German:
"Knecht half also dem Magister bei der Analyse des vorliegenden Schemas; ..."
English:
"Knecht helped also the master with the analysis of the existing schemes; ..."

In the novel, the studies for the Glass Bead Game had begun in the early 20th century of world wars, and "the highest art" was found, since then, "a history book" about in 23rd century is being described as this novel, as a future novel.

Briefly in the novel, there were
(1) many schemes written by the challengers until the 23rd century,
and Kasterlien (Castalia) was (will be) established, it is by the players' society and a political committee.
(2) The Kasterlien (Castalia) decides what is the magic symbol; realized from the schemes, for the official use.
(3) Seemingly in the story, Magister Ludi (Master of Games) is selected only one, but when it is read carefully, 50 Magister Ludi exist in the world compared with the Biblical recognition.

fig.2:
as the initial magic symbol on x-3,
the left scheme:
the big yellow bead on 1-3
the small water-blue bead on 3-3
the right scheme:
the small yellow bead on 1-3
the big water-blue bead on 2-3
the combined small blue bead on 3-3

fig.2's link:
Paintings beyond Time, Poly-symphony, now no limitation ⊃ {number, space, category, …}synthesis_set. – Kyo’s Blog (kyonissho.com)

Referring fig.2 for example, as the rule of synthesis toward the establishment of Castalia, the beads as the initial magic symbol are put onto x-3, as algebra of reason intuition, as effect of metaphor of the three scheme methods; obtaining the path with omitting time.
Then the schemes become faster to be share, and the realization became from 20th~23rd to the next 20~30 years.

fig.2.1:
Reason concept means, for example, a baby's smile means love, but love isn't only a baby's smile. Marriage, study, establishment of a county, etc. means love, but only one of it isn't love.
Therefore, any reason concept has an instance, but isn't limited by an instance. The glass beads are put on the place of reason concept, the place is 0 of inner/outer reflexive, and algebra of reason concept.

fig.2.2:

We know any abacus places 0 and 1 on any decimal, and any 0 and 1 structure a ubiquitous number space. E.g. any 1 can be placed on any digit, but the 1 on yellow and the 1 on red in fig.2.3 are different.

I translate "all decimal" in fig.2.2 as instance to the small black circle into fig.2.3.

fig.2.2 and fig.2.3:

Any instance synthesized with the inner/outer reflexives, these are the small orange circle, can be placed to the small black circle as transcendence, then each small orange circle is different each other and structures the transcendence.

The small orange circle is placed on any x-3 of item while it is progressing ubiquitously as transcendent, linked with the 0s.

fig.2.4:
For example, of fig.2.4, "flooding ubiquitously" on the item 1-3, "unleashed axes" on the item 2-3, and "to be free" on the item 3-3 are instances of a small orange circle on the circumference from the small black circle of item x-3 in fig.2.3.
A reason concept exists in transcendence, but is experienced. This is realized in the first scheme method, so {any reason concept aimed; x-3} is realized with the conditions from x-2 and x-4, then has the instance, and has been in phenomena.
The small black circle is at the zero; outer-/inner-reflexive, ; life and existence dimension, ; transcendence.

fig.2.4's link:
Joseph and Tito, an arisen.
https://kyonissho.com/kyos-blog/blog/2023/01/14/josef-and-tito-an-arisen/

The zero of life/existence dimension of any reason concept
https://kyonissho.com/kyos-blog/blog/2021/07/15/the-zero-of-life-existence-dimension-of-any-reason-concept/

As motivation, love, freedom, and eternal-life are reason concept.
With the Glass Bead Game, reason concept exists in ubiquitous progress.
Then I refer it that God is a verb with the Jewish practice.

Other motivations that aren't reason concept are sex, money, health, self-expression, self-protection, revenge, fear and death.
For example, money isn't reason concept, has an amount and the function, and is limited with itself.

Fig.3 is the last chapter of the main story. This book has written as a history book from future, but this chapter has been written as "Die Legende (The Legend)."

German:
(1)
Er fand ihn nicht mehr und suchte schwimmend und tauchend so lange nach dem Versunkenen, bis in der bittern Kälte auch ihm die Kräfte schwanden.
(2)
O weh, dachte er entsetzt, nun bin ich an seinem Tode schuldig! Und erst jetzt, wo kein Stolz zu wahren und kein Widerstand mehr zu leisten war, spürte er im Weh seines erschrockenen Herzens, wie lieb er diesen Mann schon gehabt hatte. Und indem er sich, trotz allen Einwänden, an des Meisters Tode mitschuldig fühlte, übercam ihn mit heiligem Schauer die Ahnung, daß diese Schuld ihn selbst und sein Leben umgestalten und viel Größeres von ihm fordern werde, als er bisher je von sich verlangt hatte.

English:
(1)
He found him no more and looking for with swimming and diving so long after the sank, until the strength/power died away also him in the bitter cold.
(2)
Oh alas, he thought horrified, now I am guilty at his death! And now first, where is no pride to preserve and no resistance/opposition to do achieve, he sensed in the alas of his frightened heart, how lovable he had had this man already. And while he felt himself responsible in the position, in despite of all objections, at the death of the master, overcame himself to the dark/indistinct with holy storm/hail, that this certain behavior will create himself to something else and his life and will demand many of greater by him, as he had urged each time until now.

The consideration:
(1) Each culture has the history when the cultural properties were realized, the properties should not be denied as requirements of time force.
(2) As the perfect language, there is no division of the cultural properties.
(3) (1) and (2), but in the novel, "the highest art" has been described and is ruining, finally the finest master dies in "the legend", because this novel is a restricted edition.
(4) (3) is because a perfect language didn't exist yet when this novel was written, i.e. there wasn't how it was described.
(5) (1) and (2), and further future over the time force will be required.
(6) (1), (2) and (5), when the master of games disappeared in legend, Tito (טיט: clay) asks who the clay is, as he is origin, as He is Genesis.

Although I have the initial symbol method already in another way of the novel, because the perfect language is beyond the highest art as you've seen the 50% of my achievement.

(C) Copyright 2023 Kyo Nissho (Kiyom Nishio). All rights reserved.