Incidentally, the terminology of Christian theology, or at any rate that part of it which seemed to have become a part of the general cultural heritage, was naturally absorbed into the symbolic language of the Game. Thus one of the principles of the Creed, a passage from the Bible, a phrase from one of the Church Fathers, or from the Latin text of the Mass could be expressed and taken into the Game just as easily and aptly as an axiom of geometry or a melody of Mozart. We would scarcely be exaggerating if we ventured to say that for the small circle of genuine Glass Bead Game players the Game was virtually equivalent to worship, although it deliberately eschewed developing any theology of its own.
In struggling for their continued existence in the midst of soulless world powers, both the Glass Bead Game players and the Roman Church had become too dependent upon each other for either to permit a decisive confrontation between them, although that danger was always present, since the intellectual honesty and the authentic impulse to reach incisive, unequivocal formulations drove the partisans of both toward a parting of the ways. That parting, however, never took place. Rome vacillated between a benevolent and a hostile attitude toward the Game, for a good many of the most talented persons in the Roman congregations, and in the ranks of the high and the highest clergy, were players. And the Game itself, ever since public matches and a Ludi Magister had been instituted, enjoyed the protection of the Order and of the education ministries, both of which always behaved with the greatest possible courtesy and chivalry toward Rome. Pope Pius XV, who as a cardinal had been an excellent and ardent Glass Bead Game player, as pontiff followed the example of all his predecessors in bidding the Game farewell forever; but he went a step further and actually attempted to put the Game on trial. It was a near thing; had he carried out his intention, Catholics would have been forbidden to play the Game. But the pope died before matters came to that point, and a widely read biography of this rather important man has represented his attitude toward the Glass Bead Game as one of deep passion which in his pontifical office he could vent only in the form of hostility.
The Game had been played freely by individuals and cliques, and for a long time amiably promoted by the ministries of education, before it acquired the status of a public institution. It was first organized as such in France and England; other countries followed fairly rapidly. In each country a Game Commission and a supreme head of the Game, bearing the title of Ludi Magister, were established. Official matches, played under the personal direction of the Magister, were exalted into cultural festivals. Like all high functionaries in cultural life, the Magister of course remained anonymous. Aside from a few intimates, no one knew his name. Official and international communications media, such as radio and so on, were made available only for the great official matches over which the Ludi Magister personally presided. Among the duties of the Magister, in addition to conducting the public Games, was supervision of the players and the schools of the Game. Above all, however, the Magister had to keep strict watch over the further elaboration of the Game. The World Commission of the Magisters of all countries alone decided on the acceptance of new symbols and formulas into the existing stock of the Game (which scarcely ever occurs nowadays), on modifications of the rules, on the desirability of including new fields within the purview of the Game. If the Game is regarded as a kind of world language for thoughtful men, the Games Commissions of the various countries under the leadership of their Magisters form as a whole the Academy which guards the vocabulary, the development, and the purity of this language. Each country’s Commission possesses its Archive of the Game, that is, the register of all hitherto examined and accepted symbols and decipherments, whose number long ago by far exceeded the number of the ancient Chinese ideographs.
In general, a passing grade in the final examination in one of the academies, especially one of the elite schools, is considered sufficient qualification for a Glass Bead Game player; but in the past and to this day superior competence in one of the principal fields of scholarship or in music is tacitly assumed. To rise some day to membership in one of the Games Commissions, or even to Ludi Magister, is the dream of almost every fifteen-year-old in the elite schools. But by the time these youth have become doctoral candidates, only a tiny percentage still seriously cling to their ambition to serve the Glass Bead Game and take an active part in its further development. On the other hand, all these lovers of the Game diligently study the lore of the Game and practice meditation. At the “great” Games they form that innermost ring of reverent and devoted participants which gives the public matches their ceremonial character and keeps them from devolving into mere aesthetic displays. To these real players and devotees, the Ludi Magister is a prince or high priest, almost a deity.
But for every independent player, and especially for the Magister, the Glass Bead Game is primarily a form of music-making, somewhat in the sense of those words that Joseph Knecht once spoke concerning the nature of classical music:
“We consider classical music to be the epitome and quintessence of our culture, because it is that culture’s clearest, most significant gesture and expression. In this music we possess the heritage of classical antiquity and Christianity, a spirit of serenely cheerful and brave piety, a superbly chivalric morality. For in the final analysis every important cultural gesture comes down to a morality, a model for human behavior concentrated into a gesture. As we know, between 1500 and 1800 a wide variety of music was made; styles and means of expression were extremely variegated; but the spirit, or rather the morality, was everywhere the same. The human attitude of which classical music is the expression is always the same; it is always based on the same kind of insight into life and strives for the same kind of victory over blind chance. Classical music as gesture signifies knowledge of the tragedy of the human condition, affirmation of human destiny, courage, cheerful serenity. The grace of a minuet by Handel or Couperin, the sensuality sublimated into delicate gesture to be found in many Italian composers or in Mozart, the tranquil, composed readiness for death in Bach — always there may be heard in these works a defiance, a death-defying intrepidity, a gallantry, and a note of superhuman laughter, of immortal gay serenity. Let that same note also sound in our Glass Bead Games, and in our whole lives, acts, and sufferings.”