Exercise. Identify the modalities of transmissions and the complementarity of responses in the following dialogues.
1. – (stroking his son’s head) Study, my friend, study… especially in the humanities, it’s useful…
– But what about mathematics?
2. – Dad, why do dogs shake themselves off when they come out of the water, but people don’t?
– That’s not how things work, little one.
3. – (commandingly) You’re annoying me!
– (confused) Completely annoying?
4. – Well, tell me how I should understand you?
– No way. Understand me however you like.
5. – Why does the water swirl when it goes down the drain?
– So the molecules don’t bump into each other as much.
6. – Don’t you understand why your son might need money?
– How rude you are today, dear!
7. – The healer’s main function is to help nature heal the sick.
– And if that nature is wicked, then what?
8. – Don’t you dare help me! I’ll do it myself!
– I’ll just sit here beside you.
9. – (demanding) Mom!
– I’m so tired of all of you!
10. – Teacher, I can’t do anything right!
– Patience, and patience again!
11. – Will you finally help me or not?
– Do you think it’s easy for me?
12. – Do you want me to kiss you?
– Have I really lived this long?
Familiar context. In habitual, stereotypical situations for this pair, the modalities (as well as the content) of the partners’ remarks are well known and may not depend on their immediate content (the cognitive aspect) of the transmissions. For example, a husband comes home from work and says a stereotypical phrase:
– So, the husband has arrived!
The cognitive modality here is clearly yin, but for the wife (and for the husband) this transmission may carry a distinctly yang emphasis: the wife knows perfectly well that she must immediately approach her husband, kiss him, ask if everything is fine at home, and so on. Conversely, cognitively yang remarks in stereotypical, daily exchanges often lose their yang meaning and become purely yin “ornaments” of a standardized argument or conflict that repeats day after day with little variation.
– In that case, divorce—and get out of my house!—the husband shouts in anger at his guilty wife, but both he and she know this is an emotional outburst, after which, in a minute, passionate apologies will follow, and the modality of this transmission for the participants is purely yin: it’s nothing more than a form of self-expression for the husband, which doesn’t actually imply what he’s saying but intensifies the emotional tone of the situation.
Exercise. Think about your own stereotypical transmissions—does their modality match their immediate content, that is, their cognitive modality? The same question applies to the standard remarks of your acquaintances.
Tense context. In situations of acute crisis, tense anticipation, or chronic conflict, the overall strongly yang background modality influences the modality of all transmissions: they become much more yang than one might think if focusing on their immediate content (i.e., their cognitive aspect). For example, in a long-standing conflict and general hostility, harmless yin remarks can be perceived (and interpreted!) as direct yang aggression.
– I’m so tired today. (yang)
– You’re always dissatisfied with me!
– There’s no perfection in this world. (yang)
– You’re insulting me.
Exercise. Come up with a context in which the following remarks will sound in a yang modality.
1. – The apple doesn’t fall far from the tree.
2. – It’s getting light.
3. – I’m afraid to stay here.
4. – Ugh!
5. – (Silence).
6. – In the universe, every object finds its proper place.
7. – Merciful God.
8. – I’ll probably understand this by the end of my life.
9. – I’m sleeping.
10. – Flying has been humanity’s eternal dream.
Big boss.
In such situations, everything is maximally standardized and ritualized, and any violation of the accepted style and ritual is perceived as a yang rebellion or (in essence) a sharp disruption. Ritual typically standardizes not only the content of all communications but also their modalities, especially dyadic ones.
Exercise. Below are some recommendations for what to do if fate places you “on the carpet” before a high-ranking superior; try to understand what dyadic modalities they imply.
1. Know exactly what you need.
2. Don’t blink and keep it short.
3. Eat the boss with your eyes.
4. The general knows best.
5. If you can’t stand at attention—at least zip up your fly.
6. In due course, everything will be different.
7. Listen to what they’re telling you.
8. Never say no.
9. Stay silent when spoken to!
10. If you think you were right—don’t mention it!
Leisure time.
In a relaxed setting, it’s very difficult to make a yang modality sound serious—the shared benevolent yin dissolves any imperative. Instead, in many cases, it’s much more effective to use a yang submodality of the yin modality, for example:
– Even on vacation, it’s good to think about lunch from time to time… yin(yang)
– And if a heavy rain starts from that cloud, we might as well start heading home… yin(yang)
– It’s so nice when there’s someone who remembers you and can save a drowning person when the time comes… yin(yang)
COMPLEX MODALITIES
Dyadic-semantic modalities. Yang and yin modalities can vary depending on the type of transmission: whether it is background, cognitive, or stylistic.
Yang-background modality is characteristic of transmissions that exert a direct influence on the partner or the situation as a whole but are preliminary, setting a certain tone.
– Well, Seraphim, hold on! (yang-background)
– Understand, my son, you don’t appeal to me today. (yang-background)
– Where are we going, Martyriy? (yang-background)
Yang-background modality often imposes a certain imperative on the situation as a whole, for example, a clear necessity to do something, such as:
– Xenofont, we must tidy up the bed immediately—the parents are almost here. (yang-background)
– Who did this? I’m waiting for an answer. (yang-background)
– (In a commanding tone) We’re leaving right now. (yang-background)
A typical example of yang-background modality is a transmission that subordinates the situation to a specific goal:
– I’ve invited you, Euphrosyne, for a serious talk about our future. (yang-background)
– We need to agree on the terms and procedure for moving the animals to winter quarters, Khariton Kharitonovich. (yang-background)
Exercise. Come up with situations in which yang-background modality naturally arises.
Exercise. Translate the following transmissions and five transmissions of your choice into yang-background modality.
1. – Do you prefer hippos or rhinos?
2. – If only someone would offer me some ice cream…
3. – Why are you so angry today, Paramon?
4. – Ugh!
5. – (Shaking head negatively) Ugh.
Exercise. Respond to the following remarks and to five remarks of your choice in yang-background modality.
1. – Why do you need a new sofa, Viktor?
2. – Mom, why are squirrels red?
3. – Where’s your sense of duty, Artemiy?
4. – Why haven’t you hugged me yet, Agrafena?
5. – How can we get some honey around here…
Exercise. Formulate the following situations and five situations of your choice in yang-background modality. Respond to them: a) sympathetically and b) antithetically.
1. A request to a younger brother to turn down the TV.
2. An instruction to a child to go to school properly dressed.
3. An accusation against a husband: a fair, localized, private, irreconcilable one.
4. A public call for urgent help in a difficult situation.
5. A junior employee introducing his young wife to his immediate supervisor.
Yang-cognitive transmissions are often used in direct orders, commands, etc.; they typically employ the imperative mood, for example:
– Go, Fyodor, and apologize! (yang-cognitive)
– Don’t you dare contradict me, you little pest! (yang-cognitive)
– Please, gentlemen, come into the hall. (yang-style)
A typical yang-cognitive marker is the emphasis on the partner’s name when addressing them directly:
– I feel bad, Vasyl! (yang-style)
– And we also need raccoons — I’m talking to you, Kapiton Kapitonych! (yang-style)
Exercise. Come up with situations where a yang-cognitive modality naturally arises.
Exercise. Translate the following transmissions and five transmissions of your choice into the yang-cognitive modality.
1. – What a wonderful month, May!
2. – (capriciously) Well… Oh!
3. – Is it like this? (shows a middle finger)
4. – Don’t rush with your personal self-expression — let your comrade express themselves.
5. – (plaintively) Oh!
Exercise. Respond to the following addresses and to five addresses of your choice in the yang-cognitive modality.
1. – How can you behave so disrespectfully toward a wise ancient bird?
2. – Similar ideas are not welcome here.
3. – (cunningly) Virineya!
4. – (joyfully rubbing hands) E-he-he!
5. – (energetically, expressively) Nonsense!
Exercise. Formulate in the yang-cognitive modality an address for the following situations and for five situations of your choice. Respond to them: a) syntonically and b) antitonically.
1. Informal acquaintance on a pleasure boat with a middle-aged woman.
2. Official invitation close in time from a sister to a cozy place.
3. Submitting a minor public complaint at a resort to a new acquaintance.
4. Informal farewell for a short time by the river with a wife.
5. Public official announcement of the start of a new work project to a subordinate team.
Yang-stylistic transmissions have distinct and characteristic markers. First of all, this is a commanding intonation typical of orders, instructions, etc. Gestures are energetic, direct, and aimed at the partner; the body is tense and in a closed position (legs together, chest protected by shoulders, often a hunched posture, head lowered); eyebrows are furrowed. The gaze is directed straight at the partner (preferably into the eyes) and does not wander during the reply. Typical characteristics of the gaze are firm, piercing, persuasive, pressing, penetrating, and probing. These transmissions are very energetic, but they should not be overused. However, in some cases, this modality is much more appropriate and effective than the yang-cognitive one. Examples:
– (commandingly, loudly) Get out of here! (screams from an excess of emotions) (yang-style)
– (quickly extends a middle finger toward the partner, makes big eyes) !!! (yang-style)
– (with a strong Georgian accent) Go quickly to court, my little bird! (yang-style)
Exercise. Come up with situations where a yang-stylistic modality naturally arises.
Exercise. Translate the following transmissions and five transmissions of your choice into the yang-stylistic modality.
1. – Nature is hinting.
2. – It’s time to grow up, my son.
3. – No.
4. – I’m glad to see you, Fedosiy.
5. – I don’t know, Misail.
Exercise. Respond to the following addresses and to five addresses of your choice in the yang-stylistic modality.
1. – How many thousand times do I have to repeat this to you, Onufriy?
2. – Don’t rush, Svitlozar: steep hills will grind down your little horse.
3. – This is undesirable, Yohann.
4. – Don’t you understand this, Mr. Nikanor?
5. – Could you at least smile once at your beloved wife!
Exercise. Formulate in the yang-stylistic modality an address for the following situations and for five situations of your choice. Respond to them: a) syntonically and b) antitonically.
1. Direct, unusual, urgent request in private to a brother.
2. Significant public threat to a superior.
3. Response to a minor public false accusation from a close relative.
4. Negative response to a shameless, uninteresting business proposal.
5. Agreement to a proposal from a new acquaintance to spend the evening together.
Yin-background transmission introduces, complements, modifies, or colors the situation without directly burdening the partner with the need for a specific action or decision, for example:
– We have gathered here, and that’s good. (yin-background)
– And then Mashenka promised to sing for us. (yin-background)
– And we will have all sorts of fun… (yin-background)
– How could we arrange ourselves more comfortably… (yin-background)
– Once upon a time there lived an old man and an old woman. (yin-background)
– I think we can come to an agreement. (yin-background)
Exercise. Come up with situations where a yin-background modality naturally arises.
Exercise. Translate the following transmissions and five transmissions of your choice into the yin-background modality.
1. – Give me the apple, Mother!
2. – Oh!
3. – Stop singing immediately, Florentiy!
4. – Any animal loves affection — and you, Kupriyan?
5. – Love has been obedient through the ages — did the great poet make a mistake?!
Exercise. Respond to the following addresses and to five addresses of your choice in the yin-background modality.
1. – Why do you need my phone?
2. – Where have you been all these years, Elpidifor?
3. – Can you climb that tree?
4. – Cook buckwheat porridge and chop green onions finely for when I arrive.
5. – Tsk!
Exercise. Formulate in the yin-background modality an address for the following situations and for five situations of your choice. Respond to them: a) syntonically and b) antitonically.
1. Serious unofficial urgent proposal to a pet.
2. Polite refusal of an interesting personal proposal.
3. Agreement to an important business proposal.
4. A frivolous private promise for a distant future to a doll.
5. A light public compliment to an elderly woman.
Yin-cognitive transmissions can sound like a detailed answer to a question about a state or serve as a softening response to yang-cognitive pressure (or an evasion of it), or they can soften a demand or question by making it indirect:
– I feel fine — like a camel in an oasis after a long journey through a waterless desert. (yin-cognitive)
– I don’t think I can fulfill your errand. (yin-cognitive)
– I would be happy to know your name. (yin-cognitive)
– Your mother would be very glad if you arrived no later than ten o’clock. (yin-cognitive)
– And today I brought a dozen beers. (yin-cognitive)
Exercise. Come up with situations where a yin-cognitive modality naturally arises.
Exercise. Translate the following transmissions and five transmissions of your choice into the yin-cognitive modality.
1. – Come on, Onysym!
2. – (bitterly) Ah!
3. – It’s better, Antoniydo, if you go in peace.
4. – (mockingly singing) A-a-a-a…
5. – Don’t mock me, Sofoniy!
Exercise. Respond to the following addresses and to five addresses of your choice in the yin-cognitive modality.
1. – Even though you’re old, Savvat, you’re not wise!
2. – Sizon, who are you leaving me for?
3. – And how do you live without your beloved Seviryn?
4. – Just don’t put your head on my shoulders!
5. – And this is already a dirty trick, Terentiy!
Exercise. Formulate in the yin-cognitive modality an address for the following situations and for five situations of your choice. Respond to them: a) syntonically and b) antitonically.
1. Modest public flirtation with an old acquaintance who is a woman.
2. Private confession of a minor fault before a subordinate.
3. A phone call requesting to accept a service application.
4. Informal private minor request to a seven-year-old daughter.
5. Invitation to a bride to a banquet celebrating the company’s anniversary.
Yin-stylistic transmissions often feature soft intonations accompanied by slow, flowing speech with extended sentences full of epithets, comparisons, etc. Gestures are also slow, smooth, rounded; the body is relaxed, legs spread apart and bent at the knees. The gaze is directed sideways or upward, but sometimes briefly meets the partner’s eyes before looking away again; or it may linger on the partner but with characteristics such as enveloping, languid, soft, and relaxing. Examples:
– (slowly, feelingly stretches and yawns) (yin-style)
– I am so delighted to see you, my dear Anfisa Polikarpovna, I have waited so long for this extraordinary opportunity to meet the pride of our country, and the fact that I have finally waited for it shows how Omniscient and Almighty the Lord is to me—so benevolent, generous, and merciful! (yin-style)
Exercise. Come up with situations in which a yin-style modality arises naturally.
Exercise. Translate the following broadcasts and five broadcasts of your choice into a yin-style modality.
1. – I ask you to be as frank with me as possible, dear Nikandr!
2. – And now, esteemed Miroslas Spiridonovich, to the table!
3. – (enthusiastically) Oh!
4. – You know, Rostislav, imperial ambitions are all the same.
5. – Please, Pompey, do not embarrass me or force me to blush!
Exercise. Respond to the following appeals and to five appeals of your choice in a yin-style modality.
1. – And how old are you, may I ask, madam?
2. – But the most interesting part of your biography you have kept from us, incomparable Pafnuty Modestovich!
3. – Let us sit down, Anfisa.
4. – And first tell us the backstory, Rafail!
5. – Oh, I doubt it!
Exercise. Formulate in a yin-style modality appeals for the following situations and for five situations of your choice. Respond to them: a) in harmony and b) in contrast.
1. A humble request for leniency addressed to an elderly father.
2. A proposal to go for an evening walk to an old acquaintance.
3. An informal, quick invitation to a beloved for a skiing trip.
4. An indirect presentation of a small complaint about a household cat.
5. An informal farewell for a considerable period to an annoying friend.
Exercise. Identify the dyadic-semantic modalities of the broadcasts in the following dialogues:
1. – How wonderful to meet friends around New Year!
– Hello, Larysa!
2. – Ugh, what a burden! Ugh! Even an elephant would have collapsed in my place!
– One’s own burden does not weigh heavy.
3. – Be patient, Kolenka, just be patient, my friend.
– (Desperate voice) There’s no urine!
4. – I am hurrying to meet my beloved!
– Stop, Roman!
5. – And you, my beloved, farewell forever!
– Really forever?
6. – Tomorrow, from early morning until noon, I will be working. Carpentry. – Well, then I will come by in the evening.
7. – You know, Semyon, I do not respect you!
– For what?
8. – I love you!
– Ah! (throws herself around his neck)
9. – You have become unbearably tiresome to me, and I no longer wish to see you!
– As you command.
10. – And now I will tell you a story.
– Oh!
11. – (over the loudspeaker) Our zoo offers you a detailed tour.
– (to himself) I’m going!
12. – (over the loudspeaker) In our zoo, you can personally meet predatory and herbivorous animals.
– Predatory ones—how scary!
13. – And I do not understand why you despise me!
– You will not understand until you grow wiser.
14. – Fool!
– You’re the fool yourself—foolish fool!
15. – For this deed, I respect you!
– You shouldn’t have. I wasn’t up to much there.
16. – So, shall we go?
– It depends…
17. – Wow!
– Nothing special!
Exercise. Compose dialogues consisting of two lines for each of the following pairs of complex modalities:
1. (yang-background) – (yin-spike)
2. (yang-background) – (yin-style)
3. (yang-background) – (yang-spike)
4. (yin-background) – (yang-spike)
5. (yin-background) – (yang-background)
6. (yin-background) – (yang-style)
7. (yang-spike) – (yin-spike)
8. (yang-spike) – (yin-style)
9. (yang-spike) – (yin-background)
10. (yin-spike) – (yang-style)
11. (yin-spike) – (yang-background)
12. (yin-spike) – (yin-style)
13. (yang-style) – (yang-spike)
14. (yang-style) – (yang-background)
15. (yang-style) – (yin-spike)
16. (yin-style) – (yang-spike)
17. (yin-style) – (yang-background)
18. (yin-style) – (yin-background)
Exercise. Respond to the following appeals and to five appeals of your choice in each of the six dyadic-semantic modalities.
1. – Do you have much experience under your belt?
2. – Long time no see, friend (friend)!
3. – Are you up for a trip to the mountains with me tomorrow?
4. – I will wait for you every second!
5. – Tell me: do you still love me?
6. – Yesterday, my beloved grandmother passed away…
7. – Can you imagine, our Tomka is pregnant again!
8. – Study, my friend, study until your dying day.
9. – Well, as for your eternal love, that’s what Grandma said half in jest.
10. – I want a pelican!
Example. Responses to the protagonist Prokhor’s question: “Do you have much experience under your belt?”
– There is some, Prokhor, information for you. (yang-background)
– There is… (yin-background)
– Well, I know how to talk to people, Prosha. (yang-spike)
– Out of five jobs, I’ve been injured in the leg, stomach, and head; I survived and am still alive! (yin-spike)
– Oh, Prosha! Now tell me everything (grimace), lay out all your mysterious secrets! Won’t work, friend! (shows a gesture) (yang-style)
– (In a fairy-tale singing voice) I have endured much, traveled far, sailed foreign seas like Sinbad the Sailor, through long years, long roads, saw few smiles—mostly all bitter tears… (yin-style)
Exercise. Compose three short scenes for each of the following topics and for five topics of your choice. The characters in the scenes should be in the following modalities:
a) protagonist – yin-background, partner – yang-style;
b) protagonist – yang-spike, partner – yin-style;
c) protagonist – yin-style, partner – yin-spike.
1. The elderly bachelor Viktor prepares for the visit of his girlfriend Clarissa and discusses the prospects with his friend, the sofa.
2. The great boss Zinoviy Kalistratovich tries to guess what gift his lover Yefrosinya wants for her birthday. She responds evasively, unwilling to say directly that she wants to marry him.
3. The student Agnia confronts her father with the question of why he divorced Agnia’s mother. The father does not want to lie to her but is also reluctant to speak ill of his former wife.
4. The primitive warrior Tusk of the Mammoth offers a girl named Flower of Dawn to persuade her to become his wife. Flower of Dawn hesitates and clarifies their future life prospects.
5. The mother of first-grader Vily questions him about his first day at school. However, the boy has his own worldview and poorly understands what his mother wants from him.
Exercise. Compose three short scenes for each of the following topics and for five topics of your choice. The characters in the scenes should be in the following modalities:
a) protagonist – yin-spike, partner – yang-spike;
b) protagonist – yin-background, partner – yin-style;
c) protagonist – yang-style, partner – yang-background.
1. The director of the zoo, Khariton Kharitonovich, discusses with the head of the supply department, Semyon Dormidontovich, the situation with the animals in the zoo.
2. The zoo. The python Pafnuty and the hippopotamus Fyodor discuss the latest news of zoo life, constantly diverging in their assessments and worldviews.
3. Markel Markelych, the director of the company “Kisa-Murisa: Help for Pets,” listens to Trofim’s weekly report on the work done, interjecting encouraging but more critical remarks. Trofim does his best to justify himself.
4. The zoo. Zakhar, the zootechnician responsible for the giraffe Georges, scolds his charge for poor behavior and appetite. Georges retorts and turns personal.
5. Isabella, the owner of the poodle Duni, scolds her pet for suspicious relations with the warehouse dog Yelizarich. Duni rejects the hints of her mistress but tries to morally justify the dog.
Dyadic-dialectical modalities.
The yang-tool modality is very energetic and can sometimes catch a partner off guard, so they may perceive it as intrusive—meaning one should be cautious of ambivalence. A typical situation where this modality arises is an unmotivated, direct “attack” by the protagonist on the partner:
– (without preparation, with pressure) Hermogen, speak plainly: WHERE WERE YOU?! (yang-creative)
– (interrupting the partner) And I will tell you straight, Fedosy: you’d be better off raising rabbits than sitting in the office! (yang-creative)
Exercise. Come up with situations in which a yang-tool modality arises naturally.
Exercise. Translate the following addresses and five addresses of your choice into the Yan-creative modality.
1. – Oh, Nestor!
2. – I have a surprise: my shorts have split at the seams!
3. – As if!
4. – I’m sad, I won’t hide it.
5. – I’m sleeping, sleeping, sleeping…
Exercise. Respond to the following addresses and five addresses of your choice in the Yan-creative modality.
1. – How much does your cheese cost?
2. – Narcissus, where did you tear your pants?
3. – Lucian, will you ever learn not to interrupt me?
4. – I feel cold.
5. – I don’t consider this reason valid, Parthenius.
Exercise. For the following situations and five situations of your choice, come up with an address in the Yan-creative modality. Respond to this address: a) syntonically and b) antitonically.
1. An urgent imperative proposal to a girlfriend to go to a party.
2. A passionate sincere private apology to a younger sister.
3. A private heavy accusation against a pet.
4. Personal intimate sympathy for a doll regarding a serious loss compensation.
5. Presentation of a fashion singer to the public at a charity concert.
The Yan-executive modality is characteristic, for example, when the protagonist, within the framework of a well-known role, demands something from a partner—such as posing a substantive question requiring a meaningful answer:
– Agnes, as a father, I demand an answer from you: where did you spend the night? (Yan-executive)
– (suspiciously) Now tell me honestly: why are you always so handsome, huh? (Yan-executive)
Exercise. Come up with situations in which the Yan-executive modality naturally arises.
Exercise. Translate the following addresses and five addresses of your choice into the Yan-executive modality.
1. – How could you?
2. – Well, Rogneda, I can feel that you usually sleep like a bear in its den, not thinking about spring…
3. – No, what a scoundrel!
4. – To each his own time, that’s what I think.
5. – Our time has passed, yes, and there’s nothing we can do about it.
Exercise. Respond to the following addresses and five addresses of your choice in the Yan-executive modality.
1. – Savelli, please bring dry firewood from the forest.
2. – Why did you appear at night, Macedonia?
3. – I think I’ll go home.
4. – (placing a finger to lips) Shh!
5. – Ah, why do you deceive me, Melanie!
Exercise. For the following situations and five situations of your choice, come up with an address in the Yan-executive modality. Respond to this address: a) syntonically and b) antitonically.
1. Acquaintance at a riverside beach with a seven-year-old girl.
2. An intimate semi-official proposal to a new acquaintance.
3. A joyful greeting to an older relative on the street.
4. A joking serious public accusation against an animal.
5. Sincere private forgiveness to a doll for a serious fault.
The Yan-dissolving modality arises, for example, when the protagonist orders the partner to destroy or stop something:
– Don’t you dare contradict me, Paladius! (Yan-dissolving)
However, dissolution can also refer to a fact concerning the protagonist:
– I’m dying of love for you, Glycera! (Yan-dissolving)
Exercise. Come up with situations in which the Yan-dissolving modality naturally arises.
Exercise. Translate the following addresses and five addresses of your choice into the Yan-dissolving modality.
1. – Full speed ahead!
2. – I really wouldn’t want to resemble Cleopatra, and Antony isn’t even around.
3. – The Earth revolves around the Sun, and I revolve around you, my love.
4. – What guests we have today! Ah, what a real surprise!
5. – Well, that’s all.
Exercise. Respond to the following addresses and five addresses of your choice in the Yan-dissolving modality.
1. – Why didn’t you buy the cake, Kir?
2. – And you didn’t guess! You didn’t guess!
3. – Humility is our main virtue, Cyricus!
4. – Why I don’t brush my teeth in the morning is something you, as a mother, should know better!
5. – Doctor, please help me!
Exercise. For the following situations and five situations of your choice, come up with an address in the Yan-dissolving modality. Respond to this address: a) syntonically and b) antitonically.
1. A justified public accusation against an uncle.
2. A private invitation to an old friend for a bike ride.
3. Justification of one’s unwillingness to join one’s wife who is going to a friend’s birthday.
4. A middle-aged man reproaching his elderly mother for mistakes in his upbringing during school years.
5. Farewell to a beloved city for a long time.
The Yin-creative modality is used, for example, in transmissions expressing the state of a person who has received unexpected news:
– I’m stunned. (Yin-creative)
Another use of this modality is shifting the conversation to another topic through a remark that does not require a response. For example, the protagonist asks:
– “Do you think God will punish me for today?”
and the partner avoids discussing the proposed topic, subtly offering a new one:
– I think the best thing for us now is to take a walk in the park and watch the swans. (Yin-creative)
Exercise. Come up with situations in which the Yin-creative modality naturally arises.
Exercise. Translate the following addresses and five addresses of your choice into the Yin-creative modality.
1. – Wait for me till the end, Timur.
2. – I’m just a disobedient child.
3. – Just don’t wrap me up!
4. – You understand, Isidore, that not everyone can be easily confused by me?
5. – Don’t tire me, Danilo!
Exercise. Respond to the following addresses and five addresses of your choice in the Yin-ordering modality.
1. – Well, have you decided at last?
2. – That’s it, keep doing it the same way.
3. – Not quite, Zeno, I don’t agree with you.
4. – What will Agraphena say?
5. – Let’s go, Shustrik, away from here—we’re not welcome here.
Exercise. For the following situations and five situations of your choice, come up with an address in the Yin-ordering modality. Respond to this address: a) syntonically and b) antitonically.
1. Filing a complaint against a grandmother for a difficult childhood.
2. Public sincere apology to a father for spilled coffee.
3. Informal farewell to a close relative who is leaving for a long time.
4. A compliment to a seven-year-old girl who performed well at a children’s morning.
5. Private sincere gratitude to a younger relative for help in a delicate situation.
The Yin-executive modality is inherent, for example, in transmissions where the protagonist’s passive position appeals to the established order of things:
– Well, what can I say… I’m as always… (Yin-executive)
– I have nothing to complain about—money is paid, and on Sundays I can even watch TV. (Yin-executive)
Exercise. Come up with situations in which the Yin-executive modality naturally arises.
Exercise. Translate the following addresses and five addresses of your choice into the Yin-executive modality.
1. – In short, I’m going to the dogs—understood, Dominic?
2. – You’re my friend, Arthur!
3. – Devotion, only devotion—that’s what I need from you, dear Dormidont!
4. – You, Henrietta, don’t rush, tell me properly, from the very beginning.
5. – Hey, Eremey!
Exercise. Respond to the following questions and five difficult questions of your choice in the Yin-executive modality.
1. – Why does a dog have a tail at the back?
2. – Why do fleas jump instead of crawling like caterpillars?
3. – Why are there two skis and four wheels?
4. – Why do meridians intersect but parallels do not?
5. – Why is it hard to understand adults?
Exercise. For the following situations and five situations of your choice, come up with an address in the Yin-executive modality. Respond to this address: a) syntonically and b) antitonically.
1. Encouraging a son to invite new friends home.
2. A request to a mother to leave homework to the protagonist’s discretion.
3. A personal non-lethal offense to a younger brother.
4. An important private wish to a direct subordinate.
5. Farewell to a grandson who is going on a mountain hike.
Yin-dissolving modality in transmissions where the protagonist describes the dissolution of an object or situation without expecting any specific reaction from the partner: – It doesn’t look like things are coming together at our firm—more like subtraction is happening. (yin-growth)
Another way this modality arises is through a philosophical and detached view of the world: – Yes, truth always triumphs—when its time comes. (yin-growth)
Exercise. Come up with situations where the yin-dissolving modality naturally arises.
Exercise. Translate the following appeals and five appeals of your choice into the yin-dissolving modality.
1. – Let’s not argue, Josaphat—let’s kiss instead, okay?
2. – There’s nothing better than a northern hike on foot.
3. – You should stand under the waterfall, Hostomysl.
4. – I’m better than you think, Evlampia.
5. – Who knows…
Exercise. Respond to the following appeals and to five appeals of your choice in the yin-dissolving modality.
1. – May I walk you home, Stefan?
2. – Your house is very nice—it reminds me of an eagle’s nest.
3. – I personally always prefer parquet floors.
4. – Voldemar, put on a striped tie.
5. – Come on, Sylvester—who takes studying seriously these days?
Exercise. For the following situations and five situations of your choice, create an appeal in the yin-dissolving modality. Respond to this appeal: a) sympathetically and b) antithetically.
1. Acknowledging formal guilt for a long-past offense before a brother.
2. Announcing the end of a long personal relationship.
3. Greeting a late guest.
4. Apologizing to your mother for not finishing your soup.
5. Instructing a subordinate to take urgent measures.
Exercise. Translate the following appeals and five appeals of your choice into all diadically-dialectical modalities.
1. – I will definitely come to your dinner, Bronislava.
2. – I dare not object.
3. – Well then! It seems I’ll have to stay with you, Josaphat, until the matter is settled.
4. – I’m in no hurry—where to?
5. – Time, time to wrap things up.
Exercise. Respond to each of the following appeals and to five appeals of your choice in all diadically-dialectical modalities.
1. – Aren’t you ashamed, Brother Svitlozar?
2. – Your bride is quite something—both in looks and figure.
3. – Take off your coat, sit down, Yukhym, and have some tea.
4. – Funny to say—I don’t know, Callisto.
5. – No matter where I end up, Aglaya—I’ll rush to your first call.
Exercise. For each of the following situations and five situations of your choice, create an appeal in all diadically-dialectical modalities. Respond to these appeals: a) sympathetically and b) antithetically.
1. Informal greeting to the home of a pet that has gone missing without a trace.
2. Reprimand to a doll for its atrocious behavior in the presence of elders.
3. Warning to a young friend who is prematurely planning to marry.
4. Mother’s concern about a child’s performance at a school evening.
5. A young lady’s embarrassment before her suitor regarding her new hairstyle.
Exercise. Create two short scenes for the following topics and five topics of your choice. The characters in the scenes should embody the following modalities:
a) Protagonist – yin-creative, partner – yang-realizing;
b) Protagonist – yang-growing, partner – yin-realizing.
1. Rooster Mephistopheles boasts to dog Kubyk about his harem and usefulness on the farm. Kubyk initially tolerates it but eventually puts Mephistopheles in his place.
2. A hundred-year-old parrot Claudius explains to his owner Agrafena why she should never marry. Agrafena resists, citing public opinion, women’s happiness, and so on.
3. Senior executive Zinoviy Kalistratovich, while accidentally in a bar, strikes up a conversation and flirts with an interesting young woman, Euphrosyne, hinting at his financial and other advantages.
4. Young Susanna and her suitor Yerofei on an evening walk. Susanna is distracted by the young people passing by, while Yerofei tries to redirect her attention to himself.
5. First-grader Vilya asks his mother when he can watch all TV programs without exception or restrictions. Anticipating trouble, his mother tries to explain the difference between duties and relaxation.
Exercise. Create two short scenes for the following topics and five topics of your choice. The characters in the scenes should embody the following modalities:
a) Protagonist – yang-creative, partner – yin-realizing;
b) Protagonist – yang-realizing, partner – yin-creative.
1. Fox Larysa invites Hare Zahar to her birthday party. Zahar senses something amiss but doesn’t want to refuse outright for various reasons.
2. Fox Larysa, visiting Wolf Georgiy (Zhora), tells him about Hare Zahar’s bad behavior. Zhora reacts philosophically.
3. Wolf Zhora meets Hare Zahar in the forest and reproaches him for his poor manners. The hare justifies himself, apologizes, and promises to improve.
4. The round dining table and the bachelor Viktor’s sofa discuss the need for apartment repairs and ways to make Viktor take care of it while he’s away.
5. Poodle Dunya complains to warehouse dog Yelizarych about her owner Isabella’s bad temper. Yelizarych tries to balance the situation.
Diadically-triadic modalities.
Yang-synthetic modality is characteristic of transmissions containing a concise imperative instruction: – Leave here at once.
This modality is also marked by a strong emphasis on the partner’s name in an appeal: – (Firmly) I’m asking you, LUCIAN!
Exercise. Come up with situations where the yang-synthetic modality naturally arises.
Exercise. Translate the following appeals and five appeals of your choice into the yang-synthetic modality.
1. – I’d like something tasty, Mother—maybe some mushrooms, pickles with onions… or chanterelles, let’s say.
2. – What do my relatives have to do with this? I want to understand at last.
3. – It’s warm here, cozy, a bit untidy, though…
4. – Why would I want a cranberry pie when cabbage pie is much tastier?
5. – Shave!
Exercise. Respond to the following appeals and to five appeals of your choice in the yang-synthetic modality.
1. – How old will you be this year, Manfred?
2. – Why would a cat need cheese?
3. – Be quiet, wretched one!
4. – Tell me about your childhood, Kornily.
5. – And when is your wedding scheduled, Serafim?
Exercise. For the following situations and five situations of your choice, create an appeal in the yang-synthetic modality. Respond to this appeal: a) sympathetically and b) antithetically.
1. A proposal for a serious business meeting.
2. Greeting an enemy at the schoolyard.
3. Final farewell to a harmful habit.
4. Accusing a household cat of disgraceful behavior.
5. Mocking a younger sister who can’t walk properly.
Yang-qualitative modality is characteristic, for example, of transmissions containing direct qualitative instructions to the partner: – You must be free and uninhibited, and that’s the main thing—remember, Leontiy! (yang-quality)
This modality is indicated by emphasized verbs in a command that denote actions: – Now—fly, and quickly! (yang-quality)
Exercise. Come up with situations where the yang-qualitative modality naturally arises.
Exercise. Translate the following appeals and five appeals of your choice into the yang-qualitative modality.
1. – Where are you, NESTOR! (shouted)
2. – I wouldn’t want that.
3. – Oh, what socks and shoes, and dresses, and a bow in the hair!
4. – Well, I don’t know why such tears, and grimaces, and five minutes of despair.
5. – Spring has come!
Exercise. Respond to the following appeals and to five appeals of your choice in the yang-qualitative modality.
1. – Where do you live, Niphont?
2. – I don’t even know how I can help you, Angelina.
3. – What kind of person are you, Mardariy?!
4. – Hurry up, Tigriy!
5. – Funny, Ruvi!
Exercise. For the following situations and five situations of your choice, create an appeal in the Yang-quality modality. Provide a response to this appeal: a) syntonic and b) antitonic.
- Insistent proposal for a doll to wear a new dress.
- Sharp, justified insult directed at an older relative.
- Announcement of force majeure regarding it.
- Humiliated, urgent request to a distant wealthy relative.
- Statement about one’s new social status at a family dinner.
Yang-subject modality is characteristic of transmissions that represent a direct subject demand to the partner:
- “Take off your wet shirt and pants immediately, Vilya!” (Yang-subject)
- “A little piece, please!” (pleadingly) (Yang-subject)
Exercise. Create situations in which Yang-subject modality naturally arises.
Exercise. Translate the following appeals and five appeals of your choice into Yang-subject modality.
- — Oh!
- — I really want some porridge—semolina, sweet, delicious, and more!
- — What’s going on, Protasius!
- — Please, Florentius!
- — It would be difficult for me to say anything definite on this topic.
Exercise. Respond to the following appeals and to five appeals of your choice in Yang-subject modality.
- — Please follow me, Leone.
- — Who are you, wonderful stranger?
- — What color were her eyes?
- — It would be good to hear something in your defense, Nathanael.
- — Quiet, obedient boys usually get more cake.
Exercise. For the following situations and five situations of your choice, create an appeal in the Yang-subject modality. Provide a response to this appeal: a) syntonic and b) antitonic.
- Remote invitation from a direct supervisor to a wedding for their growing daughter.
- Indirect justification for a significant fault before a pet.
- Acquaintance on a plane with a ten-year-old boy.
- Proposal to a new acquaintance to come over for dinner.
- Doubt regarding a business statement received from a subordinate.
Yin-synthetic modality is characteristic, for example, of transmissions containing metaphors of state:
- — I feel like a goose on a spit. (Yin-synthetic)
- — You seem a bit weak today—as if you were a herring in wine sauce. (Yin-synthetic)
Exercise. Create situations in which Yin-synthetic modality naturally arises.
Exercise. Translate the following appeals and five appeals of your choice into Yin-synthetic modality.
- — Get out of the way, Markel!
- — I’m in a hurry, in a hurry—just let me finish this row and I’ll come right away!
- — You stepped on my big toe.
- — Where exactly is your homestead plot located?
- — The path of war is not for civilized humanity.
Exercise. Respond to the following appeals and to five appeals of your choice in Yin-synthetic modality.
- — Quietly, quietly, Protase!
- — Ah, Florentine!
- — I’m coming, I’m coming—I don’t whistle, but when I arrive, don’t hold it against me, Faina!
- — Shustrik, don’t bark pointlessly at passing cars.
- — I need an experienced and skilled assistant, Foka.
Exercise. For the following situations and five situations of your choice, create an appeal in the Yin-synthetic modality. Provide a response to this appeal: a) syntonic and b) antitonic.
- Plea for mercy directed at a criminally inattentive father.
- Explanation to a confused mother for not wanting to do homework tomorrow.
- Request to a child to turn off the TV and start their tasks.
- Indirect accusation of a doll for the disappearance of a favorite candy.
- Instruction from a daughter to clean the room before trouble begins.
Yin-quality modality is characteristic of unobtrusive transmissions that emphasize quality or not overly active action, for example:
- — I’m so sorry that everything turned out so badly… I’m really sorry… (Yin-quality)
- — And suddenly I see a bird: large, green-blue, soaring alone high, high up. (Yin-quality)
Exercise. Create situations in which Yin-quality modality naturally arises.
Exercise. Translate the following appeals and five appeals of your choice into Yin-quality modality.
- — Stop, brother Nikandr!
- — Uh!
- — (Shakes head negatively) Ugh.
- — Why do you need my girlfriend?
- — All right, Fedosia, let’s go to the river.
Exercise. Respond to the following appeals and to five appeals of your choice in Yin-quality modality.
- — Where shall we meet tomorrow, Onisim?
- — Now tell me, Iliodor, what materials do you need?
- — Tell me, esteemed author: which of your characters did you write about yourself, and which—about your acquaintances?
- — I just don’t feel well today.
- — It’s hard for you right now, Rostislav—but I understand you.
Exercise. For the following situations and five situations of your choice, create an appeal in the Yin-quality modality. Provide a response to this appeal: a) syntonic and b) antitonic.
- Humble request to a high-ranking official for a pension.
- Casual, unobtrusive greeting to an interesting young neighbor at the beach.
- Unambiguous instruction to a daughter to vacuum the carpet in the living room.
- Dramatic public confession of a significant fault.
- Unjustified, joking insult from a pet.
Yin-subject modality is characteristic of descriptions of the subject plane:
- — She was wearing shoes with laces, a dress with a slit up to the waist, and a scarf tied in a knot at the back of her neck. (Yin-subject)
Exercise. Create situations in which Yin-subject modality naturally arises.
Exercise. Translate the following appeals and five appeals of your choice into Yin-subject modality.
- — Understand me correctly, Nectarius.
- — Cassian and Calistratus, calm down!
- — Oh, dear person!
- — Labor is the foundation of our existence.
- — It’s time for us to have a serious talk.
Exercise. Respond to the following appeals and to five appeals of your choice in Yin-subject modality.
- — Whose bicycle did you ride, Orestes?
- — Vanish, unclean spirit!
- — Now tell me plainly, Nicephorus: do you need me as a wife or not?
- — And also, please, a small cake for me—but with flavor.
- — Please, Gertrude, don’t be shy!
Exercise. For the following situations and five situations of your choice, create an appeal in the Yin-subject modality. Provide a response to this appeal: a) syntonic and b) antitonic.
- Informal introduction of your dog to a new acquaintance.
- Informal, distant-in-time invitation to a friend to be a witness at your wedding.
- Traditional, ceremonial presentation of a claim to an elderly wife on a wedding anniversary.
- Announcement to a pet about the end of a tiresome, long-running plot.
- Public, polite assignment of responsibility for a situation’s failure to a new acquaintance.
Exercise. Translate the following appeals and five appeals of your choice into all dyadic-triadic modalities.
- — It would be good if you hurried, Smaragda.
- — I think otherwise.
- — I invite you to dance.
- — First—dinner.
- — And yet, Peter was a great tsar!
Exercise. Respond to the following appeals and to five appeals of your choice in all dyadic-triadic modalities.
- — Where did they take you yesterday, Irenia?
- — I regret my rudeness—please forgive me, Pancratius!
- — You won’t get away from me now, Euphrosyne!
- — Shustrik, why did you eat that innocent little bird?
- — Evsik, is school really more interesting than your beloved dog?
Exercise. For the following situations and five situations of your choice, create an appeal in all dyadic-triadic modalities. Provide a response to this appeal: a) syntonic and b) antitonic.
- Casual, superficial compliment from an aging, elegant man at an official gathering.
- Assignment to a father who is departing on a long business trip to India.
- Difficult-to-fulfill private promise to a lover.
- Serious, unofficial proposal to a doll.
- Advice to a new acquaintance who is not a professional in the protagonist’s field of expertise.
Exercise. Compose two short scenes for each of the following topics and five topics of your own choice. The characters in the scenes should embody the following modalities:
a) protagonist – Yang-Predominant, partner – Yin-Synthetic;
b) protagonist – Yang-Synthetic, partner – Yin-Predominant.
1. Zoo. Zinaida the bison asks Porfiry the zookeeper to change her living and feeding schedule. Porfiry explains what he can do and what is beyond his control or the zoo administration’s authority.
2. Fekla and Petunya, dolls in a children’s store window, argue over which one children love more.
3. Vilya, a first-grader and an only child, demands a sibling from his mother, citing his teacher Pulcheria Khristoforovna’s authority. His mother tries to resist.
4. Violetta’s cactus criticizes her friends. Violetta tries to defend them.
5. Andron, a high school student, is dissatisfied with his school and teachers, who force him to learn things he finds useless. His mother tries to explain that the world is broader than he thinks.
Exercise. Compose two short scenes for each of the following topics and five topics of your own choice. The characters in the scenes should embody the following modalities:
a) protagonist – Yang-Predominant, partner – Yang-Synthetic;
b) protagonist – Yin-Synthetic, partner – Yin-Preparatory.
1. The round dining table and the bachelor Victor’s sofa plot how to push him into marriage—perhaps to his old acquaintance Clarissa.
2. Mardary, owner of the cat Gladiator, tries to explain the moral and other benefits of vegetarianism to his pet. The cat, however, has his own opinion.
3. Isabella, owner of the poodle Duni, asks the guard dog Yelizarich not to bother her pet. Yelizarich defends his freedom and the freedom of love in general.
4. Zinoviy Kalistratovich, a high-ranking executive, tries to explain to his lover Euphrosinia that besides sexual relations, there are other kinds of bonds between a man and a woman. She barely understands what he means.
5. Claudius, a hundred-year-old parrot, scolds his owner Agrafena for her careless choice of friends, especially female ones. Agrafena tries to argue back.
FORMULAS FOR MODALITY ALTERNATION
Skillful, conscious alternation of modalities is a powerful communicative tool. It seems impossible (and methodologically incorrect) to always use the same modality—Yang or Yin—though there are “monomodal” people who strive for this and nearly achieve it by deliberately ignoring the despised modality. However, it is much more effective to learn to subordinate modality alternation to your goals—first your own modalities, and then those of your partners (the latter, by the way, is sometimes easier!).
Short formulas.
“Ascent”: Yang → Yin.
A Yin conclusion softens Yang certainty and categoricalness. However, the overall transmission is often perceived by the partner as Yin modality, something the protagonist may not even remember. Examples:
– Pelageya! Don’t! (Yang) (pause) I really don’t want to. (Yin)
– I’m asking you! (Yang) I really need this. (Yin)
Exercise. Continue the following transmissions according to the “Descent” formula and five Yang transmissions of your choice.
1. – What if I don’t like your opinion?
2. – Let’s go, huh?
3. – Well, let’s sit for a bit, or what?
4. – Why do parrots have multicolored tails?
5. – Why are you so dissatisfied with me, Tigran?
Exercise. Respond to the following remarks and five remarks of your choice using the “Descent” formula.
1. – I believe that so-called “free professions” don’t grant much inner freedom, let alone freedom from society.
2. – Who unscrewed my sewing machine?!
3. – If no schizophrenics came to that popular lecture, it means it wasn’t popular.
4. – Why do penguins live in such cold conditions?
5. – Dad, are all Chinese really yellow-skinned?
Exercise. For the following situations and five situations of your choice, create remarks using the “Descent” formula.
1. Responding to unfair criticism from an older brother.
2. Informally criticizing a superior’s decision in their absence.
3. Introducing yourself to a celebrity after a concert.
4. Declining an invitation to visit.
5. Publicly confronting a younger sister about a serious issue.
“Climb”: Yin → Yang.
A Yang continuation forces the partner to pay attention. However, the initial Yin start can be forgotten—keep this in mind. Examples:
– I really want something tasty. (Yin) Please, Anastasia! (Yang)
– There’s a person just sitting on the couch, doing nothing bad, not even bothering anyone… (Yin) Back off, Phlegon, huh? (Yang)
Yin preparation strengthens the effect of a Yang question or instruction. However, don’t overdo it, or your partner may fall into a trance from which it’s hard to bring them back. Examples:
(Covering her eyes) I’m always so happy to see my friends! (Yin) (looking intently) Come on, kiss me, Domidont! (Yang)
– I don’t really like these flowers… (Yin) Throw them out, Gorislava, please! (Yang)
