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By William Feller

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Derrida repeats Sollers, identifying the novel's scription contra-diction with his own: 'You will have just begun. And it was necessary to begin again ... You will have fallen with your eyes open into other relations' (p. 366). I do not know where Sollers stands, and I am not sure where Derrida stands,41 but I agree with Derrida, as he writes in Dissemination, that it is 'not possible to rest upon the copula' (p. 353). The copula is - its ellipsis. The copula is - always already supplemented and disseminated.

Who are we in reading, where are we in thinking through, Greek tragedy? In order to gain assistance from Derrida in answering our questions about tragedy we shall need, above all, to determine the structure of his deconstructive operation. ) Derrida tirelessly points out that mere opposition to the metaphysics of closure, the closure of metaphysics - its binary oppositions: internality and externality, subject and object, appearance and reality - inexorably ends up replicating (repeating) the very position it opposes.

Indeed, Derrida's point is that Sollers's novel dismantles the illusion of what he calls theatrical representation, 'the illusion of the present, the illusion, which, playing upon the dead surface, makes us believe in the secure foundation of an originary donation or providence' (p. 308). Writing is framing, both the outside frame and the framing which inscribes the frame(-up)- the illusion- within the very structure of writing. That which frames (the author, the human being, God) is also subject - by the logic of self-referentiality or the double genitive- to its own framing.

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