The Siren is the most ancient seductress of them all. Her prototype is
the goddess Aphrodite—it is her nature to have a mythic quality about
her—but do not imagine she is a thing of the past, or of legend and his-
tory: she represents a powerful male fantasy of a highly sexual, supremely
confident, alluring female offering endless pleasure and a bit of danger. In
today's world this fantasy can only appeal the more strongly to the male
psyche, for now more than ever he lives in a world that circumscribes his
aggressive instincts by making everything safe and secure, a world that offers
less chance for adventure and risk than ever before. In the past, a man had
some outlets for these drives—warfare, the high seas, political intrigue. In
the sexual realm, courtesans and mistresses were practically a social institution, and offered him the variety and the chase that he craved. Without any
outlets, his drives turn inward and gnaw at him, becoming all the more
volatile for being repressed. Sometimes a powerful man will do the most ir-
rational things, have an affair when it is least called for, just for a thrill, the
danger of it all. The irrational can prove immensely seductive, even more
so for men, who must always seem so reasonable.
If it is seductive power you are after, the Siren is the most potent of all.
She operates on a man's most basic emotions, and if she plays her role prop-
erly, she can transform a normally strong and responsible male into a child-
ish slave. The Siren operates well on the rigid masculine type—the soldier
or hero—just as Cleopatra overwhelmed Mark Antony and Marilyn Mon-
roe Joe DiMaggio. But never imagine that these are the only types the
Siren can affect. Julius Caesar was a writer and thinker, who had transferred
his intellectual abilities onto the battlefield and into the political arena; the
playwright Arthur Miller fell as deeply under Monroe's spell as DiMaggio.
The intellectual is often the one most susceptible to the Siren call of pure
physical pleasure, because his life so lacks it. The Siren does not have to
worry about finding the right victim. Her magic works on one and all.
First and foremost, a Siren must distinguish herself from other women.
She is by nature a rare thing, mythic, only one to a group; she is also a valu-
able prize to be wrested away from other men. Cleopatra made herself dif-
ferent through her sense of high drama; the Empress Josephine Bonaparte's
device was her extreme languorousness; Marilyn Monroe's was her little-
girl quality. Physicality offers the best opportunities here, since a Siren is
preeminently a sight to behold. A highly feminine and sexual presence,
even to the point of caricature, will quickly differentiate you, since most
women lack the confidence to project such an image.
Once the Siren has made herself stand out from others, she must have
two other critical qualities: the ability to get the male to pursue her so
feverishly that he loses control; and a touch of the dangerous. Danger is
surprisingly seductive. To get the male to pursue you is relatively simple: a
highly sexual presence will do this quite well. But you must not resemble a
courtesan or whore, whom the male may pursue only to quickly lose inter-
est in her. Instead, you are slightly elusive and distant, a fantasy come to life.
During the Renaissance, the great Sirens, such as Tullia d'Aragona, would
act and look like Grecian goddesses—the fantasy of the day. Today you
might model yourself on a film goddess—anything that seems larger than
life, even awe inspiring. These qualities will make a man chase you vehe-
mently, and the more he chases, the more he will feel that he is acting on
his own initiative. This is an excellent way of disguising how deeply you
are manipulating him.
The notion of danger, challenge, sometimes death, might seem out-
dated, but danger is critical in seduction. It adds emotional spice and is
particularly appealing to men today, who are normally so rational and re-
pressed. Danger is present in the original myth of the Siren. In Homer's
Odyssey, the hero Odysseus must sail by the rocks where the Sirens, strange female creatures, sing and beckon sailors to their destruction. They sing of
the glories of the past, of a world like childhood, without responsibilities, a
world of pure pleasure. Their voices are like water, liquid and inviting.
Sailors would leap into the water to join them, and drown; or, distracted
and entranced, they would steer their ship into the rocks. To protect his
sailors from the Sirens, Odysseus has their ears filled with wax; he himself is
tied to the mast, so he can both hear the Sirens and live to tell of it—a
strange desire, since the thrill of the Sirens is giving in to the temptation to
follow them.
Just as the ancient sailors had to row and steer, ignoring all distractions,
a man today must work and follow a straight path in life. The call of some-
thing dangerous, emotional, unknown is all the more powerful because it is
so forbidden. Think of the victims of the great Sirens of history: Paris
causes a war for the sake of Helen of Troy, Caesar risks an empire and
Antony loses his power and his life for Cleopatra, Napoleon becomes a
laughingstock over Josephine, DiMaggio never gets over Marilyn, and
Arthur Miller can't write for years. A man is often ruined by a Siren, yet
cannot tear himself away. (Many powerful men have a masochistic streak.)
An element of danger is easy to hint at, and will enhance your other Siren
characteristics—the touch of madness in Marilyn, for example, that pulled
men in. Sirens are often fantastically irrational, which is immensely attrac-
tive to men who are oppressed by their own reasonableness. An element of
fear is also critical: keeping a man at a proper distance creates respect, so
that he doesn't get close enough to see through you or notice your weaker
qualities. Create such fear by suddenly changing your moods, keeping the
man off balance, occasionally intimidating him with capricious behavior.
The most important element for an aspiring Siren is always the physical,
the Siren's main instrument of power. Physical qualities—a scent, a height-
ened femininity evoked through makeup or through elaborate or seductive
clothing—act all the more powerfully on men because they have no mean-
ing. In their immediacy they bypass rational processes, having the same ef-
fect that a decoy has on an animal, or the movement of a cape on a bull.
The proper Siren appearance is often confused with physical beauty, par-
ticularly the face. But a beautiful face does not a Siren make: instead it cre-
ates too much distance and coldness. (Neither Cleopatra nor Marilyn
Monroe, the two greatest Sirens in history, were known for their beautiful
faces.) Although a smile and an inviting look are infinitely seductive, they
must never dominate your appearance. They are too obvious and direct.
The Siren must stimulate a generalized desire, and the best way to do this is
by creating an overall impression that is both distracting and alluring. It is
not one particular trait, but a combination of qualities:
The voice. Clearly a critical quality, as the legend indicates, the Siren's
voice has an immediate animal presence with incredible suggestive power.
Perhaps that power is regressive, recalling the ability of the mother's voice to calm or excite her child even before the child understood what she was
saying. The Siren must have an insinuating voice that hints at the erotic,
more often subliminally than overtly. Almost everyone who met Cleopatra
commented on her delightful, sweet-sounding voice, which had a mesmer-
izing quality. The Empress Josephine, one of the great seductresses of the
late eighteenth century, had a languorous voice that men found exotic, and
suggestive of her Creole origins. Marilyn Monroe was born with her
breathy, childlike voice, but she learned to lower to make it truly seductive.
Lauren Bacall's voice is naturally low; its seductive power comes from its
slow, suggestive delivery. The Siren never speaks quickly, aggressively, or at
a high pitch. Her voice is calm and unhurried, as if she had never quite
woken up—or left her bed.
Body and adornment. If the voice must lull, the body and its adornment
must dazzle. It is with her clothes that the Siren aims to create the god-
dess effect that Baudelaire described in his essay "In Praise of Makeup":
"Woman is well within her rights, and indeed she is accomplishing a kind
of duty in striving to appear magical and supernatural. She must astonish
and bewitch; an idol, she must adorn herself with gold in order to be
adored. She must borrow from all of the arts in order to raise herself above
nature, the better to subjugate hearts and stir souls."
A Siren who was a genius of clothes and adornment was Pauline Bona-
parte, sister of Napoleon. Pauline consciously strove for a goddess effect,
fashioning hair, makeup, and clothes to evoke the look and air of Venus,
the goddess of love. No one in history could boast a more extensive and
elaborate wardrobe. Pauline's entrance at a ball in 1798 created an astound-
ing effect. She asked the hostess, Madame Permon, if she could dress at her
house, so no one would see her clothes as she came in. When she came
down the stairs, everyone stopped dead in stunned silence. She wore the
headdress of a bacchante—clusters of gold grapes interlaced in her hair,
which was done up in the Greek style. Her Greek tunic, with its gold-
embroidered hem, showed off her goddesslike figure. Below her breasts was
a girdle of burnished gold, held by a magnificent jewel. "No words can
convey the loveliness of her appearance," wrote the Duchess d'Abrantes.
"The very room grew brighter as she entered. The whole ensemble was so
harmonious that her appearance was greeted with a buzz of admiration
which continued with utter disregard of all the other women."
The key: everything must dazzle, but must also be harmonious, so that
no single ornament draws attention. Your presence must be charged, larger
than life, a fantasy come true. Ornament is used to cast a spell and distract.
The Siren can also use clothing to hint at the sexual, at times overtly but
more often by suggesting it rather than screaming it—that would make you
seem manipulative. Related to this is the notion of selective disclosure, the
revealing of only a part of the body—but a part that will excite and stir the
imagination. In the late sixteenth century, Marguerite de Valois, the infamous daughter of Queen Catherine de Médicis of France, was one of the
first women ever to incorporate decolletage in her wardrobe, simply be-
cause she had the most beautiful breasts in the realm. For Josephine Bona-
parte it was her arms, which she carefully always left bare.
Movement and demeanor. In the fifth century B.C., King Kou Chien
chose the Chinese Siren Hsi Shih from among all the women of his realm
to seduce and destroy his rival Fu Chai, King of Wu; for this purpose, he
had the young woman instructed in the arts of seduction. Most important
of these was movement—how to move gracefully and suggestively. Hsi
Shih learned to give the impression of floating across the floor in her court
robes. When she was finally unleashed on Fu Chai, he quickly fell under
her spell. She walked and moved like no one he had ever seen. He became
obsessed with her tremulous presence, her manner and nonchalant air. Fu
Chai fell so deeply in love that he let his kingdom fall to pieces, allowing
Kou Chien to march in and conquer it without a fight.
The Siren moves gracefully and unhurriedly. The proper gestures,
movement, and demeanor for a Siren are like the proper voice: they hint at
something exciting, stirring desire without being obvious. Your air must be
languorous, as if you had all the time in the world for love and pleasure.
Your gestures must have a certain ambiguity, suggesting something both
innocent and erotic. Anything that cannot immediately be understood is
supremely seductive, and all the more so if it permeates your manner.