Stratiyevskaya: ENFj
Block Of ego* * the "ethics of emotions"
For Hamlet the peace of human experience, feelings and emotions - this is not only the sphere of its interests and observation, this first of all its "workshop" and "laboratory". Here it creates and it investigates.
To investigate the soul of man, to see the source of his pain and sufferings, to show the depth of its experiences, to understand the ethical motives of its behavior in entire their apparent contradiction - in this Hamlet sees his destination, he was borne for this, with this he, in the essence, deals entire his life regardless of the fact what region of professional activity for himself he selected.
No one of its entering circle acquaintances it will go around by its "emotional action": to whom by small joke, to whom by sharp quip, to whom by drawing, to whom by thin irony, any it will show his soul as in the mirror. Any it will implicate in its "theater" - into its "ethical game", in its "laboratory workshop".
To the object of his jokes Hamlet frequently turns himself with the affectionate irony and the lenient superiority, as if he now is located somewhere above it, in some other peace, where to it is especially visible entire absurdity and the awkwardness of the behavior of the sequential victim of its attention. The small jokes of Hamlet - this of its kind "korov'evskiye small joke", these are "volandovsko-mefistofel'skiye" jokes. ("Daniel, here 4 to you!!!.. - it frightened?! - food left. If you do not eat up, 4 then!!!... - it frightened?! - output this itself. And try only to not take milk - I will feed to the dogs of!!!.. - it frightened?! Yes not you, but milk of!..")
To create the oppressive tense situation for Hamlet is so natural that it can this make, find practically in any mood - willows good, and in the poor; and from the boredom, and from something to make. Sufficient most insignificant occasion and in it suddenly from somewhere appear and metallic notes in the voice, and rigid intonations, and chased articulation, and heavy fixed view, and self-possessed pauses (during which it considers the continuation of its "monologue").
Around each person Hamlet creates the certain emotional field, which at its discretion "charges" first positively, then is negative, constantly expressing its relation to the ethical qualities of man, moreover not as its personal impression, but as the certain general, already prevailing opinion, in which it would be personally and it was glad to doubt. Since this all presents in the form of thin hints and is accompanied by the most expressive mimicry, man immediately feels himself intrigued and unnoticeably for himself he falls under for strong emotional action, becoming the obedient marionette, which it pulls by the ropes this, it would seem, such benevolent collocutor.
Sufficiently with difficulty there is to in time realize and to leave from under this "charming" influence - Hamlet it here develops this offence, this disappointment and regret, which man becomes uncomfortable for his "tactless" behavior and like anything other it remains how to voluntarily yield to the exerted pressure.
Filling to itself the namerenno indifferent, first mysterious, then sad form, Hamlet tries to focus attention and to intrigue all, who only can now see him. Subconsiously Hamlet uses any possibility to find to himself the suitable objects of emotional influence, most ideal of which is its dual Maxim, who most of all needs the contact of precisely this style and nature.
Most of all irritate Hamlet the absence of interest in his "theater", the intentional unwillingness to become in his play "character" or even "spectator". Impenetrable "indifference and indifference to its ethical game - only, before how Hamlet it is powerless, and this the very thing, what it most of all fears. It especially prick up ears people, which, which is called, "to itself on the mind" (although it is difficult to be more "to itself on the mind", than itself Hamlet).
Any of the representatives of this type independent of age and the kind of occupations magnificently manages its by mimicry, with voice, intonation and because of this quality makes with its collocutor everything which wants, obtaining from it the maximum of information necessary to it. It is worthwhile for it only to want, and it weakens man, it causes it to the frankness and suggests to it everything which to it will decide sometimes, on the contrary, it literally forges its collocutor by fear and by stress, completely subordinates to its will, makes it necessary completely to itself to be entrusted.
Hamlet - director of human emotions, the director of moods to any person Hamlet "will assign" precisely the mood, which considers necessary to assign the emotional "direction" of Hamlet it is always assigned only from the considerations of his interests, his calculations, it it is insurance, its suspicions and assumptions.
Regardless of the fact, on which scale does develop his activity the representative of this type, politician he or series employee, he to the perfection manages entire arsenal of the necessary means of action in order to form the "necessary" public opinion, with the aid of which it is intended to assign determinate direction to the actions of its surrounding people. The creation of formal or nonformal group within the framework of the already existing system, the development of formal or nonformal leader, the displacement of the existing leader, the displacement of hierarchical it is layer in the system, conclusion from the system of the group of those, who are interference in its arrangement of forces, all this sphere of its constant activity independent of age, kind of occupations and place, occupied in the system.
Arrangement of forces in the hierarchical system - basic region of its ethical and business interests and the naivazhneyshaya sphere of its activity. To Hamlet it is extremely important not only to reveal the already existing nonformal leader, but also potential I relative to this future arrangement of forces to form its relations in the existing social structure for this very reason to any of the representatives of this type is important to know that "on the mind" in one or other person or another (especially Hamlet they interest and they prick up ears the internally independent people, which place itself out of the career, out of the gossips, out of the "interests of the association", out of the "public opinion" of such people to Hamlet it is to understand especially difficultly and for this very reason they they seem it by especially suspicious) to it only occasion, and here he already feels itself as on the platform, he no longer simply does not speak, but "pronounces speech". Moreover, hold meetings it can generally without the occasion - for this it is necessary only suitable mood (if "shower burns" or "is straight evil beret") here then audience will be located, and theme will be selected (in contrast to Don Quixote, who holds meetings when conveniently, where it will decide, and even not always in the language of its surrounding people Hamlet very prudently selects to himself listeners. He always knows, whom and for which it is possible and it is necessary to campaign) to reveal, to condemn, "to hang up labels", to search for guilty - all these are not only the form of his self expression, but also the method to create public attitude, to form public opinion. But on wider scales - method "to make policy", "to create history".
To become the initiator of any of undertaking, to draw to it new people, to organize them, narrative for himself - by all this Hamlet is occupied very willingly. Moreover to him for this it is not completely compulsory to be political figure sufficient simply "to fall into the jet", to guess "correct" direction, to take "necessary" initiative.
It must be noted that in his public initiative Hamlet is very farsighted and farsighted: if something ventured - this not without purpose, this with the long-range goal, with the calculation, this is not simple on the kindness of sincere. (that that Hamlet makes only on the kindness of sincere, he does not advertise: little whether as this will include others? But suddenly because of these "good deeds" it sometimes has troubles. Example: a representative of this type for a period of many years from the wife secretly helped materially all his relatives - all gradually, to whom from the wage, to whom from the reward. But each time prevented "only to wife you will not let out a secret, it nothing must about this know". And not there was case so that he would forget about this to mention or to warn).
To the leadership of Hamlet contributes still the circumstance that he is the always innate talented actor - and his this valuable quality. He actor both in the life and in the theater (both in the history and in the policy) when Hamlet leaves to the scene, public sobs and laughs together with it (when Hamlet "leaves into the policy", that are laughed remains increasingly less and less).
Many representatives of this type become the most outstanding actors, directors, poets and musicians of their time. Thus far Hamlet has a public, its inspiration is inexhaustible.
The block Of ego*2-ya position is "creative function *" the intuition of time "
If we examine human emotions as material in the "creative laboratory" Hamlet, then time, in his understanding, these are that tool, is that "technological regime", in which this material is quenched and is processed. To Hamlet to little mold "emotional model", is necessary that it still and would mature "in the time", it is necessary to show the nature of man (or the model of his behavior) in the development to show, as this was in the past and that this will be in the future.
A quantity of emotions, experienced per unit time, here is the formula, which expresses the method of its existence, it "technological regime".
Impression is created, that Hamlet knows how to physically oshchushchat' the extent of any unit of the time: it for it as living cell lives the life of its filling emotions in Hamlet- musician, its idea about the rhythms and the rates in it - micros-rhythm and micro-rates, also, in this the secret of its musical expressiveness. Concept "duration of note" for it indicates - the "lifetime of note", such an each note in its performance is saturated by the finest nuances and lives bright emotional life in the specific, assigned it moment. Hamlet- executor is always learned on the skill to maintain note and pause, and on the skill to construct his performance on the game of rates and nuances of emotions. (exactly as Hamlet- dancer is always learned on the precise motor coordination, which correspond to the finest musical plastic, and also on the exceptional expressiveness of gestures the Hamlet- dancer has gesture "is revealed" as flower, his expressiveness seemingly it is developed in the time, so that spectator manages him to see, and to understand, and to feel.)
Hamlet- politician magnificently knows how to manipulate by the time: it sees the advantages of the development of situation in the time, knows how "to heal" problem by time, knows how "to grow problem in the time", i.e., knows how to use time as unique oranzhereyku, where the problem "matures" to that moment, when it already can be presented to society in most convincing form. Hamlet knows how to materialize time, to make its tangible. The significance of moment knows how to force all to feel, even if this moment is last decade.
Wonderfully it knows how to use the advantages in the time, which to it one or other situation, gives. For example, under the conditions of military actions Hamlet- politician can inquire armistice only in order to obtain temporary respite and to use it with the benefit for himself and for its army: to relocate troops, to pull new forces, etc. But after resting and after being collected forces, it can arrange any new "zavarushku" and thus obtain occasion to renew military actions.
Hamlet very well knows how to coordinate his behavior in the time. That he not did, this always entire very in proper time. Any of the representatives of this type - always splendid strategist; therefore each of his intelligent actions is determined by purposes and tasks of his final plans, which in turn can be sufficiently flexible. (for example, to other to Hamlet -poltiku state of war is sometimes more necessary than victory in it. Moreover, Hamlet frequently feels himself disappointed precisely when the final goal of his actions is already achieved. Having already become accustomed to the the hyper-active, oversaturated the events of life, to Hamlet it is difficult to be switched to another, less active mode of operation - in it appear the sensation of the incompleteness of life, the sensation of the missed or not completely realized possibilities.)
For Hamlet it is very important to be confident in the opportuneness of own actions. And for this very reason it always must be in proper time about everything informed.
Hamlet fears to be uninformed in the fact that is important for it, since this can lead it to the late actions, to the delay, but he in principle tries not to allow this. In the critical situation Hamlet especially accurately coordinates his actions in the time: usually it attempts to deliver its impact by the first, moreover this must be completely not expected, oshelomlyayushche the smashing attack: too much is set on the map. It is here because to Hamlet and it is necessary that that surrounding to it would entrust and would share with it by their plans and information. For this very reason it is scared reserved and passive people, apathetic to the fact that disturbs it: and, can, they it did already go around? Maybe, they did already obtain that, what it does now attain, and therefore it is so calm and assured in itself?
To Hamlet is always interesting the experience of strange errors. He thoroughly studies it, draws useful conclusions in order very of poosterech'sya and others to warn. But, whatever was its own negative experience, in the decisive situation Hamlet acts in the manner that his feelings prompt to it and its intuition, even if this goes in spite of the common sense. Possibly therefore fanaticism and fanatic renunciation is very characteristic of described type representatives. Many terrorists -"kamikadze" leave precisely from the representatives of this type. ("mercifully to the match, sgorevshey, but which carved flame".) Hamlet in any epoch, in any period of history can see the highest sense in returning of its life "for the idea", even if this idea was borne in the narrow to the circle of its adherents and unite a total of several men. For this very reason in the extreme situation the fanatically disposed representative of this type will not see large sin in taking of in hostages innocent civilians, even if it from its its own camp: there is no great honor than to die for the idea (so let from their "average man's" life it will be although some benefit).
Hamlet cannot be the passive observer of the most important historical events. Even working as journalist, by international reviewer or by that leading of social and political telecasts, a representative of this type will give material very tendentiously and tselenapravlenno, as if attempting to create around the illuminated with it question the defined public opinion, with the aid of which he as if expects to coordinate the actions of the chief politicians and to direct them into the specific river bed.
The sensation of its historical destination is characteristic for Hamlet. It can itself feel partly historical process, by the part of the epoch, by carrier and by the spokesman of its ideas. (political civil activity - one additional reason, for which it can sincerely offend whose- that fundamental indifference to politics or unprincipled loyalty.) Hamlet frequently can be met by worker at the "ideological front", moreover with the sincere enthusiasm and the return, that, however, it does not prevent it from sometimes sincerely being indignant apropos of the historical errors, accomplished by its government, foreseeing the most unfavorable outcome of events in the "political arena", seeing some unhappy tendencies in the political and social life of society.
In Hamlet there can be the periods of the bright, emotionally saturated life, filled with the interesting, "scale" matters; there can be the periods of the prolonged duration of their "sidereal hour"; moreover this period not is less important for Hamlet than the first, and it in reality not is less saturated with the external idleness. This can be the period of its invisible activity, the period of its "preparation" for the decisive moment. It is completely unimportant, what matter it will precisely complete in its "sidereal hour": this can be and coup d'etat, and the bright speech in the parliament, and the magnificently played play, and the terrorist act, which signifies the beginning of new historical epoch. The main thing, in this his "sidereal hour" Hamlet "will enter into the history".
Hamlet "sees" time "on- large" and plays by time to also "on- large". To him is far from always important small, immediate punctuality; it can carry out the outlined order of day, and can and no. Not this is important for it. For it where more interesting planned global changes, and also historical accuracy and the opportuneness of its own actions. To it is importantly to organically be entered in the epoch, in order "not to be the log, which lies across the history".
Hamlet understands well the nature of one or other epoch or another, he knows how to feel her slogan. It knows how to see analogies and regularities in the alternation of historical epochs.
Frequently feels nostalgia for that epoch, which is consonant to its ideology, in which were popular the ideas, close to it in the spirit. If place in today's bottom of history does not find for itself, it lives in its past.
Block Of superego*e-ya pozitsiya*Normativnaya function * "business logic"
To Hamlet it is difficult to lead the association. (more precise, to the association difficultly, when it leads Hamlet.) Already very process of the adjusting of business connections for it is not simple. Hamlet will always previously foresee the possible differences or even opposition of interests and with respect to this himself is tuned.
To Hamlet it is difficult and it is boring to check the work of subordinates, it is difficult to keep in order business documentation, it is difficult to carry out routine, everyday work.
The organization of working process, the creation of the necessary technical specifications, conditions of payment, material encouragement and stimulation - all this is given to it with the price of improbable efforts, but it brings less than modest results. Therefore under the conditions of the absence of economic incentive, under the conditions of ineffective and low-productivity labor in Hamlet remains only means for maintaining the necessary working tone - emotional and administrative pressure. And it masters completely these means.
Hamlet cannot simply say: "I is contented (or it is not contented) by your work". For it to too improvidently express its personal opinion. (Hamlet in generally it does not love, when they refer to its personal opinion; therefore usually it fears to speak personally from itself.) Faster he will say: "director praised your report" or: "everyone all around indicates that you recently began more badly to work". And will express thus not its personal, but public opinion, which in reality can be not similar or generally even it was not formed in regard to this. But to Hamlet it is profitable to present public opinion precisely similar and precisely in order to show the goal-directed action to the man. For this purpose it exactly it is necessary to show the ratio of those surrounding to entire proceeding, it is necessary to give estimation as not from itself personally, namely expressing the general opinion. He seemingly says: "this not 4 one so I count - this entire so is counted! ("everything lie not they will be!"). Although in reality it could not ask generally anyone.
Hamlet can completely not confuse by the fact that he bluffs, it falsifies or garbles facts. (especially, if this is done "in the interests of the matter", also, in connection with the "special importance of the current moment".) The facts, which cannot be verified, in this case are not important, is important its personal desire to act on subordinate, in order to force it to work with any, even quite severe, most low-paid conditions. (since other conditions it create simply it cannot.)
Moreover, the heavier the general working conditions, the more important for Hamlet it is good "to appear itself" on the leading work and longer on it to be held. (even being series employee, Hamlet can appear by super-conscious toiler, who works "for the idea", "for the thanks", and be the model of working enthusiasm. Of course the spirit of superiority and tendency toward the leadership will not allow it too it takes a long time to get stuck on the series post. Therefore Hamlet will not miss the case to conduct the new, advantageous for himself arrangement of forces, which will help it to move into the more convenient hierarchical layer. The essence of gamletovskoy "business intrigue" exactly in that consists in order to find the necessary levers of action on those surrounding and fiducial points of support for itself.)
Being it is concerned by his position and authority of a leader, Hamlet freely and easily manipulates by the behavior of subordinates, attentively following the fact so that it not "would scheme".
The Hamlet - and leaders and officials, know how to find guilty, where there are not, they know how and love to take "to the fright" of all, who depend on them. For the Hamlet- leader to very characteristically artificially force situation, to each to tie the "guilt complex" and to make it necessary to expect for itself entire quite worst. Hamlet- leader is frequently inclined to develop the role of such Karabasa-Barabasa, which controls the marionettes: from time to time he as "pulls by the ropes", controlling the fact, as entire mechanism of its intrigue comes in the action - this he has this method to coordinate the work of the association, and at the same time also "to check situation". As a result of this "management" the consideration of production problems in the association constantly passes from the sphere of business into the sphere ethical, from the region of business relations to the region of personal "dismantlings", where Hamlet feels himself completely freely and no one he is inferior superiority.
As everyone intuit second kvadry, Hamlet fears the consequences of the undertaken himself responsibility. And this is is one additional reason, for which to it to much more advantageous form convenient public opinion than most it is opened to speak out, and to act in accordance with the "opinion of majority", but not very to make decision with the responsibility resultant. This tactics, among other things, gives to it even the lawful cover: it, as "minority" it expresses and is subordinated to opinion and will of the majority, from number of which then always it will be possible to find guilty, copy to it errors and condemn for the "bends". (if the post, occupied by Hamlet, assumes only personal responsibility for the solution adopted, then, after committing irreparable error, this "leader" it can act according to the principle: "after us although flood".)
To the counter business initiative Hamlet relates very nastorozhenno, especially, if it is not personally sanctioned by it. Therefore the best business relations in it are added precisely to its dualom by Maxim, usually who sensitively guesses plans and intentions of his authorities, by always soblyudayushchim "subordination" and acting only in accordance with the assigned indications. With the representatives of other psychological types to Hamlet to work sufficiently difficultly - that await anything that not predicted, any unforeseen troubles.
Furthermore, Hamlet just as its dual Maxim, follows the fact so that the material encouragement would be distributed with respect to a quantity of inserted labor (with respect to the portion of personal participation) and with respect to the degree of the entrusted responsibility, i.e., with respect to the held post. (as the personal encouragement Hamlet can distribute material goods, also, at his own discretion, but he will try so that this would not obtain the wide publicity: "in your concert two outputs, in it - five, but will pay to you equally. 4 already it agreed. Only see, tell no one, otherwise you me will bring!")
By its own, chastnopredprinimatel'skim business to Hamlet to be occupied is also not easy, since, after proving to be out of the hierarchical system, he feels itself by very not protected: no customary to it the arrangement of forces, no one assumes as it the solutions. For all its actions it now answers itself, for all errors it pays from its own pocket.
In the business relations the intriguing tone only interfere withs Hamlet, since it pricks up ears and those surrounding are restored against it. (beginning Din-le/m- owner it allowed itself to intrigue for some time with the clients, as a result of which they managed without its intermediary services - they concluded transaction "directly" and left it without the commission.)
Analyzing his errors, Hamlet learns business ethics, learns to subordinate his mood to reason, learns to make not that which it "wants", but that which "is expedient". It learns to be restrained in the expression of its emotions, it follows its emotional lexicon, he tries not to express either his personal or social relations. It learns to be correct with those, who pay to it, who "orders music". (falling into the capitalist set-up, the Hamlet of "socialist ferment" is passed very difficult and heavy school, moreover it is far from always successfully.)
To study the needs of market, market prices and market relations for Hamlet, with his rebellious and agitated soul, is far from most interesting work. Therefore to it it is difficult to very to protect its business interests, it is difficult to very to postoyat' for itself, is difficultly to objectively estimate its work, it is difficult to inquire its price, it is difficult to insist on it. In one case it can inquire completely unreal cost, in other - it agrees to work even free of charge.
In the opinion of Hamlet, here everything solves the solvency of customer, about which it far from always is informed. Hamlet can agree to work, also, for purposes of advertisement, and in order to obtain a good recommendation, period or work experience, but in this case it will always fear, as they did not abuse by its enthusiasm. Hamlet is capable to the altruistic act "according to the circumstances", but to him it is unpleasant, when him "hold for frayera" and propose purely symbolic payment only because it is noted for its dobrovol6ces-to- charitable activity.
As independent executor, Hamlet always tries to carry out his work at the highly professional level (it generally respects professionalism), greatly it survives, if this does not always succeed for the objective reasons. He tries to think over and to study the least details, it sometimes sees in them the "raisin", for which thought entire work.
Several matters do not love to begin immediately, it does not love overloads. Many errors in its matters it is inclined to explain by the excessive volume of work or by the forced dispersion of attention in its different plans.
The dispersion of attention - it is actual one of its most serious problems: Hamlet easily is distracted from one job schedule to another, and sometimes and generally he forgets how it was occupied thus far. As a result many intricate matters, which for it it then is necessary to untangle and to alter anew, are accumulated. Therefore he tries to carry out the most critical work under the conditions, which prevent any outside interferences. It can efficiently work at night, when it already no one and nothing distracts.
Greatly it loves to work employing the procedures checked. And in this it the invaluable service renders its dual Maxim - unsurpassed master on the part of the development of methods and instructions, capable of thoroughly studying any aspect of work, of decomposing "on the shelves", also, in the intelligible, laconic form to give to Hamlet explanations on all question of interest to hims.
In private life Hamlet tries to be both economical and prudent, but this in it badly is obtained. Continually it under the mood buys to itself any not most necessary thing, make the excess expenditures: first it is desirable to live to the wide foot, then appear the "latitude of nature". When Hamlet manages family budget, he with difficulty is succeeded in bringing together ends with the ends. Here there it earns pedantic- prudent Maxim, whom has and each kopeck on the calculation, and each article of expenditure on the calculation. Maxim greatly loves to introduce order in its (and in the strangers) financial matters also concerning the pleasure beret at itself control of the family budget. To properly be practical and economic Hamlet learns in his duala of Maxim.
Block Of superego*ya-ya the pozitsiya*Mobilizatsionnaya Function * "sensorika Of sensations"
Basic problem of Hamlet in his constant sensation of internal physical discomfort. As if it constantly something irritates or torments.
Sometimes this is manifested in the habit to painfully pucker or frequently to blink (you will involuntarily think that it irritates bright light or loud music); sometimes - in the habit to talk by the quiet either painfully constrained voice, as if it recently cried, or is assembled this to make and in it already "stands kilohms in the throat"; sometimes - in the habit to speak in loud, sharp voice, constantly "on the increased intonations".
Hamlet they actually sometimes irritate sharp light, and loud music - any object, any phenomenon can for it be the source of discomfort. Sometimes he as if tries to muffle this unpleasant state in itself.
In Hamlet the need for the sharp gustatory (and not only gustatory) sensations frequently appears. Loves obzhigayushche sharp seasonings with the smell, which sharply excites appetite. The monotony of the gustatory senses of Hamlet frequently irritates - it wants something that refined, uncommon. To it it is to interesting try some new dish, to learn, from what it is prepared. Sometimes itself loves to poeksperimentirovat' in the region of cookery - and makes this very boldly, but, it is necessary to say that it is not always successful. Sometimes it attempts to combine something, on the taste in principle nesochetayemoye, while sometimes prefers the exaggerated gustatory senses - for it this "the very thing which is necessary".
It occurs, it does not turn attention to the quality of products and it can without ceremony cut into the lettuce of the rotted vegetables, to say nothing of the fact that Hamlet on the absent-mindedness generally can forget, that he prepares also from what, that he already assumed into the boiler, but that still no.
Some of the representatives of this type love so much not to prepare, as "to play into the cook" (especially man). To the Woman- Hamlet this occupation also very often annoys, and they relate to it as to the bored domestic responsibilities, and sometimes even with some irritation, as if this work presents for them special difficulties. (as has already been spoken, the forced need for being occupied frequently unfavorably affects only by housework their nature: "husband me sent to the summer to the mother-in-law (mother-in-law - Hamlet) whereas, and during the first day it to me reported: "you will feed separately. 4 not for camp to you to prepare. To you nevertheless my food will not be pleased!" Me first this offended, and then I noted that it actually badly prepares and possibly this it is troubled and thus tries this to hide... Then, by it still it pleased itself to load me by domestic work, as if it me by this punishes! Well and for me this matter is customary... But at the end of the summer it nevertheless found, than me to pin: "why, he does say, you sketch folder with the paints did here bring? You in always so nothing drew!" - it was felt, that it searches for quarrels, but me- that this was to nothing, and I tried not to give to it occasion, but this it even more greatly irritated ".)
Generally, the device of way of life for Hamlet not the most attractive occupation. To recall, that it is necessary to purchase for the house, for the family, this always for it is excess and agonizing stress. (Artist- Hamlet it sent son into the bakery to purchase fresh bread in order "to refresh" figure. Son brought two rolls: one in order to erase figure, another - in order to eat. And its here precisely this circumstance first greatly astonished, and then it made laugh: "Vas6ka- that in me muzhichok economic grows!")
The organization of way of life for Hamlet - this is always excess headache with the more than modest results. Sometimes in its house many necessary things do not be sufficient, while some explicit awkwardness in the interior sometimes are observed: "me struck in her room the fact that above the bed, thus, as usually people rug hang, in it visela rock plate with the splendid ancient relief. Sufficiently large plate, with the size of somewhere one-and-a-half meter per the meter... Already I do not know, on what it there was held, but everything astonished me, as this it is possible to sleep under this plate, as by it it is not terrible?"
Specifically, in private life to Hamlet sometimes do not be sufficient sharp sensations and he tries to reach them, where it is possible and than it is possible. This is one of the reasons, on which it itself can create to itself everyday difficulties or complicate its everyday relations in spite of any common sense. It occurs, to it emotional stress does not be sufficient and it can arrange its way of life in such a way that the interior of its room already by itself would assign mood necessary to it. For example, it can drape walls by black cloth or curtain by their political posters, flags or messages, portraits of its idols and leaders; to cover with drawings room by any its own arts, in a word, to do everything which to it will decide, provided would be created pleasant mood.
Of course best anything proceeds the matter, when with the organization of gamletovskogo way of life deals its dual Maxim. Economic, industrious, from nature allotted by excellent aesthetical taste, accurate, that knows how to direct and to maintain order, Maxim when desired is capable to create for Hamlet precisely those conditions, about which he only can dream (up to the "coffee into the bed", especially if relations and situation to this are located). Woman- Maxim the generally irreproachable mistress: both economical and thrifty, and each article of expenditures is written.
Furthermore, Maxim oriented to the gamletovskiye ethical installations does not fear its emotional drops, moreover, he very well himself feels in this regime. Therefore always find the method to propose to its dualu and the corresponding aesthetical criteria, which, from one side, do not contradict its principles, but with another - direct its sensations into the harmonious river bed.
If Hamlet appears as the "director of strong experiences", then Maxim - this the artist of sharp sensations. In the pair Hamlet- Maxim occurs a constant emotional- sensory interchange (interchange of "whip and cake"): so, as the emotional field of Hamlet constantly it changes from the positive to the negative, so also the pleasant, weakening sensations, created by Maxim, they are constantly changed by sharp, that excite. Specifically, supplementing each other in the emotional- sensory plan, Hamlet and Maxim create for themselves optimum psychological regime, optimum accordion of sensations. (tr, what for this pair is optimum and harmonious, psychologically incompatible with them type representative it will possibly calculate for itself by too sharp, "unique" and therefore unacceptable, but this, it goes without saying, already his problem)
Many sensory sensations are received by Hamlet emotionally or intuitively: "in my teacher (Hamlet) was its theory of the teaching of painting - basic load was done to the imagination and to the memory. We had to memorize color, and in the figure only mark color spot by the object line of the corresponding tone. As a result the figure was networked of some many-colored outlines, in which easy it was to be tangled. This technology in no way succeeded for me - sharpness and freshness of the immediate perception of color were lost... Frequently it loved to say: "take this color nasyshchenneye so that it would begin to ring, and that it keeps silent as corpse..."
As Hamlet not was painfully receptive to the external discomfort, in the course of time he begins to understand, what source of his constant irritation in it very - in a constant sensation of personal disorder, is more precise, "nepristroyennosti" or "neprikayannosti". Hamlet very sharply oshchushchayet his solitude. Sometimes, especially in the youth, he is inclined to develop the role of the such "sad demon", misunderstood and lonely.
Sad thoughts about the solitude lead to the reflections about the "frailty of existences", which especially frequently attend it in the period of poor health. It suffices to focus attention of Hamlet to his unhealthy form, as it immediately begins to survive for the state of its health, to reflect about the being approached old age and about that how unavoidably concludes human life, which leads it to even the sadder mood. When to the health of Hamlet begins something actually serious to threaten, the life of its households is converted into the continuous nightmare: "even long before that how to lie into the hospital, the mom of beginning me to morally prepare: "see, when I die so that you would know: here is stored the mannaya groats, here - sugar... See, when I die so that you would not forget to pay for the apartment ". Operation passed successfully, but 4 so he did not understand, why it should it was necessary tune us to the quite worse ".
It frequently seems Hamlet that those surrounding insufficiently be a guardian it, insufficiently about it they worry. Moreover such claims are presented not necessarily to the closest people the Hamlet they love, when during their disease visit not only relatives, but also neighbors, friends, colleagues or students: "laziness to you to call on its teacher? Or you wait until, until I die?!"
Rescuing from this spleen begins with the advent of in its life of close person, from nature of the allotted by optimism, cheerfulness spirit, by clarity of mind, by strong will, devotion, responsiveness and friendliness, i.e., by precisely those qualities, which in the surplus possesses its dual Maxim, capable of sensitively recovering the sensations of physical and sincere discomfort, the capable of fulfilling and of preventing all desires of his partner.
Block OF SUPERID*SHCH-YA pozitsiya*Suggestivnaya Function * The "logic Of relationships"
It is difficult to give the logical explanation to behavior of Hamlet. Sometimes even one ought not to attempt this to make. Impression sometimes is created, that Hamlet generally sees himself out of the facts and outside logic. I.e., personally he is convinced only by facts and only by reliable, but itself can as child, refer to some devised fact, all the more, if it cannot be verified. It can frequently manipulate by facts and arguments at its discretion, but greatly it fears and does not love, when so they enter with respect to it to very.
It is always glad of the possibility to gather necessary information. Sometimes it this makes as by the way, having preliminarily weakened collocutor and after disposing him to the confidence harmony, it can seemingly by chance ask it about by anything important. The such naive- being curious collocutor frequently is constructed from itself; sometimes - allegedly the doubting herself skeptic, who provokes to that, so that to it they would convincingly object and as the argument in detail would inform about the real state of affairs, and also presented all plans and revealed all maps.
Science, in the opinion of many representatives of this type, on no account must be outside policy, out of the social problems, out of the public opinion. Moreover, it is obligated actively to work on its social system and to serve its ideals. Therefore a trend in development of science must be determined by purposes and tasks of its subsidizing social system. Adhering to this point of view, Hamlet is capable to successfully combine scientific activity with the ideological activity. True, the consequences of this combination do not always go for the benefit to science. History knows numerous cases, when some representatives of this type converted field of scientific research into the arena of battle of ideas, and scientific debates - into political ristalishche. (to recall at least sadly well-known Trofim denisovicha Lysenko, just as the consequences, which showed his "scientific" activity to the development of Soviet biology.) It is characteristic that for the successful scientific search to Hamlet it is compulsorily necessary to believe in the fact that it is located on the right track - especially, if this concerns new, yet not sufficient studied scientific directions. (it is understandable, in our time Hamlet no longer assigns the question: "you believe in genetics?", but now he, for example, can ask: "you believe in sotsioniku?").
Hamlet frequently acts in spite of the common sense, since the emotions in it usually predominate above the reason. For this very reason to it is difficult to be objective, therefore the concept about the objectivity in it the also very relative: most frequently "it is objective", in its understanding, then that it considers it necessary and convenient for itself.
"objective information" Hamlet fairly often selects preconceived, sometimes it is too tendentious - everything depends on that, for what purpose it intends this information to use. Furthermore, the "objectivity" of Hamlet frequently depends on his mood. (for example, if we "under the hot hand" ask it to write "recommending letter", it can write "objective characteristic" with the clearly critical tendencies. Under the mood Hamlet can give out "objective analysis", where generally one contradicts another.)
Hamlet so frequently "falls" on his own illogicalities and contradictions, which it simply does not sometimes be desirable already on this to catch. Especially because, even being exposed, it behaves entirely as the child: it is frightened, is irritated and even more greatly it is tangled.
Furthermore, to it it is generally difficult to be logically sequential. The facts, with which it operates, are sometimes so chaotically they are urged which any sequence there not at all is observed, but some emotional or ideological tendency only is outlined.
And nevertheless Hamlet greatly values in the people the ability to speak out laconically, also, in the essence. Strange statements he always tries to memorize and at a convenient time to use in his speech, which is sometimes precisely the chain of laconic, but expressive aphorisms. Itself Hamlet can give clear determination to any concept only in such a case, when he it thoroughly "coned", and if him are asked to give explanation by its words, then this, most likely, it will be very far from the truth, and can even and it is completely opposite to it according to the sense.
Hamlet respects people, which know how not to miss the contradictory trifles, which know how with the analysis of situation to consider each detail, to be dismantled at everything thoroughly and it is thorough. To it are constantly necessary someone, capable of patiently untangling that the fact that it so thoroughly tangled, someone, who possesses phenomenal power of observation and remarkable memory, and it can into any minute give to him necessary encyclopaedic information, quote necessary instruction, propose necessary procedure.
Briefly, for conducting of entire everyday daily work, for a constant guidance of order in its confused thoughts and in its poluzaputannoy, poluuteryannoy documentation to Hamlet is necessary precisely this partner, as Maxim, moreover it is necessary as air. Without Maxim brilliant gamletovskiye ideas so will remain fruit of his imagination.
Block OF SUPERID*'-YA the pozitsiya*Aktivatsionnaya function * "volitional sensorika"
To say that Hamlet possesses some special energetic nature, persistence and large volitional potential, would be strong exaggeration. Its persistence is faster akin to zanudstvu. Decisive it will not also name - it, as everyone intuit, it is inclined to the doubts and the fluctuations. It is not usually characterized by special piercing power. Therefore it always needs someone for it bustling about. To straight volitional pressure it does not yield, but also resists it with difficulty, since this requires from it too great physical a stress.
And nevertheless all these problems easily are solved, if Hamlet is allotted by the sweeping powers within the framework of the specific social system. Here he can unroll and work with the enormous energy, without feeling fatigue.
The higher the position of Hamlet in the system, the more the possibilities it for itself sees. Hamlet is inclined to misuse by his authority. It is capable by it to samoutverzhdat'sya. The realization of its its own authorities greatly inspires and activates. (consciousness of infinity of its authorities for Hamlet dangerously - it it converts him into the evil demon, which is entertained by fates and lives of people.)
Work within the framework of system for Hamlet is especially preferable, at least because it is already somewhere attached and there remained only to appear itself, but after this already the matter will not become. Hamlet bendings is dynamic, he knows how to rapidly estimate situation and rapidly to be adapted to the new working conditions. He respects the system of hierarchies, respects authorities, acknowledged in this system. It respects all workers of this system, by whose labor it is held. Within the framework of system it lives conveniently and comfortably. And it is glad to occupy some post in it.
Sometimes, predvidya the close crash of the headed by it system, it prepares possible ways for the retreat, for the retention at least of that its present part, on base of which it will be possible to recreate the nucleus of future. When its system is destroyed, it attempts to restore and to assemble the surviving connections about this nucleus, to give new slogan to them and to fill by their new topical subject-matter, preparing thus such to the introduction in the future.
Hamlet, who fell from his system and who does not find to itself place in the society, this is tragedy (this the means of Chaplin unemployed "tramps").
To Hamlet it is difficultly itself to organize, to force itself something to make - to it volitional pulse is necessary from without for this. To organize Hamlet by volitional pressure can only his dual Maxim - willows this he is strict and inflexible. Any other action will not give the proper results: by the method of the persuasion of Hamlet to discipline is very difficult. It will unroll the discussion, which will give to it the possibility to gain time and thus to remain on its positions. Hamlet also will slip off from the straight pressure: he either will be angered or he will arrange "scene", or it will begin "to break comedy".
From other side, Hamlet, absorbed by its matter, there is no necessity to expel to the work by force. The most deserving representatives of this type, who achieved themselves exceptional creative successes, and themselves can serve as the model of endurance, fitness for work and purposefulness. Although for its physical overvoltage them it sometimes was necessary to pay let and with brilliant, nevertheless short career.
When Hamlet is absorbed by work, he is considered neither his forces nor his health. And here to him in no way excess proves to be the aid of his duala: Maxim, as has already been spoken, is especially attentive to the sensations of Hamlet. Therefore it weakens it, and it throws to another occupation, and it can simply by volitional pressure force it to rest.
When Hamlet is dualizirovan, always there is the coma about it to care, coma to coordinate his work, to distribute his loads. Maxim creates to its dualu quite optimum regime for the successful creative activity. (famous dual pairs Hamlet - Maxim. Ekaterina Maximov - Vladimir Vasil'yev, Vasiliy shukshin - Lydia Fedoseev -Wukwina, Sergey Gerasim - Tamara Makarov, Sergey Bondarchuk - Irina skobtseva, Ina Churikov - Gleb Panfilov and other.)
Block ID*"-ya pozitsiya*Nablyudatep'naya function * the" ethics of relations "
The ethical code of Hamlet completely flawlessly works precisely within the framework of his social system: with the authorities and the subordinates Hamlet behaves "as assumed"; with the equal - it associates on the equal and in the ethical plan tries to appear itself from best side. For this very reason Maxim, who divides analogous views and persuasions, should not be worry for the success of his interrelations with Hamlet: is here to it provide ford the most devoted friendship and the sincere selfless love.
The related connections and interrelations within the framework of family for Hamlet (just as for his duala of Maxim) have paramount significance, since the family by them is examined also as the social structure: in entire peace there can be chaos and anarchy, but in the family relations must be a strict, once and for all routine. If there is no such order, Hamlet can contradict himself against family relations, it can not be subordinated either to general installations, or general structure. Representatives of this type very painfully survive the family confusions: divorce and the quarrel of parents, conjugal treason and treachery with respect to the family interests, offence, substituted to the members of family, all these are very serious and dramatic for Hamlet events, with whom to it it is very difficult to be reconciled, since they deeply catch its ethical installations. And for this very reason it always considers itself as that obliged on them it must react: to declare boycott, to take vengeance, to remove from the family, very to leave from the family and so forth if such behavior are entered in the framework of traditions, to Hamlet this substantially facilitates task, if no - it acts at its own discretion, without attaching special importance to the estimation of its behavior surrounding.
Since the sphere of ethical interests in Hamlet is reduced to the observation of interrelations within the framework of the specific social structure, the arrangement of forces in the association always has for it decisive importance, since precisely it determines nature and direction of its actions. For this very reason for Hamlet it is very important to in proper time reveal the concealed ethical tendencies, to reveal potential leader, potential favorite. For this very reason Hamlet with the special attention controls the fact so that the behavior and the interrelations of all members of the association would correspond to the place, occupied by them in the hierarchy. Perefraziruya Latin proverb, it is possible to say that Hamlet follows the fact so that that which is permitted Jupiter, would not allow for itself bull, i.e., so that the behavior and the interrelations within the framework of system would be becoming and corresponding. (immediately it must be noted that on the basis of the same principles constructs his interrelations and its dual Maxim: "that which is permitted Jupiter not permitted bull". In other words: behavior within the framework of system must correspond to the held post, since it is determined by the right of the entrusted responsibility. Specifically, in this and Maxim and Hamlet see singularly valid ethical principles - the principles, which correspond to their system of views and relations.)
Each time, when in someone of the members of the association are manifested "ways prima donnas", Hamlet this first of all does note and its first this does prick up ears - the ace of what this? On what base? Who and that after this stands? And no whether here some of the concealed tendency, which it did look through and, after missing which, it can prove to be "outboard"?
For this very reason the phenomenon most scandalous for Hamlet, when someone it is simple so, without any of basis (sanctions or authorities) behaves by the "unbecoming means". Hamlet this agitates not only by the fact that this behavior erodes the framework of system, is introduced into it chaos. This ethical unpredictability introduces confusion into its plans and in the final analysis it threatens its own place within the framework of this system.
The intriguing "style of contact" Hamlet exactly it is the basic method to pronablyudat' and to obtain information precisely on this, vitally important for it question. Each time, when it should increase the inflow of information, it begins to actively "intrigue", moreover makes this not always osoznanno. Results are shown without delay, moreover most stunning. (if, for example, it is insufficiently informed about whose- or the ethical potential, within the shortest period its near environment is charged by the fever of the "explanation of relations" and unnoticeably for itself it is converted into the such "chicken coop", where all of each other peck and each performs such, about which then it is unpleasant to recall. But the involuntary "culprit" of all events observes this "play" from the side and reflects about how much even in the people of nasty and dirty - now- that he this knows for sure!)
Hamlet is capable to intrigue at the "empty place", on the "zero facts". To it even not always for this is necessary occasion. Sole reason - its this sheer ignorance or incomprehension, on which base it the man interesting allows for himself these or other behavior, such as the motives of his behavior and they have what relation personally to it. The purpose of intrigue, the form of intrigue are assigned subconsiously. I.e., itself Hamlet does not always realize, that also why he makes. Simply he by something is perturbed and begins somehow to act. In his this case his own ignorance disturbs and he tries to obtain information by any means - and that is all!
Sometimes, experiencing awkwardness before the association for the incomplete promise, it can feel the insurmountable desire to arrange some "zavarushku", which occurs it very by the way and helps it to distract the association from the vital problems and to switch its to the ethical "dismantlings", which subsequently gives to it the right to say: "yes, can, 4 and not the best leader, but also you are not angels!"
Sometimes, after being disturbed for its position in the system, vidya in someone of future competitor or simply potential leader, it also begins to ethical experience subordinates, in order to learn the degree of its influence on each of them. The methods in it can be the most unethical: it can tempt, intimidate, cause to the frankness, blackmail, gossip, tell tales, incite - to each it must select its small key, it must investigate the region of the ethical problems of each. (in this it untiring researcher!)
Hamlet originally does not believe in absolute holiness and infallibility. Letting pass man through the sieve of its "checkings", it seemingly attempts to open the wrong side of its soul, convincing it (but at the same time also itself), what this is its authentic face, and everything else - only simulation. "predisposition to the sin - this indeed so is natural! What here to be troubled!" - it is such as if the conclusion of its "direction", but each of the "artists" already feels itself "recruited", introduced to some "brotherhood of sinners".
To the search for "guilty" the Hamlet give much time and forces. By "guilty" most frequently declares the one who ignores his leadership. Hamlet always "feels the" person of internally independent variable. To him there is necessary to be dismantled at the reasons for this independence, to find weak, "painful" point in the soul of each, "to probe" her painful limit. (film of Bykov's Rolana "scarecrow" illustrates well this situation: there the "search for traitor" heads iron button (Hamlet), it incites "true culprit" to the public suicide).
There are still and other methods of "ethical action", characteristic of some representatives of this type: the frequent change of "favorites" and "disgraced", the collective hunting of "guilty", the erection of "naprasliny" with the subsequent "public reprimand", the skill to transfer any consideration in "censure", etc.
With apparent neetichnosti of the methods for Hamlet indicated this not is more than probing the "painful points" of his interesting people, this altogether only the method of obtaining the necessary for it information. By the same is explained the gamletovskaya ethical inconsistency: for example today it can be the sincere friend of its yesterday's "enemy". Moreover for the justification for its own inconsistency in it will be located the set of "actual reasons", except one - it simply experienced it the man interesting. But precisely this explanation to it and very into the head will not arrive, since the method of action by ethical relation in Hamlet realizes subconsiously. (however, if it are directed to this thought, it completely can with it agree, since in the very fact of checking it will see nothing for itself prejudicial: indeed acting thus, it, among other things, is obtained even and information about the loyalty of its surrounding people, about their devotion to the ideals of its system, about their predisposition to "inakomysliyu", i.e. all that which at the given moment interests and disturbs it and as man, and as citizen. But neetichnost' of methods always can be copied both to the conditions of "political situation" and to the "forced need for historical moment".)
Block ID * the eighth Position * Demonstrative Function * The "intuition Of possibilities"
This only in the Shakespearean plays "gamletovskogo" type characters could confidence tell to spectator, as they are collected to act in one or other situation or another. In the real life Hamlet always cannot this describe even to itself, since this process in it realizes at the level of subconsciousness. Moreover, some representatives of this type assert that by him to more easily count the possibilities of situation for others, than for themselves. (also correctly, since the demonstrative function more actively realizes under the effect of the external impulse, but internal.) Nevertheless Hamlet magnificently uses this quality both in the daily life and in the extreme situations.
Because of to strong subconsiously the realizable "intuition of possibilities", for it as if there does not exist hopeless situations, it always finds the method to leave "dry the water" because of this property of Hamlet practically it cannot be "shut to the wall": it has thousands of methods to be unscrewed, to distract from itself attention or to substitute someone other.
The reserve of its fabrications is special effect it is not exhausted. It is capable to overstay and to wait out any danger. It is capable "to re-play" any enemy, to hide so that his no one will find, to tangle "tracks" so that no one will find ends. It not only is capable to vylezti from any trap, but to still and plant there hunter. It can whom conveniently convince of its rightness, developing for this the reasons, which neither verified nor cannot be refuted.
Hamlet never will say which then would be wrapped up against it. But if this happens, it either will forego its words or will try to give to them another sense.
It never will allow to approach "strangers" to "its pirogue". The Hamlet nothing make never to the detriment of themselves, but they magnificently know how to create the illusion of self-sacrifice.
Hamlet, as the innate leader, does not love to recognize his defeat. He excellent strategist knows how to think over many versions to the retreat. To prepare previously "secret motions", labyrinths, to find to itself "doubles" and to organize secret protection.
Contemporary Hamlet- politicians to the perfection manage entire this arsenal of means and know how to continue "their game", even being, it would seem, deposed.
Hamlet is capable to manifest the miracles of viability and invulnerability. By the same qualities is characterized any "gamletovskoye" political motion: neo-Nazism, Islamic fundamentalizm, international terrorism, Chechen separatism and many others.
To break relations with Hamlet is very difficult, and that, if only it itself volume will not prevent. Otherwise, it neither oneself nor others will allow "to leave the game". It can it continue in the most unexpected forms and at the most invisible fronts, but compulsory it will be resemble about itself and it will not make it possible itself to ignore.
The Hamlet profitably use their intuition not only in our own interests, but also for the needs of their nearest environment (expressing by this its special arrangement and sympathy).
Hamlet greatly loves, when those surrounding share with it by their plans. This so is pleasant, when they entrust to you, it means they see in you friend. In this minute he feels itself on the ears falld in love with its collocutor. And it it is desirable by anything to pay back for the shown confidence, and to at the same time and demonstrate its foresight and outstanding life experience.
To Hamlet it is completely unimportant, from the boredom the collocutor shares with it or he actually found no one clever him. In any event it considers as its duty all possible errors in those stated to it plans, even if these plans are already "affirmed" and are achieved. (its latter fact greatly it offends: "why with it they did not confer earlier?" This explains by the fact that Hamlet is subconsiously disposed to the weak intuition of Maxim, who first in all will consult, and then already it acts. For this very reason Hamlet always worries about the opportuneness of his warning and it always prefers to warn previously)
Hamlet knows how to foresee not only separ
Originally Posted by implied
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Cool ILI hubbys are better than LSIs any time!
Good morning!" With closer friends I might add a sarcastic, "How did you sleep? 
". At the end of the day I cheerfully said bye, but then I didn't feel like smiling anymore. I went to the store and coldly (and avoiding any eye contact) gave my card, wrote the signature and left the store. When I'm alone in a public place I never know how to behave or how to stand... I feel very vulnerable. 
). Nevertheless I can relate to most of what you say, though I guess I usually take the opposite approach, possibly in deference to gender assumptions (I doubt I'm as cute as you are when I pout). I try to limit my emotional expression unless I know someone values it, and also to limit any 'probing' of others (e.g. a quick glance to guage their response rather than flat out staring), but I suspect the emotion often shows through our eyes anyway - I find that friends will smile or pat me when I'm happy even if I'm not saying anything. I can also relate to the 'discharge' of emotion to make a point or to vent; some people seem to get angrier the more they do the latter, but it works well for me. And yes, my tendency is to 'tell all' too, though I can keep silent if its critical.
