The Glass Bead Game (51 page)

In all beginnings is a magic source …

He murmured this under his breath, uncertain where he had read it. The line appealed to him and seemed to suit the mood of this hour. In the garden, he sat down on a bench strewn with the first faded leaves, regulated his breathing, and fought for inner tranquility, until with a purged heart he sank into contemplation in which the patterns of this hour in his life arranged themselves in universal, supra-personal images. But on the way to the small lecture room, the line of verse came back to him. He turned the words over in his mind, and thought that he did not have them quite right. Suddenly his memory cleared. Under his breath he recited:

In all beginnings dwells a magic force

For guarding us and helping us to live.

But it was not until nearly evening, long after his lecture was over and he had passed on to all sorts of other routine matters, that he discovered the origin of the verses. They were not the work of some old poet; they came from one of his own poems, which he had written in his student days. He remembered now that the poem had ended with the line:

So be it, heart: bid farewell without end!

That very evening he sent for his deputy and informed him that on the morrow he would have to leave for an indefinite time. He put him in charge of all current affairs, with brief instructions, and bade good-by in a friendly and matter-of-fact way, as he would ordinarily have done before departing on a brief official journey.

He had realized some time earlier that he would have to leave without informing his friend Tegularius and burdening him with farewells. This course was essential, not only to spare his oversensitive friend, but also in order not to endanger his whole plan. Presumably Fritz would make his peace with the accomplished fact, whereas an abrupt disclosure and a farewell scene might lead to a regrettable emotional upheaval. Knecht had for a while even thought of departing without seeing Fritz for the last time. But now he decided that it would seem too much like evading a difficult encounter. However wise it was to spare his friend agitation and an occasion for follies, he had no right to make the thing so easy for himself. A half-hour remained before bedtime; he could still call on Tegularius without disturbing him or anyone else.

Night had already settled in the broad inner courtyard as he crossed to his friend's cell. He knocked with that strange feeling of: this is the last time, and found Tegularius alone. Delighted, Fritz laid aside the book he had been reading and invited Knecht to sit down.

“An old poem came to my mind today,” Knecht remarked casually, “or rather a few lines from it. Perhaps you know where the rest can be found.” And he quoted: “In all beginnings dwells a magic force…”

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 compartment 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!”?