Writing from the viceroy of Sardinia which, at the opening up of his or her essay on “The Theater and often the Plague, ” “had a good particularly afflicting dream, ” Artaud asks: “But would it be too late to avert typically the scourge? Even ruined, actually annihilated, even pulverized plus eaten to their very marrow, he knows that we do not die throughout our dreams, which our might operates even in drollery, even in the negation regarding possibility, even inside the elementumwandlung of deception from which truth could be remade” (15). If your viceroy “wakes up” within this recognition, as if involving him and plague there was “a palpable communication” (17)—confirming Artaud in “the view involving symbols in addition to archetypes which often act similar to muted blows, beds down, jumps of the heart, subpoena of the lymph, inflammatory photos thrust into each of our forthwith wakened heads, ” identifying the powers “we are as symbols” (27)—the problem with symbolist drama (as with expressionism later) would be that the thrilling promise associated with a transfigured reality, to which we break through typically the dreaming, leaves us along with the everlasting irony connected with something to be needed, not really not like the phantasm of exclusive reality throughout a cyberspatial world. Most of us seem to be stated something additional, outside, over and above, outdoing to all look the particular system of portrayal, but if there's an alluring vertigo in the halluci