How initially 'to get her in the sack' and subsequently to avoid 'her giving you the sack' are not identical dilemmas faced by the male species, but they sure have a bizarre habit of being bedfellows

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But it may be that I betrayed myself. Since Dorcastle, my ability to supress my emotions has diminished. I know feelings are showing, not in ways which commons might see, but clearly enough for Mages to spot. My elders could well have decided that I am ruined, that my contact with you has corrupted me beyond correction." ..."What does it take to corrupt a Mage, anyway?""I told you. They thought that you had attempted to seduce me. Perhaps they thought that you had already succeeded despite my denials that such a thing had happened."Once again Mari stared at him, her face darkening. "I was under the impression that your elders thought I would try that at some future point. What did you tell them to make them think that I had already put my moves on you? Or that I had already hooked you?""Hooked?" Alain asked. "Ensnared." Mari got the word out between clenched teeth. "I told them nothing. That is the illusion they wished to believe, not thinking there could be any other reason for a female Mechanic to seek my company." Alain paused in thought. "A young and attractive female Mechanic, that is.""Oh right. The one with all those physical charms.""Yes," Alain agreed. She gasped a laugh. "I was being sarcastic again, Alain. I hope that isn't the only reason you've been attracted to me. Not the only reason anyway.""You are very pleasant to look upon," Alain said, and Mari's face flushed again. Had he angered her? "But my elders were foolish to think physical desire alone could corrupt me. It should not be possible with all of my training, but I found that a single shadow was by far the most important part of the world illusion. That is what doomed me, so my elders were correct in thinking that you had altered my thinking. Not with your body or other physical temptation, but with who you were and the things you did." Alain made another effort to bend his lips into a smile. "I will never be able to return to what I was before I met you.

The law of manifestation operates like a triangle: First, know what you want and visualize it as if you already had it; Second, see it behind the illusion of reality, practice it in your decisions, choose the people you hang out with, etc; Third, believe, have faith and work on your emotions to be at the right frequency. This triangle of manifestation is one of the secrets of many religions: Christianity, Scientology, and Freemasonry. In Masonry is seen as "heart, mind and desire"; in Scientology is perceived as "reality, communication and affinity"; in Christianity is understood as "Father, son and holy ghost"; basically, "actions, learnings and emotions". In Christianity, the Father equals reality or the Creator of the illusion, the son is the way, the path, he road of our decisions and actions, and the holy ghost is our heart, instincts and desires manifested in that same path. In word words, through Jesus, and with the power of the holy ghost, you reach God. This is an allegory that not many Christians can understand. Jesus represent behavior - right and wrong, the holy ghost is our faith, your heart and emotions reflecting back at you what you attract, it's the energy that connects you to your dreams, and God represents the Architect of Reality. So, through moral behavior and positive emotions, your understand God and life, and then you receive "paradise". This paradise is whatever you dream for yourself. Furthermore, if someone has shown you this way, he has been as an angel to you, a messenger of God; if someone stopped you from reaching it, he has been as a demon, a worker for Satan, the enemy, if you failed in seeing this path, you have redirected yourself towards hell. And if you hate your life, you are already in hell. If you want to get out of hell, you must accept the truth, and this truth is that you must know God, for He is the truth. He and the truth are one and the same.

Appearing nude on film was not easy when I was twenty-six in Body Heat; it was even harder when I was forty-six in The Graduate, on the stage, which is more up close and personal than film. After my middle-age nude scene, though, I unexpectedly got letters from women saying, "I have not undressed in front of my husband in ten years and I'm going to tonight." Or, "I have not looked in the mirror at my body and you gave me permission."These affirmations from other women were especially touching to me because when I began The Graduate I'd just come through a period when I felt a great loss of confidence, when my rheumatoid arthritis hit me hard and I literally couldn't walk or do any of the things that I was so used to doing. It used to be that if I said to my body, "Leap across the room now," it would leap instantly. I don't know how I did it, but I did it. I hadn't realized how much my confidence was based on my physicality. On my ability to make my body do whatever I wanted it to do.I was so consumed, not just by thinking about what I could and couldn't do, but also by handling the pain, the continual, chronic pain. I didn't realize how pain colored my whole world and how depressive it was. Before I was finally able to control my RA with proper medications, I truly had thought that my attractiveness and my ability to be attractive to men was gone, was lost. So for me to come back and do The Graduate was an affirmation to myself. I had my body back. I was back.

In every age a general misdirection of what may be called sexual "taste"... [is] produce[d by the devil and his angels]. This they do bu working through the small circle of artists, dressmakers, actresses, and advertisers who determine the fashionable type. The aim is to guide each sex away from those members of the other with whom spiritually helpful, happy, and fertile marriages are most likely. Thus [they] have now for many centuries triumphed over nature to the extent of making certain secondary characteristics of the male (such as the beard) disagreeable to nearly all the females-and there is more in that than you might suppose. As regards the male taste [they] have varied a good deal. At one time [they] have directed it to the statuesque and aristocratic type of beauty, mixing men's vanity with their desires and encouraging the race to breed chiefly from the most arrogant and prodigal women. At another, [they] have selected an exaggeratedly feminine type, faint and languishing, so that folly and cowardice, and all the general falseness and littleness of mind which go with them, shall be at a premium. At present [they] are on the opposite tack. The age of jazz has succeeded the age of the waltz, and [they] now teach men to like women whose bodies are scarcely distinguishable from those of boys. Since this is a kind of beauty even more transitory than most, [they] thus aggravate the female's chronic horror of growing old (with many [successful] results) and render her less willing and less able to bear children. And that is not all. [They] have engineered a great increase in the license which society allows to the representation of the apparent nude (not the real nude) in art, and its exhibition on the stage or the bathing beach. It is all a fake, or course; the figures in the popular art are falsely drawn; the real women in bathing suits or tights are actually pinched in and propped up to make them to appear firmer and more slender and more boyish than nature allows a full-grown woman to be. Yet at the same time, the modern world is taught to believe that it is being "frank" and "healthy" and getting back to nature. As a result [they] are more and more directing the desires of men to something which does not exist-making the role of the eye in sexuality more and more important and at the same time making its demands more and more impossible.