The Glass Bead Game (27 page)

Knecht thought it important to win Father Jacobus's approval for the Castalian authorities' project; but it seemed to him far more important to learn as much as possible from him, and for his own part to serve this learned and powerful man as a reliable guide to the Castalian world. A good many of Knecht's friends and later disciples envied him as remarkable men are always envied, not only for their greatness of soul and energy, but also for their seeming luck, their seeming preferment by destiny. The lesser man sees in the greater as much as he can see, and Joseph Knecht's career cannot help striking every observer as unusually brilliant, rapid, and seemingly effortless. Certainly we are tempted to say of that period in his life: he was lucky. Nor would we wish to try to explain this “luck” rationalistically or moralistically, either as the causal result of external circumstances or as a kind of reward for special virtue. Luck has nothing to do with rationality or morality; by its nature it has about it a quality akin to magic, belonging to a primitive, more youthful stage of mankind's history. The lucky innocent, showered with gifts by the fairies, pampered by the gods, is not the object of rational study, and hence not a fit subject for biographical analysis; he is a symbol who always stands outside the personal and the historical realms. Nevertheless, there are outstanding men with whose lives “luck” is intimately bound up, even though that luck may consist merely in the fact that they and the task proper to their talents actually intersect on the plane of history and biography, that they are born neither too soon nor too late. Knecht seems to have been one of these. Thus his life, at least for a considerable part of his way, gives the impression that everything desirable simply fell into his lap. We do not wish to deny or to gloss over this aspect of his life. Moreover, we could explain it rationally only by a biographical method which is not ours, neither desired nor permitted in Castalia; that is, we would have to enter into an almost unlimited discussion of the most personal, most private matters, of health and sickness, the oscillations and curves in his vitality and self-confidence. We are quite sure that any such biographical approach—which is out of the question for us—would reveal a perfect balance between Knecht's “luck” and his suffering, but nevertheless would falsify our portrayal of his person and his life.

But enough digression. We were saying that many of those who knew Knecht, or had only heard of him, envied him. Probably few things in his life seemed to lesser folk so enviable as his relationship to the old Benedictine Father, for he was at one and the same time pupil and teacher, taker and giver, conquered and conqueror, friend and collaborator. Moreover, none of Knecht's conquests since his successful courting of Elder Brother in the Bamboo Grove had given him such happiness. No other had made him feel so intensely honored and abashed, rewarded and stimulated. Of his later favorite pupils, almost all have testified to how frequently, gladly, and joyfully he would refer to Father Jacobus. Knecht learned from the Benedictine something he could scarcely have learned in the Castalia of those days. He acquired an overview of the methods of historical knowledge and the tools of historical research, and had his first practice in applying them. But far beyond that, he experienced history not as an intellectual discipline, but as reality, as life; and in keeping with that, the transformation and elevation of his own personal life into history. This was something he could not have learned from a mere scholar. Father Jacobus was not only far more than a scholar, a seer, and a sage; he was also a mover and shaper. He had used the position in which fate had placed him not just to warm himself at the cozy fires of a contemplative existence; he had allowed the winds of the world to blow through his scholar's den and admitted the perils and forebodings of the age into his heart. He had taken action, had shared the blame and the responsibility for the events of his time; he had not contented himself with surveying, arranging, and interpreting the happenings of the distant past. And he had not dealt only with ideas, but with the refractoriness of matter and the obstinacy of men. Together with his associate and antagonist, a recently deceased Jesuit, he was regarded as the real architect of the diplomatic and moral power and the impressive political prestige that the Roman Church had regained after ages of meekly borne ineffectuality and insignificance.

Although teacher and pupil scarcely ever discussed current politics (the Benedictine's practice in holding his counsel as well as the younger man's reluctance to be drawn into such issues combined to prevent that), Father Jacobus's political position and activities so permeated his mind that all his opinions, all of his glances into the thicket of the world's squabbles were those of the practical statesman. Not that he was an ambitious or an intriguing politician. He was no regent and leader, no climber either, but a councilor and arbitrator, a man whose conduct was tempered by sagacity, whose efforts were restrained by a profound insight into the inadequacies and difficulties of human nature, but whose fame, experience, knowledge of men and conditions, as well as his personal integrity and altruism, had enabled him to gain significant power.

Knecht had known nothing of all this when he came to Mariafels. He had even been ignorant of Father Jacobus's name. The majority of the inhabitants of Castalia lived in a state of political innocence and naïveté such as had been quite common among the professors of earlier ages; they had no political rights and duties, scarcely ever saw a newspaper. Such was the habit of the average Castalian, such his attitude. Repugnance for current events, politics, newspapers, was even greater among the Glass Bead Game players who liked to think of themselves as the real elite, the cream of the Province, and went to some lengths not to let anything cloud the rarefied atmosphere of their scholarly and artistic existences. As we have seen, at the time of his first appearance at the monastery, Knecht had come not as a diplomatic envoy but solely as a teacher of the Glass Bead Game, and had no political knowledge aside from what Monsieur Dubois had managed to instil in a few weeks. He was by comparison much more knowing now, but he had by no means surrendered the Waldzeller's distaste for engaging in current politics. Although his association with Father Jacobus had awakened him politically and taught him a good deal, this had not happened because Knecht was drawn to this realm. It just happened, as an inevitable though incidental consequence.

In order to add to his equipment and the better to fulfill his honorable task of lecturing
de rebus castaliensibus
to his pupil, Father Jacobus, Knecht had brought with him from Waldzell literature on the constitution and history of the Province, on the system of the elite schools, and on the evolution of the Glass Bead Game. Some of these books had served him twenty years before during his struggle with Plinio Designori—and he had not looked at them since. Others, meant specially for the officials of Castalia, had been barred to him as a student. Now he read them for the first time. The result was that at the very time his areas of study were so notably expanding, he was also forced once again to contemplate, understand, and reinforce his own intellectual and historical base. In his efforts to present the nature of the Order and of the Castalian system to Father Jacobus with maximum simplicity and clarity, he inevitably stumbled over the weakest point in his own and all Castalian education. He found that he himself had only a pale and rigidly schematic notion of the historical conditions which had led to the foundation of the Order and everything that followed from it. His picture of the conditions which had furthered the growth of the new system lacked all vividness and orderliness. Since Father Jacobus was anything but a passive pupil, the result was an intensified collaboration, an extremely animated exchange of views. While Joseph tried to present the history of his Castalian Order, Jacobus helped him to see many aspects of this history in the proper light for the first time, and to discern its roots in the general history of nations. Because of the Benedictine's temperament, these discussions often turned into passionate disputes, and as we shall see they continued to bear fruit years later and remained a vital influence down to the end of Knecht's life. On the other hand, the close attention Father Jacobus had given Knecht's exposition, and the thoroughness with which he came to know and appreciate Castalia, was evidenced by his subsequent conduct. Due to the work of these two men, there arose between Rome and Castalia a benevolent neutrality and occasional scholarly exchange which now and then developed into actual co-operation and alliance and ultimately produced the concord which continues to this day. In time Father Jacobus asked to be introduced to the theory of the Glass Bead Game—which he had originally pooh-poohed—for he sensed that here lay the secret of the Order and what might be called its faith or religion. Once he had consented to penetrate into this world he had hitherto known only from hearsay, and for which he had felt little liking, he resolutely proceeded in his shrewd and energetic way straight toward its center. And although he did not become a Glass Bead Game player—he was in any case far too old for that—the devotees of the Game and the Order outside the borders of Castalia had hardly a friend as earnest and as influential as the great Benedictine.

Now and then, after a session of joint work, Father Jacobus would indicate that he would be at home to Joseph that evening. After the strenuous lessons and the tense discussions, those were peaceful hours. Joseph frequently brought his clavichord along, or a violin, and the old man would sit down at the piano in the gentle light of a candle whose sweet fragrance of wax filled the small room like the music of Corelli, Scarlatti, Telemann, or Bach which they played alternately or together. The old man's bedtime came early, while Knecht, refreshed by these brief musical vespers, would continue his studies into the night, to the limits his self-discipline permitted.

Aside from his lessons with Father Jacobus, his perfunctory course in the Game, and an occasional Chinese colloquium with Abbot Gervasius, we also find Knecht engaged at this time in an elaborate task. He was taking part in the annual competition of the Waldzell elite, from which he had abstained in the past two years. The competition involved working out sketches for Games based on three or four prescribed main themes. Stress was placed on new, bold, and original associations of themes, impeccable logic, and beautiful calligraphy. Moreover, this was the sole occasion when competitors were permitted to overstep the bounds of the canon. That is, they could employ new symbols not yet admitted to the official code and vocabulary of hieroglyphs. This made the competition—which in any case was the most exciting annual event in Waldzell except for the great public ceremonial games—a contest among the most promising advocates of new Game symbols, and the very highest distinction for a winner in this competition consisted in the recognition of his proposed additions to the grammar and vocabulary of the Game and their acceptance into the Game Archives and the Game language. This was a very rare distinction indeed; usually the winner had to be content only with the ceremonial performance of his Game as the best candidate's Game of the year. Once, some twenty-five years ago, the great Thomas von der Trave, the present Magister Ludi, had been awarded this honor with his new abbreviations for the alchemical significance of the signs of the zodiac—later, too, Magister Thomas made large contributions to the study and classification of alchemy as a highly meaningful secret language.

For his entry Knecht chose not to draw on any new Game symbols such as virtually every candidate had in readiness. He also refrained from using his Game as an avowal of attachment to the psychological method of Game construction, although that would have been closer to his inclinations. Instead, he built up a Game modern and personal enough in its structure and themes, but of transparently clear, classical composition and strictly symmetrical development in the vein of the old masters. Perhaps distance from Waldzell and the Game Archives forced him to take this line; perhaps his historical studies made too great demands on his time and strength; but it may also be that he was more or less consciously guided by the desire to shape his Game so that it would correspond as closely as possible to the taste of his teacher and friend, Father Jacobus. We do not know.

We have used the phrase “psychological method of Game construction,” and perhaps some of our readers will not immediately understand it. In Knecht's day it was a slogan bandied about a good deal. No doubt all periods have seen currents, vogues, struggles, and differing views and approaches among the initiates of the Glass Bead Game. At that time two opposing concepts of the Game called forth controversy and discussion. The foremost players distinguished two principal types of Game, the formal and the psychological. We know that Knecht, like Tegularius—although the latter kept out of the arguments—belonged to the champions of the latter type. Knecht, however, instead of speaking of the “psychological” mode of play usually preferred the word “pedagogical.”

In the formal Game the player sought to compose out of the objective content of every game, out of the mathematical, linguistic, musical, and other elements, as dense, coherent, and formally perfect a unity and harmony as possible. In the psychological Game, on the other hand, the object was to create unity and harmony, cosmic roundedness and perfection, not so much in the choice, arrangement, interweaving, association, and contrast of the contents as in the meditation which followed every stage of the Game. All the stress was placed on this meditation. Such a psychological—or to use Knecht's word, pedagogical—Game did not display perfection to the outward eye. Rather, it guided the player, by means of its succession of precisely prescribed meditations, toward experiencing perfection and divinity. “The Game as I conceive it,” Knecht once wrote to the former Music Master, “encompasses the player after the completion of meditation as the surface of a sphere encompasses its center, and leaves him with the feeling that he has extracted from the universe of accident and confusion a totally symmetrical and harmonious cosmos, and absorbed it into himself.”