These are the main types (of Anti-Seducers).
1) The Brute: If seduction is a kind of ceremony or ritual, part of the pleasure is its duration—the time it takes, the waiting that increases anticipation. Brutes have no patience for such things; they are concerned only with their own pleasure, never with yours. To be patient is to show that you
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Keys to the Character (Rake): At first it may seem strange that a man who is clearly dishonest, disloyal, and has no interest in marriage would have any appeal to a woman. But throughout all of history, and in all cultures, this type has had a fatal effect. What the Rake offers is what society normally does not allow women: an affair of pure
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The Rightful Love
Wolpert calculates, for example, ‘that there are many more molecules in a glass of water than there are glasses of water in the sea’. Since all the water on the planet cycles through the sea, it would seem to follow that every time you drink a glass of water, the odds are good that something of what you are drinking has passed through the bladder of Oliver Cromwell. There is, of course, nothing special about Cromwell, or bladders. Haven’t you just breathed in a nitrogen atom that was once breathed out by the third iguanodon to the left of the tall cycad tree? Aren’t you glad to be alive in a world where not only is such a conjecture possible but you are privileged to understand why? And publicly explain it to somebody else, not as your opinion or belief but as something that they, when they have understood your reasoning, will feel compelled to accept? Maybe this is an aspect of what Carl Sagan meant when he explained his motive in writing The Demon-Haunted World: Science as a Candle in the Dark: ‘Not explaining science seems to me perverse. When you’re in love, you want to tell the world. This book is a personal statement, reflecting my lifelong love affair with science.’
Everything in the world depends on absence and presence. A strong presence will draw power and attention to you—you shine more brightly than those around you. But a point is inevitably reached where too much presence creates the opposite effect: The more you are seen and heard from, the more your value degrades. You become a habit. No matter how hard you try to be different, subtly, without your knowing why, people respect you less and less. At the right moment you must learn to withdraw yourself before they unconsciously push you away. It is a game of hide-and-seek.
The truth of this law can most easily be appreciated in matters of love and seduction. In the beginning stages of an affair, the lover’s absence stimulates your imagination, forming a sort of aura around him or her. But this aura fades when you know too much—when your imagination no longer has room to roam. The loved one becomes a person like anyone else, a person whose presence is taken for granted. (...) The moment you allow yourself to be treated like anyone else, it is too late—you are swallowed and digested. To prevent this you need to starve the other person of your presence. Force their respect by threatening them with the possibility that they will lose you for good; create a pattern of presence and absence.
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At the start of an affair, you need to heighten your presence in the eyes of the other. If you absent yourself too early, you may be forgotten. But once your lover’s emotions are engaged, and the feeling of love has crystallized, absence inflames and excites. Giving no reason for your absence excites even more: The other person assumes he or she is at fault. While you are away, the lover’s imagination takes flight, and a stimulated imagination cannot help but make love grow stronger.
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There are certain queer times and occasions in this strange mixed affair we call life when a man takes this whole universe for a vast practical joke, though the wit thereof he but dimly discerns, and more than suspects that the joke is at nobody’s expense but his own.
Outside of medicine and the army, favored terrains of simulation, the affair goes back to religion and the simulacrum of divinity: “I forbad any simulacrum in the temples because the divinity that breathed life into nature cannot be represented.” Indeed it can. But what becomes of the divinity when it reveald itself in icons, when it is multiplied in simulacra? Does it remain the supreme authority, simply incarnated in images as a visible theology? Or is it volatilized into simulacra which alone deploy their pomp and power of fascination - the visible machinery of icons being substituted for the pure and intelligible Idea of God?
Leave me alone! Sleeping or walking, it’s nobody’s affair but mine! I’ll do as I want with my own body! [...] Stop staring at me! If you want you can have my eyes, that are hardly used, and my shoulders to bear that hump you carry, but turn your head away when I pass. [...] My body will be for whomever I want!
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Marriage was not an affair of personal affection but of family avarice, particularly in the chivalrous upper classes...
Sayfa 59 - RENKitabı okudu
If you inquire what the people are like here, I must answer, 'the same as everywhere.' the human race is but a monotonous affair. Most of them labor the greater part of their time for mere subsistence; and the scanty portion of freedom which remains to them so troubles them that they use every exertion to get rid of it.
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The Essential Difference Between Architecture and Art
"The building must please eveybody. In contrast to the work of art, which does not have to please anybody. The work of art is a private affair of the artist. The building is not. The work of art is brought into the World without there being a need for it. The building supplies a need. The work of art is responsible to no one, the house to every person. The work of art wants to tear people from their comfort zone. The building must serve comfort. The work of art is revolutionary, the building is conservative. The work of art opens new avenues to mankind and thinks of the future. The building thinks of the present. Mankind loves everything that serves his comfort. He hates everything that wants to tear him from his habitual and safe position and that bothers him. And thus he loves the building and hates art. Thus does it not then follow that the house has nothing to do with art and that architecture would not be counted among the arts? So it is. Only a small part of architecture belongs to art: the gravestone and the monument. Everything else that serves a purpose can be excluded from the kingdom of art."
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Three Questions (spoiler içerir)
"Remember then: there is only one time that is important--Now! It is the most important time because it is the only time when we have any power. The most necessary man is he with whom you are, for no man knows whether he will ever have dealings with any one else: and the most important affair is, to do him good, because for that purpose alone was man sent into this life!"
19. Opening The Door
They tell you that an affair destroys everything, that there are no winners, that there is only heartbreak. I know this.
Sayfa 154
TOPKAPI PALACE - ISTANBUL, TURKEY
More than just a private residence for the sultans of the Ottoman Empire, the Topkapi Palace was also the seat of government and had ample quarters for the sultan’s harem and the eunuchs who guarded them. Interestingly, all the chosen eunuchs were black so that if any of the women had an affair and a baby was born, the jig was up.
