|Introverted Intuitive Type|
Each time I studied Jung's writing, I was staggered by the potency of his insights. Drawn once again to Jung, I used his description of the Introverted Intuitive to explain myself to a companion. The thoughts I shared with her are enclosed in boxes and ideas added with this writing [are enclosed in brackets.] Added emphasis appears in red. (Note 110)
The peculiar nature of introverted intuition, if it gains the ascendency, produces a peculiar type of man: the mystical dreamer and seer on the one hand, the artist and the crank on the other. The artist might be regarded as the normal representative of this type, which tends to confine itself to the perceptive character of intuition. As a rule, the intuitive stops at perception; perception is his main problem; and - in the case of a creative artist - the shaping of his perception. But the crank is content with a visionary idea by which he himself is shaped and determined.
Naturally the intensification of intuition often results in an extraordinary aloofness of the individual from tangible reality; he may even become a complete enigma to his immediate circle. If he is an artist, he reveals strange, far off things in his art, shimmering in all colours, at once portentous and banal, beautiful and grotesque, sublime and whimsical. If not an artist, he is frequently a misunderstood genius, a great man "gone wrong," a sort of wise simpleton, a figure for "psychological" novels. . . .
Although the intuitive type has little inclination to make a moral problem of perception, since a strengthening of the judging functions is required for this, only a slight differentiation, of judgment is sufficient to shift intuitive perception from the purely aesthetic into the moral sphere. A variety of this type is thus produced which differs essentially from the aesthetic, although it is none the less characteristic of the introverted intuitive.
The moral problem arises when the intuitive tries to relate himself to his vision, when he is no longer satisfied with mere perception and its aesthetic configuration and evaluation, when he confronts the questions: What does this mean for me or the world? What emerges from this vision in the way of a duty or a task, for me or the world? The pure intuitive who represses his judgment, or whose judgment is held in thrall by his perceptive faculties, never faces this question squarely; since his only problem is the "know how" of perception. He finds the moral problem unintelligible or even absurd, and as far as possible forbids his thoughts to dwell on the disconcerting vision.
It is different with the morally oriented intuitive. He reflects on the meaning of his vision, and is less concerned with developing its aesthetic possibilities than with the moral effects which emerge from its intrinsic significance. His judgment allows him to discern, though often only darkly, that he, as a man and a whole human being, is somehow involved in his vision, that it is not just an object to be perceived, but wants to participate in the life of the subject. Through this realization he feels bound to transform his vision into his own life.
But since he tends to rely most predominantly on his vision, his moral efforts become one sided; he makes himself and his life symbolic - adapted, it is true, to the inner and eternal meaning of events, but unadapted to present day reality. He thus deprives himself of any influence upon it because he remains uncomprehended. His language is not the one currently spoken - it has become too subjective. His arguments lack the convincing power of reason. He can only profess or proclaim. His is "the voice of one crying in the wilderness."
What the introverted intuitive represses most of all is the sensation of the object, and this colours his whole unconscious. It gives rise to a compensatory extraverted sensation function of an archaic character. The unconscious personality can best be described as an extraverted sensation type of a rather low and primitive order. Instinctuality and intemperance are the hallmarks of this sensation, combined with an extraordinary dependence on sense impressions.
This compensates the rarefied air of the intuitive's conscious attitude, giving it a certain weight, so that complete "sublimation" is prevented. But if, through a forced exaggeration of the conscious attitude, there should be a complete subordination to inner perceptions, the unconscious goes over to the opposition, giving rise to compulsive sensations whose excessive dependence on the object directly contradicts the conscious attitude. The form of neurosis is a compulsion neurosis with hypochondriacal symptoms, hypersensitivity of the sense organs, and compulsive ties to particular persons or objects.