According to Osho, a “master giving up mischief” cannot mean abandoning playful, shocking devices; it means dropping egoic cunning while retaining divine play. He teases that Buddha’s rule doesn’t include him: his mischief is a compassionate method to awaken disciples, not malice. A true master remains unpredictable, humorous, and free of solemnity—using play to puncture sleep and conditioning.
A real master stops harmful trickery but keeps loving playfulness to wake people up.
From the Discourses
Passages where Osho speaks to this question — each links to the complete discourse.
Question: BELOVED OSHO, THE ZEN MASTER HOTEI USED TO TRAVEL AROUND WITH A BAG ON HIS SHOULDER, GIVING OUT SWEETS TO CHILDREN AND PLAYING WITH THEM. IF A ZEN DEVOTEE WERE TO MEET HIM ON THE ROAD, HOTEI WOULD SIMPLY BOW DOWN TO HIM AND SAY, "GIVE A PENNY!" AND IF HE WERE ASKED TO GO TO A TEMPLE TO GIVE A DISCOURSE, AGAIN HOTEI WOULD SAY THE SAME THING: "GIVE A PENNY!" ONCE HE WAS PLAYING WITH SOME CHILDREN, AND ANOTHER ZEN MONK MET HIM AND ASKED, "WHAT IS THE MEANING OF ZEN?" IN SILENT ANSWER, HOTEI PUT HIS BAG ON THE GROUND. THE MONK THEN ASKED HIM, "WHAT IS THE ACHIEVEMENT OF ZEN?", AT WHICH THE SMILING BUDDHA PICKED HIS BAG UP AGAIN, PUT IT ON HIS SHOULDER, AND SET OFF. THE OTHER MONK ALSO LATER BECAME A FAMOUS ZEN MASTER.
Beloved master, when I expect you to use a precision scalpel with much subtlety, you use a sledgehammer. When I expect you to use a sledgehammer, you kiss me. I give up!
Amitabh, God functions in a very mysterious way; it is never according to your expectations. And I am not here as a person but only as a vehicle. I simply allow God to function through me; I am not doing anything at all. Things are happening, but they are not being done. I am just as much a spectator as anybody else. I am also surprised, just like you. When you expect a sledgehammer, I also expect one. And when I see the kiss happening I say, "Gosh! What is he up to?" But I have also given up. You are on the right track. When so many times you expect something and just the opposite happens, slowly slowly you learn a great secret: that expectation is not the way to be with the divine; it is the barrier, not the bridge. Expect, and you will be frustrated. Don't expect…
Osho, you have often said that the true master calls the disciple close, and then also sends him away. How can one know whether the master has sent him away in displeasure, out of anger, or as a blessing, out of joy, for the disciple’s further growth?
First thing: a master who gets angry is no master. Second: a disciple who, when sent away, thinks it must have been out of displeasure is not of the right mettle for discipleship. The master does not get angry; the very possibility of anger has ended. If ever a master seems angry, know that he is acting—for sometimes there is no other way. Gurdjieff would often appear angry—so angry it seemed there would be bloodshed. Those who ran away were deprived. Those who still remained came to know how rare it is to find a heart as tender as his. But why would he behave so angrily? Perhaps that was exactly what was needed for the disciple. Such things happened—and only Gurdjieff could do them—that two people would come to see him, one seated on the left, one on the right. When he looked to the left, it was with…
Beloved Osho, you said that when the master is in an absentlike presence and the disciple is also absentlike, then the divine work begins. If both are to be absentlike, then please explain the role of the master in the spiritual endeavor.
Basically, it is always the master to whom YOU come. Whether the master goes to the palace or the emperor comes to the master's hut, it makes no difference. It is always the emperor who is coming to the master because he is to be changed. HE will be changed. Bayazid says that it is the nature of the master to change others; it is not an effort. Nothing is being done by the master, simply his presence.... And if he appears to do something, that appearance is just a trick because you cannot understand the language of nondoing. You can only understand the language of effort. So he creates a language for you. Even if you cannot understand his language, he can understand your language very well. Even if you cannot understand him, he can understand you very well. So he gives whatsoever you can understand and by and…
You said that a master sometimes has to be angry with the disciple and in that case he is acting. Is he acting also when he laughs or smiles at him?
A Master is always acting; a Master is a perfect actor. He does not take life seriously. He does not take life as a worry, anxiety. It is a play. He is angry... he is acting. He is laughing... he is acting. A Master can only act, because he is not a doer. Whatsoever he does should be taken as acting; and if you cling too much to the acting you will miss the Master. Forget his anger and forget his laughter. Look behind the anger and the laughter, and there you will find the old man. Neither laughing nor angry nor crying nor talking -- there you will find him in total silence. There you will find the Buddha: in deep tranquillity, in infinite calmness, not even a flicker of thought. Otherwise the Master is always on the stage. But don't be deceived by the Master. Go on watching.…