I
thought
to
myself
Withwhat
means,
with
what
dtf(?P,‘[}!l0Il.\',
with
how
many
varied
arts,
withwhat!
induxzry
a
man
sharpens
hiswits
tozleceive
another.
and
lhrough
these
variationstheworldis
madcmore
beautiful.
FRA
'
nsro
V|;’l”l'()Rl,
(‘0.\Il|1MI‘(‘IR/\RYAND
FRIFNDor
MA<‘rIIAvr|_i_I.
FARIYSI.Y'lT,FNTH
(‘FNTKIRY
Thereareno
princi-
pl€SCl/1(’Y(,'
are
only
evmtr.Thereisno
good
and
had,
thereare
only
«:ircmrIslumte,.r.
The
superior
man
C.\‘p()l4S(’.§'
eventsand
circumstamesinorder
In
guide
them.
If
there
were
principlm
and
fixed
laws,
nations
wouldnot
change
them
aswe
change
ourshirrs
andamancurtnotbe
expecrr/l
to
be
wiser
thananentiremmnn.
HONOREDr.
BALZAC.
1'/‘)‘)~1 850
L1?
;'
PREFACE
Loveandaffectionarealso
potentially
destructive,
inthat
they
blind
you
totheoften
self-serving
interestsofthosewhom
you
least
suspect
of
playing
a
powergame.
You
cannot
repressanger
or
love,
oravoid
feeling
them,
and
you
shouldnot
try.
But
you
shouldbecareful
about
how
you
ex-
press
them,
and
most
important,they
shouldneverinfluence
yourplans
and
strategies
in
anyway.
Relatedto
mastering
your
emotionsisthe
ability
todistance
yourself
fromthe
present
momentandthink
objectively
aboutthe
past
andfuture.
Like
Janus,
thedouble—facedRoman
deity
and
guardian
ofall
gates
and
doorways,
you
mustbeabletolookinbothdirectionsat
once,
thebetterto
handle
danger
fromwhereveritcomes.Suchistheface
you
mustcreatefor
yourself-one
face
lookingcontinuously
tothefutureandtheothertothe
ast.
P
Forthe
future,
themotto
is,
“No
days
unalert.”
Nothing
shouldcatch
youbysurprise
because
you
are
constantlyimaginingproblems
before
they
arise.Insteadof
spendingyour
time
dreaming
of
your
plan’s
happy
ending,you
mustworkon
calculatingeverypossiblepermutation
and
pit-
fallthat
mightemerge
init.Thefurther
you
see,
themore
steps
ahead
you
plan,
themore
powerfulyou
become.
Theother
face
of
Janus
looks
constantly
tothe
past—though
nottore-
member
past
hurtsorbear
grudges.
Thatwould
only
curb
yourpower.
Halfofthe
game
is
learning
howto
forget
thoseeventsinthe
past
that
eat
away
at
you
and
cloud
your
reason.
The
real
purpose
ofthebackward-
glancingeye
istoeducate
yourselfconstantly—you
lookatthe
past
tolearn
fromthosewhocamebefore
you. (Themany
historical
examples
inthis
bookwill
greatly
help
that
process.)
Then,
having
lookedtothe
past,you
lookcloserat
hand,
to
your
ownactionsandthoseof
your
friends.Thisis
themostvitalschool
you
canlearn
from,
becauseitcomesfrom
personal
experience.
You
beginbyexamining
themistakes
you
havemadeinthe
past,
the
onesthathavemost
grievously
held
you
back.You
analyze
theminterms
ofthe 48 lawsof
power,
and
you
extractfromthemalessonandanoath:
“Ishallnever
repeat
sucha
mistake;
Ishall neverfall
intosuch
a
trap
again.”
If
you
can
evaluate
andobserve
yourself
in
this
way,you
canlearn
tobreakthe
patterns
ofthe
past—animmensely
valuableskill.
Power
requires
the
ability
to
play
with
appearances.
Tothisend
you
mustlearntowear
many
masks
and
keep
a
bag
full
of
deceptive
tricks.De-
ception
and
masquerade
shouldnotbeseenas
ugly
orimmoral.Allhuman
interaction
requiresdeception
on
many
levels,
andinsome
ways
what
sep—
arateshumansfromanimalsisour
ability
tolieanddeceive.InGreek
myths,
inIndia’sMahabharata
cycle,
intheMiddleEastern
epic
of
Gilga~
mesh,
itisthe
privilege
ofthe
gods
touse
deceptive
arts;
a
great
man,
Odysseus
for
instance,
was
judgedby
his
ability
torivalthe
craftiness
of
the
gods,stealing
someoftheirdivine
powerbymatching
theminwitsandde-
ception.Deception
isa
developed
artofcivilizationandthemost
potent
weapon
inthe
game
of
power.