Jung trying to elucidate the elements
Si rock
[FONT="]"Introverted sensation conveys an image whose effect is not so much to reproduce the object as to [/FONT][FONT="]throw over it a wrapping[/FONT][FONT="] whose [/FONT][FONT="]lustre[/FONT][FONT="] is derived from [/FONT][FONT="]age-old[/FONT][FONT="] subjective experience and the still unborn future event.[/FONT]"
[FONT="]"The priority of introverted sensation produces a [/FONT][FONT="]definite[/FONT][FONT="] type[/FONT]"
"[FONT="]On the contrary, he may actually stand out by the very [/FONT][FONT="]calmness[/FONT][FONT="] and [/FONT][FONT="]passivity[/FONT][FONT="] of his demeanour[/FONT], or by his rational [FONT="]self-control[/FONT]."
[FONT="]"[/FONT][FONT="]Considered from without, it looks as though the effect of the object [p. 502] did not obtrude itself upon the subject. This impression is so far correct inasmuch as a subjective content does, in fact, intervene from the unconscious, thus snatching away the effect of the object. This intervention may be so abrupt that the individual [/FONT][FONT="]appears to shield himself[/FONT][FONT="] directly from any possible influence of the object.[/FONT]"
"[FONT="] [/FONT][FONT="]In any aggravated or well-marked case, such a [/FONT][FONT="]protective guard[/FONT][FONT="] is also actually present.[/FONT]"
[FONT="]"It instantly reveals the anti-real subjectivity of the type, But, where the influence of the object does not entirely succeed, it encounters a benevolent neutrality, disclosing little sympathy, yet constantly striving to reassure and adjust. The too-low is raised a little, the too-high is made a little lower; the enthusiastic is damped, the [p. 503] extravagant restrained; and the unusual brought within the 'correct' formula: all this in order to [/FONT][FONT="]keep the influence of the object within the necessary bounds[/FONT][FONT="].[/FONT]"
[FONT="]"Relatively speaking, this type has only archaic possibilities of expression for the disposal of his impressions; thought and feeling are relatively unconscious, and, in so far as they have a certain consciousness, they only serve in the [/FONT][FONT="]necessary[/FONT][FONT="], banal, every-day expressions. Hence as conscious functions, they are wholly unfitted to give any adequate rendering of the subjective perceptions. This type, therefore, is uncommonly inaccessible to an objective understanding and he fares no better in the understanding of himself.[/FONT]"
[FONT="] [/FONT]
[FONT="]Ni air[/FONT]
[FONT="]"Intensification of intuition naturally often results in an extraordinary[/FONT][FONT="] aloofness of the individual from tangible [/FONT][FONT="]reality; he may even become a complete enigma to his own immediate circle[/FONT]"
[FONT="]"If an artist, he reveals extraordinary, remote things in his art, which in [/FONT][FONT="]iridescent profusion [/FONT][FONT="]embrace both the significant and the banal, the lovely and the grotesque, the whimsical and the sublime.[/FONT]"
[FONT="]"The moral problem comes into being when the intuitive tries to relate himself to his [/FONT][FONT="]vision[/FONT][FONT="], when he is no longer satisfied with mere [/FONT][FONT="]perception[/FONT][FONT="] and its [/FONT][FONT="]æsthetic[/FONT][FONT="] shaping and estimation, but confronts the question: What does this mean for me and for the world? What emerges from this vision in the way of a duty or task, either for me or for the world? The pure intuitive who [/FONT][FONT="]represses judgment[/FONT][FONT="] or possesses it only under the spell of perception never meets this question fundamentally, since his only problem is the [/FONT][FONT="]How of perception[/FONT][FONT="]"[/FONT]
[FONT="][There are two parts to art, the aesthetic and what it communicates.][/FONT]
[FONT="]"It is different with the morally orientated intuitive. He concerns himself with the meaning of his vision; he troubles less about its further æsthetic possibilities than about the possible moral effects which emerge from its intrinsic significance. His judgment allows him to discern, though often only darkly, that he, as a man and as a totality, is in some way inter-related with his vision, that [p. 510] [/FONT][FONT="]it is something which cannot just be perceived but which also would fain become the life of the subject.[/FONT][FONT="] [/FONT][FONT="]Through this realization he feels bound to transform his vision into his own life. [/FONT]"[FONT="][/FONT]
[FONT="][The transition of Ni into water, out of air, into the ISFP, as an embodiment of the art rather than merely a perceiver. Communicating through their life a painting no longer being empty aesthetics.][/FONT]
[FONT="]"But, since he tends to rely exclusively upon his vision, his moral effort becomes one-sided; he makes himself and his life symbolic, adapted, it is true, to the inner and eternal meaning of events, but unadapted to the actual present-day reality. Therewith he also [/FONT][FONT="]deprives himself of any influence upon it[/FONT][FONT="], because he remains unintelligible. His language is not that which is commonly spoken -- it becomes [/FONT][FONT="]too subjective[/FONT][FONT="]. His argument [/FONT][FONT="]lacks convincing reason[/FONT][FONT="]. He can only confess or pronounce. His is the 'voice of one crying in the wilderness'.[/FONT]"
[FONT="]"Impulsiveness and unrestraint are the characters of this sensation, combined with an extraordinary dependence upon the sense impression. This latter quality is a compensation to the [/FONT][FONT="]thin upper air of the conscious attitude[/FONT][FONT="], giving it a certain weight, so that complete [/FONT][FONT="]'sublimation' [/FONT][FONT="]is prevented.[/FONT]"
[FONT="] [/FONT]
[FONT="]Fi water[/FONT]
[FONT="]"Since it is primarily controlled by subjective preconditions, and is only secondarily concerned with the object, this feeling appears much less upon the surface and is, as a rule, misunderstood"[/FONT]
[FONT="]"From objects that can never fit in with its aim it seems to [/FONT][FONT="]glide[/FONT][FONT="] unheedingly away[/FONT]"
[FONT="]"The [/FONT][FONT="]depths[/FONT][FONT="] of this feeling can only be divined -- they can never be clearly comprehended.[/FONT]"
[FONT="]"It makes men silent and difficult of access; with the sensitiveness of the mimosa, it shrinks from the brutality of the object, in order to expand into the depths of the subject.[/FONT]"
[FONT="][drowns, seeps][/FONT]
[FONT="]"Thanks to the relatively great internal (as well as external) similarity of the human being, this effect can actually be achieved, although a form acceptable to feeling is extremely difficult to find, so long as it is still mainly orientated by the [/FONT][FONT="]fathomless[/FONT][FONT="] store of primordial images[/FONT]"
[FONT="]"The proverb [/FONT][FONT="]'Still waters run deep'[/FONT][FONT="] is very true of such women[/FONT]"
[FONT="]"Should this outer side be somewhat emphasized, a suspicion of neglectfulness and [/FONT][FONT="]coldness[/FONT][FONT="] may easily obtrude itself, which not seldom increases to a real indifference for the comfort and well-being of others.[/FONT]"
[FONT="]"The harmonious feeling atmosphere rules only so long as the object moves upon its own way with a moderate feeling intensity, and makes no attempt to cross the other's path.[/FONT]"
[FONT="]"There is little effort to accompany the real emotions of the object, which tend to be [/FONT][FONT="]damped[/FONT][FONT="] and rebuffed, or to put it more aptly, are [/FONT][FONT="]'cooled off'[/FONT][FONT="] by a negative feeling-judgment.[/FONT] Although one may find a constant readiness for a peaceful and harmonious companionship, the unfamiliar object is shown no touch of amiability, no gleam of responding warmth, but is met by a manner of apparent indifference or repelling [FONT="]coldness[/FONT][FONT="].[/FONT]"
[FONT="]"In the presence of something that might carry one away or arouse enthusiasm, this type observes a [/FONT][FONT="]benevolent neutrality[/FONT][FONT="], tempered with an occasional trace of superiority and criticism that soon takes the wind out of the sails of a sensitive object[/FONT]."
[FONT="]"But a [/FONT][FONT="]stormy[/FONT][FONT="] emotion will be brusquely rejected with murderous [/FONT][FONT="]coldness[/FONT][FONT="], unless it happens to catch the subject from the side of the unconscious, [/FONT]i.e. unless, through the animation of some primordial image, feeling is, as it were, taken captive. In which event such a woman simply feels a momentary laming, invariably producing, in due course, a still more violent resistance, which reaches the object in his most vulnerable spot."
[FONT="][a dam][/FONT]
[FONT="]"The relation to the object is, as far as possible, kept in a secure and [/FONT][FONT="]tranquil[/FONT][FONT="] middle state of feeling, where passion and its intemperateness are resolutely proscribed.[/FONT]"
[FONT="]"A superficial judgment might well be betrayed, by a rather [/FONT][FONT="]cold[/FONT][FONT="] and reserved demeanour, into denying all feeling to this type.[/FONT] Such a view, however, would be quite false; the truth is, her feelings are intensive rather than extensive. They develop into the depth. "
[FONT="]" Whereas, for instance, an extensive feeling of sympathy can express itself in both word and deed at the right place, thus quickly ridding itself of its impression, an intensive sympathy, because shut off from every means of expression, gains a [/FONT][FONT="]passionate depth[/FONT][FONT="] that embraces the misery of a world and is simply benumbed.[/FONT]"
[FONT="]"It may possibly make an [/FONT][FONT="]extravagant irruption, leading to some staggering act[/FONT][FONT="] of an almost heroic character[/FONT]"
[FONT="]"To the outer world, or to the blind eyes of the extravert, this sympathy [/FONT][FONT="]looks like coldness[/FONT][FONT="], [/FONT][FONT="]for it does nothing visibly,[/FONT][FONT="] and an extraverted consciousness is unable to believe in invisible forces.[/FONT]"
[FONT="]"But the underlying, real object of this feeling is only [/FONT][FONT="]dimly[/FONT][FONT="] divined by the normal type.[/FONT]"
[FONT="]"It may possibly express its aim and content in a concealed religiosity anxiously shielded, from profane eyes, or in intimate poetic forms equally safeguarded from surprise; not without a secret ambition to bring about some superiority over the object by such means. Women often express much of it in their children, letting their passionateness [/FONT][FONT="]flow[/FONT][FONT="] secretly into them.[/FONT]"
[FONT="]"Although in the normal type, the tendency, above alluded to, to overpower or coerce the object once openly and visibly with the thing secretly felt, rarely plays a disturbing role, and never leads to a serious attempt in this direction, some trace of it, none the less, [/FONT][FONT="]leaks[/FONT][FONT="] through into the personal effect upon the object, in the form of a domineering influence often difficult to define.[/FONT]"
[FONT="]"This power is derived from the [/FONT][FONT="]deeply[/FONT][FONT="] felt, unconscious images; consciousness, however, readily refers it to the ego, whereupon the influence becomes debased into personal tyranny.[/FONT]"
[FONT="]"So long as the ego feels itself housed, as it were, beneath the heights of the unconscious subject, and feeling reveals something higher and mightier than the ego, the type is normal.[/FONT]"
[FONT="]"Such a development must lead to exhaustion. The form of neurosis is neurasthenic rather than hysterical; in the case of women we often find severe collateral physical states, as for instance anæmia and its sequelæ.[/FONT]"
[FONT="][anemia wiki- Fluid overload][/FONT]
[FONT="] [/FONT]
[FONT="] [/FONT]
[FONT="][Here's where it gets good, where Jung starts talking about the great gift that he is and how everyone's fucking dumb.][/FONT]
[FONT="] [/FONT]
[FONT="]Ti sun[/FONT]
[FONT="]"The introverted thinking type is characterized by a priority of the thinking I have just described. Like his [p. 485] extraverted parallel, he is decisively influenced by ideas; these, however, have their origin, not in the objective data [/FONT][FONT="]but in the subjective foundation[/FONT][FONT="]"[/FONT]
[FONT="]"Like the extravert, he too will follow his ideas, but in the reverse direction: inwardly not outwardly. [/FONT][FONT="]Intensity[/FONT][FONT="] is his aim, not extensity.[/FONT]"
[FONT="]"In the case of a human object, the man has a distinct feeling that he matters only in a negative way, [/FONT]i.e., in milder instances he is merely conscious of being superfluous, but with a more extreme type he feels himself warded off as something definitely disturbing."
[FONT="]"His judgment appears cold, obstinate, arbitrary, and inconsiderate, simply because he is related less to the object than the subject. One can feel nothing in it that might possibly confer a higher value upon the object; it always seems to go beyond the object, leaving behind it a flavour of a certain subjective superiority. "[/FONT]
[FONT="]"[/FONT][FONT="]Courtesy, amiability, and friendliness may be present, but often with a particular quality suggesting a certain uneasiness, which betrays an ulterior aim, namely, the disarming of an opponent, who must at all costs be pacified and set at ease lest he prove a disturbing- [/FONT][FONT="]element[/FONT][FONT="].[/FONT]"
[FONT="]"[/FONT][FONT="]In no sense, of course, is he an opponent, but, if at all sensitive, he will feel somewhat repelled, perhaps even depreciated. Invariably the object has to submit to a certain neglect; in worse cases it is even surrounded with quite unnecessary measures of precaution. Thus it happens that this type tends to [p. 486] [/FONT][FONT="]disappear behind a cloud[/FONT][FONT="] of misunderstanding, which only thickens the more he attempts to assume, by way of compensation and with the help of his inferior functions, a certain mask of urbanity, which often presents a most vivid contrast to his real nature.[/FONT]
[FONT="]"Although in the extension of his world of ideas he shrinks from no risk, however daring, and never even considers the possibility that such a world might also be dangerous, revolutionary, heretical, and wounding to feeling, he is none the less a prey to the [/FONT][FONT="]liveliest anxiety[/FONT][FONT="], should it ever chance to become objectively real. That goes against the grain.[/FONT]"
[FONT="]"When the time comes for him to transplant his [/FONT][FONT="]ideas into the world[/FONT][FONT="], his is by no means the air of an anxious mother solicitous for her children's welfare; he merely exposes them, and is often extremely annoyed when they fail to thrive on their own account.[/FONT]"
[FONT="]"The decided lack he usually displays in practical ability, and his aversion from any sort of re[accent]clame assist in this attitude. If to his eyes his product appears subjectively correct and true, it must also be so in practice, and others have simply got to bow to its truth. Hardly ever will he go out of his way to win anyone's appreciation of it, especially if it be anyone of influence. And, when he brings himself to do so, he is usually so extremely maladroit that he merely achieves the opposite of his purpose.[/FONT]"
[FONT="]" In the pursuit of his ideas he is generally stubborn, head-strong, and quite [/FONT][FONT="]unamenable to influence.[/FONT]"[FONT="][/FONT]
[FONT="]"An object has only to be recognized as apparently innocuous for such a type to become extremely accessible to really inferior elements."[/FONT]
[FONT="]"He lets himself be brutalized and exploited in the most ignominious way, if only he can [/FONT][FONT="]be left undisturbed[/FONT][FONT="] in the pursuit of his ideas.[/FONT]"
[FONT="]"However clear to himself the inner structure of his thoughts may be, he is not in the least clear where and how they link up with the world of reality. [/FONT][FONT="]Only with difficulty can he persuade himself to admit that what is clear to him may not be equally clear to everyone.[/FONT][FONT="]"[/FONT]
[FONT="]"Either he is taciturn or he falls among people who cannot understand him; [/FONT][FONT="]whereupon he proceeds to gather further proof of the unfathomable stupidity of man[/FONT]."
[FONT="]" By his wider circle he is counted inconsiderate and domineering."[/FONT]
[FONT="]"But the [p. 488] better one knows him, the more favourable one's judgment becomes, and his nearest friends are well aware how to value his intimacy. "[/FONT]
[FONT="]"[/FONT][FONT="]To people who judge him from afar he appears prickly, inaccessible, haughty; frequently he may even seem soured as a result of his anti-social prejudices. He has little influence as a personal teacher, since the mentality of his pupils is strange to him.[/FONT]"
[FONT="] [/FONT]
[FONT="]"With the intensification of his type, his convictions become all the more rigid and unbending. Foreign influences are eliminated; he becomes more unsympathetic to his peripheral world, and therefore more dependent upon his intimates. His expression becomes more personal and inconsiderate and his ideas more profound, but they can no longer be adequately expressed in the material at hand. This lack is replaced by emotivity and susceptibility. The foreign influence, brusquely declined from without, reaches him from within, from the side of the unconscious, and he is obliged to collect evidence against it and against things in general which to outsiders seems quite superfluous. Through the subjectification of consciousness occasioned by his defective relationship to the object, what secretly concerns his own [/FONT]person now seems to him of chief importance. And he begins to confound his subjective truth with his own person. Not that he will attempt to press anyone personally with his convictions, but he will break out with venomous and personal retorts against every criticism, however just. Thus in every respect his isolation gradually increases. His originally fertilizing ideas become destructive, because poisoned by a kind of sediment of bitterness. His struggle against the influences emanating [p. 489] from the unconscious increases with his external isolation, until gradually this begins to cripple him. A still greater isolation must surely protect him from the unconscious influences, but as a rule this only takes him deeper into the conflict which is destroying him within."
[FONT="]The sun expands, eats up the other planets.[/FONT]
[FONT="] [/FONT]
[FONT="]"The thinking of the introverted type is positive and synthetic in the development of those ideas which in ever increasing measure approach the eternal validity of the primordial images. But, when their connection with objective experience begins to fade, they become mythological and untrue for the present situation. Hence this thinking holds value only for its contemporaries, just so long as it also stands in visible and understandable connection with the known facts of the time. But, when thinking becomes mythological, its irrelevancy grows until finally it gets lost in itself. The relatively unconscious functions of feeling, intuition, and sensation, which counterbalance introverted thinking, are inferior in quality and have a primitive, extraverted character, to which all the troublesome objective influences this type is subject to must be ascribed. The various measures of self-defence, the curious protective obstacles with which such people are wont to surround themselves, are sufficiently familiar, and I may, therefore, spare myself a description of them. They all serve as a defence against 'magical' influences; a vague dread of the other sex also belongs to this category.[/FONT]"
