The Glass Bead Game (56 page)

Under a cherry tree with leaves already showing glints of purple he stopped to rest and sat down in the grass. He reached into the pocket of his coat and took out a thing that Master Alexander would never have guessed he would be carrying, a small wooden flute, which he contemplated for a moment with tenderness. He had not owned this naive, childish-looking instrument for long, perhaps half a year, and he recalled with pleasure the day he had acquired it. He had ridden to Monteport to discuss some problems of musical theory with Carlo Ferromonte. Their conversation had turned to the woodwinds of certain ages, and he had asked his friend to show him the Monteport instrument collection. After an enjoyable stroll through several halls filled with old organ manuals, harps, lutes, and pianos, they had come to a building where instruments for the schools were stored. There Knecht had seen a whole drawer full of such little flutes; he had examined and tried one, and asked his friend whether he might have one. Laughing, Carlo had invited him to choose; still laughing, he had presented him with a receipt to sign; but then he had seriously explained the structure of the instrument, its fingering, and the technique of playing it. Knecht had taken the pretty little toy with him, and practiced on it occasionally—for he had not played a wind instrument since the recorder of his boyhood in Eschholz, and had often resolved to learn one again. In addition to scales, he had used a book of old melodies which Ferromonte had edited for beginners, and every so often the soft, sweet notes of the flute had sounded from the Magister's garden or from his bedroom. He was far from a master of the instrument, but had learned to play a number of chorales and songs; he knew the music by heart, and also the words of a good many of them. One of these songs now sprang into his mind; it seemed highly suitable to the moment. He sang a few lines under his breath:

My body and head

Lay asleep like the dead,

But now I stand strong,

Gay as the day is long

And turn my face to heaven.

He brought the instrument to his lips and blew the melody, looking out into the radiant plain that arched toward the distant mountains, listening to the serenely devout song ringing out in the sweet notes of the flute, and feeling at one and content with the sky, the mountains, the song, and the day. With pleasure, he felt the smooth wand between his fingers and reflected that aside from the clothes on his body this toy flute was the only piece of property he had allowed himself to take from Waldzell. In the course of years he had accumulated a good many things that could be more or less regarded as personal property, above all writings, notebooks, and so on. He had left all these things behind; the Players' Village might use them as it wished. But he had taken the flute, and he was glad to have it with him; it was a modest and lovable traveling companion.

On the second day he arrived in the capital on foot and called at the Designori home. Plinio sped down the steps to meet him and embraced him with emotion.

“We have been longing for you, and anxiously waiting for you!” he exclaimed. “You have taken a great step, friend—may it bring good things to all of us. But to think that they let you go! I never would have believed it.”

Knecht laughed. “You see, I am here. But I'll tell you about it by and by. But now I'd like to greet my pupil, and of course your wife, and discuss everything with you—how we are going to arrange my new position. I am eager to start on it.”

Plinio called a maid and told her to bring his son at once.

“The young gentleman?” she asked, seemingly astonished, but hurried off while Plinio showed his friend to the guest room. He began eagerly describing what preparations he had made for Knecht's arrival, and how he imagined the tutoring of young Tito would work out. Everything had been arranged as Knecht wished it, he said; Tito's mother, after some initial reluctance, had also grasped the reasons for these wishes and assented to them. The family owned a vacation cottage in the mountains, called Belpunt, pleasantly situated on a lake. There Knecht would live with his pupil for the time being. An elderly servant would keep house for them; she had already left several days ago to put the place in order. Of course they could stay there only for a short time, at most till the onset of winter; but such isolation would certainly be beneficial, especially for the initial period. Fortunately, Tito loved the mountains and Belpunt, so the boy made no difficulties about going there. He was even looking forward to the project. At this point Designori remembered that he had an album of photos of the house and its environs. He drew Knecht along into his study, searched eagerly for the album, and when he had found it began showing his guest the house and describing the big farm kitchen–living room, the tile stove, the arbors, the lake shore, the waterfall.

“Does it seem nice to you?” he asked insistently. “Will you feel comfortable there?”

“Why not?” Knecht said calmly. “But I wonder where Tito is. It's been quite some time since he was sent for.”

They chatted for a while longer. Then they heard footsteps outside. The door opened, but neither Tito nor the maid dispatched for him entered. It was Tito's mother, Madame Designori. Knecht rose to greet her. She extended her hand, smiling with a somewhat artificial friendliness; he could see beneath this polite smile an expression of anxiety and vexation. She barely managed a few words of welcome and then turned to her husband and impetuously burst out with what was troubling her.

“It's really so awkward,” she exclaimed. “Imagine, the boy has vanished and is nowhere to be found.”

“Oh well, I imagine he has gone out,” Plinio said soothingly. “He'll be along.”

“Unfortunately that isn't likely,” his wife said. “He's been gone all day. I noticed his absence early this morning.”

“And why am I only now being told about it?”

“Because I naturally expected him back any minute and saw no reason to trouble you needlessly. At first I took it for granted that he had simply gone for a walk. When he didn't return by noon I began to worry. You were not lunching with us today or I would have spoken to you. Even then, I tried to persuade myself that it was simply carelessness on his part to make me wait so long. But it seems it wasn't that.”

“Permit me a question,” Knecht said. “The young man knew I would be arriving soon, didn't he, and about your plans for him and me?”

“Of course, Magister. And he seemed to be agreeable to those plans—or at least he preferred having you as his teacher to being sent back to some school.”

“Oh well,” Knecht said, “then there is nothing to worry about. Your son is used to a great deal of freedom, Signora, especially of late. It's understandable that the prospect of a tutor and disciplinarian should be rather dreadful to him. And so he's made off at just the moment he was to be turned over to his new teacher—probably less with the hope of actually escaping his fate than with the thought that he'll lose nothing by postponement. Besides, he probably wanted to play a trick on his parents and the schoolmaster they've found for him, and so show his defiance to the whole world of grown-ups and teachers.”

Designori was glad that Knecht took the incident so lightly. He himself was full of anxiety; with his intense love for his son, he imagined all sorts of dangers. Perhaps, he thought, the boy had run away in all earnest; perhaps he even intended to do himself some harm. It seemed as if they were going to pay for all their faults of omission and commission in the boy's upbringing, just when they were hoping to remedy things.

Against Knecht's advice, he insisted that something must be done; he could not take this latest crisis passively, and worked himself up to a pitch of impatience and nervous agitation which his friend found deplorable. It was therefore decided to send messages to the homes of a few of Tito's friends, where he sometimes stayed overnight. Knecht was relieved when Madame Designori left to attend to this, and he had Plinio to himself for a while.

“Plinio,” he said, “you look as if your son had just been carried dead into the house. He is no longer a small child and is not likely to have been run over or to have eaten deadly nightshade. So get a grip on yourself, my dear fellow. Since the boy isn't here, permit me for a moment to teach you something in his stead. I have been observing you and find that you're not in the best of form. The moment an athlete receives an unexpected blow or pressure, his muscles react of their own accord by making the necessary movements, stretching or contracting automatically and so helping him master the situation. You too, my pupil Plinio, the moment you received the blow—or what you exaggeratedly thought a blow—should have applied the first defensive measure against psychic assaults and resorted to slow, carefully controlled breathing. Instead you breathed like an actor when he seeks to represent extreme emotion. You are not sufficiently armored; you people in the world seem to be singularly exposed to suffering and cares. There is something helpless and touching about your state; though often, when real suffering is involved and there is meaning to such pangs, it is also magnificent. But for everyday life these protective measures are most valuable and should not be ignored. I will make sure that your son will be better armed when he needs such equipment. And now, Plinio, be so kind as to do a few exercises with me, so that I can see whether you have really forgotten it all.”

With the breathing exercises, which he guided by strictly rhythmical commands, he was able to distract Plinio from his self-induced agonies until he was willing to listen to rational arguments and dismantle the structure of alarm and anxiety he had so lavishly built. They went up to Tito's room, where Knecht looked benignly around at the confusion of boyish possessions. He picked up a book lying on the night table, saw a slip of paper jutting from it, and found it was a note from the vanished boy. Laughing, he handed the paper to Designori, whose expression immediately brightened. Tito had written that he was leaving at daybreak and going to the mountains alone, where he would wait at Belpunt for his new teacher. He hoped, the message said, that his parents would not mind his having this last little jaunt before his freedom was once more awfully restricted; his spirits sank when he thought of having to make this pleasant little journey accompanied by his teacher, a prisoner under supervision.

“Quite understandable,” Knecht commented. “I'll leave for Belpunt tomorrow and will probably find the boy already there. But now you'd better go to your wife and tell her the news.”

For the rest of the day the atmosphere in the house was happy and relaxed. That evening, on Plinio's insistence, Knecht summarized the events of the past several days, and in particular described his two conversations with Master Alexander. On that evening he also scribbled some curious lines of verse on a scrap of paper which is today in the possession of Tito Designori. That came about in the following way.

Before dinner his host had left him alone for an hour. Knecht saw a bookcase full of old books which aroused his curiosity. Idle reading was another pleasure which he had unlearned and almost forgotten in years of abstinence. This moment now reminded him intensely of his student years: to stand before a shelf of unknown books, reach out at random, and choose one or another volume whose gilt or author's name, format or the color of the binding, appealed to him. With pleasure he glanced over the titles on the spines and saw that the shelf consisted entirely of nineteenth- and twentieth-century belles-lettres. Finally he picked out a faded clothbound volume whose title,
Wisdom of the Brahmans,
tempted him. Standing for a while, then seated, he leafed through the book, which contained many hundreds of didactic poems. It was a curious composite of learned loquacity and real wisdom, of philistinism and genuine poetry. This strange and touching book held, it seemed to him, a good deal of important esoteric philosophy, but this was almost lost in the heavyhanded treatment. The best poems were by no means the ones in which the poet tried hard to give form to a theory or a truth, but the ones in which the poet's temperament, his capacity for love, his sincerity, humanitarianism, and deep respectability, found expression. As Knecht delved into the book, with mixed feelings of esteem and amusement, he was struck by a stanza which he absorbed with satisfaction and assent. Reading it, he nodded smilingly, as if it had been specially sent to him for this day in his life. It went:

Our days are precious but we gladly see them going

If in their place we find a thing more precious growing:

A rare, exotic plant, our gardener's heart delighting;

A child whom we are teaching, a booklet we are writing.

He opened the drawer of the desk, found a sheet of paper, and copied out the stanza. Later he showed it to Plinio, and commented: “I liked these lines. There is something special about them; they are so dry and at the same time so deeply felt. And they so well suit me and my momentary situation and mood. Although I am not a gardener and don't intend to devote my days to the cultivation of an exotic plant, I am a teacher, and am on the way to my task, to the child I mean to teach. How I am looking forward to it! As for the author of these lines, the poet Rückert, I would suppose he possessed all three of these noble passions: that of gardener, teacher, and writer. I suppose the third ranked highest with him; he shapes the stanza so that it receives the maximum stress, and dotes so on the object of his passion that he becomes positively tender and calls it not a book, but a booklet. How touching that is.”

Plinio laughed. “Who knows,” he observed, “whether the diminutive is not just a rhymester's trick because he needed a two-syllable instead of a one-syllable word there.”

“Let us not underestimate him,” Knecht replied. “A man who wrote tens of thousands of lines of verse in his lifetime would not be driven into a corner by shabby metrical necessity. No, just listen to it, how loving it sounds, and at the same time just a little sheepish: a booklet we are writing. Perhaps it isn't only his affection that transforms the book into a booklet. Perhaps he also meant it apologetically. Probably this poet was so devoted to his writing that now and again he felt his own passion for making books as a kind of vice. In that case the word booklet would have not only the sense of an endearment, but also a propitiating, disarming connotation, as when a gambler invites someone to a ‘little game' or a drinker asks for ‘just a drop.' Well, these are speculations. In any case, I find myself in full agreement and sympathy with the poet about the child he wishes to teach and the booklet he wants to write. Because I am not only familiar with the passion for teaching; I'm also rather inclined to do a little scribbling too. And now that I have liberated myself from officialdom, I am much drawn to the idea of using my leisure and good spirits one of these days to write a book—or rather, a booklet, a little thing for friends and those who share my views.”