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(The other contenders are Harold Pinter, who probably has the edge in adulation, and Peter Shaffer, the author of “Equus,” whose strong point is prosperity.) There is no perfectly rational explanation for any of this. Preliminary notes from my journal, dated July 24, 1976: Essential to remember that Stoppard is an émigré.A director who has staged several of his plays told me the other day, “You have to be foreign to write English with that kind of hypnotized brilliance.” An obvious comparison is with Vladimir Nabokov, whom Stoppard extravagantly admires.
Two years later, on the eve of the Nazi invasion of their homeland, the Strausslers left for Singapore, where they settled until 1942. He died in a Japanese air raid, or in a prisoner-of-war camp, or on a Japanese prison ship torpedoed by the British (nobody seems quite sure which).
In 1946, his widow married a major in the British Army, who brought the family back with him to England.
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(One of the characters, discounting the hypothesis that the man was blind, scornfully inquires whether it was a seeing-eye tortoise.) There is also a perfectly rational, though much longer, explanation for this.
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In “The Language of Theatre,” an address delivered by the same author in January, 1977, at the University of California at Santa Barbara, the lecturer began by stating that he was not going to talk about the language of theatre.
“Jumpers,” a play by Tom Stoppard, whose other works include “Rosencrantz and Guildenstern Are Dead,” “Travesties,” and “Dirty Linen,” a man carrying a tortoise in one hand and a bow and arrow in the other, his face covered with shaving cream, opens the door of his apartment.
Standing outside is a police inspector bearing a bouquet of flowers.
He added that when he tried the peacock anecdote out on the members of a literary society at Eton College, it was received in bewildered silence.
He soon realized why: “They all peacocks.”)In none of the same author’s plays will you find any reference to (or echo of, or scene derived from) the following singular, and partly equivocal, story.