As long as Knecht permitted the flow of inner images to come without direction, as they do, like dreams, in the initial stage of relaxation, there were two principal scenes which emerged from the stream and lingered, two pictures or symbols, two parables. In the first Knecht, as a boy, followed the Master along a variety of ways. The Music Master strode before him as his guide, and each time he turned around and showed his face he looked older, more tranquil and venerable, visibly approaching an ideal of timeless wisdom and dignity, while he, Joseph Knecht, devotedly and obediently walked along after his exemplar, but all the time remaining the selfsame boy, at which he alternately felt at one moment shame, at another a certain rejoicing, if not something close to defiant satisfaction. And the second picture was this: the scene in the piano room, the old man’s entering where the boy waited, was repeated again and again, an infinite number of times; the Master and the boy followed each other as if drawn along the wires of some mechanism, until soon it could no longer be discerned which was coming and which going, which following and which leading, the old or the young man. Now it seemed to be the young man who showed honor and obedience to the old man, to authority and dignity; now again it was apparently the old man who was required to follow, serve, worship the figure of youth, of beginning, of mirth. And as he watched this at once senseless and significant dream circle, the dreamer felt alternately identical with the old man and the boy, now revering and now revered, now leading, now obeying; and in the course of these pendulum shifts there came a moment in which he was both, was simultaneously Master and small pupil; or rather he stood above both, was the instigator, conceiver, operator, and onlooker of the cycle, this futile spinning race between age and youth. With shifting sensations he alternately slowed the pace and speeded it to a frantic rush. Out of this process there evolved a new conception, more akin to a symbol than a dream, more insight than image: the conception or rather the insight that this meaningful and meaningless cycle of master and pupil, this courtship of wisdom by youth, of youth by wisdom, this endless, oscillating game was the symbol of Castalia. In fact it was the game of life in general, divided into old and young, day and night, yang and yin, and pouring on without end. Having arrived at this in his meditation, Joseph Knecht found his way from a world of images to tranquility, and after long absorption returned strengthened and serenely cheerful.
When a few days later the directors of the Order summoned him, he went confidently. He received the fraternal greeting of the superiors, a brief clasping of hands and suggestion of an embrace, with composure and grave serenity. He was informed of his appointment as Magister Ludi, and commanded to appear at the festival hall on the day after the morrow for the investiture and swearing-in. This was the same hall in which, so short a while ago, the deceased Master’s deputy had completed the dismal ceremonies as if he were a sacrificial beast decked out with gold. The day before the investiture was to be devoted to a careful study, accompanied by ritual meditations, of the formula of the oath and the “breviary for the Magister” under the guidance and supervision of two superiors. This time they were the Chancellor of the Order and the Magister Mathematicae, and during the noon rest of this very strenuous day Joseph vividly recalled his admission to the Order and how the Music Master had talked with him beforehand. This time, to be sure, the rite of admission did not lead him, as it yearly did hundreds of others, through a wide gate into a large community. Rather, he was passing through the eye of the needle into the highest and narrowest circle, that of the Masters. Later he confessed to the former Music Master that on that day of intensive self-examination one thought had given him trouble, one altogether ridiculous notion. He had, he said, feared the moment in which one of the Masters would point out to him how unusually young he was to be receiving the highest dignity. He had seriously had to fight this fear, this childishly vain thought, and to fight as well the impulse to answer, if there should be some allusion to his age: “Why not then wait until I am older? I have never aspired to this elevation, you know.” But further self-examination showed him that unconsciously the thought of his appointment, and the desire for it, could not after all have been so far from his mind. And, he went on to tell the Music Master, he had admitted this to himself, had recognized the vanity of his thought and rejected it; moreover, neither on that day nor at any other time did any of his colleagues remind him of his age.
