longer than you think. Fairy tales, which are the descendants of ancient myths, are full of gruesome, selfish, murderous, jealous, greedy, vain-glorious, power-hungry and even cannibalistic monsters, male or female, in castles. What is interesting is that they prey on and target innocence: sleep-walkers beware. (Wait, I just described most politicians and world leaders - what a coinkidink).
The madness of perverted leadership is also described in the Bible, which, as a record of spiritual matters, delves into corruption many times.
In the East, Sun Tzu strove to understand that aberrant human condition to exploit it in warfare, and the understanding that the only way to beat psychopathic generals is to be more effective at it.
The laws of exploitation became codified in the West with the 'renaissance' arrival of literacy, via Machiavelli. Effectively a how-to manual for subversion, spy-craft and influence-peddling.
As a post-script, Shakespeare uses disguise and subterfuge as well as tropes of power-mad rulers or tragic righteousness in every play. There is a reason why this stuff resonates. As he famously penned: "All the world's a stage" ...
longer than you think. Fairy tales, which are the descendants of ancient myths, are full of gruesome, selfish, murderous, jealous, greedy, vain-glorious, power-hungry and even cannibalistic monsters, male or female, in castles. What is interesting is that they prey on and target innocence: sleep-walkers beware. (Wait, I just described most politicians and world leaders - what a coinkidink).
The madness of perverted leadership is also described in the Bible, which, as a record of spiritual matters, delves into corruption many times.
In the East, Sun Tzu strove to understand that aberrant human condition to exploit it in warfare, and the understanding that the only way to beat psychopathic generals is to be more effective at it.
The laws of exploitation became codified in the West with the 'renaissance' arrival of literacy, via Machiavelli. Effectively a how-to manual for subversion, spy-craft and influence-peddling.
As a post-script, Shakespeare uses disguise and subterfuge as well as tropes of power-mad rulers or tragic righteousness in every play. There is a reason why this stuff resonates. As he famously penned: "All the world's a stage" ...
If we met in the real world, I'd buy you a beer. Please enjoy this digital dark stout on me.
clink