For the narrower circle, our book would need neither introduction nor commentary. But since we also wish our hero’s life and writings to be studied outside the Order, we are confronted with the somewhat difficult task of prefacing our book with a brief popular introduction, for that less-prepared reader, into the meaning and history of the Glass Bead Game. We stress that this introduction is intended only for popular consumption and makes no claim whatsoever to clarifying the questions being discussed within the Order itself on the problems and history of the Game. The time for an objective account of that subject is still far in the future.
Let no one, therefore, expect from us a complete history and theory of the Glass Bead Game. Even authors of higher rank and competence than ourself would not be capable of providing that at the present time. That task must remain reserved to later ages, if the sources and the intellectual prerequisites for the task have not previously been lost. Still less is our essay intended as a textbook of the Glass Bead Game; indeed, no such thing will ever be written. The only way to learn the rules of this Game of games is to take the usual prescribed course, which requires many years; and none of the initiates could ever possibly have any interest in making these rules easier to learn.
These rules, the sign language and grammar of the Game, constitute a kind of highly developed secret language drawing upon several sciences and arts, but especially mathematics and music (and/or musicology), and capable of expressing and establishing interrelationships between the content and conclusions of nearly all scholarly disciplines. The Glass Bead Game is thus a mode of playing with the total contents and values of our culture; it plays with them as, say, in the great age of the arts a painter might have played with the colors on his palette. All the insights, noble thoughts, and works of art that the human race has produced in its creative eras, all that subsequent periods of scholarly study have reduced to concepts and converted into intellectual property — on all this immense body of intellectual values the Glass Bead Game player plays like the organist on an organ. And this organ has attained an almost unimaginable perfection; its manuals and pedals range over the entire intellectual cosmos; its stops are almost beyond number. Theoretically this instrument is capable of reproducing in the Game the entire intellectual content of the universe. These manuals, pedals, and stops are now fixed. Changes in their number and order, and attempts at perfecting them, are actually no longer feasible except in theory. Any enrichment of the language of the Game by addition of new contents is subject to the strictest conceivable control by the directorate of the Game. On the other hand, within this fixed structure, or to abide by our image, within the complicated mechanism of this giant organ, a whole universe of possibilities and combinations is available to the individual player. For even two out of a thousand stringently played games to resemble each other more than superficially is hardly possible. Even if it should so happen that two players by chance were to choose precisely the same small assortment of themes for the content of their Game, these two Games could present an entirely different appearance and run an entirely different course, depending on the qualities of mind, character, mood, and virtuosity of the players.
