free life leads into a merely specialist job, everybody senses an incongruity. The games of a people reveal a great deal about them. Games are a sort of artificial paradise like Disneyland, or some Utopian vision by which we interpret and complete the meaning of our daily lives. In games we devise means of nonspecialized participation in the larger drama of our time. But for civilized man the idea of participation is strictly limited. Not for him the depth participation that erases the boundaries of individual awareness as in the Indian cult of daishan, the mystic experience of the physical presence of vast numbers of people. A game is a machine that can get into action only if the players consent to become puppets for a time. For individualist Western man, much of his "adjustment" to society has the character of a personal surrender to the collective demands. Our games help both to teach us this kind of adjustment and also to provide a release from it. The uncertainty of the outcomes of our contests makes a rational excuse for the mechanical rigor of the rules and procedures of the game. When the social rules change suddenly, then previously accepted social manners and rituals may suddenly assume the stark outlines and the arbitrary patterns of a game. The Gamesmanship of Stephen Potter speaks of a social revolution in England. The English are moving toward social equality and the intense personal competition that goes with equality. The older rituals of long accepted class behavior now begin to appear comic and irrational, gimmicks in a game. Dale Carnegie's How to Win Friends and Influence People first appeared as a solemn manual of social wisdom, but it seemed quite ludicrous to sophisticates. What Carnegie offered as serious discoveries already seemed like a naive mechanical ritual to those beginning to move in a milieu of Freudian awareness charged with the psychopathology of everyday life. Already the Freudian patterns of perception have become an outworn code that begins to