Originally, I set out to write about the most famous seductresses, but during my research I fell down a rabbit hole, a fall which was to bring me into the realm of the underlying psychological skills and ancient traditions of this most dastardly type of woman. Also, it has been somewhat enlightening to learn the extent of how deeply insecure men have been historically, a theme which is current in the subtext of this article. The woman, by dogmatic definition, was the nurturer of life who laboured through birth, tended to the needs of her family, and assumed unending responsibilities and it appears whenever they denied these “motherly expectations" for a life of unbounded lust, adventure and danger, they were branded as whorish whereas the very same drives and desires in men, forged legends and heroes.

The seductress, the femme fatale (French for “Deadly Woman”) is one of the oldest female archetypes and although there has been great diversity in "how" she has been portrayed, she has some core traits which are found in every account. She is selfish and manipulative, cynical and a sexual predator, often villainous, and always a survivor. This intelligent and witty temptress has starred in movies like Gone with the Wind, Fatal Attraction, Double Indemnity and Basic Instinct, and appears in pop-fiction as Poison Ivy in Batman, Mystique from X-Men and Inara from Firefly.

Poison Ivy from Batman, Mystique from X-Men and Inara from Firefly.


The femme fatale archetype found in literature and art presents seductive and mysterious woman whose charms ensnare lovers and lead them into compromising, dangerous, and often deadly situations. The folklore and myth systems of almost every ancient culture are sewn together with the femme fatale archetype and she appears at fundamental levels in ancient cosmologies, religions and philosophies in creation myths, in the pages of ancient holy books and in folk stories and fairytales, where in the later she is often the evil step-mother; for example, in Hansel and Gretel and Cinderella. 

Historically, she manifest in Salome, Helen of Troy, Lesbia, Visha Kanyas, the Sirens, Lilith, Mohini, Scylla, Medea, Isabella of France, Hedda Gabler of Kristiania (now Oslo), Marie Antoinette of Austria, and, most famously, Lucrezia Borgia. She dominates Arthurian legends as Mogana le Fay and in Shakespearean plays the Sirens of The Odyssey lured sailors to their deaths and Lady Macbeth famously manipulated her husband into committing murder, so to enhance her quest for power.n Classical times, Cleopatra led the torch of feminine seduction. Shakespeare also told the story of one the greatest temptress that ever lived, Cleopatra, of whom he stated “Age cannot wither her, nor custom stale/ Her infinite variety.” 

Queen Cleopatra was born in 69BC to Pharaoh Ptolemy XII ‘Auletes’ and became the very last pharaoh of Egypt, because "liaisons" (ahem) during her reign gave Rome control of Egypt after her death. Cleopatra had two great loves: Julius Caesar and Mark Anthony, both incredibly powerful Romans, but the temptress' ambition and seduction, which first augmented her empire's prestige, would later bring about her, and Egypts, downfall. In 1866, Jean León Gérome painted Cleopatra with Julius Caesar, an allegorical piece based on the codes of seduction of one of History’s most successful temptresses. 


iCleopatra with Julius Caesar, 1866, by Jean León Gérome.


The earliest stories tell of her powers to hypnotise and entrance victims with magic spells and potions; hence, the femme fatale. She often took the form of the seductive fairy Queen who whisked mortal men away to the land of the sidhe for cycles of seven years. Today she is most often portrayed a semi-mythical seductress, a witch, a enchantress, a vampire, or a demon wielding supernatural sexual control over men. In reality, the arts of seduction around the world were closer aligned with the practice of "sleekid lies" and "coercion," rather than mystical powers. A common trick was to imply that she was caught up in a life threatening situation from which she cannot escape, a victim needing help, thus activating the ego of man, as illustrated in the following illustration.


Man will go to any length while under the spell of a seductress,


One of the most common traits of the femme fatale was "promiscuity" and themes revolving around the "rejection of motherhood.” This particular trait was seen as one of her most threatening qualities since denying males motherhood, was to control male immortality, thus, it was feared by the church as potentially leading to “the ultimate destruction of the male.” She was a common figure in the European Middle Ages highlighting the dangers of unbridled female sexuality. The Biblical figure of Eve, the enchantress Morgan le Fay and The Queen of the Night in Mozart's The Magic Flute reflects her muted presence during the Age of Enlightenment. At this time, an entire gnostic view of female sexuality was revived wherein Adam and Eve were related to eastern concepts of kundalini sexual energy. Underlying sexual precepts from the mystical Jewish Kabalah were fused with the arcane of the tarot and knitted onto systems of energy flow described in Tantra, which we will discuss later. She flourished in the Romantic period and later in the gothic novel, particularly in The Monk which featured Matilda, a powerful femme fatale who later manifest as the vampire in Edgar Allan Poe's Brides of Dracula. The Marquis de Sade,  believed she symbolised the “best qualities of Women” and in his novel Juliette is among the first where the femme fatale triumphs over man. 

Bram Stoker's Dracula (1992). Actors; Monica Bellucci, Michaela Bercu, and Florina Kendrick.

Image from Juliette, by Marquis De Sade.


While researching the lives and times of historic femme fatales I decided to list all of their key attributes, and psychological tendencies, to better expose the most prevalent qualities of femme fatals. I needed a cross section of devilish female, as close to random as possible, so I appealed to my Facebook network for the names of histories best/worst Femme Fatales. With this list, which was close enough to random to warrant the exersise, list I was able to define three categories of scoundrel; Political and Military Leaders, Intellectuals and Artists and Adventuresses. Lets look at each category a little closer.


Theodora, detail of a Byzantine mosaic in the Basilica of San Vitale, Ravenna

Politics and seduction are two poles of the same concept, and cross-pollinate. Knowing this, men have greatly regarded women in politics as a threat to their masogonistic cosmologies and have actively intimidated and slandered women, evident with the 6th century Theodora (500 – 548), the wife of Emperor Justinian I, who ruled over the Byzantine Empire (most countries around the eastern Mediterranean) with “irresistible powers of fascination,” yet was recorded by western chroniclers as a “citizen of hell stung by the devils fly.” 

In Elizabeth Prioleau's Seductress: Women Who Ravished the World and Their Lost Art of Love we learn that the Machtweiher, German for “vamp-politicas,” were a category of siren who wielded as much clout on the political scene as they did between the sheets. Rather than submitting do a highly-male dominated political and socio-economic sphere and downsizing themselves, they exaggerated their charm, sexuality, charisma and allure and won constituents and consolidated power, destroying the male created, demonic-lady myth.


"Mary, Queen of Scots in captivity," dated 1578. By Nicholas Hilliard (died 1619).

Intellectual women terrify men with lesser IQ's. Fact. And in what would appear to be a pathetic, but highly successful and destructive marketing campaign, over the last 80 years fearful men have peaked in their grotesque, highly-abstract and hyper-unnatural stereotypes of women. Sadly, albeit many women curl up to Netflix and laugh innocently at romantic comedies, they often portray dumbed down, adorable daft-tarts, air-heads, who ask all the right questions and keep quiet when required. These modern portrayals of women only serve to enhance the "thick, big-breasted, blonde sex-tornado" delusion, supporting the tired view of women as servile man pleasers, housekeepers with just enough spark to inspire “their” men into great feats of creative genius. Historically, after women muse for their men, and awaken "their" creative giants, they slip back to making beds and tending to children. In reality, however, histories man-slayers had super-high IQ’s, big-mouths and packed the muscle and military training to back it all up. Mary Queen of Scots, for example, married thrice, tried to kill the queen and was legendary for her wit and intelligence. “She was tall, strikingly beautiful, she could speak so many languages,” says Antoni Cimolino, Stratford’s artistic director and “Even her faults have a kind of romance about them."  Mary was surrounded by "intrigue, sex,  love,conspiracy and murder” says David Forsyth, a senior curator at the National Museum of Scotland,  and she is regarded by many historians as a "scheming, murdering adulteress.” 

Additionally, what is seldom written about are the thousands of female authors, painters, sculptors and architects who lit the ancient world with their own creative flames, the shadows of which helped to quell the traditional “submissive woman” paradigm, and enhanced the older, more respectable view of powerful women being fay, magical, and in possession of “almost” otherworldly secrets - the divine mistresses of spells. According to a story by Pliny the Elder, a Roman writer from the first century C.E., the "first drawing ever made" was by a woman named Dibutades, who "traced the silhouette of her lover on a wall." Thus, Western mythology tells us that a woman was the first artist and her image was sexual in nature.


This is the type of woman men have had the greatest and most enduring "issues" with. To deal with her, males have created and perpetuated a powerful social fallacy - the "Madonna-Whore" archetype. These helldrakes unashamedly play in the “man-zone” of adventure and danger. They are the ones a man wouldn’t introduce to his mother and would never marry. They butterfly in a and out of mens lives in the tradition of the ancient love goddess Innana, fearlessly, these out-for-kicks females were sex-professionals and fortune tellers unashamedly hunting male hearts for their own ends. Solid examples of such females were Jaqcuotte Delahaye and Anne Dieu-le-Veut, two pirates with bags of chutzpah who lived in 17th century. They stepped outside the social norms for a life on the high seas and Jaqcuotte once faked her death to escape government troops and assumed the identity of a man. She earned the nickname Back From the Dead Red, and dominated the Caribbean waters with Anne Dieu-le-Veut.

Back From the Dead Red,

Anne Dieu-le-Veut

Anne Dieu-le-Veut

Another example  of the "adventuress" is Jeanne de Clisson (1300–1359), known as Jeanne de Belleville and the Lioness of Brittany, a Breton privateer who plied the English Channel. She was the wife of Olivier III de Clisson and a mother of five and when the French King, Philip VI executed her husband for treason, she sold all of her worldly goods and bought three warships becoming a pirate, terrorising the English Channel, in which they captured French ships and killed their crews. 

Jeanne de Clisson.

A woman, of course, must be crazy to hit the high-seas, to drink, to gamble to fuck-loosely and to forget her lovers as quickly as she met them. And with their draconian sexist attitude, the patriarchal church regarded this type of independent female as a direct threat to mankind because they rejected their primal roles as mothers, thus they are greatly remembered as sexually-unbounded wandering prostitutes, rather than the "players" that they really were. And I use the word "player" in its most essential form, because like magicians working illusions, and stand up comedians delivering lines, every "seduction play" was an exercise  in experimental psychology. 


A common trait found in all three categories of the femme fatal archetype is that they all used their bodies and brains to achieve personal goals. But before the selfish motivations of later practitioners, the ancient arts of Courtesanery and Seduction were once treated as “high philosophy,” with deeply-divine and highly-academic associations. These advanced and serious psychological disciplines had consistent sets of principals which were detailed in hundreds of forgotten books, scrolls and manuscripts. Beginning in cave shrines tens of thousands of years ago, men have always sought the same “experience” from woman; and besides easing our hearts, they have expected mystery, danger, awe, intrigue and terror.

Generally, at first, men want to be led down romantic, unpredictable paths lined with stars and lit with fireworks, however, after six or eight months, once the oxytocin leaves his body, this is when the seductress come into her own, as the show must go on. Prolonged success was assured through strict adherence to codes of seduction and love, for example, the Ars Amatoria. (English: The Art of Love), an instructional elegy series in three books written by the ancient Roman poet Ovid in 2 AD. It teaches basic male and female relationship skills and techniques.

According to arch-temptress Ninon de Lenclos “it takes a hundred times more skill to make love than to command an army” and Formal arts of seduction are found in every ancient civilised culture, and they all have origins in goddess worship, about which Elizabeth Prioleau wrote; “the core themes of sexuality were infused in the human libido with deeply mystical impulses.” And when holy texts describe "mortal men praying to earth angels" and "embracing them in heaven," this is another reference to the old ways, when sexuality and spirituality were two poles of the same concept. This is evident in Vedic India (1500-500 BCE) where the central devotion of early Neolithic cults was to the goddess of all “known and unknown wisdom” and the "highest splendour of the yoni" was the “flame of intelligence.”


"flame of intelligence", or mulabandha.


Sexual behaviour, its sociopolitical impact and its regulation and taboos, have had a profound effect on societies since pre-historic times. Sexuality was a 'way of the gods', having sex was a holy and the moment of orgasm was thought of as communing with the deities.Early cultures associated having sex with supernatural forces and religious architecture and arts are intertwined with such depictions. Sexual imagery is found on statues, pottery, paintings, sculpture, dramatic arts, religious buildings, monuments and music. Thousands of years before the written word ancient societies extended their sexuality and sexual practices into the surrounding landscapes and at important dates in agricultural and ritual calendars people got hyper-sexualised and spiritualised at natural places perceived as being abundant with the magic energy of fertilisation.

The highest snow-capped mountains, ejaculating charging white rivers which fertilised the agricultural landscapes were regarded as the earthly residences of powerful male creator gods. Conceptions of a female Earth Mother can be found within almost every ancient culture and she was generally associated with gently rounded hills, softly flowing streams, fresh water springs and the deepest caves, perceived as wombs, in which her abundant powers of fertility were worshiped. Mountains, hills, rivers, waterfalls and caves shaped as breasts, penises and vaginas were perceived as highly-sacred places where ancient cultures indulged in prolonged sex rituals to assure successful harvests, animal breeding programs, the safe return of explorers and armies but most importantly to assure the daily return of the sun.

Sacred feminine wisdom and the mysteries of fertility were studied and ritualised for 10’s of thousands of years but over the last 3000 years this reverence of female sexuality was constructively de-powered by the patriarchal church in the western world. This was not the case in the east, where female energy was, and still is, perfectly equal to male energy, just perceived as being charged with polarising  spiritual properties, as is evident in the Yin-Yang symbol when interpreted against sexual themes.



Yin Yang symbol, male and female archetypes.


Taoist Sex, is the ancient Chinese equivalent of India's Tantric Sex. But whereas the later is the "Way of the Goddess," Taoist Sex Rites focus more on enhancing the health and longevity of the male practitioner and while the ancient sexual instructions given in the Indian Kama Sutra  heighten and prolong the pleasures of the "female," the Taoist equivalent is aimed at maximising pleasure in males. This is apparent in the position illustrated in a Japanese shunga print of the late eighteenth century), in which a man is copulating with two female partners in a position, called “two dancing phoenixes.”One female lies on top of the other, both spreading their legs so that their vaginas (referred to in Taoism as “yin gates”) are easily accessible to the alternate thrusts of a mans (“yang spear.”)


The Yin Gates and the Yang Spear depicted in a shunga print.


The Tao of Seduction is a leather bound Chinese text, with a lavish casing, discovered in the Mawangdui archaeological site in Hunan province. Consisting of two texts on ancient Taoist sexual alchemy, a two-thousand-year-old treatise on ancient Chinese love and seduction. The first half offers dietary tips for “member strength” and ideas like “breathing only five times through the mouth during lovemaking” help to energise the “members of the body”. The second half of the book presents illustrated, highly-graphical, sexual positions, including the grasshopper’s landing, the tiger’s ballad and the caterpillar on a stem.


Ancient Indian Vedic cultures took sexual rituals to an entirely different level, much of which is today regarded as - just wrong! Located in deep jungles the 10th century Khajuraho Monuments are a group of Hindu and Jain temples in Madhya Pradesh comprised of purpose built sex temples and carnal chambers. Every square inch of wall has been carved with tens of thousands of highly graphic sexual images to enhance the ritual environment.


Khajuraho Monument sex carving.


From depictions of men having sex with animals, to bizarre 1 woman - 20 men group sex encounters, these ancient Vedic rituals were hyper-theatrical, complex arts where orgasms were timed, held and released at key stages within the ceremonies. It was in this research and developmental period, where sex was corresponded with spirituality, that the seeds were sown for what later became the internationally best selling love guide - The Kama Sutra. In all ancient systems where love and sexuality were analysed and categorised, it was taught that to achieve effective and sustained seduction, a woman must first activate, then keep stimulated, all of a mans senses. 

At the core of the esoteric traditions of Hinduism and Buddhism, that co-developed about the middle of 1st millennium CE, arose a concept called “Tantra," meaning “instrument of the body” and to  "loom" or "weave." Although an entire exotic and erotic industry has grown round the word “Tantra” it has very simple origins. It was a spiritual journey of self-development involving work with kundalini energy, chakras, yoga, and other esoteric areas. Putting elements of all these ideas together women were able to raise, lower, manage and control the flows and releases of energies in themselves and their partners.

The chakra system of Buddhist philosophy

Tantric union. Buddhist Dunhuang cave 465 (14th century).

There exist many ancient systems of sexual seduction but most Tantric systems begin with a process called "eye-gazing," where you and your partner stare deeply into each others eyes and apply shared breathing techniques, directing energies within each others bodies. Both ancient and modern systems of eye-gazing require participants to set a joint intention, with agreed potential outcomes or goals. My first experience of eye gazing completely felled me. The connection you feel with another human being, while letting ones create imagination visualise past lives, futures and more, all become very real aspects of reality, while engaging in this particular exercise. Tantric seductresses consciously developed and used their "own senses" to enhance their connections to the physical world and to alter their partners realities. And where modern western Tantra focuses greatly on orgasm, the original intent was on understanding of the greater experience of sex.

Meditational efforts in Hindu and Buddhism attempt to unite experiential reality with a “centre,” within each of us, a universal fulcrum, believed to be charged with powerful sexual energy known as Kundalini. This concept was visualised as a serpent goddess who lies coiled at the base of our spines, waiting for us to unlock her energy through a combination of meditation, yoga and selfless acts of love. The guru Avdhoot Baba Shivanand described the rising of the Kundalini as “an expansion of the brain,” claiming the “dormant” sex spirit uses only "six percent of the brain’s capacity" to interpret reality, where the enlightened spirit uses "94 percent."


The Kundalini system of sexual awakening.


the ancient secrets of seduction

So, now we know the "theory" behind what he schools of seduction tried to have its pupils achieve, but what "exactly" did these ancient systems teach women about their own senses, and how were they trained to use these sense to alter the realities of men? 

Underlying the sexual traditions of all eastern cultures, she who learned the extended powers of the senses was regarded as having enhanced her soul's external experiences in this reality. Practitioners bodies were enhanced with diets of foods picked at certain times in the lunar cycle, and  they performed exercises and dances to strengthen themselves, so as their antenna provided the cleanest, unpolluted real-time sensory data.  Reality was defined by data sets from five primary sensory groups known collectively as tattvas, which were the most important aspects or elements of reality; these were; sparsa (touch); Gandha (smell); rasa (taste), sabda (sound) and rupa (form).

Through these five senses, data flowed to womens brains and the decoded information brought  real-time micro-knowledge, about any given situation, and this data became the most powerful tool of the seductress. Lets look closer at each of the ancient sensory groups and how females were taught how to manipulate and enhance them, so to first ensnare a mans psychology, to catch him in the head lights if you like, and then to manipulate his reality, finally bringing them to their knees.


  • SPARSHA, is a Sanskrit/Indian word that means “contact”, “touching" and “sensation.” Skin forms the visible outer limit of the body and touch is arguably our main data-gathering faculty, helping us to make sense of the greater world. Skilled women, from Vedic seductresses to Roman orgy prostitutes, were taught how to mix different material types and textures such as feathers, velvet hats, silk scarfs and rose petals to stimulate mens erogenous zones. And a most important aspect of sparsha teachings were the crafts of infusing oils and lotions for various types of massage, the apex of touch, which lay at the centre of systems of sustained attraction. For more esoterically inclined readers, Sparsha, was taught as the coming together of the sense organ, the sense object and the sense consciousness (Guenther (1975) and was defined within Buddhist teachings as “One of the seven universal mental factors in the Theravada Abhidharma,” “One of the five universal mental factors in the Mahayana Abhidharma” and “The sixth link in the twelve links of dependent origination.”

  • GANDAH, is the Sanskrit word for “smell” or “scent” but it also refers to an ancient "meditative sex ritual" that uses fragrances to raise desire levels in men and women, of different ages and social casts. Women are more sensitive to smells than men and they omit more pheromones, which control mens instinctual desire for a partner, and studies have proven that a loss of the olfactory sense is often accompanied by a loss in sex drive. The ancient arts of seduction taught entire skill-sets on when to pick flowers and herbs, for making into scents, and offered dietary rules to enhance the natural production of pheromones, to suit desired effects. Yogis who practice this meditative technique believe that the sense of smell transcends the thinking mind, helping them to enter deeper states of consciousness and to recall specific meditative states so that they can re-enter into them, easier and quicker.

  • RASA, on a purely material level means “taste.” The tongue is one of the most sensitive parts of the human body and by shutting out any of the other senses, even simply by closing your eyes, for example, taste improves instantly, especially our sense of sweetness. This sensory occurrence gives origin to why we call each other sweetheart, honey and cupcake, and not vinaigrette and avocado lips! Seductresses would often blind fold their victims and alternate smells, scents and tastes to build up, and hold arousal levels. The fullness, however, of the word/concept “rasa,” is the “bliss of union” or speaking purely physiologically, “of semen.” In Louise Child's Tantric Buddhism and Altered States of Consciousness ,rasa, is described as a “subtle combination of physical and religions emotions.” Marglin, for example, interprets rasa in the context of sex temple dancing, conducted by devadasis, women dedicated to the deity of the temple, married to G-d, who were permitted sexual relationships with married or unmarried men, yet themselves remain unmarried. She suggests that the ritual dance transforms participants, "who taste rasa," a "culturally constituted emotion" that is embodied thought.

"I have argued that he transformative power of the ritual resides in its marriage of form and content. The form of the ritual is its body, its sensuous dynamic presence; the contents of the ritual are the values and beliefs, or, in other words, the thought part. By joining form and content, body and thought, the dance has the power to create a culturally specific experience in the participants, and emotion that also unifies body and thought, that is, and embodied thought. Bodily experiences are here unified with thought; they are not relegated to a separate realm, or physiology, sensation, or nature. (Marglin 1990.)”

  • ŚABDA is “speech” or “sound.” Vedic sex professionals knew precisley when and how to whisper, breathe and sing into mens ears, and such utterances were recorded in the folktales and stories of the peoples history as love spells, hexes and curses. The term was first used, however, as a religio-philosophic term in “gaining knowledge of the ultimate reality, brahman,” in Hinduism. The Glossary of Oriental terms, tells us, esoterically, Shabd is the “Sound Current vibrating in all creation” and “can be heard by the inner ears.” Variously referred to as the "Inner Dialogue," "Audible Life Stream or "Word" in English, the Shabd is the "esoteric essence of G-d" which is available to all human beings. Meditating on this “Sound Current,” was believed to help one realise their own divinity. Sant Baljit Singh, a contemporary Sant Mat Master, uses the term "Light and Sound Current". He describes it as the “connection between human beings and God”, like a broadband connection to heaven.

  • RūPA is “sight”. This sense was controlled in both ancient sex temples and modern brothels with light and shadow, both of which directly affect mood. All over the ancinet world the preferred colour for seductive environments was red, an ancient habit which survives in our people's history in terms such as “think pink,” “painting the town red” and “seeing life through rose-colored spectacles.” Deeper Buddhist concepts associated to Rūpa, relate it to material form, including both the body and external matter. Rūpa was more essentially defined by its being sensed, more than it being tangible matter and like the other senses it was defined in terms of its function; what it did, not what it was. As matter, rūpa is traditionally defined as four primary, or underived (no-upādā) elements known as mahābhūta: “earth/solidity,” “fire/heat,” “water/cohesion” and “air/movement.” Further defining reality, these four principals were intermixed with twenty-four secondary elements, or derived mater (upādā) defining such attributes as, for example, physical lightness and buoyancy, grouping or integration, and physical impermanence.

So, it would appear, after a woman became a master of her own senses she then became an admiral of consciousness, and screwed around with mens realities, chosing when to flick their "on" switches. In modern seduction communities these key arts of the ancient femme fatal would be described as "frame-controlling" -  literally, managing the general framework of all interactions with a potential partner. A simple example of "controlling" a reality frame is seen in the "glass of water analogy," where four examples, of one occurrence, are described in  different "frames."

"My drink is nearly finished" (very negative frame)
“My drink is half empty” (negative frame)
“My drink is half full” (positive frame)
“My drink is half full of water and half full of air” (very positive frame)

Controlling peoples social frames, is essentially controlling otherwise natural communications, and is basically the act of "sucking people into your reality." This brings me to the final commonality found in almost all seductresses - they are generally narcissists. I used to have purposeful encounters with many of them; and no other quality entertained me more than their inherent, constant and persistent seducing and ravishing behaviour and general overtly-romantic approach to even the simples activities. Even a trip to a supermarket brings out sexual gestures, seducing and enticing techniques, all carefully designed elements in a well designed, and very ancient trap, into which inexperienced and most often over-needy males, fumble into, time and time again.

It has been said that the "sitter makes the psychic," and in the case of femme fatals it must be a fact that for every femme fatal, their was a sucker! As a younger man I was a wiling victim to female narcissists; they were fun, unpredictable and really sexy, but and as anyone else who has experienced one will agree, there was a moment at the start when you could have said "get out of here" deflecting her black magic to another victim. But with apples so sweet, albeit they are poisoned, it's sometimes almost impossible to resist taking a mouthful, and boy do they know it!


Since stories have been told, women have devised and developed carefully considered psychological systems specifically to seduce men. As a result, it seems that male led religions and philosophies have developed deeply-misogynistic opinions of women, presenting them as evil seductresses trying to lead them astray. Intelligent, knowledgable and wise women were demoted to witches with "otherworldly sexual powers" which they used to entrap otherwise godly men. Myths and legends of female vampires and sirens luring men to their death, were all crafted by "men," in what appears to be a fearful response to feminism, a kind of defence system designed to protect mens insecurities by casting strong women onto a scrap heap of “evil seductresses. And where many women might agree with that last sentiment, a rising number of others, will have me as being entirely wrong because the femme fatale archetype is to many, an icon of female independence and perspicacity - the grandmothers and precursors to modern feminists.  

To better understand woman, men would be well served to consciously reject the televised cartoon programming of what a sexy women actually is, that we were pounded with as children. Those leggy blondes with big blue eyes, the sought after 7:1 waist to hip ratio, massive bazombas that cause wolves eyes to pop out as they whistle, are modern constructs of sexiness which bear no relevance to our primal urges and desires. At their deepest - most primal levels - the secrets of seduction are of a cranial nature more than physical, but like so many ancient systems, the ars amatoria have been greatly diluted in the last two centuries, debased into low-level books and apps offering dating-tips and flirt-guidelines. The minds of  modern woman, just like mens, have been captured by pop-culture and marketters, and in this strange and unnatural world, Victoria's Secret, now claims to hold the keys to seduction, telling women its "all about what you wear" which is about 3% of the old Crafts of seduction.

In today's world, where the greatest struggle is to hold another persons attention for more than a few seconds, the most sexy and attractive quality a woman can have, in my humble opinion, is simply to be in the "present," and to be "attentive to what we say, no matter how dull! Now that, is a one sexy attribute that you can take home to mum, as it's non-fatal!