Nearing the halfway mark. Joseph Knecht has advanced to become the Ludi Magister, which is of course no surprise as it was mentioned in the introduction by our narrator, who relays Joseph's story from the distant future. And in that sense, much of the first half of this book has been somewhat predictable. Joseph is a lovely, patient, highly intelligent and likable man, who we know straight away will reach this high appointment in the Castalia order.
When we first learned that some school children could be chosen for an elite school, it was obvious that young Joseph would be chosen. When our narrator revealed that one secondary school (Waldzell) was valued above the others, it was clear that held Joseph's path as well.
Prior to each step Joseph Knecht has taken so far into an advanced setting is met with mockery by those who are not worthy of that step. This happened prior to being deemed an elite, upon his admission into Waldzell, and then again just before being accepted into the group of Glass Bead Game connoisseurs. In each instant our narrator describes how other pupils mock and belittle those who have advanced. Except of course for Knecht who never does, and then is humbled and surprised each time by his own acceptance. I suppose this behavior is natural among school children, though I would have thought the elites themselves would know better than to ridicule their advanced peers. Perhaps this repetition is intentionally revealing. Perhaps these jealousies exist at all intellectual levels and must be constantly observed and avoided. Perhaps it is a trend in life that the high-ups are mocked when the outsiders remain outside, regardless of how far up the order the latter have advanced.
My favorite parts of the novel so far have been Joseph's time with the hermit (Elder Brother) and his time in the monastery. I enjoy his conversations with Father Jacobus especially. I did find myself routing for Joseph in his (personal and official) mission to convince Father Jacobus of Castalia's worth. But I also found myself smile at Jacobus's criticisms, which I think are valid. Namely, Castalians may have an utmost and ever expanding hold on or respect for human knowledge, but they do miss out on much of the human condition. True poverty, politics, romantic or even familial love – they have no knowledge of these things. And without this knowledge how can they possibly understand the world? But maybe that's not the point. Maybe that's okay.
It was revealed to me that a major shift takes place in the novel. I imagine I'm about to turn that corner seeing as though he's reached the pinnacle of achievement within Castalia. And he is so young. And it's only halfway through the novel. Perhaps he will go out into the world, join Plinio Designori. Although I'd worry about his spending time with a powerful man. Perhaps instead he will witness war, a political conflict among citizens of foreign countries about whose problems he's never before studied. Or maybe his fate is more along the lines of the hermit. That would not surprise me, though I imagine more will happen before that. There has been much talk lately about then need to preserve the Castalian way of life. So perhaps that will come under attack by outside forces.
I have a question I cannot forget. Sometime during his early years at Waldzell, I think about the time he was engaging in debates with Plinio, something was mentioned about his writing short poems, which was not permitted. I do not understand this aspect of Castalia. The Music Master mentioned that some critics claim The Glass Bead Game is a substitute for art. So it's not? Is it studying the histories and arts of others without creating new? Why? I'm not clear on this and I did not mark this specific instance because I thought more would follow. But now I cannot locate the passage in question, nor am I sure what to make of it.
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