Summary (Masterplots, Fourth Edition)
In reaction to the shallowness and frivolousness of their age, a number of groups interested in fostering the intellectual and the spiritual capacity of society begin to develop. Among these is the League of Journeyers to the East, which focuses on the contemplative elements of culture and introduces them into the glass bead game.
The history and development of the game is an interesting one. Like any great idea, the game itself has no real beginning, for it is foreshadowed in ancient philosophies that range from Pythagoras’s mathematical theorems to the ideas of harmony and peace of ancient Chinese thinkers. The present form of the game had developed in Castalia, a province of intellectual elites whose quest for wholeness and unity finds its highest expression in the game. The origins of the Castalian order and the establishment of the game had grown and evolved in reaction to the age of the feuilleton, where bourgeois writers discussed such mundane and superficial topics as the role of the lapdog in the lives of great courtesans.
At first the game is little more than a witty exercise for musicians and students interested in the intellectual commonalities of music and mathematics. Eventually, a musicologist named Lusor, or Joculator, Basiliensis invents a new language of symbols and formulas for the game, whose glass beads resemble an abacus, and reduces mathematics and music to a common denominator. The game becomes the essence of...
(The entire section is 1249 words.)
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Summary (Magill's Survey of World Literature, Revised Edition)
The Glass Bead Game is Hesse’s masterpiece. He wrote it over a period of eleven years (1932 to 1943), during a time when the world seemed bent on self-destruction. Because The Glass Bead Game is, among other things, an urgent plea for an all-embracing humanitarianism, it has a more didactic tone and a more explicit linkage with spiritual ideas from the past. The result is a book subject to many interpretations. On one level it restates Hesse’s belief in the individual’s ability to attain perfection and to help others by serving as an example, creating an eternal circle of master and disciple. By affirming faith in the individual’s perfectibility and will to serve, Hesse implies his belief in the coming of a better humanity that will conquer chaos and barbarity.
For many readers, the significance of The Glass Bead Game lies in the synthesis that it represents in Hesse’s art and life. It is the work in which he reaffirms most strongly his belief in the Kingdom of the Spirit, seeing in the Game an eternal approach to this Kingdom. The central figure’s name, (Josef) Knecht, means “servant” in German, suggesting that his purpose is to serve the hierarchy. His ultimate service is as supreme Magister Ludi, an office he holds for eight years, but he is plagued by doubts from the beginning. Slowly he realizes that he is aware of the polarities of the light World of the Father (Castalia) and the dark World of the Mother...
(The entire section is 532 words.)
Summary (Masterplots II: World Fiction Series)
Hermann Hesse’s last novel, his most ambitious in scope and theme, traces the growth of the youth Joseph Knecht from early studies through maturing philosophical discovery to the office of Magister Ludi and past it, to his voluntary retirement and death. At once a Bildungsroman, a roman a clef, and a philosophical utopian novel, The Glass Bead Game ranks with a handful of other twentieth century novels as one of the most complex expressions of the modernist sensibility in prose literature.
Told by an anonymous narrator, possibly Knecht’s successor to the title of Magister Ludi, the story of Knecht’s absorption with the Glass Bead Game begins with early school successes at the violin. Discovered by an ancient musician who travels from school to school and is known only as the Magister Musicae, Knecht demonstrates an aesthetic sensitivity, a technical skill, and an ability to improvise on musical themes that convince the Master of the young man’s promising future as one of the elitist members of the Order of Castalia. The Order is partly a monastic and reclusive quasi-religious sect, partly a musician’s conservatory, and partly a think tank for the ongoing study of universal correspondences articulated through mathematics, history, logic, and the literary arts.
Knecht’s initiation into the mainstream of Castalian life comes at two schools: Eschholz, a clearing ground to determine the students’ special strengths, and...
(The entire section is 694 words.)