Joseph could appreciate the fact that this man of the world and politician had retained a certain attachment to Castalia. This was, after all, the second time he was sacrificing a holiday to the Glass Bead Game. But in the end, Joseph thought, it was pretty much the same as if he were one day to pay a visit to Plinio’s district and attend a few sessions of the court as a curious guest, and have Plinio show him through a few factories or welfare institutions. Both were disappointed. Knecht found his former friend coarse and superficial. Designori, for his part, found his former schoolmate distinctly haughty in his exclusive esotericism and intellectuality; he seemed to Plinio to have become a “pure intellect” altogether absorbed by himself and his sport.
Both made an effort, however, and Designori had all sorts of tales to tell, about his studies and examinations, about journeys to England and to the south, political meetings, parliament. At one point, moreover, he said something that sounded like a threat or a warning. “You will see,” he said. “Soon there will be times of unrest, perhaps wars, in which case your whole existence in Castalia might well come under attack.”
Joseph did not take this too seriously. He merely asked: “And what about you, Plinio? In that case would you be for or against Castalia?”
“Oh that,” Plinio said with a forced smile. “It’s not likely that I’d be asked my opinion. But of course I favor the undisturbed continuance of Castalia; otherwise I wouldn’t be here, you know. Still and all, although your material requirements are so modest, Castalia costs the country quite a little sum every year.”
“Yes,” Joseph said, laughing, “it amounts, I am told, to about a tenth of what our country used to spend annually for armaments during the Century of Wars.”
They met several more times, and the closer the end of Plinio’s course approached, the more assiduous they became in courtesies toward each other. But it was a relief to both when the two or three weeks were over and Plinio departed.
The Magister Ludi at that time was Thomas von der Trave, a famous, widely traveled, and cosmopolitan man, gracious and obliging toward everyone who approached him, but severe to the point of fanaticism in guarding the Game against contamination. He was a great worker, something unsuspected by those who knew him only in his public role, dressed in his festive robes to conduct the great Games, or receiving delegations from abroad. He was said to be a cool, even icy rationalist, whose relationship to the arts was one of mere distant civility. Among the young and ardent amateurs of the Glass Bead Game, rather deprecatory opinions of him could be heard at times — misjudgments, for if he was not an enthusiast and in the great public games tended to avoid touching on grand and exciting themes, the brilliant construction and unequalled form of his games proved to the cognoscenti his total grasp of the subtlest problems of the Game’s world.
One day the Magister Ludi sent for Joseph Knecht. He received him in his home, in everyday clothes, and asked whether he would care to come for half an hour every day at this same time for the next few days. Knecht, who had never before had any private dealings with the Master, was somewhat astonished.
For the present, the Master showed him a bulky memorandum, a proposal he had received from an organist — one of the innumerable proposals which the directorate of the Game regularly had to examine. Usually these were suggestions for the admission of new material to the Archives. One man, for example, had made a meticulous study of the history of the madrigal and discovered in the development of the style a curve that he had expressed both musically and mathematically, so that it could be included in the vocabulary of the Game. Another had examined the rhythmic structure of Julius Caesar’s Latin and discovered the most striking congruences with the results of well-known studies of the intervals in Byzantine hymns. Or again some fanatic had once more unearthed some new cabala hidden in the musical notation of the fifteenth century. Then there were the tempestuous letters from abstruse experimenters who could arrive at the most astounding conclusions from, say, a comparison of the horoscopes of Goethe and Spinoza; such letters often included pretty and seemingly enlightening geometric drawings in several colors.
Knecht attacked the manuscript with eagerness. He himself, after all, had often pondered such proposals, although he had never submitted any. Every active Glass Bead Game player naturally dreams of a constant expansion of the fields of the Game until they include the entire universe. Or rather, he constantly performs such expansions in his imagination and his private Games, and cherishes the secret desire for the ones which seem to prove their viability to be crowned by official acceptance. The true and ultimate finesse in the private Games of advanced players consists, of course, in their developing such mastery over the expressive, nomenclatural, and formative factors of the Game that they can inject individual and original ideas into any given Game played with objective historical materials. A distinguished botanist once whimsically expressed the idea in an aphorism: “The Glass Bead Game should admit of everything, even that a single plant should chat in Latin with Linnaeus.”
Knecht, then, helped the Magister analyze the suggestion. The half-hour passed swiftly. He came punctually the next day, and so for two weeks came daily for a half-hour session with the Magister Ludi. During the first few days it struck him that the Master was asking him to work carefully and critically through altogether inferior memoranda, whose uselessness was evident at first glance. He wondered that the Master had time for this sort of thing, and gradually became aware that the purpose was not just to lighten the Master’s work load. Rather, this assignment, although necessary in itself, was giving the Master a chance to subject him, the young adept, to an extremely courteous but stringent examination. What was taking place was rather similar to the appearance of the Music Master in his boyhood; he suddenly became aware of it now by the behavior of his associates, who treated him more shyly, reservedly, and sometimes with ironic respect. Something was in the wind; he sensed it; but now it was far less a source of joy than it had been then.
After the last of these sessions the Magister Ludi said in his rather high, courteous voice and in that carefully enunciated speech of his, but without the slightest solemnity: “Very well; you need not come tomorrow. Our business is completed for the moment. But I shall soon be having to trouble you again. Many thanks for your collaboration; it has been valuable to me. Incidentally, in my opinion you ought to apply for your admission to the Order now. There will be no difficulties; I have already informed the heads of the Order.” As he rose he added: “One word more, just by the way. Probably you too sometimes incline, as most good Glass Bead Game players do in their youth, to use our Game as a kind of instrument for philosophizing. My words alone will not cure you of that, but nevertheless I shall say them: Philosophizing should be done only with legitimate tools, those of philosophy. Our Game is neither philosophy nor religion; it is a discipline of its own, in character most akin to art. It is an art sui generis. One makes greater strides if one holds to that view from the first than if one reaches it only after a hundred failures. The philosopher Kant — he is little known today, but he was a formidable thinker — once said that theological philosophizing was ‘a magic lantern of chimeras.’ We should not make our Glass Bead Game into that.”