The Grand Inquistor, Revisited.

This is quite a serious piece, which I think will be hard for many to understand. Within the text of the--play, I guess I will call it, in One Act--itself, I explain myself relative to Dostoevsky. If you are unfamiliar with the original version of this, you will not see how I have amended his "poem" (from the Brothers Zaramozov), but I hope the interplay of ideas may still be useful. I am, after all, trying to correct what I see as errors, or deviations from a truth he probably saw, by Dostoevsky. You may want to read the following after you have read the piece. If you like, you can just scroll down now and click on the picture. I wanted to set up two ends of a continuum: on the one hand, we have a man whose power has been confined to what he can find within himself. ALL he has left to him is in his heart, mind and soul. All external, physical types of power have been denied him. When you have nothing, what do you still have? On the other, I want a man who has the literal power of life and death, and for whom ONLY that type of power really matters. How do they interact, one with the other? How do powers that differ in quality move? These are the questions that interest me. This play is sort of the psychological equivalent of technical analysis. I let them run, and watched what happened. I should add, too, that if you think this is profane, you very simply have no means of grasping how foul Sade actually is without reading him. I would not encourage you to do so, except to the extent you want to understand Evil. By extension, you likewise need to understand the cultural importance of people publicly (or privately) embracing him. In general, I am trying to avoid explicit symbolism, but the following needs to be understood as simultaneously a rising and setting sun. Please just click the Back arrow to get to the previous page.