EFVL - "Pushkin"

ALEXANDER PUSHKIN 

1) EMOTION ("romantic") 

2) PHYSICS ("toiler") 

3) WILL ("burgher") 

4) LOGIC ("schoolboy") 

Upon learning of the poet's death, Prince Paskeevich wrote to the tsar: "I pity Pushkin as a literary man, at a time when his talent was maturing; but he was a bad man. We, who from childhood were in love with Pushkin's poetry, cannot help but be offended by such a characterization, but, alas, it is difficult to argue with it. Even if we change the word "bad" for more delicate "heavy", this substitution will not avoid this strange, at the first sight, contradiction, which is inherent in Pushkin's nature, that Pushkin the poet was much higher, better, cleaner and even smarter than Pushkin the man. However, this contradiction is not unique, it directly stems from the inherent in any "Pushkin" functional order, where the poetic motor - strong, excessive 1st Emotion, is opposed to a weakened, vulnerable 3rd Will, and together with the Will, as it was said before, also to the personality in general. 

Heinrich Heine, "Pushkin" by his psychotype, confessed: "...my image is a sauerkraut sprinkled with ambrosia!" Almost the same, but more elaborate confession was made by Pushkin: 

"Until it requires a poet. 

To the sacred sacrifice of Apollo, 

In the cares of the vanity of the world 

He is cowardly immersed; 

His holy lyre is silent; 

The soul tastes of cold sleep, 

And among the children of the lowly world, 

Maybe he's the lowest of the low. 

But only the divine verb 

It touches the sensitive ear, 

The poet's soul is awakened, 

Like an awakened eagle. 

A remarkable self-portrait, everything in it is true: the feeling of his insignificance, vanity and cowardice (3rd Will), it is even true that the work of the soul is done, as if in jerks, with pauses for sleep, but feelings, once awakened, soar to a great height (1st Emotion). It is even more remarkable that Pushkin found the courage not only to make a poetic halfrecognition, but also to directly expose his ulcers. In one of his letters he repented: "... my temper - uneven, jealous, resentful, irritable, and yet weak - that is what inspires me a painful reflection. Pushkin frailty is not a mystery to close friends, one of them wrote: "Sometimes you could think that he has no character: so he weakly succumbed to the momentary force of circumstances. Meanwhile, for nothing so much he did not respect the other as a character...". 

"With all his good-heartedness, Pushkin was rather vindictive, and not so much because of his inborn nature and passion, but because of his calculation; he, so to say, obliged himself, made it a rule to remember the evil and not to forgive his debtors," one of the poet's closest friends remarked, thus characterizing not his personality or even "Pushkin's" psychotype, but the 3rd Will's owners in general. More or less originality of "Pushkin's" offensiveness is only given by the fact that it is revealed through his terrible ranting. The combination of the 3rd Will with the 1st Emotion awards "Pushkin" with an absolutely amazing gift of a detractor. Moreover, the 3rd Will defines anger and fearful observation to weaknesses and uglinesses of an opponent, while the 1st Emotion puts these poisonous notes into such murderous expressions, images and metaphors, that the word "murderous" sometimes has to be understood literally. In any case, it is said of the ancient Greek poet Archilochus that he, being rejected by a young woman, wrote such a poem that the entire family of the chosen one hanged themselves. Unfortunately, Archilochus' poem has not survived, but we can say with great certainty that it was not a simple, name-calling set of profanity, like "you are such, such and such, such and such..." No. Let us recall a classic from Pushkin: 

"Every time you go to Smirdin's house, 

You won't buy anything there. 

Or push Senkovsky, 

Or you will step in Bulgarin's shoes." 

Pushkin's talent for wickedness lies in innuendo, figurativeness, and circumlocution. Poison is injected stealthily, at the last moment, so that the victim does not immediately realize about the lethal injection. Here is another masterpiece-example from Martial (from memory): 

"Seven husbands were buried by Xanthippe, Now she's married to you, Anixtus. It seems she wants to visit her dead husbands." 

Yes, to write with such sizzling sarcasm about someone else's wickedness, one must of course have the psychotype of a "Pushkin. Poetic talent and knowledge of the subtleties of this craft are only tools of that bileful talent, which "Pushkin" is awarded by nature from the beginning. Therefore, it is not surprising that the majority of "Pushkin's" poets, exercising their blasphemy, easily make do without iambs and chorais, but this circumstance by no means reduces the killing power of the fiery "Pushkin's" word. 

Emotionally, i.e., through language, through blasphemy, through shouting (1st Emotion), "Pushkin" begins the struggle, but in his shout, no matter how deafening, one can still feel the rattle of an insecure person (3rd Will). An old friend of mine had a dog who, when greeting guests with loud, even furious barking, had a habit of simultaneously wagging his tail with incomprehensible friendliness. I nicknamed her - "Pushkin. And indeed, for a "Pushkin" such behavior is typical. Rebellious, fighting, conflicting, he first of all seeks to hit the enemy with a thunder of his shout. This works. But if you listen to Pushkin's scream, in its overtones you can clearly hear the lack of confidence, the readiness for surrender, the doubt in the effectiveness of his cry, some inner wagging of the tail. 

* * * 

In accordance with its order of functions, after the striking word (1st Emotion) "Pushkin" has a fist (2nd Physics) as a fighting argument. We cannot say that "Pushkin" is a tough fighter; his strong, flexible Physics is programmed for cooperation and creation, not for destruction and violence. And yet. When the conflict demands, when emotional pressure does not reach its aim, "Pushkin" easily proceeds to physical violence. Moreover, "Pushkin" fights with the 4th Logic turned off and the 1st Emotion spurting over the edge, i.e. self-forgetfully, in a state of complete eclipse, with complete loss of any self-control (the 3rd Will) and looks like an enraged boar from outside. "In rage I am not responsible for myself," Dostoevsky (another "Pushkin") warned. The effect of such attacks can be very impressive. I know a case when a tiny girl of the "Pushkin family" beat with a sledge and turned six big guys to flight. 

The typical "Pushkin's" free hand partly determined Pushkin's own demise as well. In keeping with the spirit of the nineteenth century and the nobility, his pugnacity took the form of brexit. Although the 2nd Physique itself would not have made Pushkin such an inveterate duelist, as he was, if his Physique had not been provoked by the insulting and mistrustful 3rd Will. Literary scholars, too enamored of the poet's poetry to be objective, tend to blame anyone else for his death (Dantes, his wife, the tsar, society), but not Pushkin himself. However, contemporaries were more insightful, and one of them wrote: "He adored his wife, proud of her beauty, and was quite sure of her. He was jealous of her not because of her doubts, but because he was afraid of secular rumors, afraid to become even more ridiculous in front of secular opinion. This fear was the cause of his death, not Mr. Dantes, whom he had nothing to fear. He stood up for a grievance that did not exist, but was afraid of publicity, afraid of the word of mouth, and saw in Dantes not a serious rival, not an encroachment on his real honor, but an encroachment on his name, and this he could not bear." 

The inevitability of Pushkin's death in a duel, in the context of his time, class and, most importantly, psycho-type, is well seen in the story of his other, unsuccessful duel. A friend of the poet, Putyata, said: "Pushkin once sent me a French note with his coachman and drogues. The content of the note confused me, and here it is: "When I went up yesterday to a lady who was talking to Mr. de Lagrée (secretary of the French embassy), he said to her loud enough for me to hear: "Send him away!" Being compelled to demand satisfaction for these words, I beg you, gracious sovereign, not to refuse to go to Mr. de Lagrée and have a word with him. Pushkin." I immediately boarded Pushkin's cart and went to him. He told me the incident with passion and indignation, claimed that he had definitely heard the words that offended him, explained that the note was written by him in such a form and so ceremoniously just so that I could show it to Lagrée, and insisted that I demanded satisfaction from him. There was nothing to be done: I went to Lagréné, with whom I was well acquainted, and showed him the note. Lagrée, with a look of astonishment, said that he had never uttered the words attributed to him, that Pushkin had probably misheard them, that he would not allow himself anything like that, especially with respect to Pushkin, whom he deeply respected as a famous poet of Russia, and spread himself in expressions of this kind. Taking advantage of this mood, I asked him if he was ready to repeat the same to Pushkin. He said yes, and we immediately went with him to Al. Sergei. The explanation took place in my presence, the opponents shook hands with each other, and that was the end of it. 

In the story of Pushkin's failed duel with Lagrée, as in a drop of water, the mechanism of the destructive duel conditioned by "Pushkin's" psychotype is reflected. Even if the phrase "chase him away!" had really been uttered, not everyone would have reacted in Pushkinlike fashion. The 1st Will, having heard such a thing, would directly approach the supposed offender and ask whom he meant, i.e. would go for a direct volitional confrontation. The 2nd Will, due to its healthy indifference to the opinion of others, would have let this phrase pass by, considering it does not concern itself. Otherwise, like Pushkin, the 3rd Will would react to this kind of "challenge": it could neither pass over its ears nor make a direct volitional confrontation, but was not able to digest the offence either. It was necessary to retaliate and revenge in accordance with the order of functions. So in the case of "Pushkin", the psychotype obliged: to run away from the offender home (3rd Will), to write him an exquisitely boorish cartel, such that not to say reconciliation, a formal duel would be impossible (1st Emotion + 3rd Will), and then to go to the barrier in cold blood, putting up her felt invincible, strong flexible, like a rubber baton, 2nd Physique in the fight. This is the usual behavioral scheme of "Pushkin", a 19th century nobleman, in a conflict situation, and there is nothing surprising that the real Pushkin became an unwitting victim of this suicidal scheme. 

* * * 

Every man is contradictory. But it is difficult to find a figure like "Pushkin," all woven of contradictions. First of all, in his consciousness he miraculously coexists an extremely overestimated assessment of others with an extremely underestimated one. Pushkin himself gives a magnificent example of such a double standard in relation to his beloved Anna Kern. On the one hand - textbook: 

"I remember a wonderful moment: 

You appeared before me, 

Like a fleeting vision, 

Like a genius of pure beauty." 

Although the "genius of pure beauty" is stolen from Zhukovsky, the poem seems to leave no doubt about Pushkin's sincere and extremely lofty assessment of the object of his passion. But what a shock it is when the reader turns to the poet's epistolary heritage and discovers lines concerning Kern that are insulting and simply obscene, replaced by a dotted line in the publishers' editions. Is it savagery? Hypocrisy? A paradox? Nothing of the sort. 

Neither "genius of pure beauty," nor the "Babylonian harlot" Anna Kern was not, she was an ordinary, earthly woman, quite frivolous, by the standards of the time. That's all. The phenomenon was that Pushkin never perceived Kern for what she was, objectively. He observed her through two differently distorting functional prisms: the 1st Emotion and the 3rd Will. Independent of the object, the blinded 1st Emotion, by its redundancy, worked to terribly magnify the image, as if Kern were a "genius of pure beauty." As for the epistolary scolding against her, it is the fruit of Pushkin's diminishing and equally biased prism of the 3rd Will. "The philistine" dislikes, disrespects himself, and readily transfers this dislike from himself to outsiders. So, there is nothing paradoxical, from the point of view of psychosophy, in Pushkin's attitude to Kern, just as, indeed, in all other cases where "Pushkin" reveals his love duplicity. 

In general, "Pushkin's" combination of the 1st Emotion and the 3rd Will is inexhaustible in surprises, though usually not very pleasant, especially in matters of love. "Pushkin" is an amazing lover. Excessive 1st Emotion is an almost failsafe starter of sexual excitement. The 2nd Emotion is indefatigably caring and attentive in everyday life, sex is devoid of sanctimony, natural, sensitive, tactful, abundant. Beauty "Pushkin", however, usually does not shine, his appearance is typical for the 2nd Physika: a small height, round face, stocky, short, chubby figure. However, his "ugliness" is more than offset by the accuracy, energy of movement, amazing plastics. In addition, a lively, bright facial expressions and gestures, a loud infectious laughter, quick sparkling eyes work extraordinarily exciting, completely hiding flaws of the "Pushkin" appearance. 

The combination of the 1st Emotion with the 2nd Physics in "Pushkin", creating around him a cheerful, sensual, Rabelaisian atmosphere, awakens the libido and fosters illusions, as if love relations with him should be easy, pleasant, unclouded. Nothing of the sort. Love for "Pushkin" and love for "Pushkin" are painful, bitter, like everything connected with the psychology of the "bourgeois". Firstly, it is difficult to imagine a person in whom such a gigantic gulf would lie between a feeling, a word (the 1st Emotion) and an action, a deed (the 3rd Will). Judging by Pushkin's deeds, his love ardor, enthusiasm, passionate assurances are an unusually talented, fascinating, effective, but absolutely impeccable lie. However, in fact, the supposed insincerity of "Pushkin" is the sincerity of a timid, shy, insecure man. Secondly, being frantically jealous, "Pushkin" himself is a consistent lover in his infidelity. And often not by virtue of sexual dissatisfaction with not only the strong, but also the flexible 2nd Physique. By his constant dragging, the "Pushkin" either asserts himself or takes revenge for real and imagined wrongs. Although, as it usually happens with the combination of the 3rd Will with high physics, even good luck with donjooism does not erase "Pushkin's" wicked notes from his memory and does not add to his selfrespect. Here, I think, it is superfluous to say that ambiguous behavior, anger, infidelity of "Pushkin" have little beauty for life in a pair with him, and many disappointments await anyone who started with expectations of easy, cloudless, reliable relations. 

* * * 

Another amusing paradox of the "Pushkin" psychotype is revealed with age. It turns out that after becoming an adult, he retains all the outward signs of childhood. The reason for this phenomenon is also the combination of the 1st Emotion and the 3rd Will. Previously, we spoke about the infantilism of adult "petty bourgeois", about their naive lying, slyness, inconsistency, resentfulness, capriciousness. But in the case of "Pushkin", this behavioral infantilism is extremely reinforced in adult individuals by what is usually considered childish emotionality. One contemporary wrote of Mark Twain ("Pushkin"): "He remained a boy until the end of his days... With a heart of a good boy or bad, but always willful, and most of all, when he wanted to show what a boy he was. Not for his age and rank a perky, irrepressible laughter, inappropriate age tearfulness - create in outsiders (along with signs of behavioral immaturity), the idea of "Pushkin," as an incorrigible big kid. This is only partially true, because "Pushkin's" normal age-related work of accumulating experience and knowledge is done in the same way as in all other people. 

The impression is further intensified by "Pushkin's" childishly unrestrained propensity for winking, mocking, and mugging. Especially striking is this trait, causing a kind of pleasant little shock when you notice it in the honored husbands and seniors crowned with gray hair. "Pushkin" in general has a special gift of a clown. A keen sense of humor and the ugly (3rd Will), intensified by facial expressions, intonations, gestures (1st Emotion), automatically awards the "Pushkin" with a clownish gift, which is often a means of existence, giving the "Pushkin" a comic role in circus, theater and cinema. Not without reason, the greatest comedian of all time, Charlie Chaplin, belonged to the "Pushkin family. 

Especially paradoxical is the combination of the 1st Emotion and the 3rd Will in "Pushkin's" men. The point is that heightened emotionality together with cowardice corresponds not only to the society's idea of childishness, but also to the same idea of femininity. Typical for "Pushkin" shouting and cunning pliability makes his male version not only a child, but also a psychic transsexual, making us feel "womanish" in him and often characterize his behavior as "womanish" from outside. 

The next surprise usually awaits those who, having acquainted themselves with the artistic work of "Pushkin," mostly sublime and romantic, come face to face with the author. The notion that the creator of these works, as if cut off from all earthly life, is an ideal being nourished by the air of mountain peaks, is subjected to a terrible breakdown on personal meeting. It turns out that "Pushkin" is not at all a thin, tall, pale man with eyes rolled up to the sky, as thought, but on the contrary, he is an ugly and material creature, both outwardly and inwardly. Here are some typical characteristics: "I met the poet Pushkin. A face promising nothing", "...the majestic priest of high art we were expecting was a medium height, almost a short little man, wiry, with long, somewhat curly hair at the ends, without any pretensions, with lively, quick eyes." Similar about "Pushkin"-Heine: "Heine was like Jupiter, but with too short legs, to whom his very conspicuous belly and exuding contented manners gave the appearance of a bon vivant," "I imagined the author of his Traveling Pictures to be a pale, slender and tall man, being misled by his portrait, "I imagined the author of Travelling Pictures to be a pale, slender, tall man, misled by the portrait of him that had long adorned my room, while before me stood a stocky, full man of small stature, with a figure that might rather have belonged to a wealthy broker than to the most celebrated, perhaps the greatest German poet. Never had anyone's appearance contrasted so strongly with the image I had of this man. 

But most shocking of all is "Pushkin," imagined in absentia as an exceptionally romantic figure, by his amazing talent for lewdness. "Pushkin is a lover of the obscene. Unfortunately, I know this and I could never explain this antithesis of the transition from the obscene to the sublime," wrote one of the poet's contemporaries, not knowing it himself, noting one of the most characteristic features not personality, but a whole mental type. The talent of obscenity is precisely psychotypical and naturally stems from the "Pushkin order" of functions. His 1st Emotion easily finds appropriate words and vivid images, the ease of attitude and love of the 2nd Physique to any manifestation of physiology gives a theme, while the 3rd Will, with its passion for everything petty and degrading, shallows and degrades both form and content. However, Pushkin's scabrousness, like blasphemy, is not a simple, primitive calling everything and everything in its own words, but mostly appears under a kind of sanctimonious cover, being embodied in hints and allegories. 

Moreover, the most remarkable thing about "Pushkin's" talent for obscenity is not so much in the frequency of its use, but rather in the ability to quickly detect obscenity, and it seemed that it was absolutely in place. I once happened to go to a painting exhibition with a member of the "Pushkin family. With a sourly indifferent look we passed from one painting to another, until we came to one, next to which hung a modest plaque with the name of the artist - Wasserman. My companion responded instantly, smiling slyly, she whispered: "Well, what's your reaction Wasserman?" After a moment's hesitation, I muttered in the spirit that, of course, it was positive, but even then I was amazed at her ability to extract profanity from nothing and almost instantly. Or here's another example. I happened to attend a meeting with the biggest whales of Russian industry and art; the atmosphere was dull, a boring question was being decided: the list of people in charge of different events was being made. It was decided that the list should be completed by, let's say, Ivanov. Suddenly one of the deputy ministers present, a captain of industry, a grey-haired and distinguished man, raised his pen above the list and suddenly asked Ivanov, with a sly twinkle of his eye: "Look, Ivanov, should I put you under Petrova or under her? Everyone laughed, the boredom of the meeting dissipated, but I think I was not the only one who was surprised at the perversity of the old bison's mind, squeezing out of the situation what seemed in principle not to be squeezed out of it. 

"Pushkin is an extremely practical person. But here's another paradox, he, being left to himself, is rarely successful in practical matters, especially if serious intellectual efforts are required in the meantime. Pushkin himself lost at cards to everyone he could, and he died leaving a huge debt to his family. Dostoevsky, losing to nothing at roulette, erected a monument to his madness in his novel The Gambler. 

I think that with all accuracy of perception of the material world (2nd Physics) "Pushkin's" strange impracticality is caused not only by the 4th Logic. The 3rd Will terribly interferes with his fruitful business activity, bringing "Pushkin" to a point of mindless excitement and simply insanity by its secret ambition. After all, gold, money is at least freedom, but at most - both freedom and power. And the temptation of freedom and power for "Pushkin" is so strong that neither the 3rd Will nor the 4th Logic is able to resist it. Any adventure, if it promises a lot at once, knocks out the remnants of reason from "Pushkin" and, naturally, punishes the naïve crook briefly, quickly and cruelly. Dostoevsky has best described the phenomenon of "Pushkin's" useless greed, aiming at Nekrasov but hitting himself: "A million - here is Nekrasov's demon! Well, he loved so much gold, luxury, pleasure, and to have them, went into practicality? No, it was rather a different kind of demon, it was the darkest and most humiliating demon. It was a demon of pride, a thirst for self-sufficiency, a need to wall himself off from people with a solid wall and independently, calmly face their anger, their threats." 

Usually, the only thing that saves "Pushkin" from poverty is that he is a "workaholic" (2nd Physics). And her tireless work plugs the budget holes punctured by useless scams. Yes, and in the dramas of the personal order there is no better medicine for the "Pushkin" than labor. A contemporary of Pushkin wrote: "Labor was for him a shrine, a font in which all the sores were healed, the weakness and discouragement were refreshed and the relaxed forces were restored. 

However, neither labor, nor wealth, nor nobility are able to cancel the 3rd Will and save the vulnerable mental body of a "petty bourgeois" from blows and fear of them. Pushkin lived in prosperity, belonged to an old family, but that did not prevent his acquaintances to characterize him as follows: "I must admit that with all due respect to the great talent of Pushkin, it was an intolerable character. It's as if he was afraid that he has little respect, not enough honor rendered..." "... He felt humiliated and had neither enough fortitude to escape the humiliation, nor enough meanness to put up with it. 

* * * 

World history assigns "Pushkin" the role of the main creator of cultural values. It is enough to name just a few names of this kind to imagine the enormity of the scale of "Pushkin's" contribution to world culture: Martial, Rembrant, Chaucer, Mozart, Burns, Hogarth, Rabelais, Goya, Dostoevsky, Edouard Manet, Heine, Georges Zand, Beethoven, Hugo, Kipling, Cézanne, Hoffmann, Chaplin, Picasso, Mark Twain, Majol, Mikhail Bulgakov, Edith Piaf, Fellini, Garcia Marquez. 

Already from this list of the first names that come to mind one can see that "Pushkin" psychotype is the backbone of world culture, and it is difficult to imagine what a wisp it would look like if nature would not produce "Pushkin" from time to time. 

* * * 

Pushkin's appeal to the sphere of speculation (Nietzsche, Rozanov) is not without interest. However, the best that comes out of "Pushkin's" pen in such cases is mistakenly called philosophy. Pushkin's thinking is devoid of philosophical strategism and systematicness, which is why it produces essays rather than philosophy. 

"Pushkin" is more superstitious than religious. And in any case he is no longer a Christian. He is not even a militant non-Christian. It is not without reason that the above-mentioned "Pushkin" essayists, Nietzsche and Rozanov, were the most ardent and consistent critics of Christianity in the 20th century. The point at which Christianity and "Pushkin" fundamentally diverge lies on the surface: their attitude toward Physics, the material layer of life. Asceticism, contempt for the flesh, does not fit in the "Pushkin's" mind, which with good reason considers the body and everything connected with it the best side of its nature. 

If one were to choose a religion for a "Pushkin," Judaism would suit him best. And there is a hidden meaning in the fact that the backbone of believers in the synagogue is usually made up of "Pushkin" Jews. Judaism is purely emotional (1st Emotion), devoid of any tendency towards asceticism, on holidays it is almost bacchanically carnivorous (2nd Physics) and on the Sabbath it allows some slyness in relations to God (3rd Will), which even gave birth to a special folklore genre - the Jewish religious anecdote. In a word, Judaism is balm for "Pushkin's" soul, it is his religion. It is not without reason that Nietzsche and Rozanov not only criticized Christianity, but also made a direct example of Judaism. 

* * * 

It is difficult to call "Pushkin" a successful politician. Judge for yourself, the "Pushkins" in political history are very likely to include: Henry of Navarre, Catherine the Great, Jaures, Nicholas II, Mussolini, Khrushchev, John Kennedy, Nicolas Ceausescu, Vaclav Havel, Mobutu, Noriega, Zhirinovsky. 

Perhaps typical of the political career of a "Pushkin," if it does not depend on dynastic considerations, rarely begins with unconditional leadership. More often than not, "Pushkin's" career in politics is facilitated by his talent as an orator and journalist. Indeed, the emotional, passionate, imaginative "Pushkin word" makes its bearer a necessary and important figure in the party apparatus. In addition, "Pushkin's" ascent up the political career ladder is facilitated by the 2nd Workaholic Physique and the 3rd Will, which makes a super-flexible back and psyche, combining jouissance with a secret but frantic ambition. Advantages and disadvantages of flexibility "Pushkin" politician very well described on the example of Walter Schellenberg one journalist who knew him well: "When, for example, Schellenberg came across in a business dispute on the stubborn resistance, he was able to change tactics, to abandon the brute psychological pressure. Within seconds, his embittered tension would disappear; laying down his arms, smiling sweetly, he would agree to a surrender whose terms he tried to haggle over with unflappable tolerance. So strong was his desire to influence the world and people around him, so easily did he himself succumb to the influence of others. 

In this strong receptive talent lurked a capacity for spiritual adaptability, which no doubt explains to some extent the mystery of his brilliant career. At the same time it also manifested itself as a dangerous weakness. Adaptability meant also unreliability; with an almost feminine sensibility coexisted the capriciousness of an operetta diva, no longer confident in her own success. Schellenberg did not have a pronounced truly masculine character. It would be an exaggeration to call him a strong personality. 

Pushkin's psychotype, from the point of view of politics, is a complete disadvantage. 1st Emotion makes him a bad diplomat, shouty and tactless: Khrushchev's UN boot scandal is the clearest example of this. 2nd Pushkin's Physics rewards him with personal fearlessness, which makes it easier for terrorists and conspirators. 4th Logic deprives our hero of strategic thinking, the example of the same Khrushchev, who created the Cuban crisis from a poor idea "to run a hedgehog in the pants to the Americans", is much more illustrative. And the combination of the 1st Emotion, the 2nd Physics and the 4th Logic gives birth to such a sad phenomenon as favoritism during the reign of "Pushkin": foreign diplomats at the court of Catherine II, for example, complained about the unpredictability of Tsarist policy, which depended entirely on who was in the empress's bed at night. And all of this, together with the 3rd Will, creates that phenomenon of the "Pushkin" politician, which is reproduced very precisely under the pen of the political scientist Avtorkhanov in his portrait of Khrushchev: "Those around Khrushchev had to deal with one Khrushchev in the morning, with the second one at lunchtime, and with the third one in the evening. His constant inconstancy, his marvelous gift of chaotic improvisation, his morbid itch to endlessly organize and reorganize, his imperious recklessness multiplied by his haplessness and carelessness, his dangerous talkativeness, his groundless ambition to know everything, see everything, do everything himself, his treachery in friendship and his self-assurance in politics are only some features of such a rich, colorful, dynamic character of Khrushchev. This trait made him an exceptionally dangerous dictator..." 

* * * 

The Pushkin family is, if not the most numerous in the world, one of the most numerous, and there is no country where the Pushkins do not constitute a very significant group among the population. But, perhaps, there is only one country in the world, where the "Pushkin" clan has multiplied to the absolute dominance - it is Japan. It is this psychotype that has formed specific features of the Japanese national character and life style. 

The Japanese are a singular people of universal aesthetics: poetry, painting, music, and the admiration of nature are integral and extremely important elements of the full-blooded life of the Japanese. Knowledge of the rules of poetry was explicitly prescribed for samurai, but poetry in Japan is not a samurai privilege; numerous annual poetry contests gather tens of thousands of applicants. And the forms in which the Japanese prefer to put their inspiration (haiku and tanka) are as close as possible to the 1st Emotion. 

2 The physics of the Japanese is also quite obvious. He is a "workaholic. The Japanese are sturdy, hardy, fearless fighters and generally a man of endurance (the average life expectancy in Japan is probably the highest in the world). Japanese prefer simplicity and naturalness in everyday life, and their cuisine is close to raw food. Japanese attitudes in the flesh are devoid of both excessive enthusiasm and sanctimony. 

The dominance of the 3rd Will in the character of Japanese society is also evidenced by much. It is typified by the uncontested need to delegate individuality in favor of social formations: family, firm, state. The "bourgeois" psychology of the Japanese is indicated by the emphasized etiquette and casteism of Japanese society. A stewardess of international lines once said that when an American delegation flies in, she cannot tell at once who is the boss and who is a subordinate, whereas in the Japanese delegation, the position of each member of the delegation on the job ladder is visible a mile away. Another example: when there is a conflict between two Americans, they unconsciously strive to be face to face. The Japanese, on the contrary, in similar situations try to stay away from each other and look for a mediator to resolve the conflict, for fear of a direct confrontation of the will. 

The Japanese mind is extremely practical and directed only toward concrete, tangible results. Thinking for the sake of thinking, abstraction is alien to the Japanese 4th Logic, which is why neither serious philosophy nor fundamental science was born on the Japanese islands. Finally, one more not so weighty, but in its own way remarkable "Pushkin" omen: according to Professor Kohei Tani, Dostoevsky is the favorite writer of the Japanese - and Dostoevsky is naturally "Pushkin" and seems to be the most frank, the most confessional of the "Pushkin" sort.