LVEF - "Einstein"

ALBERT EINSTEIN 

1) LOGIC ("dogmatic") 

2) WILL ("nobleman") 

3) EMOTION ("dry") 

4) PHYSICS ("slacker") 

There were, at first glance, many strange things about Einstein's character. He could, for example, marry a girl just because he liked her voice. Mileva Maric was unattractive, with a limp, and "one of my fellow students once said to Einstein, alluding to her limp: "I would never dare to marry a woman who is not quite healthy. Einstein quietly replied, "Why not? She has a lovely voice." And married. 

In this respect, Einstein is reminiscent of Roxanne in Rostov's Cyrano de Bergerac. She, as we remember, put her ability to speak deeply and strongly about her feelings far above her outward attractiveness. And as is usual in such cases, the reason for this preference is the mental type of Roxanne and Einstein. With the 3rd Emotion and 4th Physics, sensitivity automatically prevails over sensuality. 

The heightened sensitivity of the 3rd Emotion, a function of vulnerability, at the same time requires a certain restraint in the manifestation of feelings and not without pleasure restrains their excessively violent manifestations. A classmate of Einstein recalled: "... it was one of those complex natures who know how to hide under a prickly shell filled with tenderness realm of his intense emotional life. Chance commanded that this thinker spread his tent in the romantic camp of the Winteler family, where he felt happy. Then, as now, he felt just an organic need to perform Schumann's songs "Walnut. "Lotus"...I can't remember all the names anymore. This music was also enjoyed by Heine, his favorite poet. Often there were times when the last chord would barely sound and Einstein, with his witty joke, would bring us back from heaven to earth, deliberately disrupting the enchantment. 

Einstein hated sentimentality, and even around people who were easily enthused, he always kept his cool. 

The ulcer on Einstein's 3rd Emotion was so deep that he openly opposed romanticism, a current that all "dryers" condemned, but not all openly condemned. He said: "In my opinion, in philosophy, as well as in art, romanticism - a kind of illegal technique, which is resorted to, not too much trouble, to achieve a deeper perception. Moreover, Einstein denied the need for beauty in science, thereby drying up even that sphere of human activity which is dry by its very nature. 

"Einstein" is the type of the classical scientist, exactly the way the average man is used to imagine a scientist: eternally immersed in the world of ideas (1st Logic), oblivious of daily bread (4th Physics), indifferent to beauty (3rd Emotion). "Einstein" often looks like a caricature of a scientist, the reality, of course, is much more complicated, but in its main external parameters the caricature is correct. 

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According to the custom of the 1st Logic, Einstein preferred the role of a lonely thinker to all roles. He himself wrote that "for a scientist the ideal place would be a lighthouse keeper," and the objections of friends, as if a man for creativity needs society, did not shake his position. 

Einstein's craving for solitude was twofold. The intellectual autonomy of the 1st Logic combined in him with the hardened individualism of the 2nd Will. On the "noble" nature of his character he wrote: "My passionate desire for social justice and a sense of social duty has always been in a strange contradiction with the apparent lack of need for close communication with individuals and entire communities. I am a true individualist and have never given my heart undividedly to the state, to my homeland, to my friends and even to my own family, I have been attached to them, but I have always experienced an unremitting sense of alienation and need for solitude; this has only increased with the years... A person of this kind, of course, loses part of his spontaneity, his carefree nature, but he acquires complete inner independence.... 

In general, analyzing the nature of Einstein, you come to the conclusion that the autonomy and independence of his mind is inseparable from the autonomy and independence of temper, both merged in his nature and appears to the eyes of outsiders as a whole. Einstein classmate wrote: "Taunting fold in the corner of his plump mouth with a slightly protruding lower lip deterred filisters, discouraged them from closer acquaintance. 

Circumstances did not exist for him. Philosophically smiling, he looked at the universe and ruthlessly branded a witty joke all that bore the stamp of vanity and pretentiousness ... He fearlessly expressed their views, not stopping to hurt his companion. Einstein's whole being breathed such courageous truthfulness, which ultimately impressed even his opponents. 

As a student, Einstein, having received, along with other students, an instruction describing the problem and method of its solution, threw the instruction in the basket and carried out the solutions in his own way. One day an angry professor asked his assistant: "What do you think of Einstein? Doesn't he do things the way I tell him to?" The assistant replied, "That's true, Mr. Professor! But his decisions are correct, and the methods he employs are always interesting." Who will undertake to judge in this case what is of the independence of character (2nd Will) and what is of the selfishness of mind (1st Logic)? 

Einstein's unpretentiousness in everyday life and selflessness became a legend. He gave up priceless violins, turned bank checks with many zeros into bookmarks, was anecdotally careless in food and clothing, and I don't need to say that all these features of Einstein's behavior go back to his 4th Physics. 

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Perhaps, in justice, this mental type should have had a second name besides the name of Einstein, the name of Berdyaev. The fact is that Berdyaev was not just an "Einstein," but a man like few who looked deeply and honestly into himself, and his book "SelfCognition" is an outstanding monument of confessional literature. I refer those who are curious to this book, but for now I will cite only a few very expressive quotations that exhaustively describe the "Einstein's" order of functions. Berdyaev wrote: "I noticed the slightest shades in the change of moods. And at the same time this hypersensitivity was united in me with the fundamental dryness of my nature. My sensitivity is dry. Many have noticed this mental dryness of mine. There is little moisture in me. The landscape of my soul sometimes appears to me as a waterless desert with bare rocks, sometimes as a dense forest. I have always loved gardens, loved greenery. But there is no garden in me. The highest rises of my life are connected with dry fire. The element of fire is closest to me. The elements of water and earth are more alien to me. This made my life little cozy, little joyful. But I love comfort. I have never experienced melancholy and did not love this state. I did not belong to the so-called "soulful" people In me the lyrical element was weakly expressed, crushed. I have always been very sensitive to tragic things in life. It has to do with sensitivity to suffering. I'm a man of dramatic element. More of a spiritual person than a soul person. There's a dryness associated with that. I have always felt disharmonious in the relationship between my spirit and my soul shells. My spirit was stronger than my soul. There was disharmony in the emotional life of the soul, often weakness. The spirit was healthy, but the soul was sick. The very dryness of the soul was a disease. I did not notice in myself any disorder of thought or bifurcation of the will, but I did notice a disorder of the emotional. "Einstein's" impeccable self-diagnosis: 1st Logic, 2nd Will, 3rd Emotion. 

Berdyaev's autobiographical book contains many examples of the 4th Physics as well. Here are some of them: "Those close to me have even sometimes said that I have ascetic tendencies. This is not true; in fact, asceticism is alien to me. I've been spoiled since childhood, needing comfort. But I could never understand when it was said that abstinence and ascesis were very difficult... I had ascetic tastes and did not follow the ascetic path; I was exceptionally pityful and did little to realize it... Life in this world is afflicted with a profound tragedy... A state of longing is peculiar to me... I never had a sense of descent from my father and mother, I never felt that I was born of my parents. My dislike of all things ancestral is a characteristic of mine. I don't like family and nepotism, and I am struck by the attachment to family origins of Western peoples. Some friends jokingly call me the enemy of the human race. 

* * * 

To complete the picture, it would be good to give an example of an "Einstein" politician. And fortunately, there is a fresh and very expressive example of such a politician: George W. Bush. 

George W. Bush is, in my opinion, one of the best presidents the United States has ever had. Even during his vice-presidency, he drew attention with his equanimity, correctness, delicacy and loyalty. He played on the Reagan team and behaved in strict accordance with his place on the team and the rules of the collective game. When it was his turn to take over the White House, Bush, without changing anything in the spirit of the Reagan administration (both had the 2nd Will), changed a lot in his appearance and his system of priorities. 

The principles of collegiality, "delegation of responsibility," the desire for consensus, working for one's cause rather than for oneself, remained intact. People in the know said of Bush: "He presides, but he does not lead. "... He was born for that role. But he has spent most of his life working for others. One gets the impression that now that he has become the highest official in the state, he works for the presidency itself as president." At the same time, much has changed since Bush came to the White House. Under Reagan, "formal meetings arranged by White House staff turned into welcoming rather than business meetings. As a rule, the president would greet the group with a silly joke, followed by a cheat sheet of remarks that were supposed to raise his profile. As his guests spoke, he crunched his lollipops and nodded understandingly. Then it was "thank you," "God bless you," and "let's take a picture. 

Bush was told differently: "Bush is a serious listener and asks serious questions. Cribs and organized photography are a thing of the past. " "To replace the politicians recruited by Reagan... Bush brought in figures of a very different kind. Seats in his government were filled by people who were very competent and usually possessed of the broadest connections and experience. For them, throughout their political careers, ideological leanings have almost always played a secondary role. Pragmatism and professionalism are the two main qualities that American observers believe are 'abundant' in those who, led by Bush, constitute the core of the new administration." 

The difference in the manners of the two presidents apparently determined the difference in the position of Logic on the steps of their order of functions. Logic, Reagan's weakness, was Bush's main strength, and his versatile competence colored everything his administration did. In general, one gets the impression that God is witching America in a special way. The Bush presidency is a clear proof of that. He had to arrange it so that in the most dangerous period of postwar history, the collapse of the Warsaw Pact, the Soviet Union, the collapse of communist ideology, and the Persian Gulf crisis, Bush found himself at the helm of the American state as the most prepared president for this mission. Looking back now, one cannot help but be struck by the intelligence, tact and equanimity with which America emerged from that global turmoil. 

Especially revealing from the point of view of psychosophy is the war in the Persian Gulf. As we remember, man conflicts in accordance with his order of functions, consistently, from top to bottom, putting them into action. Bush behaved accordingly with regard to Iraq. Only when the futility of peaceful means of influence on the aggressor became apparent, he struck, but he did so in accordance with his order of functions: coldly and mercilessly (3rd Emotion + 4th Physics). 

The cold-bloodedness of Bush's 3rd Emotion had an effect on the outcome of his second term in office. Not positively, of course. Americans were fed up with a president who had no charm, with a strained smile, making clever, but extremely boring speeches. Although we now realize that Bush, by virtue of the 3rd Emotion, only looked insensitive, not was. But... Bush tried to explain himself to the public on this point by saying, "Of course, the president has to switch from domestic policy issues to foreign policy issues, and then back to domestic again, all the time. Sometimes, like today with that handicapped Thai kid from Bangkok singing, I get caught up in the emotion of the moment, and the emotion comes out. As I watched the happy face of this blind kid abandoned by his parents on the streets of Bangkok, now singing on the South Lawn, I must confess I had a spasm. But then the National Security Council meeting began, and thinking about the kid on the lawn was no longer possible. I had to concentrate on important matters of national security. But that's life. It's part of my job." But the Americans were too lazy to delve into the complexities of the president's mental organization and chose another, more outgoing, saxophone player. Bush had no choice but to console himself with the simple, obvious, but little effective argument: "Pudding is what it tastes like, not what it looks like." 

* * * 

The extreme rationalism and desiccation of Einstein's mental organization seem to rule out the fruitfulness of this type of activity in the cultural field. However, numerous images of Einstein himself with a violin in his hands already hint at a more often hidden but intense aesthetic life. 

Moreover, we can name three "Einsteins" who not only devoted their lives to art, but became the greatest painters in the history of the world. The reader will be surprised, but they are: Andrei Rublev, Leonardo da Vinci, and Georges Sera. 

Almost nothing is known about Rublev, very little about Leonardo, and little more about Sera than about Leonardo. But if we sort out the biographical crumbs according to the scheme we know, and most importantly, put their works, which are not comparable in time and space, next to each other, then a typical "Einsteinian" picture of the mental organization of all three will build up by itself. 

1st Logic. The works of all three are characterized by an intellectual richness which surpasses all commonplace. An analysis of the compositions of Rublev, Leonardo and Sera shows the mathematical verification of each point, detail and line, i.e. demonstrates the extraordinary strength of the artist's head, visible already from the way he builds the composition. The fact that Leonardo was a great scientist and engineer, while Serra was scolded as a "chemist" and "mathematician" only confirms the conclusions following from the analysis of their special compositional gift. Sera cross marked one characteristic statement in an article from the magazine "Ar": "In art, everything must be conscious" - and there is no doubt that both Rublev and Leonardo would have signed it. 

2nd Will. All three were short apprentices, quickly surpassed their teachers and soon found their own path in art. Although Rublev and Leonardo had teachers to envy - Theophanes the Greek and Perugino. All three were major reformers of painting of their time, but they did not create their own schools and did not seem to aspire to do so. The works of Rublev, Leonardo and Sera are characterized by statism and inner peace of the characters and nature, they seem to be washed by silence and peaceful solitude of the selfsufficient man. And all of this is a clear sign of "noble" psychology, strong, independent, creative, calm and self-confident. 

The 3rd Emotion. The paintings of Rublev, Leonardo and Sera are not paintings of feelings, but paintings of moods, i.e. of matter much more subtle than that usually represented by painting. The gestures and facial expressions of the characters are extremely restrained, and there is no stirring of any kind in the views of nature depicted on the canvases of these artists. Though only the smile of "Gioconda" was dubbed "mysterious", in fact all the art of Rublev, Leonardo and Sera is mysterious in its inexpressibility, in the indefinability of those states, which, existing at the level of ultrasound, can only be guessed in their works. All attempts to describe the moods of "Gioconda", "The Savior of Zvenigorod" and "The Courbois Bridge" are doomed, for there are simply no words to adequately convey their tenderness, subtlety and complexity. 

4th Physics. At the same time, if, greatly simplifying and coarsening, we try to formulate a typical mood for the work of all three, to name their emotional dominant, it would be sadness. As already mentioned, the "lazybones" are a people weakened vitally and give preference to darkly colored emotions. The sun in the paintings of Sulphur and Leonardo, if it shines, does not warm them. Color in the paintings of all three is complex and not vivid, volumes are not lush in sculpture, bodies lack power and libido, which is natural to the iconographic tradition of Rublev's time, but completely alien to the Renaissance and Impressionist tradition. 

History has left us no psychological portrait of Rublev. Leonardo was sometimes referred to by his contemporaries as a man extremely reserved in his feelings - and only that. Sulphur, however, was the subject of a small psychological portrait of him, which we can, with some adjustments, transfer to Rublev and Leonardo, as well as to all the "Einsteins" involved in art: "Dignified, modest and simple, but so imbued with the idea of the need and sufficiency of science and chemistry in art that it was astonishing. 

* * * 

Of course, "Einstein," working in the cultural field, is ready to declare his peculiar talent not only in painting. But not to stretch the narrative, I will just mention that a great example of an "Einstein" poet was Nikolai Zabolotsky. Read his poems, they say it all. I will cite only one quatrain by Zabolotsky, in which the poet named the Bottom and the Top with impeccable precision: 

"Through mouths, stomachs, gullets, 

Through the intestinal prison 

The central path of nature lies 

To a blessed mind." 

* * * 

Thin facial features, thinness, carelessness in dress - the characteristic features of the appearance of "Einstein. His hair is short and untidy, and his gaze is sad and ironic. Mimicry and gestures are almost colorless.