A recent Times article commemorated the 200th birthday of “The Grid:” that hard-knuckled, 90-degree matrix that set New York’s streets in unsurprising, rectangulinear order. Excepting some of downtown’s eccentricities, the feature tells us, the grid “gave developers and, later, tourists order, access and predictability.”
How very Newtonian, Tom Stoppard might say. His “Arcadia,” a revival of which just opened on Broadway, explores similar ideas of order and chaos, predictability and chance by alternating between two periods, ultimately tracking physics’ and philosophy’s journey from optimism (in 1809) to a more complicated, less organized universe (in 2011).
The New York Grid could be said to represent classicism, or 1809 “Arcadia:” It’s reasoned, clear, and lucid. It’s the ordered cosmos Thomasina, “Arcadia’s” brilliant, young heroine, is taught to see. Whether it’s Fermat’s last theorem, advanced algebra, or any of the other brain-cramping topics her tutor brings up, order is the final, reachable goal. Surprise is tamed by logic and structure.
New York’s city commissioners, working a mere two years after the fictional Thomasina, operated under similarly classically based, optimistic principles. Sam Roberts (author of the Times article) writes, “The urban grid goes back beyond Hippodamus of Miletus, the Greek urban planner, who, like the street commissioners, viewed the matrix as a manifestation of ‘the rationality of civilized life.’” City structure could manufacture personal integrity, officials believed.