KEYS TO POWER Power is in many ways a game of appearances, and when you say less than necessary, you inevitably appear greater and more pow...
KEYS TO POWER Power is in many ways a game of appearances, and when you say less than necessary, you inevitably appear greater and more powerful than you are. YOUf silence will make other people uncomfortable. Humans are machines of interpretation and explanation; they have to know what you are thinking. When you carefully control what you reveal, they cannot pierce yOUf intentions or your meaning. YOUf short answers and silences will put them on the defensive, and they will jump in, nervously filling the silence with all kinds of comments that will reveal valuable information about them and their weaknesses.
They will leave a meeting with you feeling as if they had been robbed, and they will go horne and ponder YOUf every word. This extra attention to YOUf brief comments will only add to your power. Saying less than necessary is not for kings and statesmen only. In most areas of life, the less you say, the more profound and mysterious you appear. As a young man, the artist Andy Warhol had the revelation that it was generally impossible to get people to do what you wanted them to do by talking to them. They would turn against you, subvert YOUf wishes, disobey you out of sheer perversity. He once told a friend, "I leamed that you actually have more power when you shut up.
" In his later life Warhol employed this strategy with great success. His interviews were exercises in oracular speech: He would say something vague and ambiguous, and the interviewer would twist in circles trying to figure it out, imagining there was something prafound behind his often meaningless phrases. Warhol rarely talked ab out his work; he let others do the interpreting. He claimed to have leamed this technique from that master of enigma Marcel Duchamp, another twentieth-century artist who realized early on that the less he said about his work, the more people talked about it. And the more they talked, the more valuable his work became. By saying less than necessary you create the appearance of meaning and power. Also, the less you say, the less risk you run of saying something foolish, even dangeraus. In 1825 a new czar, Nicholas I, ascended the throne of Russia. A rebellion immediately broke out, led by liberals demanding that the country modernize-that its industries and civil structures catch up with the rest of Europe. Brutally crushing this rebellion (the Decembrist Uprising), Nicholas I sentenced one of its leaders, Kondraty Ryleyev, to death. On the day of the execution Ryleyev stood on the gallows, the noose around his neck. The trapdoor opened-but as Ryleyev dangled, the rape brake, dashing hirn to the ground. At the time, events like this were considered signs of providence or heavenly will, and a man saved from execution this way was usually pardoned. As Ryleyev got to his feet, bruised and dirtied but believing his neck had been saved, he called out to the crowd, "You see, in Russia they don't know how to do anything properly, not even how to make rape!" A messenger immediately went to the Winter Palace with news of the failed hanging. Vexed by this disappointing turnabout, Nicholas I nevertheless began to sign the pardon. But then: "Did Ryleyev say anything after this miracle?" the czar asked the messenger. "Sire," the messenger replied, "he said that in Russia they don't even know how to make rope." "In that case," said the Czar, "let us prove the contrary," and he tore up the pardon. The next day Ryleyev was hanged again. This time the rope did not break. Learn the lesson: Once the words are out, you cannot take them back. Keep them under control. Be particularly careful with sarcasm: The moLAW 4 35 36 LAW 4 mentary satisfaction you gain with your biting words will be outweighed by the price you pay. Ima g e : The Orade at Delphi. When vi si tors consulted the Orade, the priestess would utter a few enigmatic words that seemed full of meaning and import.
No one disobeyed the words of the Oraclethey held p ower over life and death. Authority: Never start moving your own lips and teeth before the subordinates do. The longer I keep quiet, the sooner others move their lips and teeth. As they move their lips and teeth, I can thereby understand their real intentions .... If the sovereign is not mysterious, the ministers will find opportunity to take and take. (Han-fei-tzu, Chinese philosopher, third century B.C.) REVERSAL There are times when it is unwise to be silent. Silence can arouse suspicion and even insecurity, especially in your superiors; a vague or ambiguous comment can open you up to interpretations you had not bargained for. Silence and saying less than necessary must be practiced with caution, then, and in the right situations. It is occasionally wiser to imitate the court jester, who plays the fool but knows he is smarter than the king. He talks and talks and entertains, and no one suspects that he is more than just a foo1.
Also, words can sometimes act as a kind of smoke screen for any deception you might practice. By bending your listener's ear with talk, you can distract and mesmerize them; the more you talk, in fact, the less suspicious of you they become. The verbose are not perceived as sly and manipulative but as helpless and unsophisticated. This is the reverse of the silent policy employed by the powerful: By talking more, and making yourself appear weaker and less intelligent than your mark, you can practice deception with greater ease.
No comments