Among the play's themes is the contrast of Indian and European styles of poetry and visual art. Nirad explains to Flora the classical Indian theory of nine rasas , which are tonal schemes uniting all forms of art. Each rasa is associated with a colour, a mood, and a musical scale. The play's title refers to Shringara , the rasa of erotic love, which is associated with an inky blue-black colour and the god Krishna, who is always painted with dusky blue skin. Flora is at first puzzled by this artistic tradition, but on falling in love with Nirad she realizes, "It is the colour he looked by moonlight."
The play shares with other Stoppard plays of the 90s the theme of nostalgia and romantic loss, with Flora as the lost beloved corresponding to Thomasina in Arcadia and Moses in The Invention of Love . And like those two plays, it cuts back and forth between characters in two time periods sharing the same set. Stoppard has given director Peter Wood partial credit for developing the structure of the play with its two intertwined storylines.[1]
Already have an account? Log In Now