Seduction (n.) is indispensible. The person who is unable to seduce people, is not able to save them, either.
Seduction (n.) is fencing with the eyes: feint high, then lunge, and the other is struck somewhere he never expected.
Seduction (n.) is a power of nature in Don Juan: he no more tires of seducing than the wind tires of blowing or the sea of billowing.
Seduction (n.) makes a woman dangerous to Don Juan: once seduced she is raised to a consciousness he does not have.
Seduction (n.) sounds most terrible in Mozart's music — as though Elvira had not been seduced at all, but only longed to be.
Seduction (n.) is relishing the deception without being deceived — only the erotic understands it; how blissful it is to be seduced, only woman knows.
Seduction (n.) can be extensive or intensive: the immediate Don Juan must seduce 1,003; the reflective need seduce only one, and what interests us is how.
Seduction (n.) undergone once with one's whole soul, and then hating the seducer with an energy no wife ever had, is the feminine counterpart of the power to seduce all women.
Seduction (n.) is the art of making an impression at a distance, so that the girl creates her object out of nothing and falls in love with her own creation.
Seduction (n.) is the expedient of the disillusioned: to be rejuvenated by experiencing the illusion in others whose virginal girdle of illusion is not yet loosened — as much desperation as depravity.
Seduction (n.) as the excuse that the serpent deceived Adam is a compliment to man that anyone ethically developed would decline as a new and deeper seduction.