from Magister Ludi (Das Glasperlenspiel)
by Hermann Hesse
Joseph Knecht employed his freedom for study in the strangest and most idiosyncratic fashion, one that revealed an astonishing youthful genius. During his years at Waldzell he had, as was usual, taken the official introduction to the Glass Bead Game and the review course as well. During his last school year and among his friends he already had the reputation of being an excellent player. But then he was gripped with such a passion for the Game of games that after completing another course and while still in school he had been admitted to a course for players of the second stage, which was a very rare distinction indeed.
Some years later he told his friend and later assistant, Fritz Tegularius (who had at school taken the review course along with him) of an experience which not only decided his destiny as a Glass Bead Game player, but also greatly influenced the course of his studies. The letter is extant; the passage thus: "Let me remind you of the time the two of us, assigned to the same group, were so eagerly working on our first sketches for Glass Bead Games. Do you recall a certain day and a certain game? Our group leader had given us various suggestions and proposed all sorts of themes for us to choose from. We had just arrived at the delicate transition from astronomy, mathematics, and physics to the sciences of language and history, and the leader was a virtuoso in the art of setting traps for eager beginners like us and luring us on to the think ice of impermissible abstractions and analogies. He would slip into our hands tempting baubles taken from etymology and comparative linguistics, and enjoyed seeing us grab them, and come to grief. We counted Greek quantities until we were worn out, only to feel the rug pulled out from under us when he suddenly confronted us with the possibility, in fact the necessity, of accentual instead of a quantitative scansion, and so on. In formal terms he did his job brilliantly, and quite properly, although I did no like the spirit of it. He showed us false trails and lured us into faulty conjectures, partly with the good intention of familiarizing us with the perils, but also a little in order to laugh at us for being such stupid boys and to instill a heavy dose of skepticism into those of us who were most enthusiastic about the Game. And yet as things turned out, it happened under his instruction and in the course of one of his complicated trick experiments - we were timidly and awkwardly trying to sketch a hallway decent Game problem - that I was all at one seized by the meaning and the greatness of our Game, and was shaken by it to the core of my being. We were picking apart a problem in linguistic history and, as it were, examining close up the peak period of glory in the history of language; in minutes we had traced the path which had taken it several centuries. And I was powerfully gripped by the vision of transitoriness: the way before our eyes such a complex, ancient, venerable organism, slowly built up over many generations, reaches it highest point, which already contains the germ of decay, and the whole intelligently articulated structure begins to droop, to degenerate, to totter toward its doom. And at the same time the thought abruptly shot through me, with a joyful, startled amazement, that despite the decay and death of that language it had not been lost, that its youth, maturity, and downfall were preserved in our memory, in our knowledge of it and its history, and would survive and could at any time be reconstructed in the symbols and formulas of scholarship as well as in the recondite formulations of the Glass Bead Game. I suddenly realized that in the language, or at any rate in the spirit of the Glass Bead Game, everything actually was all-meaningful, that every symbol and combination of symbols led not hither and yon, not to single examples, experiments, and proofs, but into the center, the mystery and innermost heart of the world, into primal knowledge. Every transition from major to minor in a sonata, every transformation of a myth or a religious cult, every classical or artistic formulations was, I realized in that flashing moment, if seen with a truly meditative mind, nothing but a direct route into the interior of the cosmic mystery, where in the alternation between inhaling and exhaling, between heaven and earth, between Yin and Yang, holiness is forever being created.
. . .Now I am studying that entire game from beginning to end. That is, I am working through each of its phrases, translating it from the language of the Game back into its original language, into mathematics, ornament, Chinese, Greek, and so on. At least this once in my life I intend to restudy and reconstruct systematically the entire content of a Glass Bead Game. I have already finished the first part, and it has taken me two years. Of course it is going to cost me quite a few years more. But since we are granted our famous freedom of study in Castalia, this is how I mean to use it. I am familiar with the objections to such a procedure. Most of our teachers would say: We have devoted several centuries to inventing and elaborating the Glass Bead Game as a universal language and method for expressing all intellectual concepts and all artistic values and reducing them to a common denominator. Now you come along and want to check over everything to see if it is correct. That will take you a lifetime, and you will regret it. . . .
Perhaps this is the place to cite that other passage from Knecht's letters which also deals with the Glass Bead Game, although the letter in question, addressed to the Music Master, was written at least a year or two later. "I imagine," Knecht wrote to his patron, "that one can be an excellent Glass Bead Game player, even a virtuoso, and perhaps even a thoroughly competent Magister Ludi, without having any inkling of the real mystery of the Game and its ultimate meaning. It might even be that one who does guess or know the truth might prove a greater danger to the Game, were he to become a specialist in the Game, or a Game leader. For the dark interior, the esoterica of the Game, points down into the One and All, into those depths where the eternal Atman eternally breathes in and out, sufficient unto itself. One who had experienced the ultimate meaning of the Game within himself would by that fact no longer be a player; he would no longer dwell in the world of multiplicity and would no longer be able to delight in invention, construction, and combination, since he would know altogether different joys and raptures. Because I think I have come close to the meaning of the Glass Bead Game, it will be better for me and for others if I do not make the Game my profession, but instead shift to music."
The Music Master, who usually confined his correspondence to a minimum, was evidently troubled by these remarks and replied with a rather lengthy piece of friendly admonition: "It is good that you yourself do not require a master of the Game to be an 'esoteric' in your sense of the word, for I hope you wrote that without irony. A Game Master or teacher who was primarily concerned with being close enough to the 'innermost meaning' would be a very bad teacher. To be candid, I myself, for example, have never in my life said a word to my pupils about the 'meaning' of music; if there is one, it does not need my explanations. On the other I have always made a great point of having y pupils count their eighths and sixteenths nicely. Whatever you become, teacher, scholar, or musician, have respect for the 'meaning,' but do not imagine that it can be taught. Once upon a time the philosophers of history ruined half of world history with their efforts to teach such 'meaning'; they inaugurated the Age of the Feuilleton and are partly to blame for quantities of spilled blood. If I were introducing pupils to Homer or Greek tragedy, say, I would also not try to tell them that the poetry is one of the manifestations of the divine, but would endeavor to make the poetry accessible to them by imparting a precise knowledge of its linguistic and metrical strategies. The task of the teacher and scholar is to study means, cultivate tradition, and preserve the purity of methods, not to deal in incommunicable experiences which are reserved to the elect - who often enough pay a high price for this privilege."