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Gustave Kahn, born in in 1859, was at the heart of the Symbolist Movement in the 1890s, a pioneer and champion of free verse and one of the editors of the prestigious Mercure de France. Much Symbolist prose -- The Tale of Gold and Silence (1898) is a cardinal example -- can be construed as an exercise in the further development of the archetypal images subsequently categorized and explored by Jung. The Tale of Gold and Silence (1898) occupies a location that is virtually unique. It is not only Kahn's most overtly extravagant symbolist novel, but one of the most overtly extravagant symbolist novels ever attempted, mingling parables, Old Testament and visionary fantasies, throwing in a couple of mock-folktales and an adventure story for good measure. Kahn's knowledge of and attitude to symbolism was colored by his Jewish heritage, and it was natural for him to deploy symbolist methods in his reexamination of Old Testament mythology and the supposed modifications introduced by the subsequent reinterpretation of much of that mythology by the New Testament.… (altro)
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To Stephane Mallarmé
Dear Master,
If this is the book of mine that I have decided to offer you, it is because it is the one that extracts the most from the sources of the pure idea and because its territory is the one in which I most closely frequent regions of which you are the prince. At the debut of my literary life, you were kind enough to welcome my juvenile admiration; it is with the same sentiment, fortified, since you have permitted it, with affection that I offer you this Tale, delighted should you be indulgent toward it.
Incipit
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Notice to the Reader This book is a mythic and lyric tale. The first part is set in a castle in the legendary land of Sheba, in the first century of the Christian Era. The second part is set in an imaginary Empire, through which one may imagine that the Meuse and the Rhine flow; the temporal setting of the action is around the fourteenth and fifteenth centuries. The third part is set in the same locale as the first. Some of the characters, representing ideas, are immortal and reincarnate. Thus, the mage-king Balzhazar, in the first part, becomes Master Ezra in the second. Other characters, representing phenomena of the passions, behave according to the norms of legendary life.
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Night extended over the world, and the pale disk of the Moon unswathed itself of its clouds. The silence was eternal.
Gustave Kahn, born in in 1859, was at the heart of the Symbolist Movement in the 1890s, a pioneer and champion of free verse and one of the editors of the prestigious Mercure de France. Much Symbolist prose -- The Tale of Gold and Silence (1898) is a cardinal example -- can be construed as an exercise in the further development of the archetypal images subsequently categorized and explored by Jung. The Tale of Gold and Silence (1898) occupies a location that is virtually unique. It is not only Kahn's most overtly extravagant symbolist novel, but one of the most overtly extravagant symbolist novels ever attempted, mingling parables, Old Testament and visionary fantasies, throwing in a couple of mock-folktales and an adventure story for good measure. Kahn's knowledge of and attitude to symbolism was colored by his Jewish heritage, and it was natural for him to deploy symbolist methods in his reexamination of Old Testament mythology and the supposed modifications introduced by the subsequent reinterpretation of much of that mythology by the New Testament.
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