Let’s talk about chess.
Sixty-four squares, half white, half black; thirty-two pieces, half white, half black; two players, half playing as white, half playing as black.
Of course, Stefan Zweig put it better in his novella Chess (translation from the German by Anthea Bell), often also titled The Royal Game in English.
Quote: Is [chess] not also a science and an art, hovering between those categories as Muhammad’s coffin hovered between heaven and earth, a unique link between pairs of opposites: ancient yet eternally new; mechanical in structure, yet made effective only by the imagination; limited to a geometrically fixed space, yet with unlimited combinations; constantly developing, yet sterile; thought that leads nowhere; mathematics calculating nothing; art without works of art; architecture without substance – but nonetheless shown to be more durable in its entity and existence than all books and works of art; the only game that belongs to all nations and all eras, although no one knows what god brought it down to earth to vanquish boredom, sharpen the senses and stretch the mind.
That’s a single sweeping sentence, so richly deep, that you could dive into it repeatedly and come up each time with a new pearl.
What makes the Quote (and the whole novella) quiver?
Dichotomy and duality.