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EGO block

The most important thing is in the personality of the Subject. The first two functions together form the EGO block. The EGO block is a block of the thinking program. The result of the ego block lies in the ideas of the Program Function. For this she has an excellent tool - the Communication Function.

Hamlet's thinking is aimed at creating images of a promising future for the purpose of motivation or inspiration. This is accompanied by training and educational activities (see block ID), so Hamlet can be called an ideologist. It creates an understanding of the world and the future that shapes the direction of motivation.

Software Potential Function

This function represents the world. It contains the most important type potential, each type representing the world in the topic it handles. Most often, the Subject comes up with ideas specifically on the topic of this function.

Hamlet has a strong emotional presence in every situation. He loves to charge and charge. Represents the world in the form of emotions and states of people. Constantly thinks about emotions and emotional background. Strives to create bright, inspiring moods. Creatively approaches the theme of a pleasant pastime with an emphasis on the depth of experience. Represents situations in terms of the general emotional atmosphere and moods of people. Hamlet's emotionality is colored by his deep sense of perspective. Hams love to inspire people to realize certain prospects, this is a kind of ideological activity. Due to negativity they are often very dramatic.

Communication Function

(And— Introverted Intuition — time, meaning, perspective, mode)

Thanks to CF, the subject navigates the world; this is the topic of his thoughts and conversations. It is a tool that implements a type program. Very flexible and negotiable.

Hamlet thinks and talks a lot about time, timing and meaning. Often involved in the formation of a bright (emotionally rich) and inspiring image of the future. If he wants to motivate someone, he uses information about prospects or that there is meaning in the action. For Hamlet it is very important not to waste time (negativist), and he evaluates the meaning of time by the vividness of his experiences.

SUPEREGO block

SUPEREGO is necessary for socialization. It contains our weak functions for which we have a need to develop.

At first glance, Hamlet may look businesslike, but it is also important to him to be pleasant and valuable. In general, he believes that the standard of living should be such that one can work. But excessive work aimed at maintaining the level of life depletes it.

Adaptive Load Function

(L— Extroverted Thinking — technology, activity, efficiency)

Load topic for the Subject. When it is necessary to interact with the ANF theme, the Subject goes into a mobilized state.

Gum perceives the situation as stressful if he has to work due to a lack of resources and a low standard of living. In a tense situation, Gam knows how to work hard and generally accumulates various skills in order to be adapted to life. At the first meeting, he demonstrates himself from the business side.

Conservative-Critical Function

(With— Introverted Sensory — harmony, comfort, compatibility, quality)

The most important topic. If it’s bad with her, it’s bad everywhere. Each person has his own upbringing in matters of this function. The main thing is that his behavior on the topic of this function corresponds to his own idea of ​​​​correctness in this topic and the idea of ​​\u200b\u200bthe immediate environment.

Comfort is the most important part of Hamlet's life. This is also the most inert and labor-intensive area for him. It is difficult for Gam to develop skills on the topics of comfort, coziness, pleasantness, deliciousness, appropriateness and the like, but with proper upbringing he will try to do everything perfectly. This also relates to the topic of health and bad habits - it is very problematic for Hamlet, who is not well-trained in this topic, to get rid of bad habits and cope with illnesses. With a lack of comfort or illness, Hamlet experiences serious stress, because... the most important part of his psyche is affected.

SUPERID block

SUPERID is a children's block in which a person makes demands and expectations on the world. This is a block for assessing how suitable the environment is for the TIM. This is a block of reasonable egoism, anti-conscience.

Hamlet is nourished and feels comfortable with people who have order everywhere and help others in this. They like practical, strong-willed and logical people.

Expectation-Resource Function

(l- introverted thinking - structure, reasons, space)

The most enjoyable topic. The subject subconsciously expects information on the topic of ERF. It’s not easy to pay much attention to her yourself. If they help, it’s very nice.

Gam expects support in structuring information and organizing space. Hamlets love to ask the question “why?” It can be difficult for them to produce information on the topic of structures and causes, so they subconsciously expect and accumulate it. They are also interested in the topic of social hierarchy: how to realize themselves in it and achieve position.

Motivational-Mobilization Function

(WITH-Extroverted Sensory - load, adaptation, volitional interaction)

Energy system of the Psyche. Information on the topic of MMF evokes an emotional response in the Subject’s consciousness. Constant support on the topic keeps you in good shape. If the conditions on this topic are not satisfactory, then the subject is de-energized and switched off.

They are enthusiastic about the manifestation of will, resilience, perseverance, power qualities and ideas aimed at achieving influence. We can say that he needs support on the topic of forceful transformation of the world and provokes those around him to the corresponding ideas. Has a positive attitude toward specific, factual information about how things really are or were.

ID block

The ID block is a realization block of the psyche, through which the subject provides his time and labor to society, helps with deeds and provides his product.

Imperative-Temporal Function

(e— Introverted Emotional — relationships, priority, subjective distance)

The most unconscious topic. Positive information on a topic puts you into creative mode and “inspires.” IVF is automatically activated when assistance is needed on this topic.

Focuses on maintaining relationships and level of responsibility. Uses connections and the significance of situations for people to unlock potential or convey ideas. Information about relationships puts Hamlet into inspired, creative mode and creates a sense of perspective.

Implementation-Technological Function

(AND- Extroverted Intuition - law, potential, idea, possibilities).

According to the RTF, the subject provides its product, its labor. If necessary, he can independently perform the work or give specific methodological advice that will lead to a productive result.

Has a penetrating mind and a good generator of ideas. If necessary, help other people, I am ready to see new opportunities, understand the essence of the situation, and think through a development plan. Communicates ideas with passionate retelling, showing the significance and drama of the situation. Forms a worldview.

Correct groups to which Hamlet belongs

Extrovert. Extroverts are noisier and more active, spend energy easily, and make new acquaintances. In general, this is a fairly rough description of extraversion. Specifically about Gama, we can say that he quite quickly reads information about the external manifestation of emotions, which are external manifestations of people and the general atmosphere

Careless. Careless people often count on the fact that everything can be as it was not before. It's not that they don't draw on past experiences, they just aren't focused on them. They rely on the prerequisites that are present in a particular situation.

Intuit. They easily operate with abstract concepts and prefer to think globally and generalize. Often they are not expressed specifically (even in a specific example, they will use general words). An attitude towards intuitive reception of information, that is, it is more important for them to understand than to feel. Confidently discusses topics of potential and prospects.

Aristocrat. Aristocrats were originally defined as those who related to people through the prism of their social status. A more detailed description is now known. Aristocrats tend to pay attention to the characteristics of objects that are determined by group membership. For example, if a bag is made in China, an aristocrat might think: all bags made in China are of poor quality, so this one is also of poor quality. This can be called “inclusive characteristics”. They are included in the properties of all objects belonging to a particular group.

Negativist. It is easier for Hamlet to notice missing details and a negative scenario, even if Ham, an optimist programmed for positive thinking, will pay attention to negative details to fulfill the program of his social role. Often this is also manifested in intonation emphasis.

Stubborn. Stubborn people, when they set a goal, then have difficulty giving it up and will use more and more resources to achieve it.

Emotional. Emotional types pay more attention to emotions and relationships, and are better oriented in this humanitarian area. They feel more confident in expressing their emotions.

Subjectivist. For subjectivists, emotions are a more interesting and discussed topic than relationships, and structures are more interesting than methods. This means that they evaluate relationships by their level of emotional comfort. If a person meets this criterion, they quickly get along with him. In mental terms, subjectivism manifests itself as the debateability of the structure of the world or its specific parts. For subjectivists, it is important to discuss reasons and structures, because, knowing the mechanism, you can always decide how to act. Subjectivists like to come up with new words to designate objects or phenomena and have internal (in a company, for example) names. The phrase “time for business, time for fun” is usually not about them.

Constructivists. Constructivists during communication first pay attention to the constructive message, and only then to emotions. This is also reflected in the fact that when they speak, they think more about What they say and How they then adjust their speech. The emotional states of constructivists are inert and sometimes slowly give way to one another.

Processor. Hamlet likes to view events in their process of transformation.

Let's quest. Often uses interrogative intonations, likes to complicate the topic of conversation (if it does not contradict its other properties). He is easy to interrupt and knows how to listen.

Determination. For those who are decisive, it is important not to miss the moment and decide when to act, discuss the timing of action. For them, the moment of activity is more priority than the moment of discussing options.

Strategist. Setting a goal is easier than coming up with tactical (momentary) solutions.

Rational. The main flow of information is directed outward (thinking), which means that the subject is more focused on his judgments than on what he perceives from the outside world. It manifests itself as the need for planning and inertia of plans.

Dynamics. Dynamics represent the world continuum (inextricably, extended), in contrast to statics. Dynamism also manifests itself in a sense of consistency. For example, when telling something, they will often do it in the form of sequential events, a story.

Beta Quadra. Hamlets belong to the group of types with youthful values. They are also called cheerful determined aristocrats. They are creative about how the world and social hierarchy should be structured. They believe that there is no time to waste and it is necessary to implement their ideas

Stimulus group Uniqueness. To be unique is Hamlet's subconscious desire, he strives for this, and this affects his motives.

Passionate communication style. An interaction is perceived by Gam as successful if energy has been transferred or motivation has been created.

Hamlet's relationships with other types:

Don Quixote - Accepting an order.

Hamlet is in an asymmetrical relationship with Don (social order), which means the partners feel differently in them. Hamlet appreciates the Don's insight and creativity, especially as he is able to present information logically. Hamlet tries to charge and inspire the Don. This is a very productive relationship for both partners, and Hamlet feels more comfortable in it, although he can play a second role.

Dumas - Control technique.

Social control is also an asymmetrical relationship. In these relationships, Gam may experience discomfort due to Dumas’ increased attention to issues of aesthetics, well-being and maintenance of everyday life. In turn, he may disrespect Dumas’ insight and business qualities.

Hugo - Related

Gam and Hugues understand each other well based on their emotional nature. At the same time, Gam is strong in the theme of time and depth of meaning, and Hugo is strong in the theme of practicality and well-being. On the basis of this, either deep respect for the competencies of the other, or a disdainful attitude towards the strong topic of the other, as unworthy of such attention, can develop between them.

Robespierre - Semi-dual

Gum and Rob feel comfortable together satisfying informational issues, i.e. psychological, each other's needs. Gum likes Rob's reasonableness, his ability to organize and explain everything, and Rob likes Gum's emotionality and expressiveness. The intuition of both is conducive to the business implementation of these relationships. This is due to their attitude to activities, as well as information related to the generation of new ideas, planning, and forecasting. Sensory topics (well-being, everyday life, comfort, willpower, assertiveness) can cause negative feelings or energy leakage in these relationships.

Hamlet - Identical

The two Hamlets are predisposed to understand each other well and easily find a common language. In general, such relationships are good for transferring experience or sharing work.

Maxim Gorky - Dual

Gum and Max's relationship has the potential to be the most comfortable. Max's logic and discipline fuel and charge Hamlet. Hamlet, in turn, with his emotionality and depth of personality does this to Max.

Zhukov - Activation

Gum and Bug evoke strong emotions in each other, which can serve as a basis for motivating each other. Gama is inspired by the Beetle's focus, and his logic makes communication pleasant. Zhuk also appreciates Hamlet's strong qualities - emotionality and depth.

Yesenin - Mirror

Gam and Es have many similarities and share common strengths and values. However, they set different goals for themselves. When communicating, they can either misunderstand each other or provide valuable constructive criticism.

Jack London - Business

Gum and Jack have many similarities and a similar way of thinking about time. They can easily find a common language and agree on what to do. However, their differences can strain each other. Hamlet is pressured by Jack's hard work, and he himself is pressured by his emotionality.

Dreiser - Mirage

Gum and Dry are in a pleasant, emotionally rich relationship. The speech and work of partners provides emotional nourishment. The humanitarian orientation of both types and the different points of view cause inspiration or misunderstanding.

Napoleon - Transfer of order

Hamlet is charged by Napoleon's willpower and inspired by his charm. Thanks to his forward thinking, he charges Napoleon back by offering ideas for action.

Balzac - Transfer of Control

Balzac's low emotionality may be perceived by Hamlet as something wrong, which he may not be ashamed to say. However, Gam can highly appreciate Balzk's intellectual abilities.

Huxley - Quasi-identities

Gum and Huck have common strengths, but different values. These relationships are good for joint activities, because partners may value each other's ideas about things to do. There may be a misunderstanding of the partner and misunderstandings in speech due to different values.

Gaben - Conflict

Gum and Gab often have strong feelings for each other and the relationship tends to be negative. Excessive meticulousness towards Gaben’s actions may cause Hamlet to protest. However, these relationships can also develop in a positive way with the intention to work for the common good and support each other in difficult situations.

Stirlitz - Superego

Gam and Stir, with their different orientations and strengths, put pressure on each other, which can cause tension and conflict. These relationships are good in large companies and, in a good situation, are full of emotions.

Dostoevsky - The complete opposite

Gam and Dost share the same strengths, but view the world from different perspectives. They have different values ​​and set different goals for themselves. In these relationships there is often misunderstanding, doubt, criticism and disputes. However, in a positive way (especially in a business context) it can be expressed as constructive criticism.

The image of Hamlet appears in its entirety, in relationships with all the characters. After all, each such character has his own task, his own truth and illuminates some facet of the character of the main character. On the role and significance of the secondary characters of this tragedy for the full perception of its main character and the work of art as a whole. Traditionally, in the process of gradual analysis, the main attention is given to the main characters, since, according to the laws of literature, the author’s thought is artistically reflected in the destinies of the main characters, the main conflict of the work is reproduced. Nevertheless, any literary character, secondary or main, in a literary work is an actor and bearer of a certain type of historical consciousness.

In the literature of recent years, works have appeared in which secondary characters behind the classical plot take first places and begin to play leading roles. Thus, Rosencrantz and Guildenstern are the main characters of T. Stoppard’s play “Rosencrantz and Guildenstern are Already Dead,” Gertrude and Claudius are the heroes of J. Updike’s story, and Horatio became the main character of B. Akunin’s paraphrase “Hamlet.” In an effort to fully understand the nature of the relationships between the artistic elements of a literary work, it is necessary to analyze not only the main plot lines and the positions of the main characters. Additional plots that share the actions of secondary characters become interesting for the researcher. This approach makes it possible to discover new, no less important aspects in the process of perception, analysis and understanding of the work.

Let's try to consider the tragedy through the relationships, the attitude of the minor characters towards Hamlet. The space of tragedy is a multi-vector structure, almost every vector of which makes visible the existing confrontation between the main character and certain characters in the play. All the characters in Hamlet appear as direct participants in the dramatic action and can be combined into unique pairs based on signs of both similarity and antagonisticity. Nevertheless, the unity or confrontation of the heroes of the tragedy is mobile, situational and occurs on the basis of family ties, common interests or positions.

Conventionally, the first vector on the field of dramatic conflict will be represented by Claudius and Gertrude. The mother and uncle of the protagonist of the tragedy are rulers who usurp power although, behind the traditional interpretation, Gertrude is most often perceived as an unwitting victim, and both Gertrude and Claudius can act as antipodes.

The second is Polonius and Osric. The Chancellor of the Danish Kingdom, who is at the top of feudal society, is a poor copy of a talented intriguer, united in their readiness to carry out any order from the authorities, without forgetting their own benefit.

The third is Ophelia and Laertes - the daughter and son of Polonius, whose fate is directly connected with the actions of Hamlet. According to the traditional version, Ophelia and Laertes are victims, puppets or unwitting servants of power.

The fourth is Horatio... Rosencrantz and Guildenstern are Hamlet's study buddies at the University of Wittenberg. In the list of characters Horatio is listed as a friend of the prince. He is always with him, except for those moments when Rosencrantz and Guildenstern appear. The prince also considers these heroes to be his friends, however, according to the audience (readers), they take the side of the authorities and become executors of its orders. The almost complete absence of personification of characteristics makes it possible to perceive them as one character.

The fifth is Prince Fortinbras. Hamlet will not meet him on stage, but the feeling that Fortinbras is a kind of double of the main character does not disappear. Some events in the life of the Norwegian prince coincide with the story of Prince Hamlet (as, by the way, with the story of Laertes), however, everyone defines their life priorities in their own way. In the real space of the tragedy, Fortinbras can be a mate to his father, killed by King Hamlet, to Hamlet himself and Laertes.

Outside the system of actual heroes, there remains a character who inspires the plot of the main storyline. This is the Ghost, the Shadow of Hamlet's father. The sphere of realization of this character is limited to communication with Hamlet; the Ghost pushes Prince Hamlet to take active action. The events that took place at the beginning of the performance are translated into the plane of moral choice and encourage the hero to determine the priorities of existence, to search for and approve, even at the cost of his life, a new system of values

Nevertheless, researchers are also considering another option for a possible schematization of the figurative system of the tragedy: Hamlet - two kings (Hamlet, Claudius); Hamlet - two women (Gertrude, Ophelia); Hamlet - young vassals whom the prince considers friends (Horatio, Rosencrantz-Guildenstern); Hamlet - avenging sons (Fortinbras, Laertes).

In any way of considering the tragedy, the role of minor characters in understanding the events, thoughts and actions of the main character is significant, and revealing the versatility of the artistic plane of the work would be impossible without taking into account the peculiar crossings of thoughts and positions of the main and secondary characters. “Between the characters,” we read in the literary commentary of V. A. Anikst, “threads of connection are visible. Nothing in the tragedy is isolated, everything is interconnected, human destinies intersect, and Hamlet is not only what he is in himself, but also what he is in his relationships with others.”

There is an opinion that the play “Hamlet” was not written by Shakespeare at all. Indeed, there is no copy of this work written by the hand of the great playwright...

The text of the play “Hamlet,” which has not left the stages of the world for more than 400 years, is a compilation of several versions written down by different people at different times. Therefore, skeptics say, the significance and artistic merits of the tragedy are greatly exaggerated, and the deep meaning that more and more researchers are discovering was introduced by many generations of readers, viewers and critics. But, even if all this is really true, there is still no escape from the questions: why has this particular text excited minds and souls for so many years and why, in fact, is it so necessary for a person to discover any meaning in works of art, philosophical works and religion? After all, you can just eat, drink, have fun and make money. However, no, for some reason one, sometimes insignificant person, is given the gift of creating, and others are given the gift of taking to heart works that are eventually called great.

Of course, masterpieces do not exist to answer all our questions, but they at least clearly demonstrate that these questions exist and continue to arise. Let's increase their number by five more.

1. Why does the Ghost need Hamlet?

In fact, at first glance, the formidable Phantom could easily solve his problems himself. If he had appeared to Claudius once, the goals he had formulated would have been achieved: the royal bed was cleared of desecration and the vile fratricide was punished. In this case, the queen would most likely remain alive. Not to mention the prince. Was the death of his son part of the Phantom’s plans? Judging by his words, no. Just as there is no reason to doubt the sincerity of these words. But in reality it turned out differently. It turns out that the Phantom played his role against his will. And who is the director? Who set the rules according to which the Queen did not see the Ghost, but Hamlet and his comrades saw and heard? Obviously, the Phantom couldn’t just appear to Claudius. He had his own organic, that is, natural, inherent only to him, limitations, like each of us. Apparently, our achievements depend not so much on our goals, no matter how wonderful they may be, but on our properties, that is, limitations, regardless of whether we are aware of them or not. Therefore, no matter what we achieve, the goal is never lonely, there are always accompanying results that are significant for us and for others. And until you figure it out with yourself, you can never be sure that you are playing your own role and not participating in someone else’s performance. Like a Phantom.

2. Did Hamlet follow the Ghost’s instructions?

On the one hand, since Claudius is killed, the task can be considered completed, albeit in violation of the expected deadlines. On the other hand, in the process of execution, some additional results were achieved that were not provided for in the task, namely: Prince Hamlet, his mother Gertrude, his beloved girl Ophelia, the girl’s father Polonius, her brother Laertes, as well as school friends died an unnatural death Hamlet, Rosencrantz and Guildenstern. That is, the executor of the assignment himself died, as well as his closest friends and relatives. At the same time, the hero killed some of them with his own hand, while others he fearlessly sent to certain death or did not properly protect.

Under these conditions, the answer to the question posed is no longer so clear. We do not know with what words the Ghost greeted the soul of his son where it apparently ended up after everything that young Hamlet had done. The options can be very different: from “Well done, son, you did a great job!” to “Is this what I asked you to do!” In any case, at least one managerial conclusion can be made: even in the clearest instructions it is impossible to indicate everything that should NOT be done when executing it. This should be clear without further explanation. And if people understand each other perfectly, then there is no need to indicate anything at all. And if they don’t understand, then things can turn out like the Ghost and Hamlet.

3. To be or not to be?

Sooner or later, every person faces questions to which they have to look for answers, as they say, “Yes - No”. Are there any actions that I should never do or are there no such actions and can you expect anything from me? Are there ideas that I will never support or are there no such ideas, and I can be convinced of anything? Is man born free and endowed with a conscience, as stated in the Universal Declaration of Human Rights, or do I have a different opinion on this matter? The questions may be very different, but, in any case, they relate to the basic rules by which we live. And perhaps not only our personal fate, but also the fate of many other people depends on our answers.

The selection criterion is of decisive importance here. For Hamlet this is nobility. We are free to choose another criterion, but how do we make a choice about the selection criterion? Ultimately, our decisions reveal our beliefs, character, and way of thinking. And the list of disasters against which the Danish prince considered it noble to take up arms has changed little over the past few centuries. This, as before, is the injustice of the oppressors, the pain of rejected love, the insolence of officials, delays in the courts, the humiliation of the proud - there is something to make a personal decision about: whether to endure in silence or end it in a fight. Of course, in this case we must be prepared to answer for our convictions, that is, to pay a certain price, which will be higher, the stronger the firmness of our convictions. Therefore, the inevitable choice of every person is to be able to accept the challenges of life or not to be so.

4. How does an intellectual major turn into a killer?

What must happen to a person for him to turn in a short time from a darling of fate into a half-crazed criminal? After all, until recently, the prince was simply the legal heir to the royal throne. A loving and beloved son, an intellectual, a handsome man who dictated court fashion, he dedicated love poems to a beautiful girl and his feelings were mutual. They talk about such people today - a typical major.

But suddenly old Hamlet, his idolized father, dies. The death of a beloved parent, and even under suspicious circumstances, will unsettle anyone. Especially if a person is inclined to think and is capable of deep feelings, and that’s exactly what Hamlet was. Soon his adored mother, the queen, marries her late husband's brother. Anyone who has observed a similar situation will probably agree that for a son, his mother’s imminent marriage is hardly good news. Moreover, relations between relatives were far from the best: the nephew suspected his uncle of murdering his father, and the uncle, in turn, suspected that he was suspected. The fact that Hamlet fell into extreme thoughtfulness seems completely natural. In fact, let’s imagine a son who, in such circumstances, could, as if nothing had happened, say something like: “Mommy, congratulations, a worthy choice, I wish you happiness!” Maybe someone could, but not Hamlet.

And then the next blow hits him. He meets the ghost of his father. Not everyone has such an encounter in their life, but it is easy to understand that someone who has experienced something like this may well seem a little strange to others. And in reality, to be no longer like everyone else, including not like you were just recently. Moreover, having a task that is impossible to refuse and impossible to complete. At least if you are not ready to become a killer and die yourself.

5. Hamlet or Fortinbras?

Once upon a time there lived two kings next door - a Danish and a Norwegian. The Danish one was called Hamlet, the Norwegian one was Fortinbras. Each of the kings had sons - young Hamlet and young Fortinbras, respectively. And they also had brothers. Hamlet's king is Claudius, and the name of the Norwegian king's brother is unknown; in the play he is simply called “the old Norwegian.”

One day the neighbors fought in a duel, each mortgaging part of their territory. The mortgage should go to the winner and then be inherited by the children - respectively, the Norwegian or Danish princes. The Dane won, the Norwegian was killed, and his mortgage became the hereditary possession of young Hamlet. But this turn of events did not suit the son of the deceased, and young Fortnibras, immediately after the death of the King of Denmark, began to demand the return of the lost territories, and moreover, he began gathering troops to solve the problem by force. In turn, the new Danish king, brother and murderer of the former king, Claudius, turned to Fortinbras’s uncle, an old Norwegian, with a request to calm his nephew. The request was granted. At the same time, it turned out that the Norwegian prince tried to deceive his king, assuring that the purpose of the military training was a campaign against Poland.

The old Norwegian forbade Fortinbras from any actions against Denmark, which he solemnly promised and, as a reward for obedience, received the right to a Polish campaign, the route of which ran right through the Danish kingdom. On the way back, the young Norwegian finds the end of the tragedy, all members of the Danish royal family are dead, and he has no choice but to become the new king of Denmark. Fortinbras is a real warrior, a man of action, for whom the main thing is to fight, no matter whether there are reasons for this or no reasons. He abandoned the war with Denmark, having his own reasons for it, made a senseless, from any point of view, campaign in Poland, and achieved what he could not even dream of, without making any special efforts and without bothering himself with unnecessary thoughts. Prince Hamlet, on the contrary, tried to understand the meaning of what was happening and comprehend his destiny. He ultimately succeeded (although at great cost).

In your life there is only what is important to you!

Hamlet belongs to a unique stimulus group. He is a searching person, passionate about his “idea”. He perceives the world holistically (BI), sees “blank spots” in it well (what needs to be addressed), and this encourages him to take active action (extrovert).
The main interest is to show oneself; in this regard, his appearance and clothing simply must work for the created image. Thus, in the EIE wardrobe we find clothes of bright colors that sparkle and attract attention. The variety of models and styles is amazing; clothes are often demonstrative in nature (sometimes their appearance looks especially ridiculous, which means it attracts attention). For social events, parties, get-togethers, Hamlet will dress extravagantly and provocatively. In everyday life, he will dress simply in an original way.
He is attracted to everything unusual, large-scale, and beyond. Hamlet realizes himself in non-traditional areas of life, takes on those problems, the solution of which will bring something new, will allow him to see reality from a different angle. The field of research is emotions and their states. Everything that has not been sufficiently studied arouses genuine interest in EIE.
You can stand out not only through clothes, but also through unusual accessories: pendants, bracelets, rings, chains. In any case, Hamlet’s appearance will force you to pay attention to him, and if you are sufficiently indifferent to the appearance of others, when Hamlet gets into your field, he will use other techniques for “capturing” attention, already behavioral. Of course, all this is done for the “inner circle”; Hamlet is simply indifferent to strangers, if they are not included in the “inner circle”.
All of the above applies not only to clothing, but also to the general appearance as a whole, starting with a rather extravagant hairstyle, manner of gesturing, and speaking. Often, EIEs behave in a mannered manner (because mannerism is also a certain way of receiving attention and focusing it on oneself). They have incredibly lively facial expressions and gestures that help them “capture” and “ignite” their interlocutor.
In principle, Hamlet can behave as he pleases, depending on the situation in which he finds himself, the main thing is only one thing - to be noticeable, to be noticed. Even in a situation of “compliance with regulations”, he will sit quietly and calmly, without “capturing” anyone, and suddenly - a languid sigh, eyes to the ceiling! - and again silence and attentiveness. With all this, the Hamlets are quite impulsive, like flames, they play and play up their entire appearance, words and themselves.
Hamlet has a wealth of vocal variations; his speech always contains liveliness, emotion, joy, and wit. He strives to delight, horrify, whatever! - and in any of the options, make the maximum impression, touch the heartstrings. His speech is full of figurative solutions, epithets, comparisons, and “always or never” type perfectionism. He often uses words like: nightmare, horror, incredible, amazing, wonderful - they help him light up. Uses many adjectives and their superlatives.
All this is further emphasized by rich plastic gestures and facial expressions; this is a “one-man theater”. Usually, being carried away by his narrative, Hamlet often allows himself to be overcome by emotions, and then vagueness of wording appears. So to speak, “there are no words - only expressions of emotions.” Beginning socionics often confuse this manner of speech with irrationality.
Hamlet shows intuitive absent-mindedness and a broad interest in seemingly unrelated things. He needs a constant flow of fresh information, unexpected turns and tasks that no one has yet solved. Then he will show maximum interest and efficiency in his work, achieving results that will undoubtedly surprise his colleagues.
Absorption of information (of any nature) is like food for them. You can talk to him about fishing, about hunting, about psychology and medicine, about agriculture and politics, about insects and botany, about weapons and art, about films and books, about history and religion. However, make no mistake, Hamlet, as a rule, will consider all this only superficially. Due to his constant impulses and restlessness, he cannot go into the depths (of course, if we are not talking about the subject of his main interest). For Hamlet, the existing brightness of expressions and high level of information content are quite enough to make an impression.
Although in the appearance of the character described above there is a lot of chaos, impulsiveness, and eccentricity, not all Hamlets are like that. After all, their goal is to attract. But you can attract in different ways.
Some people prefer to speak loudly to attract attention, while others, in contrast, prefer to speak quietly. If Hamlet is fire, then the holy flame is the element of fire. When does the candle burn? The candle burns calmly, despite the chaos and impulses, it creates a feeling of warmth, calm and bliss. Such a flame often complements the sacraments and promotes relaxation and tranquility. This is also Hamlet, Hamlet from whom it is difficult to take your eyes off, only he has already chosen a different strategy for attracting attention to himself. Such a person is light, smooth and compliant, as empathic as possible (the ability to empathize and sympathize, to accept your feelings). He smoothly and calmly captivates us, speaks kind, gentle and affectionate words... Can you imagine how he can comfort us? In addition to consolation, it can be not only temptation, but also actual emotional support in any situation.
But what about the constant aura of mystery, inseparable from the image of Hamlet? Mysterious, quiet and calm, he just raises an eyebrow - and everyone just looks at him, but he is silent, he makes an impression. Artistic plasticity can be read in his movements.
However, you should understand that this may not last long. Hamlet is not just an extrovert, he is an extrovert of the linear-assertive type. The candle flame is not endless, it burns out and we again meet the impulsive Hamlet, in whom the fire begins to flare up. And now forget about smoothness! Here the speed is incalculable, in a matter of seconds the flame consumes everything that can burn, while the fire is chaotic in nature, we will never know who will be the next victim - a neighboring field or a village, or all together, your boss or you... Who has seen Hamlet in anger, he understands what I'm talking about.
Hamlets, despite their rationality, cannot stand monotonous activity, they are impulsive, they quickly begin to get bored with anything “drawn out”, they rarely complete the task, abandoning it even five minutes from completion, and are unlikely to return to it. Hamlet is no longer interested, he is looking for a new task, unknown and mysterious, so that, having started it, he will again be distracted and abandoned. What he does must be unique, attracting attention. Hamlet can order everyone to leave while working, since those around him are disturbing him. But then, when everyone comes in, Hamlet will expect praise from you.
The Hamlets themselves, of course, do not realize this and therefore are always surprised when people talk about them like that. However, you already know that the main thing for Hamlet is your attention. If you pay attention to him, Hamlet is cheerful, sweet and radiates warmth. If not, then expect emotions on his part. Hamlet needs to show himself in order to get your reaction, which will fuel him. So the basic human need of TIM Hamlet is interaction and communication. Loneliness for Hamlet is tantamount to “death,” absence. If you can't see it, it means it doesn't exist.
To be in the center - to burn, to attract attention - to be beautiful, to be the best - this is the main motto of Hamlet. He always strives for this, because this way he can draw attention to himself, so that everyone looks at him and everyone admires him alone. To be an excellent student at school and university, to be the most beautiful, the most successful, to be the smartest, the healthiest, the most loved, the richest, the happiest, the very best, i.e. the best. Only then will he alone get the precious attention of others.
Hamlets are perfectionists, they live according to the principle of maximalism: “either everything or nothing, either live or die,” etc. Therefore, quite often, when faced with difficulties on the way to achieving the goal of “Being the best,” they can take a completely opposite position, because destroying is always faster than building. For Hamlet, the main thing is to attract attention. If it is not possible to do this in a positive way, Hamlet will not “disdain” the negative. This is where drug addiction, alcoholism and suicidal (more often demonstrative) tendencies and deviant behavior in general originate.
It is also important that from approximately 14 years of age until 16-18 years of age, many behave in a similar way: youthful maximalism, hormonal imbalances, adolescence. Who didn’t have their roof blown off during this period? Who didn't do desperate things during this period? Notice exactly which groups of people of a similar age group type themselves into Hamlets? Nobody understands them, they are so unique, especially representatives of subcultures: punks, rappers, metalheads, Satanists, skinheads, etc. This is why many errors occur in self-typing or when you are typed based on descriptions, especially if the reader takes literally everything personally.

For self-realization you do not need to make extra efforts. It is important to find the optimal path. Let us examine the issue of career guidance using the example of TIM “Hamlet” (EIE), or “Knight of Staves” in Savchenko’s symbolic socionics.

Representatives of the type: William Shakespeare, Charlie Chaplin, Louis de Funes, Adolf Hitler, Che Guevara, Vladimir Zhirinovsky, David Copperfield, Philip Kirkorov, Edward Radzinsky, Dmitry Nagiyev.

The description of TIM according to Model A, adopted at the Socionics Research Institute, tells us the following.
Strong conscious functions of the personality reflect the main thing in the essence of the type. They represent a zone of confidence. Based on these functions, a person chooses life goals and tools for achieving them. The choice of profession should be based precisely on these functions.

1. BASIC FUNCTION: Ethics of Emotions

Semantics of the aspect: excitement (excitement, excitement, indignation, tension, passion, ecstasy, calm, depression); motivation to action (fanaticism, attitude, determination, enthusiasm); manifestation of emotions (passion, artistry, intonation, ability to control emotions); people’s emotions (delight, admiration, anger, mood, joy, sadness).

The basis of Hamlet’s personality and intellect is the ethics of emotions, hence the high level of emotionality of EIE. They are well versed in their own and other people’s emotions and are able to manage them. Due to this, they are able to give the necessary emotional charge through a certain message to their “viewers”.

Has a very wide range of expressions of emotions from complete indifference to their most dramatic manifestations. He is able to easily evoke in himself or those around him the necessary emotion at that particular moment.

2. CREATIVE: Intuition of time

Semantics of the aspect: time (time interval, calendar time, moment, pause, period, then, duration, timeliness, deadline); communication with time (wait, catch up, planning, generational attitudes, warning, punctuality, strategy); forecast (prospect, foresight, retrospective, premonition); development of processes over time (genealogy, history, variability, maturation, alternation, era, development, modernity); speed (rhythm, tempo).

EIE can freely manipulate time, are critical of others' tardiness, and can also react aggressively if someone tries to redistribute their time.

Now let's look at weak conscious functions:

3. ROLE-PLAYING: Logic of action

Semantics of the aspect: action (movement, activity, movement, action, implementation); knowledge (qualification, method, skill, fact, erudition); work (tool, mechanism, technology, functioning); reason (adequacy, benefit, pragmatism, benefit, common sense, rationality, rationalism, expediency, efficiency); economics (enterprise, cost, price).

Since this function is weak, you shouldn’t expect creativity with it, but in an unfamiliar situation it comes to the fore. To adapt most effectively, Hamlet needs to speak and appear businesslike. He is more comfortable talking about what position he holds, what functions he performs, what results he has achieved, how much education he has received and how much money he has earned. As soon as he gets used to the situation, he switches to his strong conscious ones - the ethics of emotions and the intuition of time.

4. PAIN: Sensory sensations

Semantics of the aspect: sensation (taste, tactile, shades of colors, pleasant, elastic, hard); well-being (health, pleasure, rest, relaxation, satisfaction); taste of life (harmony, design, quality, “bird in hand”, convenience, pleasure, coziness, comfort); feeling of oneself in space and time (here and now, sense of space, reliability, ability to inhabit space).

Hamlet (EIE) is extremely sensitive to comments about his appearance; it is difficult for him to talk about his health. Hamlet himself does not understand what sensations and state of health are inherent in people at one time or another. It is difficult for him to provide himself with the necessary comfort.

5. SUGGESTIVE: Structural logic

Semantics of aspect: measurement (parameter, distance, commensurability, comparison, standard); understanding (analysis, detail, synthesis, universality); order (classification, control, accounting, sequence); structure (mutual position of objects, relationship, subordination, scheme); system (pattern, hierarchy, organization, cause-and-effect relationships, theory); formal logic (algorithm, proof, law, instruction, equality, statistics, equation).

It is believed that for this function all information comes from the outside world, and is subsequently redistributed for processing by all other functions. Hence, Hamlet is very trusting where information is presented from the point of view of a scientific approach. If he is given information through a system of rules and laws, he accepts it easily and on faith.

It is also worth noting that Hamlet strives to follow the rules that are established in the society where he finds himself, or to comply with the work algorithm, if there is one. This helps him to be more mobilized and concentrated, and also to perform the assigned tasks much better.

6. REFERENT: Volitional sensory

Semantics of the aspect: possession (desire, possession, protect, sphere of influence, tactics, territory, sense of master, expansion); external qualities (beauty, contrast, appearance, shape, brightness); mass (many, cluster, crowd); manifestation of strong-willed qualities (to achieve, achieve a goal, force, command, conquer, storm, suppress, conquer, determination); strength (weight, power, gravity, resistance, willpower, resistance, confidence, violence, pressure, physical strength); status (authority, ambition, weight in society, significance).

Hamlet needs a “strong hand” and strong-willed influence. It is difficult for him to get ready and start completing the task. It is also difficult to understand your appearance and beauty. Needs the help of his dual. He is not sure what he can claim in terms of territory, position in society, and it is also difficult for him to judge the degree of his attractiveness.

Now let's look at the powerful subconscious functions:

7. FRAMEWORK: Relationship Ethics

Semantics of the aspect: moral categories (worldview, morality, ethics, conscience, religion, decency); attraction (psychological distance); manifestation of feelings (rudeness, delicacy, diplomacy, mercy, responsiveness, leniency, tolerance); feelings (kindness, envy, anger, love-hate, sympathy-antipathy, compassion); relationships between people (enmity, friendship).

Ethics of relationships is a very strong function of Hamlet. If he wants to limit external activity in his favor, he will demonstrate a certain attitude that he deems appropriate. However, Hamlet is just as easy to disarm by showing a certain attitude: hostility, indifference, etc. He won't be able to get over this right away.

8 RELEASE: Intuition of possibilities

Semantics of the aspect: vision of possibilities (holistic perception, desire to get to the essence, deep vision); opportunities (talent, chance, potential, vitality); uncertainty (someone, something, surprise, paradox, ambiguity, probably “pie in the sky”); search (choice, hypothesis, find, insight, ideas, plan, discovery, assumption); essence (openness, basis, content, simplicity, purity, true property).

EIE has good intuition - he will not miss his goal. He sees opportunities very well, although he cannot always accurately determine the feasibility of the undertaking. Feels pitfalls, senses the development of the situation as a whole, and has intuitive insight.

Based on the description of TIM, one should not expect from Hamlet perseverance, objectivity in assessing activities, dispassionate analysis of the situation, simplicity and artlessness, as well as democracy in relationships.

However, the undoubted strengths of “Hamlet” are the ability to subtly feel other people, to perfectly manipulate one’s own and others’ feelings, the ability to ignite, lead, foresee the development of a situation, foresight, the ability to see the hidden potential of a person, the ability to competently distribute things over time. From this we can conclude that EIE activities must be related to people, and among others, this is work on the development and motivation of personnel, as well as adaptation and training.

The following case can serve as an example of Hamlet's professional orientation.
In his second year at the institute, studying at the Faculty of Economics and Management, EIE decided that he should master the profession of HR Manager. He completed the appropriate training and went to work as a personnel inspector. The essence of the work was that “Hamlet” had to conduct personnel records and enter information into the accounting system.

Since sensory and logic are not strong functions of EIE, the following consequences could be observed: his work was accompanied by frequent minor errors and inaccuracies, since he had to deal with details. Either the number is indicated incorrectly, or the order number is incorrect, or the seal is wrong. The wrong numbers were entered into the database, and the names were misspelled. To ensure that the work was done correctly, Hamlet double-checked all the work 3-4 times, which allowed him to achieve good results in this position. To do this, he had to carefully study the legislation, which was not difficult, however, when the situation required that the inspector find a loophole and get out of a sticky situation that was associated with the manipulation of the law, certain problems arose, because EIE has a weak subconscious structural logic.

Then Hamlet decided that it was worth trying to move into personnel recruitment. Things got better here. EIE quickly adapted to the new position, because strong ethics and intuition allowed him to almost accurately select the right people.

The next step was to move into external recruiting as a headhunter. The ability to be cunning, to play different roles, and the ability to assess a person’s potential and capabilities in a limited period of time played a decisive role in Hamlet’s success in this position. And his penchant for uniqueness and the need to stand out was satisfied by searching for extremely rare specialists and attracting them through hunting.

So, the conclusion can be drawn as follows: for self-realization, sometimes you need to take several steps, especially if something does not come out easily. Everyone should look for an activity that does not require extra effort from a person to achieve the desired result.