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#Marketing
There is a point of growth or business circumstance that a company hits that triggers the demand for your product. Figure out what that is, identify companies with this characteristic, and message to the need created by this trigger.

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#48-laws-of-power #introduction #janus-faces #robert-greene
Related to mastering your emotions is the ability to distance yourself from the present moment and think objectively about the past and future. Like Janus, the double-faced Roman deity and guardian of all gates and doorways, you must be able to look in both directions at once, the better to handle danger from wherever it comes. Such is the face you must create for yourself-one face looking continuously to the future and the other to the past.

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Related to mastering your emotions is the ability to distance yourself from the present moment and think objectively about the past and future. Like Janus, the double-faced Roman deity and guardian of all gates and doorways, you must be able to look in both directions at once, the better to handle danger from wherever it comes. Such is the face you must create for yourself-one face looking continuously to the future and the other to the past. For the future, the motto is, “No days unalert.” Nothing should catch you by surprise because you are constantly imagining problems before they arise. Instead of spending your time drea

Original toplevel document

48 Laws of Power Introduction
love, or avoid feeling them, and you should not try. But you should be careful about how you express them, and most important, they should never influence your plans and strategies in any way. <span>Related to mastering your emotions is the ability to distance yourself from the present moment and think objectively about the past and future. Like Janus, the double-faced Roman deity and guardian of all gates and doorways, you must be able to look in both directions at once, the better to handle danger from wherever it comes. Such is the face you must create for yourself-one face looking continuously to the future and the other to the past. I thought to myself with what means, with what deceptions, with how many varied arts, with what industry a man sharpens his wits to deceive another, and through these variations the world is made more beautiful. FRANCESCO VETTORI, CONTEMPORARY AND FRIEND OF MACHIAVELLI, EARLY SIXTEENTH CENTURY For the future, the motto is, “No days unalert.” Nothing should catch you by surprise because you are constantly imagining problems before they arise. Instead of spending your time dreaming of your plan’s happy ending, you must work on calculating every possible permutation and pitfall that might emerge in it. The further you see, the more steps ahead you plan, the more powerful you become. The other face of Janus looks constantly to the past—though not to remember past hurts or bear grudges. That would only curb your power. Half of the game is learning how to forget those events in the past that eat away at you and cloud your reason. The real purpose of the backward-glancing eye is to educate yourself constantly—you look at the past to learn from those who came before you. (The many historical examples in this book will greatly help that process.) Then, having looked to the past, you look closer at hand, to your own actions and those of your friends. This is the most vital school you can learn from, because it comes from personal experience. There are no principles; there are only events. There is no good and bad, there are only circumstances. The superior man espouses events and circumstances in order to guide them. If there were principles and fixed laws, nations would not change them as we change our shirts and a man can not be expected to be wiser than an entire nation. HONORÉ DE BALZAC, 1799-1850 You begin by examining the mistakes you have made in the past, the ones that have most grievously held you back. You analyze them in terms of the 48 laws of power, and you extract from them a lesson and an oath: “I shall never repeat such a mistake; I shall never fall into such a trap again.” If you can evaluate and observe yourself in this way, you can learn to break the patterns of the past—an immensely valuable skill. Power requires the ability to play with appearances. To this end you must learn to wear many masks and keep a bag full of deceptive tricks. Deception and masquerade should not be seen a




#48-laws-of-power #introduction #janus-faces #robert-greene
For the future, the motto is, “No days unalert.” Nothing should catch you by surprise because you are constantly imagining problems before they arise. Instead of spending your time dreaming of your plan’s happy ending, you must work on calculating every possible permutation and pitfall that might emerge in it. The further you see, the more steps ahead you plan, the more powerful you become.

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both directions at once, the better to handle danger from wherever it comes. Such is the face you must create for yourself-one face looking continuously to the future and the other to the past. <span>For the future, the motto is, “No days unalert.” Nothing should catch you by surprise because you are constantly imagining problems before they arise. Instead of spending your time dreaming of your plan’s happy ending, you must work on calculating every possible permutation and pitfall that might emerge in it. The further you see, the more steps ahead you plan, the more powerful you become. The other face of Janus looks constantly to the past—though not to remember past hurts or bear grudges. That would only curb your power. Half of the game is learning how to forget those

Original toplevel document

48 Laws of Power Introduction
love, or avoid feeling them, and you should not try. But you should be careful about how you express them, and most important, they should never influence your plans and strategies in any way. <span>Related to mastering your emotions is the ability to distance yourself from the present moment and think objectively about the past and future. Like Janus, the double-faced Roman deity and guardian of all gates and doorways, you must be able to look in both directions at once, the better to handle danger from wherever it comes. Such is the face you must create for yourself-one face looking continuously to the future and the other to the past. I thought to myself with what means, with what deceptions, with how many varied arts, with what industry a man sharpens his wits to deceive another, and through these variations the world is made more beautiful. FRANCESCO VETTORI, CONTEMPORARY AND FRIEND OF MACHIAVELLI, EARLY SIXTEENTH CENTURY For the future, the motto is, “No days unalert.” Nothing should catch you by surprise because you are constantly imagining problems before they arise. Instead of spending your time dreaming of your plan’s happy ending, you must work on calculating every possible permutation and pitfall that might emerge in it. The further you see, the more steps ahead you plan, the more powerful you become. The other face of Janus looks constantly to the past—though not to remember past hurts or bear grudges. That would only curb your power. Half of the game is learning how to forget those events in the past that eat away at you and cloud your reason. The real purpose of the backward-glancing eye is to educate yourself constantly—you look at the past to learn from those who came before you. (The many historical examples in this book will greatly help that process.) Then, having looked to the past, you look closer at hand, to your own actions and those of your friends. This is the most vital school you can learn from, because it comes from personal experience. There are no principles; there are only events. There is no good and bad, there are only circumstances. The superior man espouses events and circumstances in order to guide them. If there were principles and fixed laws, nations would not change them as we change our shirts and a man can not be expected to be wiser than an entire nation. HONORÉ DE BALZAC, 1799-1850 You begin by examining the mistakes you have made in the past, the ones that have most grievously held you back. You analyze them in terms of the 48 laws of power, and you extract from them a lesson and an oath: “I shall never repeat such a mistake; I shall never fall into such a trap again.” If you can evaluate and observe yourself in this way, you can learn to break the patterns of the past—an immensely valuable skill. Power requires the ability to play with appearances. To this end you must learn to wear many masks and keep a bag full of deceptive tricks. Deception and masquerade should not be seen a




Janus Face Looking at the Past
#48-laws-of-power #introduction #janus-faces #robert-greene

The other face of Janus looks constantly to the past—though not to remember past hurts or bear grudges. That would only curb your power. Half of the game is learning how to forget those events in the past that eat away at you and cloud your reason. The real purpose of the backward-glancing eye is to educate yourself constantly—you look at the past to learn from those who came before you. (The many historical examples in this book will greatly help that process.) Then, having looked to the past, you look closer at hand, to your own actions and those of your friends. This is the most vital school you can learn from, because it comes from personal experience.

You begin by examining the mistakes you have made in the past, the ones that have most grievously held you back. You analyze them in terms of the 48 laws of power, and you extract from them a lesson and an oath: “I shall never repeat such a mistake; I shall never fall into such a trap again.” If you can evaluate and observe yourself in this way, you can learn to break the patterns of the past—an immensely valuable skill.

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an’s happy ending, you must work on calculating every possible permutation and pitfall that might emerge in it. The further you see, the more steps ahead you plan, the more powerful you become. <span>The other face of Janus looks constantly to the past—though not to remember past hurts or bear grudges. That would only curb your power. Half of the game is learning how to forget those events in the past that eat away at you and cloud your reason. The real purpose of the backward-glancing eye is to educate yourself constantly—you look at the past to learn from those who came before you. (The many historical examples in this book will greatly help that process.) Then, having looked to the past, you look closer at hand, to your own actions and those of your friends. This is the most vital school you can learn from, because it comes from personal experience. You begin by examining the mistakes you have made in the past, the ones that have most grievously held you back. You analyze them in terms of the 48 laws of power, and you extract from them a lesson and an oath: “I shall never repeat such a mistake; I shall never fall into such a trap again.” If you can evaluate and observe yourself in this way, you can learn to break the patterns of the past—an immensely valuable skill. <span>

Original toplevel document

48 Laws of Power Introduction
love, or avoid feeling them, and you should not try. But you should be careful about how you express them, and most important, they should never influence your plans and strategies in any way. <span>Related to mastering your emotions is the ability to distance yourself from the present moment and think objectively about the past and future. Like Janus, the double-faced Roman deity and guardian of all gates and doorways, you must be able to look in both directions at once, the better to handle danger from wherever it comes. Such is the face you must create for yourself-one face looking continuously to the future and the other to the past. I thought to myself with what means, with what deceptions, with how many varied arts, with what industry a man sharpens his wits to deceive another, and through these variations the world is made more beautiful. FRANCESCO VETTORI, CONTEMPORARY AND FRIEND OF MACHIAVELLI, EARLY SIXTEENTH CENTURY For the future, the motto is, “No days unalert.” Nothing should catch you by surprise because you are constantly imagining problems before they arise. Instead of spending your time dreaming of your plan’s happy ending, you must work on calculating every possible permutation and pitfall that might emerge in it. The further you see, the more steps ahead you plan, the more powerful you become. The other face of Janus looks constantly to the past—though not to remember past hurts or bear grudges. That would only curb your power. Half of the game is learning how to forget those events in the past that eat away at you and cloud your reason. The real purpose of the backward-glancing eye is to educate yourself constantly—you look at the past to learn from those who came before you. (The many historical examples in this book will greatly help that process.) Then, having looked to the past, you look closer at hand, to your own actions and those of your friends. This is the most vital school you can learn from, because it comes from personal experience. There are no principles; there are only events. There is no good and bad, there are only circumstances. The superior man espouses events and circumstances in order to guide them. If there were principles and fixed laws, nations would not change them as we change our shirts and a man can not be expected to be wiser than an entire nation. HONORÉ DE BALZAC, 1799-1850 You begin by examining the mistakes you have made in the past, the ones that have most grievously held you back. You analyze them in terms of the 48 laws of power, and you extract from them a lesson and an oath: “I shall never repeat such a mistake; I shall never fall into such a trap again.” If you can evaluate and observe yourself in this way, you can learn to break the patterns of the past—an immensely valuable skill. Power requires the ability to play with appearances. To this end you must learn to wear many masks and keep a bag full of deceptive tricks. Deception and masquerade should not be seen a




Appearances and Deception: Your Bag of Tricks.
#48-laws-of-power #appearances-and-deception-your-bag-of-tricks #introduction #power-skills #robert-greene

Power requires the ability to play with appearances. To this end you must learn to wear many masks and keep a bag full of deceptive tricks. Deception and masquerade should not be seen as ugly or immoral. All human interaction requires deception on many levels, and in some ways what separates humans from animals is our ability to lie and deceive. In Greek myths, in India’s Mahabharata cycle, in the Middle Eastern epic of Gilga mesh, it is the privilege of the gods to use deceptive arts; a great man, Odysseus for instance, was judged by his ability to rival the craftiness of the gods, stealing some of their divine power by matching them in wits and deception. Deception is a developed art of civilization and the most potent weapon in the game of power.

You cannot succeed at deception unless you take a somewhat distanced approach to yourself—unless you can be many different people, wearing the mask that the day and the moment require. With such a flexible approach to all appearances, including your own, you lose a lot of the inward heaviness that holds people down. Make your face as malleable as the actor’s, work to conceal your intentions from others, practice luring people into traps. Playing with appearances and mastering arts of deception are among the aesthetic pleasures of life. They are also key components in the acquisition of power.

If deception is the most potent weapon in your arsenal, then patience in all things is your crucial shield. Patience will protect you from making moronic blunders. Like mastering your emotions, patience is a skill—it does not come naturally. But nothing about power is natural; power is more godlike than anything in the natural world. And patience is the supreme virtue of the gods, who have nothing but time. Everything good will happen—the grass will grow again, if you give it time and see several steps into the future. Impatience, on the other hand, only makes you look weak. It is a principal impediment to power.

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48 Laws of Power Introduction
at such a mistake; I shall never fall into such a trap again.” If you can evaluate and observe yourself in this way, you can learn to break the patterns of the past—an immensely valuable skill. <span>Power requires the ability to play with appearances. To this end you must learn to wear many masks and keep a bag full of deceptive tricks. Deception and masquerade should not be seen as ugly or immoral. All human interaction requires deception on many levels, and in some ways what separates humans from animals is our ability to lie and deceive. In Greek myths, in India’s Mahabharata cycle, in the Middle Eastern epic of Gilga mesh, it is the privilege of the gods to use deceptive arts; a great man, Odysseus for instance, was judged by his ability to rival the craftiness of the gods, stealing some of their divine power by matching them in wits and deception. Deception is a developed art of civilization and the most potent weapon in the game of power. You cannot succeed at deception unless you take a somewhat distanced approach to yourself—unless you can be many different people, wearing the mask that the day and the moment require. With such a flexible approach to all appearances, including your own, you lose a lot of the inward heaviness that holds people down. Make your face as malleable as the actor’s, work to conceal your intentions from others, practice luring people into traps. Playing with appearances and mastering arts of deception are among the aesthetic pleasures of life. They are also key components in the acquisition of power. If deception is the most potent weapon in your arsenal, then patience in all things is your crucial shield. Patience will protect you from making moronic blunders. Like mastering your emotions, patience is a skill—it does not come naturally. But nothing about power is natural; power is more godlike than anything in the natural world. And patience is the supreme virtue of the gods, who have nothing but time. Everything good will happen—the grass will grow again, if you give it time and see several steps into the future. Impatience, on the other hand, only makes you look weak. It is a principal impediment to power. Power is essentially amoral and one of the most important skills to acquire is the ability to see circumstances rather than good or evil. Power is a game—this cannot be repeated too oft




Masks & Deception: Divine Privilege
#48-laws-of-power #appearances-and-deception-your-bag-of-tricks #introduction #power-skills #robert-greene
Power requires the ability to play with appearances. To this end you must learn to wear many masks and keep a bag full of deceptive tricks. Deception and masquerade should not be seen as ugly or immoral. All human interaction requires deception on many levels, and in some ways what separates humans from animals is our ability to lie and deceive. In Greek myths, in India’s Mahabharata cycle, in the Middle Eastern epic of Gilga mesh, it is the privilege of the gods to use deceptive arts; a great man, Odysseus for instance, was judged by his ability to rival the craftiness of the gods, stealing some of their divine power by matching them in wits and deception. Deception is a developed art of civilization and the most potent weapon in the game of power.

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Power requires the ability to play with appearances. To this end you must learn to wear many masks and keep a bag full of deceptive tricks. Deception and masquerade should not be seen as ugly or immoral. All human interaction requires deception on many levels, and in some ways what separates humans from animals is our ability to lie and deceive. In Greek myths, in India’s Mahabharata cycle, in the Middle Eastern epic of Gilga mesh, it is the privilege of the gods to use deceptive arts; a great man, Odysseus for instance, was judged by his ability to rival the craftiness of the gods, stealing some of their divine power by matching them in wits and deception. Deception is a developed art of civilization and the most potent weapon in the game of power. You cannot succeed at deception unless you take a somewhat distanced approach to yourself—unless you can be many different people, wearing the mask that the day and the moment require.

Original toplevel document

48 Laws of Power Introduction
at such a mistake; I shall never fall into such a trap again.” If you can evaluate and observe yourself in this way, you can learn to break the patterns of the past—an immensely valuable skill. <span>Power requires the ability to play with appearances. To this end you must learn to wear many masks and keep a bag full of deceptive tricks. Deception and masquerade should not be seen as ugly or immoral. All human interaction requires deception on many levels, and in some ways what separates humans from animals is our ability to lie and deceive. In Greek myths, in India’s Mahabharata cycle, in the Middle Eastern epic of Gilga mesh, it is the privilege of the gods to use deceptive arts; a great man, Odysseus for instance, was judged by his ability to rival the craftiness of the gods, stealing some of their divine power by matching them in wits and deception. Deception is a developed art of civilization and the most potent weapon in the game of power. You cannot succeed at deception unless you take a somewhat distanced approach to yourself—unless you can be many different people, wearing the mask that the day and the moment require. With such a flexible approach to all appearances, including your own, you lose a lot of the inward heaviness that holds people down. Make your face as malleable as the actor’s, work to conceal your intentions from others, practice luring people into traps. Playing with appearances and mastering arts of deception are among the aesthetic pleasures of life. They are also key components in the acquisition of power. If deception is the most potent weapon in your arsenal, then patience in all things is your crucial shield. Patience will protect you from making moronic blunders. Like mastering your emotions, patience is a skill—it does not come naturally. But nothing about power is natural; power is more godlike than anything in the natural world. And patience is the supreme virtue of the gods, who have nothing but time. Everything good will happen—the grass will grow again, if you give it time and see several steps into the future. Impatience, on the other hand, only makes you look weak. It is a principal impediment to power. Power is essentially amoral and one of the most important skills to acquire is the ability to see circumstances rather than good or evil. Power is a game—this cannot be repeated too oft




Powerful Personas
#48-laws-of-power #appearances-and-deception-your-bag-of-tricks #introduction #power-skills #robert-greene
You cannot succeed at deception unless you can be many different people, wearing the mask that the day and the moment require. Make your face as malleable as the actor’s, work to conceal your intentions from others, practice luring people into traps. Playing with appearances and mastering arts of deception are among the aesthetic pleasures of life. They are also key components in the acquisition of power.

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craftiness of the gods, stealing some of their divine power by matching them in wits and deception. Deception is a developed art of civilization and the most potent weapon in the game of power. <span>You cannot succeed at deception unless you take a somewhat distanced approach to yourself—unless you can be many different people, wearing the mask that the day and the moment require. With such a flexible approach to all appearances, including your own, you lose a lot of the inward heaviness that holds people down. Make your face as malleable as the actor’s, work to conceal your intentions from others, practice luring people into traps. Playing with appearances and mastering arts of deception are among the aesthetic pleasures of life. They are also key components in the acquisition of power. If deception is the most potent weapon in your arsenal, then patience in all things is your crucial shield. Patience will protect you from making moronic blunders. Like mastering your e

Original toplevel document

48 Laws of Power Introduction
at such a mistake; I shall never fall into such a trap again.” If you can evaluate and observe yourself in this way, you can learn to break the patterns of the past—an immensely valuable skill. <span>Power requires the ability to play with appearances. To this end you must learn to wear many masks and keep a bag full of deceptive tricks. Deception and masquerade should not be seen as ugly or immoral. All human interaction requires deception on many levels, and in some ways what separates humans from animals is our ability to lie and deceive. In Greek myths, in India’s Mahabharata cycle, in the Middle Eastern epic of Gilga mesh, it is the privilege of the gods to use deceptive arts; a great man, Odysseus for instance, was judged by his ability to rival the craftiness of the gods, stealing some of their divine power by matching them in wits and deception. Deception is a developed art of civilization and the most potent weapon in the game of power. You cannot succeed at deception unless you take a somewhat distanced approach to yourself—unless you can be many different people, wearing the mask that the day and the moment require. With such a flexible approach to all appearances, including your own, you lose a lot of the inward heaviness that holds people down. Make your face as malleable as the actor’s, work to conceal your intentions from others, practice luring people into traps. Playing with appearances and mastering arts of deception are among the aesthetic pleasures of life. They are also key components in the acquisition of power. If deception is the most potent weapon in your arsenal, then patience in all things is your crucial shield. Patience will protect you from making moronic blunders. Like mastering your emotions, patience is a skill—it does not come naturally. But nothing about power is natural; power is more godlike than anything in the natural world. And patience is the supreme virtue of the gods, who have nothing but time. Everything good will happen—the grass will grow again, if you give it time and see several steps into the future. Impatience, on the other hand, only makes you look weak. It is a principal impediment to power. Power is essentially amoral and one of the most important skills to acquire is the ability to see circumstances rather than good or evil. Power is a game—this cannot be repeated too oft




Patience: The Divine Virtue
#48-laws-of-power #appearances-and-deception-your-bag-of-tricks #introduction #power-skills #robert-greene
If deception is the most potent weapon in your arsenal, then patience in all things is your crucial shield. Patience will protect you from making moronic blunders. Like mastering your emotions, patience is a skill—it does not come naturally. But nothing about power is natural; power is more godlike than anything in the natural world. And patience is the supreme virtue of the gods, who have nothing but time. Everything good will happen—the grass will grow again, if you give it time and see several steps into the future. Impatience, on the other hand, only makes you look weak. It is a principal impediment to power.

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practice luring people into traps. Playing with appearances and mastering arts of deception are among the aesthetic pleasures of life. They are also key components in the acquisition of power. <span>If deception is the most potent weapon in your arsenal, then patience in all things is your crucial shield. Patience will protect you from making moronic blunders. Like mastering your emotions, patience is a skill—it does not come naturally. But nothing about power is natural; power is more godlike than anything in the natural world. And patience is the supreme virtue of the gods, who have nothing but time. Everything good will happen—the grass will grow again, if you give it time and see several steps into the future. Impatience, on the other hand, only makes you look weak. It is a principal impediment to power. <span>

Original toplevel document

48 Laws of Power Introduction
at such a mistake; I shall never fall into such a trap again.” If you can evaluate and observe yourself in this way, you can learn to break the patterns of the past—an immensely valuable skill. <span>Power requires the ability to play with appearances. To this end you must learn to wear many masks and keep a bag full of deceptive tricks. Deception and masquerade should not be seen as ugly or immoral. All human interaction requires deception on many levels, and in some ways what separates humans from animals is our ability to lie and deceive. In Greek myths, in India’s Mahabharata cycle, in the Middle Eastern epic of Gilga mesh, it is the privilege of the gods to use deceptive arts; a great man, Odysseus for instance, was judged by his ability to rival the craftiness of the gods, stealing some of their divine power by matching them in wits and deception. Deception is a developed art of civilization and the most potent weapon in the game of power. You cannot succeed at deception unless you take a somewhat distanced approach to yourself—unless you can be many different people, wearing the mask that the day and the moment require. With such a flexible approach to all appearances, including your own, you lose a lot of the inward heaviness that holds people down. Make your face as malleable as the actor’s, work to conceal your intentions from others, practice luring people into traps. Playing with appearances and mastering arts of deception are among the aesthetic pleasures of life. They are also key components in the acquisition of power. If deception is the most potent weapon in your arsenal, then patience in all things is your crucial shield. Patience will protect you from making moronic blunders. Like mastering your emotions, patience is a skill—it does not come naturally. But nothing about power is natural; power is more godlike than anything in the natural world. And patience is the supreme virtue of the gods, who have nothing but time. Everything good will happen—the grass will grow again, if you give it time and see several steps into the future. Impatience, on the other hand, only makes you look weak. It is a principal impediment to power. Power is essentially amoral and one of the most important skills to acquire is the ability to see circumstances rather than good or evil. Power is a game—this cannot be repeated too oft




Nonplayers by weakness
#48-laws-of-power #introduction #robert-greene
You must beware of such people [ ], for while they express such opinions outwardly, they are often among the most adept players at power. They utilize strategies that cleverly disguise the nature of the manipulation involved. These types, for example, will often display their weakness and lack of power as a kind of moral virtue. But true powerlessness, without any motive of self-interest, would not publicize its weakness to gain sympathy or respect. Making a show of one’s weakness is actually a very effective strategy, subtle and deceptive, in the game of power (see Law 22, the Surrender Tactic).

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onsciously playing power games—no matter how indirect—seems evil, asocial, a relic of the past. They believe they can opt out of the game by behaving in ways that have nothing to do with power. <span>You must beware of such people, for while they express such opinions outwardly, they are often among the most adept players at power. They utilize strategies that cleverly disguise the nature of the manipulation involved. These types, for example, will often display their weakness and lack of power as a kind of moral virtue. But true powerlessness, without any motive of self-interest, would not publicize its weakness to gain sympathy or respect. Making a show of one’s weakness is actually a very effective strategy, subtle and deceptive, in the game of power (see Law 22, the Surrender Tactic). Another strategy of the supposed nonplayer is to demand equality in every area of life. Everyone must be treated alike, whatever their status and strength. But if, to avoid the taint of

Original toplevel document

48 Laws of Power Introduction
so, they would be the seats of slaughter and desolation. Those who now smile upon and embrace, would affront and stab, each other, if manners did not interpose.... LORD CHESTERFIELD, 1694-1773 <span>To some people the notion of consciously playing power games—no matter how indirect—seems evil, asocial, a relic of the past. They believe they can opt out of the game by behaving in ways that have nothing to do with power. You must beware of such people, for while they express such opinions outwardly, they are often among the most adept players at power. They utilize strategies that cleverly disguise the nature of the manipulation involved. These types, for example, will often display their weakness and lack of power as a kind of moral virtue. But true powerlessness, without any motive of self-interest, would not publicize its weakness to gain sympathy or respect. Making a show of one’s weakness is actually a very effective strategy, subtle and deceptive, in the game of power (see Law 22, the Surrender Tactic). There is nothing very odd about lambs disliking birds of prey, but this is no reason for holding it against large birds of prey that they carry off lambs. And when the lambs whisper among themselves, “These birds of prey are evil, and does this not give us a right to say that whatever is the opposite of a bird of prey must be good?” there is nothing intrinsically wrong with such an argument—though the birds of prey will look somewhat quizzically and say, “We have nothing against these good lambs; in fact, we love them; nothing tastes better than a tender lamb.” FRIEDRICH NIETZSCHE, 1844-1900 Another strategy of the supposed nonplayer is to demand equality in every area of life. Everyone must be treated alike, whatever their status and strength. But if, to avoid the taint of power, you attempt to treat everyone equally and fairly, you will confront the problem that some people do certain things better than others. Treating everyone equally means ignoring their differences, elevating the less skillful and suppressing those who excel. Again, many of those who behave this way are actually deploying another power strategy, redistributing people’s rewards in a way that they determine. Yet another way of avoiding the game would be perfect honesty and straightforwardness, since one of the main techniques of those who seek power is deceit and secrecy. But being perfectly honest will inevitably hurt and insult a great many people, some of whom will choose to injure you in return. No one will see your honest statement as completely objective and free of some personal motivation. And they will be right: In truth, the use of honesty is indeed a power strategy, intended to convince people of one’s noble, good-hearted, selfless character. It is a form of persuasion, even a subtle form of coercion. Finally, those who claim to be nonplayers may affect an air of naïveté, to protect them from the accusation that they are after power. Beware again, however, for the appearance of naivete can be an effective means of deceit (see Law 21, Seem Dumber Than Your Mark). And even genuine naivete is not free of the snares of power. Children may be naive in many ways, but they often act from an elemental need to gain control over those around them. Children suffer greatly from feeling powerless in the adult world, and they use any means available to get their way. Genuinely innocent people may still be playing for power, and are often horribly effective at the game, since they are not hindered by reflection. Once again, those who make a show or display of innocence are the least innocent of all. The only means to gain one’s ends with people are force and cunning. Love also, they say; but that is to wait for sunshine, and life needs every moment. JOHANN VON GOETHE, 1749-1832 You can recognize these supposed nonplayers by the way they flaunt their moral qualities, their piety, their exquisite sense of justice. But since all of us hunger for power, and almost all of our actions are aimed at gaining it, the nonplayers are merely throwing dust in our eyes, distracting us from their power plays with their air of moral superiority. If you observe them closely, you will see in fact that they are often the ones most skillful at indirect manipulation, even if some of them practice it unconsciously. And they greatly resent any publicizing of the tactics they use every day. The arrow shot by the archer may or may not kill a single person. But stratagems devised by a wise man can kill even babes in the womb. KAUTILYA, INDIAN PHILOSOPHER, THIRD CENTURY B.C.




Evolution of Seduction
#evolution-of-seduction #introduction #robert-green #the-art-of-seduction
Today we have reached the ultimate point in the evolution of seduction. Now more than ever, force or brutality of any kind is discouraged. All areas of social life require the ability to persuade people in a way that does not offend or impose itself. Forms of seduction can be found everywhere, blending male and female strategies. Advertisements insinuate, the soft sell dominates. If we are to change people’s opinions—and affecting opinion is basic to seduction—we must act in subtle, subliminal ways. Today no political campaign can work without seduction. Since the era of John F. Kennedy, political figures are required to have a degree of charisma, a fascinating presence to keep their audience’s attention, which is half the battle. The film world and media create a galaxy of seductive stars and images. We are saturated in the seductive. But even if much has changed in degree and scope, the essence of seduction is constant: never be forceful or direct; instead, use pleasure as bait, playing on people’s emotions, stirring desire and confusion, inducing psychological surrender. In seduction as it is practiced today, the methods of Cleopatra still hold.

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Introduction to the Art of Seduction
ating a charged physical presence. All this, they learned, was the essence of charisma—and remains so today. By seducing the masses they could accumulate immense power without the use of force. <span>Today we have reached the ultimate point in the evolution of seduction. Now more than ever, force or brutality of any kind is discouraged. All areas of social life require the ability to persuade people in a way that does not offend or impose itself. Forms of seduction can be found everywhere, blending male and female strategies. Advertisements insinuate, the soft sell dominates. If we are to change people’s opinions—and affecting opinion is basic to seduction—we must act in subtle, subliminal ways. Today no political campaign can work without seduction. Since the era of John F. Kennedy, political figures are required to have a degree of charisma, a fascinating presence to keep their audience’s attention, which is half the battle. The film world and media create a galaxy of seductive stars and images. We are saturated in the seductive. But even if much has changed in degree and scope, the essence of seduction is constant: never be forceful or direct; instead, use pleasure as bait, playing on people’s emotions, stirring desire and confusion, inducing psychological surrender. In seduction as it is practiced today, the methods of Cleopatra still hold. No man hath it in his power to over-rule the deceitfulness of a woman. —MARGUERITE OF NAVARRE This important side-track, by which woman succeeded in evading man’s strength and establishing herself in power, has not been given due consideration by historians. From the moment when the woman detached herself from the crowd, an individual finished product, offering delights which could not be obtained by force, but only by flattery . . . , the reign of love’s priestesses was inaugurated. It was a development of far-reaching importance in the history of civilization.... Only by the circuitous route of the art of love could woman again assert authority, and this she did by asserting herself at the very point at which she would normally be a slave at the man’s mercy. She had discovered the might of lust, the secret of the art of love, the daemonic power of a passion artificially aroused and never satiated. The force thus unchained was thenceforth to count among the most tremendous of the world’s forces and at moments to have power even over life and death. . . . • The deliberate spellbinding of man’s senses was to have a magical effect upon him, opening up an infinitely wider range of sensation and spurring him on as if impelled by an inspired dream. —ALEXANDER VON GLEICHEN-RUSSWURM, THE WORLD’S LURE, TRANSLATED BY HANNAH WALLER People are constantly trying to influence us, to tell us what to do, and just as often we tune them out, resisting their attempts at persuasion. There is a moment in our lives, however, when we all act differently—when we are in love. We fall under a kind of spell. Our minds are usually preoccupied with our own concerns; now they become filled with thoughts of the loved one. We grow emotional, lose the ability to think straight, act in foolish ways that we would never do otherwise. If this goes on long enough something inside us gives way: we surrender to the will of the loved one, and to our desire to possess them. Seducers are people who understand the tremendous power contained in such moments of surrender. They analyze what happens when people are in love, study the psychological components of




Seduction: A Timeless Art
#evolution-of-seduction #introduction #robert-green #the-art-of-seduction
We are saturated in the seductive. But even if much has changed in degree and scope, the essence of seduction is constant: never be forceful or direct; instead, use pleasure as bait, playing on people’s emotions, stirring desire and confusion, inducing psychological surrender. In seduction as it is practiced today, the methods of Cleopatra still hold.

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quired to have a degree of charisma, a fascinating presence to keep their audience’s attention, which is half the battle. The film world and media create a galaxy of seductive stars and images. <span>We are saturated in the seductive. But even if much has changed in degree and scope, the essence of seduction is constant: never be forceful or direct; instead, use pleasure as bait, playing on people’s emotions, stirring desire and confusion, inducing psychological surrender. In seduction as it is practiced today, the methods of Cleopatra still hold. <span>

Original toplevel document

Introduction to the Art of Seduction
ating a charged physical presence. All this, they learned, was the essence of charisma—and remains so today. By seducing the masses they could accumulate immense power without the use of force. <span>Today we have reached the ultimate point in the evolution of seduction. Now more than ever, force or brutality of any kind is discouraged. All areas of social life require the ability to persuade people in a way that does not offend or impose itself. Forms of seduction can be found everywhere, blending male and female strategies. Advertisements insinuate, the soft sell dominates. If we are to change people’s opinions—and affecting opinion is basic to seduction—we must act in subtle, subliminal ways. Today no political campaign can work without seduction. Since the era of John F. Kennedy, political figures are required to have a degree of charisma, a fascinating presence to keep their audience’s attention, which is half the battle. The film world and media create a galaxy of seductive stars and images. We are saturated in the seductive. But even if much has changed in degree and scope, the essence of seduction is constant: never be forceful or direct; instead, use pleasure as bait, playing on people’s emotions, stirring desire and confusion, inducing psychological surrender. In seduction as it is practiced today, the methods of Cleopatra still hold. No man hath it in his power to over-rule the deceitfulness of a woman. —MARGUERITE OF NAVARRE This important side-track, by which woman succeeded in evading man’s strength and establishing herself in power, has not been given due consideration by historians. From the moment when the woman detached herself from the crowd, an individual finished product, offering delights which could not be obtained by force, but only by flattery . . . , the reign of love’s priestesses was inaugurated. It was a development of far-reaching importance in the history of civilization.... Only by the circuitous route of the art of love could woman again assert authority, and this she did by asserting herself at the very point at which she would normally be a slave at the man’s mercy. She had discovered the might of lust, the secret of the art of love, the daemonic power of a passion artificially aroused and never satiated. The force thus unchained was thenceforth to count among the most tremendous of the world’s forces and at moments to have power even over life and death. . . . • The deliberate spellbinding of man’s senses was to have a magical effect upon him, opening up an infinitely wider range of sensation and spurring him on as if impelled by an inspired dream. —ALEXANDER VON GLEICHEN-RUSSWURM, THE WORLD’S LURE, TRANSLATED BY HANNAH WALLER People are constantly trying to influence us, to tell us what to do, and just as often we tune them out, resisting their attempts at persuasion. There is a moment in our lives, however, when we all act differently—when we are in love. We fall under a kind of spell. Our minds are usually preoccupied with our own concerns; now they become filled with thoughts of the loved one. We grow emotional, lose the ability to think straight, act in foolish ways that we would never do otherwise. If this goes on long enough something inside us gives way: we surrender to the will of the loved one, and to our desire to possess them. Seducers are people who understand the tremendous power contained in such moments of surrender. They analyze what happens when people are in love, study the psychological components of




Bitches Ain’t Shit, Thoughts Ain’t Either
#How-To-Use-The-Book #introduction #robert-green #the-art-of-seduction
Finally, the spirit that will make you a consummate seducer is the spirit in which you should read this book. The French writer Denis Diderot once wrote, “I give my mind the liberty to follow the first wise or foolish idea that presents itself, just as in the avenue de Foy our dissolute youths follow close on the heels of some strumpet, then leave her to pursue another, attacking all of them and attaching themselves to none. My thoughts are my strumpets.” He meant that he let himself be seduced by ideas, following whichever one caught his fancy until a better one came along, his thoughts infused with a kind of sexual excitement. Once you enter these pages, do as Diderot advised: let yourself be lured by the stories and ideas, your mind open and your thoughts fluid. Slowly you will find yourself absorbing the poison through the skin and you will begin to see everything as a seduction, including the way you think and how you look at the world.

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n between fiction and seduction, creating illusion and leading a person along. In putting the book’s lessons into practice, you will be following in the path of the greatest masters of the art. <span>Finally, the spirit that will make you a consummate seducer is the spirit in which you should read this book. The French writer Denis Diderot once wrote, “I give my mind the liberty to follow the first wise or foolish idea that presents itself, just as in the avenue de Foy our dissolute youths follow close on the heels of some strumpet, then leave her to pursue another, attacking all of them and attaching themselves to none. My thoughts are my strumpets.” He meant that he let himself be seduced by ideas, following whichever one caught his fancy until a better one came along, his thoughts infused with a kind of sexual excitement. Once you enter these pages, do as Diderot advised: let yourself be lured by the stories and ideas, your mind open and your thoughts fluid. Slowly you will find yourself absorbing the poison through the skin and you will begin to see everything as a seduction, including the way you think and how you look at the world. <span>

Original toplevel document

Introduction to the Art of Seduction
book, and results are guaranteed! \ Technique is the secret. Charioteer, sailor, oarsman, \ All need it. Technique can control \ Love himself. —OVID, THE ART OF LOVE, TRANSLATED BY PETER GREEN <span>The Art of Seduction is designed to arm you with weapons of persuasion and charm, so that those around you will slowly lose their ability to resist without knowing how or why it has happened. It is an art of war for delicate times. Every seduction has two elements that you must analyze and understand: first, yourself and what is seductive about you; and second, your target and the actions that will penetrate their defenses and create surrender. The two sides are equally important. If you strategize without paying attention to the parts of your character that draw people to you, you will be seen as a mechanical seducer, slimy and manipulative. If you rely on your seductive personality without paying attention to the other person, you will make terrible mistakes and limit your potential. Consequently, The Art of Seduction is divided into two parts. The first half, “The Seductive Character,” describes the nine types of seducer, plus the Anti-Seducer. Studying these types will make you aware of what is inherently seductive in your character, the basic building block of any seduction. The second half, “The Seductive Process,” includes the twenty—four maneuvers and strategies that will instruct you on how to create a spell, break down people’s resistance, give movement and force to your seduction, and induce surrender in your target. As a kind of bridge between the two parts, there is a chapter on the eighteen types of victims of a seduction—each of them missing something from their lives, each cradling an emptiness you can fill. Knowing what type you are dealing with will help you put into practice the ideas in both sections. Ignore any part of this book and you will be an incomplete seducer. The ideas and strategies in The Art of Seduction are based on the writings and historical accounts of the most successful seducers in history. The sources include the seducers’ own memoirs (by Casanova, Errol Flynn, Natalie Barney, Marilyn Monroe); biographies (of Cleopatra, Josephine Bonaparte, John F. Kennedy, Duke Ellington); handbooks on the subject (most notably Ovid’s Art of Love); and fictional accounts of seductions (Choderlos de Laclos’s Dangerous Liaisons, Søren Kierkegaard’s The Seducer’s Diary, Murasaki Shikibu’s The Tale of Genji). The heroes and heroines of these literary works are generally modeled on real-life seducers. The strategies they employ reveal the intimate connection between fiction and seduction, creating illusion and leading a person along. In putting the book’s lessons into practice, you will be following in the path of the greatest masters of the art. Finally, the spirit that will make you a consummate seducer is the spirit in which you should read this book. The French writer Denis Diderot once wrote, “I give my mind the liberty to follow the first wise or foolish idea that presents itself, just as in the avenue de Foy our dissolute youths follow close on the heels of some strumpet, then leave her to pursue another, attacking all of them and attaching themselves to none. My thoughts are my strumpets.” He meant that he let himself be seduced by ideas, following whichever one caught his fancy until a better one came along, his thoughts infused with a kind of sexual excitement. Once you enter these pages, do as Diderot advised: let yourself be lured by the stories and ideas, your mind open and your thoughts fluid. Slowly you will find yourself absorbing the poison through the skin and you will begin to see everything as a seduction, including the way you think and how you look at the world. Most virtue is a demand for greater seduction. —NATALIE BARNEY <span>




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Article 3958673378572

The Seductive Character
#part-one-the-seductive-character #robert-greene #the-art-of-seduction

We all have the power of attraction—the ability to draw people in and hold them in our thrall. Far from all of us, though, are aware of this inner potential, and we imagine attractiveness instead as a near-mystical trait that a select few are born with and the rest will never command. Yet all we need to do to realize our potential is understand what it is in a person’s character that naturally excites people and develop these latent qualities within us. Successful seductions rarely begin with an obvious maneuver or strategic device. That is certain to arouse suspicion. Successful seductions begin with your character, your ability to radiate some quality that attracts people and stirs their emotions in a way that is beyond their control. Hypnotized by your seductive character, your victims will not notice your subsequent manipulations. It will then be child’s play to mislead and seduce them. There are nine seducer types in the world. Each type has a particular character trait that comes from deep wit



Everybody Can Seduce
#every-body-can-seduce #part-one-the-seductive-character #robert-greene #the-art-of-seduction
We all have the power of attraction—the ability to draw people in and hold them in our thrall. Far from all of us, though, are aware of this inner potential, and we imagine attractiveness instead as a near-mystical trait that a select few are born with and the rest will never command. Yet all we need to do to realize our potential is understand what it is in a person’s character that naturally excites people and develop these latent qualities within us. Successful seductions rarely begin with an obvious maneuver or strategic device. That is certain to arouse suspicion.

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The Seductive Character
We all have the power of attraction—the ability to draw people in and hold them in our thrall. Far from all of us, though, are aware of this inner potential, and we imagine attractiveness instead as a near-mystical trait that a select few are born with and the rest will never command. Yet all we need to do to realize our potential is understand what it is in a person’s character that naturally excites people and develop these latent qualities within us. Successful seductions rarely begin with an obvious maneuver or strategic device. That is certain to arouse suspicion. Successful seductions begin with your character, your ability to radiate some quality that attracts people and stirs their emotions in a way that is beyond their control. Hypnotized by




Develop the Essence
#every-body-can-seduce #part-one-the-seductive-character #robert-greene #the-art-of-seduction
Yet all we need to do to realize our potential is understand what it is in a person’s character that naturally excites people and develop these latent qualities within us.

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l. Far from all of us, though, are aware of this inner potential, and we imagine attractiveness instead as a near-mystical trait that a select few are born with and the rest will never command. <span>Yet all we need to do to realize our potential is understand what it is in a person’s character that naturally excites people and develop these latent qualities within us. Successful seductions rarely begin with an obvious maneuver or strategic device. That is certain to arouse suspicion. <span>

Original toplevel document

The Seductive Character
We all have the power of attraction—the ability to draw people in and hold them in our thrall. Far from all of us, though, are aware of this inner potential, and we imagine attractiveness instead as a near-mystical trait that a select few are born with and the rest will never command. Yet all we need to do to realize our potential is understand what it is in a person’s character that naturally excites people and develop these latent qualities within us. Successful seductions rarely begin with an obvious maneuver or strategic device. That is certain to arouse suspicion. Successful seductions begin with your character, your ability to radiate some quality that attracts people and stirs their emotions in a way that is beyond their control. Hypnotized by




Mind the Character
#every-body-can-seduce #part-one-the-seductive-character #robert-greene #the-art-of-seduction
Successful seductions rarely begin with an obvious maneuver or strategic device. That is certain to arouse suspicion.

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t will never command. Yet all we need to do to realize our potential is understand what it is in a person’s character that naturally excites people and develop these latent qualities within us. <span>Successful seductions rarely begin with an obvious maneuver or strategic device. That is certain to arouse suspicion. <span>

Original toplevel document

The Seductive Character
We all have the power of attraction—the ability to draw people in and hold them in our thrall. Far from all of us, though, are aware of this inner potential, and we imagine attractiveness instead as a near-mystical trait that a select few are born with and the rest will never command. Yet all we need to do to realize our potential is understand what it is in a person’s character that naturally excites people and develop these latent qualities within us. Successful seductions rarely begin with an obvious maneuver or strategic device. That is certain to arouse suspicion. Successful seductions begin with your character, your ability to radiate some quality that attracts people and stirs their emotions in a way that is beyond their control. Hypnotized by




Seduction Marketing
#part-one-the-seductive-character #robert-greene #seduction-marketing #the-art-of-seduction
Successful seductions begin with your character, your ability to radiate some quality that attracts people and stirs their emotions in a way that is beyond their control. Hypnotized by your seductive character, your victims will not notice your subsequent manipulations. It will then be child’s play to mislead and seduce them.

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The Seductive Character
that naturally excites people and develop these latent qualities within us. Successful seductions rarely begin with an obvious maneuver or strategic device. That is certain to arouse suspicion. <span>Successful seductions begin with your character, your ability to radiate some quality that attracts people and stirs their emotions in a way that is beyond their control. Hypnotized by your seductive character, your victims will not notice your subsequent manipulations. It will then be child’s play to mislead and seduce them. There are nine seducer types in the world. Each type has a particular character trait that comes from deep within and creates a seductive pull. Sirens have an abundance of sexual energy




The 9 Types of Seducers
#part-one-the-seductive-character #robert-greene #the-art-of-seduction #types-of-seducers
There are nine seducer types in the world. Each type has a particular character trait that comes from deep within and creates a seductive pull. Sirens have an abundance of sexual energy and know how to use it. Rakes insatiably adore the opposite sex, and their desire is infectious. Ideal Lovers have an aesthetic sensibility that they apply to romance. Dandies like to play with their image, creating a striking and androgynous allure. Naturals are spontaneous and open. Coquettes are self-sufficient, with a fascinating cool at their core. Charmers want and know how to please—they are social creatures. Charismatics have an unusual confidence in themselves. Stars are ethereal and envelop themselves in mystery.

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The Seductive Character
a way that is beyond their control. Hypnotized by your seductive character, your victims will not notice your subsequent manipulations. It will then be child’s play to mislead and seduce them. <span>There are nine seducer types in the world. Each type has a particular character trait that comes from deep within and creates a seductive pull. Sirens have an abundance of sexual energy and know how to use it. Rakes insatiably adore the opposite sex, and their desire is infectious. Ideal Lovers have an aesthetic sensibility that they apply to romance. Dandies like to play with their image, creating a striking and androgynous allure. Naturals are spontaneous and open. Coquettes are self-sufficient, with a fascinating cool at their core. Charmers want and know how to please—they are social creatures. Charismatics have an unusual confidence in themselves. Stars are ethereal and envelop themselves in mystery. The chapters in this section will take you inside each of the nine types. At least one of the chapters should strike a chord—you will recognize part of yourself. That chapter will be th




Find your Persona
#find-your-persona #part-one-the-seductive-character #robert-greene #the-art-of-seduction

The chapters in this section will take you inside each of the nine types. At least one of the chapters should strike a chord—you will recognize part of yourself. That chapter will be the key to developing your own powers of attraction.

Let us say you have coquettish tendencies. The Coquette chapter will show you how to build upon your own self-sufficiency, alternating heat and coldness to ensnare your victims. It will show you how to take your natural qualities further, becoming a grand Coquette, the type we fight over.

There is no point in being timid with a seductive quality. We are charmed by an unabashed Rake and excuse his excesses, but a halfhearted Rake gets no respect. Once you have cultivated your dominant character trait, adding some art to what nature has given you, you can then develop a second or third trait, adding depth and mystery to your persona.

Finally the section’s tenth chapter, on the Anti-Seducer, will make you aware of the opposite potential within you—the power of repulsion. At all cost you must root out any anti-seductive tendencies you may have.

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The Seductive Character
cool at their core. Charmers want and know how to please—they are social creatures. Charismatics have an unusual confidence in themselves. Stars are ethereal and envelop themselves in mystery. <span>The chapters in this section will take you inside each of the nine types. At least one of the chapters should strike a chord—you will recognize part of yourself. That chapter will be the key to developing your own powers of attraction. Let us say you have coquettish tendencies. The Coquette chapter will show you how to build upon your own self-sufficiency, alternating heat and coldness to ensnare your victims. It will show you how to take your natural qualities further, becoming a grand Coquette, the type we fight over. There is no point in being timid with a seductive quality. We are charmed by an unabashed Rake and excuse his excesses, but a halfhearted Rake gets no respect. Once you have cultivated your dominant character trait, adding some art to what nature has given you, you can then develop a second or third trait, adding depth and mystery to your persona. Finally the section’s tenth chapter, on the Anti-Seducer, will make you aware of the opposite potential within you—the power of repulsion. At all cost you must root out any anti-seductive tendencies you may have. Think of the nine types as shadows, silhouettes. Only by stepping into one of them and letting it grow inside you can you begin to develop the seductive character that will bring you li




The Seductive Shadow
#part-one-the-seductive-character #robert-greene #the-art-of-seduction
Think of the nine types as shadows, silhouettes. Only by stepping into one of them and letting it grow inside you can you begin to develop the seductive character that will bring you limitless power.

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The Seductive Character
’s tenth chapter, on the Anti-Seducer, will make you aware of the opposite potential within you—the power of repulsion. At all cost you must root out any anti-seductive tendencies you may have. <span>Think of the nine types as shadows, silhouettes. Only by stepping into one of them and letting it grow inside you can you begin to develop the seductive character that will bring you limitless power. <span>




the Siren
#part-one-the-seductive-character #robert-greene #the-art-of-seduction
A man is often secretly oppressed by the role he has to play—by always having to be responsible, in control, and rational. The Siren is the ultimate male fantasy figure because she offers a total release from the limitations of his life. In her presence, which is always heightened and sexually charged, the male feels transported to a world of pure pleasure. She is dangerous, and in pursuing her energetically the man can lose control over himself, something he yearns to do. The Siren is a mirage; she lures men by cultivating a particular appearance and manner. In a world where women are often too timid to project such an image, learn to take control of the male libido by embodying his fantasy.

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The Seductive Character
of the nine types as shadows, silhouettes. Only by stepping into one of them and letting it grow inside you can you begin to develop the seductive character that will bring you limitless power. <span>the Siren A man is often secretly oppressed by the role he has to play—by always having to be responsible, in control, and rational. The Siren is the ultimate male fantasy figure because she offers a total release from the limitations of his life. In her presence, which is always heightened and sexually charged, the male feels transported to a world of pure pleasure. She is dangerous, and in pursuing her energetically the man can lose control over himself, something he yearns to do. The Siren is a mirage; she lures men by cultivating a particular appearance and manner. In a world where women are often too timid to project such an image, learn to take control of the male libido by embodying his fantasy. the Rake A woman never quite feels desired and appreciated enough. She wants attention, but a man is too often distracted and unresponsive. The Rake is a great female fantasy figure—whe




the Rake
#part-one-the-seductive-character #robert-greene #the-art-of-seduction
A woman never quite feels desired and appreciated enough. She wants attention, but a man is too often distracted and unresponsive. The Rake is a great female fantasy figure—when he desires a woman, brief though that moment may be, he will go to the ends of the earth for her. He may be disloyal, dishonest, and amoral, but that only adds to his appeal. Unlike the normal, cautious male, the Rake is delightfully unrestrained, a slave to his love of women. There is the added lure of his reputation: so many women have succumbed to him, there has to be a reason. Words are a woman’s weakness, and the Rake is a master of seductive language. Stir a woman’s repressed longings by adapting the Rake’s mix of danger and pleasure.

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The Seductive Character
es men by cultivating a particular appearance and manner. In a world where women are often too timid to project such an image, learn to take control of the male libido by embodying his fantasy. <span>the Rake A woman never quite feels desired and appreciated enough. She wants attention, but a man is too often distracted and unresponsive. The Rake is a great female fantasy figure—when he desires a woman, brief though that moment may be, he will go to the ends of the earth for her. He may be disloyal, dishonest, and amoral, but that only adds to his appeal. Unlike the normal, cautious male, the Rake is delightfully unrestrained, a slave to his love of women. There is the added lure of his reputation: so many women have succumbed to him, there has to be a reason. Words are a woman’s weakness, and the Rake is a master of seductive language. Stir a woman’s repressed longings by adapting the Rake’s mix of danger and pleasure. the Ideal lover Most people have dreams in their youth that get shattered or worn down with age. They find themselves disappointed by people, events, reality, which cannot match their y




the Ideal lover
#part-one-the-seductive-character #robert-greene #the-art-of-seduction
Most people have dreams in their youth that get shattered or worn down with age. They find themselves disappointed by people, events, reality, which cannot match their youthful ideals. Ideal Lovers thrive on people’s broken dreams, which become lifelong fantasies. You long for romance? Adventure? Lofty spiritual communion? The Ideal Lover reflects your fantasy. He or she is an artist in creating the illusion you require, idealizing your portrait. In a world of disenchantment and baseness, there is limitless seductive power in following the path of the Ideal Lover.

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The Seductive Character
him, there has to be a reason. Words are a woman’s weakness, and the Rake is a master of seductive language. Stir a woman’s repressed longings by adapting the Rake’s mix of danger and pleasure. <span>the Ideal lover Most people have dreams in their youth that get shattered or worn down with age. They find themselves disappointed by people, events, reality, which cannot match their youthful ideals. Ideal Lovers thrive on people’s broken dreams, which become lifelong fantasies. You long for romance? Adventure? Lofty spiritual communion? The Ideal Lover reflects your fantasy. He or she is an artist in creating the illusion you require, idealizing your portrait. In a world of disenchantment and baseness, there is limitless seductive power in following the path of the Ideal Lover. the Dandy Most of us feel trapped within the limited roles that the world expects us to play. We are instantly attracted to those who are more fluid, more ambiguous, than we are—those w




the Dandy
#part-one-the-seductive-character #robert-greene #the-art-of-seduction
Most of us feel trapped within the limited roles that the world expects us to play. We are instantly attracted to those who are more fluid, more ambiguous, than we are—those who create their own persona. Dandies excite us because they cannot be categorized, and hint at a freedom we want for ourselves. They play with masculinity and femininity; they fashion their own physical image, which is always startling; they are mysterious and elusive. They also appeal to the narcissism of each sex: to a woman they are psychologically female, to a man they are male. Dandies fascinate and seduce in large numbers. Use the power of the Dandy to create an ambiguous, alluring presence that stirs repressed desires.

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The Seductive Character
an artist in creating the illusion you require, idealizing your portrait. In a world of disenchantment and baseness, there is limitless seductive power in following the path of the Ideal Lover. <span>the Dandy Most of us feel trapped within the limited roles that the world expects us to play. We are instantly attracted to those who are more fluid, more ambiguous, than we are—those who create their own persona. Dandies excite us because they cannot be categorized, and hint at a freedom we want for ourselves. They play with masculinity and femininity; they fashion their own physical image, which is always startling; they are mysterious and elusive. They also appeal to the narcissism of each sex: to a woman they are psychologically female, to a man they are male. Dandies fascinate and seduce in large numbers. Use the power of the Dandy to create an ambiguous, alluring presence that stirs repressed desires. the Natural Childhood is the golden paradise we are always consciously or unconsciously trying to re-create. The Natural embodies the longed-for qualities of childhood—spontaneity, sinc




the Natural
#part-one-the-seductive-character #robert-greene #the-art-of-seduction

Childhood is the golden paradise we are always consciously or unconsciously trying to re-create. The Natural embodies the longed-for qualities of childhood—spontaneity, sincerity, unpretentiousness. In the presence of Naturals, we feel at ease, caught up in their playful spirit, transported back to that golden age. Naturals also make a virtue out of weakness, eliciting our sympathy for their trials, making us want to protect them and help them. As with a child, much of this is natural, but some of it is exaggerated, a conscious seductive maneuver. Adopt the pose of the Natural to neutralize people’s natural defensiveness and infect them with helpless delight.

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The Seductive Character
psychologically female, to a man they are male. Dandies fascinate and seduce in large numbers. Use the power of the Dandy to create an ambiguous, alluring presence that stirs repressed desires. <span>the Natural Childhood is the golden paradise we are always consciously or unconsciously trying to re-create. The Natural embodies the longed-for qualities of childhood—spontaneity, sincerity, unpretentiousness. In the presence of Naturals, we feel at ease, caught up in their playful spirit, transported back to that golden age. Naturals also make a virtue out of weakness, eliciting our sympathy for their trials, making us want to protect them and help them. As with a child, much of this is natural, but some of it is exaggerated, a conscious seductive maneuver. Adopt the pose of the Natural to neutralize people’s natural defensiveness and infect them with helpless delight. the Coquette The ability to delay satisfaction is the ultimate art of seduction—while waiting, the victim is held in thrall. Coquettes are the grand masters of this game, orchestrating




the Coquette
#part-one-the-seductive-character #robert-greene #the-art-of-seduction
The ability to delay satisfaction is the ultimate art of seduction—while waiting, the victim is held in thrall. Coquettes are the grand masters of this game, orchestrating a back-and-forth movement between hope and frustration. They bait with the promise of reward—the hope of physical pleasure, happiness, fame by association, power—all of which, however, proves elusive; yet this only makes their targets pursue them the more. Coquettes seem totally self-sufficient: they do not need you, they seem to say, and their narcissism proves devilishly attractive. You want to conquer them but they hold the cards. The strategy of the Coquette is never to offer total satisfaction. Imitate the alternating heat and coolness of the Coquette and you will keep the seduced at your heels.

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The Seductive Character
this is natural, but some of it is exaggerated, a conscious seductive maneuver. Adopt the pose of the Natural to neutralize people’s natural defensiveness and infect them with helpless delight. <span>the Coquette The ability to delay satisfaction is the ultimate art of seduction—while waiting, the victim is held in thrall. Coquettes are the grand masters of this game, orchestrating a back-and-forth movement between hope and frustration. They bait with the promise of reward—the hope of physical pleasure, happiness, fame by association, power—all of which, however, proves elusive; yet this only makes their targets pursue them the more. Coquettes seem totally self-sufficient: they do not need you, they seem to say, and their narcissism proves devilishly attractive. You want to conquer them but they hold the cards. The strategy of the Coquette is never to offer total satisfaction. Imitate the alternating heat and coolness of the Coquette and you will keep the seduced at your heels. the Charmer Charm is seduction without sex. Charmers are consummate manipulators, masking their cleverness by creating a mood of pleasure and comfort. Their method is simple: they defle




the Charmer
#part-one-the-seductive-character #robert-greene #the-art-of-seduction

Charm is seduction without sex. Charmers are consummate manipulators, masking their cleverness by creating a mood of pleasure and comfort. Their method is simple: they deflect attention from themselves and focus it on their target. They understand your spirit, feel your pain, adapt to your moods. In the presence of a Charmer you feel better about yourself. Charmers do not argue or fight, complain, or pester—what could be more seductive? By drawing you in with their indulgence they make you dependent on them, and their power grows. Learn to cast the Charmer’s spell by aiming at people’s primary weaknesses: vanity and self-esteem.

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The Seductive Character
ut they hold the cards. The strategy of the Coquette is never to offer total satisfaction. Imitate the alternating heat and coolness of the Coquette and you will keep the seduced at your heels. <span>the Charmer Charm is seduction without sex. Charmers are consummate manipulators, masking their cleverness by creating a mood of pleasure and comfort. Their method is simple: they deflect attention from themselves and focus it on their target. They understand your spirit, feel your pain, adapt to your moods. In the presence of a Charmer you feel better about yourself. Charmers do not argue or fight, complain, or pester—what could be more seductive? By drawing you in with their indulgence they make you dependent on them, and their power grows. Learn to cast the Charmer’s spell by aiming at people’s primary weaknesses: vanity and self-esteem. the Charismatic Charisma is a presence that excites us. It comes from an inner quality—self-confidence, sexual energy, sense of purpose, contentment—that most people lack and want. This




the Charismatic
#part-one-the-seductive-character #robert-greene #the-art-of-seduction
Charisma is a presence that excites us. It comes from an inner quality—self-confidence, sexual energy, sense of purpose, contentment—that most people lack and want. This quality radiates outward, permeating the gestures of Charismatics, making them seem extraordinary and superior, and making us imagine there is more to them than meets the eye: they are gods, saints, stars. Charismatics can learn to heighten their charisma with a piercing gaze, fiery oratory, an air of mystery. They can seduce on a grand scale. Learn to create the charismatic illusion by radiating intensity while remaining detached.

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The Seductive Character
drawing you in with their indulgence they make you dependent on them, and their power grows. Learn to cast the Charmer’s spell by aiming at people’s primary weaknesses: vanity and self-esteem. <span>the Charismatic Charisma is a presence that excites us. It comes from an inner quality—self-confidence, sexual energy, sense of purpose, contentment—that most people lack and want. This quality radiates outward, permeating the gestures of Charismatics, making them seem extraordinary and superior, and making us imagine there is more to them than meets the eye: they are gods, saints, stars. Charismatics can learn to heighten their charisma with a piercing gaze, fiery oratory, an air of mystery. They can seduce on a grand scale. Learn to create the charismatic illusion by radiating intensity while remaining detached. the Star Daily life is harsh, and most of us constantly seek escape from it in fantasies and dreams. Stars feed on this weakness; standing out from others through a distinctive and appe




the Star
#part-one-the-seductive-character #robert-greene #the-art-of-seduction
Daily life is harsh, and most of us constantly seek escape from it in fantasies and dreams. Stars feed on this weakness; standing out from others through a distinctive and appealing style, they make us want to watch them. At the same time, they are vague and ethereal, keeping their distance, and letting us imagine more than is there. Their dreamlike quality works on our unconscious; we are not even aware how much we imitate them. Learn to become an object of fascination by projecting the glittering but elusive presence of the Star.

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The Seductive Character
heir charisma with a piercing gaze, fiery oratory, an air of mystery. They can seduce on a grand scale. Learn to create the charismatic illusion by radiating intensity while remaining detached. <span>the Star Daily life is harsh, and most of us constantly seek escape from it in fantasies and dreams. Stars feed on this weakness; standing out from others through a distinctive and appealing style, they make us want to watch them. At the same time, they are vague and ethereal, keeping their distance, and letting us imagine more than is there. Their dreamlike quality works on our unconscious; we are not even aware how much we imitate them. Learn to become an object of fascination by projecting the glittering but elusive presence of the Star. the anti-Seducer Seducers draw you in by the focused, individualized attention they pay to you. Anti-Seducers are the opposite: insecure, self-absorbed, and unable to grasp the psycholo




the anti-Seducer
#part-one-the-seductive-character #robert-greene #the-art-of-seduction
Seducers draw you in by the focused, individualized attention they pay to you. Anti-Seducers are the opposite: insecure, self-absorbed, and unable to grasp the psychology of another person, they literally repel. Anti-Seducers have no self-awareness, and never realize when they are pestering, imposing, talking too much. They lack the subtlety to create the promise of pleasure that seduction requires. Root out anti-seductive qualities in yourself, and recognize them in others—there is no pleasure or profit in dealing with the Anti-Seducer.

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The Seductive Character
eamlike quality works on our unconscious; we are not even aware how much we imitate them. Learn to become an object of fascination by projecting the glittering but elusive presence of the Star. <span>the anti-Seducer Seducers draw you in by the focused, individualized attention they pay to you. Anti-Seducers are the opposite: insecure, self-absorbed, and unable to grasp the psychology of another person, they literally repel. Anti-Seducers have no self-awareness, and never realize when they are pestering, imposing, talking too much. They lack the subtlety to create the promise of pleasure that seduction requires. Root out anti-seductive qualities in yourself, and recognize them in others—there is no pleasure or profit in dealing with the Anti-Seducer. <span>




Article 3958721875212

The Seducers Victims: The Eighteen Types
#part-one-the-seductive-character #robert-greene #the-18-victims #the-art-of-seduction

The people around you are all potential victims of a seduction, but first you must know what type of victim you are dealing with. Victims are categorized by that they feel they are missing in life—adventure, attention, romance, a, naughty experience, mental or physical stimulation, etc.. Once you identify their type, you have the necessary ingredients for a seduction: you will be the one to give them what they lack and cannot get on their own. In studying potential victims, learn to see the reality behind the appearance. A timid person may yearn to play the star; a prude may long for a transgressive thrill. Never try to seduce your own type. Victim Theory Nobody in this world feels whole and complete. We all sense some gap in our character something we need or want but cannot get on our own. When we fall in love, it is often with someone who seems to fill that gap. The process is usually unconscious and depends on luck: we wait for the right person to cross our path, and when we fall for



Since becoming interested in statistics, I have had my colleagues occasionally send me their students who are working on an experiment for their thesis. “Help them with their statistics!” my colleagues plead

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Flashcard 3961195465996

Question
what is the main objective of this chapter?
Answer
This chapter contains information that is essential in understanding how to do an experimental project


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Flashcard 3961214602508

Question
[default - edit me]
Answer
operationalize


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take an abstract idea and make it measurable

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#evolution-of-seduction #introduction #robert-green #the-art-of-seduction
If we are to change people’s opinions—and affecting opinion is basic to seduction—we must act in subtle, subliminal ways.

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Open it
rsuade people in a way that does not offend or impose itself. Forms of seduction can be found everywhere, blending male and female strategies. Advertisements insinuate, the soft sell dominates. <span>If we are to change people’s opinions—and affecting opinion is basic to seduction—we must act in subtle, subliminal ways. Today no political campaign can work without seduction. Since the era of John F. Kennedy, political figures are required to have a degree of charisma, a fascinating presence to keep the

Original toplevel document

Introduction to the Art of Seduction
ating a charged physical presence. All this, they learned, was the essence of charisma—and remains so today. By seducing the masses they could accumulate immense power without the use of force. <span>Today we have reached the ultimate point in the evolution of seduction. Now more than ever, force or brutality of any kind is discouraged. All areas of social life require the ability to persuade people in a way that does not offend or impose itself. Forms of seduction can be found everywhere, blending male and female strategies. Advertisements insinuate, the soft sell dominates. If we are to change people’s opinions—and affecting opinion is basic to seduction—we must act in subtle, subliminal ways. Today no political campaign can work without seduction. Since the era of John F. Kennedy, political figures are required to have a degree of charisma, a fascinating presence to keep their audience’s attention, which is half the battle. The film world and media create a galaxy of seductive stars and images. We are saturated in the seductive. But even if much has changed in degree and scope, the essence of seduction is constant: never be forceful or direct; instead, use pleasure as bait, playing on people’s emotions, stirring desire and confusion, inducing psychological surrender. In seduction as it is practiced today, the methods of Cleopatra still hold. No man hath it in his power to over-rule the deceitfulness of a woman. —MARGUERITE OF NAVARRE This important side-track, by which woman succeeded in evading man’s strength and establishing herself in power, has not been given due consideration by historians. From the moment when the woman detached herself from the crowd, an individual finished product, offering delights which could not be obtained by force, but only by flattery . . . , the reign of love’s priestesses was inaugurated. It was a development of far-reaching importance in the history of civilization.... Only by the circuitous route of the art of love could woman again assert authority, and this she did by asserting herself at the very point at which she would normally be a slave at the man’s mercy. She had discovered the might of lust, the secret of the art of love, the daemonic power of a passion artificially aroused and never satiated. The force thus unchained was thenceforth to count among the most tremendous of the world’s forces and at moments to have power even over life and death. . . . • The deliberate spellbinding of man’s senses was to have a magical effect upon him, opening up an infinitely wider range of sensation and spurring him on as if impelled by an inspired dream. —ALEXANDER VON GLEICHEN-RUSSWURM, THE WORLD’S LURE, TRANSLATED BY HANNAH WALLER People are constantly trying to influence us, to tell us what to do, and just as often we tune them out, resisting their attempts at persuasion. There is a moment in our lives, however, when we all act differently—when we are in love. We fall under a kind of spell. Our minds are usually preoccupied with our own concerns; now they become filled with thoughts of the loved one. We grow emotional, lose the ability to think straight, act in foolish ways that we would never do otherwise. If this goes on long enough something inside us gives way: we surrender to the will of the loved one, and to our desire to possess them. Seducers are people who understand the tremendous power contained in such moments of surrender. They analyze what happens when people are in love, study the psychological components of




Flashcard 3961256545548

Question
continuous variable
Answer
[default - edit me]


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Particular actions comprising the property development process, as described in more detail in the further points of this memorandum, may be divided into the following phases

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The skill of identifying whether your variables are continuous or categorical is absolutely essential for deciding what statistical test to use, and in general the division between continuous and categorical is the most important division to know when it comes to performing statistical tests, as some tests can be used only when all variables are continuous, while other tests can be used only when there is at least one categorical and one continuous variable

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Flashcard 3962827312396

Question
[default - edit me]
Answer
one of every three deaths


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Flashcard 3962828360972

Question
[default - edit me]
Answer
atherosclerosis


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Flashcard 3962829409548

Question
[default - edit me]
Answer
Coronary artery syndromes ** Aortic dissection **


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Flashcard 3962830458124

Question
[default - edit me]
Answer
Pulmonary Embolus ** Tension Pneumothorax


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Flashcard 3962831506700

Question
[default - edit me]
Answer
Esophagitis Rupture **


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Flashcard 3962832555276

Question
[default - edit me]
Answer
Peptic ulcer disease – perforating ulcer **


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Flashcard 3962838584588

Question
[default - edit me]
Answer
genetic


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Flashcard 3962839633164

Question
[default - edit me]
Answer
abnormal substances infiltrate the heart


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Flashcard 3962840681740

Question
[default - edit me]
Answer
heart muscle damage from many causes (viral, alcohol, chemotherapy, idiopathic)


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Flashcard 3962841730316

Question
[default - edit me]
Answer
heart muscle is damaged after heart attacks (myocardial infarction


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Flashcard 3962842778892

Question
[default - edit me]
Answer
inflammation of the pericardium (multiple causes, including infections, trauma, radiation)


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Flashcard 3962843827468

Question
[default - edit me]
Answer
a form of obstructive shock related to accumulation of material (fluid, blood) in the pericardial space. Commonly seen in patients with malignancies especially those near the heart (lung, breast, lymphoma) and after cardiac interventions (heart surgery, catheterizations, EP studies, pacemaker placement)


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Flashcard 3962844876044

Question
[default - edit me]
Answer
heart is unable to pump blood forward at a sufficient rate to the meet metabolic demands of the body


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Flashcard 3962845924620

Question
[default - edit me]
Answer
is able to do so only if the cardiac filling pressures are abnormally high or both


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Flashcard 3962846973196

Question
[default - edit me]
Answer
hypertension elevated triglycerides low HDL cellular insulin resistance visceral obesity (excessive adipose tissue in the abdomen)


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Flashcard 3962848021772

Question
[default - edit me]
Answer
44


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Flashcard 3962849070348

Question
[default - edit me]
Answer
personal behavior


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Flashcard 3963046464780

Tags
#background #deeplearning
Question
In the last few years, we have witnessed tremendous improvements in recognition performance, mainly due to advances in two technical directions:
Answer
  1. building more powerful models
  2. designing effective strategies against overfitting.


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Flashcard 3963051445516

Question
CV disease causes [...] in the United States
Answer
one of every three deaths


statusnot learnedmeasured difficulty37% [default]last interval [days]               
repetition number in this series0memorised on               scheduled repetition               
scheduled repetition interval               last repetition or drill

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CV disease causes one of every three deaths in the United States

Original toplevel document (pdf)

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Flashcard 3963063504140

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statusnot learnedmeasured difficulty37% [default]last interval [days]               
repetition number in this series0memorised on               scheduled repetition               
scheduled repetition interval               last repetition or drill

pdf

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Flashcard 3963072941324

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statusnot learnedmeasured difficulty37% [default]last interval [days]               
repetition number in this series0memorised on               scheduled repetition               
scheduled repetition interval               last repetition or drill

pdf

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Flashcard 3963077922060

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statusnot learnedmeasured difficulty37% [default]last interval [days]               
repetition number in this series0memorised on               scheduled repetition               
scheduled repetition interval               last repetition or drill

pdf

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Flashcard 3963082378508

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statusnot learnedmeasured difficulty37% [default]last interval [days]               
repetition number in this series0memorised on               scheduled repetition               
scheduled repetition interval               last repetition or drill

pdf

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Flashcard 3963086834956

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statusnot learnedmeasured difficulty37% [default]last interval [days]               
repetition number in this series0memorised on               scheduled repetition               
scheduled repetition interval               last repetition or drill

pdf

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Flashcard 3963091291404

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statusnot learnedmeasured difficulty37% [default]last interval [days]               
repetition number in this series0memorised on               scheduled repetition               
scheduled repetition interval               last repetition or drill

pdf

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Flashcard 3963095747852

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statusnot learnedmeasured difficulty37% [default]last interval [days]               
repetition number in this series0memorised on               scheduled repetition               
scheduled repetition interval               last repetition or drill

pdf

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Flashcard 3963100204300

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statusnot learnedmeasured difficulty37% [default]last interval [days]               
repetition number in this series0memorised on               scheduled repetition               
scheduled repetition interval               last repetition or drill

pdf

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Flashcard 3963104660748

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statusnot learnedmeasured difficulty37% [default]last interval [days]               
repetition number in this series0memorised on               scheduled repetition               
scheduled repetition interval               last repetition or drill

pdf

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Flashcard 3963110690060



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statusnot learnedmeasured difficulty37% [default]last interval [days]               
repetition number in this series0memorised on               scheduled repetition               
scheduled repetition interval               last repetition or drill

pdf

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