The Art of Seduction: An Indispensible Primer on the Ultimate Form of Power

This section focuses on the role of personality in seduction, describing nine seducer types to allow potential seducers to recognize and develop their seduction abilities, with a symbol for each. It ends with the Anti-Seducer.

Based on the goddess Aphrodite, the Siren mixes sexual magnetism with grandness and theatricality. The chapter describes Julius Caesar’s visit to Egypt. Cleopatra came to him rolled up in a rug, enchanting Caesar and becoming his lover.

As a Spectacular Siren, Cleopatra’s seduction methods were maintained by continually changing her clothes and makeup and using a seductive voice and exciting events to stave off a man’s boredom and fulfill his fantasies. She then became distant, thus controlling men’s emotions and desires.

Marilyn Monroe, a Sex Siren, realized how her body, walk, and voice captivated men. The Sex Siren uses her “innocence” to create a paternal feeling in others while maintaining power. Women do not need to look like Monroe because appearance is an illusion; they only need innocence and sex appeal to create an effect of obliviousness to their impact.

Sirens should also create fear through mood changes, intimidation, and remaining distant while presenting a seductive appearance through an erotic voice, clothes, accessories, movements, and demeanor.

The Siren impacts men because society has minimized opportunities for aggression and excitement. The Siren can capitalize on this lack through femininity and sexuality, getting men to chase them, and using danger, which excites logical or repressed men. Other “victims” of Sirens are Paris, Caesar, Mark Antony, Napoleon, Joe DiMaggio, and Arthur Miller. Siren might be seen as promiscuous and enviable, and they might get unwanted attention. Her power lessens with age.

The Rake, a male type, uses language, danger, and pleasure to seduce. One example is the Duke de Richelieu, who seduced Mademoiselle de Valois. When her father found out, Richelieu bought the house next door and broke through an adjoining wall to their cupboard, where he and de Valois had many encounters.

This type, the Ardent Rake, fights obstacles and has unrestrained desire. Women think the Rake will focus on her entirely, so they forgive his transgressions and ignore any consequences of an affair.

Greene then discusses the Demonic Rake through a story about Gabriele D’Annunzio, a hero in the Italian army during World War I who seduced women like Eleanor Duse and Isadora Duncan through his charms, voice, and language. He used his status as a war hero to seduce those who opposed him and became a political leader, seducing the public using words. The Rake uses words to seduce and distract. The Rake’s language is “demonic because it is designed [...] to persuade, flatter, stir emotional turmoil” (24).

The Rake, while dishonest, disloyal, and fleeting, appeals to some women because of their constricted societal role, which women want to escape by meeting someone romantic and devoted.

Rakes access women’s subdued passions by offering risk and thrills while seeming out of control, ignoring societal norms, and possessing a forbidden quality or even meanness. Rakes are indifferent to obstacles like husbands, and their bad reputation excites women who want to change them. Greene illustrates these characteristics with stories about Valmont from Dangerous Liaisons, Pablo Picasso, Prince Niou from The Tale of Genji, Errol Flynn, the Earl of Rochester, Lord Byron, and Bill Clinton. Using Elvis as an example, he details the dangers of being a Rake: insecure men and angry husbands or boyfriends who envy and confront him.

The Ideal Lover manifests a person’s fantasy. For instance, Casanova would meet a woman, discover her needs, and provide them fully. Greene notes the rarity of the Ideal Lover today because of the effort required to figure out another person’s desires and how to fulfill them.

He then discusses Jeanne Poisson, who gained the title Marquise de Pompadour when she became Louis XV’s mistress. After the initial seduction, she continued to seduce him by providing variety in herself, her conversation, palace projects, and entertainment so that he would not become bored. She learned that he needed continuous surprise and demonstrations of his greatness. Greene explains that many people have unfulfilled ideals or goals, so they can be seduced by making them feel this greatness.

Everyone has an ideal self or mate that is based on a lack from childhood. The characteristics of the Ideal Lover include the ability to observe others and have a selfless dedication to a person, which offers them unlimited power.

In 18th-century Japan, Nisan courted the courtesan Diwa by pleasing her visually. Sergei Saltykov, a Russian army officer, fell in love with the Grand Duchess Catherine, the future empress of Russia, and saved her from her husband’s jealousy. Rudolph Valentino wooed women with a great deal of attention.

Greene claims that men’s Ideal Lover is the Madonna/whore lover, who embodies both sexuality and purity. An example is “honest courtesan” Tullia d’Aragona, who “made sex seem elevated and innocent” (38).

The Ideal Lover can be a political force, such as Napoleon’s cabinet minister and friend Talleyrand, who helped Napoleon become emperor. Kennedy was an Ideal Lover to the American people through the “Camelot” image, the space race, and public service calls that created a unified mission. Politicians can also create symbols of a country’s past to seduce the public.

The danger of the Ideal Lover is allowing reality to surface. They must maintain their fantasy appeal and hide their imperfections. Kennedy’s imperfections, for example, were revealed after his death, but because he was assassinated, he still remains idealized.

Dandies are straight, but their look and disposition shift between feminine and masculine. Greene introduces the Dandy through the story of Valentino, who learned what attracted women during his dancing career. Valentino dressed and moved like a woman, but his image was masculine (44), making him a Feminine Dandy.

On the other side is the Masculine Dandy, exemplified by Lou von Salomé. Both pastor Henrik Gillot and philosopher Friedrich Nietzsche proposed marriage to her, but she wasn’t interested. She attracted many other men, including the poet Rainer Maria Rilke. She left him because he became too attached, which she saw as weak. Greene explains that Salomé blended the masculine and feminine through her feminine beauty and grace, independence, and intellect. The Masculine Dandy, Greene claims, shifts the “normal pattern of male superiority” (47).

The Masculine Dandy uses men’s traits against them, which fascinates them.

Greene explains that the Dandy is nonconformist and disinterested in social norms or what others think. Dandies pay attention to their clothing, but they don’t try too hard. Instead, they utilize details, such as Oscar Wilde’s green velvet suit or Andy Warhol’s silver wigs (49).

The blend of masculine and feminine qualities is appealing because using characteristics of the opposite sex captures a person’s vanity. Josephine Baker and Marlene Dietrich would dress up as men to attract men, and Valentino and Elvis were feminine men who attracted women. Greene argues that feminine beauty is more objectified than masculine beauty, so feminine men are more seductive.

Political Dandies include Kennedy and Disraeli. The dangers of being a Dandy arise from someone of one’s own gender disliking them because of their insecurity, which may anger those in power.

The Natural is a seducer who uses innocence and a childlike nature. Because childhood is a time that adults can never return to, this makes the Natural appealing. There are four types of Naturals: the innocent, imp, wonder, and undefensive lover. The innocent retains their innocent perspective on the world and comes across as weak and confused, such as Charlie Chaplin, who used his innocence with film audiences.

The imp is carefree, naughty, and unconcerned about upsetting people. One example is Cora Pearl, whose independence, wildness, and lack of decorum attracted men in Paris in the 1850s and 1860s. They have an innate talent or gift. The undefensive lover is open-minded, such as Genji in The Tale of Genji. He seduces the princess Oborozukiyo and is not defensive when his advances are rebuffed; he merely leaves, and she feels guilty.

One danger of being a Natural involves people getting annoyed at one’s childish qualities, so seducers should strive for a combination of childlike and adult qualities. Their power lessens with age.

This chapter includes a story about Napoleon, who married Josephine in 1796 and left for war. He sent her letters and asked her to visit, but she never came. She was a Coquette, charming him but then pulling away. Coquettes keep their romantic interest fearing that they may pull away or that they are not actually interested, causing insecurity, before drawing them in again.

One subtype is the Cold Coquette. At Andy Warhol’s first show, he was cold and distant with critics and party guests. Being distant helped his career. Through distance that seems like confidence, Cold Coquettes makes other people chase them. They are aloof, so people want to associate with them.

Greene asserts that Coquettes entice people through emotions, disregard their appearance, thrive on jealousy, and create mystery through withdrawal. Coquettes are also narcissists, and Greene claims that people like this because it reminds them of their childhood, when they were the most self-involved. They also want to make the Coquette dependent, but instead, they become dependent. Greene argues that historically, the Coquette was traditionally female and used the tactic of withholding sex. This type of seducer was then adopted by men in the 17th and 18th centuries and is now non-gendered.

The Coquette attracts people, then sends mixed signals that confuse their target (75). An example is the character Marianne in the novel of the same name, who “accidentally” reveals a bare arm in church and creates subtle interest.

Other examples include Yang Kuei-Fei in eighth-century China, Freud, and political leaders like Mao Zedong, Napoleon, and Josef Tito, who were narcissists and alternated between creating devotion in and remaining distant from their people. The dangers associated with the Coquette involve playing too much with a person’s emotions, resulting in an end to the relationship or intense hatred.

The Charmer focuses on their interest’s vanity and self-esteem instead of their sexuality and discovers their desires and insecurities to make them dependent. They provide pleasure that distracts an interest from their problems, eases tension, and creates security. They are calm during challenges and make themselves useful. Greene suggests pretending to share a person’s interests and values to put them at ease and more easily manipulate them. These tactics work with individual people and with large groups.

Disraeli charmed Queen Victoria by appealing to her confidence and femininity and offering pleasurable experiences. Pamela Churchill charmed American politician Averell Harriman, married him, and charmed his colleagues into making political donations.

Zhou Enlai, a Chinese Communist, convinced Chiang Kai-shek, a Chinese Nationalist, to join the Communists against the Japanese, who had invaded China. Zhou was then sent to the Soviet Union by Mao Zedong to negotiate with Stalin. Catherine the Great charmed the masses. Her abusive and adulterous husband Peter had her arrested, but she led his soldiers in a rebellion against him and became empress.

Cynics might not fall for the Charmer’s techniques, so Charmers should find many people to charm. Political charm could create enemies in those who prefer toughness.

Charismatics are mysterious and confident. Greene states that “charisma is seduction on a mass level. Charismatics make crowds of people fall in love with them, then lead them along” (97). The origin of charisma is in religion (and most religions were founded by Charismatics), when people would claim spirit possession and then garner power.

Modern Charismatics can lead people to a great cause or vision (98). Inherently charismatic people have high self-confidence and magnetism that creates a type of religious experience not based on reality. Greene argues that potential Charismatics should create an aura of spirituality or mystery, have a clear purpose for people to follow, and exhibit contradiction, saintliness, eloquence, theatricality, uninhibitedness, vulnerability, and adventurousness.

Greene provides historical examples of political and public figures. The miraculous prophet is exemplified by Joan of Arc, who had visions that she was chosen to return French rule to the Dauphin from the hands of English invaders. She convinced him to lead a French army (103) and possessed saintliness, eloquence, and confidence.

The authentic animal is illustrated by Rasputin, who seduced women using spirituality, including Czar Nicholas and his wife Alexandra. He openly exhibited saintly and sinful sides.

Elvis exemplifies the demonic performer, whose charismatic, uninhibited dancing made his audiences less repressed. Embracing fantasies and eschewing repression is an effect of charisma.

Vladimir Lenin illustrates the savior. Lenin saved Russia from famine and division during World War I, inspiring a socialist revolution. Greene notes that charisma is not about appearance or personality but having a vision and showing success: “charisma is not…outside of your control; it is an illusion in the eyes of those who see you as having what they lack” (109). Lenin showed people he could rescue them.

Krishnamurti exemplifies the guru. He abandoned his religious order when he realized that truth was internal and that people should lead simple lives, inadvertently emitting an aura of enlightenment.

Eva Perón illustrates the drama saint. When she married colonel Juan Perón and he became president, she became saintlier, connecting with the Argentinian people through charity and dramatic speeches.

Malcolm X is an example of the deliverer, a Charismatic type who helps people release anger and emotions due to oppression. Malcolm X was eloquent, had a cause, and showed his passion through speeches. Greene argues that a deliverer can prove their claims with their experiences; Malcolm X had been in prison and was self-educated. Greene acknowledges that hatred and oppression can generate feelings of power and charisma, as it leads to a verbalization of what others fear saying.

Charles de Gaulle exemplifies the Olympian actor. He appeared on television in his World War II uniform after an insurrection in the French colony of Algeria. The uniform and his speech evoked his war achievements, showing audiences that he would not give in to the insurrectionists. When the French voted for Algerian independence a year later and right-wing French generals took control of the Algerian government, de Gaulle wore his uniform again in a speech asking for support. His appearance, mannerisms, and language elicited emotion, making him charismatic.

Charismatics also face dangers, such as resentment. Maximilien de Robespierre faced resentment by his opponents during a speech about the end of the Reign of Terror; he was soon executed. Charismatics need people to feel fear or insecurity in order to be saved and seduced. Charismatics should only use it when needed. Alternatively, they can use force or maintain a strong personality. Charismatics also leave disorder behind, creating problems for their successors.

Dietrich was a Fetishistic Star who could change her appearance to seduce anyone through projected fantasies. If a person has a blankness to their face, as Dietrich did, then others will substitute their fantasy. She became a fetishized object, or “an object we can imagine whatever we want about” (122). Dietrich was a Fetishistic Star who could become that object because she saw herself as one.

The Mythic Star adapts their style from a mythic character, such as a rebel or adventurer, and elicits feelings that they are addressing grand ideals. In addition, they characterize opponents as villains. Kennedy used words and eloquence in press conferences, speeches, and the presidential debate against Richard Nixon to create a mythic quality.

The characteristics of the Star include the ability to mix the real and the unreal and maintain a presence that attracts attention through mystery. One example is the 18th-century charlatan Count Saint-Germain, whose country of origin and age were unknown, and who wore black clothing and excessive jewelry. He convinced Louis XV that he had special powers.

A Star also uses drama or subtlety to intrigue people, allowing people to fantasize about their private lives. A Star’s dangers involve being replaced with another Star. Additionally, too much obsession about the Star requires a sense of detachment.

Greene describes different types of the Anti-Seducer, who does not understand human psychology and is repulsive. He explains how potential seducers can identify these qualities and become more seductive.

Anti-Seducers are insecure, anxious, and unable to seduce: “They interpret the slightest ambiguity on your part as a slight to their ego; they see the merest hint of withdrawal as a betrayal” (133). Anti-Seducers are not always recognizable, trapping people in bad relationships. Anti-Seducers are ungenerous or judgmental people who argue often or profess their love prematurely.

Greene outlines various Anti-Seducers: the Brute, who focuses on their own pleasure, is egotistic, and has no patience; the Moralizer, who is judgmental and wants to change a person’s morals; the Tightwad, who is overly frugal; the Bumbler, who is self-conscious; the Windbag, who talks too much; the Reactor, who is overly sensitive; and the Vulgarian, who dresses poorly and lacks discretion. The Suffocator falls in love too quickly and becomes needy, and includes the variation of the Doormat, who imitates their love interest.

Roman emperor Claudius was unintelligent and did not pay attention to his wife, who then had affairs. Matta, a French officer who courted Madame de Senantes, professed his interest too quickly, and she left him.

Meilcour attempted to woo Madame de Lursay, but he was insecure, couldn’t read her signals, and professed his love too quickly. She rebuffed him.

In The Tale of Genji, Kaoru, the son of Genji, continually searches for an ideal woman, first falling in love with Princess Oigimi, then her sister Nakanokimi, then another sister, Ukifune.

Casanova met a countess and Anti-Seducer who had too much pride and greed, coveting a dress he had brought for another. She pestered him about it until he sold it to her friend, who gave it to her.

William Gladstone, prime minister of England in the late 1800s, ignored protocols when meeting Queen Victoria, telling her that she was too private. He argued with her, and she came to dislike him. Gladstone was too aggressive and impatient in pushing his morals.

Greene discusses getting rid of Anti-Seducers by acting like them. Octavius was friendly, overly polite, and unemotional, thus thwarting Cleopatra’s seductive power.

Greene contends that a seducer’s “victims” lack something in their lives, such as adventure, attention, or romance, that they cannot fulfill themselves. Seducers can find that need, but they should only seduce someone who is not their type.

Greene describes 18 victim types. He begins with the Reformed Rake or Siren, a former seducer who changed their ways but misses them. Seducers can make them think they are the seducers. The Disappointed Dreamer has a rich fantasy life but is dissatisfied by reality; providing them with a fantasy will reel them in.

The Pampered Royal was spoiled as a child and expects others to entertain them (151). They are quickly bored, so seducers must give them exciting, new experiences. The New Prude is proper in all areas of life but desires taboo pleasures; a wild or mischievous person intrigues them.

The Crushed Star desires attention because they no longer have it, so seducers should center them. The Novice desires experience, which can be provided through sex, ideas, and places. The Conqueror seeks power and people or barriers to conquer; allowing them that opportunity will reel them in.

The Exotic Fetishist likes foreign cultures; the seducer must emphasize their own exoticism or uniqueness. A variation is a person who feels trapped in a relationship, job, or place and desires freedom.

The Drama Queen uses drama to deal with boredom, so seducers must provide drama through pain, which the Drama Queen finds pleasurable. The Professor analyzes everything but feels unattractive; seducers can help free their mind through physical experiences.

The Beauty feels that their appearance is powerful but diminishing. They also feel isolated and objectified. Seducing them requires validation of their intelligence, skills, or character, as well as letting them chase (156).

The Aging Baby is immature seeking an adult so they can be childlike; seducers can become this. The Rescuer finds power in rescuing people from their problems; seducers provide that opportunity.

The Roué can be seduced by someone who is young and innocent. The Idol Worshipper seeks something to worship, often spirituality or a great cause. Seducers must become their focus of devotion and pretend to have the same interest, then replace it.

The Sensualist wants sensual experiences. The Lonely Leader seeks an equal because they are surrounded by those who are inferior. They feel separated from others because of their power and responsibilities. The Floating Gender wants to express their fluctuating masculinity and femininity and seeks a similar person.