August 30, 2010

the cleopatra effect

[Ori­gi­nally pos­ted Octo­ber, 2006.]

One of the main rea­sons I never really pur­sued cor­po­rate blog con­sul­ting as a career, even though I’ve had some defi­nite oppor­tu­ni­ties in this depart­ment, is because of what I call “The Cleo­pa­tra Effect”.

I remem­ber when I was a kid watching this old black & white movie about Cleo­pa­tra.

I can’t remem­ber the name of the movie, but one scene always stuck with me:

Cleo­pa­tra is wal­king through the palace, when she’s sud­denly stop­ped by the sound of pretty music, being pla­yed off in the distance.

She follows the sound of the music through the palace, till even­tually she finds one of her cour­tiers in the gar­den, pla­ying the harp.

“What pretty music,” she says to the cour­tier. “You play beautifully.”

“Thank you, Your Majesty,” says the cour­tier, obviously flattered.

“I would love to play music like that,” says Cleo­pa­tra. “Do you think you could teach me?”

The cour­tier, now that he’s fee­ling flat­te­red, tries to win even more of her favor.

“Well, yes,” he gushes. “I’m sure a Queen as talen­ted as you in so many things, would be talen­ted at this as well.”

“Oh, good,” says Cleo­pa­tra, obviously deligh­ted. “Here’s the deal. You teach me to play the harp. If I can­not play as well as you within one month, I will have you flog­ged. If I can­not play as well as you within three months, I will have you executed.”

The courtier’s face turns white. Cleo­pa­tra gives the cour­tier an evil smirk and then turns and walks off.

Make of this what you will.

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8 Responses to “the cleopatra effect”

  1. Milna says:

    Thought pro­vo­king.

  2. Cory Huff says:

    One of the things I admire about Hugh is that he’s sin­gle­min­ded in what he wants to do. It’s really dif­fi­cult to say not to other oppor­tu­ni­ties when you’re a star­ting entrepreneur.

    Thanks Hugh!

  3. @lena_fm says:

    I think I know exactly what you mean (if you do). That’s why I like you!

  4. Joaquin says:

    AAAAMEEENNNNN!!!
    (from a cor­po­rate bobo who´s well aware that he doesn´t want to end up like a hams­ter but can´t find the moment to call it quits).

  5. Randy Bosch says:

    It’s so easy to become “owned”, ens­la­ved by the pay, bene­fits, percs, even “title” — thus enslaved.

    One must alway be pre­pa­red to fire one’s client or emplo­yer — hard to do when food & rent pay­ments also rule.

    Never sell your soul, and only rent your body month-to-month.

  6. Kevin says:

    You can see that one coming.

  7. Joseph says:

    The cour­tier didn’t ans­wer Cleopatra’s ques­tion. She asked about whether he was able to teach her, not about how talen­ted she was overall.

    Call me nit­picky, but as they say, the devil is in the details. I’m thin­king of all those sto­ries where some hapless mor­tal, in the midst of his greed or hubris, ends up making a deal with a genie, a devil, or some other not enti­rely bene­vo­lent entity.

    This also reminds me of some of those Greek phi­lo­sophers who had something to say about peo­ple who ima­gine them­sel­ves to have know­ledge or abi­li­ties they don’t really have.

    Spea­king of Greeks, Eli­za­beth Gil­bert (author of Eat, Pray, Love) gave an inte­res­ting talk about the bur­den of talent and genius: http://www.ted.com/talks/elizabeth_gilbert_on_genius.html
    She argues that attri­bu­ting one’s talent to an outside entity may be a saner way to look at one’s own creativity.

    I think this is kinda deep and archety­pal stuff that I’m not ready to delve into at this stage (maybe never). But I do believe that the whole ques­tion of “where does crea­ti­vity really come from?” could pro­vide some insight into why so many crea­tive or talen­ted peo­ple feel so unna­tu­ral about get­ting paid for abi­li­ties that, deep down, they can’t enti­rely claim as their own.

    So yeah, Hugh. Maybe you tur­ned down all those cor­po­rate gigs because “the devil made you do it”. Or…maybe it was your angel/daemon/muse/conscience/instinct/better judgment.

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