Dear Reader,

A few months ago now, I watched a rather haunting and, I hasten to add, finely-crafted film that also yields some telling object lessons in SEDUCTION.

It’s called Young Adam … and stars Ewen McGregor as the errant young drifter and aspirant author Joe Taylor.

So, yes, he’s not called Adam. The name Adam then, I think, must be a biblical allusion to the plight or predicament of mankind regarding the Fall.

Young Adam

Anyway, it’s written and directed by the Scottish Film Director David Mackenzie. And, it’s based on, or adapted for film from, a novel, also entitled Young Adam, by the Scottish author Alexander Trocchi.

I’d like to say I’ve read the book. But, as yet, I’ve not yet. So, instead, or for the time being at least, we’ll stick with the film here, which I found intelligently riveting and rather moving.

For the most part, it’s a rather bleakly tragic, morally complex, and ambiguous sort of cautionary tale in which Joe’s character, it seems, wrestles with some profoundly difficult questions … in an evidently grave and acutely fallen world.

Meanwhile, though, it soon transpires that he’s instinctively good with the ladies … and pretty well-drilled, it seems, in an amorous art.

Joe’s stealthy but instructive seductions

And so, with its more cautionary notes aside, which one would do well to heed as well, the film portrays three, more or less, instructive seductions. In order of appearance then (and not chronological order, as the film is liberally interspersed with flashbacks), the audacious young Joe, more or less stealthily, seduces …

Barge-owner Ella – whom he daringly seduces at the dinner table, and right under the nose of her husband Les, in the confined living-quarters of the barge on which they work

Office-worker Cathie – whom he promptly seduces, on a beach, within moments of having first set eyes on her. After just a couple of brief situational questions, or a fleeting exchange on ‘the usual topics suited to the occasion’, and amongst extended intervals of charged silence, Joe proceeds to ask her name and then enquires if she’d like to go for a walk with him. Then, they wander off together to secluded place behind the rocks at the end of the beach.

Ella’s sister Gwen – whom he swiftly and silently lures to, more or less, seduce him

And, in each of these, Joe deftly proceeds whilst barely saying a word.

What’s more, I can assure you, from not infrequent personal experience, that the power of Joe’s amorous art, when tactfully applied, is not confined to fiction.

So, what’s going on here? How does he do it?

What powers then does young Joe possess? And whence did he get them?

Well, in the next post, we’ll take a closer look and consider three of Joe’s timeless stealth seduction secrets.

In the meantime, though, long ago in ancient Rome, there was an extraordinary lover and poet called Ovid. And, this immortal poet set down, for posterity, the underlying knowledge and principles at work here, and many more too, in verse.

Ovid’s Ars Amatoria (Art of Love)

Written over 2000 years ago, Ovid’s timeless, and time-tested, three-book series of love seduction manuals is entitled Ars Amatoria (Art of Love).

I know of no more essential work on this subject. Whilst it can undoubtedly be augmented with some others, there’s none, to my mind and considerable experience, so absolutely indispensable.

The Word of Venus Art of Love

And so, I’ve edited and annotated and, indeed, revised and formatted these books to bring you the most elegant and accessible version of each you’ll find available anywhere today.

These then are the unprecedented Word of Venus editions. They’re easy-to-read-and-scan user-friendly manuals for the twenty-first century … and for today’s students, and would-be students, of Ovid’s amorous art.

So, unlock and discover the timeless art of classic love seduction … with The Word of Venus abridged editions of Ovid’s classic love seduction masterpiece Ars Amatoria (Art of Love).

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