¶ Afanasyev: Second Emotion "Actor"

SECOND EMOTION

Tolstoy had the following order of functions: 1st Will, 2nd Emotion, 3rd Physics, 4th Logic.
First. I'm sad, hurt, bored, happy. It is certain (2nd Emotion).
However, processionality is not a monopoly of the Second. A real monopoly, or its main sign, is an action that is irreproachably adequate to the situation, without excess and without scarcity, the standard of behavior. I recall the story of one film director about an actress who was forced to shoot twenty takes in one day, and each time tears welled up in her eyes exactly when it was necessary, and there were as many as needed. Only the 2nd Emotion can act like this.
The second function is extremely rich in hues and has an enormous range. In order not to go far, I will give an example of the same 2nd Emotion: one researcher calculated that Tolstoy described 85 shades of expression in the eyes and 97 shades of a smile. The ability to see and convey such wealth is not just observation, it is a special psychological attitude of the individual.
Another property of the Second function, due to processionality: the completeness of its implementation is possible only if there is a partner, an audience. This property is difficult to peep, but one woman with the 2nd Emotion admitted to me that, although life circumstances forced her to do so, she - alone - even cried somehow unwillingly.
All mankind, depending on the position of Emotion on the steps of the functional hierarchy, is divided into “romantics” (1st Emotion), “actors” (2nd Emotion), “crackers” (3rd Emotion) and “onlookers” (4 -I Emotion) Why exactly such, and not other names were given to representatives of different levels of emotional function, the reader, I hope, will understand from the further story.

“Actor” (2nd Emotion)

Although the holder of the 2nd Emotion is called an “actor”, it should be clarified that the film actor is primarily meant. — Second Emotion is normally has a job of an actor. Particular emphasis is placed on cinema because the theater, due to the significant distance between the viewer and the stage, even with a “realistic” (normative) transfer of feelings, requires some enumeration, forcing of expression, i.e., the 1st Emotion. Cinema is a different matter, where medium and close-ups not only allow, but require a subtle, complex, normative psychological game - it is here, like nowhere else, that the talent of the 2nd Emotion can manifest itself, the main feature of which is a strict norm in expressing feelings . In whatever key the “actor” expresses his feelings, whether in a raised or lowered tone, he will always be adequate to the situation, will always go from fact to emotion, and not vice versa , as a “romantic” usually does. — Unlike First Emotion who goes fact to emotion, Second Emotion is always adequate to others’ feelings. Previously, an episode was already cited with an actress who had to shoot twenty takes in one day and each time tears appeared in her eyes at the moment when it was needed, and there were as many as needed. So, although in this case we were talking about a great actress, the ability of a constant adequate emotional reaction in itself is not a talent, but a natural property of the 2nd Emotion. — Second Emotion is an actress who has a constant emotional reaction towards others. I myself more than once had the opportunity to observe with envy the “actor” when, at the funeral of people unfamiliar to him or even unsympathetic, he, not being a professional actor and even, on the contrary, a housewife, took on the role of a tuning fork of experiences and it was always great. Each moment of the sad ceremony under his leadership was emotionally played out exactly in the measure and tone appropriate to the occasion. — Second Emotion knows exactly how to set the appropriate tone in every occasion.

"Actor" impeccably owns the technique of emotional transformation. It is not his feelings that control him, but he controls his feelings. — Second Emotion controls their own emotions. The artist Korovin, having once got backstage with Chaliapin during the performance of Boris Godunov, later said: “Chaliapin, standing next to me, was talking to a ballet dancer: “Lord, if I were not married ... You are so beautiful! But it's all the same, my dear…” Then the director opened the door, and Chaliapin, instantly assuming the appearance of a doomed tsar, stepped through the door with the words: “Church, church, child, I’m not your villain ...” There was tragedy in his voice. I was surprised by his experience and this incredible self-confidence. He was amazing…” Frankly, I am very familiar with the feeling experienced by Korovin at the sight of Chaliapin's metamorphosis. For a long time working in different theaters, I could not get used to the literally awesome ability of big actors (“actors”) to change their feelings like gloves, reincarnating almost instantly and impeccably accurately. — Second Emotion can change their feelings. The great advantage of the 2nd Emotion is the constant desire to enrich your palette. All shades of emotional dynamics are played naturally and with full dedication by the “actor”: from piano-pianissimo (extremely quiet) to forte-fortissimmo (extremely loud) - and this playing with emotional muscles gives him nothing but pleasure. — Second Emotion plays with emotional dynamics. For clarity, I will give an example from the field of the phenomenon so beloved by the masses as pop music. There are singers and groups that obviously gravitate toward a rather monotonous, extreme in tonality and character performance (“The Rolling Stones”). Such a performance, although the most groovy and reckless, soon becomes boring, causes belching due to monotony and emotional tyranny (1st Emotion). And there are other singers and bands, who are fluent in the whole range of moods, at whose concerts the rock and roll of the rock and roll is easily replaced by a soulful ballad (Elvis Presley, The Beatles). The singer in this case enjoys not only the ability to shape the emotional structure of the listeners, but also the opportunity to lead them from one state to another, demonstrating all the richness and diversity of his feelings shared with the crowd. — The difference between First Emotion and Second Emotion is that First Emotion has monotone in music whereas Second Emotion has a whole range of emotion, shaping the emotions of others, focusing on richness and diversity in others’ feelings.

The ability to quickly change moods is valued here, in any case, no less than the power of influence. This is what the 2nd Emotion is. — Second Emotion can change and influence moods. What is certainly characteristic of all "actors", both large and small, is the ability and desire to be the SOUL of any social formation: families, companies, communities, enterprises and even states. — Second Emotion is the soul of groups. In a broad sense, 2nd Emotion is a director. I mean by “director” both the director himself and the speaker, lead singer, preacher, mourner, toastmaster ... in a word, any person who forms the emotional atmosphere of the sphere of gatherings, meetings, festivities, both joyful and sad. What kind of festivities, joyful or sad, is preferable for the “actor”, is no longer determined by Emotion, but by Physics (more on that later). — Second Emotion creates an emotional atmosphere in gatherings, meetings, and festivities. But of course, the unifying principle of all carriers of the 2nd Emotion lies in a burning, never satiated appetite for all kinds of artistic and near-artistic products. The range here is huge: from memorizing thousands of sacred texts to quite a serious collection of anecdotes, speeches, table jokes. A matter of taste and education. But the principle is the same: desire and opportunity, thanks to the processing of artistic information, to be the soul of society. I would like to emphasize the word “society” in the last phrase, because it is not enough for an “actor” to experience the whole gamut of human experiences. — Second Emotion focuses on artistic things like speeches, jokes, and texts; they do this to be the soul of society. The 2nd Emotion, if the reader remembers, is processional, therefore, an indispensable condition for the completeness of its implementation is the presence of a spectator (who, albeit not very competently, but more precisely, should be called an “empathizer”). This thirst of the "actor" to find an audience is so passionate and irresistible that it brings the matter to curiosities. — Second Emotion wants to find a passionate, empathic audience.

So, outlining the biography of the most cruel Roman emperor Caligula, the historian told the following episode. Once, after midnight, Caligula “summoned three senators of the consular rank to the palace, seated them on the stage, trembling in anticipation of the worst, and then suddenly ran out to them to the sound of flutes and rattles, in a woman’s veil and tunic to the toes, danced a dance and left.” State of the senators raised from bed and preparing to part with their heads, one can understand; one can also understand their bewilderment at the strange ending of a terrible night. But now, given that Caligula had the 2nd Emotion, let's try to understand him. He could not dance only for himself, the emperor’s bursting thirst to share the invented dance with the audience was so great that he was not able to wait for the morning or a special occasion. An order followed, as a result of which gray hair was added to the senators, and Caligula got rid of the painful feeling of the impossibility of fully realizing the best side of his nature. The emperor’s bursting thirst to share the invented dance with the audience was so great that he was not able to wait for the morning or a special occasion. An order followed, as a result of which gray hair was added to the senators, and Caligula got rid of the painful feeling of the impossibility of fully realizing the best side of his nature. The emperor’s bursting thirst to share the invented dance with the audience was so great that he was not able to wait for the morning or a special occasion. An order followed, as a result of which gray hair was added to the senators, and Caligula got rid of the painful feeling of the impossibility of fully realizing the best side of his nature. The Caligula example is such that one might get the impression that the “actor” is characterized by emotional dictatorship. But this is not true. If one of the senators decided to dance in tandem with the emperor and tried to express his state in the dance, the subtle soul of Caligula, I am sure, would respond to the trembling of the senatorial heart; in the process of waltzing, they would come to some kind of emotional consensus, since the 2nd Emotion has not only strength and self-confidence, but also a flexible, sensitive spirit of empathy. However, jokes aside. The reality is that unless the “actor” is in the service of the senses—religious, mystical, artistic, entertaining—society appreciates little of his talent. The story of the emperor Caligula looks like a curiosity precisely because it is about the emperor; if in his place an opera prima donna, who raised her entrepreneur from the bed to sing a new aria for him, no one would have considered this a curiosity. — Second Emotion has strength, self-confidence, and a flexible, sensitive empathy; Second Emotion is not an emotional dictator.

Human life is such a thing that it is valued more than Physics, Will, at worst, Logic, but not Emotion. Moreover, in everyday life, the owner of the 2nd Emotion sometimes has to feel disgust and even hostility towards himself. This happens because the Second Function is the best side of human nature, and if it is rarely claimed by society, then a person, willy-nilly, turns out to be turned to others by the rest, not to say, bad, but not his best sides. — Although the Second Function is the best side of us, people often don’t value Emotion, so people with Second Emotion experience disgust and hostility about themselves. The 2nd Emotion has a particularly hard time: its ability to squander the treasures of its feelings is of little value in our routine existence, and the revival that the 2nd Emotion usually brings to the dry business of life is annoying or, at least, taken for granted. understandable, low-value gift. But in vain. Even when the "actor" is lazy, — People often take for granted Second Emotion. However, I was somewhat hasty in my clumsy attempts to defend the 2nd Emotion from third-party attacks. She is quite capable of taking care of herself. Anyone who tried to present any bills to the “actor”, to climb with his claims, usually very soon began to regret his undertaking. Because, with the deduction of the 2nd Logic, only the 2nd Emotion is so masterful in the art of “shaving”, “shave”, “seal”, “bark”, etc. Language is a native, natural element for the 2nd Emotion , and woe to the one who chooses her as the battlefield with the “actor”. The accuracy of the word, the accuracy of expression is not a distant goal, but the normal state of the "actor", regardless of the cultural level. And when Gogol, remembering the obscene nickname of one of the heroes of Dead Souls and comparing the Russian language with other European languages in this regard, wrote that “there is no word that would be so bold, smart, would break out from under the very heart, would seethe and vibrate like an aptly spoken Russian word, ”he did not flatter the Russian people at all, but only stated the predominance of the 2nd Emotion in their midst. — When people go against Second Emotion they often regret it; this is because Second Emotion knows how to choose the correct language and expression.

Returning to the problem of the relationship of Emotion to metaphor, it should be noted as a special sign that the 2nd Emotion does not like it very much. Tolstoy spoke directly about his antipathy to metaphor. And this is understandable. Due to its inadequacy (any comparison is lame), the metaphor cannot be held in high esteem by the “actor”. He does not feel a special need for it even when he is in the poetry workshop, although, as they say, metaphor is the bread of poetry. — Second Emotion does not like metaphors. Therefore, from the pen of the 2nd Emotion, poems sometimes come out of that special kind that are called “anathropic” (literally, “without tricks”). Samples of such poetry can be found in Lermontov, Yesenin, Akhmatova. The same is in prose. "Actor" strives for the most accurate transfer of feelings and is ready for understatement of expression rather than hyperbolization. — Second Emotion wants an accurate transfer of feelings rather than too much expression. In order for the reader to visualize the way of the reference prosaic expression of feelings in the 2nd Emotion, I will give an excerpt from the trilogy “Childhood. Adolescence. Youth." Leo Tolstoy: “Some new for me, extremely strong and pleasant feeling suddenly penetrated my soul ... The troublesome chirping of birds swarming in this bush, the blackish fence wet from the snow melting on it, and most importantly - this fragrant damp air and joyful sun they spoke to me distinctly, clearly about something new and beautiful, which, although I cannot convey the way it affected me, I will try to convey the way I perceived it - everything spoke to me about beauty, happiness and virtue, said, which is like so the other is easy and possible for me, that one cannot be without the other, and even that beauty, happiness and virtue are one and the same.” So, perhaps, too verbose, not too clear, with apologies and digressions, but the 2nd Emotion tries to convey its experiences as accurately as possible. — Second Emotion tries to explain their emotions as accurately as possible. In general, the literary activity of the 2nd Emotion, strong and processional, I call for myself “akyn”. This home-grown neologism comes from "akyn" - the Kyrgyz-Kazakh title of folk singers. The canonical image of an akyn is a man riding across the steppe on his rough skate with dombra in his hands and singing everything he sees from sunrise to sunset. Such an akyn, who sings everything that came into view, seems to me an “actor” engaged in literature. Akyn's approach leaves a special imprint on both the form and the content of the creativity of the 2nd Emotion. Firstly, she has a clear craving for a great form: a novel (Tolstoy, Dumas) or a poem (Byron) - and in general she is distinguished by great artistic fertility (Lope de Vega). Secondly, there is something specific in the content of "acting" creativity. If, as we remember, the 1st Emotion is a picking out the “raisins of melodiousness”, then for the 2nd Emotion there are no boundaries and hierarchies in the transfer of states. “If only you knew from what rubbish Poems grow, not knowing shame, Like a yellow dandelion by the fence Like burdocks and quinoa,” Akhmatova wrote, and in a private conversation, already in prose, she outlined her understanding of the tasks of poetry: “... poetry grows out of such ordinary sayings as “Would you like some tea?” You need to make poems out of them.” Make verses from the phrase “Would you like some tea?” - this is what it means to be a classic akyn. — Afanasyev calls Second Emotion’s creativity an “akyn”; there are no boundaries and hierarchies in the transfer of emotions.

I remember, when discussing the manifestation of processionality in the artistic creativity of the 2nd Emotion, I called this creativity “akynistic”.
And the thunder of the 1st Emotion, and the spill of the 2nd Emotion, and the whisper of the 3rd Emotion — everything is accepted by the subtle, sensitive soul of the “onlooker”.
Let us turn to Akhmatova for confirmation of this thesis. Akhmatova with the 1st Will had the 2nd Emotion. And as it was said before, the 2nd Emotion is a born “akyn”, singing everything that he sees around.
The bottom line is that Akhmatova was not just an “akyn” according to the 2nd Emotion, but according to the 1st Will, a “royal akyn”, for whom not everything is allowed in poetry, but only that which does not drop dignity, does not hurt the author’s pride and generally goes back to a hierarchical elevated system of themes and images, placing the poet in an exceptional position above the crowd.
And at the same time, at first glance, it confirms the previously expressed idea that the 1st Will, with its aristocratic manners, cancels the processionality and versatility of the Second function (in this case, the 2nd Emotion).
Raped by Akhmatov’s 1st Will during the period of wakefulness, the 2nd Emotion still breaks through into a period of unconsciousness and does its “akyn” work of poetic design of everything experienced during the day, without dividing into worthy and unworthy, low and high.
The 2nd Emotion chronically drove Emperor Nero onto the stage, the 2nd Physics forced Peter the Great to stand idle at the lathe for hours, and neither one nor the other could do anything with their passions for the Second, although they probably guessed that they did not add authority to them.
And the addition in the form of a powerful 2nd Emotion, a function, as already mentioned, that grew out of sexual signaling, generally brings the appearance of “Dumas” to the level of a living personification of sexual performance.
The flaws in the appearance of "Dumas", however, are easily hidden by the powerful infinitely flexible 2nd Emotion.
The powerful, subtly, deeply feeling audience of the 2nd Emotion is responsible for the charm and declarations of lofty intentions, and it copes with its duties superbly, finding ideal forms for declaring aspirations that other functions do not intend to implement at all..
For Dumas, the common source of these two, as it were, different talents is the combination of the 2nd Emotion and the 3rd Will.
Whereas the 2nd Emotion perfectly feels the mood of the interlocutor and prompts exactly the words, turns, expressions that are absolutely appropriate for each individual case. “Dumas” is a born, ideal psychologist, and the happiness of those around him is that life does not depend on any psychological tricks.
Juicy texture (1st Physics), infinite flexibility in the perception and transmission of moods (2nd Emotion), the subtlest psychologism (3rd Will) - an ideal set of actors.
The main requirement of this system is complete adequacy in the transfer of emotional states (2nd Emotion).
“Dumas” is not so self-confident as to openly row against the current, therefore, both writers, since the flexibility of the 2nd Emotion allowed, obediently moved along the beaten path, stealthily sabotaging the norms and commandments of romantic writing: Dumas with the poorly disguised cynicism of his works, Balzac with detailed, detailed, crawling out like an awl from a bag, everyday writing.
Sensual and sensitive (1st Physics + 2nd Emotion), she looks made for sex and skillfully uses such an appetizing shell.
Sometimes these two passions come into conflict with each other, the thirst for experiences struggles with greed, and often the 2nd Emotion defeats the 1st Physics in such a struggle.
On the example of the life of Lucretia, a sensual, sensitive and malleable being (1st Physics, 2nd Emotion, 4th Will), the sphere of application of this type is easily seen.
The presence of the 2nd Emotion only enhances its attractiveness on the paths of carnal sin.
The sadness, coldness, loss of strength, lifelessness inherent in decadent poetry were organic for Akhmatova's 4th Physics, as well as the accuracy and expressiveness of the word (2nd Emotion).
We must pay tribute, the “dynamo” of “Akhmatova” almost always succeeds, and it is clear why: subtle, refined beauty, ease when discussing the most delicate topics (4th Physics), the strength and richness of the emotional structure (2nd Emotion) - will seduce even a saint .
The situation in Akhmatova's love games is aggravated by the fact that no matter how much she speaks with all her might of her 2nd Emotion about love, she is not given to truly love, like any “king”. And the objects of passion feel it.
According to their 2nd Emotion, the “Akhmatovs” by nature themselves are disposed to artistic creativity, and therefore Akhmatova’s list of glorious representatives of this kind who devoted themselves to the arts and literature, of course, is not exhausted.
The 2nd Emotion finds inexhaustible food among literature and the arts, but the 1st Will is not always realized, except perhaps at the conductor's console or in the director's chair.
Not only does her 2nd Emotion find constant nourishment in the religious-mystical sphere, but the 1st Will gropes under her feet for the steps of that organizational structure that Akhmatova lacks in art and which leads her upward, to where the only one lives. greedily desired by the 1st Will - Power.
This characteristic is due to the fact that the absolute power (1st Will) of the guru in the “Akhmatov” type of sects is combined with the concept of exclusively emotional perception of the Absolute and exclusively emotional pressure on Him: ecstasy, reading mantras, dreams, visions, glossolalia, etc. (2nd Emotion).
The combination of the 1st Will and the 2nd Emotion made Hitler an excellent speaker, a speaker who appealed not to the mind of the public, but to its emotions.
The second after the 1st Will component of the oratorical gift and the key to Hitler's political success was the powerful processional 2nd Emotion.
In all its splendor, Hitler's 2nd Emotion demonstrated its strength on the podium.
In combination with the self-confidence and pressure of the 1st Will, the hypnosis of Hitler's 2nd Emotion turned the listener into a zombie, at least for the time that he was directly in the field of Hitler's speech magnetism.
Much worse is that, not finding support in the 3rd Logic, politicians of this type give all their trust to the 2nd Emotion, i.e., they are actually guided by moods and superstitions.
What can I say: "Akhmatova" (1st Will, 2nd Emotion, 3rd Logic, 4th Physics) - and that's all.
Indeed, this is “Akhmatov’s” : sadness is from the 4th Physics, the flame is from the 2nd Emotion, the heaviness of the flame is from the 1st Will.
They are the conductors of emotional information, and for his 2nd Emotion, forced blockage of these channels is almost impossible.
Therefore, in the vacillation between the speculative demand for the rejection of sensual joys (1st Logic + 3rd Physics) and the urgent emotional and bodily need (2nd Emotion + 3rd Physics), the whole life of the Bishop of Hippo passed in a colorful and sound experience.
Since his speech functions are at the top (1st Logic + 2nd Emotion), communication with “Augustine”, saturated with thoughts and images, is a real pleasure.
Being a born leader (1st Will), he is most inclined to realize his passion for leadership precisely in the prophetic, religious-mystical-artistic sphere (2nd Emotion).
And the 2nd Emotion endowed Tolstoy with the widest range and the most refined perception of feelings.
And along with the 2nd Emotion, I had to rape the 3rd Physics, portraying a complete rejection of comfort and sex.
The peculiarity of the combination of the 1st Will with the 2nd Emotion is that it rewards the speech of its owner with the highest persuasiveness.
Impeccable flair when choosing words, corrected by the finest hearing for the mood of the audience, gives the 2nd Emotion.
Here is how Repin describes the effect of Tolstoy's speeches: “L.N. always make a sincere and deep impression: the listener is excited to ecstasy by his hot word, the power of persuasion, and unquestioningly obeys him(1st Will + 2nd Emotion).
The 2nd Emotion bestowed on Muhammad the gift of a great artist, which is why to this day the Qur'an is considered an unsurpassed monument of Arabic poetry.
Akhmatova, from the height of her exemplary 2nd Emotion, judged Chekhov in this way: “... his universe is monotonous and boring, the sun never shines in it, swords do not sparkle, everything is covered with a terrifying gray fog; Chekhov's world is a sea of mud in which unfortunate human beings wallow...”
Let me remind you that Akhmatova had 1st Will, 2nd Emotion, 3rd Logic, 4th Physics.
She also, according to the 4th Logic, did not place the arguments of reason high, and according to the 2nd Emotion, she had no less power and richness of experiences.
Their joint existence and identity according to the 2nd Emotion and the 4th Logic brightened up noticeably.
This identity made life easier for them even when they quarreled, because their quarrels were a series of meaningless (4th Logic) cries directed at each other, ending in streams of mutual tears (2nd Emotion).
The 2nd Emotion played a special peacemaking role in the Tolstoy family.
But the brightest episodes of their lives, due to the identity of the 2nd Emotion, were those when they played the piano in four hands.
The situation was aggravated by the fact that the birth of a child required a break from Evgenia Pasternak in her artistic pursuits, and this was tantamount to almost complete personal collapse, since, according to her 1st Will and 2nd Emotion, she saw her true self in her artistic career. interest and the possibility of self-realization.
Both, according to their 1st Physics, are cheerful, cheerful people; Chekhov, according to the 2nd Will and 3rd Emotion, was inclined to good-natured irony, Lika, according to the 2nd Emotion and 3rd Will, also did not shy away from jokes, although with a certain amount of poison.
Whereas the other knows this word (2nd Emotion), but lacks the spirit to pronounce it (3rd Will).
By the power of her processional and normative 2nd Emotion, Mizinova, of course, did not teach Chekhov to feel, but she opened her mouth, which was closed by the 3rd Emotion, taught her to speak openly, naturally and loudly about her experiences.
While Trotsky and Zinoviev, turning off the 4th Logic, on the eve of the fight against the inherent passion of the 2nd Emotion, rehearsed speeches, picked up biting words, tried on facial expressions and intonations - Stalin THOUGHT (2nd Logic).
Having survived the lord who kept him in fear, Beria decided that the deed was done, and the dig under Khrushchev led lazily, carelessly, and devoted most of his strength to what his soul lay more on: running after women (1st Physics) and performing opera arias (2nd Emotion).