It follows that the balance we approve of in architecture, and which we anoint with the word 'beautiful', alludes to a state that, on a psychological level, we can describe as mental health or happiness. Like buildings, we, too, contain opposites which can be more or less successfully handled.

Rage is caused by a conviction, almost comic in its optimistic origins (however tragic in its effects), that a given frustration has not been written into the contract of life.

The second hugely seductive move is to signal that we view the other person with a mixture of tenderness and realism. It’s often imagined that it’ll be seductive to convey an air of adoration, to hint that the other strikes us as exceptionally attractive or accomplished. But surprisingly, it is deeply worrying to be obviously adored, because everyone, from the inside, knows very well that they don’t deserve intense acclaim, are often disappointing and sometimes quite simply pitiful.
So seduction involves suggesting both that one likes the other person a lot – and yet can see their frailty quite clearly, that one cope with it and forgive it with gentle indulgence. One might, towards the end of the evening drop in a small warm tease that alludes to our understanding of some less than perfect side of them: ‘I suppose you stayed under the duvet feeling a bit sorry for yourself after that?’ we might ask, with a benign smile.
Such a gesture implies that we like another person not under a mistaken notion that they are flawless but with a full and unfrightened appreciation of their frailties. That ends up being powerfully seductive because it is, first and foremost, reassuring. It suggests the ideal way that we would like someone to view us within the testing conditions of a real relationship. We crave not admiration, but to be properly known and yet still liked and forgiven.