Е. Понасенков: бегите от браков, о Тарковском, зоология на выгуле в усадьбе, восторг!

SUMMARY

Historian and director Eugene Ponasenkov warns against rushed marriages with incompatible partners, critiques societal vulgarity observed at Tsaritsyno estate, and analyzes Andrei Tarkovsky's overly metaphysical films.

STATEMENTS

Rushing into marriage with someone from a vastly different cultural or social background often leads to irreversible unhappiness and should be avoided entirely.
Attempting to "improve" a mismatched partner through exposure to culture, like lectures or architecture tours, is futile because inherent flaws cannot be changed.
Before engaging in personal life decisions, individuals should first consume educational content on aesthetics, history, and self-improvement to avoid common pitfalls.
Modern Russian society exhibits a normalized ugliness and vulgarity, where refined beauty is overshadowed by unrefined masses behaving like unchecked "zoology."
Historic estates like Tsaritsyno deserve protected spaces, such as exclusive cafes, to preserve their aesthetic value from the intrusion of the unappreciative public.
Andrei Tarkovsky was a talented and original director, but his films suffer from excessive biblical references, repetitive stylistics, and forced attempts to impose metaphysical depth.
True enjoyment of art and culture requires an environment free from distraction by societal coarseness, which currently prevents genuine creative inspiration.
Personal life mistakes, once made, cannot be undone by later enlightenment; prevention through prior wisdom is essential for flourishing.
Crowds in public spaces reveal deep societal divides, where the majority lacks the capacity to appreciate high culture, necessitating segregation for the cultured few.
Cultural regression in Russia stems from misguided egalitarian ideals, as theorized by Marx, which ignore innate differences in aesthetic appreciation.

IDEAS

Marrying someone from a "peninsula" or foreign cultural enclave is like importing chaos, akin to Russia's regime's partial adoptions that lead to self-destruction.
Even after a bad marriage, avoid formalizing it with documents; simply wait for divorce to escape without legal entanglements.
Touring beautiful places like Petersburg's architecture with an incompatible partner is wasted effort, as they won't appreciate it—better to go alone or not at all.
Societal "norms" have inverted: what was once seen as deviation (ugliness) is now the standard, making classical beauty an anomaly.
People in crowds at estates like Tsaritsyno move with bizarre, engineering-defying physiques, resembling mixed ethnic anomalies never studied in ethnology.
The vulgar speech patterns, like stretching vowels into "fotka" instead of "photograph," signal deeper cultural decay that demands drastic societal measures.
Reproduction rates among the unrefined seem accelerated, possibly in weeks rather than months, exacerbating the overpopulation of "zoological" elements.
Historic serfdom was preferable because it contained the masses; modern freedom allows them to desecrate aristocratic landscapes without restraint.
Tarkovsky's films force spirituality "with a knee," like endless scenes of walking with a candle in wind, preempting viewer interpretation with obvious symbolism.
Cultural icons like Lomonosov broke through class barriers under serfdom, but today's equality dilutes talent by exposing everyone to high art prematurely.

INSIGHTS

Incompatible partnerships rooted in cultural mismatches erode personal fulfillment irreversibly, underscoring the need for preemptive self-education over reactive fixes.
Societal aesthetics demand hierarchical preservation, where exclusive enclaves safeguard beauty from mass vulgarity, echoing historical class structures' unintended wisdom.
Forced metaphysical depth in art, as in Tarkovsky's work, alienates audiences by replacing subtle wonder with overt preaching, diminishing true artistic impact.
Modern freedoms amplify innate disparities in cultural appreciation, proving egalitarian ideals like Marx's fail to elevate the masses, only to degrade shared spaces.
Personal growth halts without intentional exposure to refined influences first, as post-mistake enlightenment cannot retroactively mend life's foundational errors.
Public realms like estates reveal humanity's devolution into normalized grotesquery, where protecting pockets of elegance is essential for sustaining creative inspiration.

QUOTES

"Не прописывать ничего у себя, не берите из другого класса. Особенно с каких-нибудь вот как в этом случае с одного полуострова это вообще надо быть шарахнуть больше чем наш режим."
"Это зрелище было не для слабонервных. Дело в том, что вчера была суббота и в субботу ходячая зоология обеспеченная паспортом линна каких бы то ни было гражданских прав."
"Тарковский невозможно перенасыщен цитатами из Библии просто через край это вываливается это разбухает эти цитаты из Библии которые набили оскомину."
"Он идёт со свечкой... Дайте ему премию дайте ему Оскара сезара дайте ему что там это самое Берлинского медведя козла всё что угодно. Только пусть он уже дойдёт мне понятно да."
"Маркс этот немецкий еврейский идиот считал что если дать быдлу время досуг оно будет читать там тюва тургеневым ничего подобного не будет."

HABITS

Prioritize consuming educational videos and lectures on aesthetics and history before pursuing romantic relationships or creative endeavors to inform better decisions.
Regularly visit historic estates and public parks alone or with like-minded individuals to appreciate architecture and landscapes without vulgar distractions.
Observe potential partners' family backgrounds early, as they predict future behaviors, avoiding unions with those showing signs of cultural or personal incompatibility.
Maintain a routine of cultural immersion, such as discussing Shakespeare or old cinema, to cultivate personal refinement and avoid societal coarseness.
Seek out or advocate for exclusive social spaces, like high-end cafes in parks, to enjoy serene environments away from unrefined crowds.

FACTS

Eugene Ponasenkov authored the 864-page bestseller "The First Scientific History of the War of 1812," a canonical work critiqued by historians.
Tsaritsyno estate features pseudogothic architecture with stunning vistas of hills, ponds, and palace roofs, yet lacks facilities for refined visitors amid crowds.
Andrei Tarkovsky's films often employ repetitive motifs like reflections of sky in puddles and biblical allusions, leading to stylistic uniformity.
Under serfdom, exceptional talents like Lomonosov and 19th-century artists broke through barriers via patronage, achieving education in Petersburg and Italy.
Modern Russian public spaces, like Versailles equivalents, are misused like salting cucumbers in a luxury car, desecrating their intended aristocratic purpose.

REFERENCES

Shakespeare's King Lear as an example of elevated classical literature discussed in correspondence.
Andrei Tarkovsky's films, including scenes with Oleg Yankovsky carrying a candle through water, critiqued for forced metaphysics.
Classic Russian authors like Turgenev and Turgenyev, contrasted with the masses' disinterest in high literature.

HOW TO APPLY

Assess cultural compatibility early: Before any commitment, evaluate a potential partner's background and family traits to predict long-term harmony, avoiding mismatches from disparate regions or classes.
Delay formalization of relationships: If doubts arise after initial involvement, refrain from legal or property entanglements like cohabitation or documents, opting instead to separate cleanly and await natural resolution.
Immerse in self-education first: Dedicate time to watching lectures on aesthetics, history, and personal life before pursuing romance, ensuring decisions are informed rather than impulsive.
Create personal refuges in public spaces: When visiting estates or parks, seek or demand exclusive areas like premium cafes to enjoy beauty undisturbed, filtering out vulgar elements through higher costs or reservations.
Critique art intentionally: When engaging with films like Tarkovsky's, focus on stylistic excesses such as repetitive symbolism, using them to refine your own appreciation of subtle versus forced depth in creative works.

ONE-SENTENCE TAKEAWAY

Prioritize cultural self-education and selective environments to avoid mismatched relationships and preserve personal aesthetic flourishing amid societal decay.

RECOMMENDATIONS

Forgo marriages with culturally alien partners, as they breed inescapable regret, and invest in solo cultural pursuits instead.
Advocate for segregated elite zones in public parks to shield refined experiences from mass vulgarity, ensuring sustainability of beauty.
Approach Tarkovsky's oeuvre critically, valuing its originality but rejecting overbearing metaphysics to foster genuine artistic enjoyment.
Reembrace hierarchical social structures in subtle ways, like exclusive memberships, to contain unrefined behaviors without overt oppression.
Build habits of preemptive wisdom-seeking through media on life and art, preventing life's errors before they manifest.

MEMO

In a candid video dispatch from Moscow, renowned historian and director Eugene Ponasenkov issues a fervent plea to his followers: pause before leaping into matrimony. Drawing from a subscriber's confessional tale of marital woe, Ponasenkov decries unions forged across cultural chasms—especially those importing "pelmeshki" from distant peninsulas—as recipes for ruin. "Don't prescribe anything to yourself," he urges, advising against legal ties that bind irreparably. Instead, he champions preemptive wisdom: devour lectures on aesthetics and history first, lest personal life devolve into farce. His voice, laced with wry humor, echoes the regrets of a young man who dragged his mismatched spouse to Petersburg's grand avenues, only to find beauty lost on her.

Venturing into broader societal critique, Ponasenkov recounts a Saturday stroll through Tsaritsyno's pseudogothic splendor, a jewel of imperial Russia now overrun by what he dubs "walking zoology"—passport-wielding masses of unrefined humanity. Amid the estate's rolling hills and shimmering ponds, he observes physiques defying ethnological norms, vulgar patois twisting words into "fotka," and families propagating at alarming speeds. This, he argues, isn't aberration but the new baseline, inverting classical ideals where beauty reigned. The air thickens with their chatter, a "bedstroy" of gossip that shatters the idyll. Ponasenkov, ever the aesthete, calls for reform: cordon off a single cafe or lawn for the cultured elite, charging premiums to filter the swine from the scene.

Yet Ponasenkov's gaze turns philosophical, lamenting how such vulgarity stifles creation itself. Historic serfdom, he posits provocatively, contained the masses, allowing aristocratic landscapes to breathe; today's freedoms unleash them to trample refinement. He skewers Karl Marx as a "German-Jewish idiot" for presuming leisure would elevate the proletariat to Turgenev—nay, they binge serials and folk ditties. True breakthroughs, like Lomonosov's or serf-artists schooled in Italy, were exceptions, not norms. Estates like Tsaritsyno or Arkhangelskoye, he insists, must revert to purpose: not egalitarian playgrounds, but sanctuaries akin to Versailles' velvet ropes, lest luxury vessels be repurposed for pickling cucumbers.

The discourse pivots to cinema, where Ponasenkov dissects Andrei Tarkovsky with the precision of a scalpel. A subscriber's nod to the master prompts a nuanced takedown: Tarkovsky, tormented genius with a character rivaling diva Galina Vishnevskaya's, overflowed with biblical quotes that bloated his oeuvre. His stylistic tics—skies in puddles, eternal mists—grew monotonous, while scenes like Oleg Yankovsky's candle-lit wade through wind-swept waters hammered metaphysics "with a knee." No subtlety, just premeditated profundity that preempts viewer awe. "Give him all the Oscars," Ponasenkov quips, "just let him reach the other side." Talent undenied, yet the relentless profundity yields intellectual duty, not delight.

Ultimately, Ponasenkov's manifesto is a clarion for intentional living amid entropy. Shun promised utopias—be they Bolshevik or futuristic Russia—for present joys in curated pockets of elegance. Whether fleeing bad bets at the altar or reclaiming parks from the herd, his ethos demands vigilance: educate thyself, segregate wisely, and let art whisper, not shout. In this age of normalized grotesquery, such prescriptions offer not just survival, but a path to the sublime.