Drama

Sina Grace's Self-Obsessed PDF

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By Sina Grace

In anticipation of his gothic-tinged retail hell picture novel, now not MY BAG, Sina Grace (LI'L DEPRESSED BOY) provides a set of infrequent and never-before-seen autobiographical strips, completely from Comixology! The pages inside span the whole thing of Grace's grownup lifestyles, and hilariously chronicle his trip as an artist, pal, and lover.

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Shall I call it death? Where will will it be accomplished, accomplished, where where will it cease and slumber—the strength of destruction? slumber—the strength aXK e\m)xotr|c;, KOI a' enomeixav Jip6{j>pa>v Jip6(j>pa>v 9eo<; ijjiAaaaoi Kaipioiai auu^opaic;. 66e xoi ueAdGpon; TOII; pacnAeiou; tpiTot; ecu xetjiwv nvEvaac, yoviaq yov'iaq eteXeaQT}. 9e 7to9ev awifip, f| uopov eiTtoo; noi 8f\ia Kpavei, noi KaxaXfi^ei (leiaKoiuiaOev uevot; airi^; 1063-76 A relatively short passage passage is chanted by the chorus in anapests (except the first two lines spoken summarizing events spoken in trimeters), beginning with a farewell and summarizing events of the two preceding plays; it differs differs from Euripidean endings only in its slightly greater length and in its closing closing questions that look forward to the third play of the trilogy.

This double game is peculiarly Euripidean. 9 Nor would this game be possible if the god who enters as deus has already made an appearance in the prologue. But in Euripides' surviving plays the prologue speaker is never the same as the epilogue speaker,10 and the god's introduction at the end marks the first incursion of this privileged figure—who might therefore betray the role of the author as a god in Homer or Aeschylus would not. This role of the deus as authorial figure is reinforced in two ways.

1 Such intervention in the content, in the events of the play, is much less common than the intervention of a curtain in its form or staging, and it suggests that things are more seriously amiss. It is an index of crisis, a signal that the action is somehow so wrong that nothing else can correct it. It is also an apparent signal of the playwright's loss of control: it seems that because he has failed to keep the plot in check and has allowed the catastrophe to go wrong, he or a divine surrogate must step in to produce a satisfactory end.

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Self-Obsessed by Sina Grace


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