Grace

“The artistically inclined delight in the Game because it provides opportunities for improvisation and fantasy. The strict scholars and scientists despise it – and so do some musicians also – because, they say, it lacks that degree of strictness which their specialties can achieve. Well and good, you will encounter these antinomies, and in time you will discover that they are subjective, not objective – that, for example, a fancy-free artist avoids pure mathematics or logic not because he understands them and could say something about them if he wished, but because he instinctively inclines toward other things. Such instinctive and violent inclinations and disinclinations are signs by which you can recognize the pettier souls. In great souls and superior minds, these passions are not found. Each of us is merely one human being, merely an experiment, a way station. But each of us should be on the way toward perfection, should be striving to reach the center, not the periphery. Remember this: one can be a strict logician or grammarian, and at the same time full of imagination and music. One can be a musician or Glass Bead Game player and at the same time wholly devoted to rule and order. The kind of person we want to develop, the kind of person we aim to become, would at any time be able to exchange his discipline or art for any other. He would infuse the Glass Bead Game with crystalline logic, and grammar with creative imagination. That is how we ought to be. We should be so constituted that we can at any time be placed in a different position without offering resistance or losing our heads.”
― Hermann Hesse, The Glass Bead Game

“The human attitude of which classical music is the expression is always the same; it is always based on the same kind of insight into life and strives for the same kind of victory over blind chance. Classical music as gesture signifies knowledge of the tragedy of the human condition, affirmation of human destiny, courage, cheerful serenity. The grace of a minuet by Handel or Couperin, the sensuality sublimated into delicate gesture to be found in many Italian composers or in Mozart, the tranquil, composed readiness for death in Bach – always there may be heard in these works a defiance, a death-defying intrepidity, a gallantry, and a note of superhuman laughter, of immortal gay serenity. Let that same note also sound in our Glass Bead Games, and in our whole lives, acts, and sufferings.”
― Hermann Hesse, The Glass Bead Game

“It is understandable that there has been a good deal of joking about purely learned works of this type. Their actual value for the future of scholarship and for the people as a whole cannot be demonstrated. Nevertheless, scholarship, as was true for art in the olden days, must indeed have far-flung grazing grounds, and in pursuit of a subject which interests no one but himself a scholar can accumulate knowledge which provides colleagues with information as valuable as that stored in a dictionary or an archive.”
― Hermann Hesse, The Glass Bead Game

“From the most ancient days of China to the myths of the Greeks we find the concept of an ideal, heavenly life for men under the hegemony of music. The Glass Bead Game is intimately bound up with this cult of music (“in eternal transmutations the secret power of song greets us here below,” says Novalis).”
― Hermann Hesse, The Glass Bead Game