The quotes which follow are drawn from The Glass Bead Game: A General Introduction to its History for the Layman, which occupies the first 30 or so pages of Hesse's book.
Although we recognize the idea of the Game as eternally present, and therefore existent in vague stirrings long before it became a reality, its realization in the form we know it nevertheless has its specific history.
Under the shifting hegemony of now this, now that science or art, the Game of games had developed into a kind of universal language through which the players could express values and set these in relation to one another. Throughout its history the Game was closely allied with music, and usually proceeded according to musical and mathematical rules. One theme, two themes, or three themes were stated, elaborated, varied, and underwent a development quite similar to that of the theme in a Bach fugue or a concerto movement. A Game, for example, might start from a given astronomical configuration, or from the actual theme of a Bach fugue, or from a sentence out of Leibniz or the Upanishads, and from this theme, depending on the intentions and talents of the player, it could either further explore and elaborate the initial motif or else enrich its expressiveness by allusions to kindred concepts. Beginners learned how to establish parallels, by means of the Game's symbols, between a piece of classical music and the formula for some law of nature. Experts and Masters of the Game freely wove the initial theme into unlimited combinations.
The Glass Bead Game is thus a mode of playing with the total contents and values of our culture; it plays with them as, say, in the great age of the arts a painter might have played with the colors on his palette. All the insights, noble thoughts, and works of art that the human race has produced in its creative eras, all that subsequent periods of scholarly study have reduced to concepts and converted into intellectual values the Glass Bead Game player plays like the organist on an organ. And this organ has attained an almost unimaginable perfection; its manuals and pedals range over the entire intellectual cosmos; its stops are almost beyond number.
After each symbol conjured up by the director of a Game, each player was required to perform silent, formal meditation on the content, origin, and meaning of this symbol, to call to mind intensively and organically its full purport. The members of the Order and of the Game associations brought the technique and practice of contemplation with them from their elite schools, where the art of contemplation and meditation was nurtured with the greatest care.
Pious thinkers of earlier times had represented the life of creatures, say, as a mode of motion toward God, and had considered that the variety of the phenomenal world reached perfection and ultimate cognition only in the divine Unity. Similarly, the symbols and formulas of the Glass Bead Game combined structurally, musically, and philosophically within the framework of a universal language, were nourished by all the sciences and arts, and strove in play to achieve perfection, pure being, the fullness of reality. Thus, "realizing" was a favorite expression among the players. They considered their Games a path from Becoming to Being, from potentiality to reality...
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...
Hermann Hesse and Glass Bead Game Design sub-index
HipBone Guided Tour
Invitation to the Games
Barebones HipBone Site Index
Annotated HipBone Site Index
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