The Glass Bead Game

by Hermann Hesse

  Tegularius traced it with no great trouble. After a few minutes of reflection he recognized the poem, got up, and produced from a desk drawer the manuscript of Knecht's poems, the original manuscript which Knecht had once presented to him. He looked through it and brought out two sheets of paper containing the first draft of the poem. Smilingly, he held them out to the Magister.

  "Here," he said, "your Excellency may examine them himself. This is the first time in many years that you have deigned to remember these poems."

  Joseph Knecht studied the two sheets attentively and with some emotion. In his student days, during his stay in the College of Far Eastern Studies, he had covered these two sheets of paper with lines of verse. They spoke to him of a remote past. Everything about them, the faintly yellowed paper, the youthful handwriting, the deletions and corrections in the text, reminded him painfully of almost forgotten times. He thought he could recall not only the year and the season when these verses had been written, but even the day and the hour. There came to him now the very mood, that proud and strong feeling that had gladdened him and found expression in the poem. He had written it on one of those special days on which he had experienced that spiritual shock which he called "awakening."

  The title of the poem had obviously been written even before the poem itself, and had seemingly been intended as the first line. It had been set down in a large impetuous script, and read: "Transcend!"

  Later, at some other time, in a different mood and situation, this title as well as the exclamation mark had been crossed out, and in smaller, thinner, more modest letters another title had been written in. It read: "Stages."

  Knecht now remembered how at the time, filled with the idea of his poem, he had written down the word "Transcend!" as an invocation and imperative, a reminder to himself, a newly formulated but strong resolve to place his actions and his life under the aegis of transcendence, to make of it a serenely resolute moving on, filling and then leaving behind him every place, every stage along the way. Almost whispering, he read some lines to himself:

  Serenely let us move to distant places

  And let no sentiments of home detain us.

  The Cosmic Spirit seeks not to restrain us

  But lifts us stage by stage to wider spaces.

  "I had forgotten these lines for many years," he said, "and when they happened to come to my mind today, I no longer knew how I knew them and didn't realize they were mine. How do they strike you today? Do they still mean anything to you?"

  Tegularius considered.

  "I have always had a rather odd feeling about this particular poem," he said finally. "The poem itself is among the very few you've written that I didn't really like. There was something about it that repelled or disturbed me. At the time I had no idea what it was. Today I think I see it. I never really liked this poem of yours, which you headed 'Transcend!' as if that were a marching order--thank God you later substituted a better title--I never really liked it because it has something didactic, moralizing, or schoolmasterly about it. If this element could be stripped away, or rather if this whitewash could be scrubbed off, it would be one of your finest poems--I've just realized that again. The real meaning is rather well suggested by the title 'Stages,' although you might just as well and perhaps better have called it 'Music' or 'The Nature of Music.' For if we discount the moralizing or preachy attitude, it is really about the nature of music, or if you will a song in praise of music, of its serenity and resolution, its quality of being constantly present, its mobility and unceasing urge to hasten on, to leave the space it has only just entered. If you contented yourself with this contemplation or praise of the spirit of music, if you had not turned it into an admonition and sermon--though obviously you had pedagogic ambitions even then--the poem might have been a perfect jewel. But as it stands it seems to me not only too hortatory but also afflicted by faulty logic. It equates music and life solely for the sake of the moral lesson. But that is highly questionable and disputable, for it transforms the natural and morally neutral impulse which is the mainspring of music into a 'Life' that summons, calls, commands us, and wants to impart good lessons to us. To put it briefly, in this poem a vision, something unique, beautiful, and splendid, has been falsified and exploited for didactic ends, and it is this aspect that always prejudiced me against it."

  The Magister had been listening with pleasure as his friend worked himself up into that angry ardor which he so liked in him.

  "Let's hope you're right," he said half jokingly. "You certainly are right in what you say about the poem's relationship to music. The idea of serenely moving to distant places and the underlying concept of the lines actually does come from music, without my having been conscious of it. I really don't know whether I corrupted the idea and falsified the vision; you may be right. When I wrote the poem, at any rate, it no longer dealt with music, but with an experience--the very experience that the lovely parable of music had revealed its moral aspect to me and become, within me, an awakening and an admonition to respond to the summons of life. The imperative form of the poem, which so particularly displeases you, is not the expression of any desire to command or teach, because the command is addressed to myself alone. That should have been clear from the last line, my friend, even if you weren't already well aware of it. I experienced an insight, a perception, an inward vision, and was bent on telling the content and the moral of this insight to myself, and impressing it on my mind. That is why the poem remained in my memory, although I was not conscious of it. So whether these lines are good or bad, they've accomplished their purpose; the admonition remained alive inside me and was not forgotten. Today I hear it again as if it were brand new. That's a fine little experience, and your mockery can't spoil it for me. But it's time for me to go. How lovely were those days, my friend, when we were both students and could so often allow ourselves to break the rules and stay together far into the nights, talking. A Magister can no longer allow himself such luxuries--more's the pity."

  "Oh," Tegularius said, "he could allow it--it's a question of not having the courage."

  Laughing, Knecht placed a hand on his shoulder.

  "As far as courage goes, my boy, I might be guilty of worse pranks than that. Good night, old grumbler."

  Gaily, he left the cell. But on the way out through the deserted corridors and courtyards of the Vicus Lusorum his seriousness returned, the seriousness of parting. Leave-takings always stir memories. Now, on this nocturnal walk, he rememberd that first time he had strolled through Waldzell and the Vicus Lusorum as a boy, a newly arrived Waldzell pupil, filled with misgivings and hopes. Only now, moving through the coolness of the night in the midst of silent trees and buildings, did he realize with painful sharpness that he was seeing all this for the last time, listening for the last time to silence and slumber stealing over the Players' Village, by day so lively; for the last time seeing the little light above the gatekeeper's lodge reflected in the basin of the fountain; for the last time watching the clouds in the night sky sailing over the trees of his Magister's garden. Slowly, he went over all the paths and into all the nooks and corners of the Players' Village. He felt an impulse to open the gate of his garden once more and enter it, but he did not have the key with him, and that fact swiftly sobered him and caused him to collect himself. He returned to his apartment, wrote a few letters, including one to Designori announcing his arrival in the capital, and then spent some time in careful meditation to calm his intense emotions, for he wanted to be strong in the morning for his last task in Castalia, the interview with the Head of the Order.

  The following morning the Magister rose at his accustomed hour, ordered his car, and drove off; only a few persons noticed his departure and none gave it any thought. The morning seemed to be drowning in the mists of early autumn as he drove toward Hirsland. He arrived toward noon and asked to be announced to Magister Alexander, the President of the Order. Under his arm he carried, wrapped in a cloth, a handsome metal casket normally kept in a secret com
partment in his office. It contained the insignia of his office, the seals and the keys.

  He was received with some surprise in the "main" office of the Order. It was almost unprecedented for a Magister to appear there unannounced and uninvited. On instructions from the President of the Order he was given lunch, then shown to a rest cell in the old cloisters and informed that His Excellency hoped to be able to find time for him in two or three hours. He asked for a copy of the rules of the Order, settled down with it and read through the entire booklet, to assure himself once more of the simplicity and legality of his plan. Nevertheless, even at this late hour he could not see how to put into words its meaning and its psychological justification.

  There was a paragraph in the rules that had once been assigned to him as a subject for meditation, in the last days of his youthful freedom. That had been shortly before his admission into the Order. Now, reading the paragraph again, he meditated on it once more, and while doing so he became aware of how utterly different a person he was now from the rather anxious young tutor he had then been. "If the High Board summons you to a post," the passage read, "know this: Each upward step on the ladder of officialdom is not a step into freedom, but into constraint. The greater the power of the office, the stricter the servitude. The stronger the personality, the more forbidden is the arbitrary exercise of will." How final and unequivocal all that had once sounded, but how greatly the meaning of so many of the words had changed, especially such insidious words as "constraint," "personality," "will." And yet how beautifully clear, how well-formed and admirably suggestive these sentences were; how absolute, timeless, and incontestably true they could appear to a young mind! Ah yes, and so they would have been, if only Castalia were the world, the whole multifarious but indivisible world, instead of being merely a tiny world within the greater, or a section boldly and violently carved out of it. If the earth were an elite school, if the Order were the community of all men and the Head of the Order God, how perfect these sentences would be, and how flawless the entire Rule. Ah, if only that had been so, how lovely, how fecund and innocently beautiful life would be. And once that had really been so; once he had been able to see it that way: the Order and the Castalian spirit as equivalent to the divine and the absolute, the Province as the world, Castalians as mankind, and the non-Castalian sphere as a kind of children's world, a threshold to the Province, virgin soil still awaiting cultivation and ultimate redemption, a world looking reverently up to Castalia and every so often sending charming visitors such as young Plinio.

  How strange was his own situation, how strange the nature of Joseph Knecht's own mind! In former days, and in fact only yesterday, had he not considered his own special kind of perception--that way of experiencing reality which he called "awakening"--as a slow, step-by-step penetration into the heart of the universe, into the core of truth; as something in itself absolute, a continuous path or progression which nevertheless had to be achieved gradually? In his youth he had thought it right and essential to acknowledge the validity of the outside world as Plinio represented it, but at the same time deliberately to hold aloof from it. At that time it had seemed to him progress, awakening, to make himself a Castalian. And again it had been progress, and his own truth, when after years of doubting he had decided in favor of the Glass Bead Game and the life of Waldzell. It had been the same again when at Master Thomas's command he entered the service, was inducted into the Order by the Music Master, and later when he accepted the appointment as Magister. Each time he had taken a larger or smaller step on a seemingly straight road--and yet he now stood at the end of this road, by no means at the heart of the universe and the innermost core of truth. Rather, his present awakening, too, was no more than a brief opening of his eyes, a finding himself in a new situation, a fitting into new constellations. The same strict, clear, unequivocal, straight path that had brought him to Waldzell, to Mariafels, into the Order, into the office of Magister Ludi, was now leading him out again. What had been a consequence of acts of awakening had likewise been a consequence of partings. Castalia, the Game, the magistracy--each had been a theme which needed to be developed and dismissed; each had been a space to pass through, to transcend. Already they lay behind him. And evidently, even in times past when he had thought and done the opposite of the things he was thinking and doing today, he had somehow known or at least dimly divined the dubiousness of it all. Had he not, in that poem written in his student days and dealing with stages and partings, placed above it the imperative title "Transcend!"?

  Thus his path had been a circle, or an ellipse or spiral or whatever, but certainly not straight; straight lines evidently belonged only to geometry, not to nature and life. Yet he had faithfully obeyed the exhortation and self-encouragement of his poem, even after he had long forgotten the poem and the awakening he had then experienced. Granted, he had not obeyed perfectly, not without falterings, doubts, temptations, and struggles. But he had courageously passed through stage upon stage, space upon space, composedly and with reasonable serenity--not with such radiant cheerfulness as the old Music Master, but without weariness and dejection, without disloyalty and defection. And if at this point he had at last become a defector from the Castalian point of view, if he were flouting all the morality of the Order, seemingly serving only the needs of his own individuality--still, this too would be done in the spirit of courage and of music. No matter how it turned out, he would do it with serenity and a clean tempo. If only he had been able to clarify to Master Alexander what seemed so clear to him; if only he had been able to prove that the apparent willfulness of his present action was in reality service and obedience, that he was moving not toward freedom, but toward new, strange, and hitherto unknown ties; that he was not a fugitive, but a man responding to a summons; not headstrong, but obedient; not master, but sacrifice!

  And what about the virtues of serenity, firm tempo and courage? They dwindled in size perhaps, but remained intact. Even if he might not be advancing on his own, but was only being led, even if what he was undergoing was not independent transcending, but merely a revolving of the space outside him around himself as its center, the virtues persisted and retained their value and their potency. They consisted in affirmation instead of negation, in acceptance instead of evasion. And perhaps there might even be some small virtue in his conducting himself as if he were the master and an active focus, in accepting life and self-deception--with its corollary self-determination and responsibility--without examining these things too closely. Perhaps it was inherently virtuous that for unknown reasons he was by nature more inclined to acting than acquiring knowledge, that he was more instinctual than intellectual. Oh, if only he could have a talk with Father Jacobus about these matters!

  Thoughts or reveries of this sort reverberated in him after his meditation. "Awakening," it seemed, was not so much concerned with truth and cognition, but with experiencing and proving oneself in the real world. When you had such an awakening, you did not penetrate any closer to the core of things, to truth; you grasped, accomplished, or endured only the attitude of your own ego to the momentary situation. You did not find laws, but came to decisions; you did not thrust your way into the center of the world, but into the center of your own individuality. That, too, was why the experience of awakening was so difficult to convey, so curiously hard to formulate, so remote from statement. Language did not seem designed to make communications from this realm of life. If, once in a great while, someone were able to understand, that person was in a similar position, was a fellow sufferer or undergoing a similar awakening. Fritz Tegularius had to some degree shared this insight; Plinio's understanding had gone somewhat further. Whom else could he name? No one.

  Twilight was already beginning to fall; he had been completely lost in his reflections, was altogether remote from his actual situation, when there came a knock on the door. Since he did not respond at once, the person outside waited a little and then tried once more, knocking softly. This time Knecht answered; he rose and went along
with the messenger, who led him into the secretariat and without any further ado into the President's office. Master Alexander came forward to meet him.

  "A pity you came without warning, so that we had to keep you waiting," he said. "I am eager to hear what has brought you here so suddenly. Nothing bad, I hope?"

  Knecht laughed. "No, nothing bad. But do I really come so unexpectedly and have you no idea why I want to see you?"

  Alexander gave him a troubled look. "Well, yes," he said, "I do have some idea. I had, for example, been thinking in the past few days that the subject of your circular letter had certainly not been treated adequately as far as you were concerned. The Board was obliged to answer rather tersely, and perhaps both the tone and the substance of the answer were disappointing to you, Domine."

  "Not at all," Joseph Knecht replied. "I hardly expected any other answer as far as the substance of the Board's reply went. And as for the tone, that pleased me greatly. I could tell that the reply had cost the author considerable effort, almost sorrow, and that he felt the need to mingle a few drops of honey in an answer that was necessarily unpleasant and rather a snub to me. Certainly he succeeded remarkably well, and I am grateful to him for that."

  "Then you have taken the substance of the reply to heart, esteemed Master?"

  "Taken note of it, and I should say that at bottom I have also understood it and approved it. I suppose the reply could not have been anything but a rejection of my petition, together with a gentle reprimand. My circular letter was something untoward, and altogether inconvenient to the Board--I never for a moment doubted that. Moreover, insofar as it contained a personal petition, it probably was not couched in a suitable way. I could scarcely expect anything but a negative reply."

  "We are pleased," the President of the Order said with a hint of acerbity, "that you regard it in this light and that our letter therefore could not have surprised you in any painful way. We are very pleased by that. But I still do not understand. If in writing your letter you already--I do understand you aright, don't I?--did not believe in its success, did not expect an affirmative answer, and in fact were convinced in advance that it would fail, why did you persist with it and go to the farther trouble--the whole thing must have involved considerable effort--of making a clean copy and sending it out?"