Master Of Disguise Quotes

I’m in disguise. I’m disguised as myself, and I’m a master of disguise, so that’s why you couldn’t tell I was in disguise. Not even my clone could tell.

Do you know what a friend is, milord? (Emily) An enemy in disguise. (Draven)

Who claims Truth, Truth abandons. History is hir'd, or coerc'd, only in Interests that must ever prove base. She is too innocent, to be left within the reach of anyone in Power,- who need but touch her, and all her Credit is in the instant vanish'd, as if it had never been. She needs rather to be tended lovingly and honorably by fabulists and counterfeiters, Ballad-Mongers and Cranks of ev'ry Radius, Masters of Disguise to provide her the Costume, Toilette, and Bearing, and Speech nimble enough to keep her beyond the Desires, or even the Curiosity, of Government.

Ohmygod," Jade whispered, panicked. She grabbed my arm and yanked, almost knocking me off balance. "Something moved in those bushes." I shoved her off, pointed to the ground, and smiled. From under the bush, long ears attached to a tiny brown speckles head peeked out. "Yeah. That bunny is a Denazen suit in disguise. Where do you suppose he's hiding his gun? Or maybe he doesn't need one. Maybe he's a martial arts master trained in the art of kickassery.

Beware of perpetrators in disguise... Some people set fires wherever they go, and have mastered the art of playing the burn victim.

Lust is a master showman who disguises himself as love, and love is a mythical creature who keeps habitat with the Easter Bunny, Santa Claus, the Tooth Fairy, and other lies we have been fed.

One of the challenges with secrets is that they need disguises, which manifest as lies. Tinkering with the truth is an art form and, when done masterfully, can paint exquisite stories.

The Devil is a master of disguise and takes on many forms. He comes to conquer you, steal your joy, kill your spirit, and destroy your faith. When you are doing right, he attacks you from the left but know that God is all powerful and God is in you and that no weapon formed against you shall prosper.

Representation matters. I offer my story because it illustrates the truth no one wants to admit: that darkness is where you least expect it. I am a criminal without a record. I am a master of disguise. I have never been caught. I have rarely been sorry. I am friendly. I am responsible. I am invisible. I blend right in. I am a twenty-first-century sociopath.

How we hate to admit that we would like nothing better than to be the slave! Slave and master at the same time! For even in love the slave is always the master in disguise. The man who must conquer the woman, subjugate her, bend her to his will, form her according to his desires—is he not the slave of his slave? How easy it is, in this relationship, for the woman to upset the balance of power! The mere threat of self-dependence, on the woman’s part, and the gallant despot is seized with vertigo. But if they are able to throw themselves at one another recklessly, concealing nothing, surrendering all, if they admit to one another their interdependence, do they not enjoy a great and unsuspected freedom? The man who admits to himself that he is a coward has made a step towards conquering his fear; but the man who frankly admits it to every one, who asks that you recognize it in him and make allowance for it in dealing with him, is on the way to becoming a hero. Such a man is often surprised, when the crucial test comes, to find that he knows no fear. Having lost the fear of regarding himself as a coward he is one no longer: only the demonstration is needed to prove the metamorphosis. It is the same in love. The man who admits not only to himself but to his fellowmen, and even to the woman he adores, that he can be twisted around a woman’s finger, that he is helpless where the other sex is concerned, usually discovers that he is the more powerful of the two. Nothing breaks a woman down more quickly than complete surrender. A woman is prepared to resist, to be laid siege to: she has been trained to behave that way. When she meets no resistance she falls headlong into the trap. To be able to give oneself wholly and completely is the greatest luxury that life affords. Real love only begins at this point of dissolution. The personal life is altogether based on dependence, mutual dependence. Society is the aggregate of persons all interdependent. There is another richer life beyond the pale of society, beyond the personal, but there is no knowing it, no attainment possible, without firs traveling the heights and depths of the personal jungle. To become the great lover, the magnetiser and catalyzer, the blinding focus and inspiration of the world, one has to first experience the profound wisdom of being an utter fool. The man whose greatness of heart leads him to folly and ruin is to a woman irresistible. To the woman who loves, that is to say. As to those who ask merely to be loved, who seek only their own reflection in the mirror, no love however great, will ever satisfy them. In a world so hungry for love it is no wonder that men and women are blinded by the glamour and glitter of their own reflected egos. No wonder that the revolver shot is the last summons. No wonder that the grinding wheels of the subway express, though they cut the body to pieces, fail to precipitate the elixir of love. In the egocentric prism the helpless victim is walled in by the very light which he refracts. The ego dies in its own glass cage…

It ratified a theory of mine that great writing could sneak up on you, master of a thousand disguises: prodigal kinsman, messenger boy, class clown, commander of artillery, altar boy, lace maker, exiled king, peacemaker, or moon goddess.

Even though still young, I did not know what it was to experience the clear-cut feeling of platonic love. Was this a misfortune? But what meaning could ordinary misfortune have for me? The vague uneasiness surrounding my sexual feelings had practically made the carnal world an obsession with me. my curiosity was actually purely intellectual, but I became skillful at convincing myself that it was carnal desire incarnate. What is more, I mastered the art of delusion until I could regard myself as a truly lewd-minded person. As a result I assumed the stylish airs of an adult, of a man of the world. I affected the attitude of being completely tired of women. Thus it was that I first became obsessed with the idea of the kiss. Actually the action called a kiss represented nothing more for me than some place where my spirit could seek shelter. I can say so now. But at that time, in order to delude myself that this desire was animal passion. I had to undertake an elaborate disguise of mu true self. The unconscious feeling of guilt resulting from this false pretense atubbornly insisted that I play a conscious and false role.

I am Loken, Power of Shadow, member of the Shadow Coalition, connoisseur of the jest, master of disguises, ruler of the emerald sea, and so on, and so on…

True criticism praises true art for what it does-praises as plainly and comprehensively as possible-and denounces false art for its failure to do art's proper work. No easy task, the task of the critic, since the trolls are masters of disguise.

He was the most persuasive speaker, less for his words than character behind them. He made every listener feel he had done his best to master every aspect of this question, who has been driven by logic to arrive at certain conclusions, and who is disguising from us no argument on either side.

My master taught me that nobody at all should become indignant about anything until he is sure that what he thinks is a wrong is in fact a wrong — and not a blessing in disguise!

I am not an actress. I am a mistress of disguise. Acting happens to be one of the perks

Egos are drawn to bigger egos. Darkness cannot recognize light. Only light can recognize light. So don’t believe that the light is outside you or that it can only come through one particular form. If only your master is an incarnation of God, then who are you? Any kind of exclusivity is identification with form, and identification with form means ego, no matter how well disguised. Use the master’s presence to reflect your own identity beyond name and form back to you and to become more intensely present yourself. You will soon realize that there is no “mine” or “yours” in presence. Presence is one.

I left no ring with her. What means this lady? Fortune forbid my outside have not charmed her. She made good view of me; indeed, so much That, as methought, her eyes had lost her tongue, For she did speak in starts distractedly. She loves me sure; the cunning of her passion Invites me in this churlish messenger. None of my lord's ring? Why, he sent her none. I am the man. If it be so, as 'tis, Poor lady, she were better love a dream. Disguise, I see thou art a wickedness Wherein the pregnant enemy does much. How easy is it for the proper false In women's waxen hearts to set their forms! Alas, our frailty is the cause, not we, For such as we are made of, such we be. How will this fadge? My master loves her dearly; And I (poor monster) fond as much on him; And she (mistaken) seems to dote on me. What will become of this? As I am man, My state is desperate for my master's love. As I am woman (now alas the day!), What thriftless sighs shall poor Olivia breathe? O Time, thou must untangle this, not I; It is too hard a knot for me t' untie.

What if it turns out there really are witches and vampires and werewolves living right here alongside us? After all, what better disguise could there be than to get your image enshrined in the culture of the mass media? Anything that's described in artistic terms and shown in the movies stops being frightening and mysterious. For real horror you need the spoken word, you need an old grandpa sitting on a bench, scaring the grandkids in the evening: 'And then the Master of the house came to him and said: "I won't let you go, I'll tie you up and bind you tight and you'll rot under the fallen branches!"' That's the way to make people wary of anomalous phenomena! Kids sense that, you know–it's no wonder they love telling stories about the Black Han and the Coffin on Wheels. But modern literature, and especially the movies, it all just dilutes that instinctive horror. How can you feel afraid of Dracula, if he's been killed a hundred times? How can you be afraid of aliens, if our guys always squelch them? Yes, Hollywood is the great luller of human vigilance. A toast–to the death of Hollywood, for depriving us of a healthy fear of the unknown!

Disillusioned words like bullets bark As human gods aim for their marks Made everything from toy guns that sparks To flesh-colored Christs that glow in the dark It's easy to see without looking too far That not much Is really sacred. While preachers preach of evil fates Teachers teach that knowledge waits Can lead to hundred-dollar plates Goodness hides behind its gates But even the President of the United States Sometimes must have To stand naked. An' though the rules of the road have been lodged It's only people's games that you got to dodge And it's alright, Ma, I can make it. Advertising signs that con you Into thinking you're the one That can do what's never been done That can win what's never been won Meantime life outside goes on All around you. Although the masters make the rules For the wise men and the fools I got nothing, Ma, to live up to. For them that must obey authority That they do not respect in any degree Who despite their jobs, their destinies Speak jealously of them that are free Cultivate their flowers to be Nothing more than something They invest in. While some on principles baptized To strict party platforms ties Social clubs in drag disguise Outsiders they can freely criticize Tell nothing except who to idolize And then say God Bless him. While one who sings with his tongue on fire Gargles in the rat race choir Bent out of shape from society's pliers Cares not to come up any higher But rather get you down in the hole That he's in. Old lady judges, watch people in pairs Limited in sex, they dare To push fake morals, insult and stare While money doesn't talk, it swears Obscenity, who really cares Propaganda, all is phony. While them that defend what they cannot see With a killer's pride, security It blows the minds most bitterly For them that think death's honesty Won't fall upon them naturally Life sometimes Must get lonely. And if my thought-dreams could been seen They'd probably put my head in a guillotine But it's alright, Ma, it's life, and life only.

As I learned the house, and began to read, and began to see more of the Quality, I saw that just as the fields and its workers were the engine of everything, the house itself would have been lost without those who tasked within it. My father, like all the masters, built an entire apparatus to disguise this weakness, to hide how prostrate they truly were. The tunnel, where I first entered the house, was the only entrance that the Tasked were allowed to use, and this was not only for the masters’ exaltation but to hide us, for the tunnel was but one of the many engineering marvels built into Lockless so as to make it appear powered by some imperceptible energy. There were dumbwaiters that made the sumptuous supper appear from nothing, levers that seemed to magically retrieve the right bottle of wine hidden deep in the manor’s bowels, cots in the sleeping quarters, drawn under the canopy bed, because those charged with emptying the chamber-pot must be hidden even more than the chamber-pot itself. The magic wall that slid away from me that first day and opened the gleaming world of the house hid back stairways that led down into the Warrens, the engine-room of Lockless, where no guest would ever visit. And when we did appear in the polite areas of the house, as we did during the soirées, we were made to appear in such appealing dress and grooming so that one could imagine that we were not slaves at all but mystical ornaments, a portion of the manor’s charm. But I now knew the truth—that Maynard’s folly, though more profane, was unoriginal. The masters could not bring water to boil, harness a horse, nor strap their own drawers without us. We were better than them—we had to be. Sloth was literal death for us, while for them it was the whole ambition of their lives. It occurred to me then that even my own intelligence was unexceptional, for you could not set eyes anywhere on Lockless and not see the genius in its makers—genius in the hands that carved out the columns of the portico, genius in the songs that evoked, even in the whites, the deepest of joys and sorrows, genius in the men who made the fiddle strings whine and trill at their dances, genius in the bouquet of flavors served up from the kitchen, genius in all our lost, genius in Big John. Genius in my mother.

We are now at the place where we see that progress simply must be made in the realm of morals and ethics and character, if civilization is to be saved. The time has come when we must face the solving of the world’s true problems—the human problems… The problem of lying—which is called propaganda… the problem of selfishness—which is called nationalism or self-interest… the problem of greed—which is often called profit or good business… the problem of license disguised as liberty… the problem of lust masquerading as love… the challenge of materialism—the hook that is baited with security… These are the problems that confront us now.

Even more essential, however, is the identification of the individuals in the masses with the "führer." The more helpless the "mass-individual" has become, owing to his upbringing, the more pronounced is his identification with the führer, and the more the childish need for protection is disguised in the form of a feeling at one with the führer. This inclination to identify is the psychological basis of national narcissism, i.e., of the self-confidence that individual man derives from the "greatness of the nation." The reactionary lower middle-class man perceives himself in the führer, in the authoritarian state. On the basis of this identification he feels himself to be a defender of the "national heritage," of the "nation," which does not prevent him, likewise on the basis of this identification, from simultaneously despising "the masses" and confronting them as an individual. The wretchedness of his material and sexual situation is so overshadowed by the exalting idea of belonging to a master race and having a brilliant führer that, as time goes on, he ceases to realize how completely he has sunk to a position of insignificant, blind allegiance. The worker who is conscious of his skills—he, in short, who has rid himself of his submissive structure, who identifies with his work and not with the führer, with the international working masses and not with the national homeland—represents the opposite of this. He feels himself to be a leader, not on the basis of his identification with the führer, but on the basis of his consciousness of performing work that is vitally necessary for society's existence.

It was our passion for words and our ardent desire to write that drew me and Michael together, and the same that drove us apart. Michael wanted to be a great playwright, like the former master Molière. He had high ambitions and scorned what I wrote as frivolous and feminine. ‘All these disguises and duels and abductions,’ he said contemptuously, one day a year or so after our affair began, slapping down the pile of paper covered with my sprawling handwriting. ‘All these desperate love affairs. And you wish me to take you seriously.’ ‘I like disguises and duels.’ I sat bolt upright on the edge of my bed. ‘Better than those dreary boring plays you write. At least something happens in my stories.’ ‘At least my plays are about something.’ ‘My stories are about something too. Just because they aren’t boring doesn’t mean they aren’t worthy.’ ‘What are they about? Love’ He clasped his hands together near his ear and fluttered his eyelashes.’ ‘Yes, love. What’s wrong with writing about love? Everyone longs for love.’ ‘Aren’t there enough love stories in the world without adding to them? ‘Isn’t there enough misery and tragedy?’ Michael snorted with contempt. ‘What’s wrong with wanting to be happy? ‘It’s sugary and sentimental.’ ‘Sugary? I’m not sugary.’ I was so angry that I hurled my shoes at his head.

For this equality belongs to the post-Renaissance world of ideology-of political magic and the alchemical science” of politics. Envy is the basis of its broad appeal. And rampant envy, the besetting virus of modern society, is the most predictable result of insistence upon its realization. Furthermore, hue and cry over equality of opportunity and equal rights leads, a fortiori, to a final demand for equality of condition. Under its pressure self respect gives way in the large majority of men who have not reached the level of their expectation, who have no support from an inclusive identity, and who hunger for “revenge” on those who occupy a higher station and will (they expect) continue to enjoy that advantage. The end result is visible in the spiritual proletarians of the “lonely crowd.” Bertrand de Jouvenel has described the process which produces such non-persons in his memorable study, On Power. They are the natural pawns of an impersonal and omnicompetent Leviathan. And to insure their docility such a state is certain to recruit a large “new class” of men, persons superior in “ability” and authority, both to their ostensible “masters” among the people and to such anachronisms as stand in their progressive way. Such is the evidence of the recent past and particularly of American history. Arrant individualism, fracturing and then destroying the hope of amity and confederation, the communal bond and the ancient vision of the good society as an extrapolation from family, is one villain in this tale. Another is rationalized cowardice, shame, and ingratitude hidden behind the disguise of self-sufficiency or the mask of injured merit. Interdependence, which secures dignity and makes of equality a mere irrelevance, is the principal victim.

entire apparatus to disguise this weakness, to hide how prostrate they truly were. The tunnel, where I first entered the house, was the only entrance that the Tasked were allowed to use, and this was not only for the masters’ exaltation but to hide us, for the tunnel was but one of the many engineering marvels built into Lockless so as to make it appear powered by some imperceptible energy. There were dumbwaiters that made the sumptuous supper appear from nothing, levers that seemed to magically retrieve the right bottle of wine hidden deep in the manor’s bowels, cots in the sleeping quarters, drawn under the canopy bed, because those charged with emptying the chamber-pot must be hidden even more than the chamber-pot itself.

We write a line we're especially proud of, and weeks later find it staring -no glaring- back at us from some stanza in George Herbert or Emily Dickinson. All poets have debts outstanding. It's how we learn; how we adore; we come to ourselves by putting those selves into the hands of masters. With experience we learn how to disguise our thefts (sometimes by flaunting them). It is how we both continue and extend a tradition. -J.D. McClatchy, Writing Between the Lines

Yeshua Said: When you love some, but do not love some others it isn’t love: it is a collection of lower emotions, feelings and desires combined, disguised and misinterpreted as love. True love cannot help itself, it runs throughout, it cannot have exclusions; and even that it does not like, does not support: that which opposes it and tries to cause it pain, it loves nevertheless. Love is not a faucet to be turned on or off and directed in a chosen way; it is a tidal wave that sweeps indiscriminately throughout everything.

Le Boucher, the early Claude Chabrol that Hitch, according to lore, wished he’d directed. Dark Passage, with Humphrey Bogart and Lauren Bacall—a San Francisco valentine, all velveteen with fog, and antecedent to any movie in which a character goes under the knife to disguise himself. Niagara, starring Marilyn Monroe; Charade, starring Audrey Hepburn; Sudden Fear!, starring Joan Crawford’s eyebrows. Wait Until Dark: Hepburn again, a blind woman stranded in her basement apartment. I’d go berserk in a basement apartment. Now, movies that postdate Hitch: The Vanishing, with its sucker-punch finale. Frantic, Polanski’s ode to the master. Side Effects, which begins as a Big Pharma screed before slithering like an eel into another genre altogether. Okay. Popular film misquotes. “Play it again, Sam”: Casablanca, allegedly, except neither Bogie nor Bergman ever said it. “He’s alive”: Frankenstein doesn’t gender his monster; cruelly, it’s just “It’s alive.” “Elementary, my dear Watson” does crop up in the first Holmes film of the talkie era, but appears nowhere in the Conan Doyle canon.

In the winter of 1987 India was full of iskeems that had gone awry. Agricultural iskeems, political iskeems, economic iskeems, educational iskeems, stop black money iskeems, attract white tourists iskeems, drinkable water iskeems, animal protection iskeems, women's welfare iskeems, nurture children iskeems, don't scan female foetus iskeems, privatization iskeems, medical iskeems, entertainment iskeems, old India iskeems and new India iskeems. We had mastered the art of nomenclature from the white man. Grand labels could disguise unforgivable things.

What are the Italians of today but men tricked out in women's finery, when they should be waiting full-armed to rally at the first signal of revolt? Oh, for the day when a poet shall arise who dares tell them the truth, not disguised in sentimental frippery, not ending in a maudlin reconciliation of love and glory — but the whole truth, naked, cold and fatal as a patriot's blade; a poet who dares show these bedizened courtiers they are no freer than the peasants they oppress, and tell the peasants they are entitled to the same privileges as their masters!" He

Only on how we are becoming more and more commercial with each project.  Corporations are driving it all with their friends in Washington beating their ‘in the interest of national security’ drums which means that anything connected to energy these days, especially the black liquid kind, is considered national security.  Most of our projects in the last few years have been soil and drilling samples thinly disguised as marine research which really means looking for new oil reserves for the conglomerates.”  He leaned back in his chair unable to hide his irritation.  “I’ll tell you this, corporations have become the puppet masters behind the government.

Look at me. With those words, Rowling completes the incantation for the stupendous magic she has cast over seven books with her creation of Severus Snape. Everything about Snape is contained in those three words. The spy who longed for nothing more than to be seen. The double agent who killed the mentor who was the last person to see his true self. The ugly boy who grew up into a man so ugly that students couldn’t look upon him without revulsion. The master of Occlumency who was sealed shut so tightly, his eyes looked dead. The Master of Death who didn’t need a cloak to be invisible, completing his second chance at life, removing his disguise and meeting Death as a friend.

I will not mention the name (and what bits of it I happen to give here appear in decorous disguise) of that man, that Franco-Hungarian writer... I would rather not dwell upon him at all, but I cannot help it— he is surging up from under my pen. Today one does not hear much about him; and this is good, for it proves that I was right in resisting his evil spell, right in experiencing a creepy chill down my spine whenever this or that new book of his touched my hand. The fame of his likes circulates briskly but soon grows heavy and stale; and as for history it will limit his life story to the dash between two dates. Lean and arrogant, with some poisonous pun ever ready to fork out and quiver at you, and with a strange look of expectancy in his dull brown veiled eyes, this false wag had, I daresay, an irresistible effect on small rodents. Having mastered the art of verbal invention to perfection, he particularly prided himself on being a weaver of words, a title he valued higher than that of a writer; personally, I never could understand what was the good of thinking up books, of penning things that had not really happened in some way or other; and I remember once saying to him as I braved the mockery of his encouraging nods that, were I a writer, I should allow only my heart to have imagination, and for the rest rely upon memory, that long-drawn sunset shadow of one’s personal truth. I had known his books before I knew him; a faint disgust was already replacing the aesthetic pleasure which I had suffered his first novel to give me. At the beginning of his career, it had been possible perhaps to distinguish some human landscape, some old garden, some dream- familiar disposition of trees through the stained glass of his prodigious prose... but with every new book the tints grew still more dense, the gules and purpure still more ominous; and today one can no longer see anything at all through that blazoned, ghastly rich glass, and it seems that were one to break it, nothing but a perfectly black void would face one’s shivering soul. But how dangerous he was in his prime, what venom he squirted, with what whips he lashed when provoked! The tornado of his passing satire left a barren waste where felled oaks lay in a row, and the dust still twisted, and the unfortunate author of some adverse review, howling with pain, spun like a top in the dust.

The most important feeling in the world is trust. The worse is betrayal. Without trust, there is no love. Without trust, there is betrayal. And betrayal is the ultimate consequence of selfishness and naiveness, both ramifications of egotism. Whenever you can't confront reality, you can't love and you can't protect yourself against the lack of it. Wisdom can help you, because wisdom consists in the ability to love oneself, confront reality and accept the mistakes of others. That requires courage, but courage without wisdom is foolishness in disguise. You must be wise to see through and remain calm. It is a never-ending goal, and as much as the intensity of the complexities you're faced with. More complexities require more wisdom. Peace can't be found without an action towards it, and solutions that justify it. An antagonistic solution would only present itself as one whenever wisdom has failed. An avatar must be immensely wise to live with himself but not ignorant enough to accept the masses when confronted with their ignorance. However, if you're just a mortal being struggling against endless challenges, pray to God for wisdom, for He will bring forth to your realm His most highly recommended masters and meaningful literature. If you find them, don't judge them by how they appear, look or are dressed. Don't judge them as well by when and where they appear to you. For the unwise does not have the right to judge the mysteries unveiling his own ignorance. And if you find a book in a trashcan, do not judge it as well by where you have found it. Salvation is everywhere. It is wise to believe that. We suffer more due to the immense signs we reject than those we accept.

But over the years, of pain and distaste for what her mother had once called 'the horrible side of married life', of lonely days filled with aimless pursuits or downright boredom, of pregnancies, nurses, servants and the ordering of endless meals, it had come to seem as though she had given up of everything for not very much. She had journeyed towards this conclusion by stages hardly perceptible to herself, disguising discontent with some new activity which, as she was a perfectionist, would quickly absorb her. But when she had mastered the art, or the craft, or the technique involved in whatever it was, she realised that her boredom was intact and was simply waiting for her to stop playing with a loom, a musical instrument, a philosophy, a language, a charity or a sport and return to recognising the essential futility of her life. Then, bereft of distracton, she would relapse into a kind of despair as each pursuit betrayed her, failing to provide the raison d'être that had been her reason for taking it up in the first place.

The question concerning the origin of moral valuations is therefore a matter of the highest importance to me because it determines the future of mankind. The demand made upon us to believe that everything is really in the best hands, that a certain book, the Bible, gives us the definite and comforting assurance that there is a Providence that wisely rules the fate of man — when translated back into reality amounts simply to this, namely, the will to stifle the truth which maintains the reverse of all this, which is that hitherto man has been in the worst possible hands, and that he has been governed by the physiologically botched, the men of cunning and burning revengefulness, and the so-called "saints" — those slanderers of the world and traducers of humanity. The definite proof of the fact that the priest (including the priest in disguise, the philosopher) has become master, not only within a certain limited religious community, but everywhere, and that the morality of decadence, the will to nonentity, has become morality per se, is to be found in this: that altruism is now an absolute value, and egoism is regarded with hostility everywhere. He who disagrees with me on this point, I regard as infected. But all the world disagrees with me.

The declining age of learning and of mankind is marked, however, by the rise and rapid progress of the new Platonists. The school of Alexandria silenced those of Athens; and the ancient sects enrolled themselves under the banners of the more fashionable teachers, who recommended their system by the novelty of their method and the austerity of their manners. Several of these masters—Ammonius, Plotinus, Amelius, and Porphyry—were men of profound thought and intense application; but, by mistaking the true object of philosophy, their labors contributed much less to improve than to corrupt human understanding. The knowledge that is suited to our situation and powers, the whole compass of moral, natural and mathematical science, was neglected by the new Platonists; whilst they exhausted their strength in the verbal disputes of metaphysics, attempted to explore the secrets of the invisible world, and studied to reconcile Aristotle with Plato, on subjects of which both of these philosophers were as ignorant as the rest of mankind. Consuming their reason in these deep but unsubstantial meditations, their minds were exposed to illusions of fancy. They flattered themselves that they possessed the secret of disengaging the soul from its corporeal prison, claimed a familiar intercourse withe dæmons and spirits; and, by a very singular revolution, converted the study of philosophy into that of magic. The ancient sages had derided the popular superstition; after disguising its extravagance by the this pretense of allegory, the disciples of Plotinus and Porphyry becomes its most zealous defenders. As they agreed with the Christians in a few mysterious points of faith, they attacked the remainder of their theological system with all the fury of civil war. The new Platonists would scarcely deserve a place in the history of science, but in that of the church the mention of them will very frequently occur.

People should forgive me, as an old philologist who cannot prevent himself from maliciously setting his finger on the arts of bad interpretation ― but that "conformity to nature" which you physicists talk about so proudly, as if ― it exists only thanks to your interpretation and bad "philology"― it is not a matter of fact, a "text." It is much more only a naively humanitarian emendation and distortion of meaning, with which you make concessions ad nauseam to the democratic instincts of the modern soul! "Equality before the law everywhere ― in that respect nature is no different and no better than we are": a charming ulterior motive, in which once again lies disguised the rabble's hostility to everything privileged and autocratic, as well as a second and more sophisticated atheism. Ni dieu, ni maître [neither god nor master] ― that's how you want it, and therefore "Up with natural law!" Isn't that so? But, as mentioned, that is interpretation, not text, and someone could come along who had an opposite intention and style of interpretation and who would know how to read out of this same nature, with a look at the same phenomena, the tyrannically inconsiderate and inexorable enforcement of power claims ― an interpreter who set right before your eyes the unexceptional and unconditional nature in all "will to power," in such a way that almost every word, even that word "tyranny," would finally appear unusable or an already weakening metaphor losing its force ― as too human ― and who nonetheless in the process finished up asserting the same thing about this world as you claim, namely, that it has a "necessary" and "calculable" course, but not because laws rule the world but because there is a total absence of laws, and every power draws its final consequence in every moment. Supposing that this also is only an interpretation ―and you will be eager enough to raise that objection?― well, so much the better.

You will make a very good Chief Magistrate, I think.” Shock swept over him that he fought mightily to disguise. So she knew of that, did she? “I’m only one of several possible candidates, madam. You do me great honor to assume I’ll be chosen.” “Masters tells me that the appointment is all but settled.” “Then Masters knows more than I do on the subject.” “And more than my granddaughter as well,” she said. His stomach knotted. Damn Mrs. Plumtree and her machinations. “But I’m sure you took great pains to inform her of it.” The woman hesitated, then gripped the head of her cane with both hands. “I thought she should have all the facts before she threw herself into a misalliance.” Hell and blazes. And Mrs. Plumtree had probably implied that a rich wife would advance his career. He could easily guess how Celia would respond to hearing that, especially after he’d fallen on her with all the subtlety of an ox in rut. His temper swelled. Although he’d suspected that Mrs. Plumtree wouldn’t approve of him for her granddaughter, some part of him had thought that his service to the family-and the woman’s own humble beginnings-might keep her from behaving predictably. He should have known better. “No doubt she was grateful for the information.” After all, it gave Celia just the excuse she needed to continue in her march to marry a great lord. “She claimed that there was nothing between you and her.” “She’s right.” There never had been. He’d been a fool to think there could me. “I am glad to hear it.” Her sidelong glance was filled with calculation. “Because if you play your cards right, you have an even better prospect before you than that of Chief Magistrate.” He froze. “What do you mean?” “You may not be aware of this, but one of my friends is the Home Secretary, Robert Peel. Your superior.” “I’m well aware who my superior is.” “It seems he wishes to establish a police force,” she went on. “He is fairly certain that it will come to pass eventually. When it does, he will appoint a commissioner to oversee the entire force in London.” She cast him a hard stare. “You could be that man.” Jackson fought to hide his surprise. He’d heard rumors of Peel’s plans, of course, but hadn’t realized that they’d progressed so far. Or that she was privy to them. Then it dawned on him why she was telling him this. “You mean, I could be that man if I leave your granddaughter alone.

Both C.K. and Bieber are extremely gifted performers. Both climbed to the top of their industry, and in fact, both ultimately used the Internet to get big. But somehow Bieber “made it” in one-fifteenth of the time. How did he climb so much faster than the guy Rolling Stone calls the funniest man in America—and what does this have to do with Jimmy Fallon? The answer begins with a story from Homer’s Odyssey. When the Greek adventurer Odysseus embarked for war with Troy, he entrusted his son, Telemachus, to the care of a wise old friend named Mentor. Mentor raised and coached Telemachus in his father’s absence. But it was really the goddess Athena disguised as Mentor who counseled the young man through various important situations. Through Athena’s training and wisdom, Telemachus soon became a great hero. “Mentor” helped Telemachus shorten his ladder of success. The simple answer to the Bieber question is that the young singer shot to the top of pop with the help of two music industry mentors. And not just any run-of-the-mill coach, but R& B giant Usher Raymond and rising-star manager Scooter Braun. They reached from the top of the ladder where they were and pulled Bieber up, where his talent could be recognized by a wide audience. They helped him polish his performing skills, and in four years Bieber had sold 15 million records and been named by Forbes as the third most powerful celebrity in the world. Without Raymond’s and Braun’s mentorship, Biebs would probably still be playing acoustic guitar back home in Canada. He’d be hustling on his own just like Louis C.K., begging for attention amid a throng of hopeful entertainers. Mentorship is the secret of many of the highest-profile achievers throughout history. Socrates mentored young Plato, who in turn mentored Aristotle. Aristotle mentored a boy named Alexander, who went on to conquer the known world as Alexander the Great. From The Karate Kid to Star Wars to The Matrix, adventure stories often adhere to a template in which a protagonist forsakes humble beginnings and embarks on a great quest. Before the quest heats up, however, he or she receives training from a master: Obi Wan Kenobi. Mr. Miyagi. Mickey Goldmill. Haymitch. Morpheus. Quickly, the hero is ready to face overwhelming challenges. Much more quickly than if he’d gone to light-saber school. The mentor story is so common because it seems to work—especially when the mentor is not just a teacher, but someone who’s traveled the road herself. “A master can help you accelerate things,” explains Jack Canfield, author of the Chicken Soup for the Soul series and career coach behind the bestseller The Success Principles. He says that, like C.K., we can spend thousands of hours practicing until we master a skill, or we can convince a world-class practitioner to guide our practice and cut the time to mastery significantly.

Who claims Truth, Truth abandons. History is hir'd, or coerc'd, only in Interests that must ever prove base. She is too innocent, to be left within the reach of anyone in Power,- who need but touch her, and all her Credit is in the instant vanish'd, as if it had never been. She needs rather to be tended lovingly and honorably by fabulists and counterfeiters, Ballad-Mongers and Cranks of ev'ry Radius, Masters of Disguise to provide her the Costume, Toilette, and Bearing, and Speech nimble enough to keep her beyond the Desires, or even the Curiosity, of Government. - Thomas Pynchon (Mason & Dixon)

Seeds grow in the dark—so do we. Let’s stop making such a virtue out of the light and turn toward what’s in the shadows and breathe it in, breathe it here meeting it face-to-face until we realize with more than mind that what we are seeing is none other than us in endarkened disguise Seeds grow in the dark—so do we. Let’s not be blinded by light let’s unwrap the night building a faith too deep to be spoken a recognition too central to be broken until even the darkest of days can light our way

Jobs despised slide decks because they could disguise the presenter’s lack of knowledge or muffle his raw opinions and analysis. To keep all these meetings vital, Jobs dispensed with formal presentations and instead insisted on long, lively debates where people from different perspectives owned up to and hashed out their disagreements.5

. . . Wasted. . . . Breakfast with the Great Judge was uneventful. They did not talk of the Jorgian war. Shortly after breakfast Marin winged away from the Judge’s Court. As he removed the Marin disguise from the face and body of Wade Trask, he could mentally list only two things that had occurred during his visit. The Great Judge had listened to his plea on behalf of Wade Trask. And Delindy had secretly come to him to arrange the details of her going with him to Asia. It seemed to him, who could leave nothing to chance, that either event could have been the main reason for his being invited to Court. He could well imagine that the conversation of the previous evening had been promoted by the Great Judge himself, and not by Edmund Slater. And Delindy’s coming to him had three possible explanations. On the one hand the Great Judge might be coolly using his own mistress to spy on her former lover, clearly confident that she would be loyal to the ruler of a planet rather than to some underling. On the other hand, Delindy herself might be a Jorgian spy using her body, first to ensnare a Group Master, and then the dictator, for her own country. The third possibility was that she loved David Marin. There was actually, Marin realized, a fourth consideration that he could have. She was a pawn of the Brain, unconsciously doing that mechanical being’s work and consciously just being whatever she normally was. Uneasily, Marin put that thought away from him. Not that it didn’t have substance or meaning. It was simply too bizarre and out of his control.

There is nothing wrong with prosperity. It is an excellent servant. But it can become a bad master. And it disguises the fact that it cannot satisfy our deepest needs. It creates a hunger for more of the same when what we need is actually something different. Set our heart on it and it will lead us astray.

Can you move?" he says, pulling out five euros from his wallet. He holds the bill over my head. "Here, this should help." My fantasy evaporates like dry ice on a summer day in the hottest of deserts. I shoot him daggers with my eyes and swat the bill. He actually thinks I'm homeless? "I don't need money." "Could have fooled me," he says, his eyes making an unabashed loop over my outfit, and then pockets the bill. Under my breath, I mutter, "Quelle bite." What a dick. "I heard that," he says in English, his lips pressing together into a thin line. "Crazy tourist." "You speak English?" "Yes, and it's obviously more refined than your limited French." The lilt in his affected voice, the precise English accent that would normally have me drooling, echoes in my head when I snap to. How dare he? He crashes into me and then launches insults like grenades? Bye-bye, meet-cute, this prince in disguise is as ugly as a toadfish.

At the hairdresser’s a girl leaps out of a chair, Her blond hair bouncing off her bare shoulders As she runs out the door in her high heels. “I must be off,” says the handsome boy to his grandmother. His bicycle is where he left it. He rides it casually through the heavy traffic His white shirttails fluttering behind him Long after everyone else has come to a sudden stop.

Scribbled in the Dark  A shout in the street. Someone locking horns with his demon. Then, calm returning. The wind tousling the leaves. The birds in their nests Pleased to be rocked back to sleep. Night turning cool. Streams of blood in the gutter Waiting for sunrise.

Daughters of Memory  There were three of them, always three, Sunbathing side by side on the beach, The sound of waves and children’s voices so soothing It was hard to stay awake.  When I woke, the sun was setting. The three friends knelt in a circle Taking turns to peek into a small mirror And comb their hair with the same comb.  Months later, I happened to see two of them Running in the rain after school, Ducking into a doorway with a pack of cigarettes And a glance at me in my new uniform.  In the end, there was just one girl left, Tall and beautiful, Making late rounds in a hospital ward, Past a row of beds, one of which was mine.

O pious of the heart, I am lost in a love, so great O pain the hidden secrets will become open debate. Shipwrecked we just float, O favorable wind arise, May we one more time gaze upon that familiar trait. Passage of time and the stars, are but what we fantasize For compassion and kindness, it is never too late. In the circle of wine and roses, nightingale’s song is prize With the aroma and the wine your senses satiate. O Thou compassionate one, life giver and the wise One day bestow thy grace upon this mendicant’s state. For peace of this world and the next, understand what I advise Magnanimity the lot of friends, and with foes try to relate. In the land of repute, our passage they will dispute If this will not suit, don’t stay mute, and transmute dictates of fate. When destitute and in need, let your love and passion breed Life’s alchemy, essence and seed, unimagined wealth shall create. If unruly with pride, with a candle’s zeal your flame will rise Beloved turns stone to lava, and molten wax manipulate. The Grail contains but wine, if only you realize Then the Kingdom of the world, at your feet prostrate. The good and wise Magi, forgivers of lives and lies Bearer bring good news, drunkards’ wine consecrate. With this wine stained robe, Hafiz would never disguise O untainted pure Master, exempt us from this fate

Satan is the master of the ultimate double-talk and sophistry. He calls evil good and continues to confuse men with his cleverly disguised untruths.

If one truly believes in freedom, how can one welcome the notion of slavery from either traditional masters or temperance-wielding masters disguised as servants?

Not with my hair like this.” I touched its short red-gold strands. He snorted. “Oh, yeah, like that’s a master disguise no one could see through.” “But if you and Kara were covering me, then—” “Do you even know what ‘covering’ someone means?” Alex asked coldly. “This isn’t a movie. Do you really want us to have to start shooting at a screaming mob to get you out of there if something goes wrong?” Where had this argument come from? “No, of course I don’t want that,” I said. Everyone had gone quiet, watching us. Trish’s eyes were wide; her coffee mug paused in mid-air. “But Alex, you know I can usually sense if a place is going to be a danger to me. I mean, okay, it’s not foolproof, but—” “Willow.” He lashed my name at me like a whip. “I said no, all right? Drop it.” It felt like he had slapped me. In the sudden roaring silence, Alex tossed the sheet down and shoved his chair back. He left the room without a word. My

Why would anyone’s suspicions be roused simply from an event being canceled?” Bram asked. “I think it might have had something to do with your grandmother implying you were soon to make an announcement,” Mr. Skukman said, speaking up. “What?” Lucetta and Bram asked together. Mr. Skukman’s lips twitched ever so slightly. “Mrs. Hart seems determined to see you well settled, Miss Plum, and I think she may have planted that particular seed for her daughter’s benefit—so that Mrs. Haverstein will have time to adjust to the idea of you and Mr. Haverstein making a match of it.” “We have no intention of making a match of it,” Lucetta said firmly. “There’s no need to declare that quite so adamantly,” Bram mumbled. Lucetta sent him a smile. “Forgive me, Bram. You and I have agreed to become friends, and that was hardly friendly of me, was it? Still, I’ve seen Abigail maneuver events to her satisfaction before, and we cannot let our guard down—not when it’s now become clear she’s still determined to see us well settled, and well settled together.” “I believe the two of you would make a lovely couple,” Stanley said, sending a smile to Lucetta before he sent a not-so-subtle wink to Bram. Bram cleared his throat. “Yes, thank you for that, Stanley, but my grandmother’s matchmaking schemes aside, we still can’t host an event. We can’t chance Lucetta being recognized.” “Don’t worry about me,” Lucetta said with an airy wave of her hand. “I’m very good at disguise, and quite honestly, I’ve never been invited to attend a local theatrical event before, and I find the very idea of that intriguing.” Bram’s eyes narrowed on Lucetta’s face. “You can’t go to it.” “Of course I can. As I just mentioned, I’m a master at disguise. No one will have the faintest idea that a notorious New York actress is in their midst.” Bram’s eyes narrowed another fraction. “You wouldn’t happen to be considering trying out for a part, would you?” “Is that how it works?” she asked. “How marvelous. I’m now quite curious to discover whether or not I’ll be able to win a part if no one knows that I’m Lucetta Plum.” Bram slowed his steps. “Absolutely not.” Unwilling to continue the argument, especially since she was rapidly coming to the conclusion that Bram Haverstein possessed a bit of a stubborn streak, Lucetta turned to Mr. Skukman and abruptly changed the subject.

pretty girl the German had danced with in a Cretan tavern during the Occupation was actually Xan in disguise.

Fake Self-Actualization Loophole: Often, a loophole is disguised as an embrace of life or an acceptance of self, so that the failure to pursue a habit seems life-affirming—almost spiritual.

she and William had surely planned for the possibility that one or both of them would be detected, captured, or lost—Ellen, if someone saw through her disguise; William, if he were kidnapped or recognized. But here they were, so near to Philadelphia that pickpockets, more than slave catchers, were foremost in their minds. They had likely not imagined that their greatest crisis would come on the last leg of their ride, after Ellen was no longer required to prove her mastery.

The Art of Becoming Who I'm Not I've mastered the art of mimicry, Bending and twisting, so you'd see The person you want, not who I am, A reflection caught in someone else’s plan. I wear the masks you’ve tailored tight, Changing my colours in your light. But the weight of this act has grown too vast— I’ve lost myself in shadows cast. You think you know me, but it's a lie, A crafted version built to satisfy. I shape-shift, I mold, I rearrange, A puzzle of fragments that feel so strange. In your eyes, I’m whole, I’m sound, Yet inside, I’m nowhere to be found. A chameleon lost in its own disguise, Drowning beneath layers of compromise. Who am I when the curtains fall? A hollow echo, nothing at all. An actor lost in endless roles, Pieces scattered, shattered souls. So if you think you know my face, Remember, it’s just another place Where I’ve hidden, tried to belong— But this pretence has gone on too long. I’ve forgotten who I used to be, Caught in the trap of who you see.

But, after all, from all this there does result this one moral, which may be regarded as more especially addressed to us writing persons—and our readers. And that is ; that the world, the sum of things of which we are cognisant, is infinitely queer, that even in the rind or surface of it the strangest essences are lurking, that tremendous beauties, amazing oddities are everywhere present, wearing very often, to use the Wardrobe Master’s phrase, Disguise Cloaks of the most commonplace pattern.

Reed is nothing like these men. Never was. Instead, he is a master of disguise. A man so broken, his form shifts completely based on the angle of the light that meets him. He's like the cleome that bloom here in Mother's garden, changing from dark pink at night to pale come morning, then to white again before the bloom falls. Or the heirloom petunias. Or the Confederate rose. Never know what we might find when we visit them. Fickle flowers, they behave as if they've forgotten who they really are, always hiding, fooling us by showing only what they want us to see. I now understand there have always been men like Reed in the world. A Judas. A wounded soul who causes tremendous harm for his own gain.

When Landgren concocted false figures to explain some of the numbers in the financial statements, the auditors quickly found the fabrication and negotiations fell apart. W. E. Seatree, a lawyer and an accountant with Price Water-house, dashed off an angry letter directly to Ivar, in the formal style of someone who had proudly mastered the disciplines of both law and accounting during the early twentieth century: You will note that we did not certify the balance sheet. Mr Landgren’s letter is obviously an attempt to make it appear to you that he had accomplished something; but the fact that he had to resort to forgery to accomplish his purpose is the best proof of his failure. The euphemism, that he was going to issue a so-called copy of our balance sheet leaving out parts which were of material importance, does not disguise the true nature of his action.37 When Price Waterhouse lost confidence in Ivar, so did Fairburn and Diamond Match. Ivar tried to repair the damage by asking Jordahl to retain an independent outside accountant to vouch for their new US business. Ernst & Ernst, a reliable audit firm, completed a review of American Kreuger & Toll’s financial statements in June, but by then it was too late.38 The damage was done, and so were the negotiations.

Where should I start?” Here’s my answer: It doesn’t matter. Here, there, down the street, under the bridge, in Singapore, on ice skates, or in a hot-air balloon. The people who live wildly purposeful and joy-filled lives act first and ask questions later. They know that concocting a master plan can really be just a distraction in disguise.

Mudie's insistence on the three-volume format was undoubtedly responsible for the verbosity of many nineteenth-century novels, as authors went to extraordinary efforts to pad their texts to the required length. While a seasoned professional like Anthony Trollope mastered the required skill, many struggled to maintain inspiration and dramatic tension for the required 200,000 words, 66,000 words per volume. If we wonder why so many nineteenth-century novels lose themselves in a convoluted (though chaste) love story between two marginal characters in the novel's middle passage, we should blame Charles Edward Mudie: this was the problem of the difficult second volume. If all else failed and authors acme in short, publishers resorted to larger typefaces and wide margins to disguise the deficit.

Most of our projects in the last few years have been soil and drilling samples thinly disguised as marine research which really means looking for new oil reserves for the conglomerates.”  He leaned back in his chair unable to hide his irritation.  “I’ll tell you this, corporations have become the puppet masters behind the government.”  Emerson exhaled heavily.  “This is not the same Navy we started with, gentlemen.

So much of what we call “organizing” is essentially procrastination in disguise. We tell ourselves we’re “getting ready” or “doing research,” pretending like that means progress.

man who knows the court is master of his gestures, of his eyes and of his face; he is profound, impenetrable; he dissimulates bad offices, smiles at his enemies, controls his irritation, disguises his passions, belies his heart, speaks and acts against his feelings. Jean de La Bruyère, 1645-1696

Yoga is the effort to experience one's divinity personally and then to hold on that experience forever. Yoga is about self-mastery and the dedicated effort to haul your attention away from your endless brooding over the past and your nonstop worrying about the future so that you can seek instead a place of eternal presence form which may regard yourself and your surrounding with poise. it's all god in disguise but they yogis believe a human life is a very special opportunity because only in alumni from and only with a special opportunity because only in a human form and only with a human mind can God realization ever occur. is to restore to health the eye of the heart whereby God may be seen. a great yogi is anyone who has achieved the permanent state of enlightened bliss. A guru is a great yogi who can actually pass that state on to theirs. mantravirya the potency of the Enlighted consciousness capable of conscious inquiry a yearning to understand the nature of the universe. living spiritual master when I was nine, I couldn't do a thing with it except cry later over these years my hypersensitive awareness of times s led me to push myself to experience life at a maximum pace if I were going to have such a short visit on earth, I had to do everything possible e to experience it now hence all the traveling all the romances all the ambition all the pasta. On the other the Zen masters always say that you cannot see your reflection in running water only in still Ater so something was telling me it would be spiritually negligent to run off now then so much was happening right here in this small, cloistered place where every minute of the day is organized to facilitate self-exploration and devotional practice. vipassana mediation teaches that grief and nuisance are inevitable in this life but if you can plant yourself in stillness long enough you will in time experience the truth that everything. (both uncomfortable and lovely) does eventually pass. Man is neither entirely ap upper off the god and is not entirely the captain of his own destiny he is a little of both. But when they do show up again i can just send them back here back to this rooftop of memory back to the care of those two cool blue souls who already and always understand everything This is what rituals are for we do spiritual ceremonies as human beings in order to create a safe resting place of our most complicated feeling of joy or trauma so that we don't have to have those feelings around with us forever weight us down. we have hands we can stand on them if we want to that's our privilege that is the joy of a moral body and that is because God needs us because God loves to feel things through our hands.

Experience is a harsh teacher but its lessons get tattooed into scars under our skin. Adversity is a master at disguises.

This should not upset you but liberate you. The book will teach you to stop taking personally their insinuating comments, shows of coldness, or moments of irritation. The more you grasp this, the easier it will be to react not with your emotions but rather with the desire to understand where their behavior might come from. You will feel much calmer in the process. And as this takes root in you, you will be less prone to moralize and judge people; instead you will accept them and their flaws as part of human nature. People will like you all the more as they sense this tolerant attitude in you. Second, the Laws will make you a master interpreter of the cues that people continually emit, giving you a much greater ability to judge their character. Normally, if we pay attention to people’s behavior, we are in a rush to fit their actions into categories and to hurry to conclusions, so we settle for the judgment that suits our own preconceptions. Or we accept their self-serving explanations. The Laws will rid you of this habit by making it clear how easy it is to misread people and how deceptive first impressions can be. You will slow yourself down, mistrust your initial judgment, and instead train yourself to analyze what you see. You will think in terms of opposites—when people overtly display some trait, such as confidence or hypermasculinity, they are most often concealing the contrary reality. You will realize that people are continually playing to the public, making a show of being progressive and saintly only to better disguise their shadow. You will see the signs of this shadow leaking out in everyday life. If people take an action that seems out of character, you will take note: what often appears out of character is actually more of their true character. If people are essentially lazy or foolish, they leave clues to this in the smallest of details that you can pick up well before their behavior harms you.

I believe that evil is directly proportional to idocy. I believe that the territory you roamed in anguish before you disappeared is ruled by idiots. It isn't true that criminals are masterminds. It takes a vast amount of stupidity to assemble the parts of such a grotesque, absurd, and cruel machinery. Pure brutality disguised as a master plan. Small people, with small minds, who don't understand the abyss of the other. They lack the language or tools for it. Empathy and compassion require a clear mind. Putting yourself in someone else's shoes, changing your skin, adopting a new face: these are all acts of genuine intelligence.

Let’s take a look at Tootsie to see how the difference between the premise and the designing principle plays out in an actual story. • Premise When an actor can’t get work, he disguises himself as a woman and gets a role in a TV series, only to fall in love with one of the female members of the cast. • Designing Principle Force a male chauvinist to live as a woman.

The strangle vine is a dangerous plant to deal with as it’s a master of disguise. It can produce up to five different types of foliage, depending on the type of anchor it attaches itself to. It makes safely identifying this plant very tricky. Thus, it's best to investigate any possible outbreak with weapon in hand. Some people like a machete. Others: an axe. Personally, I like a flamethrower." He whipped up the wand and gave his signature evil laugh. The cackle inspired the rumors that he had accidentally killed someone on his previous show and thus his backslide to obscurity. She'd seen the videos. The only thing he'd killed was the ratings; he'd been bored silly doing curbside appeal remodels and it showed.

Such, nearly, was the state of the French theatre before the appearance of Voltaire. His knowledge of the Greeks was very limited, although he now and then spoke of them with enthusiasm, in order, on other occasions, to rank them below the more modern masters of his own nation, including himself still, he always felt himself bound to preach up the grand severity and simplicity of the Greeks as essential to Tragedy. He censured the deviations of his predecessors therefrom as mistakes, and insisted on purifying and at the same time enlarging the stage, as, in his opinion, from the constraint of court manners, it had been almost straitened to the dimensions of an antechamber. He at first spoke of Shakspeare's bursts of genius, and borrowed many things from this poet, at that time altogether unknown to his countrymen; he insisted, too, on greater depth in the delineation of passion—on a stronger theatrical effect; he called for a scene more majestically ornamented; and, lastly, he frequently endeavoured to give to his pieces a political or philosophical interest altogether foreign to poetry. His labours hare unquestionably been of utility to the French stage, although in language and versification (which in the classification of dramatic excellences ought only to hold a secondary place, though in France they alone almost decide the fate of a piece), he is, by most critics, considered inferior to his predecessors, or at least to Racine. It is now the fashion to attack this idol of a bygone generation on every point, and with the most unrelenting and partial hostility. His innovations on the stage are therefore cried down as so many literary heresies, even by watchmen of the critical Zion, who seem to think that the age of Louis XIV. has left nothing for all succeeding time, to the end of the world, but a passive admiration of its perfections, without a presumptuous thought of making improvements of its own. For authority is avowed with so little disguise as the first principle of the French critics, that this expression of literary heresy is quite current with them.

He was a chameleon. He could change his appearance in seconds. He was a master in disguise and he could baffle the best in the game (read CIA, FBI, KGB, etc) So, what looked like a man looking into her eyes and playing the rituals of dating, to the girl in the group, was actually the chameleon observing the entrance of the bar behind the girl, near where the group was busy celebrating. It was all in his sinister plan. To wait for Alex to enter the bar and then go for the kill!

He was a chameleon. He could change his appearance in seconds. He was a master in disguise, and he could baffle the best in the game (read CIA, FBI, KGB, etc). So, to the girl, what looked like a man looking into her eyes and playing the rituals of dating, was in reality the chameleon observing the entrance of the bar behind the girl, near where the group was busy celebrating. It was all in his ingenious plan - to wait for Alex to enter the bar and then go for the kill!

The self or ego is like an honorary diploma. It may hold the title of master or doctorate but it is in fact weightless and is actually “doctored” perception and a “master” of disguise, nothing more.

TOOTSIE (by Larry Gelbart and Murray Schisgal, story by Don McGuire and Larry Gelbart, 1982) • Premise When an actor can’t get work, he disguises himself as a woman and gets a role in a TV series, only to fall in love with one of the female members of the cast. • Possibilities You could take a funny look at the modern dating dance, but also dissect the deep immorality that underlies how men and women act toward each other in the most intimate part of their lives. • Story Challenges How do you show the effect of men’s immoral actions against women without seeming to attack one entire gender while making the other gender look innocent? • Problems How do you make a man believable as a woman, weave several man-woman plots together and make them one, end each plotline successfully, and make an emotionally satisfying love story while using a number of farce techniques that place the audience in a superior position? • Designing Principle Force a male chauvinist to live as a woman. Place the story in the entertainment world to make the disguise more believable. • Best Character Michael’s split between dressing as both a man and a woman can be a physical and comical expression of the extreme contradiction within his own character. • Conflict Michael fights Julie, Ron, Les, and Sandy about love and honesty. • Basic Action Male hero impersonates a woman. • Character Change W—Michael is arrogant, a liar, and a womanizer. C—By pretending to be a woman, Michael learns to become a better man and capable of real love. • Moral Choice Michael sacrifices his lucrative acting job and apologizes to Julie for lying to her.

As soon as a person sits down in front of a medium asking for a reading they are opening a door and extending an invitation to Satan to come in. Satan is a master of disguise.

It is as an Arab that he disguises himself for the train journey to the east. He has with him an Egyptian guide, a Turkish gunner and an Arabic interpreter. An Egyptian officer searches the train, with instructions to arrest the Turkish officers on board, and Kemal realises that the game is up. He therefore reveals his identity and harangues the officer. “This is a holy war,” he declaims, “it is a war of Muslim against infidel. It is not for you to stand in the way of God.” Rhetorically masterful, eloquent and persuasive, he cynically but brilliantly persuades the officer of what he himself cannot believe, and the following day all but the Turkish gunner are released.

Twilight is the master of disguise. The champion of falsehoods and fiction. The eye wasn’t designed for twilight. At this time of last light and almost night, mankind should be settling down for the night, not stalking about badly lit houses where predators masquerade as shadows.