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The Mastery of Destiny. By James Allen 


1. Deeds, Character, and Destiny

2. The Science of Self-Control

3. Cause and Effect in Human Conduct 
4. Training of the Will

5. Thoroughness

6. Mind-Building and Life-Building

7. Cultivation of Concentration
8. Practice of Meditation

9. The Power of Purpose

10. The Joy of Accomplishment

1. Deeds, Character, and Destiny

THERE is, and always has been, a widespread belief in Fate, or Destiny, that is, in an eternal and 

inscrutable Power which apportions definite ends to both individuals and nations. This belief has arisen 
from long observation of the facts of life.

Men are conscious that there are certain occurrences which they cannot control, and are powerless to 

avert. Birth and death, for instance, are inevitable, and many of the incidents of life appear equally 

Men strain every nerve for the attainment of certain ends, and gradually they become conscious of a 

Power which seems to be not of themselves, which frustrates their puny efforts, and laughs, as it were, 
at their fruitless striving and struggle.

As men advance in life, they learn to submit, more or less, to this overruling Power which they do not 

understand, perceiving only its effects in themselves and the world around them, and they call it by 
various names, such as God, Providence, Fate, Destiny, etc.

Men of contemplation, such as poets and philosophers, step aside, as it were, to watch the movements 

of this mysterious Power as it seems to elevate its favorites on the one hand, and strike down its victims 
on the other, without reference to merit or demerit.

The greatest poets, especially the dramatic poets, represent this Power in their works, as they have 

observed it in Nature. The Greek and Roman dramatists usually depict their heroes as having 
foreknowledge of their fate, and taking means to escape it; but by so doing they blindly involve 

themselves in a series of consequences which bring about the doom which they are trying to avert. 

Shakespeare‘s characters, on the other hand, are represented, as in Nature, with no foreknowledge 
(except in the form of presentiment) of their particular destiny. Thus, according to the poets, whether 

the man knows his fate or not, he cannot avert it, and every conscious or unconscious act of his is a step 

towards it.

Omar Khayyam‘s Moving Finger is a vivid expression of this idea of Fate:

"The Moving Finger writes, and having writ, 

Moves on: nor all thy Piety nor Wit
Shall lure it back to cancel half a line,

Nor all thy Tears wash out a Word of it."

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