discovered that these Game compositions were true literary productions, so amazing and singular that I feel I should speak of them here. These Games were little dramas, in structure almost pure monologues, reflecting the imperiled but brilliant life of the author’s mind like a perfect self-portrait. The various themes and groups of themes on which the Games were based, and their sequences and confrontations, were brilliantly conceived, dialectically orchestrated and counterpoised. But beyond that, the synthesis and harmonization of the opposing voices was not carried to the ultimate conclusion in the usual classical manner; rather, this harmonization underwent a whole series of refractions, of splintering into overtones, and paused each time, as if wearied and despairing, just on the point of dissolution, finally fading out in questioning and doubt. As a result, those Games possessed a stirring chromatics, of a kind never before ventured, as far as I know. Moreover, the Games as a whole expressed a tragic doubt and renunciation; they became figurative statements of the dubiousness of all intellectual endeavor. At the same time, in their intellectual structure as well as in their calligraphic technique and perfection, they were so extraordinarily beautiful that they brought tears to one’s eyes. Each of these Games moved with such gravity and sincerity toward solution, only at the last so nobly to forgo the attempt at solution, that it was like a perfect elegy upon the transitoriness inherent in all beautiful things and the ultimate dubiety immanent in all soaring flights of the intellect
