FEVL - "Dumas"

ALEXANDER DUMA 

1) PHYSICS ("owner") 

2) EMOTION ("actor") 

3) WILL ("bourgeois") 

4) LOGIC ("schoolboy") 

On the street, "Dumas" can be seen from afar: burly, tall, with a lush, if not beautiful, facial sculpture. He walks along the sidewalk with lazy grace, shuffling and spreading his socks. His face has a complex owl-sour expression. His eyes from under half-lidded eyelids look haughty, but if you try to look into his eyes, you will find that there is no place to look, because his gaze is timidly fixed on the floor. In this connection one is reminded of the discrepancies in the biographies of the Emperor Nero, one of the most prominent members of the "Dumas" family: some wrote about the haughty, others about the timid look of this infamous ruler of the half-world. 

So, with a haughty squint, "Dumas" moves lazily down the street. But he meets someone he knows: the most charming smile blooms on Dumas' face, his eyelids rise, revealing large, beautiful, shiny eyes, his gestures awaken energy, and a lively, joyful cackle spreads all over the street. He is usually dressed expensively, brightly, lavishly, and not to say tastefully. Hair is longer than usual, in women blatantly dyed and with an element of artistic disorder. Speech is free, expressive, and often thickly interspersed with mocking profanities. 

The most distinctive feature of Dumas' appearance is some absolutely indiscriminate domination of sexuality. Although, looking through the prism of psychosophy, this phenomenon is quite explainable. Excessive 1st Physics is made even more excessive under pressure of the 3rd Will. And the addition of a powerful 2nd Emotion, a function, as mentioned above, that grew out of sexual signaling, brings Dumas' appearance to the level of a living embodiment of sexual performance. Sensual and sensitive in the first two functions, he is hypnotically attractive in his sexuality and knows it. 

However, the beauty of "Dumas" almost always has a certain vulgarity about it. It is enough to look at his female version, Marilyn Monroe, and his male version, Elvis Presley, to be convinced of this. And the point here is that in "Dumas" the sensuality of the 1st Physique is not ennobled by a calm faith in itself, as it is in combination with the 2nd Will ("Chekhov", "Goethe") and is not softened by childishness, as in combination with the 4th Will ("Epicure", "Borja"). Dumas' 3rd Will disfigures and vulgarizes his appearance, hypertrophying, on the one hand, the already inflated 1st Physique, and, on the other, sending outwardly, to the surface from the depths of his fractured soul, impulses of fear and constant dissatisfaction, giving his face an expression that in no way can be described as sweet. The phrase of Nero's biographer, "a face rather beautiful than pleasant," may well be applied to this type as a whole. 

* * * 

The flaws of the "Dumas" appearance, however, are easily concealed by the powerful, infinitely flexible 2nd Emotion. I do not know where it comes from, but fate endows him with such a talent for charm, before which it is almost impossible to resist. I knew a Russian archbishop "dumas": a pathological stingy, sadist, cynic and a rare beast, but at the same time the nicest man, endowed with some completely boundless charm. This bishop's reservoir of charm was such that, if he wished, he could pour it on a victim in buckets, paralyzing and making even people who knew him as a peeled-off man gullible, even if only for a short while. 

"Dumas, more than anyone, succeeds in the role of the simple-hearted, sincere open man, the shirt-boy. This role he specially prepares and polishes in front of the mirror for standard situations (a feast, acquaintance, communication in the service sector, conflicts, etc.) and practically hits without a miss. The lion's share of his luck belongs to his talent for charm. More than once I have seen Dumas, caught red-handed or pinned to the wall, try to defuse the situation with a charming smile, like: "I'm just a sweet fool and I don't know what I'm doing," to put a positive end to the conflict. 

"Dumas knows too well the power of his charm and sexual attraction not to use them for mercenary ends. That is why the marriage scam is a universal and win-win hobby of this type; even the not-so-poor writer who gave this type its name, Alexandre Dumas the father, was not squeamish about it. 

Dumas is somewhat less fortunate when he takes on a religious swindle. Although he is able to achieve absolutely fantastic results in this field as well, there is something in the psychotype of the "Dumas" that prevents him from making his success in the field of religious fraud sustainable and long-lasting. The stories of Grigoriy Rasputin and Oshi Rajneesh are all familiar to everyone, and are a perfect illustration of the activities of a Dumas in this field. 

Even in appearance, Rajneesh was very much like the bishop I knew well, described above. When he, very imposing and handsome, standing on the pulpit in a richly embroidered sakkos with his cheeks glistening with tears, spoke a vivid, spiritual, extremely deep in lexical selection, illiterate and hollow nonsense, it was simply impossible not to succumb to his magic. The hangover came later, when a sober analysis of the speeches, an acquaintance with the personality of the prelate, the domestic and intimate side of his life, led others, naively believing, to a catastrophic shaking of the foundations. In this case, the most striking thing was not the fact that a church figure of such high rank belonged to the camp of hardened sinners (it's hard to surprise a Russian person with this), but rather the impossibility of reconciling in one soul and, as it seems, equally sincerely preached, absolutely opposite ethical rules. I should add that this property of the soul of "Dumas" remains a frightening mystery not only to his parishioners, but also to the victims of his marriage fraud. 

"A charming scoundrel" (Akhmatova about Tolstoy), "a pleasant hypocrite" (Ringo about McCartney) - such ambivalent characteristics are used by everyone who knows "Dumas" intimately. However, there is nothing mysterious about his bifurcation. The powerful, subtle, deeply feeling 2nd Emotion is responsible for charm and declarations of lofty intentions, and it copes with its duties magnificently, finding ideal forms of declaring aspirations that the other functions have no intention of fulfilling at all. To make the hardened materialist of the 1st Estate indulge in the ascetic exploits obligatory for almost every religion is an absolutely impossible thing, just as it is impossible to cure the 3rd Estate of hypocrisy, cynicism and anger. So the initial success and the collapse at the end of the religious "dumas" scam are predetermined. The bishop I knew almost simultaneously with Rajneesh shared his fate: even the Russian Synod, known for its patience, was so fed up with him that it sent the bishop to early retirement, allowing only one last chance to rob his subordinate church institution clean. 

The aforementioned bishop, having a bottomless charm, at the same time impeccably mastered the technique of moral destruction of man. Sometimes not knowing much about his interlocutor, he could send a man to a knockout with one word, half-turn, and the sight of a subordinate being carried out of his office on a stretcher was almost trivial. 

In this connection it is bitterly necessary to admit: charm, talent for a compliment, for a caress is not separable from the talent for humiliation, for insult, for offense (remember this, dear ladies, when the time comes to hang up your ears). In "Dumas," the common source of these two seemingly different talents is the combination of the 2nd Emotion and the 3rd Will. The finest membrane of the 3rd Will hears all the noises and squeaks coming from the opponent on an ultrasonic level, by the minutest details of facial expressions, gestures, eye expressions, clothes, speech, like a computer, reads his file. Whereas the 2nd Emotion perfectly senses the mood of the interlocutor and prompts absolutely precisely the appropriate words, turns of phrase, expressions for each particular case. "Dumas is a born, perfect psychologist, and it's the happiness of those around him that not a single psychological trick holds life together. 

Finally, concluding the topic of Dumas' adventurism, it remains to be said that while he is almost one hundred percent successful in the marriage scam and quite successful in the religious one, he is absolutely hopeless when the adventure requires exceptional mental effort (4th Logic). 

One does not have to go far to find an example - Mata Hari. God knows how the story of this unfortunate woman-dumas has been colored and painted by different snappers. And the truth is this. Once upon a time there was a cocotte, who exploited the lazy interest of European bigwigs in the Oriental exoticism (she lived for a time on the island of Bali). But the war began, the hunters to stare at voluptuous dancing diminished, age has declared itself, and now, flabby, lazy, greedy, stupid priestess of love decided that, on the occasion of war, it is more convenient for her to rob not individual rich men, and the intelligence warring parties. After selling out to anyone who agreed to buy, she squandered the first installments, never working off a mark or a franc. And could not work, because she was accustomed to work not the way bread is earned in intelligence, which requires a certain intellectual baggage and constant mental effort. It soon took such a turn that the owners of Mata Hari preferred to see their employee rather dead than alive. The tragedy was hastened by the fact that she found herself in Paris during the days of the failed French offensive at Verdun. Shifting responsibility for the defeat to others, the French leadership of the time began to shoot foreigners in batches, and the shooting of Mata Hari was the apogee of this dirty government game. The dim-witted, aging prostitute simply fell under the campaign like a streetcar. And the self-serving vulgarity of the mass media embroidered such patterns on this canvas that they hid the true drama of the creature with the psychology of a "Dumas", who foolishly and greedily got into the millstone of the struggling state machines to his death and died there. 

* * * 

Perhaps the only sphere where "Dumas" is not only not dangerous, but on the contrary, useful, effective, brilliant and just at his ease is the artistic sphere and show business. 

"Dumas is a born actor, and his whole order of functions is as if specially built for stage and screen. Juicy texture (1st Physique), infinite flexibility in perception and transmission of moods (2nd Emotion), subtle psychologism (3rd Will) - a perfect acting set. Is it any wonder that among the stars of the acting class, most are represented by "dumas." Sarah Bernhardt, Sophia Loren, Richard Burton, Yevgeny Yevstigneyev, Jack Nicholson are just the tip of the list of brilliant actors who have made their mark in the unfortunately undemanding environment of the spectacular arts. 

In his aesthetic credo, the actor "dumas" is a spontaneous realist, a conscious or unconscious follower of Stanislavsky's system (apparently, Stanislavsky was also a "dumas"). The main requirement of this system is complete adequacy in conveying emotional states (2nd Emotion). Stanislavsky's famed (though borrowed) phrase "I don't believe it!" - is the main and only aesthetic test-check for the actor-"dumas." Let us add that although Stanislavsky's system was created as a theatrical system, it is not theatrical in its essence, because theater is fundamentally unrealistic. Stanislavski's system is a cinematic system, and apparently this is the main reason for its phenomenal success in recent decades. Cinema is fundamentally realistic, and the requirement for the impeccable adequacy of mimics, gestures, and sound is a legitimate requirement for it. 

In this connection another interesting observation: historians, speaking of the emperor Nero, often mention with a smile his famous dying phrase: "What an actor dying!" However, let's not be too hasty in repeating the scholarly smirk. Nero was a "dumas," that is, a born actor, and if he did not become famous in this field, it was not his fault. It prevented the origin and specificity of the ancient theater, strictly divided into two extreme genres - tragedy and comedy. But once Nero still managed to stage a performance to his liking and in the spirit of Stanislavski: he set Rome on fire and, standing on a tower in his theatrical attire, sang "The Downfall of Troy". I think that if Stanislavski had been able to see this grandiose performance, he would surely have exclaimed, "I believe it!" 

* * * 

Dumas finds it more difficult than acting to be a dancer and musician. He does not do well with dancing because of a certain lethargy of the first physics. In ballet, "Dumas" can make an impression with an expressive gesture, sexual rippling of all kinds of appetizing bulges (Mata Hari, Isadora Duncan), but one cannot expect speed, lightness, coherence from his plastique. Therefore, no matter how Caligula, another "Dumas" emperor, sought fame as a dancer, he got it only together with the throne and lost it with him. 

Another "Dumas" problem, common to dance and music, is the usual lack of hearing in the 1st Physics. This misfortune, however, is correctable. Chaliapin so passionately wanted to sing that he overcame his natural ailment through long exercises. Not only Chaliapin, but many other "Dumas", even as a composer (Tchaikovsky) are moving in the opera scene and often with great success. In general, for those specifically interested, I can say that the sight of a singer with a lush texture, if not a burly one, with a rich, multiplanned and emotionally complex repertoire does not allow us to state precisely, but with a high degree of probability allows us to assume that there is a "Dumas" on stage. 

Recently, with the frenzied development of the video-show industry, the requirements to the performer's external data have considerably tightened, and an attractive appearance has become no less important condition for a music career than an absolute ear and a beautiful voice. This circumstance turned out to be very handy for Dumas, who had neither external data nor gravitation for music. And now this psycho-type dominates almost undividedly in the music business (Elvis Presley, Paul McCartney, Freddie Mercury, Jose Iglesias, Madonna, etc.). 

Success awaits "Dumas" in the literary field as well. Here come to mind: Ovid, Byron, D. Annunzio, Dumas the father, Balzac, Maupassant, Verlaine, Esenin, A. Tolstoy. 

This list probably requires a little commentary, since the inclusion of Balzac and Dumas, writers of the romantic rather than the realist school of thought, may raise objections. Anticipating such objections, I will simply remind you that the work of the 3rd Will in general has a somewhat "pop", opportunistic character, while the heyday of Balzac and Dumas' writing came during the period of undivided dominance in French literature of the Hugo school, the school of Romanticism. "Dumas" is not so strong-willed and selfconfident as to row openly against the current, so both writers, thanks to the flexibility of the 2nd Emotion allowed, obediently moved along the beaten path, sabotaging the norms and precepts of romantic writing from under the table: Dumas with the poorly disguised cynicism of his works, Balzac with detailed, detailed, everyday writing, popping out like an awl from a bag. But time passed, and after the war of 1870 French "Dumas", having shaken off the ashes of romanticism, were able to speak their own language - the star of Maupassant and Verlaine rose. Therefore, if we want to know how and about what "Dumas" writes on his own, without external aesthetic and conceptual pressure, it is best to turn to the works of Maupassant and Verlaine. 

Dumas' successes in his native field have no effect on the twists and turns of his character, and admirers of Dumas' talent, who are absentmindedly in love with his 2nd Emotion, are extremely disappointed when they meet the entire order of functions of this psycho-type in person. Here is a short but consistent characterization of Alexei Tolstoy, given by Akhmatova: "He was an amazingly talented and interesting writer, a charming scoundrel, a man of turbulent temperament. He is no longer there. He was capable of anything, anything; he was a monstrous anti-Semite; he was a desperate adventurer, an unreliable friend. He loved only power and vitality. 

* * * 

The 1st Physics of "Dumas", or rather the combination of the 1st Physics with the 3rd Will, deserves a special talk. And what is said below about "Dumas" can equally be applied to "Aristippus," which is identical with "Dumas" in these positions. 

I don't want to scare anyone, but "Dumas" is an exhibitionist by nature. In his super-body, "Dumas" is more than a nudist. Nudism implies a healthy indifference in matters of nudity and is internally closer to the 2nd Physics. "Dumas, on the other hand, is inclined by his excessive 1stPhysics already to stick out his carnal beginning, and since the 3rd Will of the "bourgeois" does not support him in any way, but on the contrary gives a feeling of living on a volcano, the flesh becomes the only reliable instrument for "Dumas" to interact with the world. Therefore, Dumas treats his body with more care, attention, and love than anyone else; he cherishes it, adorns it, and tans it at every opportunity he gets. Almost 80% of Playboy and Penthouse models are recruited from "dumas", and it is not only money and career that draw them to the pages of erotic magazines, but also the very possibility of mass demonstration of the best side of their nature. Naturally, the buyers of this kind of publication are mostly "Dumas. 

I don't want to scare anyone, but "Dumas" is by nature a rapist. Violence is the simplest and most natural response to difficulties. I have already mentioned a harmless but expressive story from the lives of both Dumas, when, in response to the crying of his young son, Dumas the father simply took him by the scruff of the neck and threw him on the bed. This impulsive reaction of violence to the problem is quite organic to the combination of the 1st Physique and the 3rd Will. 

I don't want to frighten anyone else, but "Dumas" is a sadist. The Marquis de Sade himself, who described this phenomenon, was a kind of "Dumas. However, sadism is not the same as sadism, and it can manifest itself in different ways: from a certain coarseness of love caresses to monstrous atrocity. That sadism, which exists in accordance with the criminal code, is inherent in "Dumas" of both sexes and is due to the simple sensory behemoth of the 1st Physique of this type, through his thick skin the tactile signal passes with difficulty and he needs to make great efforts to feel the echo of another's flesh. 

With criminal sadism, the case is more complicated. It involves the entire order of "Dumas'" functions and is almost exclusively subject to men of this type. The reasons for this exceptionality are in the terrible bifurcation of the psyche of the "Dumas" man. 

Usually, "Dumas" is a tall, muscular, hairy man, a living embodiment of masculinity, behind whom other men's virtues are imagined: reliability, bravery, nobility, etc. And only "Dumas" himself knows how much his form contradicts his content and what disappointment awaits anyone who has hoped for his outward "toughness. 

Sergei Dovlatov, himself a "Dumas," bitterly stated: "I realized that the greatness of the spirit does not necessarily accompany bodily power. Rather - on the contrary. Spiritual strength is often enclosed in a fragile, clumsy shell. And bodily prowess is often accompanied by inner powerlessness... 

It seems to me that physically healthy people are more likely to be spiritually blind. It is in a healthy body that moral apathy reigns more often. 

I knew a man in security who was not afraid of a live bear. But any supervisor's shouting threw him off-balance. 

I myself was a very healthy person. I don't know what mental weakness is..." 

If we add to this the fact that nature gives a "Dumas"-man a strong emotionality, the feminine transsexual essence of this type will appear in all its ugly nakedness. A cocotte in sheriff's disguise is a "Dumas"-male, in essence a non-male... 

Once Alexander I, when society talked about his resemblance to his sister, went out and after a while returned in a woman's dress, he was very pleased, and the attire suited him; the French ambassador said of the Tsar: "His most essential properties are vanity and cunning or pretense; if a woman's dress were put on him, he could represent a fine woman." Balzac hinted very transparently at his femininity in "Seraphytes," and Byron confessed in a letter that he was pleased when women treated him "like a beloved and a little wayward sister." 

It is psychological transsexualism that leads the male "dumas" down the road to sadistic crimes ranging from domestic mania to "Jack the Ripper" style murder. In this case, a woman in a man's suit rapes a woman herself. The phenomenon of the powerless crime "dumas" is this. "The crime must seem greater when committed on a creature like yourself, and the pleasure is doubled by it," wrote the Marquis de Sade, an expert on the subject, in The 120 Days of Sodom. 

I happened to read in the newspaper about a sex maniac sitting in a Turin prison for kidnapping and torturing women. This maniac "got permission through a lawyer to have a sex change. Although he will only really be able to do so in a few years, when he gets out of prison, he has already been released from his internal imprisonment. Vincenzo behaves like a woman: he asks to be called Terry, paints his lips and nails, wears an ankle bracelet, and prefers peach-colored jerseys." 

And here's a confession from one of the biggest of the "Jack the Ripper", with 53 victims to his credit - Chekatilo: "As a child I went out more, I was friends with girls. And now I have better contact with women as friends. With men I do not find common topics of conversation. 

I was picked on by boys since childhood like a girl. And in the army, and then in prison, and on business trips. And in the end, I am no longer conscious of which gender I belong to. Such a bifurcation. 

I like a man's courtship..." 

The pioneer of literary sadism himself, the Marquis de Sade was a "dumas," and Simone de Beauvoir quite rightly remarked: "...he hated women because he saw them more as his double than as a complement, and therefore could get nothing from them. His heroines are more life and warmth than the heroes, not only for aesthetic reasons, but because they were closer to him. Sade felt his femininity, and women caused him resentment because they were not the males that he really wanted. 

After catching another "Jack the Ripper" every time there is a question about his sanity and motives. Psychiatrists look for and do not find any pathology in his soul, Freudists torture for childhood mental traumas, but even the ultra-hateful "Dumas" often finds nothing in his childhood except resentment for his pimples (the boy-killer from the suburbs of Moscow). And the fact is that it is not schizophrenia or the Oedipus complex that pushes "Dumas" to the path of sadistic crimes, but his own psychotype, a combination of the 1st Physique and the 3rd Will, and the severity of the crimes directly depends on the degree of development of the 3rd Will. The deeper the ulcer in the Third, the more often "Dumas" has a reason to talk about his real and imaginary humiliations, undeserved insults, the unfairness of life, the bloodier will be the payment he will charge from those around him for them. 

It is incomparably less common for a woman "dumas" to commit this kind of crime. The reason for this law-abiding attitude lies on the surface: women "dumas" do not suffer from gender bifurcation, the woman inside them coincides with the woman outside, and therefore gender is not a reason for resentment against the world. 

The only social prohibition that the female "dumas" consistently violate is the prohibition against trading her body. Sensual and sensitive (1st Physique + 2nd Emotion) she looks made for sex and skillfully takes advantage of such an appetizing shell. However, due to vulnerability of the 3rd Will, the woman "Dumas" prefers to engage in prostitution not professionally, but amateurishly, i.e. as if by her own choice and not for despicable money, but for promotion, expensive gifts, paid vacation, etc. 

Money is a sore spot for Dumas, and rarely would any other type argue with him about greed. When young Paul McCartney was told that his mother had died, he immediately asked: "What are we going to do without her money?" 

Material goods together with emotional goods (religion, art, entertainment) are the two main values for Dumas. "As long as I remember Fyodor Chaliapin... there was not a day that passed without some kind of outburst. Especially when the question was about art and ... money, "- wrote Korovin. 

Sometimes these two passions contradict each other, lust for experience struggles with greed, and often the 2nd Emotion defeats the 1st Physics in this struggle. Dumas himself squandered in revelry almost everything righteously and unrighteously acquired. However, when there is even the tiniest chance of not paying for pleasure, "Dumas" does not pay. Even Chaliapin adored dissipation, but he usually had only three rubles in his pocket for the hour of reckoning. Balzac, on principle, went out without a penny, and all the pleasures and services he received in the street, or not paid at all, or paid by others. 

* * * 

The question of Dumas' political talents is a moot point. He is charming, artistic, cunning, suspicious, cruel, which is not at all unhealthy for a politician. But he is too suspicious, too and too stupidly cruel to be a good politician; he is greedy, promiscuous, short-sighted, suggestible, and impulsively deceitful. The political face of "Dumas" is easy to observe on the example of the Emperor Alexander I, not the worst representative of this kind: "...he can easily charm, but this must be feared; he is not sincere; he is a true Byzantine of the times of the decline of the Empire.... It is quite possible that he fooled me, for he is subtle, deceitful, dexterous..." (Napoleon), "He was too unstable a person to be able to impose his will. The inconstancy of his nature manifested itself so clearly that those around him have not tried to combine the features of a patricide and a saint, neurotic and a hero, an autocrat and a liberator, a prophet and a voluptuary, a cheat and an apostle ... Vanity, lethargy, weakness, and some childish craving for ambivalence clouded his mind..." (Harold Nicholson), "Conversation with him always leaves the most favorable impression, and you leave convinced that this ruler combines the fine qualities of a true knight with the traits of a great sovereign, a man of skill and energy. His reasoning was impeccable, his arguments persuasive, he spoke with the expressiveness and heat of a convinced man. And so? Ultimately, experience, the history of his life, and what I see every day, warns you: don't believe it. Numerous manifestations of weakness prove that the energy he puts into his words is not in his character; on the other hand, this weak-hearted man can suddenly feel a surge of energy and excitement sufficient to make the most violent decisions with unpredictable consequences" (Laferronay), "Throughout his reign he suffered from paradomania..." (Czartoryski) 

The last trait noted by Chartorysky - "paradomania" - is also common to all "Dumas" politicians. "Dumas, in general, is a celebration politician. He adores an upbeat, cheerful atmosphere in which he can and does set the tone. And it does not matter how he does it: whether on a white horse at the head of a shouting "Vivat!" army, or as a toastmaster at the head of a long abundant table, the main thing is not just to reign, but to reign heartily. 

The only trouble is that "Dumas" often alternates his holidays with executions, since cruelty and licentiousness are equally essential components of his soul. Violence is a normal, natural reaction of "Dumas's" 1st Physics to real or imaginary problems arising in the course of political struggle. The low-ranking Will and Logic do not actually control the purely impulsive cruelty of Physics; moreover, the suspicion, cowardice and anger of the 3rd Will spur the "Dumas'" propensity to violence, which does not need any prodding. 

Knowing this characteristic of this type, it is easy to clarify some of the dark places of world history. For example, it is still a matter of controversy that Brezhnev, a prominent representative of the "Dumas" family, planned to kill his chief Khrushchev. The answer here can only be one - yes, undoubtedly wanted and planned, the implementation of the plan prevented many things, including his own weak character, which by the usual for the 3 Wills bifurcation both tones the cruelty of "Dumas", and suppresses it. 

Dumas is not distinguished by his religious zeal, but like any emotionalist he is superstitious and the emotional side of the religious action is his own. As he feels art is absolutely his own. This is why a passion for the arts, often to the detriment of his work and authority, is one of the most typical traits of a politician "dumas". Of course, the passion of this type of art is not always as evident as in the case of Nero or Caligula. For example, few people know that Saddam Hussein is an excellent connoisseur of Arabic poetry and that Brezhnev knew several poems by Merezhkovsky, including the very long poem "Shakyamuni" by heart - but this kind of thing is an indispensable component of the life activity of even a "Dumas" immersed in politics. The Brezhnev example is especially amusing. What a surprise it would have been for Mereshkovsky and Buddha to find out whom and about whom the lazy, unloving general secretary of the Communist Party of the Soviet Union had diligently studied a poem, who had devoted his life to destroying what Buddha and Mereshkovsky believed in and loved. 

The signs described above, I think, already allow the reader to start a personal identification of politicians-dumas. A small list compiled by the author will partly help him to do this: Cleopatra, Nero, Caligula, Commodus, Caracalla, Elagabalus, Ivan the Terrible, Anna Ioannovna, Alexander I, Pope Alexander YI, Sultan Abdul-Aziz, Louis XIY and Louis XY, Charles II Stuart, Trotsky, Zinoviev, Beria, Brezhnev, Mao Tse Tung, Saddam Hussein. 

* * * 

Turning now to the national question, it is not without sadness to state the predominance of "Dumas" among Russians and Slavs in general. With all the consequences arising from this circumstance. Judge for yourself: "Russians are the first actors in the world... In no other society, if you don't count Polish, have I met such charming people... When Russians want to be amiable, they become charming, and you become a victim of their charms against your will, against all prejudices. At first you do not notice how you fall into their net, and later you cannot and do not want to get rid of them. It is impossible to put into words exactly what their charms are. I can only say that this mysterious "something" is innate in the Slavs" (de Custine), "...in general, I consider Russia to be a touchstone of their merits for foreigners and that he who succeeded in Russia could be sure of success in all Europe. This observation I have always considered unmistakable, for nowhere, as in Russia, are there such masters of spotting weaknesses, ridiculousnesses or shortcomings ..." (Catherine II), "All Russia is a country of some greedy and lazy people: they eat and drink an awful lot. They like to sleep during the day and snore in their sleep. They marry for the order of the house, and mistresses they have for prestige in society. They have a dog's psychology: they beat them - they squeal softly and hide in their kennels, they caress them - they lie on their back, paws up and wag their tail" (Chekhov), "This nation is untrusting, intransigent, timid, but arrogant at the same time... Russians have uncommon physical strength, but they are extremely lazy and most willingly indulge in debauchery... Russians have no concept of truthfulness and see lies only as decoration" (Palmquist), "The disease of will is epidemic in Russia: all Russian literature proves it. 

Russians are incapable of persistent effort...Anarchy with its inseparable fantasy, laziness, indecision is a delight for the Russian. On the other hand, it gives him a pretext for innumerable public manifestations, in which he satisfies his love of spectacle and excitement, his living instinct for poetry and beauty... 

Whichever point of view - political, mental, moral, religious - the Russian presents a paradoxical phenomenon of excessive submission, coupled with the strongest spirit of indignation. 

The muzhik is known for his patience and fatalism, his good-naturedness and passivity, he is sometimes strikingly beautiful in his meekness and submissiveness. But here he suddenly turns to protest and rebellion. And immediately his frenzy leads him to terrible crimes and cruel revenge, to a paroxysm of criminality and savagery ... There are no excesses of which a Russian man or a Russian woman would not be capable, as soon as they decide to "assert their free personality. (Maurice Paleologue). "In the very depths of the Russian character one discovers the eternal-female, not the eternal-female, but the eternal-female" (Berdyaev). 

The dominance of "Dumas" in Russia took on such a scale that, for many foreigners, Brezhnev became the living embodiment of the Russian people as a whole. Kissinger wrote: "Brezhnev was not only the general secretary of the CPSU, but truly Russian. He was a mixture of coarseness and warmth, simultaneously raw and charming, cunning and disarming... He seemed at the same time full of strength and exhausted... He tried to conceal his uncertainty by his boisterousness, his frenzy, his boisterousness, and his deeply buried sense of inadequacy by sudden bursts of harshness..." 

At the same time, I would not insist on the thesis of undivided dominance of "Dumas" in the Russian psychological gene pool. Pushkin" is not much different from "Dumas", he is feminine (1st Emotion +3rd Will), but he is more industrious and kind-hearted (2nd Physics). Together they, "Dumas" and "Pushkin" constitute the essence or soul of the Russian people, so whatever they say about it, Berdyaev's words "about the eternally feminine" in the Russian character will remain the only and universal truth about it.