Salvador Dali: a genius theater of the absurd. Part 3
There were legends about Gala. She attracted men like a magnet. They obeyed her, and when she left them, they lost not only their beloved woman, but also their talent.
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Gradiva, Elena the Beautiful, divine Gala
There were legends about Gala. She attracted men like a magnet. They obeyed her, and when she left them, they lost not only their beloved woman, but also their talent. Gala (Elena Dyakonova) studied at the gymnasium with the Tsvetaev sisters, was one of the most educated women of her time, whose opinion was listened to, taking him seriously.
The father's attempt to influence 25-year-old El Salvador and free himself from this "dubious person" aroused more than just anger in the artist. The father was expelled from the workshop and, in turn, excommunicated his son from the family, rewrote the will far from in his favor, forbidding him to come to his native estate. Throughout his life, the respectable Salvador Dali Sr. could not come to terms with the choice of Dali Jr. of a woman, pejoratively calling Gala "la madam".
Skin-visual sound specialist Elena easily converged with the right people. Her first victory was the published book of poems by one close friend - the poet Smierzhitsky. But the young talent did not appreciate the help that Dyakonova gave him, and with all visual snobbery refused it.
The wound inflicted by the unfaithful poet-lover was too deep, so much so that Elena decided to commit suicide. Was it suicidal blackmail, characteristic of hysterical women with a visual vector, or a sincere desire to part with life by swallowing sleeping pills, now it does not matter. For Elena, it was a good lesson that later changed a lot in her life. She was saved by her stepfather who returned home before the time. Then the girl was sent to Switzerland for treatment.
In search of a genius
Before starting the long journey towards her Pygmalion, Elena, remembering Galatea, changed her name to the sonorous Greek Gala with the conviction that it would bring her success. She cut her braids and quickly, in a skin-like manner, repaid Yuri Smezhitsky, by that time a poet already well-known in Moscow, who was eagerly published and received in high society, crushing his creative destiny and breaking his life.
Gala, on behalf of a fictional provincial poet who does not really exist, sent letters to editions in which Smierzhitsky was "caught" in plagiarism. This had an effect: the publishers became wary, and the doors of the editorial offices, and, consequently, of the best houses in Moscow, slammed in front of the poet, who later became drunk with grief and ended his days in the yellow house.
The dream of finding her genius and becoming a muse for him led Gala-Elena through life further. Having understood early how to use their own charms and charm (more precisely, what system thinking defines as pheromones of a skin-visual woman, causing sexual attraction in the opposite sex), coupled with a special manner of elegantly and frankly (with a certain degree of cover-up) dress and high erudition, which conquered talented and educated men of all nationalities and ages from literary and artistic circles, where young Elena entered, settling in Paris, she began to shamelessly use these of her natural abilities, stopping at nothing.
The dreams in which Gala believed, impressed, as many spectators, with Freud's "Interpretation of Dreams", convinced her that someday she would definitely become famous, despite the absence of any obvious talents, and a man would help her in this, whose muse she will turn. Since then, Gala began searching for someone who would share their glory with her.
Visual women know how to believe in what gives them food for fantasy and illusions, which many of them are able to live their whole lives.
Knowing exactly what she needs, organized and disciplined in a skin-like manner, Elena-Gala meets a young Frenchman, not too self-confident, who writes under the pseudonym Paul Eluard. On the eve of World War I, he even publishes a small collection that makes him famous in the literary circles of Paris.
From Paul Éluard, only poetry, poetry, poetry is required. Everything else depends on the flexibility, enterprise and activity of the skin-visual Gala. She is in no hurry with the wedding, trying to sell her freedom as dearly as possible. The price she set for her was to become the wife and muse of a poet-genius, not just another loser. However, their plans to get married are interrupted by the war.
Unshot youths, drafted to the front from school, young recruits, among whom there were many novice and already established poets, writers, artists (such as Guillaume Apollinaire, the author of the idea of surrealism, who did not live to see its embodiment due to severe injuries; Louis Aragon, who carried on his shoulders more than one wounded from the battlefield), got into a real meat grinder at the main battle - the Amiens operation, where about 400 thousand people from all continents took part, from officers from Foggy Albion to Chinese coolies.
The First World War and those who died there, especially on the Franco-Belgian border near Amiens, the revolutions of the early twentieth century, the civil wars in Russia and Mexico, gave impetus to the creation of a new, avant-garde direction in art, which became the complete opposite of the elegance in the L'Art Déco style.
The madness and horror of the experience spilled over into the pages of literary and canvases of works of art. Bodies torn apart by shells, human and bestial insides turned inside out, dirt, stench and pain tore off the last garments of attractiveness and holiness, exposing the sick human subconscious, notifying the peoples in the voice of Nietzsche that God had died.
Fields Eluard is called to the front. The stress of the war and the serious upheavals suffered by the poet in love with Gala completely blocked his creative initiative. He stops writing.
A catastrophe loomed in front of a bride with extensive ambitious and materialistic plans. The dream of becoming a muse of genius was about to disappear into thin air. Eluard needed a strong shake-up, and while everything was fine on the Western Front, Gala threatened the groom that she would leave him if he did not return to literary activity, demanded that he, “lazy in the trenches from idleness,” write a poetic masterpiece every day.
The tremulousness of the lyrical military verse was in great demand. This is what, as a good skin merchant, Gala caught. Even if she is ready to receive the most tender letters from Paul, it must be in verse, which immediately after receiving them can, for example, be taken to the editorial office so that the next day they appear on the front pages of Parisian newspapers next to reports from the Western Front and lists of the dead.
Gala becomes the manager of her fiancé, Paul Eluard. The experience of promoting the still little-known poet already exists. Gala, well-versed in the situation, realizing that the success of Eluard depends on the writer and literary critic André Breton, the founder of the surrealism movement, and hence the future Madame Eluard, whom she was preparing to become soon, in the most unexpected and pre-planned way, according to the principle of "piano in the bushes", introduces both men.
The meeting with Breton, arranged not without Gala's cunning intent, the preface he wrote to a new collection of poems, and then participation in a group of surrealists, to which Paul Eluard, and therefore Gala, hurried to join, allowed her to understand well not only modern creative trends, but also to study all the pitfalls in order to timely warn Salvador Dali about them in the future.
With the help of the bride, Eluard becomes the most promising literary star in Paris, their wedding with Gala was the "hit of the season." Poetry is a fragile and ephemeral art, without a combination of sound and urethral vectors carrying "ice and fire", not every poet is capable of creating, blowing up minds. Paul Eluard, having received recognition, but not knowing how to work hard, was already ready to rest on his newly acquired laurels.
Gala dreamed not about it. She intensively searches for inspiration for her husband, finding him in the most unexpected places: in the suburbs of Paris, on holidays, on road trips and even in visits to a fortuneteller. Paul's visual vector needs a shake-up again, and it is provided for him.
Later, many years later, when life brings Gala with Salvador Dali, and after a long stay of the spouses in America, there will be a creative crisis, she will make the only right decision and return the artist to his homeland in Spain, on the northeastern coast of the Mediterranean Sea, in a tiny town Cadaqués, where the renewed Dali will paint his best and most famous paintings, transforming with his own vision the unique landscapes of the wild Costa Brava.
In the meantime, under the strict guidance of his skin-visual wife, Eluard is publishing a new collection of poems, the entire circulation of which is sold out in a matter of weeks. In addition, he was nominated for the prestigious King of Poets award.
The award ceremony was held in one of the most fashionable clubs in Paris, and Gala, preparing to shine on it, was already anticipating the fulfillment of her long-standing dream - to be on stage with a man who will appreciate her contribution to his personal success and publicly declare Gala as his patroness and muse.
Imagine her bewilderment when Paul Éluard expressed his gratitude for his own literary achievements in his response speech to the audience not to her, Gala, but exclusively to his own mother.
An anal-visual man, with all his love for another woman, first of all remembers about his mother, since it is she who remains for him the most important person for life, in whom he “from a stinking diaper to a fetid shroud” gets a sense of security and balance …
Paul Eluard made the biggest mistake of his life, which cost him both his family and his career.
From the king of poets to the king of surrealism
Gala was considered by her contemporaries to be a vamp woman, because she, leaving her men, allegedly took their talent from them. Today's psychologists, art critics, historians and even psychics with esotericists unanimously reiterate this. Each of them builds his own version of the fateful Gala-vamp behavior, not noticing what is easily observable through the knowledge gained at the training "System-vector psychology".
If you do not delve into all the hobbies of which there were many, but trace the main, lying on the surface, novels of Elena Dyakonova, then it is not difficult to determine that all the men whose creative destinies, as it is commonly believed, destroyed Gala, among the lower vectors had anal.
They, people with a rigid psyche, prone to self-digging, perfectionism, unsure of themselves, doubting their abilities, living by past merits, an absent need for renewal and a frightening need for change, any innovation introduced into a stupor. They were fully developed in the upper vectors - sound and vision, therefore, they were not devoid of talents and abilities.
Gala, wanting to help them realize themselves in literature, like Yuri Smerzhitsky and Paul Eluard, or painting, like Max Ernst, was for each of them a nanny, inspiration, skin-visual combat friend in a state of "war", created conditions for creativity, knocking the thresholds editorial offices and galleries, building useful contacts, meeting the right people. She was their engine with her powerful motor skills, and there were no obstacles for the well-developed properties of her flexible skin vector.
Gala easily prioritized according to interests, achieving difficult goals, existing and enriching herself at the expense of those from whom she tried to mold a genius, and who, forgetting about her role in their achievements, did not think to put her on the same level with themselves.
She didn’t demand much in return. She expected an assessment of her work, the satisfaction of her ambitious, ambitious desires. However, none of her protégés saw Gala's colossal contribution in her success and creative realization.
Perhaps the only one who understood this was Salvador Dali. Elena Dyakonova created the great king of surrealism from him, taking upon herself all the worries, all the everyday troubles and lack of money in the first years of their life together, calling upon herself the fire of all opponents, envious people, spiteful critics, relatives of Paul Eluard's first husband, and then the father and numerous family members Dali.
Researchers of Salvador Dali's creativity and his biographers construct various sentimental versions of love "at first sight until the last breath", allegedly inherent in this couple. Of course, one cannot deny the "earthly love" of both spectators - Gala and El Salvador, yet their relationship was a real natural alliance of the urethral leader and the skin-visual female, towering over the flock of multimillion-dollar admirers of the artist's talent.
Noticing in a modest youth, 11 years younger than her, a penchant for acting and pretentiousness, Gala joined in this game and helped him create the image of a paranoid, whom Salvador himself had not unsuccessfully played from childhood when he wanted to draw attention to himself, have fun or evade responsibilities. To this day, there is debate about whether Dali was mentally healthy or the subjects of his paintings sprout from the dense weeds of his subconscious. The artist himself answered this question: “Madness is very nutritious for me, and it grows out of buffoonery. I have never been able to resolve the fatal question of where my pretense ends and sincerity begins."
Read other parts:
Salvador Dali: a genius theater of the absurd. Part 1
Salvador Dali: a genius theater of the absurd. Part 2
Salvador Dali: a genius theater of the absurd. Part 4
