The Essence of Charm

By Laurie Lee

　　Laurie Lee, born in Gloucestershire, England, in 1914, says of his early years: “At the age of nineteen, I left home and walked to London, taking little else with me but my violin and the determination to never again have an employer. If writing should fail me, I was resolved to survive by playing my violin.” Lee was not obliged to earn his living as a traveling minstrel, since his books have been well received over the years. These include Cider with Rosie(1959) , a memoir of his boyhood in England, and I Can’t Stay Long(1975), a collection of prose pieces. The New Yorker said of Lee’s writing: “It has a tone and intensity that are entirely his own, and is inimitably pleasing.”

　　Charm is the ultimate weapon, the supreme seduction, against which there are few defenses. If you‘ve got it, you need neither money, looks, nor pedigree. It‘s a gift, given only to give away, and the more used, the more there is. It is also a climate of behavior set for perpetual summer and thermostatically controlled by taste and tact.

　　True charm is an aura, an invisible musk in the air; if you see it working, the spell is broken. Charm is dynamic, and cannot be turned on and off at will. As to its ingredients, there is no fixed formula. A whole range of mysteries goes into the caldron, but the magic it offers must be absolute-one cannot be "almost" or "partly" charmed.

　　In a woman, charm is probably more exacting than in a man, requiring a wider array of subtleties. It is a light in the face, an air of exclusive welcome, an almost impossibly sustained note of satisfaction in one‘s company, and regret without fuss at parting. A woman with charm finds no man dull; indeed, in her presence he becomes not just a different person but the person he most wants to be. Such a woman gives life to his deep-held fantasies by adding the necessary conviction to his long suspicion that he is king.

　　Of those women who have most successfully charmed me I remember chiefly their voices and eyes. Their voices were intimate and enveloping. The listening eyes, supreme charm in a woman, betrayed no concern with any other world than this, warmly wrapping one round with total attention and turning one‘s lightest words to gold. Theirs was a charm that must have continued to exist, like the flower in the desert, even when there was nobody there to see it.

　　A woman‘s charm spreads round her that particular glow of well-being for which any man will want to seek her out and, by making full use of her nature, celebrates the fact of his maleness and so gives him an extra shot of life. Her charm lies also in that air of timeless maternalism, that calm and pacifying presence, which can dispel a man‘s moments of frustration and anger and restore his failures of will.

　　Charm in a man, I suppose, is his ability to capture the complicity of a woman by a single-minded acknowledgment of her uniqueness. Here again it is a question of being totally absorbed, of really forgetting that anyone else exists, for nothing more fatally betrays than the suggestion of a wandering eye. Silent devotion is fine, but seldom sufficient; it is what a man says that counts, the bold declarations, the flights of fancy, the uncovering of secret virtues. A man is charmed through his eyes, a woman by what she hears, so no man need to be too anxious about his age: As wizened Voltaire once said: "Give me a few minutes to talk away my face and I can seduce the Queen of France."

　　But charm isn‘t exclusively sexual; it comes in a variety of cooler flavors. Most children have it--till they are told they have it--and so do old people with nothing to lose; animals, too, of course. With children and smaller animals, it is often in the shape of the head and in the chaste unaccusing stare; with young girls and ponies, a certain stumbling awkwardness, a leggy inability to control their bodies. But all these are passive and appeal by capturing one‘s protective instincts.

The Essence of Charm

By Laurie Lee

　　Laurie Lee, born in Gloucestershire, England, in 1914, says of his early years: “At the age of nineteen, I left home and walked to London, taking little else with me but my violin and the determination to never again have an employer. If writing should fail me, I was resolved to survive by playing my violin.” Lee was not obliged to earn his living as a traveling minstrel, since his books have been well received over the years. These include Cider with Rosie(1959) , a memoir of his boyhood in England, and I Can’t Stay Long(1975), a collection of prose pieces. The New Yorker said of Lee’s writing: “It has a tone and intensity that are entirely his own, and is inimitably pleasing.”

　　Charm is the ultimate weapon, the supreme seduction, against which there are few defenses. If you‘ve got it, you need neither money, looks, nor pedigree. It‘s a gift, given only to give away, and the more used, the more there is. It is also a climate of behavior set for perpetual summer and thermostatically controlled by taste and tact.

　　True charm is an aura, an invisible musk in the air; if you see it working, the spell is broken. Charm is dynamic, and cannot be turned on and off at will. As to its ingredients, there is no fixed formula. A whole range of mysteries goes into the caldron, but the magic it offers must be absolute-one cannot be "almost" or "partly" charmed.

　　In a woman, charm is probably more exacting than in a man, requiring a wider array of subtleties. It is a light in the face, an air of exclusive welcome, an almost impossibly sustained note of satisfaction in one‘s company, and regret without fuss at parting. A woman with charm finds no man dull; indeed, in her presence he becomes not just a different person but the person he most wants to be. Such a woman gives life to his deep-held fantasies by adding the necessary conviction to his long suspicion that he is king.

　　Of those women who have most successfully charmed me I remember chiefly their voices and eyes. Their voices were intimate and enveloping. The listening eyes, supreme charm in a woman, betrayed no concern with any other world than this, warmly wrapping one round with total attention and turning one‘s lightest words to gold. Theirs was a charm that must have continued to exist, like the flower in the desert, even when there was nobody there to see it.

　　A woman‘s charm spreads round her that particular glow of well-being for which any man will want to seek her out and, by making full use of her nature, celebrates the fact of his maleness and so gives him an extra shot of life. Her charm lies also in that air of timeless maternalism, that calm and pacifying presence, which can dispel a man‘s moments of frustration and anger and restore his failures of will.

　　Charm in a man, I suppose, is his ability to capture the complicity of a woman by a single-minded acknowledgment of her uniqueness. Here again it is a question of being totally absorbed, of really forgetting that anyone else exists, for nothing more fatally betrays than the suggestion of a wandering eye. Silent devotion is fine, but seldom sufficient; it is what a man says that counts, the bold declarations, the flights of fancy, the uncovering of secret virtues. A man is charmed through his eyes, a woman by what she hears, so no man need to be too anxious about his age: As wizened Voltaire once said: "Give me a few minutes to talk away my face and I can seduce the Queen of France."

　　But charm isn‘t exclusively sexual; it comes in a variety of cooler flavors. Most children have it--till they are told they have it--and so do old people with nothing to lose; animals, too, of course. With children and smaller animals, it is often in the shape of the head and in the chaste unaccusing stare; with young girls and ponies, a certain stumbling awkwardness, a leggy inability to control their bodies. But all these are passive and appeal by capturing one‘s protective instincts.

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