скачать книгу бесплатно
Seven – a feminine gender.
It is possible to recall the Greek tragedy “Seven Against Thebes”, recall the 7 sister-pleiad daughters of Atlant, whom Zeus transformed into a constellation, 7 sons and 7 daughters of Helios, 7 Saint Old Testament martyrs (7 brothers Maccabees), 7 angels of the Apocalypse, but the word “family”, in which the number 7Is clearly contained, speaks more eloquently about the number of members of the team. The family is 7I (seven I).
The 7 roles of the team is a fact observed by mankind throughout history and therefore reflected in the culture, traditions and religions of the peoples of the world.
7I – UNIT OF SOCIETY
Family – it is not just the team connected by ties of marriage and relationship. Family – this is a compulsively established, lapped team. It is known: if characters in the family don’t get on well in any way, then there are no ties of relationship or marriage will keep the family from destruction.
Any team is not just a set of a certain number of members. The team has an internal device – a system of relations between its members. The relationship in the team is built up not at once. Each person needs to find his “place” in the team, everyone must take his “position”, should get his role. “Places”, “Position”, roles – this is all the same. The team has 7 “places” (“positions”, roles).
People, wised with life experience, know that in the team it is necessary to “establish” themselves. It means that with the certain behaviour one has to declare his claims for quite concrete “position” in the team. However, not everyone can like the claims regarding this “position”. In response, the others can “point to his place”. They can also put someone “in place”. And it will not be the place where the person would prefer to “put” himself.
In the process of lapping of people in the team, there is a fight between them for roles, for “places”, for “positions”. There are role arguments and showdown. If a person in the team is offered or imposed a role that does not fit to the certain mode of thinking, then he has a mental discomfort. He attempts to change the attitude towards himself, tries to change the position in the team. As a result, he either obtains the other role or accepts his role (“love comes with habit”). Otherwise, he has to leave this team, and then they say about him: “He didn’t get on well in the team”. In working teams say: “We haven’t worked well together with him”.
Eventually, members of the team get on well with each other and the relations between them are stabilized. The team with established and settled relationships is called a lapped, established team. In such a team all roles are occupied and, most importantly, the roles that are occupied suit all members of the team.
Each team attempts to become established and lapped team. As the team has 7 roles, the team wishes to consist of 7 members, from 7I.
If the team has fewer members than 7, then the team achieves to get members for unoccupied (vacant) roles, and if the number of members in the team is more than 7, then the team achieves to get rid of excess members.
They say that the family is a unit of society. It is true. Established, lapped team – this is a unit of society. Each established, lapped team consist of 7 members, of seven I.
LANGUAGE OF FEELINGS AND RELATIONS
Now let us talk about where the roles come from. By the way, everywhere in this book the word “role” is understood not as a role of theatre or cinema, but a psychic role.
People communicate with each other not only in the language of words, but also in the language of feelings (emotions, moods). And the language of feelings is a language of relations. It is not a coincidence that question: “What is your attitude to it?” – is always a question: “What feeling do you have about this?” Therefore, in reply, they tell of some feeling. They say: “I treat this with admiration (contempt, joy, pride, distrust, envy, hatred, ecstasy, horror, satisfaction, etc.)”.
Relations and, consequently, feelings, have a role nature. They, explicitly or implicitly, always connected with “places”, “positions”, roles. With the tone of speech, gestures, facial expressions, posture, by which people express their feelings and attitudes, it is possible “to indicate to a person his place”, and it is possible to “put a person in place.” Another thing is that in response you can hear: “What do you take me for? In what tone are you talking to me?!” Such a response means that a person does not like the role (that “place”) that he was given, does not like the “place” to which he is “put”.
Each feeling, except for strength (depth), has also a role direction. Each feeling is an attitude that is directed from one role to another. Experiencing some feeling, the person is in the role with which this feeling is connected. At the same time, referring to another person with this feeling, he suggests (points) him to take that role to which this feeling is addressed.
Example.
The sense of superiority is the attitude, reversed from the role of the Head-Idol to the role of the Victim. When you look down at another one, with superiority, then at this moment you are on the role of the Head-Idol, and you with tone of excellence “point the place” (you instruct to take the role of a humiliated Victim) to that person to whom you address with superiority. In response, you can hear: “In what tone are you talking to me?” What do you take me for?! What are you here pretending to be in front of me?” – This means that he does not like the “indicated place” (the role of the Victim), and he does not recognize your claim to the role of an Idol.
3 feelings are connected with each role (emotions, moods, state of mind). In the end, 7 roles are related to each other with 21 feelings, which constitute thebasic set of feelings. From this set, all the vicissitudes of relationships and experiences are composed, just as words and sentences from the letters. There is a scheme of the relations between roles and role record of feelings which are actively used in the role theory of feelings and relations.
Any relationships are always the role relationships. Psychic roles are within each of us. 7 roles are the 7 beginnings of each person, those are his 7 primordial forces, those are the 7 “poles” of his soul, those are 7 “back streets”, 7 “snugs” of the soul. The 7 roles of the team are only the manifestation of the seven I, living within each person.
CHARACTER FORMATION AND QUALITY OF THE SOUL
But getting back to the team…
To become a part of the team, a person needs to enter the team for some role. The only question is, for which particular role? Usually, in the team, there are occupied roles, and there are also unoccupied (vacant) roles. And then it turns out that anyhow a role for a person does not fit. Not all roles are equally acceptable for him. There are roles that he likes, and there are those that he does not like. What does it depend on? – From the character formation.
People are different. Each person has his own character composition, his own set of spiritual qualities, his own peculiarities of character. Qualities of the soul, traits of character, peculiarities of character, the tendency of nature – all this same, is role preferences of the person. Each person attempts to occupy the most preferred role for them in the team or at least one of the acceptable roles to him. Another thing is that not always such roles are offered to him. It happens that those roles are already occupied by someone.
The most preferred role is the dominant of the character. It defines the type of character, therefore it is called as well the essence of the character, the essence of the soul or simply the essence of a person. Questions: “What is his character? What is his type of character? What is the essence of his soul? What is the essence of this person” are always a question about what role dominates in the character of this person.
The feelings connected with the role dominating in character generate the leading traits of character of the person. For example, the feelings connected with a role of the Idol – pride, joy and complacency; – generate the corresponding qualities of the soul: arrogance (superiority), idleness (hospitality) and laziness (self-complacency, self-content). If the role of an Idol dominates in character of the person, then those traits of character will be the leading traits of his character.
Of course, the character of a person is not reduced to the dominant of the character (to the most preferable role). Every person is familiar with all the roles, in every person, there is his 7I. However, in the characters of different people there is a different ratio of those seven I. Some I in the character are in a surplus, and others I is lacking. For example, there are people in the character of whose there is a surplus of selfishness and cunning, and heroism and self-sacrificingness is lacking. And others are different: arrogance, idolatry is excessive, and hardness and perseverance is lacking.
To find out the character formation of the person it is necessary:
– At first, it is necessary to reveal the prevailing roles, it is necessary to find out what qualities of roles (what “I’s) in the character are in a surplus and what – in a shortcoming;
– Then it is necessary to distribute the roles according to the degree of their preference for this person. The most preferred role is the dominant of the character (the basic “I” of a person), the less preferred role is his second “I”, an even less preferred role is his third “I”, etc.
As a result, it is possible to make a mental portrait of the person, i.e. a portrait of his soul.
7 heads of Rugevit
In the picture shows the ancient Slavic god Rugevit. 7 heads of Rugevit under the hat – this is the 7 of his I. The upper head of Rugevit is his basic I (the dominant of his character). Two heads below are two other roles that prevail in his character (the other two “I’s of Rugevit).
It should be noted that not only the Western Slavs worshiped to a seven-faced idol. The Nenets also worshiped their seven-faced idol Vesako on the island of Vaigach.
The idea of the seven I am clearly expressed in the petroglyph from Khakassia: a seven-headed creature is depicted on the stone and 7 people are next to it.
The petroglyph from Khakassia
7 ROLES – 7 TYPES OF THE CHARACTER
7 roles generate 7 types of character (7 psycho types). It happens like this. Having received a role in the team, a person gradually gets used to it and the role becomes familiar to him. Staying on the role does not pass without a trace. Together with the role, a person receives and a set of feelings connected with it, which begin to manifest in the tone of speech, in gestures, facial expressions and poses. Gradually they are getting fixed in manners and habits, and, in the end, become the features of his character. So the role becomes the dominant of the character of a person. The proverb: “Sow an act – reap a habit, sow a habit – reap a character…’, describes the process of transforming of the taken role into the dominant of the character.
Example.
It happens that the person has got the role of an Idol in the team. It means that all treat him with a honour, respect, awe. If the role of an Idol is acceptable to this person, then, being on this role, he does not feel emotional discomfort. Over time, having got used to the role, the one, as it is peculiar to an Idol, begins to look down at others, with a sense of superiority. The role of an Idol is fixed in features of the character. A person becomes arrogant, haughty, assumptive. He develops aristocratic manners. And he behaves like an Idol not only in the team where he was assigned the role of an Idol, but also among other people. He already can not and does not want to behave in another way. It means that the role of an Idol became a dominant of his character, became his basic I, became the essence of his soul. Such person will try to occupy a role of an Idol in any team. What if the role of an Idol is occupied by someone else? If there is already the Idol with all his dignity? They begin the fight for the role of an Idol in the team. They can’t stand each other. They have role conflicts and showdown. Everything will end when one of them will either leave the team, or will stop to apply for a role of an Idol – “will break off his hubris”.
There is a connection between the character formation of the person and the features of his body. For example, a good-natured joker is always describing fat, a cunning person with a long nose, and a smart guy with glasses. Speaking about the strong man, it is necessary to emphasize his simplicity, they will say: “Brains are not needed when you have power”. But the clearest connection of character with the features of the body is reflected in the word “grabber” and derivatives of it: “selfishness”, “selfish habits”, “self-interests”. The word “grabber” – although it is connected with fell (skin), but speaks about quite certain features of the character.
The connection between the body and the soul is not fixed. Not all idols are fat. Not all cunning people have a long nose. Not all clever people have weak eyesight. Not all athletes are simpletons. Not all grabbers have a sensitive fell (skin), etc. But all the same, the connection between the body and the soul exists.
Observed by people, and, therefore, the really existing connection of the person’s character with the feature of his flesh can be explained in a different way. However, only the fact of the existence of such connection is important for the understanding of the character formation, and its nature (the physiological mechanism) does not matter.
Well, now, at last, about the seven I – about 7 roles and about 7 types of character. Those are 7 colourful, well-recognized characters. Each person easily recognizes in them their relatives and friends and acquaintances, neighbours and colleagues. He recognizes himself, because 7 roles are 7 faces, 7 essences, 7 hypostases of each person.
The story of the roles is conducted according to the scheme: role – feeling – spiritual quality (features of the character) – behaviour (actions). In other words, feeling connected with the role, generates a spiritual quality (a feature of the character), which, in turn, generates actions and behaviour.
§2. HERO
THE FIRE OF THE SOUL
There are people with “ardent hearts” and “ardent” souls. These are “ardent” fighters and “ardent” orators. They have “ardent” speeches and “ardent” ideas. Ardour is called “blaze”, “fire”, “fervour” of the soul, and people who have an “ardent motor instead of a heart” can be called heroes.
The role of the Hero is related to the energy of the body. People, in whose character the role of the Hero dominates, are people with increased energy, with a large reserve of vital forces. They are active, energetic people.
They are “hot” people. They do not tolerate the heat. They love the cold, the frost, the winter – like Pushkin’s Tatiana from “Eugene Onegin”:
Tatiana (Russian soul,
not knowing why)
With her cold beauty
Loved Russian winter…
They are drawn to coolness, to the water. They like swimming and other funs with water.
Water – the most mysterious liquid of nature, performs an important role in the energy of the body. Water, as a source of strength, is given much attention in fairy tales and bylines. For example, Iliya Muromets gained heroic power after the Magi give him three buckets of water. Tzar Koschei manages to find the former strength and break the chains after he drinks three buckets of water.
The Hero’s role is connected with three feelings: inspiration (excitement, courage), boredom (spleen) and tenderness (pity).
INSPIRATION
Feeling of inspiration is a feeling of excitement, passion, rapture, winged sentiments, daring, courage, drive.
Inspiration is called high spirits, called a state of lightness, freshness, vivacity. The person in high spirits goes “the flying gait”. Inspiration “spreads the wings of the soul”, gives “wiggle the wings of the soul”. This is the state of being in love – that is why they say that love inspires.
Inspiration generates such feature of the character as “soar” – the desire and ability to go beyond the ordinary, to rise above the daily routine. The feeling of inspiration generates the desire to fly.
Inspiration is a feeling of freedom. When a person has got an inspiration, they say that a person caught spirit; they say that he has a mischievous mood. He begins to improvise. He gets spontaneity and immediacy of action. He becomes unchained and liberated.
The inspiration is a creative beginning in the person. It is a feeling of sincere, creative uplift. Often during a spiritual, creative upsurge, a person rushes with “burning eyes”, not knowing what to do with himself.
The feeling of inspiration is well conveyed in the famous masterpiece of Russian romanticism – “The Song of the Stormy Petrel”.
Over the gray plains of the sea, the wind gathers clouds. Between the clouds and the sea, the Stormy Petrel flaunts proudly, like a black lightning.
Then touching with the wing the wave, then soaring like an arrow to the clouds, he screams, and – the clouds hear the joy in the courageous scream of the bird.
In this scream – THE THIRST OF WINDSTORM! The power of anger, the flame of passion and the certainty of victory are heard by the clouds in this scream.
The thunder roars. In the foam of an anger, the waves moan, arguing with the wind. The wind covers waves with a strong embrace and throws them with scope in a wild rage on rocks, breaking emerald bulks in dust and splashes.
Here he rushes as the demon, – the proud, black demon of a storm, – both laughs, and sobs…
He laughs over the clouds, he sobs with joy!
This is a courageous Stormy Petrel flies proudly between lightnings over the roaring angrily sea; that screams the prophet of a victory:
– LET THE STORMWIND WILL BE MORE STRONG!
The feeling of an inspiration generates to the desire to plunge into the storm, to bathe in it, to surrender to it completely, without a trace. In such state of soul of a person, having stretched hands, jumps in a grass, runs out during a thunderstorm under heavy rain streams, swallows of them, trying to embrace the raged elements. With such feeling fly, young horses jump on a steppe scope, puppies play and behave outrageously.
These people tend to live and act at the limit of their forces and capabilities. The principle of karma-yoga is suitable for them: “Act on the limit – and you will step over your limits”.
Heroes are people who are addicted. It is extremely dangerous to go on a car if it drives a person with a heroic character. He can not go quietly, his “eyes are burning”. He needs spirit, drive. He will definitely arrange a dashing, risky race.
People with the heroic character achieve to the extreme, emergency situations. They always go on aggravating the situation. Only in an extremely acute, critical situation, in situations connected with danger and risk, they can throw out their energy and fall under the drive, fall under a sense of excitement and inspiration.
People with the heroic character constantly reach into fire and water, get involve in fights and wars, take part in risky escapades and adventures, in riots and revolutions. They conquer mountain peaks, soar to the skies, descend to the bottom of the seas, go with a bear spear for a bear. The main thing is that they can not and do not want to live in peace. Everything that is not related to the marginal risk is for them a deadly boredom:
And he, rebellious, asks for a storm,
As if in windstorms is a peace!
Heroes are offenders, rebels, extremists, revolutionaries. Revolts and revolutions are a social storm. Heroes draw on the thick of events, in the most hell, at the very top of the attack. It is not by chance that the “Song of the Stormy Petrel” was an anthem of the revolutionary youth of the beginning of XX century.
The lot of Heroes is a deadly risk and a passion for the attack. Pushkin’s poem “Poltava” describes the feeling of fighting the inspiration of Peter I.
His eyes…
Are shining. His face is awful.
Movements are fast. He is beautiful,
He is all, like God’s thunderstorm.
…Powerful and joyful, like a fight.
He devoured the field with his eyes.
“The aspiration to danger lies in the basic of all great passions” – Anatole France said.
The attractiveness of difficulties and dangers for heroic character is reflected in one of the songs of a climbing cycle of V. Vysotsky:
Here is not a plain, here is another climate —
There are avalanches one after another.
And here behind a rockfall, the rockfall roars, —
And you can turn off, round break —
But we choose a difficult way,
Dangerous, as a military track.
And from the narrow-minded point of view, there is nothing more unreasonable, than useless and dangerous climbing on the mountains or going in unnecessary campaigns. For the inhabitant, it is more reasonable and civilized to spend time in the summerhouse, in a rest home or in a resort near the warm sea. There is no need to jump in the winter to an ice-hole if you can spend time culturally and with dignity in the warmth and comfort at a good table.
People with fire in the soul are always directed forward, upward, into the “Houses in the Holy”. They live forever in the search for a new one, they grab for everything at once. Their eyes burn with a mischievous, “demonic” brilliance. They are maximalists – they do not know the measures in anything. They do not need a titmouse – give the crane out of the sky. They – “from the frying pan into the flame”. In their rules “to love – so the queen, to steal – so a million”, “to walk – so to walk, shoot – so to shoot”, “either the chest in crosses – or the head in the bushes”. In their aspirations, they are uncontrollable.
The life of a person with a heroic character is the “wheel of Fortune”. He can win, but can lose; can win in battle, and can be defeated, can steal a million and love the queen, and maybe lose his head. He is rich today, tomorrow is poor, and after – again with money. However, the prosperity, wealth, social position, the opinion of others, however, the very presence of opinion, as well as the lack thereof, does not interest the Heroes. And any result of their adventures does not matter to them: “Movement is everything, the goal is nothing”. Heroes do not appreciate what they did, and do not take care of what they achieved. People with a heroic character need only one thing – a feeling of an excitement, inspiration, courage, drive. And only for the sake of this feeling they ask for trouble, look for adventures on their own head. It is said about them “violent”, “rabid”, “irrepressible”, “restless”.
To the questions of the inhabitants: “Well, what do you want, why do not live as well as all? It is not seriously, unworthy. It is time to settle down and let the mind come”, – Heroes sometimes tell a legend from representations clear to inhabitants. They are talking that they need a fame, need money and other but in fact, Heroes do not need it all. The hero needs a storm and the intensity of emotions, and serene philistine peace, even furnished with all sorts of amenities, Heroes do not need.
Heroes are very passionate, addicted players. Everything for them in life – is a game. Any risk, any danger – no more than a game. And the more opponents in this game, harder it is – more exciting, more interesting. The war for them – this is also a game. Heroes are boys who have not played enough in their childhood in the war.
In clothes and life, people with a heroic character are tend to confusion. Their own appearance does not interest them. They can have clothes with spots and holes. It has been said that: “A Hero – trousers with a hole!”
After a walk children with a heroic character have their clothes torn, elbows and knees are broken, and they are wet and dirty. They only need to rush, rave and kick up a raw. Such boys always play in the war, and girls play with boys more than with other girls.
People with an ardent soul are different with a big passion, ardour of feelings. They have all the feelings of fire, painted with the ardour of the soul. If they love so love so much, believe so believe, hate so hate, are jealous so are jealous. They have everything over the edge, and all the feelings are also over the edge. They are hot but not cool-headed. For example, in “The song of the Petrel” together with a feeling of passion and an inspiration the Petrel splashes out both joy, and pride, and laughter, and anger…
The Hero’s role can also be called the role of the Passionate, and people, in whose character the Hero’s role dominates, people, with a passionate, ardent soul, can be called “passionaries”, from the Latin “passio” – “passion”. The term “passionary” was introduced by L.N. Gumiliov in the work “Ethnogenesis and the biosphere of Earth”.
All passionate, gambling, inspirational is called incendiary – incendiary dance, incendiary music. If a person does something with excitement, with a fire in his soul, then they say that he “lights”, “burns”. A person with a “fire” in the soul and eyes “burn with fire”, and he works “with a spark”.
Inspiration, passion, excitement, courage, drive – this is the very “ardour”, “heat”, “fire” of the soul. Incendiary is a property of a heroic character. People with a heroic character “ignite” who surround them, infect them with their energy, their passion and their flame. Others begin to act energetically as Heroes, although such behaviour does not suit them in this way and in Heroes absence they do not show creative activity, excitement and inspiration. The hero is the instigator. The child with a heroic character surely “will keep in toes” the group of kindergarten, a class of school, a group of a summer camp.
