In The Invention of Love, Tom Stoppard juxtaposes Old Housman with young Housman on the basis of insight into the ironies of life and consideration of humanism. He places Housman and Wilde side by side, and looks on Wilde as his fragmented self through divided dramatic structure. Although, Housman and Wilde have an ambivalent attitude to ‘Love’ and ‘Life,’ they have something of ‘Invention’ in common. Stoppard draws portraits of Wilde compassionately, represents Wilde’s life and art ironically, and sheds new light on them in a modern way. By juxtaposing Housman with Wilde, he describes Housman as two types of man: a freewheeling romanticist who, on account of being true to his feelings, not only receives plaudits but also is on the brink of ruin, and an obstinate classicist who avoids a shamble of emotions and leads a very quiet and normal life. Stoppard thinks that Housman and Wilde are not so much contrasting as complementary. That’s where it is very much in line with his opinion on Classicism and Romanticism. In The Invention of Love, Stoppard tires to explore love, poetry, classical tradition, and homosexuality in a modern way and emphasizes the intrinsic qualities of reality. In conclusion, Stoppard makes us free ourselves from a narrow viewpoint and think deeply about a full life and the importance of love.