We each of us tend to have two distinct selves. There is the external, somewhat censored one based on a projection that a lifetime's experience teaches us is the most suitable, one that we employ when interacting with others and in the pursuit of our goals. This self conforms to the commonality and demands of material reality, and follows a time- based, linear path whereby one seeks fulfilment, belonging and purpose within the age, area or culture within which one finds oneself.

There is then the inner, private domain given over to ruminations, reflection and fantasy, freed of the limitations of space and time, and untroubled by the opinions and judgements of others. Oscar Wilde once said “One’s real life is often the one that one does not lead”, and it is in this secret and largely unshared world that imagination plays out, oftentimes with idealized versions of the self in carefully scripted and conducive settings, living the life one feels denied or incapable of achieving in an external world that has little concern with dramatic development and poetic coherence, memorably described by Shakespeare’s Macbeth as “a tale told by an idiot, full of sound and fury, Signifying nothing”.

Accompanying both lives is the Inner Critic, offering a constant chattering dialogue of reproach, warning and observation, sometimes encouraging, often amusing, but just as likely censorious, crowing and carping, all of which depends upon the individual’s self- appraisal.

 So, who is the authentic “self”? A tactically masked figure cautiously navigating it’s way through a pre-defined and heavily restricted war zone, or an abject fantasist resigned to the neglect and concealment of it’s “heart’s desire”? Or could it possibly be, horror of horrors, that tirelessly twittering, often unhelpful and poisonous commentator? How did we come to this?

Sure, this psyche tricycle isn’t without its uses; tact and sensitivity to the sensibilities and needs  of others are benchmarks of basic decency and compassion and, as social mammals, certain agreed definitions and protocols are necessary in order to communicate and get along with one another. Equally, the reflective inner world allows us to process information and occurrences, as well as affording us the opportunity of one of the most estimable and heartening of human experiences, that of “opening up” and sharing an inner essence, be it directly person to person, or through a “third party” medium, such as Art or Philosophy. Also, that cautious Inner Critic, endowed with a wealth of foresight and instinct, can navigate us through the tricky terrain of a twisting path, spotting footfalls and potential threats ahead.

The problem is that by identifying almost entirely with a filtered facade, unfulfilled fantasy or the dictates of an agent of fear, we confine ourselves to a limited and largely defensive position, hindering possibilities of growth and experience. Added to this can be the miasma of epochal, familial and cultural influences that may bind us to “group- think”, eroding the contours of individuality into that of a collective pattern, and whereby “self- expression” is often little more than a recitative of inherited beliefs and worldviews, or an ongoing rebellion against a definition within which one still contains oneself.  Where does one begin to untangle the strands of “personality”, locate drivers and urges, understand responses and fall- back positions and, hopefully, gain a glimpse of that true unlimited “self”? How does one gain enough distance from “little me” limitation and the intrepid Inner Critic in order to adjudge one’s personality and peccadilloes with anything like an objective appraisal?

To play, let alone win, the game, it helps to know what game you are actually playing or, to employ another facile but apt metaphor, one cannot change tracks unless one knows what tracks one is already on.  

And this is where the Enneagram comes in.

“All The World’s a stage” as Shakespeare’s Jaques puts it, and most of us at some time or other find ourselves fruitlessly awaiting direction, forgetting our lines and, with arms aloft, crying “What’s my Motivation”?



What is the Enneagram?

The Enneagram is a typology of human personality consisting of nine principle types, each type being flanked by two wings or subtypes which, in all, amounts to 18 actual types.  Based on the teachings of G.I.Gurdjieff (who is said to have devised the system whilst studying with Sufi mystics), and further developed by Oscar Ichazo, it is commonly employed as a self- help/awareness technique whereby one identifies one’s type (and subconscious motivations and “programming”) in order to address recurrent processes and patterns and, if necessary, change the tracks one finds oneself unwittingly upon.  The Nine basic types are as follows;

Type One;       The Judge
Type Two;       The Helper
Type Three;    The Achiever
Type Four;      The Artist
Type Five;       The Thinker
Type Six;         The Partisan
Type Seven;     The Enthusiast
Type Eight;      The Powerhouse
Type Nine;       The Peacemaker

Why the Enneagram?

Regardless of whether one subscribes to the notion of being a type (that is, if one can hear above the din of the Ego’s screaming “I am not a number. I’m unique! No one is like me!”), one may still be able to benefit from the system’s ability to help one identify repetitive reactions as well as take pointers from its advice. Those of us who use the Enneagram do so because, quite frankly, we find it works, providing consistently accurate descriptions not only of personality types, but their underlying drivers, how each type responds and what they may need in order to attain a more peaceful, self- aware existence.
Of course we are all unique, but still conform to human commonalities like Birth, Death and all the interesting stuff in between; Indeed, our notions of shared humanity are in many ways defined by Universal experiences such as Joy, Pain, Hope, Loss, Love, Fear, and so on. There is no good reason why the Personality, the means by which consciousness assimilates experiences whilst navigating through a human lifetime, should be any less subject to recognizable Universal typologies. When we identify these aspects of ourselves, and can identify in others their like or opposite, we are afforded an opportunity to attain a deeper understanding of Human Nature, a chance to know ourselves and, to some extent, everyone else too.



How did I come to be a “Type”?  

There are essentially two notions as to how one arrives at being a particular personality type; a psychological “cause and effect” interpretation relating to, among others, Jung’s personality types, whereby the events in one’s early life shape the subjects motivation, outlook and self- image.
Secondly, there is a belief whereby one, prior to incarnation, elects one’s type (and corresponding circumstances and life experiences) in order to “play out”, identify and ultimately transcend one’s type. In this respect, one’s Enneagram is akin to a suit of clothes one adopts for a particular terrain.


Why this version of the Enneagram?

As with any field of study where there will be variance, disagreement and differing perspectives, The Enneagram is an “open book”, inviting further investigation, insight and understanding. However, the seasoned Enneagram aficionado may wonder at the necessity of yet another take on a system that they feel themselves to have thoroughly got to grips with. No one is under any obligation to read and or agree with our findings, but I would say that an open system demands an open mind, one that is prepared to re-examine what is assumed to be known and examine those of a markedly different outlook to what may be generally believed to be “established truths”. We have found certain inconsistencies in our reading of numerous Enneagram publications and empirical studies of actual types, perhaps most notably in the stark differences between the wings; the subtypes are commonly viewed as adding a dash of motivational colour to the major type (a tilt of axis in a particular direction) whereas we have found the wings to be in many ways as distinct as the main types themselves, with a proportional preponderance given over to those subtypes that move forward (Ones with a Two wing, Twos with a Three wing etc..), and that said forward moving subtypes tend to embody many more of the “classic” traits of the main type, with those that move back often bearing a stronger resemblance to their attendant wing (Fives with a Four wing often appearing more like Fours, Sixes with a Five wing more like Fives etc…). Thus we’ll devote quite a bit of attention to each of the 18 subtypes, with a focus on how the wing “steers” and influences the main type.

Unlike most Enneagram studies, we won't expend much attention on the psychoanalytical aspects (such as “childhood origins” which tend to offer a "cause and effect" interpretation of how one arrives at being a certain type), as our approach to the Enneagram is primarily from a more “soul”- focused perspective, whereby one’s type is inherent, a sort of Daemon driving and dictating to the individual regardless of external circumstance, and one's formative experiences are chosen by the pre-incarnational soul rather as a route map or assault course conducive to one's life mission. I recognise that, in the World we live in, this makes our interpretation of the Enneagram a “hard sell” and easily dismissed, in that it eschews an approach that aims for an almost scientific  credibility  in favour of a more “fluffy” or “new age” reading.  At the risk of exhausting the Shakespeare quota, Hamlet’s assertion that  “There are more things in heaven and earth, Horatio, Than are dreamt of in your philosophy” provides an apt summation of our view of the sources of personality, that it is mysterious and more than the accrued influences of experiences and outlook.


How can I practically use the Enneagram?


By familiarizing oneself with the personality- paradigm within which one is operating, one can aim towards liberating oneself from the less- conducive aspects of one’s type, as well as maximizing those more favourable features; If, say, a Nine wishes to exploit their abilities and forward themselves, they may adopt some of the type Three’s steely ambition and high self esteem.  Equally, if a Seven wishes to curb their appetites and foster self- restraint, they can adopt the One’s asceticism and discipline.
Simply put, one isn’t confined to the traits of one’s type, but by recognizing the personality one is having a life experience through, one can work towards developing one’s native strengths and diminishing the less conducive aspects of one’s type.

On a greater and gradual level, one might consider the ongoing process of Evolution and what roles our emotions, responses and outlooks might play in this development; if we are in a hall of mirrors, with our perspectives distorted and responses dictated to by a series of complex, subconscious reflexes, might it be in some way beneficial, as individuals as well as a species, to identify and examine the multifaceted but nonetheless limited framework we’re operating within? What role, if any, does a confined, imposed (by self and circumstance) notion of self play in denying us access to that oft- cited 90% of our brains supposedly laying dormant? If we identify precisely how our sense of self is confined (a body being navigated by a personality), might we be able to shift our viewpoint to that of a more universal perspective? Who knows? It’s certainly worth a try.
By familiarizing ourselves with the keys to our personalities, we might be able to unlock our essence and rather than come to a closed conclusion, arrive at an infinite and ongoing process of becoming.





“Identity”, Self Image and The Enneagram

One of the most challenging aspects of moving beyond finite Ego- based consciousness and into a greater, more empathic perspective, is the freeing of oneself from the restrictions of identity, be they of gender, race, faith, generation or profession. It is all too easy, and often taken as a given, that we are defined (by self and other) by these components, hence the term “Human Doings” for the disproportionate importance that is given to what is essentially a means of survival (consider the clichéd conversational opening gambit; “so, what do you do”?).
We are, to varying degrees, social animals, insofar as we seek connection, identification and security through and with others. In itself this is no bad thing, being a manifestation of Universal “Oneness” and our need to give and receive love, compassion and comfort. Over the course of our somewhat schismatic evolution, however, this desire for connection has often been reduced to mere tribalism, whereby one seeks out the familiar, and avoids the apparently alien.

This isn’t to dismiss the vast gifts of human Cultural diversity, which makes for fascinating and endless possibilities; indeed, one of the beauties of "Culture" is  that one is at liberty to explore any of it's myriad forms, taking what is fresh, positive and inspired and eschewing what isn't or at least what is, to be brutal, of no use to the seeker. We are not confined by the bodily, cultural, race or gender specifics we are born with, they are a complex means by which we can have a human experience, though we forget this and identify with the suit rather than the wearer. Herein lies one of the central problems of identification by culture/profession/ gender etc… in that one keeps oneself within the boundaries of a restricted self- identification, confining and denying oneself a fuller, more fruitful human experience. How does one, for example, transcend (disown) a self- image that’s been accrued by a lifetime’s experiences? If one has been traumatized, or felt oneself to have little or no control over one’s life, how can one identify oneself as anything other than a victim?

The answer is the same as that posed by questions of culture, profession or gender; we are not confined by our experiences, being Beings of Infinite Consciousness and Limitless Possibility having a unique human experience. We may do well to ask ourselves how much of what we feel, believe and project is genuinely ours, rather than a regurgitation of what we have inherited. When, for example, we “express ourselves”, who or what are we really expressing? The question here is whether one elects to be an echo chamber or a pure singing voice, whether one wants to contribute to the din of conflicting opinions, a mass of reactive (rather than responsive) fearful “viewpoints” or, on finding that clear tranquil self, expressing one’s unique aspect of the Universal?

At this juncture, you could be forgiven for asking; “So, why should I give any thought to the Enneagram? Why would I want to embrace yet another means by which I define and limit myself? How can this be useful for personal as well as greater growth”?

Quite simply because each of us are beset by so many subconscious programs of limitation and fear, and that any means by which we can understand, identify and, ultimately, overcome these restrictions is worthy of investigation. To know and understand Oneself, devoid of cultural baggage, Left brain indoctrination (erroneously referred to as “Education”), emotional bruising and an almost feral focus on mere survival, or to finally be provided with some kind of briefing for the Cosmic mission we are undertaking, is truly beneficial to Personal and Spiritual growth, transcendence of terror, the sharing of True Love and Freedom.

This is the journey we’re on, and we may have a long way to go (your author more than most!) in moving beyond limitation, fear, prejudice, and the trammels of Personality.


The 9 types (and 18 subtypes) of the Enneagram

Type One;    The Judge          (1w9; "The Patriarch". 1w2; "The Crusader")

Type Two;    The Helper       (2w1; "The Nurturer". 2w3; "The Hostess")

Type Three; The Achiever   (3w2; "The Transgressor". 3w4; "The Superstar")

Type Four;   The Artist         (4w3; "The Aristocrat". 4w5; "The Visionary")

Type Five;     The Thinker     (5w4; "The Eccentric". 5w6; "The Scientist")

Type Six;       The Partisan   (6w5; "The Frontiersman". 6w7; "The Provocateur")

Type Seven; The Enthusiast (7w6; "The Sprite". 7w8; "The Connoisseur")

Type Eight;   The Powerhouse (8w7; "The Supernova". 8w9; "The Boss")

Type Nine;    The Peacemaker (9w8; "The Diplomat". 9w1; "The Dreamer")


Type One; The Judge (paragon of objectivity)


The One’s key motivation is to be right. One’s are highly ethical and are concerned with setting the world (on a great or small scale) to right. Appalled by mendacity and corruption, they are often to be found at the head of action groups, exposing corporate irresponsibility and campaigning to highlight inequities and injustices. They have objective, trouble- shooting minds, and can express themselves logically and with concision, thus making them exceptional local advocates or investigative journalists. Their desire to contribute socially and globally, as well as natural ease with responsibility, makes them excellent, dutiful teachers and morally righteous politicians (Ones often feel themselves to be on a personal crusade). Capable of putting personal feelings aside, and a tendency towards reserved, rather than interpersonal, communication means that ones often come across as somewhat aloof, “stiff upper lip” characters.  However, this is because Ones are actually highly impassioned individuals and, being aware of these powerful and potentially destabilizing emotions, prefer to keep themselves in check, keeping a cool head and clear, open eyes. Ones can also have powerful appetites that they might feel a need to monitor and curtail, sourcing from a morally- informed disdain for over- indulgence, or fear of being consumed by their desires. The One’s sense of duty means that oftentimes they will forego their own needs, and are capable of remarkable feats of self sacrifice for the greater good.
The One’s main fear is to be judged and found wanting; essentially, to be wrong. Early in life, the One feels that they cannot entirely trust the judgement of their immediate authorities, and that they have to assume a parental or judicial position (the One’s motto being “somebody must assume responsibility, and who better qualified than me”?)  Putting much stock in their own objectivity and moral purity, they are often unwilling to admit to being in error and will become enraged (those powerful emotions being unleashed) when confronted with this. Righteous judgement becomes wrath, clear- eyed humanitarianism becomes tight lipped bigotry, an inflexible inability to countenance differing opinion, as well as admit to being in error. Unhealthy Ones can be terrifying in their lack of empathy, dismissing those who they deem incorrect or inferior as a mere flaw in the pattern and worthy of contempt and dismissal. The danger here for the One is that their high ethics demand that they rationalize their actions, and can therefore look for (and see only) justification for their behaviour; this can lead to an unflinching demonization of their perceived enemies, untouched by compassion, empathy or any notion of shared humanity.
However, because the One has such a high sense of moral awareness, this juggling of dual, conflicting notions can lead to a schism within the One’s psyche, entailing a turning of that mighty moral wrath inwards, with ensuing emotional break down and self- disgust.

Subtypes

The 1 With A Nine Wing; The Patriarch

This subtype combines the laid back, unperturbed attitude of the Nine with the ethical rationalism of the One. Unlike the more uptight, severe 2 wing, this type has a relaxed durability and, whilst reserved, is amenable, wise and “fatherly”. Emanating a reassuring, calm certainty, One’s with a 9 wing exhibit a natural authority, and are usually good with children or the vulnerable, where the One’s sense of decency and duty is combined with the Nine’s harmonizing tranquillity. The 9 wing lends this type an almost withdrawn quality that generally manifests in a desire for privacy, and members of this subtype often function best when working in private or in a position where they’re unlikely to be called to task; loss of “face” is probably this subtype’s worst nightmare, with the One’s desired unaccountability compounded by the repressed Nine’s dislike of conflict. However, healthy members of this subtype make excellent superiors or supervisors, where their patience, cool- headedness, and “can do” hands- on approach put others at ease, whilst inspiring honesty, conscientiousness and loyalty in underlings. Also, the 9 wing softens the severity of the One, and this type can be playful, engaging and easy to get along with. Members of this subtype often have an almost otherworldly sang froid, maintaining an impassive demeanour in even the most trying circumstances. This makes them stable and reliable in times of strife, keeping “grace under fire” and encouraging others in kind. However, this tendency to rise above the fray can, when less healthy, appear as impersonal hauteur, with the Nine’s disengagement compounding the dispassionate reserve of the One, leading to a lack of empathy.    
 As the unconscious Nine tends towards negligence and inconsistency, this subtype is in danger of lapsing into a hypocritical lack of self- awareness, with the critical One issuing edicts on the failings of others whilst omitting themselves from any judgement, becoming pompous and supercilious, lacking in compassion and resolutely indifferent to their own shortcomings. As both Nine and One are emotionally detached types, it can be extremely difficult to get this subtype to “open up” about their fears and emotional needs. Indeed, “repression” is usually the first and last emotional port of call for average to unhealthy members of this subtype (sailing on the good ship “Denial”). The 9 wing lends a stout stubbornness that, combined with the One’s buried rage, can be as unpleasant as it is exasperating. At this stage, the resentment and indirect aggression of the Nine is ignited by the righteous wrath of the One, with this subtype resemble a rumbling volcano that flares up with frightening flashes of temper, all the more destructive for the weight of repressed emotion that is finally unleashed.

The 1 With A 2 Wing; The Crusader

This subtype combines the objective, de- personalized approach of the One with the subjective, interrelating tendency of the Two, leading to highly conscientious and emotionally complex individuals who are perhaps the most idealistically driven of all personality types. The One’s concern with justice is, through the influence of the Two, given a social, even global, emotional dimension, and this subtype features prominently amongst political activists, human rights campaigners as well as within the teaching, legal or governmental professions. These persons often appear somewhat  po- faced, ascetic and can be intimidating in their seriousness, though this often belies a keen, dry sense of humour, as well as a powerfully passionate nature. Far more emotionally “in touch” than those with a 9 wing, this subtype tends to channel their considerable zeal into ideals, be they in the (small) realms of personal and familial relationships, or the (greater) scale of social justice and reform with, in either case, an emphasis on faithfulness, commitment and honesty. The emotional influence of the Two often pushes this subtype out into the world, infusing their pursuits with a burning passion that, when married to the measured rationality of the One, distinguishes this type as amongst the finest and most articulate orators and political/social commentators, the unclouded reasoning faculties of the One combining dynamically with the Two's desire to connect and communicate on a profound level. Energized and more given to action than the somewhat sedentary 9 subtype, Ones with a 2 wing embody a rare combination of objective pragmatism, missionary drive and  feeling- led humanity, and tend to exact a great influence upon their chosen environment, being especially given to positions of authority regardless of their chosen profession. Often polarizing and controversial figures (Mahatma Gandhi, George Orwell, Jane Fonda, Margaret Thatcher), Ones with a  2 wing don’t mince their words and will commit themselves unquestioningly to their beliefs, voicing “difficult” truths, disregarding popularity or the general consensus, following, instead, the dictates of an unshakable personal morality. As both the One and the Two are concerned with being in the right, often reluctant to admit to being at fault or subject to personal prejudices and desires, it can be difficult to call this subtype to task, or get them to acknowledge errors or selfish motivations. At this point, One’s with a 2 wing can exhibit  punitive rage, the One’s sense of blamelessness forging a frightful alliance with the unblemished sense of self afforded by the Two, giving them the ability to not only justify but rationalize their destructive behaviour and prejudices, stripping them of their moral centre and ability to even tolerate a different opinion or viewpoint.


Advice

Embrace humility and accept fallibility. It’s ok to be wrong occasionally. Don’t expect others to share your high standards. Accept that there is only so much you can do and be expected to do

Some notable Ones

Mahatma Gandhi, George Orwell, Nelson Mandela, Julie Andrews, Ralph Nadar, Michael Caine,  Jane Fonda, Margaret Thatcher, George Harrison, Jean Sibelius, Jodi Foster, John Barry, Prince Charles, Adolf Hitler, Joanna Lumley, “Harry Potter”, John Entwistle, Harrison Ford, Martin Luther, “Mr Spock”


Type 2; The Helper (The best friend)

The Two’s key motivation is to be needed, to be of service and to be valued. Two’s desire to protect and nurture the vulnerable, and are often to be found in the healthcare professions, working with small children, the elderly and the unwell. Two’s are compassionate, kind- hearted individuals  and employ a natural practicality with a winning, seductive personal style, usually with excellent communication skills that at once create a sense of intimacy, engagement and relaxed informality. Often highly popular, the Two is everybody’s best friend, usually found at the hub of familial, social or professional groups, where they thrive in making themselves indispensable, flattering and encouraging those around them with enthusiasm, warmth and a playful, personal sense of humour. Highly empathic, Twos are remarkable astute at “feeling out” the other, reassuring the insecure, comforting the frightened and bolstering the frail. Quite simply, no society is imaginable without the energy, consideration, and the desire for union embodied by the tactile type Two. In Western culture, the female archetypes of the “Madonna and the Whore” are often reflected in the polarities of this type. In the case of the former, we see the protective maternal figure, the heart and hearth of the family, dispensing practical and moral support, wisdom and nurturing.  In the latter case, the female two is often especially concerned with attractiveness, and may project a “sexy” seductive persona, placing premium on their attractiveness and commonly drawn to the archetypal “bad boy” (the reformation and seduction of which providing evidence of their irresistibility). There is often a histrionic quality to Twos that makes them natural performers and singers, an ability to put a supercharged emotionality into their expression that can connect in an immediate manner. Likewise Twos are often highly entertaining bon vivants and raconteurs, larger than life and with a gift for outrageous and often hilarious conversation. In that they almost entirely define themselves by how they are valued by others, Two’s might be in danger of feeling overlooked, slighted or taken advantage of. They might be tempted to revel in their self-perception of the selfless martyr (the archetypal “Jewish Mother”), to the extent that they are completely unaware of their underlying resentments and hostilities.  Said hostility can often manifest itself in subtle put- downs and competitiveness. Unhealthy Twos can be manipulative, dispensing “guilt trips”, undermining others to assert their importance and necessity (their motto being “what would you do without me”?).  Like Ones, Twos can have problems accepting their being in the wrong, and of recognizing selfish or unhealthy motivations, especially as they believe all their actions to be for the benefit of the other. Ironically, Twos at this stage alienate and antagonize those closest to them, putting themselves in the position of being a hindrance rather than a help, unreasonable, demanding and controlling, ever ready to remind others of their selflessness, generosity and self- sacrifice.


Subtypes

The 2 With A 1 Wing; The Nurturer

This subtype exhibits many of the traits generally associated with the type One, conscientiousness, reasonableness, and the desire to promote justice on a local or global scale.
Though still primarily an emotional, engaging type, Twos with a 1 wing appear more reserved, introspective and intellectually-concerned than the vivacious and expressive 3 wing subtype. There is, like the type One, a strong concern with integrity, allied with a desire to protect the vulnerable and nurture the needy. Type One contributes an ability to employ reason, as well as the distance to adjudge situations objectively that, combined with the emotionally attuned nature of the Two, endows this subtype with an ability to express themselves articulately, yet with passion. Bestowed with a universal concern, this subtype often focus their emotions outward to the end of a cause, where their clear, reasoned thinking allies superbly with their compassionate natures, making for dedicated, effective campaigners, conscientious teachers and social reformers.
 Combining the polarities of the One’s objectivity with the subjectivity of the Two, members of this subtype can experience difficulties reconciling the formers’ ascetic self- control with the latter's’ expressive feeling- lead instincts, and can have issues regarding their desires and needs. Indeed, it is quite common for Two’s with a 1 wing to have eating disorders or problems with appetites in general, the One providing self- reproach and shame that tends to be absent with the more physical and sensually at ease 3 wing subtype. However, these very issues can lead healthy Twos with a 1 wing to a objective self- examination, whereby they gain insight into their own, and by extension, other people’s, motivations. This lends Twos with a 1 wing considerable powers of empathy, and an invaluable ability to articulate and “humanize” issues. Diana Spencer (Princess Di) appeared to have embodied many of the traits associated with this subtype; her emotional frankness, eating disorders, marital travails and apparent difficulties with being thrust into a very public and confining position, resonated with and moved many, an instance of that rare occurrence when an otherwise remote public figure appears as one’s intimate, confidante and best friend. Self aware and empathic, this subtype is especially suited to careers in counselling, care- giving and the nurturing of the vulnerable. However, members of this subtype often manifest some of the judgemental tendencies of One, seeing “right and wrong” in bold black and white terms, as well as a temptation to manipulatively “play the martyr” in order to gain sympathy and support. At this stage, they may have difficulty letting grievances go, identifying themselves as selfless victims and unable to recognize, let alone acknowledge, their own selfish motivations.


The 2 With A 3 Wing; The Hostess

This subtype tends to be more numerous and conveys the archetypal Two traits of gregariousness, flirtatiousness and great personal charm. The 3 wing lends this type a vivacity, verve and social instinct, making them popular and generally in demand. Two’s with a 3 wing are usually found at the hub, the centre of activity and “in the loop”, and like to be considered desirable and everyone’s best friend, big brother, or den mother. Members of this subtype are natural entertainers, and usually have a playful, even histrionic, quality that makes them stimulating and highly entertaining company. Warm and effusive, it’s difficult to resist their charms. Though they themselves may not directly involve themselves in the creative arts, they often like to be at the heart of what’s happening/current, and would wish to be recognised as a “friend of the stars”. The TV chat- show host is a typical occupation of this subtype, where warmth, human interest and playful banter combines with name- dropping narcissism and reflected glory. Lacking the solid self- belief of the 1 wing, members of this subtype might be subject to the Three’s concern with approval and, if they are creatively gifted, will need encouragement; despite their apparent bustling confidence, Twos with a 3 wing are often deeply insecure and need regular reminders that they are loved and valued for who they are, rather than what they can provide (“I must always give in order to receive”), or who they know (“They’ll value me if they see who I’m on first name terms with”).
As Three provides a certain “grass is greener” yearning, this subtype can be less “companion”- oriented in relationships, and may be reluctant to establish harmonious and equally- footed partnerships. Whilst male Twos with 3 wings commonly exhibit nurturing qualities generally associated with females, both men and women of this subtype tend to conform to fairly conventional gender stereotypes; The men are romantics who, when in relationships tend towards “control freakery” (making themselves indispensable and dominating; see Tony Blair), and when single pine after unobtainable females. The women are often attracted to roguish “real men”, often ambivalent, gender conscious “jack the lad” types (usually Sixes with a 7 wing), finding the emotional see- saw of uncertainty stimulating (“he loves me, he loves me not…).  Less healthy members of this subtype  tend to be strongly drawn to "the chase", with the "conquest" sourcing more from their considerable vanity than from the desire for a genuine relationship. This  subtype is notably more competitive and recognition- driven than those with a 1 wing, with the Three's  aspiration to High Status giving them an edge, as well as the fortitude to make it.    


Advice

Acknowledge and accept your own needs, and try not to define yourself entirely by your perceived value to others. You don’t have to be loved by everyone all the time

Some notable Twos

Judy Garland, Sammy Davis Jnr, Cher, Diana Spencer, Richard Gere, George Michael, Demi Moore, John Major, Jennifer Lopez, Barry Manilow, Richard E Grant, Phil Collins, Jonathan Ross, Tony Blair, Chrissie Hynde, “Molly Bloom”, Dolly Parton, Mother Theresa, Dirk Bogarde, Tony Bennet, Brigette Bardot, Florence Nightingale


Type 3; The Achiever (epitome of excellence)

The Three’s key motivation is to succeed and be recognized as a winner in their chosen field. Threes are single- minded, pragmatic and goal- oriented, unhindered by self- consciousness or self- doubt, as well as exceptionally capable of projecting the most suitable image of themselves in order to attain their ends. These are charmers, often strikingly attractive, embodying conventional ideals of beauty and grace, being all things to all people. As such they make exceptional politicians, being tactful, shrewd and able to “get with the program”, astutely assessing the opposition, noting strengths and weakness, and being adept at changing their tune if required.
The combination of drive, energy, ambition, as well as a flexible and practical recognition of how things work, can make Threes inspiring models of capability, excellence and success. They are able to raise the bar and, when healthy altruists, can be inspiring embodiments of achievement, self- transcendence, perseverance and perspicacity. Usually endowed with impressive communication skills, Threes make excellent ambassadors or company spokespersons, capable of embodying and expressing the “mission statement” of the organization, ideology or business they represent.
However, as the Three’s primary motivation is to win (in itself necessitating that someone else must lose) there is a danger of ruthlessness, mendacity and a lack of empathy. It often appears to Threes that unless they are constantly being appraised, ostensibly succeeding or highly desirable, that they are failing and perhaps unworthy of love. Threes can run into problems by mistaking praise for love, and may choose to forsake deeper, perhaps more spiritually enhancing relationships for those that appear to boost their status (Threes are often to be found in “Power Couples”) or for callously casting off people that are no longer deemed to be of any value. Of all types, the Three tends to be the most emotionally remote and can have difficulties with identity and recognizing what they are actually feeling. Being brilliant at almost anything they turn their hand to, the average Three can have problems locating who they really are and what they actually feel. There is a danger that, with the constant projection of an ideal, the Three loses their sense of self and, by extension, any emotional or compassionate connection with those around them. Thus the world becomes a Darwinian dog eat dog bear pit, inhabited by “winners” and “losers” and, in order to maintain their position in the former, the Three will employ any means necessary, without conscience or limitation. Indeed, when denied acclaim or recognition, unhealthy Threes can be downright dangerous. Treachery, vengefulness, and malice are the order of the day with, in extreme cases, unhealthy Threes becoming sociopaths (Patrick Bateman from “American Psycho”) and serial killers. In the latter instance, the Three’s complete lack of empathy and urge to distinguish themselves (consider the warped "celebratory" status of Charles Manson) finds it’s most grotesque manifestation.
 

Subtypes

The 3 With A 2 Wing; The Transgressor

This subtype is extremely rare and bears some of the traits of the type Two, insofar as there is a marked concern with interpersonal relationships (as opposed to public recognition), especially those of a sexual nature. Unlike the charming and aesthetically- minded 4 wing, whose focus is on the world of impersonal, large scale acclaim, Threes with a 2 wing tend to direct their attentions to a single, often intensely private end, be it a person or an idea. With the feeling instincts of the Two complimenting the emotional detachment of the Three, members of this subtype are, when healthy, bravely able to delve into and explore the most hidden realms of human desires and consciousness, with the "human interests" of the former informing the inquisitive pragmatism of the latter. Sigmund Freud, the father of psychoanalysis, is a member of this subtype and his view of sex as being the primary motivation in life, in some way tallies with the relationship- oriented focus of the type Two, as well as indicating this subtypes’ fascination with the “power plays” of human affairs and deep compulsions of our shadow side. One doesn't’ have to wholeheartedly embrace Freud’s theories to recognize his great achievements in the realms of exploring unconscious drives, and the cultural, medical and scientific influence of his work. Terms like Libido, Id, Ego and “Oedipus Complex” have entered the lexicon of everyday discourse, expanding our understanding, as well as encouraged enquiry, into what it means to be human. Freud also asks us to consider the unthinkable (Patricide/Matricide and incest, albeit on a symbolic or subliminal level), and accept disquieting, destabilizing concepts as essential aspects of consciousness. This fascination with hidden, distorted and often disturbing aspects of human nature is pertinent to this particular subtype. A disproportionate number of serial killers and sex offenders appear to be Three’s with a 2 wing (the Two's desire for intimacy distorted by the unhealthy Three's emotionally- remote tendency to see others as mere objects) , which is notable when one considers Freud’s ruminations on the uncontrollable nature of one’s deepest urges, the "polymorphously perverse" nature of sexual stimulation, and his exploration of child sexuality. Whilst the latter interest was primarily in respect to the family unit and it’s broader social ramifications, it nonetheless raises the issue of transgression, especially in that most taboo of areas, that of child/adult sexual relations, which in turn entail the concept of consent and the abuse of trust. Freud’s concern with pre- pubescent sexuality and incest illustrate an interest in the darker, concealed and potentially destructive compulsions that find their most horrifying manifestation in the sex murders of fellow Three’s with a 2 wing such as Dennis Nielson and Peter Suthcliffe.

The 3 With A 4 Wing; The Superstar

This subtype is much more common and tends to embody the more obvious Three characteristics of charm, ostensible achievement and narcissism. Unlike the other subtype, whose drive is  commonly turned inwards towards the private domain, Three’s with a 4 wing focus outward, seeking a role for themselves in the world. The 4 wing appears to offer this subtype an aesthetic and universal concern that manifests as a desire (and ability) to attain high levels of excellence, as well as attractiveness, vivacity and a craving for “the love of strangers”. Fame, celebrity and recognition are the natural drivers for this subtype, often through technical and creative excellence, leading to achievements that raise standards and encourage further aspiration, be they as masters of popular melodies (Paul Mcartney, Stevie Wonder) iconic actors (Meryl Streep, Marlon Brando),  consummate singing stars (Aretha Franklin, Marvin Gaye) or bravado performers (Freddie Mercury, Mick Jagger). Even when not motivated by the lure of fame, members of this subtype will nonetheless strive to distinguish themselves within their chosen field, and often display dazzling versatility, moving with ease from one area to the next, with chameleon- like adaptability, and are usually recognized as “players”, those who will rise through the ranks and on whom one can stake a safe bet.    
The fiction of Martin Amis has largely focused on issues of status, rivalry, mendacity and manipulation, be it reversals of fortune ("Success"),  literary envy and sabotage (“The Information”), elaborate deceptions (“Money”) or malicious destruction (“London Fields”), and presents a grotesque caricature of the competitive hostility, withering contempt and gross lack of conscience of the unhealthy Three with a 4 wing. Amis utilizes bejewelled, eviscerating prose, for which he has been accused of employing style over substance. This is a common charge levelled at this type, understandable in that their concern is principally with “making a name for themselves”, getting attention and/or acclaim. Perhaps the most lamentable example of this tendency is to be found in “celebrity culture” (whereby one is a celebrity by virtue of being a celebrity) those for whom fame itself is the end (described by Amis as “meteoric mediocrities”). Though most of these “celebrities” are instantly forgettable ephemera, the cultural effects of superficiality, attention- seeking and expedience means the lowest common denominator gets lower and lower. This is a shameful underutilization of this subtype’s capabilities and potential for, when healthy, they are amongst the most brilliant, disciplined, driven and potentially inspirational of individuals,  offering a model of resilience, pragmatic adaptability and self- invention to which all other types might hope to aspire.

Advice

Appreciate the abilities you have, regardless of status, and without needing to measure yourself against the achievements of others. You don’t have to be perfect (perfection can be rather boring!)

Some notable Threes

Barak Obama, Felix Mendellsohn, Tom Cruise, Paul Mcartney, Igor Stravinsky, Peter Mandellson, Stevie Wonder, Sigmund Freud, Martin Amis, Nicole Kidman, Marlon Brando, Mick Jagger, Aretha Franklin, Marc Bolan, Grace Jones, Phil Spector, Meryl Streep, Freddie Mercury, Marvin Gaye, Jean Paul Sartre, Ed Gein, Gary Gilmore, Peter Suthcliff, Charles Manson,


Type 4; The Artist (the romantic aesthete)

The Four’s motivation is to express themselves, usually through creative endeavour, such as the Arts. Fours are primarily interested in their inner landscape, imagination and personal codes of reference. Emotional, sensitive and intuitive, they are especially capable of giving form to hitherto vague or hidden sensations and feelings. Fours are unconventional, misfits by design; many, having being in some way singled out for this, make a virtue of their apartness, revelling in a certain contrariness, both as a means of defiant self- assertion and protective self- concealment. Deeply self- conscious, Fours often seem awkward and withdrawn in social circumstances, and can appear to others as being aloof and “cool”. Equally they might appear dramatic, larger- than life and gregarious. For this, many may suspect the Four of being pretentious, and interpret their theatrical manner and poetic turn of phrase as being contrived.  This, however, is seldom the case, as Fours are deeply concerned with authenticity, and tend to despise phoniness and protocols. Thus, many have problems reconciling the yawning gap between their soaring highs and fearful lows. Indeed, considering their sensitivity and shyness, Fours can often betray an almost confrontational demeanour, though the latter has less to do with a naturally combative streak than with the need to defend themselves against perceived threats or slights. Of the latter, Fours are especially prone, owing to a feeling of being in some way flawed, misunderstood and incomplete; this incompleteness means that Fours are perpetually in a process of “becoming”, a progression that, if positively applied, can lead to exceptional artistic innovation, and a frank self- examination that often reveals universal truths. Despite, or perhaps because of their deep sensitivity, Fours can be extremely funny, entertaining and lovable, endearingly honest about their own failings and tolerant and empathic to those of others, lending them, when healthy, excellent communication skills and the ability comprehend others at a profound level.
However, as Fours “live” predominantly in their imaginations, languishing in elaborate fantasies, they can have problems making the transit to the “real” world. Often impractical, Fours can be baffled by the “adult” domain of responsibility, employability and expediency, a tendency compounded by their dislike of the mundane, and a disinterest in anything that requires focusing away from the imagination. Natural Romantics, Fours appear both to themselves and others as being apart and somehow above the fray, idealizing childhood realms of make- believe and seeking solace from the harsh demands of the real world. The hazard for Fours is that, as their dream world becomes increasingly rich, their practical world, that of actual physical achievement, can appear at best substandard, and at worst, a mocking insult to the beauty and perfection of their imaginings.  At this stage the Four may become dangerously withdrawn, alternating feverish fantasies, often aided by alcohol and drugs, with periods of lacerating self- loathing. The flawed feelings conspire with those of failure and potential unrealised and, at this stage, mental and emotional breakdown or suicide are very possible.


Subtypes

Type 4 With A 3 Wing; The Aristocrat

This type is less common than the 5 wing, and in many respects, resembles the type 3 in that there is a marked concern with prestige, status and with what seems, in terms of popular acclaim, to succeed. Sociable, friendly and talkative, this type is a lot more accessible, physically and emotionally, than the enigmatic 5 subtype, and are usually endowed with a witty, playful sense of humour and warm personal style. In some respects this subtype can resemble Twos with a 3 wing, being charming, engaging and interpersonal, but also in their feeling put upon, undervalued, and taken for granted. Both subtypes of the Four are given to self- pity and whining, the difference being 5 wings feel aggrieved by an abstract sense of alienation and neglect, whereas 3 wings feel a deficit of appreciation and respect in both their personal and professional relationships and are, therefore, inclined to actively petition for feedback, acclaim and encouragement. Indeed, this subtype combines the low self esteem of the Four with the acute status consciousness of the Three, and are consequently preoccupied with their place in the “pecking order”. If unhealthy, this subtype can be elitist and snobbishly dismissive of that which doesn't, by their reckoning, "make the grade" and can even be two- faced, in order to present themselves in a more favourable light. Often practical and tuned into popular culture, artists of this subtype tend to tailor their work to an existing audience, astutely noting what seems to work and positioning themselves accordingly, rather than trying to create a unique, unproven niche. Thus, whilst their sensitivity and talent rarely go unnoticed, they're seldom as innovative and original as those with a 5 wing. However, more than the other subtype, Fours with a 3 wing display an awareness of social dynamics, pretences and mores which they can, as in the work of Oscar Wilde, subject to brilliant satire and scrutiny, exhibiting insight and deceptively profound wit.  A luminous and highly successful playwright, essayist and novelist, Wilde was also one of the finest talkers of all time. It is all too easy, when considering the tragedy of his downfall, to overlook Wilde’s remarkable literary, aesthetic and scholarly achievements. A man of brilliance and erudition, Wilde was to reflect that he put merely his talent into his work, but his genius into his life. Certainly much of that genius is lost to the annals of time; bon mots, inspired conversation, high living and tireless social climbing (for, undoubtedly good- natured and kind- hearted, Wilde was a snob). As a Four with a 3 wing, Wilde’s world was very much that of the idle elite and their attendant social graces, which is in many ways the perfect milieu for this naturally elect type.     

Type 4 With A 5 Wing; The Visionary

Notably more numerous than the other subtype, the Four with a 5 wing tends to be mysterious, moody and individualistic, less practical or concerned with consensus than those with a 3 wing. This type embodies the maverick, paradigm shattering spirit of The Artist As Innovator and, consequently, tend to swim against the stream, appearing to many as exasperatingly “bloody minded” and difficult (“The Artistic Temperament”), often directed by forces that no one, perhaps not even they themselves, can perceive or understand. Highly motivated by integrity, this type combines the Five’s commitment to truth with the Fours idealism and can be, when healthy, especially empathic, self- revealing and authentic. More than the other subtype, Fours with a 5 wing place a premium on their inner world, and may have problems manifesting their ideas, often feeling overwhelmed by the demands of “real life”, seeking respite in the hot house of their imaginings. When they do, however, it is with a determination and single- minded steeliness that belies their apparent frailty. Indeed this subtype often manifests a fire, charisma and allure lacking in those of the somewhat more conventional 3 wing. It is interesting that both Four and Five are introverted types and yet members of this subtype feature prominently in any role- call of creative icons. Perhaps the intellectual seriousness of the Five acts in accordance with the individuality of the Four, lending an inner- directed self- sufficiency and affinity for abstract systems that is conducive to the commitment and resolve necessary to bring their deepest, darkest dreams blinking into the light of day.
Here we find commonality in “apartness”; Outsiders who failed to find recognition in their lifetimes (Vincent Van Gogh, Nick Drake), artists whose unpredictable singularity would defy classification or marketing strategies (Scott Walker, Miles Davis), composers who forwarded a graceful, dreamlike aesthetic (Claude Debussy, Maurice Ravel), performers who transcended boundaries of both gender and genre (Prince, David Bowie) or defied the stultifying and limited scope extended to female artists (Joni Mitchell, Nina Simone, Kate Bush). What unites all these very different individuals is a sense of artistic integrity, a willingness to forsake commercial success for that of creative fulfilment, and a defiance of dominant mores and fashions. Members of this subtype often appear like fully- formed walk- ins from another dimension; that they usually feel like this is perhaps why they are, when unhealthy, especially subject to despondency, alienation and withdrawal, disregarding life as worthless and brutish. However, it is perhaps this same sense of apartness that makes the Four with a 5 wing the outsider who embodies and makes tangible otherwise hidden Universal thoughts, feelings and sensations.

Advice

Celebrate the wealth of your inner landscape with external manifestations, and don’t be perturbed by initial setbacks. Remember you are no less capable, and no more prone to misfortune, than anyone else.

Some notable Fours

Vincent Van Gogh, Kate Bush, Oscar Wilde, David Bowie, Claude Debussy, Jimi Hendrix, Joni Mitchell, Erik Satie, Nina Simone, Nick Drake, Prince, Fredric Chopin, Maurice Ravel, Kurt Cobain, Johnny Depp, David Sylvian, Tori Amos, Jeff Buckley, PJ Harvey, Syd Barrett, Gustav Mahler, Morrisey, “Gustav von Aschenbach”, Lenny Kravitz, Leonard Cohen


Type 5; The Thinker (spirit of enquiry)

The Five’s key motivation is to know, amassing knowledge and immersing themselves in systematic thought and abstract concepts. Five’s have prodigious analytical faculties, and have tremendous ability to understand complex structures and methods. They are often to be found amongst eminent scientists, mathematicians and scholars, where their powers of sustained focus, deduction and connectivity place them at the forefront of innovation and inventiveness. Like Fours, Fives can seem eccentric and socially discomfited. However, whereas Fours tend to appear enigmatic, emanating a self- conscious charisma, Fives often seem somewhat “nerdish”; here is the archetypal mad scientist, lacking social graces and interpersonally maladroit. Nonetheless, when engaged on a subject near to their hearts and considerable minds, Fives can be dazzling communicators, articulating complex concepts with ease, often with an endearing earnestness. Indeed, it is this very ability, and almost vocational zeal, to render intelligible the impenetrable and highly specialized to the layman, that distinguishes the type Five in popular culture, as typified by Professor Stephen Hawking’s best- selling elucidations of Cosmology.
The Five type is, generally, introverted and private, difficult to get to know and somewhat emotionally obtuse. It isn’t that Fives (as with type Threes) are cut off from their emotions, more that they find relationships and their attendant emotional requirements overwhelming and a bit disturbing. One of the comforts afforded by pure knowledge, information and absolute, impersonal systems is that they allow Fives an area of mobility and exploration unhampered by the illogical, capricious and downright painful business of human relations. Fives are, in fact, passionate individuals, it’s just that their passions tend to focus on the empirical, the rational and the tangible. Indeed, Fives are as capable of sustained, loving relationships as any other type, generally making committed, faithful spouses, provided they are afforded “space” and sufficient solitude.
Because Fives are,  like type Fours,inner directed there is a danger of alienation, and debilitating withdrawal. Fives can simply get lost in their fields of interest, dismissing or simply neglecting to consider, the existence of an outer world or contrary viewpoint. Indeed, with so much attention paid to intellectual or abstract concepts, there is a risk of the Five’s emotional growth being stunted, with a corresponding deficit of interest in the problems, concerns and circumstances of others. Their eyes glazing over, they may shuffle in discomfort or remain mute until they can once again steer the conversation back to their home ground. Immersed in their concerns and absolutely sure of the correctness of their position, Fives can appear to be hectoring, opinionated intellectual bullies, blithely rubbishing the opinions of those who they consider ignorant or less informed. Empathy withers, and the unhealthy Five becomes a ranting voice in the wilderness, believing it is their place to inform, and yet dismayed at the incredulity of their listeners. At this juncture, they are in danger of estrangement from themselves as well as their fellows, feeling persecuted, paranoid and overcome by the kind of emotional morass they’ve tried so hard to avoid.


Subtypes

The Five With A Four Wing; The Eccentric

This rather rare subtype combines the analytical, methodical traits of the Five with the inspired expressiveness of the Four. Here the formers’ scholastic, systematic approach is merged with the intuitive sensitivity of the latter, making for original, abstract and otherworldly characters. As both Four and Five are introspective, this subtype is markedly more fragile and less grounded then those of the more robust, outer- directed 6 wing type. The Five’s emotional discomfort is somewhat compounded by the Four’s low self- esteem and, when unhealthy, this subtype can be vulnerable to alienation and mental collapse.
However, when healthy, this type is amongst the most inspirational, marrying intuition to intellect, tradition to originality and structure to spontaneity, the Four lending free- expression to the Fives love of systems and structural inventiveness.
The “Oblique Strategies” is a Tarot card-like system devised in part by Five with a 4 wing Brian Eno, whereby chance may be invoked to aid the creative process, a fitting example of a Four- like desire for the unpredictable within a Five's structured framework. This “organization of indeterminacy” illustrates not only an essential characteristic of this subtype, but provides an informative example of the difference between Fives with a 4 wing and those with a 6 wing, especially when compared to the “Serial” method associated with composer Arnold Schoenberg (see next section).
Eno marries the egg- headed inventiveness of the Five to the Four’s playful iconoclasm, using the recording studio as an instrument, allowing for the inclusion mistakes, re-assigning musician’s roles (allotting drumming duties to bass players, guitar to drummers etc), all of which illustrates this types ability to “think outside the box”, and desire to explore incongruous and seemingly irreconcilable combinations and concepts.
Another notable member of this subtype is Brian Wilson of the Beach Boys, a shy, awkward loner who used the playful simple medium of pop as a template for complex, multi- layered music dramas, writing highly evolved anthems in praise of adolescent sun, fun and freedom. Rather like fellow Five with a 4 wing Michael Jackson, whose obsessive, meticulous performances and quite- literal immersion in "Neverland" provided an escape from a painful reality, fantasy seemed to offer Wilson comfort as well as a creative outlet. Indeed, the easy life of surfing, sunshine, cars and girls couldn't have been further from his nervous nature and the occasionally nightmarish world of mental distress he inhabited, but perhaps this, in itself, provides us with a key to this type's make up; the Five’s ability for detached analysis enabling Wilson to step outside of himself to a degree unimaginable to that of a confessional, self- mythologizing Four, whilst employing the latter’s love of fantasy and make believe, in order to create a wholly unique and ingenious marriage of the highly complex to the simple, immediate and engaging.

The Five With A Six Wing; The Scientist

Far more common than the other subtype, the Five with a 6 wing exhibits the “classic” Five traits of intellectual rigour, social reserve and academic brilliance. The 6 wing lends this subtype a preoccupation with rules, structure and perfectibility, as well as an outward- looking awareness of the world and where and how their fields of interest relate to it. The influence of Six imparts a desire to communicate and share knowledge, and to articulate and render comprehensible otherwise unfathomable concepts, making this subtype amongst the best teachers, scholars and scientists. Here we find an objectivity and intellectual cool- headedness that distinguishes members of this subtype as paragons of inventiveness, synthesis and discovery, the Fives abstract inquisitiveness perfectly complimented by the Sixes ability to recognize and communicate rules and structures. When the poet Stephan Mallarme declared "You don't make a poem with ideas, but with words" he was exhibiting a certain Six- like no- nonsense concern with the tangible and practical, stating that a work of Art primarily consisted of it’s components rather than the artist’s intentions. Unlike the nebulous, feeling- lead instincts that one finds in a 4 wing type, those with a 6  wing focus upon actualities, how systems can be self reliant and usable to all, rather than being dictated to by the subjective whims and feelings of the individual.
  In the wake of the collapse of the diatonic musical system, composer Arnold Schoenberg devised (or, as he termed it, discovered) “Serialism”, a compositional method whereby order could be imposed upon the otherwise sonic free- for- all of Atonality, affording composers the opportunity of employing a structural certainty, and operating on an objective formal basis rather than that of pure subjective feeling. His method was continued and elaborated, notably by Olivier Messiaen and Pierre Boulez (who, in his capacity as a conductor, has been a tireless champion of much of the still largely undigested Modern “Classical” repertoire, reflecting both the Fives commitment to intellectual integrity, and the Sixes to that of communication). Problems arise when this very intellectual strength devolves into snobbery and a scathing dismissal of anything that deviates from the design, be it structural, ideological or ethical. Members of this subtype may find themselves hampered by their adherence to what they perceived to be a perfect system or an unimpeachable political or moral viewpoint, the Sixes partisanship and obsession with rules exacerbating the abstract, and somewhat self- absorbed schematics of the Five. When unhealthy, this subtype can become bigoted, judgemental and intolerant, the intellectual superiority of the Five compounded by the zealous tribalism of the Six.  At this point they are in danger of repulsing the otherwise sympathetic, becoming paranoid and alienated, overlooking intuition, inspiration and the kind of openness that, when married to intellectual brilliance, manifests as genius.   

Advice

Because you have remarkable intellectual gifts doesn't mean you have to employ them all the time. A little bit of dumb- down- time every now and then is the equivalent of a well-earned postprandial nap.

Some notable Fives

Albert Einstein, Isaac Newton, Olivier Messiaen, Stephen Hawking, Arnold Schoenberg, Stefan Mallarme,  Brian Wilson, Brian Eno, Peirre Boulez, Patrick Moore, Herbie Hancock, Richard Dawkins, Gabriel Faure, Marie Curie,  Elvis Costello, Nikoli Tesla,  Isaac Azimov, Michael Jackson, David Byrne, “Leopold Bloom”


Type 6; The Partisan (us and them)

The Six’s key motivation is to belong, to achieve definition and security through identification with a group, ideology or belief system. Six’s are profoundly concerned with how they relate to others, issues pertaining to authority and their acceptance and security within the identified peer group. Essentially pack- oriented, Sixes tend to be loyal, faithful and protective to their unit, often overtly vigilant in their suspicion of “outsiders”, displaying a hostile “guard dog” stance. Conversely, they are sensitive to those who are excluded and, after a cautionary “sniffing out” are keen to take under their wing and integrate outsiders. More than any other type, the Six is aware of pariah status and the loneliness and accompanies one’s not belonging. This resonates strongly with the Sixes own sense of vulnerability, arousing their protective instincts and desire for justice and communion. For this reason, Sixes, like type Two’s, make conscientious care workers, or guardians of the vulnerable and needy. Guided by a sense of duty, Sixes can be practical, tireless team-workers, adept at galvanizing the troops and generating an esprit de corps. No matter their age, healthy Sixes retain a childlike playfulness, and a good- humoured awareness of their (and everyone else’s) fragility and foibles that is remarkably endearing. Touching also is their trustfulness and keenness to see the beauty, innocence and goodness in others. Sixes are intensely aware of collective mores and standards, even when rebellious or loners. Indeed the dissenting outsider stance adopted by many Sixes is almost entirely reactive, in that it’s defined by being in polarity to what the Six is rebelling against. Try as they may, Sixes are always in some respect reacting to an authority, and may spend their lives seeking out someone or something to believe in. In this respect, there is something masochistically Humpty Dumpty- esque about most Sixes; a process of unrealistic idealization and inevitable disappointment following the their being let down by the person, group or ideal in which they have placed absolute faith. This quality can make interactions with them tiresome as Sixes, ever keen to identify a father figure who they can look up to, a victim they can defend or a scapegoat they can blame, seldom relate on an entirely equal footing. One can feel that one constantly being tested, which sources from the Sixes anxiety, suspicion and insecurity. Indeed Sixes are, more than any type, wont to “shoot themselves in the foot”, their suspicion and “game- playing” actually driving away those to whom they want to draw closer. When unhealthy, these insecurities often manifest themselves as partisanship, an “us and them” worldview whereby the Six paradoxically seeks peace by being in conflict with an enemy. The “culture” of football hooliganism is an extreme example of this, with chanting groups, complete with tribal- team scarves and t- shirts, confront each other, more in an assertion of “identification by group- think” than a genuine desire for a fight. Indeed, when Sixes behave aggressively, it almost always sources from fear -  the terrified bully beating his chest to conceal how frightened he is - rather than a show of actual strength.


Subtypes

The 6 with a 5 wing; The Frontiersman

This subtype is less common than the 7 wing, and can appear more like the type Five in that they tend to be serious, reserved and self contained, emanating an inner strength and self- sufficiency that is notably lacking in the more open and effusive 7 wing.
In many respects this type is typified by the term "the strong, silent type", and embodied by the actor and film maker  Clint Eastwood.  Whether the solitary Panatela- puffing, poncho- clad “man with no name” of the 1960's westerns or the rogue cop “Dirty” Harry Callaghan, Eastwood’s characters often emit a tangible solitude and steeliness that reflects the essence of this subtype, combining the Five’s independence of mind with the Sixes suspicious guardedness. Here is the archetypal tough frontiersman, the self- reliant loner, reluctant to open -up and mistrustful to a degree that, when unhealthy, borders on downright paranoia. This distrust connects to their desire for absolute independence, a tendency that's reflected in  Eastwood's taking control of his career as early as possible, going on to become a respected filmmaker of integrity, thinking in the long term (purchasing the film rights of “Unforgiven” and waiting, some 16 years, until old enough to play the lead character), investing time and energy in less commercially assured ventures (“Bird”), or playing boldly against type (“The Beguiled”, “The Bridges Of Madison County”), invariably with a unimpeachable professionalism (Eastwood makes a point of delivering his films under budget and pre- deadline, an indication of the Sixes desire to be beyond reproach).
Whereas the other subtype’s exhibiting of ambivalence and anxiety is directed outward through social or interpersonal channels, Sixes with a 5 wing tend to internalise these traits, often through a concern with structural integrity and the kind of intellectual vigour one generally associates with type Five. The most cursory glance at the compositional notebooks of Ludwig Van Beethoven reveal the rigour and dedication with which he worked on his ideas, often putting a theme through a protracted process in order to arrive at a conclusion that was satisfactory both formally and aesthetically. Technical displays of compositional mastery (the Five's desire for formal integrity) are often complimented by the Sixes rebelliousness, and a challenging of established rules and limitations.  There is also a sense that he is striving to convey his innermost thinking, revealing something of himself and his complexity to the listener. The Sixes urge to communicate via the prism of Fives schematic thought is perhaps exemplified by Beethoven’s utilizing Schiller’s “Ode To Joy” (“All men will be brothers”), for the Choral Finale of his 9th Symphony, indicating a strong desire for fraternity from this most taciturn and solitary man.  

The 6 with a 7 wing; The Provocateur

This subtype expresses the more typical Six issues of belonging, acceptance and ambivalence, and, in stark contrast to the reserved, private 5 wing, tends to be vocal, engaging and more accessible, both companionably and confrontationally. Here the playfulness of the Seven combines with the Sixes desire for attachment, making healthy members of this subtype amongst the most  lovable and loyal of individuals. However, as both the Seven and Six are somewhat ungrounded, with the Sevens’ manic compulsion compounding the Sixes anxiety, members of this type are often unstable and insecure, seeking to define themselves almost entirely by the clan or belief- system to which they subscribe, going to great lengths to attain reassurance of their membership, seeing only in black and white and, when unhealthy, vehemently opposing their perceived enemies. Whether a staunch conservative suspicious of change, or the eternal revolutionary storming the barricades, this subtype tends to run to extremes, eschewing moderation as concession, and is partisan by design, all too often defined by what they oppose as much as what they believe in.
Here we find the archetypal self- destructive “rebel” rock star (Janis Joplin, Jim Morrison, Sid Viscous), “jack the lad”-ishness (Rod Stewart, Liam Gallagher), histrionic “Divas” (Liza Minelli, Elton John, Whitney Houston), the voice of protest/social agitation (John Lennon, Bruce Springsteen, Bob Geldof). Unlike the private, taciturn 5 wing, members of this subtype tend to "play out" their contradictory natures and insecurities, perhaps in a subconscious bid for some outer authority to take control. Unlike the self- reliant 5 wing, members of this subtype are generally unsuited to solitude, being essentially other- oriented pack animals. Indeed, at their healthiest, Sixes with a 7 wing are brave, supportive and conscientious members of any community, exhibiting warmth, extending  emotional and practical hands- on support. Acutely aware of their own vulnerability, healthy Sixes with a 7 wing are sensitive to the neediness of others and go out of their way to provide fraternity, comfort and friendship. However, the impulsiveness of the Seven can agitate the suspicion of the Six, leading to acts of self sabotage; they may extend the hand of friendship only to snap it back, ever fearful of being hurt or let down, repulsing those they wish to woo with their incessant testing. Lacking the introspective examination of those with a 5 wing, members of this subtype can exhibit ambivalence to an exasperating "Jekyll and Hyde"- like degree, alternating tough- guy strutting with child- like neediness, voluble obnoxiousness with tactful consideration,  seemingly compulsive insubordination with a masochistic desire for submission, all the while demanding that someone take the control that they themselves seem unable or unwilling to exercise.

Advice

Trust yourself, and accept that it takes all sorts to make a world. Remember that we are all connected and you’re never really alone.

Some notable Sixes

Ludwig Van Beethoven, John Lennon, Clint Eastwood, Janis Joplin, Sean Penn, Jim Morrison, Bruce Springsteen, Sandra Bernhard, Pete Townsend, Robert Redford, Diana Ross, Ike Turner, Brian Jones, Liza Minelli, Rod Stewart, Whitney Houston, Elton John, Courtney Love, Sid Viscous, Liam Gallagher, Roger Daltrey, Bob Geldof, Boy George, Marianne Faithful


Type 7; The Enthusiast (the Thrill Seeker)

The Seven’s key motivation is to be entertained, to avoid tedium, to not miss out and to retain freedom.  Seven’s tend to have a happy- go- lucky view of life, are drawn to the sunny, the novel and the distracting. Displaying very low boredom thresholds, they require the freedom to do what they want, when they want, as well as avoiding all things heavy and painful. Whilst this might make them appear shallow to those of a more reflective disposition, one can be sure that no other type is as adventurous, fun loving and as endowed with life- affirming zest as the Seven. Sevens tend to have boundless energy and usually remain youthful well into advanced age. There is something Puckish about them, a mischievous playfulness and irreverence that delights in deflating pomposity, offending uptight sensibilities (often with shockingly ribald language) and slaughtering sacred cows. This makes Sevens especially suited to stand- up comedy, where their quick wits, lightning responses and lack of self- consciousness provide them with the steeliness, the spontaneity and vigour to survive that often most trying profession. Sevens also seem to be singularly suited to being drummers, where their hyperactivity, demands for variety and desire to be loud can be unleashed upon vast drum kits, resplendent with thumping toms, snapping snares and splashing cymbals. Whilst they can be remarkably disciplined and, if in a suitably interesting line of work, usually unerringly professional, Sevens tend to avoid routine like the plague, and can therefore have problems with committing themselves, both in terms of career and relationships. In the latter case, Sevens often appear somewhat Satyr- like, being lecherous and sexually inquisitive. If they are to “settle down”, Sevens will need mates that can keep up with them and provide the variety and oomph they crave.
To a certain extent Sevens are, like Sixes, prone to anxiety. However, unlike the previous type who, seeking reassurance, voice their anxiety, Sevens tend to flee from it, and look for distraction. In itself, this need for perpetual diversion is relatively harmless provided it’s tempered by a healthy amount of self- examination. Alas, this is the last thing the average Seven wants to do.  Sevens at this stage are not interested in addressing their deeper needs, but are set on “getting theirs” from the world. Thus, They can go into denial, adopting a smug, coarse veneer, trying, as in the case of the type Three, to project an image of contention and success. However, unlike that type, this projection is for the benefit of the Sevens themselves, and herein lies a grave danger;  the flight from anxiety and discomfiting emotions often leads Sevens into unconscionable binges of sex, alcohol, drugs, shopping sprees, anything, in fact, to fill the great void that threatens to engulf them. Sadly, at an unhealthy level, Sevens can find themselves singularly ill- equipped to deal with the unavoidable vicissitudes of life, becoming hysterical, self- destructive and unable to access their natural joy and ability to ride the changes.

Subtypes

The 7 with a 6 wing; The Sprite

This subtype exhibits some of the restlessness, ambivalence and anxiety of the Six with the impetuous manic propulsion of the Seven, making them markedly more vulnerable and undisciplined than those with an 8 wing. Members of this subtype exhibit a quality of Peter Pan or the Eternal Child; often they resemble mischievous children, their conversation peppered with lewd, crude anecdotes and observations, the offensiveness of which is offset by their irreproachable twinkly- eyed innocence. Indeed, this subtype more than any is capable of retaining youthfulness, in both appearance and outlook, into advanced age.  This mixture of naughtiness with ingenuousness is in many ways embodied by that archetypal child-woman Marilyn Monroe, whose well- known problems with drugs, relationships and the maintenance a demanding acting career have become the stuff of popular myth, and act as a cautionary tale of the pitfalls of fame, and the sleaze that so often seethes behind glamour. Her iconic persona, of a somewhat ditzy, doe- eyed nymph, one who seemed, without incongruity, to combine sexuality and innocence, still invites great devotion, pity and affection. Indeed, this unique mixture of the worldly and the innocent distinguishes this type, as the sunny optimism of the Seven compliments the trustful openness of the healthy Six, though the former's love of unfettered fun can be problematic when combined with the latter's anxiety. There is oftentimes something Icarus- like about this type; heady, unguarded and impulsive,  with a reluctance to acknowledge, let alone apply, the breaks leading to issues concerning self- control and appetites. Whilst members of the other subtypes (or, indeed, any type), might be prone to over indulgence, addiction and burnout, Sevens with a 6 wing tend to be less defended, robust or capable of self- renewal. Robbie Williams has, in recent years, become something of a pop Pagliacci, and his transition from all- singing/all- dancing hyper- performing flea to a troubled, anxious addict- in- recovery, illustrates one of the key difficulties of this subtype. Sevens, of either wing, loathe “heaviness” and avoid pain at all cost, and are therefore in grave danger of “denial”, especially those of the less hardy and more anxiety- prone 6 wing subtype. When troubled, they will often adopt a compensatory self-satisfied persona that can be irritating in its transparent fallacy, their smug claim that “all’s well” and rather desperate cheeriness ringing hollow and fooling few, especially themselves. Unlike the hardy Seven with an 8 wing, who can blast through problems and inure themselves against pain, members of this more vulnerable subtype need to nurture themselves, acknowledge problems where and when they occur, and embrace their innocence, openness and lovable tenderness.


The 7 with an 8 wing; The Connoisseur

This subtype combines the forcefulness of the Eight with the verve and optimism of the freewheeling Seven, leading to earthy, energized individuals, endowed with both acquisitive urges and the practical abilities to satisfy them. As comediennes, they combine thick- skinned iconoclasm with an endearingly childish glee, and often use mischief and crudity as a means of conveying the tragic, fallible but hilariously human, humour being perhaps one of the most pleasurable ways of getting to know, and getting to grips with, ourselves. This rather worldly subtype is capable of galvanizing the Eight's strength in gaining material success whilst retaining an energy and enthusiasm unsullied by the often corrosive effects of experience. P-Funk pioneer and bandleader George Clinton has, over several decades and shifting line- ups, acted as a mad hatter master of ceremonies, imparting philosophical, spiritual and political ideas though infectious, joyful, and often deceptively thoughtful music- concepts (“Free your mind and your ass will follow; The Kingdom of heaven is within”). Despite Clinton’s playful personae (Dr. Funkenstein etc..), he has proved a resilient, formidable figure, capable of retaining freshness and vivacity, endowed with the practical ability to successfully manifest his ideas. This is a common and enviable trait of the Seven with an 8 wing; Moving and shaking, getting on and getting ahead, emerging unscarred by the vicissitudes and “wear and tear” of the “real world”. The downside of this apparent indestructibility is that, when unhealthy, they can be utterly amoral in their pursuit of satisfaction, the lower Eights’ unscrupulousness compounding the Sevens’ greed. There is also grave danger of intemperate overindulgence's (both Eight and Seven recognizing no limit), often with fatal consequences (Kieth Moon, John Bonham, John Belushi).  However, when their appetites are channelled constructively, they exhibit a remarkable creative energy and breadth of vision, the Eight’s practicality complementing the boundless enthusiasm of the Seven.
For example, few filmmakers can match Steven Spielberg’s ability to merge a “child’s- eye” innocence (or, perhaps, cloying sentimentality) with consummate “grown up” professionalism and technique. Similarly, Mozart, though by no means the silly character notably portrayed in Peter Schaffer’s “Amadeus”, was undoubtedly a playful, irreverent fellow with a Seven's roguishness and taste for vulgar,  often scatological, humour. This provided no hindrance to his writing profound and deeply moving music, and it is perhaps this alliance of the sacred and the profane that make him one of the most touchingly human artists, one in whose work we see a mirror of our earthly as well as spiritual selves.

Advice

Recognise and cultivate your innate abilities, and acknowledge your vulnerability. Remember that endless fun isn’t much fun at all.

Some notable Sevens

Steven Spielberg, Wolfang Amadeus Mozart, Bette Midler, Kieth Moon, Robin Williams, Franz Schubert, Ruby Wax, George Clinton, John Bonham, Billy Connolly, Chaka Khan, Kieth Richard, Joan Rivers, Jools Holland, Richard Branson, Tina Turner, Bill Bryson, Al Green, Ozzy Osborne, Robbie Williams, Marilyn Monroe, Tony Curtis, John Belushi


Type 8; The Powerhouse (drive and domination)

The Eight’s key motivation is to dominate, to seize and retain control, and to imprint their will and desire upon their environment. Eights have impressive drive, strength and personal power, a natural predisposition to leadership, and the will to extend their dominion, as well as to protect themselves and those under their care. There is something quite awesome about the Eights sheer potency of purpose, their absolute certainty and fearlessness. Eights recognize that the squeaky wheel gets the oil, and are adept at having their demands met and needs fulfilled. They emanate authority, but are self- confident enough to seek advice and guidance where and when needed. Like type Ones, Eights are natural leaders, though, unlike that type, are prepared to make mistakes, acknowledging and setting right wrongs, in order to attain their objective. When positive, Eights are the most heroic of types, tirelessly fighting for justice, unconcerned by daunting odds, proud and noble and courageously prepared to put themselves at considerable risks in the interest of those who can’t fight for themselves. Eights often have strong protective instincts and can draw people around them like a magnet does iron filings. Theirs is a strength and solidity you can rely upon, an unflinching bravery you can believe in. As such, Eights make superb campaigners and politicians, not to mention formidable foes. Eights seldom shrink from a fight. Indeed, they often embody the warrior spirit of being most intensely alive when in critical danger. As a rule Eights are not to be crossed, as their fearlessness is combined with an often brutal pragmatism; to make an omelette one must break eggs, and Eights can have little compunction about trampling over others to attain their goals. When average, Eights can be insensitive to the feelings of others, boldly chasing their objective, regardless of the effect it may have on those who rely upon them.  
Rather like type Sevens, Eights often have considerable appetites crossed with a low boredom threshold, often making relationships a difficult area. Eights seem to thrive on a certain amount of friction, spoiling for a fight and respecting only those with the guts to stand up to them. This they admire for, when unhealthy, Eights are contemptuous of any perceived weakness and vulnerability. At this stage they become the most cruel, despotic tyrants, acting without conscience or empathy, demanding total subordination, yet treating supplicants with unmitigated scorn and pitiless brutality, unable to respond positively to anything other than a comparative savagery. However, such force can only be retained for so long, waning as it does in the face of old age and greater might, thus unhealthy Eights are, for all their resolve, toughness and combativeness, fighting what is essentially a losing battle. Thereafter they are often broken, bitter and impotent husks, shadows of their former selves, unfulfilled, alone and unloved.


Subtypes

The 8 with a 7 wing; The Supernova

This subtype is extremely rare, and combines the passion and drive of the Eight with the restlessness and often insatiable appetites of the Seven. Charismatic, impressive and forceful individuals, Eights with a Seven wing burn brightly but often, alas, briefly, as both Seven and Eight tend towards reckless impulsiveness and a disregard for limitation of any kind, both in themselves and others. This type is unforgettable, trailblazing and capable of creating immense change; the world is seldom the same after this mercurial type is through with it. It is, for example, nigh on impossible to imagine the world of entertainment had not Elvis Presley existed. The cult of “The King”, with its attendant slew of look-alike's shows, some three and a half decades after his demise, no sign of abatement. Through Presley, African- American Rhythm and Blues was given a form that captured the imagination of a generation and well beyond; that this is such a controversial area, concerning the appropriation and remarketing of a disenfranchised people’s musical culture and one that raises profound and prickly questions about racism and authenticity, tallies with the ferocity of this subtype’s impact and power. Elvis Presley’s ascent brought with it painful reckonings, with suppressed shadowy contradictions and injustices blown into the light of day, not to mention giving birth to the cult of the teenager and, with his televised swinging hips and pelvic thrusts,  blowing the lid off unfettered “in your face” sexuality. Quite simply, popular culture as we know it could not have existed had it not been for Presley, and the potent mythology he represented.
There is another, quite different and tragic Elvis mythology; that of the drugged and bloated Las Vegas entertainer, a sweating, rhinestone- clad mockery of his former physical beauty and combustible youthfulness. In submitting to the machinations of his manager, he was led away from the music he loved in into mediocre movies and an altogether tame role of the palatable all- round entertainer, the former stallion resembling a gelding. Presley, at this stage, exhibited the expediency, ungroundedness and greed that one associates with the lower Seven, and lacking the fortitude and authority one finds with Eights with a Nine wing, lapsed into the manic consumption, indiscipline and self- destructiveness that often blights members of this subtype. Though he made some marvellous records in his later years, his rich balladeers’ baritone infused with soulful pathos, his was undoubtedly a sad end, surrounded by yes- men, a TV- shooting caricature of excess and wasted potential.


The 8 with a 9 wing; The Boss

This subtype is the more common, and the influence of the Nine tends to lend a stability and perseverance lacking in the other subtype. 8’s with a 9 wing are, when healthy, perhaps the most courageous and monumentally impressive of all types, pillars of strength, fortitude and Leonine spirit. Martin Luther King Jnr provides a fine example of these qualities; resolute, brave and uncompromising, maintaining a consistent, non- violent (sturdily non- reactive) stance in the face of seemingly insurmountable odds, inspiring, unstoppable and raising the moral bar to the realms of stellar heroism.
The Nine acts as a stabilizer to the comet- like tendencies of the Eight, providing patience and the will to achieve on the grandest of scales. The composer Richard Wagner devoted some 26 years to the construction of his mammoth Ring Cycle, radicalising Western music in the process, and getting a sonically and dramatically revolutionary concert hall (Bayreuth) built especially for the staging of his music dramas, exhibiting this type's resolve and seeming ability to bend the world in accordance to their will. Pablo Picasso similarly revolutionized the world of visual art with the brutal “primitivism” of  “Les Demoiselles d'Avignon” and the inventive complexity of Cubism, always restlessly moving on with dazzling dynamism, energy and passion.
However, the Nine wing can lend this type a detachment that allows the soaring drive of the Eight to descend into rampant egoism, delusion and, in extreme cases, the tyrannical horrors of the regimes of Stalin or Idi Amin. As this type is naturally combative, they respond well to a challenge (there are few things more contemptible to them than a lack of courage), which animates the conciliatory characteristics of the Nine and invites examination and self- restraint. Sadly, few individuals seem able or willing to face down these formidable powerhouses, leading to tragic  results, both for those under their jurisdiction and for members of this subtype themselves. Wagner, a musical giant, vain and resplendent in only the finest silks, became increasingly acquisitive, closer to greedy Alberich than noble Siegfried, his awesome Artistic achievements in stark contrast to the ruthlessness with which he used and abused friends and supporters. Similarly, Picasso seemed to buy into his own mythology (the Artist as Minotaur, mauling all in his path) wholesale, despite, or perhaps because of, waning youth, potency and vitality. Thus the creator of "Guernica" was reduced to venting spleen in schoolboy- like vulgar cartoons of urinating women. Wagner and Picasso in life (if not entirely in art), provide fitting examples of the pitfalls of this particular type; delusions of omnipotence, brutish bullying and a lamentable lack of grace and humanity.

Advice

Your capacity for compassion, resilience and self- sacrifice are godlike assets, for which you should be proud. Your ability to dominate your desire to dominate is testament to your greatness.

Some notable Eights

Martin Luther King Jnr, Richard Wagner, Elvis Presley, Frank Sinatra, Winston Churchill, Madonna, Francis Ford Coppola, Bette Davis, Joan Crawford, Joseph Stalin, James Brown, Pablo Picasso, Barbra Streisand, Oprah Winfrey, Roger Waters, Dr. Phil, Whoopi Goldberg, “Captain Janeway”, Judge Judy, Idi Amin, Richard Burton, Henry Ford


Type 9; The Peacemaker (the wishful thinker)

The Nine’s key motivation is to be at peace, to create a calm, untroubled environment without disruption or unwelcome change. Nines are perhaps the most gentle type, often with a somewhat vague, dreamy air about them, with a tendency to exercise a serene, becalming effect upon their milieu. As such, they, like type Twos, are exceptionally suited to care work, especially for the elderly or mentally distressed, where their patience, consideration and peaceable demeanour provide reassurance, comfort and stability. Rather like types Four and Five, Nines have a rich inner world, and are apt to daydream and make indistinct plans that may or may not be realized. Unlike Fours (who yearn for the actualisation of fantasies), Or Fives (whose systematic thoughts aim towards logical conclusions), Nines are just as happy to let their imaginations wander, being unbothered by passing time, or life following a set direction. If type Fours’ inner music is a melancholy tone poem, and the Fives’ a strict five part Fugue, then the Nines may be comparable to a free- flowing Rhapsody coloured with contrasting moods and resplendent with an air of spontaneous inspiration. Nines often make great artists when their dream- like wanderings are tempered by the rigour of discipline, consistency and application. Nines are strongly drawn to fairy tales, the simple, straightforward morality of childhood stories and make believe, where good triumphs over evil, and all ends happily ever after. Often accused of being unrealistic, or in denial, Nines quite simply want to maintain tranquility, and sustain constant, unchanging relationships. More than any other type, Nines tend to dislike adjustment, preferring the familiar, often reluctant to stray too far from the nest, or expand their social circle. Whilst the latter is admirable in that it highlights the Nines loyalty, their usually being reliable chums (unlikely to discard friends through boredom or over- familiarity), it also illustrates the Nines discomfort with moving on. Nines often entertain a not entirely accurate relationship with the past, friends and family; childhood is commonly idealized, troubling traumatic experiences glossed over or airbrushed out entirely, all to maintain the Nines peace of mind. Most Nines have a tendency to sweep things under the carpet, go into denial and stubbornly uphold their worldview, regardless of the evidence staring them in the face. At this stage Nines can exhibit hostility and even two- faced bitchiness. Nines, in fact, can be extremely antagonistic, though it usually manifests itself in backbiting, passive- aggression and subtle, indirect put- downs (the type that can easily be denied). Though they themselves elect indolence, Nines can be remarkably resentful and undermining of companions moving forward, levelling accusations of abandonment. This is often unfair as it is the Nines decision to stay put, rather than join in and set off. Unhealthy Nines are almost impossible to “get through to”, adopting an ostrich position, indulging in unwarranted notions of victimhood, refusing to communicate only other than to blame anyone  who has allowed reality to shatter their bubble.

Subtypes

The 9 With An 8 Wing; The Diplomat

The majority of Nines fall under this subtype, with the 8 wing providing a solidity that helps keep these otherwise dreamy individuals firmly grounded. Members of this type combine the gentle, easy going nature of the Nine with the Eight’s constancy, strength and a firm perseverance that can occasionally manifest as mulish stubbornness, but, when healthy, appears as a stabilizing and supportive tranquillity and a reliable regularity of habit and temperament. Members of this subtype emanate waves of tranquility and are, despite their reticence, usually very popular and much loved.
Diffident diplomats, this subtype is adept at diffusing tensions, bringing levity with light humour and often, by their gentle equanimity, shaming combative elements into the seeking of workable and peaceful agreement. The latter consideration may put one in mind of Ringo Starr navigating his way through the neurosis, power struggles and conflicts of his fellow Beatles, maintaining an engaging, jovial and, by all counts, genuine niceness, as well as a “down to earth” quality that is both rare and refreshing in one of his vaunted stature. The Eight also lends this type a fortitude that enables them to "stay the course" where others waver and an enviable ability to "tune out" unpleasantness and hindrances, slowly but steadily getting on with what needs doing with both grace and uncomplaining goodwill.
Members of this subtype are usually sociable and make splendid team players, but seldom take the lead, preferring to remain in the background. Both Nine subtypes tend to fear exposure, or at least, are reluctant to forcibly impose their vision upon the world, and this is especially true of those with an 8 wing, who often lack the single- minded, self- directed motivation required to attain goals, sometimes even subtly sabotage themselves and others by their lassitude and reluctance to follow through, take risks and put themselves “out there”. It is often extremely difficult to cut through the fug of denial that envelops them, and one may feel as if one’s talking to a wall. At this point the buried but nonetheless real aggression of the Eight presents itself as subterfuge, undermining and subtle bullying, the combativeness and hostility of the lower Eight married to the deceptiveness and resentment of the lower Nine. Such behaviour is in stark contrast to the apparent peaceful, kindliness of the Nine, but the illusion of unimpeachable equanimity is nonetheless stubbornly maintained, accompanied by a stolid refusal to acknowledge and rectify such destructive behaviour, instead resorting to blaming others, scapegoating, and a stupor of self- pity.

The 9 With A 1 Wing; The Dreamer

Less numerous than those with an 8 wing, this subtype exhibits some of the classic type One traits of personal reserve and emotional remoteness which, when combined with the diffidence of the Nine, makes for somewhat repressed and nervously delicate individuals. However, the Nines identification with unsullied innocence is complemented by the principled integrity of the One, the latter lending practical faculties and a desire to articulate and share ideals that, when combined with the formers’ richly creative inner world, endows this subtype with excellent expressive skills and an ability to comprehensibly structure their nebulous, metamorphic imaginings. Thus this subtype is, when healthy, amongst the most brilliant of artists, often specializing in enchanting tales capable of transporting it’s audience to fantasy worlds (Lewis Carroll), paintings that meld the idealized half- remembered with the imagined (Marc Chagall), or music rich in reverie and a lulling serenity (David Gilmour).
Members of this subtype are often misidentified as Fours (especially those with a Five wing) in that their imaginative, inner world informs so much of their reality; indeed, like Fours and markedly unlike Nines with and Eight wing, these types tend not to identify, and often feel somewhat estranged from, their familial and peer groups, appearing withdrawn, sensitive and socially uncomfortable, preferring to retreat into their inner world. When creative and disciplined, this can be fruitful and conducive to the well being of this type, providing both an outlet for their imaginings and a means of connecting with others. Likewise, positive collaborative endeavours (especially with a more motivated, aggressive type) can afford a fruitful interaction that can engage them without impeding upon their all- important peace of mind.
Both Nine subtypes are wont to getting stuck in ruts, reluctant to embrace change or adapt to the unfamiliar. However, whereas those with an 8 wing strive to maintain long- held relationships and situations, Nines with a 1 wing often languish in nostalgia, hankering after a bygone and idealized past, rejecting and disturbed by the imposition of an unwelcome present. The grave danger here is that, unlike the other subtype, the Nine with a 1 wing’s sought- after state isn’t necessarily consolidated by an external corporeality (such as friends and family), which leaves them prone, in the event of disillusionment, to profound alienation and depression. The reserve of the One becomes inhibition and reproach, the Nines’ passivity turning to paralysis and helplessness, leaving them feeling marooned and lost, with the merest and most tentative grip on reality.  

Advice

Your peace and serenity are wonderful assets to humanity, so share them by developing your gifts. Let them grow and let them go, and remember that you don’t have to try to maintain continuity as change itself is continuous.

Some notable Nines

Marc Chagall, Lewis Carrol, David Gilmour, Carl Jung, Ringo Starr, Janet Jackson, Anton Bruckner, Peter Green, Steve Buscemi, Frank Bruno, Stan Laurel, James Stewart, Neil Tennant, Richard Wright, David Beckham, Sean Connery, Perry Como, "Boxer"