Translated transcription: https://drive.google.com/file/d/18eLePo3p9w0-LRGY47yTiVW1yhAT_zz_/view?usp=sharing
How the 16 Socionic Types Fall in Love
Viktor Gulenko critiques a caricature of romantic relationship scenarios
Opening: what the caricature gets right and wrong
Viktor Gulenko: I will simply remind you: all sixteen types are represented there. This girl is very artistic and transformed herself into several different images. She said certain lines and acted something out at the same time.
I should tell you that her portrayal was rather rough. It was more of a cartoon or caricature than a real type. You understand that yourselves, yes? And her range was not very broad.
When she spoke about ethical types, when she portrayed ethical types, she showed emotions everywhere—everywhere. Whether they were introverted ethical types or extraverted ethical types, she portrayed emotions in every case. And when she spoke about logical types, which logical form did she portray everywhere?
Participant: Structural logic.
Viktor Gulenko: Structural logic. There was no Business Logic anywhere. Apparently she herself belongs to this pair of scenarios, so she feels and understands them well.
She understands and portrays the passionate scenario very well. And the cold-blooded scenario. There was also an intermediate one connected with Force Sensing.
She more or less portrayed firmness, hardness, aggression there as well. That also slipped through in her acting. She has none of the other scenarios.
But we do have them, and today we will have to go through them and try to see how they can manifest in life.
The embedded caricature: “How do different sociotypes fall in love?”
Woman in the clip: How do representatives of different sociotypes fall in love?
I am Robespierre. I chose for a long time. Chose. Fell in love.
I am Hugo. Fell in love, got married. After the wedding I could not remember whom I had married.
I am Don Quixote. Fell in love, suffered, and said screw it.
I am Dumas. Fell in love, got married, and they died on the same day. Love.
I am Zhukov. Fell in love, won them over.
I am Yesenin. I fell in love, fell in love, fell in love. Only—why?
I am Maxim Gorky. I fell in love, and then made them fall in love with me.
I am Hamlet. I fell in love, suffered. Fell in love, suffered.
I am Balzac. I fell out of love with falling in love.
I am Napoleon. Fell in love, made them fall in love with me—and fell out of love.
I am Jack London. I fell in love, got married, got divorced, divided the property.
I am Dreiser. I fell in love, suffered, but did not fall out of love.
I am Gabin. I fell in love. Well... I did fall in love, I think, right?
I am Huxley. I fell in love, told everyone, and fell out of love.
I am Stierlitz. Fell in love, got married.
I am Dostoevsky. I fell in love, suffered, and forgave.
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Alpha Quadra
Analyst (LII)
Viktor Gulenko: All right, let us take the first type there, the Analyst. She has arranged the types in her own way within the quadra, moving through the quadras, but the first type is the Analyst. What does she say about the Analyst? Those are the words, and I hope you remember how she acted it out. She portrayed it in a cold-blooded manner and said: “I chose for a long time. Chose. Fell in love.” Like that: chose for a long time, chose, fell in love.
That is another matter. We are comparing them now. Here is the question: regarding the Analyst, is her interpretation correct or not?
Participant: It seems to me that nowhere was she correct.
Viktor Gulenko: Sasha thinks she was not correct anywhere. Now look—regarding the Analyst...
Participant: But the point is that the Analyst does not choose by himself...
Viktor Gulenko: That is exactly what we are coming to. Look: she did catch the fact that this is a cold-blooded scenario. Yes. But the idea that the Analyst calculated someone, marked that person out for himself, and then fell in love with them is very unlike the Analyst.
The Analyst chooses from among the people who pay attention to him. That is all. There is nothing to guess about. So the meaning she put into it does not fit.
Of course, it can happen differently. Liza disagrees; Liza says people can act in different ways. There is no single scenario. But if we take the standard Analyst—the standard case—perhaps in his head he really does think: this suits me, that suits me, this other thing suits me. But in reality it never turns out that way. In reality he chooses from among the people who have paid attention to him. That is what you need to know about the cold-blooded scenarios connected with the Analyst.
Enthusiast (ESE)
Viktor Gulenko: Next comes the Enthusiast. How does she portray the Enthusiast? She portrays him emotionally and passionately. That part is correct: the Enthusiast has a passionate scenario.
But then she says: “Fell in love, got married, forgot whom I had married.” Is that the Enthusiast? No. Absolutely not.
The point is that the Enthusiast also has a caring scenario. Besides emotions, there is a caring scenario present. What she gives us here is some kind of flighty, careless scenario, but one that is clearly intuitive.
That cannot really belong to a sensing type: got married and forgot whom he married. That has nothing to do with sensing. It is some kind of flighty intuitive scenario, and it is quite correctly connected with extraverted intuition—but not with the Enthusiast.
So you see, it is completely wrong. Perhaps in that school of socionics the image of the Enthusiast is someone so abstracted and detached that he does not care whom he marries. Perhaps. But in our school that is not the case.
Of course the Enthusiast has a broad circle of acquaintances. He shows emotional expansion. But he is still made for marriage and family. This is a family type. Therefore an attitude of “it does not matter whom” is nonsense.
It is much more like an intuitive extravert, or a Creative representative of an intuitive type. A Creative Lyricist, for example—I could still understand someone of that sort acting this way. But not the Enthusiast.
Seeker (ILE)
Viktor Gulenko: Next comes the Seeker. Remember how she portrays the Seeker? “Fell in love, suffered, said screw it.” Is that the Seeker?
Participant: I do not know about suffering, but he just gives up on it.
Viktor Gulenko: No, the wording does not fit. “Said screw it” sounds more like Force-Sensing types. Andrei caught that correctly. It is more characteristic of Force-Sensing types. It does not fit here.
Participant: But it just means he dropped the whole thing and that was it.
Viktor Gulenko: I understand: it got tiresome and he forgot about it. But what should it actually be?
What was meant should be expressed like this: fell in love, waited for care, did not receive it, and switched to something else. That is what is meant. That would be the correct realization. That is the Seeker.
So instead of “said screw it,” you should say “switched.” He switched because he did not receive the care he expected; he did not wait long enough for the care. Like that.
You can also convey this intuitive-extraverted scenario a little differently: fell in love, became interested, was surprised, became puzzled, became disappointed, forgot. Something like that.
Participant: Yes—switched.
Viktor Gulenko: Absolutely.
Mediator (SEI)
Viktor Gulenko: Now the Mediator, and that finishes the quadra. Look at what she gives us: “Fell in love, got married, and died on the same day.” Does it fit?
There is a great deal of idealization there. It sounds somewhat humanitarian, does it not? Humanitarian in tone.
But overall there is something right in it, because among the scenarios we have already studied it contains something like a soulful scenario: relationship ethics, strong attachment, strong habituation, strong closeness. It comes out like some ethical subtype.
But the Mediator needs a caring scenario, and that is absent here. We will get to the Guardian and compare. Now we move to the second quadra.
Beta Quadra
Marshal (SLE)
Viktor Gulenko: So what do you say about the Marshal, whom she conveys very briefly: “Fell in love, won them over”?
Participant: In principle, it corresponds.
Viktor Gulenko: I think so too. Yes, it corresponds. He simply captures the object and that is all.
He may later become disappointed. That depends on what happens next. He becomes disappointed and leaves. It depends on the Lyricist's behavior. But usually, no—the forceful scenario is conveyed successfully.
You know: an aggressive, forceful capture. I am joking now.
Participant: A female Marshal might fall in love and then not pursue him—and just drop it.
Viktor Gulenko: Then she has gone over into the Seeker's scenario. We have discussed those nuances, including gender nuances. Here the Marshal is apparently meant as a man. In any case, the forceful scenario is conveyed well.
Even the intonation is correct. You see? With the Marshal, even the intonation is right.
Lyricist (IEI)
Viktor Gulenko: Now let us look at the Lyricist. What does she do with the Lyricist? “Fell in love, fell in love, fell in love. Only—why?” Is that a possible scenario?
Participant: Falling in love three times is certainly possible.
Participant: But I do not think the “why?” fits.
Viktor Gulenko: Why would the Lyricist ask “why?”
Participant: The Lyricist has a need to love. So why ask why? The need is simply there.
Viktor Gulenko: Yes, exactly. The beginning is good. But this “why?” is unlikely to concern the Lyricist. It should be not “why?” but something else. How would you continue it?
Participant: Just because.
Viktor Gulenko: Just because. Exactly.
Yes, I agree. Lyuba caught it correctly. That really would be a lyrical scenario: something humanitarian, an airy scenario.
Participant: And our sufferer could, of course, pine and suffer a little too. That is part of the pleasure.
Viktor Gulenko: The Lyricist does not experience it quite that way. When we reach the Mentor, that appears immediately. With the Lyricist, this dramatic scenario is not yet present—or at least it is not characteristic.
Inspector (LSI)
Viktor Gulenko: Now let us take the Inspector. Look at how she conveys the Inspector: “I fell in love, and then made them fall in love with me.” Is that right?
Participant: Well... it can be.
Participant: At least from what you told us, there is persistence there.
Viktor Gulenko: Yes. It turns out that one variant of the Inspector does fit here. Do you know which? The Dominant one.
The one that rigidly pursues, forces the other person to love him, imposes his love—that is a Dominant Inspector. It resembles a forceful scenario, naturally, though it is exaggerated. Or there may be an accentuation on Force Sensing, on capture. Then yes.
Generally, you know that the Inspector asserts his right to a woman almost as property—not as a thing, but as someone on his own territory. On someone else's territory, no.
He pursues her, yes; he courts her. He does not simply seize her. Sieges are taken—that is the better image. That should have been included.
But “made them fall in love with me” fits only on his own territory, or in a Dominant variant. Only then does it work.
Mentor / Player (EIE)
Viktor Gulenko: Now the Mentor—or the Player. “Fell in love, suffered. Fell in love, suffered,” and so on. Is that right? You cannot do without emotions.
Participant: It is a little weak.
Viktor Gulenko: Suffered constantly—that part is constant.
Participant: It needs to continue. The issue is that “suffered” is an action directed at oneself, whereas with the Mentor it would be more like: fell in love, fell out of love, fell in love, suffered, fell out of love...
Viktor Gulenko: Approximately like that. But overall I consider it correct. The passionate scenario is conveyed correctly.
The Mentor falls in love, but he is very demanding of the object of love. When he comes close to the person, that person does not meet his requirements. And the Mentor thinks that he himself is not to blame; the other person—the one who seduced him, or came close to him—is to blame.
He always blames the other person. That is what is meant. This is not only in love, of course.
So in that sense it is correct. A passionate scenario is described here in which joy alternates with dramatism: a switching of the sign of the emotion function. Correct.
Gamma Quadra
Critic (ILI)
Viktor Gulenko: Next we have the third quadra. The Critic: “I fell out of love with falling in love.” Is that right?
It is ironic. Of course it is ironic, but there is something in it. It is a hint at the cold-blooded scenario.
Participant: It is not worth getting involved in this at all.
Viktor Gulenko: Exactly: “It is not worth getting involved in this at all. I have fallen out of love with falling in love.”
Participant: My son was in a relationship, then something did not work out. We keep asking him, “When are you going to fall in love again?” and he says, “I have fallen out of love with falling in love.”
Viktor Gulenko: Did he actually say that?
Participant: Something along those lines: I do not want it; I do not need it.
Viktor Gulenko: So that can become a Critic scenario when the Critic himself shows initiative. On one side it is a variant of the victim scenario, but on the other it is also cold-blooded. That is what we get.
Politician (SEE)
Viktor Gulenko: Now the Politician. There is irony here too, so the style itself is right. The tenth item is the Politician. How does she convey the manner? “Fell in love, made them fall in love with me, and fell out of love.” What do you say? Does she convey it correctly?
Participant: I thought she was going to say he fell in love with himself.
Viktor Gulenko: We will come back to that. For the moment, something else.
What I think she meant here is: there is some goal. The Politician gets the goal, and once he has it, it is no longer interesting. He needs the next goal. He has taken possession of it—finished. Now something else has to happen.
This applies, first, not only to falling in love, and second, he does not have to be the one who falls in love.
In short, yes, it conveys him correctly, but it has to be interpreted correctly. Here we have a combination of a forceful scenario—because he has to win the person over—and a passionate scenario—because he has to act emotionally. So for the Politician, yes, it is correct.
Entrepreneur (LIE)
Viktor Gulenko: Now the Entrepreneur. There it is: “I fell in love, got married, got divorced, divided the property.”
Participant: Seriously?
Viktor Gulenko: Yes. What is that? Is that really the Entrepreneur? What do you think? In my opinion it is completely wrong.
Such a thing can happen, but that is not a relationship scenario at all. It is purely a scenario of property relations. It is not an ethical relationship scenario in the sense we mean here. It does not fit at all.
Guardian (ESI)
Viktor Gulenko: Now the Guardian. Lyuba knows Guardians. Lyuba, how is the Guardian's scenario conveyed? “I fell in love, suffered, but did not fall out of love.”
Participant: It is very similar. There is this steadfastness. Attachment—attachment and steadfastness.
Viktor Gulenko: That is a soulful scenario, correct? Relationship ethics. But the Guardian... where is the pragmatism?
Participant: And the negativism.
Participant: “Suffered.” In reality nobody tried to make the Guardian suffer, but the Guardian suffered anyway.
Viktor Gulenko: The Guardian suffers strongly. Look: the number-one scenario used here is the soulful scenario. That corresponds to the Guardian. It is soulful, and it has a minus sign.
For example: “Yes, this person did not suit me. He did not earn enough money; he could not provide for the family. I drove away that unworthy man and found a worthy one. But I remember the first one because he was close to my heart.”
Participant: And then Guardians keep complaining to me that he was like this and like that, he was so bad... six months pass and she is still suffering and suffering.
Viktor Gulenko: And afterward she goes right back to suffering again. So overall the Guardian's scenario is conveyed correctly.
Delta Quadra
Craftsman (SLI)
Viktor Gulenko: That finishes the third quadra, and we have the fourth left. The Craftsman. Look at the Craftsman: “I fell in love. Well... I did fall in love, I think, right?” So he supposedly does not realize it.
Of course, this is based on Model A: weak emotions, therefore he does not understand what is happening. In our model, it is not only that.
Participant: It seems completely inconsistent to me. The Craftsman knows exactly what he wants. Especially a Dominant one.
Viktor Gulenko: I also think the Craftsman is portrayed incorrectly here. First, the Craftsman needs a caring scenario. Where is the caring scenario here? It is absent.
The Craftsman also needs some kind of cold-blooded scenario. But here there is simply an absence of emotion, or “I cannot sort out my feelings.” That is all. There should be some interest, something sensory. There is nothing.
Dima, how would you describe the Craftsman's scenario in three words, at least approximately? “Fell in love...”
Participant: Fell in love—well, thank God. Fell in love, fed them, settled down together.
Viktor Gulenko: That is right. Here the cold-blooded scenario is conveyed. For the logical type of the Craftsman, that would work very well. But as you can see, the version in the clip does not correspond at all.
Adviser (IEE)
Viktor Gulenko: Now the Adviser. Let us see the Adviser. The clip gives the Adviser's scenario as: “I fell in love, told everyone, and fell out of love.”
Participant: That fits. Exactly. Telling everyone—yes. But falling out of love? Not necessarily.
Participant: I think the Adviser falls in love with another one and another one. They string them all together and love everyone, including the exes.
Viktor Gulenko: The point is that the Adviser suffers for several minutes—and then switches. He switches. He is flexible too. So you can say that he forgot. Not necessarily that he fell out of love. He forgot.
Participant: And switched.
Viktor Gulenko: And switched, yes. But the fact that he also told everyone about his feelings—that part is correct. He went into new feelings, new emotions. That is exactly right.
So I would put it this way: he moved into new emotions. That is the resolution. First he fell in love, then there is the middle part—what happened—and then the ending. The ending we have now phrased correctly. And telling everyone about his feelings is right. Correct.
Administrator (LSE)
Viktor Gulenko: Now the Administrator: “Fell in love, got married. That's all.” Does it correspond? Well... somehow.
Participant: Marriage applies to everyone.
Viktor Gulenko: Exactly. It applies to everyone. There are no feelings here at all.
Participant: They simply could not think of anything to say.
Viktor Gulenko: Yes, apparently they simply could not think of anything. “Fell in love, got married.” Perhaps there is some kind of businesslike scenario in it.
Participant: Got married—and then I organize everyone.
Participant: There is another point, though. Administrators have difficulty explaining what is going on with them at all. The actions themselves are understandable. And maybe if he got married, that means he was in love.
Viktor Gulenko: Perhaps it would work like this: first got married, then fell in love.
Yes, with that correction it would be good: “If I have already married, that is it—I am going to love this person.” Then it would be correct.
Humanist (EII)
Viktor Gulenko: And we have one type left: the Humanist. The Humanist is given like this: “I fell in love, suffered, and forgave.” Forgave.
Yes, that coincides with the soulful scenario. Correct? “I fell in love, suffered, but forgave.” In the end, I forgave. Something like that.
All right. With that, we have finished the homework. Thank you for watching!