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When the time came for Joseph Knecht to leave Berolfingen, it was his music teacher who accompanied him to the railroad station. Saying good-by to this teacher was painful, and his heart also swelled a little with a feeling of loneliness and uncertainty after the train started and the whitewashed stepped gable of the old castle tower dropped out of sight and did not reappear. Many another pupil has set out on this first journey with far more turbulent feelings, frightened and in tears. Joseph had inwardly already transferred his allegiance; he withstood the journey well. And he did not have far to go.
He had been assigned to the Eschholz school. There had been pictures of this school hanging in his principal's office. Eschholz was the largest and the newest complex of schools in Castalia. The buildings were all modern. There was no town in the vicinity, only a village-like small settlement set among woods. Beyond the settlement the school spread out, wide, level, and cheerful, the buildings enclosing a large open quadrangle. In the center of the quadrangle, arranged like the five on a die, five enormous, stately trees raised their dark cones to the sky. The huge rectangle was partly in lawn, partly in gravel, its expanse broken only by two large swimming pools, fed by running water. Wide, shallow steps led down to the pools. At the entrance to this sunny plaza stood the schoolhouse, the only tall building in the complex. There were two wings, each flanked by a five-columned portico. All the rest of the buildings enclosing the quadrangle were very low, flat, and unadorned, divided into perfectly equal sections, each of which led out into the plaza through an arcade and down a low flight of steps. Pots of flowers stood in the openings of most of the arcades.
In keeping with Castalian custom, Joseph was not received by a school attendant and taken to a principal or a committee of teachers. Instead, a schoolmate met him, a tall, good-looking boy in clothes of blue linen, a few years older than Joseph. He shook hands, saying, "My name is Oscar; I'm the senior boy in Hellas House, where you will be living. I've been assigned to welcome you and show you around. You're not expected to attend classes until tomorrow, so we have plenty of time to look around. You'll get the hang of things soon enough. And until you have become adjusted, please consider me your friend and mentor, and your protector as well, in case some of the fellows bother you. There are always some who think they have to haze the new boys a little. But it won't be bad, take it from me. I'll show you Hellas House first, so you'll see where you're going to live."
Thus, in the traditional fashion, Oscar greeted the newcomer; the housemaster had appointed him Joseph's mentor, and he in fact made an effort to play his part well. It is, after all, a part the seniors usually find congenial, and if a fifteen-year-old takes the trouble to charm a thirteen-year-old by employing a tone of affable comradeship with a touch of patronage, he will almost always succeed. During Joseph's first few days his mentor treated him like a guest whom a courteous host pampers in the hope that he will, should he happen to depart the next day, take away with him a good impression of host and house.
Joseph was shown to a room which he would be sharing with two other boys. He was served rusks and a cup of fruit juice. He was shown the whole of Hellas House, one of the dormitories of the large quadrangle; he was shown where to hang his towel in the steam bath, and in which corner he was allowed to keep potted plants, if he wanted them. Before evening fell he was also taken to the launderer at the washhouse, where a blue linen suit was selected and fitted for him.
From the very first Joseph felt at ease in the place. He gaily fell in with Oscar's tone and showed only the slightest trace of bashfulness, although he naturally regarded this older boy, who had obviously been at home in Castalia for a long time, as something of a demigod. He even enjoyed the bits of showing-off, as when Oscar would weave a complicated Greek quotation into his talk only to recall politely that the new boy of course couldn't understand, naturally not, how could he be expected to!
In any case, life at a boarding school was nothing new to Joseph. He fitted in without difficulty. For that matter, no important events of his years at Eschholz have been recorded. The terrible fire in the schoolhouse must have happened after his time. Portions of his scholastic record have been traced; they show that he occasionally had the highest marks in music and Latin, and somewhat above average in mathematics and Greek. Now and then there are entries about him in the "House Book," such as "ingenium valde capax, studia non angusta, mores probantur" or "ingenium felix et profectuum avidissimum, moribus placet officiosis." What punishments he received at Eschholz can no longer be determined; the disciplinary register was lost in the fire, along with so much else. There is the testimony of a fellow pupil that during the four years at Eschholz Knecht was punished only once (by being excluded from the weekly outing), and that his demerit had consisted in obstinately refusing to name a schoolmate who had done something against the rules. The anecdote sounds plausible. Knecht undoubtedly was always a good comrade and never servile toward his superiors. Nevertheless, it seems highly unlikely that this was actually his sole punishment in four years.
Since our data on Knecht's early period in the elite school are so sparse, we cite a passage from one of his later lectures on the Glass Bead Game. Knecht's own manuscripts of these lectures for beginners are not available, it should be noted; he delivered them extemporaneously, and a pupil took them down in shorthand. At one point Knecht speaks about analogies and associations in the Glass Bead Game, and in regard to the latter distinguishes between "legitimate," universally comprehensible associations and those that are "private" or subjective. He remarks: "To give you an example of private associations that do not forfeit their private value although they have no place in the Glass Bead Game, I shall tell you of one such association that goes back to my own schooldays. I was about fourteen years old, and it was the season when spring is already in the air, February or March. One afternoon a schoolmate invited me to go out with him to cut a few elder switches. He wanted to use them as pipes for a model water mill. We set out, and it must have been an unusually beautiful day in the world or in my own mind, for it has remained in my memory, and vouchsafed me a little experience. The ground was wet, but free of snow; strong green shoots were already breaking through on the edge of streams. Buds and the first opening catkins were already lending a tinge of color to the bare bushes, and the air was full of scent, a scent imbued with life and with contradictions. There were smells of damp soil, decaying leaves, and young growth; any moment one expected to smell the first violets although there were none yet.
"We came to the elder bushes. They had tiny buds, but no leaves, and as I cut off a twig, a powerful, bittersweet scent wafted toward me. It seemed to gather and multiply all the other smells of spring within itself. I was completely stunned by it; I smelled my knife, smelled my hand, smelled the elder twig. It was the sap that gave off so insistent and irresistible a fragrance. We did not talk about it, but my friend also thoughtfully smelled for a long time. The fragrance meant something to him also.
"Well now, every experience has its element of magic. In this case the onset of spring, which had enthralled me as I walked over the wet, squishing meadows and smelled the soil and the buds, had now been concentrated into a sensual symbol by the fortissimo of that elder shrub's fragrance. Possibly I would never have forgotten this scent even if the experience had remained isolated. Rather, every future encounter with that smell deep into my old age would in all probability have revived the memory of that first time I had consciously experienced the fragrance. But now a second element entered in. At that time I had found an old volume of music at my piano teacher's. It was a volume of songs by Franz Schubert, and it exerted a strong attraction upon me. I had leafed through it one time when I had a rather long wait for the teacher, and had asked to borrow it for a few days. In my leisure hours I gave myself up to the ecstasy of discovery. Up to that time I had not known Schubert at all, and I was totally captivated by him. And now, on the day of that walk to the elderberry bush or the day after, I discove
red Schubert's spring song, "Die linden Lufte sind erwacht," and the first chords of the piano accompaniment assailed me like something already familiar. Those chords had exactly the same fragrance as the sap of the young elder, just as bittersweet, just as strong and compressed, just as full of the forthcoming spring. From that time on the association of earliest spring, fragrance of elder, Schubert chords has been fixed and absolutely valid, for me. As soon as the first chord is struck I immediately smell the tartness of the sap, and both together mean to me: spring is on the way.
"This private association of mine is a precious possession I would not willingly give up. But the fact that two sensual experiences leap up every time I think, 'spring is coming'--that fact is my own personal affair. It can be communicated, certainly, as I have communicated it to you just now. But it cannot be transmitted. I can make you understand my association, but I cannot so affect a single one of you that my private association will become a valid symbol for you in your turn, a mechanism which infallibly reacts on call and always follows the same course."
One of Knecht's fellow pupils, who later rose to the rank of First Archivist of the Glass Bead Game, maintained that Knecht on the whole had been a merry boy, though without a trace of boisterousness. When playing music he would sometimes have a wonderfully rapt, blissful expression. He was rarely seen in an excited or passionate mood, except at the rhythmic ball game, which he loved. But there were times when this friendly, healthy boy attracted attention, and gave rise to mockery or anxiety. This happened when pupils were dismissed, a fairly frequent occurrence in the lower classes of the elite schools. The first time a classmate was missing from classes and games, did not return next day, and word went around that he was not sick but dismissed, had already departed and would not be returning, Knecht was more than subdued. For days on end he seemed to be distraught.
Years later he himself commented on this matter: "Every time a pupil was sent back from Eschholz and left us, I felt as if someone had died. If I had been asked the reason for my sorrow, I would have said that I felt pity for the poor fellow who had spoiled his future by frivolity and laziness, and that there was also an element of anxiety in my feeling, fear that this might possibly happen to me some day. Only after I had experienced the same thing many times, and basically no longer believed that the same fate could overtake me as well, did I begin to see somewhat more deeply into the matter. I then no longer felt the expulsion of an electus merely as a misfortune and punishment. I came to realize that the dismissed boys in a good many cases were quite glad to be returning home. I felt that it was no longer solely a matter of judgment and punishment, but that the 'world' out there, from which we electi had all come once upon a time, had not abruptly ceased to exist as it had seemed to me. Rather, for a good many among us it remained a great and attractive reality which tempted and ultimately recalled these boys. And perhaps it was that not only for individuals, but for all of us; perhaps it was by no means only the weaker and inferior souls upon whom the remote world exerted so strong an attraction. Possibly the apparent relapse they had suffered was not a fall and a cause for suffering, but a leap forward and a positive act. Perhaps we who were so good about remaining in Eschholz were in fact the weaklings and the cowards."
As we shall see, these thoughts were to return to him, and very forcefully.
Every encounter with the Music Master was a great joy to him. The Master came to Eschholz once every two or three months at least to supervise the music classes. He also frequently stayed a few days as the guest of one of the teachers who was a close friend. Once he personally conducted the final rehearsals for the performance of a vesper by Monteverdi. But above all he kept an eye on the more talented of the music pupils, and Knecht was among the honored recipients of his paternal friendship. Every so often he would sit at the piano with Joseph in one of the practice rooms and go through the works of his favorite composers with him, or else play over a classical example from one of the old handbooks on the theory of composition. "To construct a canon with the Music Master, or to hear him develop a badly constructed one to its absurd logical conclusion, frequently had about it a solemnity, or I might also say, a gaiety, like nothing else in the world. Sometimes one could scarcely contain one's tears, and sometimes one could not stop laughing. One emerged from a private music lesson with him as from a bath or a massage."
Knecht's schooldays at Eschholz at last drew to a close. Along with a dozen or so other pupils of his level he was to be transferred to a school on the next stage or level. The principal delivered the usual speech to these candidates, describing once again the significance and the rules of the Castalian schools and more or less sketching for the graduates, in the name of the Order, the path they would be traveling, at the end of which they would be qualified to enter the Order themselves. This solemn address was part of the program for a day of ceremonies and festivities during which teachers and fellow pupils alike treat the graduates like guests. On such days there are always carefully prepared performances--this time it was a great seventeenth-century cantata--and the Music Master had come in order to hear it.
After the principal's address, while everyone was on the way to the bravely bedecked dining hall, Knecht approached the Master with a question. "The principal," he said, "told us how things are outside of Castalia, in the ordinary schools and colleges. He said that the students at the universities study for the 'free' professions. If I understood him rightly, these are professions we do not even have here in Castalia. What is the meaning of that? Why are just those professions called 'free'? And why should we Castalians be excluded from them?"
The Magister Musicae drew the young man aside and stood with him under one of the giant trees. An almost sly smile puckered the skin around his eyes into little wrinkles as he replied: "Your name is Knecht,* my friend, and perhaps for that reason the word 'free' is so alluring for you. But do not take it too seriously in this case. When the non-Castalians speak of the free professions, the word may sound very serious and even inspiring. But when we use it, we intend it ironically. Freedom exists in those professions only to the extent that the student chooses the profession himself. That produces an appearance of freedom, although in most cases the choice is made less by the student than by his family, and many a father would sooner bite off his tongue than really allow his son free choice. But perhaps that is a slander; let us drop this objection. Let us say that the freedom exists, but it is limited to the one unique act of choosing the profession. Afterward all freedom is over. When he begins his studies at the university, the doctor, lawyer, or engineer is forced into an extremely rigid curriculum which ends with a series of examinations. If he passes them, he receives his license and can thereafter pursue his profession in seeming freedom. But in doing so he becomes the slave of base powers; he is dependent on success, on money, on his ambition, his hunger for fame, on whether or not people like him. He must submit to elections, must earn money, must take part in the ruthless competition of castes, families, political parties, newspapers. In return he has the freedom to become successful and well-to-do, and to be hated by the unsuccessful, or vice versa. For the elite pupil and later member of the Order, everything is the other way around. He does not 'choose' any profession. He does not imagine that he is a better judge of his own talents than are his teachers. He accepts the place and the function within the hierarchy that his superiors choose for him--if, that is, the matter is not reversed and the qualities, gifts, and faults of the pupil compel the teachers to send him to one place or another. In the midst of this seeming unfreedom every electus enjoys the greatest imaginable freedom after his early courses. Whereas the man in the 'free' professions must submit to a narrow and rigid course of studies with rigid examinations in order to train for his future career, the electus, as soon as he begins studying independently, enjoys so much freedom that there are many who all their lives choose the most abstruse and frequently almost foolish studies, and may continue without hindrance as long as their conduct does
not degenerate. The natural teacher is employed as teacher, the natural educator as educator, the natural translator as translator; each, as if of his own accord, finds his way to the place in which he can serve, and in serving be free. Moreover, for the rest of his life he is saved from that 'freedom' of career which means such terrible slavery. He knows nothing of the struggle for money, fame, rank; he recognizes no parties, no dichotomy between the individual and the office, between what is private and what is public; he feels no dependence upon success. Now do you see, my son, that when we speak of the free professions, the word 'free' is meant rather humorously."
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The Glass Bead Game Page 8
