Dear Reader,
In my last post, I noted the deftly subtle seductions of the errant young drifter and aspirant author Joe Taylor … in the poignant and ingeniously-produced film Young Adam.
And, as I said then, this film portrays, amongst other things, three seductions that are, more or less, considerably instructive.
The amorous object lessons of Young Adam
In each of these seductions then, the seemingly irresistible young Joe deftly seduces whilst barely saying a word … and so provides some telling object lessons in seduction.
Wikitionary, meanwhile, thus defines an object lesson:
An example from real life that typifies/explains a principle or teaches a lesson.
At first, though, and especially to the uninitiated or untutored, the subtle but telling details and underlying principles of Joe’s seductions are almost imperceptible. They’re, nonetheless, indicative of considerable understanding and skill – or, as we say here at Cupid’s School, art.
I’d recommend your watching the film then and paying especially careful attention to the subtle or nuanced details of these scenes … and Joe’s seductive moves. They’re finely-acted.
In the meantime, though, and as a sort of brief (but, nonetheless, potent) primer, we’ll now consider three of Joe’s timeless seduction secrets.
1) Literary Culture
Although Joe’s seductions are consummated with barely a word said, this is, I think, largely because (in the words of an old proverb) ‘still waters run deep‘.
Similarly then, the power of what he says and does is due, I think, to his words and actions being but the tip of the iceberg, so speak. This is reminiscent then of the Iceberg Theory … and Earnest Hemingways’ famous words that an iceberg’s ‘dignity of movement’ proceeds from the fact that the bulk of it remains, unseen, below the water.
So, whence then does Joe get this seductive depth, or this ‘dignity of movement’?
Well, Joe, it seems to me, is a man in search of something lost … or forgotten … or, otherwise, less parochial. He’s a man, it seems, who’s on a quest … for something more profound, authentic, and substantial … through transcendent literary culture.
Throughout the film then, we sometimes see him reading … or with a book in hand. What’s more, as the plot unravels, we learn that Joe’s got literary aspirations of his own.
Early on in the film, meanwhile, we hear Joe describe an imagined scenario that might have preceded the death of the woman whom he and his co-worker Les had found dead in the water. His vivid account, and description, reveals an extensive vocabulary and is rich in sensory detail.
Joe exhibits the eloquence then of a man steeped in literary culture.
But, if Joe so eloquently seduces whilst barely saying a word, how then does he do it?
2) Seductive non-verbal communication
Well, this, I think, is all about the vibe … and one’s seductive non-verbal revelations.
Man meets woman. And, often then, the sexual (or amorous) attraction is ALREADY there, or is, at least, latent.
Essentially, it’s entirely natural. It’s simply an intrinsic aspect, if not the chief end and raison d’être, of our humanity … and what it means to be fully human. It is, in other words, simply how we’re made.
One just needs to be candidly conscious and unashamed, like the pre-Fall Adam, of it.
To simply tune into it … and FEEL it.
To respect it … and DANCE with it.
And then, if one injects some intent … plus a little understanding and art, BANG!
Briefly then, at least, or as ‘through a glass darkly’, Eden’s flashing flaming sword may relent!
Anyway, I’ve written about this subject more extensively before. And so, Joe portrays a fine example of the sizzling power of seductive non-verbal communication. There’s so much left unsaid in these scenes that’s, nonetheless, potently communicated and mutually understood.
And, that’s a compelling, but somewhat arcane, seductive secret one best learns, I think, from (and by being aptly attentive to) woman, or at least from many of the kind.
3) Quite confidence
Joe’s not running any pick up artist (PUA) tricks, DHV’s¹, or routines, and the like, to manufacture ‘attraction’ and get the upper hand. And, there’s no socially-relative (or extrinsically-dependant) ‘Alpha Male’ posturing or positioning.
He’s not even cracking any jokes or fishing for laughs!
Nothing then to prove … or to compensate for.
And, no one to manipulate … or, indeed, denigrate.
The intuitive Joe, it seems, simply knows himself and understands woman.
And, he’s at ease, it seems, with both.
You’d like that too?
Well, it’s actually much simpler than you’d think.
Although, of course, it’s an art as well … that, like any other, one must practise to develop and refine.
Ovid’s Ars Amatoria (Art of Love)
And, I know of no better place to start, and no better account of the underlying truths and rudiments of that art, than the immortal poet Ovid‘s timeless, and time-tested, three-book series of love seduction manuals entitled Ars Amatoria (Art of Love).
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 accessible and elegant 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).
Simply visit wordofvenus.com to get your copies and get started today.
P.S. Read them. And then, read them again and again.
If you really take them to heart and properly practise Ovid’s amorous art, you’ll not waist any time, or money, nor be led astray.
- For those not already in the know, a DHV is a ‘seduction community’ acronym, and term, for what’s known in that community, or niche, as a ‘demonstration of higher value’.