Thomas Mann, immediately sensing that the serious theme of Hesse's novel was enclosed within "a cunning artistic joke," recognized the source of its humor in "the parody of biography and the grave scholarly attitude.
In the nearly half a century since its publication, The Glass Bead Game has enjoyed the adulation customarily awarded to literary "classics. Hesse's opus magnum was one of the first works by a distinguished emigre to be published in Germany after the war, and it has been regularly reprinted there since The book was dutifully translated into English, Swedish, French, Spanish, Italian, and other languages.
But the novel, whose title supplied us with one of those imagistically suggestive catchwords for our age, like "the Waste Land" or "the Magic Mountain," has suffered the fate of many classics--it is less frequently read than cited, more often studied than appreciated. In Germany many readers, blandly ignoring the implicit criticism in the novel, tended to see in Hesse's cultural province nothing but a welcome utopian escape from harsh postwar realities.
More discerning European critics have usually been so preoccupied with the fashionably grave implications that they have neither laughed at its humor nor smiled at its ironies. In part these one-sided readings are understandable, for the humor is often hidden in private jokes of the sort to which Hesse became increasingly partial in his later years. The games begin with the motto attributed to "Albertus Secundus," which is actually fictitious.
Hesse wrote the motto himself and had it translated into Latin by two former schoolmates, who are cited in Latin abbreviation as the editors: Franz Schall "noise" or Clangor and Feinhals "slender neck" or Collo fino. The book is full of this "onomastic comedy" that appealed to Thomas Mann, also a master of the art.
Thus Carlo Ferromonte is an italianized form of the name of the author's nephew, Karl Isenberg, who assisted Hesse with the music history that is interwoven with the history of the Glass Bead Game. The "inventor" of the Game, Bastian Perrot of Calw, gets his name from Heinrich Perrot, the owner of a machine shop where Hesse once worked for a year after he dropped out of school. The figure of Thomas von der Trave is a detailed and easily recognizable portrait of Thomas Mann, who was born in the town of Lubeck on the river Trave.
In the person of Fritz Tegularius, Hesse has given us his interpretation of the brilliant but unbalanced character of Friedrich Nietzsche. And Tegularius' spiritual opponent in the novel, Father Jacobus, borrows some of his words and most of his ideas from Nietzsche's antagonist, the historian Jakob Burckhardt.
The reader who fails to catch these sometimes obscure references is not only missing much of the fun of the book, he is also unaware of its implications in the realm of cultural history and criticism.
The reception of The Glass Bead Game in this country has been affected by other factors as well. The book was available after under the misleading title Magister Ludi. But if it failed to make an impact, this was due equally to the translation by Mervyn Savill, which fails to bring out its irony, and to the fluctuations of Hesse's reputation in the United States. Eliot for some thirty years before he received the Nobel Prize, Time magazine noted in that his works were still virtually unknown here.
His eightieth birthday, widely celebrated abroad, passed unnoticed in the United States in And when Hesse died in , a New York Times obituary stated that he was "largely unapproachable" for American readers.
This neglect was due in part to the introspective, lyrical quality of his novels, which depart radically from the more realistic tradition that dominated American fiction between the world wars. But another circumstance was probably more important in accounting for the lack of interest in his works for a good fifteen years after he received the Nobel Prize.
Hesse's novels fictionalize the admonitions of an outsider urging us to question accepted values, to rebel against the system, to challenge conventional "reality" in the light of higher ideals. For almost two decades after World War II our society was characterized largely by the button-down-collar mentality of a silent generation whose goal it was to become a part of the establishment and to reap its benefits as rapidly as possible.
Such ages have little use for critics of the system and prophets of the ideal. But the times changed, and Hesse suddenly became relevant for a generation bent on the rejection of the consumer society of the pre-Kennedy era.
But relevance resides in the mind of the perceiver, and the under-thirty generation that embraced Hesse in the sixties--first as an underground classic and later as a text in high school and college courses--was better known for its rebelliousness than for its sense of irony. As a result, the Hesse cult in the United States revolved primarily around such painfully humorless works as Demian and Siddhartha, in which readers discovered an anticipation of their infatuation with Eastern mysticism, pacifism, the search for personal values, and revolt against the establishment.
Those who moved on to Steppenwolf greeted it as a psychedelic orgy of sex, drugs, and jazz, but conveniently overlooked the ironic attitude through which those superficial effects are put back into perspective by the author. It was partly as a reaction against such self-indulgent interpretations, which he encountered as early as the twenties, that Hesse undertook The Glass Bead Game. What is the "Glass Bead Game"?
In the idyllic poem "Hours in the Garden" , which he wrote during the composition of his novel, Hesse speaks of "a game of thoughts called the Glass Bead Game" that he practiced while burning leaves in his garden.
As the ashes filter down through the grate, he says, "I hear music and see men of the past and future. I see wise men and poets and scholars and artists harmoniously building the hundred-gated cathedral of Mind. This is really all that we need to know.
The Glass Bead Game is an act of mental synthesis through which the spiritual values of all ages are perceived as simultaneously present and vitally alive. It was with full artistic consciousness that Hesse described the Game in such a way as to make it seem vividly real within the novel and yet to defy any specific imitation in reality. The humorless readers who complained to Hesse that they had invented the Game before he put it into his novel--Hesse actually received letters asserting this!
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