: 1961: 1959: 1949: 1943: 1942: 1924: 1918: 1917: 1899: 1893: 1887: 1878: 1877: 1858:10.3138/md.0936r 1837: 1831: 1825: 1819: 1813: 1807: 1806: 1788: 1782: 1776: 1770: 1769: 1758: 1752: 1751: 1740: 1734: 1728: 1715: 1709: 1703: 1697: 1691: 1685: 1679: 1673: 1667: 1661: 1655: 1649: 1643: 1637: 1631: 1625: 1619: 1613: 1607: 1601: 1595: 1589: 1583: 1577: 1571: 1565: 1559: 1553: 1547: 1546: 1528: 1522: 1521: 1503: 1492: 1491: 1489: 1487: 1482:on 27 April 2015 1481: 1475:. 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Gair 3571: 3570: 3568: 3562: 3555: 3554: 3550: 3547: 3546: 3542: 3539: 3538: 3534: 3531: 3530: 3526: 3523: 3522: 3518: 3515: 3514: 3510: 3507: 3506: 3502: 3499: 3498: 3494: 3493: 3491: 3487: 3480: 3479: 3475: 3472: 3471: 3467: 3464: 3463: 3459: 3456: 3455: 3451: 3448: 3447: 3443: 3440: 3439: 3435: 3432: 3431: 3427: 3424: 3423: 3419: 3416: 3412: 3409: 3408: 3404: 3401: 3400: 3396: 3393: 3392: 3388: 3385: 3384: 3380: 3377: 3376: 3372: 3369: 3368: 3364: 3361: 3360: 3356: 3353: 3352: 3348: 3345: 3344: 3340: 3337: 3336: 3332: 3329: 3328: 3324: 3321: 3320: 3316: 3315: 3313: 3307: 3301: 3298: 3296: 3293: 3291: 3288: 3286: 3283: 3281: 3278: 3276: 3273: 3271: 3268: 3266: 3263: 3261: 3258: 3255: 3254:Augusta Leigh 3252: 3250: 3247: 3245: 3242: 3240: 3237: 3235: 3232: 3230: 3227: 3225: 3224:Nicolo Giraud 3222: 3220: 3217: 3214: 3211: 3208: 3207:Allegra Byron 3205: 3202: 3199: 3196: 3193: 3192: 3190: 3186: 3181: 3171: 3168: 3166: 3163: 3161: 3158: 3156: 3153: 3151: 3148: 3147: 3145: 3141: 3137: 3130: 3125: 3123: 3118: 3116: 3111: 3110: 3107: 3095: 3094: 3090: 3088: 3087: 3083: 3081: 3080: 3079:Anna Karenina 3076: 3074: 3073: 3069: 3067: 3066: 3062: 3060: 3059: 3055: 3053: 3052: 3048: 3046: 3045: 3041: 3038: 3037: 3033: 3031: 3030: 3026: 3024: 3023: 3019: 3017: 3014: 3012: 3011: 3007: 3005: 3002: 3000: 2999: 2995: 2993: 2992: 2988: 2987: 2985: 2981: 2975: 2974: 2970: 2968: 2967: 2963: 2961: 2960: 2956: 2954: 2953: 2949: 2948: 2946: 2942: 2936: 2935: 2931: 2929: 2928: 2924: 2922: 2921: 2920:Rock 'n' Roll 2917: 2915: 2914: 2910: 2908: 2907: 2903: 2901: 2900: 2896: 2894: 2893: 2889: 2887: 2886: 2882: 2880: 2879: 2875: 2873: 2872: 2868: 2866: 2865: 2861: 2859: 2858: 2857:On the Razzle 2854: 2852: 2851: 2847: 2845: 2844: 2840: 2838: 2837: 2833: 2831: 2830: 2829:Night and Day 2826: 2824: 2823: 2819: 2817: 2816: 2812: 2810: 2809: 2805: 2801: 2799: 2798: 2794: 2792: 2791: 2787: 2785: 2784: 2780: 2778: 2777: 2773: 2771: 2770: 2766: 2764: 2763: 2759: 2758: 2756: 2752: 2748: 2743: 2739: 2732: 2727: 2725: 2720: 2718: 2713: 2712: 2709: 2702: 2698: 2695:, written by 2694: 2691: 2689: 2687: 2682: 2680: 2676: 2675: 2671: 2670: 2666: 2660: 2655: 2645: 2641: 2637: 2633: 2629: 2625: 2621: 2617: 2613: 2609: 2605: 2601: 2600:Gregory Itzin 2597: 2593: 2589: 2585: 2581: 2577: 2573: 2569: 2563: 2559: 2555: 2550: 2546: 2540: 2536: 2531: 2527: 2521: 2517: 2512: 2508: 2502: 2498: 2493: 2489: 2483: 2479: 2474: 2470: 2464: 2460: 2455: 2454: 2434: 2430: 2426: 2419: 2403: 2399: 2393: 2378: 2374: 2367: 2360: 2348: 2347: 2342: 2335: 2327: 2326: 2321: 2314: 2307: 2295: 2291: 2287: 2285: 2276: 2261: 2257: 2251: 2243: 2236: 2230:, p. 82. 2229: 2224: 2216: 2212: 2206: 2198: 2194: 2188: 2180: 2176: 2170: 2154: 2150: 2149: 2144: 2138: 2122: 2118: 2112: 2106: 2104: 2099: 2093: 2078: 2077: 2072: 2068: 2062: 2047: 2043: 2039: 2033: 2031: 2024: 2020: 2016: 2011: 1996: 1990: 1975: 1969: 1954: 1948: 1940: 1934: 1930: 1923: 1915: 1909: 1905: 1898: 1891: 1886: 1884: 1875: 1871: 1867: 1863: 1859: 1855: 1851: 1847: 1843: 1836: 1829: 1824: 1817: 1812: 1804: 1798: 1794: 1787: 1781:, p. 13. 1780: 1779:Stoppard 1993 1775: 1767: 1763: 1757: 1749: 1745: 1739: 1732: 1727: 1725: 1723: 1721: 1713: 1708: 1702:, p. 66. 1701: 1700:Stoppard 1993 1696: 1690:, p. 97. 1689: 1688:Stoppard 1993 1684: 1677: 1672: 1665: 1664:Stoppard 1993 1660: 1654:, p. 64. 1653: 1648: 1641: 1640:Stoppard 1993 1636: 1630:, p. 70. 1629: 1628:Stoppard 1993 1624: 1618:, p. 95. 1617: 1616:Stoppard 1993 1612: 1605: 1604:Stoppard 1993 1600: 1593: 1592:Stoppard 1993 1588: 1582:, p. 95. 1581: 1576: 1570:, p. 62. 1569: 1568:Stoppard 1993 1564: 1558:, p. 49. 1557: 1556:Stoppard 1993 1552: 1544: 1542:0-571-19782-5 1538: 1534: 1527: 1519: 1517:0-521-64592-1 1513: 1509: 1502: 1500: 1498: 1478: 1474: 1467: 1460: 1452: 1445: 1439:, p. 45. 1438: 1433: 1431: 1422: 1420:0-262-05076-5 1416: 1412: 1407: 1406: 1397: 1391: 1386: 1380: 1375: 1368: 1364: 1358: 1351: 1347: 1342: 1338: 1329: 1325: 1322: 1318: 1317: 1312: 1308: 1304: 1302: 1298: 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London. 2217:. London. 2199:. London. 2181:. London. 2179:The Times 1874:192613488 1866:1712-5286 1195:wrote in 1144:The Times 1138:Reception 1120:Tom Riley 1048:starring 651:realistic 547:, modern 392:poetaster 258:iteration 4184:The Weir 4160:Skylight 4032:Betrayal 3818:Category 3636:" (1830) 3621:" (1816) 3590:" (1810) 3583:" (1808) 3576:" (1807) 3438:Don Juan 3417:" (1816) 3415:Darkness 3383:Parisina 3215:(father) 2973:Darkside 2642:through 2433:Archived 2408:19 March 2382:19 March 2349:. London 2148:Playbill 2127:13 March 2019:Archived 2000:3 August 1979:3 August 1958:3 August 1764:(2004). 1486:20 April 1235:New York 845:are the 770:Eclogues 688:register 671:Language 665:plotting 660:Arcadia' 619:Darkness 575:Arcadia' 561:nihilism 549:academia 521:classics 509:fractals 331:universe 291:paramour 226:botanist 212:Romantic 148:Synopsis 4331:Hangmen 4168:Stanley 4144:Arcadia 3943:Arcadia 3935:Related 3793:Related 3769:Arcadia 3664:Memoirs 3659:Letters 3598:(1815) 3564:Shorter 3497:Manfred 3446:Mazeppa 3010:Despair 2892:Arcadia 2885:Hapgood 2790:Jumpers 2686:Arcadia 2677:at the 2576:Arcadia 2556:(ed.). 2284:Arcadia 2103:Arcadia 2082:23 June 2051:3 April 1350:Arcadia 1307:Arcadia 1230:Arcadia 1213:Arcadia 1186:Arcadia 1182:Arcadia 1092:Arcadia 1070:Sam Cox 963:Olivier 919:Arcadia 866:Arcadia 851:entropy 843:Arcadia 823:Arcadia 819:Hapgood 808:Arcadia 766:Arcadia 733:Arcadia 700:entropy 677:Arcadia 647:Arcadia 596:Arcadia 569:madness 487:physics 483:Arcadia 464:tragedy 460:Arcadia 450:actor.) 414:Chater. 406:affair. 316:entropy 305:Scene 7 281:Scene 6 248:Scene 4 232:Scene 3 219:of the 206:Scene 2 125:Arcadia 107:Setting 89:Subject 84:English 24:Arcadia 4393:(2024) 4385:(2023) 4377:(2022) 4366:(2020) 4358:(2019) 4350:(2018) 4342:(2017) 4334:(2016) 4326:(2015) 4318:(2014) 4310:(2013) 4302:(2012) 4294:(2011) 4286:(2010) 4278:(2009) 4270:(2008) 4262:(2007) 4254:(2006) 4246:(2005) 4238:(2004) 4230:(2003) 4222:(2002) 4219:Jitney 4214:(2001) 4195:(2000) 4187:(1999) 4179:(1998) 4176:Closer 4171:(1997) 4163:(1996) 4155:(1995) 4147:(1994) 4139:(1993) 4131:(1992) 4123:(1991) 4107:(1988) 4099:(1987) 4091:(1986) 4083:(1985) 4075:(1984) 4067:(1983) 4059:(1982) 4051:(1981) 4043:(1980) 4035:(1979) 4027:(1978) 4019:(1977) 4011:(1976) 3908:(2009) 3900:(1996) 3892:(1986) 3884:(1974) 3745:Gothic 3655:(1819) 3629:(1821) 3566:poetry 3556:(1822) 3548:(1822) 3545:Werner 3540:(1821) 3532:(1821) 3524:(1821) 3516:(1821) 3508:(1820) 3500:(1817) 3481:(1823) 3473:(1823) 3465:(1821) 3457:(1819) 3449:(1819) 3433:(1818) 3425:(1817) 3410:(1816) 3402:(1816) 3394:(1816) 3386:(1816) 3378:(1816) 3370:(1814) 3362:(1814) 3354:(1813) 3346:(1813) 3330:(1809) 3322:(1807) 3311:poetry 3309:Longer 3197:(wife) 3188:People 3143:Topics 3072:Enigma 3022:Brazil 2634: 2626:, and 2564: 2541: 2522: 2503: 2484: 2465: 2159:2 June 1935: 1910: 1872: 1864: 1799: 1539: 1514: 1417: 1275:Awards 881:Goethe 702:, the 553:botany 478:Themes 433:hermit 410:stage. 348:Newton 254:primer 221:grouse 73:London 3889:Tarot 3681:Byron 3644:Prose 3489:Plays 3430:Beppo 2699:from 2244:: 74. 1870:S2CID 1480:(PDF) 1469:(PDF) 1411:572–3 1334:Notes 1326:2011 1305:2006 1299:1995 1293:1995 1280:1993 929:with 723:Title 717:chaos 641:Style 541:Byron 468:noble 455:Genre 402:Park. 343:waltz 238:Latin 154:tutor 97:Genre 3873:Film 3529:Cain 2806:and 2632:ISBN 2562:ISBN 2539:ISBN 2520:ISBN 2501:ISBN 2482:ISBN 2463:ISBN 2441:2007 2410:2011 2384:2011 2355:2010 2302:2010 2267:2022 2161:2011 2129:2011 2084:2012 2053:2008 2002:2021 1981:2021 1960:2021 1933:ISBN 1908:ISBN 1862:ISSN 1797:ISBN 1537:ISBN 1512:ISBN 1488:2014 1415:ISBN 1262:and 965:and 849:and 821:and 706:and 602:and 567:and 565:lust 531:vs. 260:and 195:duel 3916:Art 3864:by 1854:doi 1365:," 1319:by 1222:of 1205:of 1174:of 1163:of 1024:'s 864:In 806:In 764:. 376:'s 4409:: 2646:.) 2630:. 2622:, 2618:, 2614:, 2610:, 2606:, 2602:, 2598:, 2594:, 2590:, 2578:, 2431:. 2427:. 2400:. 2375:. 2357:. 2343:. 2322:. 2304:. 2288:. 2258:. 2145:. 2119:. 2073:. 2044:. 2029:^ 1882:^ 1868:. 1860:. 1850:62 1848:. 1844:. 1719:^ 1496:^ 1471:. 1429:^ 1413:. 1266:. 1256:, 1250:, 1244:, 1134:. 1030:. 571:. 559:, 535:, 527:, 523:, 515:, 511:, 507:, 228:. 110:A 3985:e 3978:t 3971:v 3852:e 3845:t 3838:v 3632:" 3617:" 3612:" 3608:" 3605:" 3601:" 3586:" 3579:" 3572:" 3413:" 3128:e 3121:t 3114:v 2730:e 2723:t 2716:v 2703:. 2570:. 2547:. 2528:. 2509:. 2490:. 2471:. 2443:. 2412:. 2386:. 2286:" 2269:. 2163:. 2131:. 2100:. 2086:. 2055:. 2004:. 1983:. 1962:. 1941:. 1916:. 1876:. 1856:: 1805:. 1545:. 1520:. 1490:. 1423:. 1323:.

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