What is the difference between sadness and longing, or How to cultivate feelings
Sadness, sadness, longing … Very often we use these words as synonyms, describing our experiences and states. The words "sadness-longing" have generally become inseparable, like twin brothers. We meet them together in literary works, in the press, and anywhere. At first glance, they seem to be similar, as if they are talking about the same thing. In fact, upon closer examination, one can find internal differences under the external similarity. These differences are explained by Yuri Burlan's System-Vector Psychology.
System-vector psychology examines all mental processes, their external manifestations and internal mechanisms from eight points of observation, showing cause and effect and designating them with the exact word. Eight observation points are eight vectors named according to the most sensitive areas of our body. So, distinguish between cutaneous, visual, sound, olfactory and other vectors. The vector determines the desires and properties of its bearer, the type of thinking or intellect, the way of adaptation to the landscape, the whole spectrum of manifestation of each person among other people.
Tops and chasms, ups and downs
To understand how sadness differs from melancholy, let us consider some features of the visual vector, since it is its owners that are distinguished by a huge emotional amplitude, which is not greater in any other vector. Also, people with a visual vector have the highest frequency of state changes. When talking about the change of states in visual people, the conditional term "swing" is used. It is vibrations of this kind that transfer well transitions from one state to another.
If we depict the "cardiogram" of visual emotional ratchets in the form of a sinusoid, then with its help one can very clearly demonstrate the amplitude and frequency of state changes. At the lowest point of the sinusoid will be located one of the root emotions of the visual vector - fear, and at the highest - love. In the highest sense of love for another, vision rises to its maximum emotional height, breaking away from fear. And in the same way, when experiencing the greatest fear for oneself - the fear of death - one moves away from love as much as possible.
This is how the swinging occurs: down - up, up - down; into oneself - outward, outward - into oneself. In the lowest states, visual people fall from their inability to interact with other people. Self-pity, anxiety only about oneself speaks of feelings that were undeveloped in childhood, when an emotional visual child was not allowed to express these feelings or were intimidated out of ignorance by reading scary tales. As a result, we get bad lower states. A developed visual vector is capable of empathy, compassion, love. This gives an emotional boost.
All emotions have their own "ratchet" sinusoids. The difference is only in the magnitude of the amplitude and the frequency of state changes. Some states are short, like a moment, others are experienced longer. In some we fall like a stone or soar as a bird. In others, we smoothly descend or also smoothly rise. The amplitude of ups and downs depends on many reasons, the main of which is the level of development and implementation of the visual vector. A developed and realized person will not feel the need for sharp emotional leaps, his states will gradually flow from the upper to the lower. From joy to sadness. From tears of gratitude to tears of compassion.
Such transitions between states in the visual vector fill life with emotional experiences. Such fluctuations are vital to vision. It's like breathing: inhale - exhale, filling - emptying. You can only breathe in different ways. Or evenly and calmly, in a natural way, without noticing this process. Or greedily gasping for air, gasping for breath and straying from the normal rhythm.
Why is sadness and sorrow so bright?
Any person, and even more so a person with a visual vector, cannot endlessly be in an elevated state. For example, always be cheerful, joyful, enthusiastic. Lower states come to replace: sadness, sorrow, thoughtfulness. They are necessary to feel the difference between these states in opposites. There are no spectators who are never sad.
Sadness and grief contain memories of past states: love, passion, joy. Filling with the emotions that were once experienced, a sensually developed person feels gratitude to the one who gave the opportunity to experience them. Sadness and grief are states that are not turned into oneself, but outward, therefore there is no heaviness and anguish in them. They are lightweight. It is no coincidence that they say about these states: "bright sadness, bright sadness." Sadness and grief give an impulse to ascend, but not to exaltation, but to quiet joy.
A visual person can be sad and cry, empathizing with their favorite literary and film characters. These experiences are also bright and beneficial. It is from these experiences that the education of feelings begins, the first skills of empathy and compassion, moral and ethical foundations are laid.
In the dark of death longing
Melancholy is also a lower state of the visual vector, but it differs from sadness and sadness in its amplitude. They fall into it like into an abyss. This is a state that is turned inward, that is, experiences not for someone, but because of their own loneliness, suffering, abandonment, unhappiness. These are heavy mental anguish. Longing has no positive memories of the past. Instead of bright memories - excruciating spiritual emptiness and unbearable pain. And the epithets of anguish correspond to these states: "black anguish, mortal anguish."
In contrast to a short euphoria with exaltation, anguish is long, drags on like a swamp, and tenaciously holds, not allowing to rise up. Stuck in suffering has a destructive effect on the soul. We get suffering as a result of the inability to interact with other people, to be happy and have fun.
You can fall into melancholy for various reasons: because of the loss of a loved one, a break in the emotional connection, loneliness, and sometimes just because of bad weather. It all depends only on the degree of development of the vector and its implementation. A person with an undeveloped or poorly developed visual vector and in rainy weather will find a reason for melancholy and despondency. It is clear that in a state of super stress, any person can fall into severe melancholy. But the developed and realized one is able to get out of them faster and with less losses for his psyche and physical health.
Mature feelings
System-vector psychology of Yuri Burlan reveals the mental characteristics of a person with a visual vector, the main feeling for which is love. When a person begins to understand his mental characteristics, he naturally ceases to experience difficult conditions. Instead of the bitterness of parting, he feels light sadness and light sadness. A person enters these lower states smoothly. He does not feel pity for himself, abandoned and unhappy, but feels grateful to the people, thanks to whom he can experience love.
You can understand your nature, understand the causes of internal states in all the variety of their manifestations at the training "System-vector psychology" by Yuri Burlan. Register for free introductory online classes here:
