His Chinese studies were far from concluded during his stay in the Bamboo Grove. They continued, and Knecht made particular efforts to acquire a knowledge of ancient Chinese music. Everywhere in the older Chinese writers he encountered praise of music as one of the primal sources of all order, morality, beauty, and health. This broad, ethical view of music was familiar to him from of old, for the Music Master could be regarded as the very embodiment of it.
Without ever forsaking the fundamental plan of his studies, which as we have seen he outlined in his letter to Fritz Tegularius, he pushed forward energetically on a broad front wherever he scented an element of essential value to himself, that is to say, wherever the path of "awakening," on which he had already set out, seemed to lead him. One of the positive results of his period of apprenticeship with Elder Brother was that he overcame his resistance against returning to Waldzell. Henceforth he participated in one of the advanced courses there every year, and without quite realizing how it had happened he became a personage regarded with interest and esteem in the Vicus Lusorum. He belonged to that central and most sensitive organ of the entire Game organization, that anonymous group of players of proven worth in whose hands lay the destinies of the game at any given time, or at least the type of play that happened to be in fashion.
Officials of the Game institutes belonged to but did not dominate this group, which usually met in several remote, quiet rooms of the Game Archives. There the members beguiled their time with critical studies of the Game, championing the inclusion of new subject areas, or arguing for their exclusion, debating for or against certain constantly shifting tastes in regard to the form, the procedures, the sporting aspects of the Glass Bead Game. Everyone who had made a place for himself in this group was a virtuoso of the Game; each knew to a hair the talents and peculiarities of all the others. The atmosphere was like that in the corridors of a government ministry or an aristocratic club where the rulers and those who will take over their responsibilities in the near future meet and get to know one another. A muted, polished tone prevailed in this group. Its members were ambitious without showing it, keen-eyed and critical to excess. Many in Castalia, and some in the rest of the country outside the Province, regarded this elite as the ultimate flower of Castalian tradition, the cream of an exclusive intellectual aristocracy, and a good many youths dreamed for years of some day belonging to it themselves. To others, however, this elect circle of candidates for the higher reaches in the hierarchy of the Glass Bead Game seemed odious and debased, a clique of haughty idlers, brilliant but spoiled geniuses who lacked all feeling for life and reality, an arrogant and fundamentally parasitic company of dandies and climbers who had made a silly game, a sterile self-indulgence of the mind, their vocation and the content of their life.
Knecht was untouched by either of these attitudes. It did not matter to him whether he figured in student gossip as some sort of phenomenon or as a parvenu and climber. What was important to him were his studies, all of which now centered around the Game. Another preoccupation was, perhaps, that one question of whether the Game really was the supreme achievement of Castalia and worth devoting one's life to. For even as he was familiarizing himself with the ever more recondite mysteries of the Game's laws and potentialities, even as he became more and more at home in the labyrinths of the Archives and the complex inner world of the Game's symbolism, his doubts had by no means been silenced. He had already learned by experience that faith and doubt belong together, that they govern each other like inhaling and exhaling, and that his very advances in all aspects of the Game's mirocosm naturally sharpened his eyes to all the dubiousness of the Game. For a little while, perhaps, the idyll in the Bamboo Grove had reassured him, or perhaps one might say confused him. The example of Elder Brother had shown him that there were ways of escaping from this dubiousness. It was possible, for example, as that recluse had done, to turn oneself into a Chinese, shut oneself off behind a garden hedge, and live in a self-sufficient and beautiful kind of perfection. One might also become a Pythagorean or a monk and scholastic--but these were still escapes, renunciations of universality possible and permissible only to a few. They involved renunciation of the present and the future in favor of something perfect enough, but past. Knecht had sensed in good time that this type of escape was not the way for him. But what then was the way for him? Aside from his great talent for music and for the Glass Bead Game, he was aware of still other forces within himself, a certain inner independence, a self-reliance which by no means barred him or hampered him from serving, but demanded of him that he serve only the highest master. And this strength, this independence, this self-reliance, was not just a trait in his character, it was not just inturned and effective only upon himself; it also affected the outside world.
As early as his years at school, and especially during the period of his contest with Plinio Designori, Joseph Knecht had often noticed that many schoolmates his own age, but even more the younger boys, liked him, sought his friendship, and moreover tended to let him dominate them. They asked him for advice, put themselves under his influence. Ever since, this experience had been repeated frequently. It had its pleasant and flattering side; it satisfied ambition and strengthened self-confidence. But it also had another, a dark and terrifying side. For there was something bad and unpalatable about the attitude one took toward these schoolmates so eager for advice, guidance, and an example, about the impulse to despise them for their lack of self-reliance and dignity, and about the occasional secret temptation to make them (at least in thought) into obedient slaves. Moreover, during the time with Plinio he had had a taste of the responsibility, strain, and psychological burden which is the price paid for every brilliant and publicly representative position. He knew also that the Music Master sometimes felt weighed down by his own position. It was lovely, and tempting, to exert power over men and to shine before others, but power also had its perditions and perils. History, after all, consisted of an unbroken sucession of rulers, leaders, bosses, and commanders who with extremely rare exceptions had all begun well and ended badly. All of them, at least so they said, had striven for power for the sake of the good; afterward they had become obsessed and numbed by power and loved it for its own sake.
What he must do was to sanctify and make wholesome the power Nature had bestowed on him by placing it in the service of the hierarchy. This was something he had always taken for granted. But where was his rightful place, where would his energies be put to best use and bear fruit? The capacity to attract and more or less to influence others, especially those younger than himself, would of course have been useful to an army officer or a politician; but in Castalia there was no place for such occupations. Here these qualities were useful only to the teacher and educator, but Knecht felt hardly drawn to such work. If it had been a question of his own desires alone, he would have preferred the life of the independent scholar to all others--or else that of a Glass Bead Game player. And in reaching this conclusion he once more faced the old, tormenting question: was this game really the highest, really the sovereign in the realm of the intellect? Was it not, in spite of everything and everyone, in the end merely a game after all? Did it really merit full devotion, lifelong service? Generations ago this famous Game had begun as a kind of substitute for art, and for many it was gradually developing into a kind of religion, allowing highly trained intellects to indulge in contemplation, edification, and devotional exercises.
Obviously, the old conflict between aesthetics and ethics was going on in Knecht. The question never fully expressed but likewise never entirely suppressed, was the very one that had now and then erupted, dark and threatening, from beneath the surface of the schoolboy poems he had written in Waldzell. That question was addressed not just to the Glass Bead Game, but to Castalia as a whole.
There was a period when this whole complex of problems troubled him so deeply that he was always dreaming of debates with Designori. And one day, as he was strolling across one of the spacious courtyards of the
Waldzell Players' Village, he heard someone behind him calling his name. The voice sounded very familiar, although he did not recognize it at once. When he turned around he saw a tall young man with a trim beard rushing tempestuously toward him. It was Plinio, and with a surge of affection and warm memories, Joseph greeted him heartily. They arranged to meet that evening. Plinio, who had long ago finished his studies at the universities in the outside world and was already a government official, had come to Waldzell on holiday for a short guest course in the Glass Bead Game, as he had in fact done once before, several years earlier.
The evening they spent together, however, proved an embarrassment to both friends. Plinio was here as a guest student, a tolerated dilettante from outside; although he was pursuing his course with great eagerness, it was nevertheless a course for outsiders and amateurs. The distance between them was too great; he was facing a professional, an initiate whose very delicacy and polite interest in his friend's enthusiasm for the Glass Bead Game inevitably made him feel that he was not a colleague but a child playfully dabbling on the outer edges of a science which the other understood to its very core. Knecht tried to turn the conversation away from the Game by asking Plinio about his official functions and his life on the outside. And now Joseph was the laggard and the child who asked innocent questions and was tactfully tutored. Plinio had gone into law, was seeking political influence, and was about to become engaged to the daughter of a party leader. He spoke a language that Joseph only half understood; many recurrent expressions sounded empty to him, or seemed to have no content. At any rate he realized that Plinio counted for something in his world, knew his way about in it, and had ambitious aims. But the two worlds, which ten years ago both youths had each touched with tentative curiosity and a measure of sympathy, had by now grown irreconcilably apart.
Joseph could appreciate the fact that this man of the world and politician had retained a certain attachment to Castalia. This was, after all, the second time he was sacrificing a holiday to the Glass Bead Game. But in the end, Joseph thought, it was pretty much the same as if he were one day to pay a visit to Plinio's district and attend a few sessions of the court as a curious guest, and have Plinio show him through a few factories or welfare institutions. Both were disappointed. Knecht found his former friend coarse and superficial. Designori, for his part, found his former schoolmate distinctly haughty in his exclusive esotericism and intellectuality; he seemed to Plinio to have become a "pure intellect" altogether absorbed by himself and his sport.
Both made an effort, however, and Designori had all sorts of tales to tell, about his studies and examinations, about journeys to England and to the south, political meetings, parliament. At one point, moreover, he said something that sounded like a threat or a warning. "You will see," he said. "Soon there will be times of unrest, perhaps wars, in which case your whole existence in Castalia might well come under attack."
Joseph did not take this too seriously. He merely asked: "And what about you, Plinio? In that case would you be for or against Castalia?"
"Oh that," Plinio said with a forced smile. "It's not likely that I'd be asked my opinion. But of course I favor the undisturbed continuance of Castalia; otherwise I wouldn't be here, you know. Still and all, although your material requirements are so modest, Castalia costs the country quite a little sum every year."
"Yes," Joseph said, laughing, "it amounts I am told, to about a tenth of what our country used to spend annually for armaments during the Century of Wars."
They met several more times, and the closer the end of Plinio's course approached, the more assiduous they became in courtesies toward each other. But it was a relief to both when the two or three weeks were over and Plinio departed.
The Magister Ludi at that time was Thomas von der Trave, a famous, widely traveled, and cosmopolitan man, gracious and obliging toward everyone who approached him, but severe to the point of fanaticism in guarding the Game against contamination. He was a great worker, something unsuspected by those who knew him only in his public role, dressed in his festive robes to conduct the great Games, or receiving delegations from abroad. He was said to be a cool, even icy rationalist, whose relationship to the arts was one of mere distant civility. Among the young and ardent amateurs of the Glass Bead Game, rather deprecatory opinions of him could be heard at times--misjudgments, for if he was not an enthusiast and in the great public games tended to avoid touching on grand and exciting themes, the brilliant construction and unequalled form of his games proved to the cognoscenti his total grasp of the subtlest problems of the Game's world.
One day the Magister Ludi sent for Joseph Knecht. He received him in his home, in everyday clothes, and asked whether he would care to come for half an hour every day at this same time for the next few days. Knecht, who had never before had any private dealings with the Master, was somewhat astonished.
For the present, the Master showed him a bulky memorandum, a proposal he had received from an organist--one of the innumerable proposals which the directorate of the Game regularly had to examine. Usually these were suggestions for the admission of new material to the Archives. One man, for example, had made a meticulous study of the history of the madrigal and discovered in the development of the style a curve that he had expressed both musically and mathematically, so that it could be included in the vocabulary of the Game. Another had examined the rhythmic structure of Julius Caesar's Latin and discovered the most striking congruences with the results of well-known studies of the intervals in Byzantine hymns. Or again some fanatic had once more unearthed some new cabala hidden in the musical notation of the fifteenth century. Then there were the tempestuous letters from abstruse experimenters who could arrive at the most astounding conclusions from, say, a comparison of the horoscopes of Goethe and Spinoza; such letters often included pretty and seemingly enlightening geometric drawings in several colors.
Knecht attacked the manuscript with eagerness. He himself, after all, had often pondered such proposals, although he had never submitted any. Every active Glass Bead Game player naturally dreams of a constant expansion of the fields of the Game until they include the entire universe. Or rather, he constantly performs such expansions in his imagination and his private Games, and cherishes the secret desire for the ones which seem to prove their viability to be crowned by official acceptance. The true and ultimate finesse in the private Games of advanced players consists, of course, in their developing such mastery over the expressive, nomenclatural, and formative factors of the Game that they can inject individual and original ideas into any given Game played with objective historical materials. A distinguished botanist once whimsically expressed the idea in an aphorism: "The Glass Bead Game should admit of everything, even that a single plant should chat in Latin with Linnaeus."
Knecht, then, helped the Magister analyze the suggestion. The half-hour passed swiftly. He came punctually the next day, and so for two weeks came daily for a half-hour session with the Magister Ludi. During the first few days it struck him that the Master was asking him to work carefully and critically through altogether inferior memoranda, whose uselessness was evident at first glance. He wondered that the Master had time for this sort of thing, and gradually became aware that the purpose was not just to lighten the Master's work load. Rather, this assignment, although necessary in itself, was giving the Master a chance to subject him, the young adept, to an extremely courteous but stringent examination. What was taking place was rather similar to the appearance of the Music Master in his boyhood; he suddenly became aware of it now by the behavior of his associates, who treated him more shyly, reservedly, and sometimes with ironic respect. Something was in the wind; he sensed it; but now it was far less a source of joy than it had been then.
After the last of these sessions the Magister Ludi said in his rather high, courteous voice and in that carefully enunciated speech of his, but without the slightest solemnity: "Very well; you need not come tomorrow. Our business is completed for the moment. But I sh
all soon be having to trouble you again. Many thanks for your collaboration; it has been valuable to me. Incidentally, in my opinion you ought to apply for your admission to the Order now. There will be no difficulties; I have already informed the heads of the Order." As he rose he added: "One word more, just by the way. Probably you too sometimes incline, as most good Glass Bead Game players do in their youth, to use our Game as a kind of instrument for philosophizing. My words alone will not cure you of that, but nevertheless I shall say them: Philosophizing should be done only with legitimate tools, those of philosophy. Our Game is neither philosophy nor religion; it is a discipline of its own, in character most akin to art. It is an art sui generis. One makes greater strides if one holds to that view from the first than if one reaches it only after a hundred failures. The philosopher Kant--he is little known today, but he was a formidable thinker--once said that theological philosophizing was 'a magic lantern of chimeras.' We should not make our Glass Bead Game into that."
Joseph was surprised. His excitement was so great that he almost failed to hear the last cautionary remarks. It had flashed through his mind that this meant the end of his freedom, the completion of his period of study, admission to the Order, and his imminent enrollment in the ranks of the hierarchy. He expressed his thanks with a low bow, and went promptly to the secretariat of the Order in Waldzell, where sure enough he found himself already inscribed on the list of new nominees to the Order. Like all students at his level, he knew the rules of the Order fairly well, and remembered that the ceremony of admission could be performed by every member of the Order who held an official post in the higher ranks. He therefore requested that this be done by the Music Master, obtained a pass and a short furlough, and next day set out for Monteport, where his patron and friend was staying. He found the venerable old Master ailing, but was welcomed with rejoicing.
The Glass Bead Game Page 15