111. PI.Is.III111.rsflllll M. Phenomenon
Keirsey and Bates's Please Understand Me, first published in 1978, sold nearly 2 million copies in its first 20 years, becoming a perennial best seller ~ll ov~r ~he world. Advertised only by word of mouth, the book became a favo~te tralmng and counseling guide in many institutions-government, church, buslnes.s-and colleges across the nation adopted it as an auxiliary text in a dozen dIfferent departments. Why? Perhaps it was the user-friendly way that Please Understand Me helped people find their personality style. Perhaps it was the simple accuracy of Keirsey's portraits of temperament and character types. Or perhaps it was the book's essential messag~: that members of families and institutions are OK, even though they are fundamentally different from each other, and that they would all do well to appreciate their differences and give up trying to change others into copies of themselves.

Now: P"IS' IllIIrstalllll H
For the past twenty years Professor Keirsey has continued to investigate personality differences-to refine his theory of the four temperaments and to define the facets of character that distinguish one from another. His findings form the basis of Please Understand Me II, an updated and greatly expanded edition of the book, far more comprehensive and coherent than the original, and yet with much of the same easy accessibility. One major addition is Keirsey's view of how the temperaments differ in the intelligent roles they are most likely to develop. Each of us, he says, has four kinds of intelligence-tactical, logistical, diplomatic, strategic-though one of the four interests us far more than the others, and thus gets far more practice than the rest. Like four suits in a hand of cards, we each have a long suit and a short suit in what interests us and what we do well, and fortunate indeed are those whose work matches their skills. As in the original book, Please Understand Me II begins with The Keirsey Temperament Soner, the best selling personality inventory in the world, and the most popular on the Internet. But also included is The Keirsey FourTypes Soner, a new short questionnaire that identifies one's basic temperament and then ranks one's second, third, and fourth choices. Share this new sorter with friends and family, and get set for a lively and fascinating discussion of personal styles. -Dr. Stephen Montgomery, editor

ISBN 1-885705-02-6
~

"

A

51595

Prometheus Nemesis Books Box 2748, Del Mar, CA 92014
9 781885 705020

\

Please Understand

Me

II
Temperament Character Intelligence

David Keirsey

.---

'-JIIIII

A

© Prometheus Nemesis Book Company 1998

All rights reserved under the International and Pan-American Copyright Conventions. No part of this book may be reproduced in any form or by any means, electronic or mechanical, including photocopying, without permission in writing from the publisher. All enquiries should be addressed to the publisher. Published in the United States by Prometheus Nemesis Book Company, Post Office Box 2748, Del Mar, CA 92014. Printed in the United States of America First Edition ISBN 1-885705-02-6

\
Foreword
"The point of this book," writes myoId friend David Keirsey, "is that people differ from each other, and that no amount of getting after them is going to change them." The point is also, David might have added, that the important differences between us are our natural birthright, arising in just a few distinctive patterns. Recognizing these patterns can vastly enrich our sense of who we are, of who others are, and of how much we can learn from one another about the problems of life. No person that 1 know of has studied temperament in action more persistently and more brilliantly than Keirsey, and no one is in a better position to speak to us about it. Keirsey has been "people watching" for almost fifty years, and his interest in temperament as an organizing principle stretches back almost as far. If Please Understand Me was a valuable report on his progress to that time (1978), Please Understand Me II serves to present a report on what he has worked out in the interim twenty years, and also the valuable addition of his ideas about the relationship of temperament to intelligence. 1 have known David for almost thirty years now. During those years 1 have had the pleasure of teaching and writing and learning with him, and the even greater pleasure of arguing with him. Our time together has been filled with logical discourse and theoretical speculation, and, at the same time, good, old-fashioned hair-splitting debate (including the use of devious debate tactics and other trickery to see if we could catch the other napping). We are both Rationals, and as you read this book you will understand why we Rationals treasure collecting various skills, exercising ourselves with logical investigation, but also finding delight in argumentation, logical trickery, and (I confess) terrible joke~as long as they are clever plays on words. You will also see, by the way, why non-Rationals will-each temperament for its own reason~find what is so rewarding for us Rationals to be intolerable! What 1 find remarkable about Keirsey's empirical investigations is which of the many problems in psychology he has chosen to investigate-intelligence, madness, personality-each a very complex problem, and each with a checkered history. And 1 find his treatment of each unique. His theory of intelligence is like no other, nor is his theory of madness, nor is his theory of personality. Each is unique, true, but far more important, each is useful to practitioners, something that cannot be said, at any rate with much conviction, of any other extant theory of intelligence, or madness, or personality. From David's study of temperament 1 have learned that the great personal differences between me and those around me were not an indication that there was something wrong with me-or with them. 1 have learned that the apparent deficiencies in a person's characteristic ways of dealing with the world are offset by natural strengths in different areas. We don't require

r

that a great painter be a wise teacher, nor that a trusted accountant be a brilliant physicist. We all, according to our temperament, have our areas of distinction and our areas of struggle. Both deserve to be respected for what they are. So it is with temperament: different temperaments naturally show us different patterns of intelligent behavior. Perhaps most important, I have learned that we must not judge either ourselves or others harshly when our (or their) values, preferences, and style of experiencing and dealing with the world are different. There is room for us all, and a need for us all. I am grateful that David has decided to offer us Please Understand Me II, and I feel certain that its readers will be fascinated and pleased with it. Ray Choiniere

Acknowledgments
Stephen Montgomery, himself an author of note, served as my editor not only for the first edition of Please Understand Me, twenty years ago, but for its recent revision. Without his help over the years I would never have finished the revision, given my penchant for continuously revising my revisions. He was even more than helpful, going as he did far beyond editing, by doing much of the composition. And even more than that, he did a tremendous amount of research over the years and in the remotest places. For instance, it was he who detected what Plato and Aristotle had to say about the different roles the four temperaments of Hippocrates played in the social order. And of course his years of research that went into his four volume set, The Pygmalion Project, are embedded throughout Please Understand Me II. Then there was my family, my son and daughters and their spouses, and of course my wife. They were always there to veto my more wayward speculations and to catch me in my many errors of omission and commission. And my former colleagues and students in the counseling department at California State University Fullerton have been of great help in reviewing the many drafts of the revision and in suggesting things that ought to be inserted or deleted. I wish especially to thank and to commend my colleague, psychologist Ray Choiniere, for his monumental study of the temperament of our forty American Presidents. In return for helping me complete my book on madness and temperament, I helped him complete his book, Presidential Temperament. The findings of our collaborative study of the Presidents are included in the new version of Please Understand Me. And that is not all. Besides his years of research on our many Presidents, his years of work on madness and temperament, Choiniere has been a constant companion for me, assisting me in many ways in conceptualizing Please Understand Me II. David Keirsey

\
Contents
Chapter 1 DitTerent Drummers
Temperament Theory: Lost and Found The Keirsey Temperament Sorter II The 16 Combinations What the Myers-Briggs Letters Mean The Contribution of Isabel Myers Looking Back The Debt to Isabel Myers How to Proceed

2
4
11 12
13

1

14

15
16

Chapter 2 Temperament and Character
Myers's Four Groups Temperament, Character, Personality Historical Overview The Basic Dimensions of Personality Psychological Functions vs Intelligent Roles

17
18 20

22 26 29

Chapter 3 Artisans
Plato's Artisans The Concrete Utilitarians The Tactical Intellect The Interests of Artisans The Orientation of Artisans The Self-Image of Artisans The Values of Artisans The Social Roles Artisans Play Matrix of Artisan Traits Artisan Role Variants .. IOThe Promoter [ESTP] .... 0 The Crafter [ISTP] .f. .me Performer [ESFP] 4-9 The Composer [ISFP]

32
33 35
38 43 46 50 54 60

62
63 63 66

69
71

Chapter 4 Guardians
Plato's Guardians The Concrete Cooperators The Logistical Intellect The Interests of Guardians The Orientation of Guardians The Self-image of Guardians The Values of Guardians The Social Roles Guardians Play

75
76 78

82
86

89 92 96 101

Matrix of Guardian Traits Guardian Role Variants ... f () The Supervisor [ESTJ] 0 The Inspector [ISTJ] ... 'OThe Provider [ESFJ] ... ,oThe Protector [ISFJ]

+'

102 104 104 107 110 112

Chapter 5 Idealists
Plato's Idealists The Abstract Cooperators The Diplomatic Intellect The Interests of Idealists The Orientation of Idealists The Self-Image of Idealists The Values of Idealists The Social Roles Idealists Play Matrix of Idealist Traits Idealist Role Variants ~ The Teacher [ENFJ] ... ~ The Counselor [INFJ] '3 The Champion [ENFP] j. The Healer [INFP]

116

118 120 123 129 132 136 140 145 147 149 149 152 155 157 163 165 169 176
178

Chapter 6 Rationals
Plato's Rationals The Abstract Utilitarians The Strategic Intellect The Interests of Rationals The Orientation of Rationals The Self-Image of Rationals The Values of Rationals The Social Roles Rationals Play Matrix of Rational Traits Rational Role Variants ~ The Fieldmarshal [ENTJ] ...1.The Mastermind [INTJ] ~ The Inventor [ENTP] 1.The Architect [INTP]

161

183
187

192 194 196 196 199 201 204

Chapter 7 Mating
Attraction Getting Along Together The Pygmalion Project The Artisan Playmate The Guardian Helpmate The Idealist Soulmate The Rational Mindmate

208
208 211 212 214 221 229 240

\
Chapter 8 Parenting
Maturation Basic Differences The Artisan Child The Guardian Child The Idealist Child The Rational Child Parent and Child The Artisan Liberator The Guardian Socializer The Idealist Harmonizer 'The Rational Individuator

Chapter 9 Leading
Temperament and Intelligence Identifying Intelligence Tactical Intelligence The Tactical Leader Logistical Intelligence The Logistical Leader Diplomatic Intelligence The Diplomatic Leader Strategic Intelligence The Strategic Leader

252 253 254 257 261 265 270 275 275 278 280 283 286 287 290 295 298 303 307 312 316 320 325
331 337 343 348

Chapter 1 Notes Chapter 2 Notes Bibliographies The Keirsey FourTypes Sorter

If a man does not keep pace with his companions, perhaps it is because he hears a different drummer. Let him step to the music which he hears, however measured or far away.

-Henry David Thoreau

1

"

(

\

\""

1
Different Drummers
If you do not want what I want, please try not to tell me that my want is wrong. Or if my beliefs are different from yours, at least pause before you set out to correct them. Or if my emotion seems less or more intense than yours, given the same circumstances, try not to ask me to feel other than I do. Or if I act, or fail to act, in the manner of your design for action, please let me be. I do not, for the moment at least, ask you to understand me. That will come only when you are willing to give up trying to change me into a copy of you. If you will allow me any of my own wants, or emotions, or beliefs, or actions, then you open yourself to the possibility that some day these ways of mine might not seem so wrong, and might finally appear as right-for me. To put up with me is the first step to understanding me. Not that you embrace my ways as right for you, but that you are no longer irritated or disappointed with me for my seeming waywardness. And one day, perhaps, in trying to understand me, you might come to prize my differences, and, far from seeking to change me, might preserve and even cherish those differences. I may be your spouse, your parent, your offspring, your friend, your colleague. But whatever our relation, this I know: You and I are fundamentally different and both of us have to march to our own drummer.
As in the original Please Understand Me, the point of this updated and expanded edition is that people are different from each other, and that no amount of getting after them is going to change them. Nor is there any reason to change them, because the differences are probably good. We differ from each other in fundamental ways. We differ in our
1

2

Different Drummers

thoughts, in our feelings, in our wants and beliefs, and in what we say and do. Differences are all around us and are not difficult to see, if we look. Unfortunately, these variations in action and attitude trigger in us an alltoo-human response. Seeing others as different from ourselves, we often conclude that these differences are bad in some way, and that people are acting strangely because something is the matter with them. Thus, we instinctively account for differences in others not as an expression of natural diversity, but in terms of flaw and affliction: others are different because they're sick, or stupid, or bad, or crazy. And our job, at least with those we care about, is to correct these flaws, much as the mythical sculptor Pygmalion labored to shape his perfect woman in stone. Like Pygmalion, we labor to remake our companions in our own image. After all, are we not ourselves, even with our flaws, the best models for how humans should think, feel, speak, and act? Remember the line in My Fair Lady (based on Shaw's play Pygmalion), when Henry Higgins wonders why Eliza Doolittle can't simply "be like me?" But our Pygmalion Project cannot succeed. The task of sculpting others into our own likeness fails before it begins. Ask people to change their character, and you ask the impossible. Just as an acorn cannot grow into a pine tree, or a fox change into an owl, so we cannot trade our character for someone else's. Of course we can be pressured by others, but such pressure only binds and twists us. Remove a lion's fangs and behold a still fierce predator, not a docile pussycat. Insist that your child or your spouse be like you, and at best you'll see his or her struggles to comply-but beware of building resentment. Our attempts to reshape others may produce change, but the change is distortion rather than transformation.

Temperament Theory: Lost and Found
That people are highly formed at birth, with fundamentally different temperaments or predispositions to act in certain ways, is a very old idea. It was first proposed in outline by Hippocrates around 370 B.C., and the Roman physician Galen fleshed it out around 190 A.D. The idea continued in the mainstream of thought in medicine, philosophy, and literature up through the 19th century. On the other hand, the idea that people are born without predispositions and are therefore largely malleable appears to be an early 20th century notion. Ivan Pavlov saw behavior as nothing more than mechanical responses to environmental stimulation. John Watson, the first American behaviorist, claimed he could shape a child into any form he wanted by conditioning it, provided that the child is put in his charge while yet an infa~ '. Many investigators around the turn of the century also believed that people are fundamentally alike in having a single basic motive. Sigmund Freud claimed we are all driven from within by instinctual lust, and that what might seem to be higher motives are merely disguised versions of

.....

,. i \
Temperament Theory: Lost and Found

3

/
(
I
)

I

>

i

I

r

I

r

I

that instinct. Although many of Freud's colleagues and followers took issue with him, most retained the idea of a single motivation. Alfred Adler, another Viennese physician, saw us striving for superiority. Harry Sullivan, an American physician, put forth social solidarity as the basic motive. Finally, existentialist psychologists, men such as Carl Rogers and Abraham Maslow, had us all seeking after self-actualization. In spite of their differences about what it might be, they all agreed that everyone had a single fundamental motive. Then, in 1920, a Swiss physician named Carl Jung disagreed. In his book Psychological Types he wrote that people are different in essential ways. He claimed that people have a multitude of instincts, what he called "archetypes," that drive them from within, and that one instinct is no more important than another. What is important is our natural inclination to either "extraversion" or "introversion," combined with our preference for one of what he called the "four basic psychological functions"-"thinking," "feeling," "sensation," "intuition." Our preference for a given function is characteristic, he wrote, and so we can be identified or typed by this preference. Thus Jung presented what he termed the "function types" or "psychological types." About this time, a number of other investigators revived the long practiced study of personality that philosopher John Stewart Mill had called "ethology," and what psychologist Henry Murray would much later call "personology." But their books, along with Jung's Psychological Types, gathered dust in college libraries, while psychology came to be dominated by Freudian psychodynamics on the one hand, and Pavlovian conditioning on the other. Behavior was explained as due to unconscious motives or to past conditioning, or to both. The idea of inborn differences in human action and attitude was all but abandoned. Breakthroughs in the behavioral sciences often come from outside the field, and Jung's ideas were given new life almost by accident. At mid-century Isabel Myers, a layman, dusted off Jung's Psychological Types and with her mother, Kathryn Briggs, devised a questionnaire for identifying different kinds of personality. She called it "The My.ers-Briggs Type Indicator." Largely inspired by Jung's book, the questionnaire was designed to identify sixteen patterns of action and attitude, and it caught on so well that in the 1990s over a million individuals were taking it each year. Interest in personality typology was restored in both America and Europe. (By the way, the test had been around as a research tool since the early 1950s, and the Japanese became interested in it in 1962, the year of publication of Myers's book, The Myers-Briggs Type Indicator.) Let us suppose that people are not all the same, and that their patterns of attitude and action are just as inborn as their body build. Could it be that different people are intelligent or creative in different ways? That they communicate in different ways? That they have different mating, parenting, and leading styles? That they desire to learn different things at school?

i

4

Different Drummers

That they will, if given the chance, excel at different sorts of work? Could it be that such popular sayings as "to each his own," "different strokes for different folks," and "do your own thing" express something that can be put to good use in everyday life? There is much to be gained by appreciating differences, and much to be lost by ignoring them or condemning them. But the first step toward seeing others as distinct from yourself is to become better acquainted with your own traits of character. Of course, the best way to determine your traits of character is to watch what you actually do from time to time and place to place and in different company. There is no substitute for careful and informed observation. But self examination is quite foreign to most people, and so devices like this questionnaire can be useful in getting you started asking questions about your preferred attitudes and actions.

The Keirsey Temperament Sorter II
Decide on answer a or b and put a check mark in the proper column of the answer sheet on page 10. Scoring directions are provided. There are no right or wrong answers since about half the population agrees with whatever answer you choose. 1 When the phone rings do you _(a) hurry to get to it first 2 Are you more _(a) observant than introspective 3 Is it worse to _(a) have your head in the clouds 4 With people are you usually more _( a) firm than gentle 5 Are you more comfortable in making _(a) critical judgments 6 Is clutter in the workplace something you _(a) take time to straighten up 7 Is it your way to _(a) make up your mind quickly

_(b) hope someone else will answer

_(b) introspective than observant

_(b) be in a rut

_(b) gentle than firm

_(b) value judgments

_(b) tolerate pretty well

_(b) pick and choose at some length

The Keirsey Temperament Sorter II
8 Waiting in line, do you often

5

_(a) chat with others
9 Are you more
,I

_(b) stick to business _(b) ideational than sensible

I

_(a) sensible than ideational
10 Are you more interested in

_(a) what is actual

_(b) what is possible

11 In making up your mind are you more likely to go by

_( a) data
12 In sizing up others do you tend to be

_(b) desires

_(a) objective and impersonal
13 Do you prefer contracts to be

_(b) friendly and personal

_(a) signed, sealed, and delivered
14 Are you more satisfied having

_(b) settled on a handshake

_(a) a finished product
15 At a party, do you

_(b) work in progress

_(a) interact with many, even strangers
16 Do you tend to be more
/
I
.J

_(b) interact with a few friends

_(a) factuaHhan speculative
17 Do you like writers who

_(b) speculative than factual

_(a) say what they mean
18 Which appeals to you more:

_(b) use metaphors and symbolism

_(a) consistency of thought _(a) ~rank and straightforward
20 On the job do you want your activities

_(b) harmonious relationships _(b) warm and considerate

19 If you must disappoint someone are you usually

_(a) scheduled

_(b) unscheduled

6

Different Drummers

21 Do you more often prefer _(a) final, unalterable statements _(b) tentative, preliminary statements 22 Does interacting with strangers _(a) energize you 23 Facts _(a) speak for themselves 24 Do you find visionaries and theorists _(a) somewhat annoying 2S In a heated discussion, do you _(a) stick to your guns 26 Is it better to be _(a) just 27 At work, is it more natural for you to _(a) point out mistakes 28 Are you more comfortable _(a) after a decision 29 Do you tend to _(a) say right out what's on your mind 30 Common sense is _(a) usually reliable

_(b) tax your reserves

_(b) illustrate principles

_(b) rather fascinating

_(b) look for common ground

_(b) merciful

_(b) try to please others

_(b) before a decision

,
_(b) keep your ears open

_(b) frequently questionable

31 Children often do not _(a) make themselves useful enough _(b) exercise their fantasy enough 32 When in charge of others do you tend to be _(a) firm and unbending _(b) forgiving and lenient 33 Are you more often _(a) a cool-headed person

_(b) a warm-hearted person

The Keirsey Temperament Sorter II

7

34 Are you prone to _(a) nailing things down
!
I

_(b) exploring the possibilities

35 In most situations are you more _(a) deliberate than spontaneous 36 Do you think of yourself as _(a) an outgoing person 37 Are you more frequently _(a) a practical sort of person 38 Do you speak more in _(a) particulars than generalities

_(b) spontaneous than deliberate

_(b) a private person

_(b) a fanciful sort of person

_(b) generalities than particulars

39 Which is more of a compliment: _(a) "There's a logical person" _(b) "There's a sentimental person" 40 Which rules you more _(a) your thoughts

_(b) your feelings

41 When finishing a job, do you like to _(a) tie up all the loose ends _(b) move on to something else 42 Do you prefer to work _(a) to deadlines 43 Are you the kind of person who _(a) is rather talkative 44 Are you inclined to take what is said _(a) more literally 45 Do you more often see _(a) what's right in front of you 46 Is it worse to be _(a) a softy

_(b) just whenever

_(b) doesn't miss much

_(b) more figuratively

_(b) what can only be imagined

Co·-

;

_(b) hard-nosed

8

Different Drummers

47 In trying circumstances are you sometimes _(a) too unsympathetic 48 Do you tend to choose _(a) rather carefully 49 Are you inclined to be more _(a) hurried than leisurely 50 At work do you tend to _(a) be sociable with your colleagues 51 Are you more likely to trust _(a) your experiences 52 Are you more inclined to feel _(a) down to earth 53 Do you think of yourself as a _(a) tough-minded person

_(b) too sympathetic

_(b) somewhat impulsively

_(b) leisurely than hurried

_(b) keep more to yourself

_(b) your conceptions

_(b) somewhat removed

_(b) tender-hearted person

54 Do you value in yourself more that you are _(a) reasonable 55 Do you usually want things _(a) settled and decided 56 Would you say you are more _(a) serious and determined 57 Do you consider yourself _(a) a good conversationalist 58 Do you prize in yourself _(a) a strong hold on reality 59 Are you drawn more to _(a) fundamentals

_(b) devoted

_(b) just penciled in

_(b) easy going

_(b) a good listener

_(b) a vivid imagination

_(b) overtones

The Keirsey Temperament Sorter II
60 Which seems the greater fault: _(a) to be too compassionate
;

9

l

_(b) to be too dispassionate

61 Are you swayed more by _(a) convincing evidence 62 Do you feel better about _(a) coming to closure

_(b) a touching appeal

_(b) keeping your options open

63 Is it preferable mostly to _(a) make sure things are arranged _(b) just let things happen naturally 64 Are you inclined to be _(a) easy to approach 65 In stories do you prefer _(a) action and adventure 66 Is it easier for you to _(a) put others to good use 67 Which do you wish more for yourself: _(a) strength of will 68 Do you see yourself as basically _(a) thick-skinned 69 Do you tend to notice _(a) disorderliness 70 Are you more _(a) routinized than whimsical

_(b) somewhat reserved

_(b) fantasy and heroism

_(b) identify with others

_(b) strength of emotion

_(b) thin-skinned
_(b) opportunities for change

_(b) whimsical than routinized

10 Different Drummers Answer Sheet Enter a check for each answer in the column for a or b. r-- r-r-- r--

a b
1 8 15 22 29 36 43 50 57 64
1

a b
2 9 16 23 30 37 44 51 58 65
2 3

-b a

r--r--

r--r--

r--r--

r--r--

a b
4
11

a b
5 12 19 26 33 40 47 54 61 68
6 5

a b
6
13

a b
7 14 21 28 35 42 49 56 63 70

3 10 17 24 31 38 45 52 59 66

18 25 32 39 46 53 60 67
I-

20 27 34 41 48 55 62 69

4 5 L.4 31010L-- 10-

..

.. 10- 10l..- I--

8 6 7 L.- I - 8 7 10- I '"- I -

. ..

~~

~Ir

~~

~Ir

Directions for Scoring 1. Add down so that the total number of a answers is written in the box at the bottom of each column (see next page for illustration). Do the same for the b answers you have checked. Each of the 14 boxes should have a number in it. 2. Transfer the number in box No.1 of the answer grid to box No.1 below the answer grid. Do this for box No.2 as well. Note, however, that you have two numbers for boxes 3 through 8. Bring down the first number for each box beneath the second, as indicated by the arrows. Now add all the pairs of numbers and enter the total in the boxes below the answer grid, so each box has only one number.

f

"

The 16 Combinations

11

.
I

~

3. Now you have four pairs of numbers. Circle the letter below the larger numbers of each pair (see sample answer sheet below for an illustration). If the two numbers of any pair are equal, then circle neither, but put a large X below them and circle it.

:J.. i

,)

.--a b
1 8 15 22 29 36 43 50 57

~-

a b
2 9 3 10

a b
4
11

...--a b
5 12 19

-~

~...--

a b
6
13

a b
7 14

...---

a b

,

" I

-' ,
,-

,

I

~,

J

j

64
1

" " "" " "" " ",. " J
~

16

23

30 37

44

51 58 65

2 3

" " " " " " " " " " " "" " " " ", "" " .. -17
24

18

25

31

32 39

38

45

46 53 60

52 59 66
_

'67

'I

4

3

~

Bl

4 5

p

I....-

1 I

-~

"

,.

" " "" "" " "" " " "" " " " " " "" " " " " "" " "" " " " " " "" "" " .. " 20 21 26 27 28 33 34 41 35
40

42 49

47

48

54 61

55

56 63

62

68

69

70
..
p

4

(, 6 5 p I ,
,~

~

'-- I--

¥6

I--

6 7

7 38

7

1....--

7 ~ -r--

7r- 8 3

515"~1'
T E

"

The 16 Combinations
" r

You have now identified your type. It should be one of the following: Four SPs [Artisans] ESTP [Promoter, pg. 63] ISTP [Crafter, pg. 66] ESFP [Performer, pg. 69] ISFP [Composer, pg. 71] Four SJs [Guardians]: ESTJ [Supervisor, pg. 104] ISTJ [Inspector, pg. 107] ESFJ [Provider, pg. 110] ISFJ [Protector, pg. 112]

I

I

12 Different Drummers Four NFs [Idealists]: ENFJ [Teacher, pg. 149] INFJ [Counselor, pg. 152] ENFP [Champion, pg. 155] INFP [Healer, pg. 157] Four NTs [Rationals]: ENTJ [Fieldmarshal, pg. 196] INTJ [Mastermind, pg. 199] ENTP [Inventor, pg. 201] INTP [Architect, pg. 204]
(

,
!

If you have an X in your type label you should read the two portraits indicated, and choose the one more like you. For example, if your type label was ESXJ, then reading both ESTJ and ESFJ portraits may help you choose one or the other as more like you. Or perhaps your type label was XNFP. Here again reading both INFP and ENFP portraits may help you decide which type seems more like you. You will find individual portraits on the page number indicated in the list above, and extra scoring forms on pages 346 and 347. However, if an X appears in the S-N scale (or even if the two scores are nearly equal) it is advisable to disregard the Temperament Sorter and turn to the Keirsey FourTypes Sorter on page 348. By completing this questionnaire you may be able to identify your basic temperament type-NF, NT, SP, SJ-and you can then scan the four variants of whichever type is indicated. By the way, having family or friends take the FourTypes Sorter can be a fascinating and enjoyable way to promote discussion on the topic of personality differences.

I

What the Myers-Briggs Letters Mean
Instead of naming her sixteen types of personality with descriptive words, Myers elected to label them with a combination of letters, chosen from four pairs of alternatives, E or I, S or N, Tor F, J or P, as indicated above. The letters represent the following words: E S T J = = = = Extraverted Sensory Thinking Judging or or or or I N F P = Introverted = Intuitive =Feeling = Perceiving

'"

Myers found these words in Jung'sPsychological Types, but in adopting them she put her own spin on them. So let us consider what Myers actually meant in using Jung's words in The Myers-Briggs Type Indicator. E S T J = Expressive = Observant = Tough-minded = Scheduling or or or or I =Reserved N = Introspective F =Friendly P =Probing

Thus, if we look closely at her type descriptions, we discover that by

The Contribution of Isabel Myers

13

I

/

j

"extraverted" Myers meant having an "expressive" and outgoing social attitude; by "introverted" she meant having a "reserved" and seclusive social attitude.' By "sensory" Myers meant being highly "observant" of things in the immediate environment; by "intuitive" she meant being "introsrective," or highly imaginative of things seen only with the mind's eye. By "thinking" she meant being "tough-minded" or objective and impersonal with others; by "feeling" she meant being "friendly," or sympathetic and personal with others? By "judging" she meant given to making and keeping "schedules"; while, in the case of "perceiving" Myers apparently failed to notice that her mentor Jung had said that sensation and perception are identical, so she went her own way and opposed "perceiving" to "judging.'>4 However, little harm was done because when Myers said "perceiving" she actually meant looking around for alternatives, opportunities, and options, hence "probing" or exploring. Myers regarded the eight letters and the traits they represent as the parts or elements of personality, independent of one another. In her view ESTJs, for example, are eager to express their views to others (E), are sensibly observant of their environs (S), are tough-minded (T), and are judicious in scheduling activities (J). In contrast are the INFPs, who maintain a quiet reserve (I), are introspective (N), are friendly (F), and are given to probing for options (P). Or take another pair, the ISFPs and ENTJs. Myers saw ISFPs as reluctant to exhibit themselves socially (I), as sensually observant (S), as friendly (F) and as opportunistic (P). On the other hand, the ENTJs are socially outgoing (E), are introspective (N), are tough-minded (T), and are given to making scheduling judgments (J). So here is a rather simple and literal way to spell out some easily observed differences between people. It is probably the apparent simplicity of this scheme that has 'caught the attention of millions of people around the world. Myers presented all of her types as effective people. But we are effective in different ways, and are at our best when contributing what she called our special "gifts differing." For example, in some situations, such as those requiring the marshalling of forces, the ENTJ will be more effective than his or her opposite, the ISFP. But in different circumstances, such as when artistic composition is called for, the ISFP is in a much better position to succeed than the ENTJ. And this reversibility is thought to hold for all eight pairs of opposites. It is the social context that determines which kind of personality will be more effective.

The Contribution of Isabel Myers
. D~ri~g the l.ast thirty ye~rs of her life, Isabel.~yers handled the problem of mdividual differences WIth a freshness of VISIOn not unlike that of the child (in the Hans Christian Anderson tale) who innocently exclaimed "heemperor has no clothes on!" One reason Myers could do this was that ' t she was not weighted down by the long history of bickering among anthro-

14 Different Drummers pologists, biologists, psychologists, and sociologists on the question of human nature. What we do, she proposed, comes from what we have in mind. And what we have in mind is a matter of character, for different characters usually have different things in mind. No need to worry, she implied, about the knotty problems of logic, of epistemology, of linguistics, or, for that matter, about the problems facing anthropologists, biologists, psychologists, and sociologists. Mter all, human differences confront us at every turn and are clear and present to the layman. Therefore it is the layman who must deal with those differences, here and now, and in as straightforward a manner as possible. That is just what Myers did. Her solution was to figure out what different kinds of people have in mind. Well now, is this too simple a way to approach the very difficult problem of identifying individual differences in personality? Of course it is. But only if the purpose is to define and explain the problem of individual differences to the satisfaction of behavioral scientists. But maybe it isn't too simple if the very practical purpose is that of devising a tool for identifying different kinds of personality. Myers confined her efforts to that very practical purpose, so her definitions and explanations are very few and these few are very brief. And let it be noted that all previous attempts by behavioral scientists to devise useful tests of personality had failed. The Grey-Wheelwright Type Schedule failed, though, like The Myers-Briggs Type Indicator, it was based on Jung's Psychological Types. And The Allport-Vernon Study of Values, though based on Spranger's Types of Men, identified six types, rather than four, thereby missing Spranger's main point, and so failed to be useful. But the Myers-Briggs questionnaire did not fail, and set the stage for people around the world to get a word portrait of themselves and of their companions.

i

r

t

Looking Back
I must comment about the way the work of Isabel Myers struck me when I first encountered it in 1956. I remember vividly, even after forty or so years, when a visiting psychologist from Educational Testing Service handed me my psychological type portrait upon my completion of the Myers-Briggs questionnaire. The portrait said that I was an INTP who is primarily interested in the principles underlying things rather than the things themselves ... is inwardly absorbed in current analysis or problem ... is persevering and markedly independent of external circumstances ... wants to state the exact truth-and keeps it so exact and so complicated that few can follow ... takes in the possibilities, values facts mainly in relation to theory, is good at pure science, research, mathematics, and the more complicated problems of engineering ... with non-technical interests, makes the scholar, teacher, abstract thinker in economics, philosophy, psychology, etc. ... as a teacher cares more for the subject than for the
I

!

I

/'

) l r

The Debt to Isabel Myers students ... likely to have insight, ingenuity, quickness of understanding, intellectual curiosity, fertility of ideas about problems ... more interested in reaching solutions than in putting them into practice .
.c.
J ,I

15

,

i

,

Wow! Here I was, only five years out of graduate school, working as a corrective interventionist for schools and trying very hard to figure out how to apply what I had learned about people in making myself useful to school children and their parents and teachers and administrators, these people having all sorts of difficulties getting along with each other. And along comes a little old lady from Princeton New Jersey, Isabel Myers, to tell me about myself, about who I was and what I was good for. Oh, I already knew some of that stuff about myself, but I didn't know that I was a kind or type of person, and that therefore there had to be others just like me. Indeed, looking back on my graduate studies I realized that my two best friends in the psychology department were just like me, and the one professor I admired was just like me, and was my friend and mentor for my twenty years of graduate studies. Wow, again! I also understood for the first time why I felt so different from everybody else, including my parents, brothers, and friends, and why I was so very different from my fellow fighter pilots in the Marine Corps. All those years growing up I hadn't been sure whether there was something wrong with me or with all these other people, but I was sure that I had never met anyone like me until after the war when I began studying psychology at school. It was then that I met two of them who turned out to be my friends for life. At the time I didn't realize they were like me, only that we saw eye to eye on most everything we were interested in.

The Debt to Isabel Myers
Myers must have accomplished her feat of developing Jung's distinctions into sixteen type portraits by dint of considerable observation of people in action, as well as a great deal of imaginative speculation. Salvaging the useful parts of Jung's cumbersome and self-contradictory theory of psychological types and making it available to scientist and layman alike was quite a feat. So the debt owed Isabel Myers by students of human conduct is truly enormous. Had she not devised her personality inventory and its aCCJmpanyiflg portraits of personality, I for one, long immersed in my studies of personology, would not have been able to connect her portraits to earlier ones. For I was later to find that the four groups of personality types described by Myers corresponded nicely with the four personality types of several predecessors, especially those of Eric Adickes, Eduard Spranger, Ernst Kretschmer, and Eric Fromm, all of which could be traced back to the ideas of Plato, Aristotle, and Galen.

16 Different Drummers

How to Proceed
As I said at the beginning of this chapter, we are all different from each other, which means that our most effective route through the rest of this book is likely also to be different. Let me make some suggestions. Chapter 2, I must say, is a bit on the abstract side, focusing on the theory and history of temperament and character studies, and many readers might want to skim it or save it for later, after they have gotten better acquainted with the actions and attitudes of the four temperaments presented in the other chapters. In any event, after Chapter 2 readers are invited to go their separate ways, turning directly to the chapter on their specific temperament: Chapter' 3 (pg. 32) for the Artisan SPs, Chapter 4 (pg. 75) for the Guardian SJs, Chapter 5 (pg. 116) for the Idealist NFs, and Chapter 6 (page 161) for the Rational NTs. At the end of each temperament chapter are the role variant portraits, and readers might at this point want to read about their fellow SPs, SJs, NFs, or NTs-this will add details and round out their own portraits. And maybe a glance at the role variants of their opposites might provide an interesting and enlightening contrast. As explained in Chapter 2, Artisans and Idealists (SPs and NFs) are opposites, as are Guardians and Rationals (SJs and NTs). With a firm grasp of their character style, readers can move on to the last three chapters which discuss how the four temperaments play three key social roles: Mating in Chapter 7, Parenting in Chapter 8, and Leading in Chapter 9. However, each of these chapters is also divided into sections pertaining to the four temperaments, so here again readers might want to read the brief introductory material and then turn to the pages on their particular roles as mate, parent, or leader. But remember: no matter how you proceed, whether you read in a traditional way, first page to last, or skip around at your pleasure, whether you read for comprehensive knowledge or for personal insight, your choice depends largely upon your temperament.

I

f

t

2
I

J

Temperament and Character
Once upon a time, in the land of Oz, four individuals set out on a strange and dangerous journey. Each of them was lacking something vital to his or her nature, and each wanted to find the great Oz and ask him for his help. Lion was lacking courage. Although a powerful, magnificent beast, he had grown cowardly and lost his self-respect, and he wanted the Wizard to give him back his nerve. "As long as I know myself to be a coward I shall be unhappy, " he said. Dorothy was afraid she had lost her way home. "Toto," she said to her little dog, "I don't think we're in Kansas any more. " Though never really lost at all, Dorothy felt stranded and alone, and she wanted Oz to return her to the security of her Aunt and Uncle's farm. "There's no place like home, " she said. Tin Woodman believed he had no heart. As tender and sensitive as he was, he felt stiffened with rust and unable to love, and he wanted Oz to help him feel a warm, loving heart beating in his chest. "No one can love who has no heart, " he said. Scarecrow thought he had no brain. Although the most ingenious of the four, he considered himself witless and worthless, and he wanted Oz to make him smart. "Brains are the only things worth having in this world, " he said. Arm-in-arm, these four very different characters set off to the Emerald City to seek the Wizard's help. Courage, Home, Heart, Brain-Baum in his Wizard of Oz characters managed to catch the essence of four personalities, four distinct patterns of attitude and action that have been observed again and again in human beings for over two thousand years. These are also the four groupings that 17

:'

18

Temperament and Character

Myers seems to have had in mind when she discussed similarities among certain of her sixteen types, and so let us start with her observations.

Myers's Four Groups
Crossing paths with Isabel Myers got me in the habit of typewatching way back in 1956. Myers completed her book The Myers-Briggs Type Indicator in 1958 and published it in 1962, though Educational Testing Service had been using her questionnaire, the MBTI, for some years doing personality research in numerous colleges and high schools around the country, and this is where I first encountered her work. I soon found it convenient and useful to partition Myers's sixteen types into four groups, which she herself suggested in saying that all four of what she referred to as the "NFs" were alike in many ways and that all four of the "NTs" were alike in many ways-although what she called the "STs" seemed to me to have very little in common, just as the "SFs" had little in common. However, four earlier contributors, Adickes, Spranger, Kretschmer, and Fromm, each having written of four types of character, helped me to see that Myers's four "SJs" were very much alike, as were her four "SPs." Bingo! Typewatching from then on was a lot easier, the four groups-SPs, SJs, NFs, and NTs-being light years apart in their attitudes and actions. This, then, is what Myers had to say about the four groups:
The SPs Myers had SPs probing around their immediate surroundings in order to detect and exploit any favorable options that came within reach. Having the freedom to act on the spur of the moment, whenever or wherever an opportunity arises, is very important to SPs. No chance is to be blown, no opening missed, no angle overlooked-whatever or whoever might turn out to be exciting, pleasurable, or useful is checked out for advantage. Though they may differ in their attitude toward tough-minded ness (T) and friendliness (F) in exploring for options, and though some are socially expressive (E) and some reserved (I), all of them make sure that what they do is practical and effective in getting what they want. Consistent with this view Myers described SPs as "adaptable," "artistic," and "athletic"-as very much "aware of reality and never fighting it"-as "open-minded" and ever "on the lookout for workable compromises"-as knowing "what's going on around them" and as able "to see the needs of the moment"-as "storing up useful facts" and having "no use for theories"-as "easygoing," "tolerant," "unprejudiced," and "persuasive"-as "gifted with machines and tools"-as acting "with effortless economy"-as "sensitive to color, line, and texture"-as wanting "first-hand experiences" and in general "enjoying life." So SPs, as seen by Myers, are very much

yt

,

I

I

,.'

,

Myers's Four Groups

19

like one another and very much different from the other types, the SJs, NFs, and NTs.

The SJs
I

I
('

I

Myers had SJs, like SPs, observing their close surroundings with a keen eye, but for an entirely different reason, namely that of scheduling their own and others' activities so that needs are met and conduct is kept within bounds. Thus for SJs, everything should be in its proper place, everybody should be doing what they're supposed to, everybody should be getting their just deserts, every action should be closely supervised, all products thoroughly inspected, all legitimate needs promptly met, all approved ventures carefully insured. Though SJs might differ in being toughminded (T) or friendly (F) in observing their schedules, and though they can be expressive (E) or reserved (I) in social attitude, all of them demand that ways and means of getting things done are proper and acceptable. And so Myers described the SJs as "conservative" and "stable"-as "consistent" and "routinized"-as "sensible," "factual," and "unimpulsive"-as "patient," "dependable," and "hard-working"-as "detailed," "painstaking," "persevering," and "thorough." This too is a clear-cut pattern of action and attitude, highly unlike that of the SPs, NFs, and NTs.

TheNFs
On the introspective side, Myers had NFs as friendly to the core in dreaming up how to give meaning and wholeness to people's lives. Conflict in those around them is painful for NFs, something they must deal with in a very personal way, and so they care deeply about keeping morale high in their membership groups, and about nurturing the positive self-image of their loved ones. Indeed, while they might differ from each other on how important judging schedules (J) or probing for options (P) is in acting on their friendly feelings, and while their social address can be expressive (E) or reserved (I), all NFs consider it vitally important to have everyone in their circle-their family, friends, and colleagues-feeling good about themselves and getting along with each other. Thus Myers, an INFP herself, saw her fellow NFs as "humane" and "sympathetic"-as "enthusiastic" and "religious"-as "creative" and "intuitive"-and as "insightful" and "subjective." Again this is a distinct picture of attitude and action, showing NFs to be very much like each other and greatly different from SPs, SJs, and NTs.

, . i !
I

'-

. ,.

TheNTs
Also on the introspective side, Myers had NTs as tough-minded in figuring out what sort of technology might be useful to solve a given problem. To this end, NTs require themselves to be persistently and consistently rational in their actions. Though they may differ in their preference for judging schedules (J) or probing for options (P) as they tackle

,

...

20

Temperament and Character

problems, and though they can seem expressive (E) or reserved (I) around others, all NTs insist that they have a rationale for everything they do, that whatever they do and say makes sense. So Myers described the NTs as "analytical" and "systematic"-as "abstract," "theoretical," and "intellectual"-as "complex," "competent" and "inventive"-as "efficient," "exacting" and "independent"-as "logical" and "technical"-and as "curious," "scientific," and "research-oriented." Here again is a unique and easily recognizable configuration of character traits, the NTs a breed apart, starkly different from SPs, SJs, and NFs.

/

Temperament, Character, Personality
Before I trace the history of these four underlying forms of personality, and set the Myersian groups into this larger and more ancient context, let me try to clarify the nature of temperament and character. What, we might ask, is this thing called "temperament," and what relation does it have to character and personality? There are two sides to personality, one of which is temperament and the other character. Temperament is a configuration of inclinations, while character is a configuration of habits. Character is disposition, temperament pre-disposition. Thus, for example, foxes are predisposed-born-to raid hen houses, beavers to dam up streams, dolphins to affiliate in close-knit schools, and owls to hunt alone in the dark. Each type of creature, unless arrested in its maturation by an unfavorable environment, develops the habit appropriate to its temperament: stealing chickens, building dams, nurturing companions, or hunting at night. Put another way, our brain is a sort of computer which has temperament for its hardware and character for its software. The hardware is the physical base from which character emerges, placing an identifiable fingerprint on each individual's attitudes and actions. This underlying consistency can be observed from a very early age-some features earlier than others-long before individual experience or social context (one's particular software) has had time or occasion to imprint the person. Thus temperament is the inborn form of human nature; character, the emergent form, which develops through the interaction of temperament and environment. I want to emphasize that temperament, character, and personality are configured, which means that, not only are we predisposed to develop certain attitudes and not others, certain actions and not others, but that these actions and attitudes are unified-they hang together. Thus, the SPs base their self-image on artistic action, audacity, and adaptability to circumstance, these three traits evolving together of necessity. Furthermore, these three traits, developing together as if out of a single seed, preclude the emergence of a self-image based on, say, empathy, benevolence, and authenticity, which are characteristics of the NFs. In the same way, the SJs base their self-image on reliability, service, and respectability, these three traits emerging together as a unified structure of personality. And again,

Temperament, Character, Personality

21

!

l

j

I

;)

i

(.
I

...

I

/
J

j I
~

....

)

r-

the unfolding of these three traits together weighs against developing a self-image based on ingenuity, autonomy, and willpower, which is characteristic of the NTs. This notion of four distinct temperaments, inborn and unified, calls into question two major points of view in 20th century behavioral science. The first can be called the theory of hierarchical motivation. Abraham Maslow, a leading proponent of this theory, held that we are all motivated by a number of needs which displace each other as we satisfy them. We ascend, he said, from physical needs (food, clothing, shelter) to safety needs (security, protection, assurance), then on to social needs (love, friendship, belonging), and next to the need for self-esteem (valuing self, selfworth, pride). And a few of us-not really very many, he suggested-are able to arrive finally at what he called the "self-actualizing" stage of development, no longer motivated by the primary physical needs, nor by needs for safety, belonging, and self-esteem. Maslow seemed to believe that the fully-realized, enlightened, self-actualized personality is everyone's highest goal in life, and implied that those people who don't make it nevertheless have a latent need for self-actualization, which will break forth as a full-blown motive once they satisfy their more primary needs. It certainly makes sense to say that in normal development many of us arrange our lives so that we satisfy our need for sustenance, for safety, for social ties, and that we then turn our interest to achieving self-esteem. But beyond this point temperament theory counsels us to part company with Maslow and other hierarchists. For if people are fundamentally different, born with different needs and inclinations, then they might not all share the desire to take Maslow's last step into self-actualization. Perhaps not even most of them. Of course all must have self-esteem. Maslow was right in this. But as it turns out, most people base their self-esteem on something else entirely. Only those of one particular temperament, Myers's NFs, are concerned with becoming self-actualized-finding their true selves-and value themselves more in the degree they achieve this aim. Thus it is not that self-actualization is a step beyond self-esteem; rather, it is but one path to self-esteem. There are other paths. Freud, for instance, was right when he said that physical pleasure is the way. But not for everybody, as he supposed, and not as an end in itself, but as a means to self-esteem. Those of the SP temperament prize themselves more when they live sensually and hedonically. Harry Sullivan was also right. The security of social status is important-for some at least, and in the service of self-esteem. Those of the SJ temperament hold themselves in higher regard when they attain a reputation as pillars of society. Likewise, Alfred Adler was right in that the quest for powers motivates us-some of us-and those of the NT temperament look upon themselves with pride as their technological powers increase. It is unfortunate that Maslow, himself an NF, saw the aims of the other three character types as merely arrested attempts at the NF goal of self-actualization.

22

Temperament and Character

The other point of view challenged by the four types theory says that not only do all of us have the same goals, but we also go through the same stages of growth and development. Reading the leading writers on maturation, we are counseled that all mature persons have certain attitudes and certain habits, and that all must take the same developmental steps to get there. Such a position was taken, sometimes explicitly and always implicitly, by investigators such as Gesell, Ilg, Ames, Erikson, Piaget, Sheehy, and Levinson, to name some of the more prominent contributors. But this way of defining maturity will not do. A mature NF is strikingly different from a mature SP. Likewise, a mature NT is astonishingly different from a mature SJ. Just as the fox matures differently from the beaver, so does the dolphin mature differently from the owl. Just as the Lion wanted Courage to get on with life, so Dorothy wanted Security, the Tin Woodman wanted a Heart, and the Scarecrow wanted Brains. To use the same criteria of maturity for all kinds of creatures is to miss the entire point of this essay. Imagine a mother fox schooling a young beaver in the art of sneaking into a chicken yard and making off with a fat hen, and picture also the little beaver's astonished paralysis upon receiving such guidance. This, of course, is unimaginable, but as parents many of us encourage our offspring to emulate us, to be chips off the old block, to follow in our footsteps. The Pygmalion Project ascends to its greatest heights and generates its greatest intensity in pointing the young toward our own conception of maturity. None of the temperaments are above wanting to validate their own style, and so set about, unconsciously and involuntarily to be sure, to sculpt their young into the image of themselves. Temperament will out in maturation as in all other domains of life, and so, again, we are asked to think of temperament as inborn, innate, inherent, and of character as exactly configured, as precisely patterned, as definitively systemic. SP or SJ, NF or NT, our traits of character entail each other and are bound together by a common origin and a common destiny. And it is not until these traits have developed that we can be said to have acquired our mature character, to have become a full-blown specimen of what we were meant to be, just as the tiny acorn becomes the mighty oak tree. Let us now turn to a brief look at the history of those rather neglected studies of ethology, characterology, and personology.

t'

J

I

Historical Overview
In the first part of the 20th century a good many writers essayed their views on temperament and character. Four of these, Adickes, Kretschmer, Spranger, and Fromm, agreed with each other, implicitly at least, in how they defined temperament and character types, and differed from men such as Apfelbach, Bulliot, James, MacDougal, Roback, and Sternberg, who elected their own categories. Adickes, Kretschmer, Spranger, and Fromm saw the usefulness of an f I

"

HistoricalOverview l , j ,-

23

.

~.

.i ,

..

, ,

~

,I
!-

....i
I

r

ancient belief that came primarily from the early Greeks and Romans. It was the Roman physician Galen l who, developing the ideas of Hippocrates, proposed (around 190 A.D.) that it is neither the stars nor the gods that determine what we want and what we do; rather, it is the balance of our bodily fluids, the four "humors," as they were called. If our blood predominates Galen called us "Sanguine" or eagerly optimistic in temperament; if our black bile or gall predominates, then we are "Melancholic" or doleful in temperament; if our yellow bile predominates, then we are "Choleric" or passionate in temperament; and if our phlegm predominates, then we are "Phlegmatic" or calm in temperament. Thus, for the first time, in the West at any rate, our physiology was said to determine our attitudes and actions, and not the deities or the heavenly bodies. As Shakespeare would put it, writing many centuries later, "The fault, dear Brutus, is not in the stars but in ourselves." We might smile at this early view of human physjology, but at the same time we must acknowledge it to be a major departure fromwhat had gone before. Our predispositions, said Galen, come in four styles, and from within and not from without. Nearly six hundred years before Galen, Plat02 had written in The Republic of four kinds of character which clearly corresponded with the four temperaments attributed to Hippocrates. Plato was more interested in the individual's contribution to the social order than in underlying temperament, and so he named the Sanguine temperament the "iconic" (artisan) character, endowed with artistic sense, and playing an art-making role in society. He named the Melancholic temperament the ''pistic'' (guardian) character, endowed with common sense, and playing a caretaking role in society. He named the Choleric temperament the "noetic" (idealist) character, endowed with intuitive sensibility, and playing a moral role in society. And he named the Phlegmatic temperament the "dianoetic" (rational) character, endowed with reasoning sensibility, and playing the role of logical investigator in society. A generation later, Aristotl~ defined character in terms of happiness, and not, as his mentor Plato had done, in terms of virtue. Aristotle argued that there are four sources of happiness: "The mass of men," he said, find happiness either in "sensual pleasure" ("hedonlf') or in "acquiring assets" (''propraietari''), while some few find happiness either in exercising their "moral virtue" ("ethikos") or in a life of "logical investigation" (" dialogike"). Not surprisingly, Aristotle (a Rational himself) regarded logical investigation as bringing the truest happiness because it is the most self-sufficient, and the least dependent on external conditions. In the Middle Ages the four temperaments theory appears to have been largely forgotten, if not disregarded,4 only to be rediscovered, like so many Classical ideas, in the European Renaissance, when interest in science and the physical nature of mankind revived. Thus, we see Geoffrey Chaucer (in 1380) describing a Doctor of Physic as knowing "the cause of every

24

Temperament and Character

malady, And where they were from, and of what humour." Also Paracelsus,5 a mid-sixteenth century Viennese physician, proposed four totem spirits which symbolized four personality styles, and which ran parallel to the temperament types of Galen and the character types of Plato. Paracelsus characterized human beings as "Salamanders," impulsive and changeable; as "Gnomes," industrious and guarded; as "Nymphs," inspired and passionate; and as "Sylphs," curious and calm. Although the ever-skeptical French essayist Montaigne cautioned his readers (in 1580) that "a man should not rivet himself too fast to his own humors and temperament," the playwrights of the period certainly made use of the ancient theory. Shakespeare points out dozens of times what he called the "spirit of humours" in his enormous gallery of characters: a soldier's sanguine appetite or a Countess's sorrowful melancholy, a lover's impassioned choler or a physician's phlegmatic detachment. Moreover, Shakespeare's contemporary Ben Jonson developed a whole style of play he called the "Comedy of Humours," creating his characters according to a formula he articulated in 1599: "Some one peculiar quality Doth so possess a man, that it doth draw All his affects, his spirits, and his powers In their confluctions, all to run one way." The same in other fields. When William Harvey discovered the circulation of blood in 1628, he argued that blood was simply the most sovereign of the four humors, and he came to look on the Sanguine temperament with special favor. And philosophers of the 16th, 17th, and 18th centuries, Bruno in Italy, Hume in Scotland, Voltaire and Rousseau in France, Kant in Germany, took the idea of four humors as a matter of course, as part of the air they breathed. For instance, in his Dialogues Concerning Natural Religion (1755), Hume spoke of the "usual phlegm" of a character having an "accurate philosophical tum" of mind. Moreover, when Hume described (in An Inquiry Concerning Human Understanding, 1748) how one comes to see a "degree of uniformity and regularity" in mankind's "temper and actions," he made a remarkably accurate statement of the characterologist's method. Hume credited Aristotle and Hippocrates with teaching him to base his observations of humanity on "experience acquired by long life and a variety of business and company," and concluded:
By means of this guide we mount up to the knowledge of men's inclinations and motives from their actions, expressions, and even gestures, and again descend to the interpretation of their actions from our knowledge of their motives and inclinations. The general observations, treasured up by a course of experience, give us the clue of human nature and teach us to unravel all its intricacies.

19th century novelists, from Jane Austen and the Brontes to George Eliot and Tolstoy, had these four patterns of human attitude and action clearly in mind when they framed their characters. In War and Peace, for

" )

Historical Overview

25

j
I ,
).-

;

!

I

J-

I

;.

,.I

r .
I
~

..

,
I

"

example, Tolstoy divides the members of a lodge of Freemasons into what he described as "four classes" of character: some looking for social "connections" and opportunities, some interested in the lodge's "external form and ceremony," some seeking a "fully understood path for themselves," and some occupied exclusively with "the scientific secrets of the order." Even some early 20th century writers demonstrated detailed knowledge of the roots of temperament and character theory. D.H. Lawrence not only saw human nature as organized around "four poles of dynamic consciousness," but he actually described a ruddy, sanguine character in his novel Sons and Lovers (1913) as Paracelsus' Salamander. But in the behavioral sciences what had been the prevailing current of thought for centuries-that temperament determines character-gradually decreased to a tiny trickle in the latter part of the 19th century, owing mainly to the ideas of two men, Sigmund Freud and Ivan Pavlov. Freud reduced mankind to mere animal, nothing more than a creature of blind instinct. Similarly, Pavlov reduced mankind, not to animal, but to machine, its actions nothing more than mechanical response to environmental stimulation. And the 20th century was nearly swept away by these two new theories, both of which suggested that all humans are fundamentally alike and only superficially different. The ancient idea of the human as a vital organism animated by four different spirits was all but forgotten. Even so, the four-temperaments theory found a few champions in Europe and America in the first half of the 20th century. With social field theory invading the behavioral sciences, Adickes, Kretschmer, and Spranger revived the idea that mankind is designed on four distinctive configurations. In 1905 Adickes6 said that mankind could be divided into four "world views"-Innovative, Traditional, Doctrinaire, and Skeptical. In 1914 Spranger7 wrote of four "value attitudes" which distinguish one personality from another-Artistic, Economic, Religious, and Theoretic. And in 1920 Kretschmef proposed that both normal and abnormal behavior can be understood in terms of four "character styles" similar to those of Adickes and Spranger-Hypomanic, Depressive, Hyperesthetic, and Anesthetic. Other, more familiar voices were advancing similar ideas at this time . Rudolph Dreikurs, a disciple of Alfred Adler, pointed out in 1947 what he called four "mistaken goals" which different kinds of people pursue when their self-esteem declines too far for safety-Retaliation, Service, Recognition, and Power. Also in 1947 Eric Fromm,9100king at both negative and positive sides of personality, as did Kretschmer, attributed four different "orientations" to the four styles-Exploitative, Hoarding, Receptive, and Marketing. In summary, it must be said that the above is only the barest outline of the history of temperament and character theory. By the early part of the 20th century close to five thousand reports on temperament and character had been identified (See especially Roback's A Bibliography o/Character and Personality, published in 1927.) The table below lists a small portion

26

Temperament and Character

of this long history. If we scan the variety of contributors and the many characteristics they have attributed to the four temperaments, we are able to see how true-to-type the four classifications have remained over the centuries.
Plato c340 B.C. Aristotle c325 Galen c190 A.D. Paracelsus 1550 Adickes 1905 Spranger 1914 Kretschmer 1920 Fromm 1947 Myers 1958 Artisan Hedonic Sanguine Changeable Innovative Aesthetic Hypomanic Exploitative Probing Guardian Proprietary Melancholic Industrious Traditional Economic Depressive Hoarding Scheduling Idealist Ethical Choleric Inspired Doctrinaire Religious Hyperesthetic Receptive Friendly Rational Dialectical Phlegmatic Curious Skeptical Theoretic Anesthetic Marketing Tough-minded

Each successive contributor looked at the four types from slightly different but related angles, such that it is not at all difficult to see how an Artisan (SP) is likely also to be hedonic, sanguine, innovative, aesthetic, and probing, or how a Guardian (SJ) is also likely to be proprietary, melancholic, industrious, traditional, and scheduling. Nor is it difficult to see how an Idealist (NF) is also likely to be ethical, inspired, doctrinaire, hyperesthetic, and friendly, or how a Rational (NT) is also likely to be dialectical, curious, skeptical, theoretical, and tough-minded. And so the idea that individuals are predisposed to develop into one of four different configurations of attitude and action has survived for well over two thousand years. Surely this idea would not have been employed for so long, by so many people, in so many countries, had there not been some sort of widely shared recognition of its usefulness. As a personologist I must say that I have long found this history to be quite compelling.

The Basic Dimensions of Personality
That the characteristics of the four temperaments are this consistent over time is no accident, but seems to reflect a fundamental pattern in the warp and woof of the fabric of human nature. Indeed, I would argue that the four types are most likely derived from the interweaving of the two most basic human actions, how we communicate with each other, and how we use tools to accomplish our goals. Clearly, what sets human beings apart from the other animals are two advantages we have over them-words and tools. And what sets us apart from each other is the way we use words and tools. The great majority of us are predominantly concrete in our word usage, the rest predominantly abstract. And about half of us are utilitarian in our choice and use of tools, the other half cooperative.

The Basic Dimensions of Personality

27

.
t)-

; I l ,-

j

I.
J ,.

Abstract versus Concrete Word Usage In considering human differences some investigators have focused on differences in linguistic orientation, others on differences in cognitive orientation; both, however, are concerned with the human imperative that bids us locate ourselves in our social context as we take action. On the linguistic side Kurt Goldstein and Ernst Cassirer thought of humans as talking animals. In his Abstract and Concrete Behavior, Goldstein had some people talking more abstractly than concretely and others talking more concretely than abstractly. Similarly, in his Essay on Man Cassirer had some talking more analogically than indicatively, others talking more indicatively than analogically. In other words, some people are prone to send symbol messages, others to send signal messages-signals pointing to something present to the eye, symbols bringing to mind something absent from view. As for cognition, Myers in The Myers-Briggs Type Indicator had some of us oriented by intuition or introspection, the rest by sensory perception or observation. Similarly David Riesman, in individualism Reconsidered, spoke of "inner-directed" and "outer-directed" orientations. And Eric Adickes, in his Character and Worldview, saw some as "heteronomous" or other-directed in orientation, and others as "autonomous" or self-directed in orientation. Thus our thoughts and the words that reflect them keep us oriented to reality by telling us who we and our companions are, and what we and they are to do. Thoughts of course are not observable, but words are, so some inspection of the kinds of words we choose may be useful. Abstract words can be used in slightly different but related waysanalogical, categorical, fictional, figurative, general, schematic, symbolic, and theoretical. Likewise, concrete words can be used in slightly different but related ways-detailed, factual, elemental, empirical, indicative, literal, signal, and specific. To illustrate the relationships between these terms I have linked them together with overlapping Venn diagrams, as follows:

I

r

I I.'

28

Temperament and Character

The diagram suggests that an analogy, for example, is both fictional and figurative, a figure of speech both symbolic and analogic, a symbol both figurative and categorical, and so on, all different forms of abstract speech. Likewise, an indicative expression is both factual and literal, a factual expression both indicative and detailed, a detail both factual and empirical, and so on, all concrete in some manner. Thus both words, 'abstract' and 'concrete,' have many, but related, uses, and we are wise to keep this in mind as we compare and contrast those who are more prone to abstract speech with those more prone to concrete speech.

Cooperative versus Utilitarian Tool Usage Human beings are far more than word-using animals. Indeed the proliferation of our words came only when there was a proliferation of our tools. As tools differentiated there was a reciprocal differentiation of words, neither getting ahead or falling behind the other. Nearly everything we do to implement our goals requires several kinds of tools used both simultaneously and successively. No matter where we look we see tools in every direction, inside or outside our homes and throughout our communities. The house itself is an enormously complex tool. Everything in it is a tool--chairs, tables, books, computer, television, phone, radio, pictures, lamps, rugs, boxes, on and on and on. Our vehicles are tools as are our roads and bridges and walkways and even our clothes. Civilization itself is created and maintained by tools. We distanced ourselves from the other animals and made ourselves supreme among them by fashioning a fantastic array of tools. Indeed, it is this array of tools that enables us to pursue goals not dreamed of in centuries past. No matter what our goals, however, we do not necessarily choose the same tools to reach them. And this is where our character takes a hand. Some of us prefer to use tools that have been approved by our membership groups. Others will use the best tools for the job whether or not they have been approved. Let us think of the former as cooperative in going after what they want, and the latter as utilitarian in their pursuit of goals. To put it simply, the Cooperators try to get where they want to go by getting along with others, that is, by being law-abiding and accommodating with those around them, so that they are in full accord with the agreed-upon rules and mores of the social groups they belong to. In contrast, the Utilitarians tend to go after what they want in the most effective ways possible, and they choose tools that promise success with minimum cost and effort-whether or not they observe the social rules. Not, mind you, that the habitually cooperative persons don't care about useful and effective tools. Certainly they do, but they consider the effectiveness of tools as secondary to whether they should be used, or how they will be regarded by others-in other words, whether they are socially acceptable, or morally correct. In the same way, it is not that the habitually utilitarian persons refuse to cooperate with their social groups, but they see

J

,

! f I
, j

Psychological Functions vs Intelligent Roles

29

i ! , ;
I
~,

J
I
;

.

I

pleasing others and observing rules as secondary considerations, coming only after they have determined how well their chosen tools will work in accomplishing their ends. It's a matter of priorities. Most of us learn to get along with others most of the time, and most of us opt for effective action, but our first instinct is to pursue our goals according to our habit of cooperating or utilizing. By intersecting the rows and columns in a four-cell matrix (see below), the four types of character can be clearly seen in relation to each other:

Words
Abstract
Abstract

Concrete
Concrete

Cooperative

NF

Cooperator Cooperator Abstract Concrete

SJ

Tools
Utilitarian

NT
Utilitarian

SP
Utilitarian

,.

t

r .

I

Note that SPs are utilitarian like NTs and concrete like SJs, and are not like NFs in either way. NFs, on the other hand, are cooperative like SJs and abstract like NTs, and again, unlike SPs in either way. So each temperament has two complementary types and one opposite, when it comes to the way they communicate their messages and the way they implement their goals. Observing people's uses of words and tools gives us a convenient and remarkably accurate way of determining their temperament. Thus, having first noticed that a person is, say, habitually concrete in speech, and then noting that he or she is habitually cooperative in getting things done, we have determined the person we watch to be Plato's Guardian, Aristotle's Proprietary, and Myers's SJ. And so it goes with typewatching, our observations of concrete or abstract word usage and~ cooperative or utilitarian tool usage enabling us to determine whether we are watching or interacting with an SP Artisan, an SJ Guardian, an NF Idealist, or an NT Rational. These two dimensions of personality are the very foundation of my type definitions, and will be referred to throughout this book.

)

t

Psychological Functions vs Intelligent Roles
This idea of defining personality differences by sticking to what can be observed-words and tools-sets Myers's and my view of personality

30

Temperament and Character

rather far apart. Remember that Myers's concept of types was heavily influenced by Jung's Psychological Types, a book in which he presented the purely hypothetical notion that there are four "psychological functions": "sensation," "intuition," "feeling," and "thinking." Positing introversion and extraversion as the fundamental attitudes that separate personalities, Jung (with Myers following suit) defined eight types by combining extraversion and introversion with the four psychological functions, thus creating four function types-Thinking Types, Feeling Types, Intuiting Types, and Sensing Types, each with two variants. I must say I have never found a use for this scheme of psychological functions, and this is because function typology sets out to define different people's mental make-up-what's in their heads-something which is not observable, and which is thus unavoidably subjective, a matter of speCUlation, and occasionally of projection. A good example of the difficulties such guesswork can introduce is the way in which Jung and Myers confound introversion with intuition, saying that the introverted types are the ones "interested in ideas and concepts," while the extraverted types are "interested in people and things." In my view, which is based on close observation of people's use of words, the intuitives are the ones primarily interested in ideas and concepts, while the sensing types are those primarily concerned with concrete things. Indeed, after forty years or so of typewatching, I have not found any SPs or SJs who were more inclined to discuss conceptual matters (abstractions) than to discuss factual matters (concretions). The sensing types are more perceptual than conceptual, while the intuitive types, NFs and NTs, are more conceptual than perceptual. To take some of the guesswork out of temperament theory, I base my type definitions on what people do well, their skilled actions-what I call their "intelligent roles"-which are observable, and which thus can be defined more objectively. (For those interested in the specific differences between Jung's and Myers's function types and my intelligence types, see note 10 in the Chapter 2 Notes at the end of the book.) Let me point out that during most of the 20th century intelligence was also thought to be in the head, defined as "the ability to think abstractly," and of late, as "cognitive ability." But this has never been a very useful way of defining intelligence. Common sense tells us that intelligence is being smart in what we do. In other words it is not how well we think, but how well we act in a given role. If our behavior is adaptive to circumstances, so that we act effectively in such circumstances, then we can be said to be intelligent in those circumstances. Other circumstances are likely to call for different kinds of action, and hence different intelligent roles. The rea~on for Myers's and my differences is that we start from widely different premises. Myers unwittingly adopted Jung's 19th century elementalism, which assumed that personality could be pieced together from independent elements. On the other hand I was imbued with the 20th century organismic wholism of men such as Karl Biihler, Kurt Goldstein,

I

Psychological Functions vs Intelligent Roles

31

"

George Hartmann, David Katz, Wolfgang Kohler, Kurt Kofika, Kurt Lewin, Max Wertheimer, and Raymond Wheeler, to name the more prominent organismic psychologists. So I have long believed that personality, like anatomy, comes about not by an integration of elements, but by differentiation within an already integrated whole, emerging gradually as an individuated configuration. I claim an organism never becomes integrated because it is always integrated. It differentiates by a process of evolution into the mature form it is meant to become. Thus, in the view of organismic wholism, traits of character emerge just as cells do, by a process of differentiation, with the traits clinging together, cohering-not by association, but by a common origin and a common destiny. The tiny acorn, a fully integrated organism from the start, looks forward to the stately oak tree it is destined. to become. The next four chapters will examine the four integrated configurations of personality separately and in some detail-first the SP Artisans, then the SJ Guardians, next the NF Idealists, and last the NT Rationals-defining their many traits of temperament and character, including their intelligent roles and their role variants.

3
Artisans
Don't be afraid.... Taste everything....Sometimes I think we only half live over here. The Italians live all the way.

This was the creed of the young Ernest Hemingway, after returning home from his tour in Italy as a volunteer ambulance driver for the Red Cross in World War I. Hemingway was still on crutches, convalescing from a shrapnel wound, but the experience of the war had whetted his appetite for excitement, and shown him how thrilling and necessary it was for him to "taste everything" and to "live all the way." And so, for forty more adventurous, creative years, Hemingway boxed, he ran with the bulls in Pamplona, he hunted lion and buffalo on the Serengeti Plain, he fished for trout in Idaho and marlin off Cuba, he skied, he boated, he survived a car wreck in London, a hurricane at Key West, two plane crashes in Africa. And of course he wrote, not only some of the century's most gripping novels and short stories, but he also dashed off hundreds of articles and dispatches from every war he could get himself assigned to, making him the most famous and daring war correspondent of his time. In the mid 1970s I wrote of Myers's SPs as "Dionysians," after the Greek fertility god Dionysus. Reborn in the spring of every year, Dionysus would return from the underworld to release the land from the death-grip of winter, exciting his followers to shake themselves free of the cold, to feel the blood coursing in their veins, and to make the land fruitful in flora and fauna. For the "Artisans" (as I now call them), life's cup is to run over, people are to be enjoyed, games are to be played, resources are to be expended. To be human is to be generous, to spend and sow freely, impetuously, spreading bounty like scattering seed. In recent years I have come to think of the Dionysians as fox-like. There have been many such characters in history-the Desert Fox (General Erwin Rommel), the Red Fox of Kinderhook (President Martin Van Buren), the Gray Fox of Hyde Park (President Franklin Roosevelt), the Gray Fox of Arlington (General Robert E. Lee), the Swamp Fox (General Francis Marion)-and the wily President Lyndon Johnson, who once quipped "I'm just like a fox." Foxes have got to be the craftiest of the mammalian predators, and human foxes, such as those mentioned, have got to be the
32

Plato's Artisans

33

most practical of the human predators, everyone of them smart like a fox. Faxes thrive around the world on the edges of civilization while most other predators gradually become extinct. Faxes thrive because they are so effective at hunting (and even at scavenging), rarely wasting their time on prey that cannot be easily caught-Aesop's Reynard Fox, remember, turned up his nose at those "sour grapes" on the trellis just beyond his reach. At the same time, faxes are known for their skill in avoiding capture, and just as faxes are one of the cleverest and nimblest of the canines, so the Artisans are the cleverest of the humans~lever tactically, that is, clever at getting what they want and remaining one step ahead of those who would restrain them. Tennessee Williams wrote that "We of the artistic world are ... the little gray faxes and all the rest are the hounds." Thinking back, I have to say that I've been asked over and over again for years why I have championed the Artisans more than I have the other types. Well, both of my parents were Artisans, as were my brothers and many of my friends and fellow fighter pilots in the Marine Corps. I still have some very good friends among the Artisans, and I continue to admire their artistic capabilities. In addition, much of my work for thirty or so years as a family therapist was focused on those Artisan children who gave their parents and teachers a hard time by not doing their assignments and being noisy and restless at school. So my long association with and understanding of Artisans of all ages has enabled me to be more useful to them than to others of different temperament. I think Artisans ought to be enjoyed for what they are instead of condemned for what they are not, something that can also be said of the other three temperaments.

Plato's Artisans
The term 'Artisan' is the English equivalent of Plato's Greek word 'eikonike' otherwise 'icon-maker,' 'image-maker,' or 'arti-factor.' Artisans, as suggested by the word 'artifact,' tend to become masters in the making of solid, practical things, and thus in Plato's Republic the Artisans' social function is to fashion those sensory images, ornaments, and objects that are useful in daily living. Art is much more, however, than the so-called "fine arts"-music, literature, dance, sculpture, drawing, painting-and must include theatrical arts, martial arts, industrial arts, athletic arts, medical arts, indeed any activity in which successive actions are free variables rather than fixed constants. Words such as 'artist,' 'artisan,' and 'artifactor,' have the same root as words such as 'rational,' 'rationale,' and 'reason,' the IndoEuropean root 'ar' and its reversed form 'ra' both having to do with fitting things together. Thus Artisans and Rationals have something very important in common: they are both fitters, the Artisans having a practical and technique-oriented way of fitting things together, the Rationals a pragmatic and technology-oriented way of fitting things together. Plato's pupil, Aristotle, said that happiness is "the highest realizable

34

Artisans

good" and that some men find happiness more in "sensuous living" (hedone) than in "proprietary acquisition" (proprdietan), in "ethical musing" (ethike), or in "theoretical dialogue" (dialogike). The "Hedonics," as Aristotle called them, pursue the pleasures of the senses. Hedonism is the doctrine holding that only what is pleasant or has pleasurable consequences is intrinsically good, and that behavior is motivated by the desire for pleasure and the avoidance of pain. In Aristotle's view, then, Plato's Artisans pursue the arts more for the sensual pleasure involved than from any strong desire to make money, to make an ethical statement, or to expound a theory. The Roman physician Galen considered these Artisans to be exceedingly optimistic, so he called them the "Sanguines." In choosing the word 'sanguine' Galen was referring to a certain "humor" or fluid-in this case blood-that at the time was thought to dominate Artisan behavior, making them excitable and intemperate, as in the modern phrases "getting your blood up," or "hot-blooded." But Galen's interests lay primarily on the negative side of temperament, on the problems associated with one's balance of humors, and so he saw the over-optimistic Sanguines as different from, but temperamentally no worse than, the somber Melancholics, the irascible Cholerics, or the taciturn Phlegmatics. The Renaissance physician Paracelsus likened the Artisan type to the Salamander. Paracelsus' Salamander is a mythical, lizard-like creature, believed capable of changing color to blend in with its surroundings. Thus Paracelsus regarded the Artisan as a changeable or inconstant person, and indeed they are capable of mimicking anyone they approach, often convincing others that they are just like them. Perhaps it is this capacity to change themselves to resemble the other that makes Artisans such good actors. Also it may be that this changeability explains their disinterest in their own identity, something their opposite, the Idealist, cannot comfortably exist without. For Artisans, "all the world's a stage" and they the players, taking on part after part, now hero, now villain, with equal facility and equal delight. So the guiding spirit of the Artisan is the mythical Salamander, whispering in the Artisan's ear what part is best played at any given moment in any given context. The name Adickes gave to the Artisan type was the "Innovator," hence one given to changing things and on the lookout for something new and different. So the changeling of Paracelsus was for Adickes an agent of change in a constant search for novelty, so different from the Guardian who seeks to avoid change and to urge observance of tradition and custom. Spranger referred to this character as the "Aesthetic" type, which, though similar to Plato's Artisan, focused on the perception of beauty rather than the construction of the beautiful. The Artisan makes works of art, while the Aesthetic experiences artistic works sensuously. In a way Spranger is echoing Aristotle's concept of the Hedonic type who focuses on pleasure. Indeed, what we have here is a sort of artistic trinity-Plato'S type the producer of art, Aristotle's type taking pleasure in art, and Adickes's

The Concrete Utilitarians

35

type sensitive to art, these three ideas looking forward to what psychologist Marvin Zuckerman called the "Sensation Seeking Personality." Kretschmer was first to take a careful look at the dark side of character. So he named the Artisans "Hypomanics," thinking of them as recklessly impulsive. Certainly Kretschmer was echoing Galen in seeing Artisans as exuberant and over-optimistic, but he was saying much more, namely that the kind of irrational behavior that some Artisans engage in is more a matter of temperament than something over which they have control. If Artisans are forced by untoward circumstances to become recklessly impetuous they tend to do so as if compelled by irresistible urges which overcome their will. So in Kretschmer's view what some call madness is determined in large part by temperament and not by illness. Fromm had many names for the Artisans, but he emphasized one of the negative traits that he attributed to them-exploitiveness. Fromm's term 'Exploiters' looks forward to Myers's notion that Artisans are opportunists, ever on the lookout for advantages or payoffs. On the positive side of temperament Fromm saw Plato's Artisans as "active," "initiators," "claiming," "proud," "impulsive," "self-confident," and "captivating." Myers named Plato's Artisans the "Sensory Perceptive" types or "SPs" and said of them that they are "adaptable," "artistic," "athletic"; are very much "aware of reality and never fight it"; are "open-minded," "know what's going on," are ever "on the lookout for workable compromises," are "able to see the needs of the moment," "store up useful facts"; are "easy going," "tolerant," "unprejudiced," and "persuasive"; "act with effortless economy," "don't get wrought up," are "gifted with machines and tools"; are "sensitive to color, line, and texture," "want first-hand experiences," and in general "enjoy life." Now this is a very clear-cut pattern of action and attitude, quite different from the SJs, and, as will be shown, starkly different from NFs and NTs. Though apparently unaware of the contributions of her predecessors, Myers was clearly able to identify the more salient traits that characterize Plato's Artisans.

The Concrete Utilitarians
These different views of Plato's Artisans, whatever they are called, all have something in common: they all characterize this type as concrete Cooperative in communicating messages and utilitarian in implementing goals. So in Tools beginning our consideration of the habits of action and attitude of the SPs, let's look at their quadrant in Utilitarian the matrix of character at the right. Words
Abstract Concrete

NF

SJ
Concrete

NT

SP

Utilitarians

36

Artisans

As indicated, the foundation of the SP character, setting them apart unmistakably from the other three personalities, is their unique combination of concrete word usage with utilitarian tool usage, and thus I want to add another name to the list and call them the "Concrete Utilitarians." Although they share concrete word usage with the SJs and utilitarian tool usage with the NTs, their words are noticeably different from those of the SJs, and their tools are noticeably different from those of the NTs. Notice also that they have nothing important in common with the NFs, who are the very opposite of SPs in their habits of using tools and words. Concrete Word Usage The communication of Artisans can be said to be concrete in that they are apt to talk mostly of what is going on at the moment and what is immediately at hand. Most SPs spend little time considering things that cannot be observed or handled. This means that they are likely to take things literally rather than figuratively and, when making comparisons, to use similes more often than metaphors. Their everyday speech is typically filled with details and devoid of planning, and they are more inclined to be specific rather than to generalize. Also they speak less of categories or classes of things and more of actual, individual things themselves, and in general they tend to be more experiential than theoretical in thought and speech. Indeed, the abstract commands little of their attention, content as they are to do without definitions, explanations, fantasies, principles, hypotheses, and the like. They usually consider such topics a waste of time, interesting to others perhaps, but not to them. Many of our greatest poets and orators have been Artisans, from Lord Byron and Dylan Thomas to Winston Churchill and Ronald Reagan. Why? Why are not the Idealists in the forefront, instead of only a few, along with but a handful of Rationals? It has to be conceded that the Artisans have captured most of the top spots in this domain because of their sensitivity to harmonic coherence, or what sounds good. The Artisans' ear for sound is incomparable. Their consciousness is sensuous, highly attuned to audible consonance, and, if they wish, dissonance. It may be said that paragraphs written by Artisans are in effect songs, as when, for example, Churchill stirred his countrymen during the darkest moments of World War II with his eloquent, rhythmical language: "We shall defend our island, whatever the cost may be, we shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills; we shall never surrender!" It might be added that, more than the other types, Artisans are comfortable in their bodies, and they frequently use their hands to help their speech along, almost always accompanying their spoken words with distinctive hand gestures. The most common gesture is a pawing motion, with the palm down and slightly bent, the thumb held loosely next to the fingers. More aggressive gestures include the closed fist used to pound home one's

..

The Concrete Utilitarians j 37

i
!

?

,

,
I
~

I

• r I
;f
i

point, the index finger used to jab one's point across, and the index finger apposed mid-joint by the thumb, used to peck at an opponent. But spoken or written, Artisan language is filled with concrete words, indicatives that indicate or that point to things seen and felt. Gully Jimson, an Artisan painter in Joyce Cary's novel, The Horse's Mouth, claims he can feel a painting with his eyes:
You feel all the rounds, the smooths, the sharp edges, the flats and hollows, the lights and shades, the cools and warms. The colors and textures. There's hundreds of little differences all fitting together.

J

...
I

1

And Ernest Hemingway, much like the Artisan hero in his novel, A

Farewell to Arms, wanted to avoid figurative language (the language of inference and interpretation, of metaphor and symbol), trusting only descriptive words to present his perceptions as sensually and realistically as possible.
There were many words you could not stand to hear and finally only the names of places had dignity. Certain numbers were the same way and certain dates and these with the names of the places were all you could say and have them mean anything. Abstract words such as glory, honor, courage, or hallow were obscene beside the concrete names of villages, the numbers of roads, the names of rivers, the numbers of regiments and the dates.

,r

.
I

,i ,
~

r ,

,

r r , i r-

Here Hemingway was artificially flattening his vocabulary and simplifying his sentences in order to catch the tone of war-time disillusionment. Much of everyday Artisan speech is far more lively, more filled with vivid, unorthodox terms, though not much more abstract. SPs like to use colorful phrases and current slang in their speech, and they pick up hip phrases quickly ("I'm outta here," "no way," "ya know what I'm saying?"). When they reach for images, they tend to use quick, sensory adjectives ("slick," "cool," "sharp"), or they say what things are like, using rather striking similes, "drunk as a skunk," "like taking candy from a baby," "goes like a bunny." Utilitarian Tool Usage In implementing their goals, or as they say, "going for it," Artisans are primarily interested in what works, what fits, and only secondarily in what meets with social approval. As I've said, the root of the word 'art' means "to fit together," and SP artists even call their productions "works of art," all of which suggests that a thing must be useful to interest an Artisan, immediately useful, concretely useful, otherwise who needs it? If some action doesn't fit your intention and advance you toward your goal, then why do it? NTs share this utilitarian, whatever-works mindset with SPs,

(

1 j " ,J
I

I

( ; ,

(

38

Artisans

but functional utility in the concrete differs from functional utility in the abstract. SPs do not map out the relationship between means and ends as do NTs. Artisans simply and without hesitation give the chosen operation a try, put it to the test, give it a whirl or a shakedown cruise. If it works it is used, if it doesn't it is set aside without a second thought. Because of their utilitarian character, Artisans will strike off down roads that others might consider impossible, tackling problems, making deals, clearing hurdles, knocking down barriers-doing whatever it takes (authorized or unauthorized) to bull their way through to a successful outcome. One prominent State Department negotiator has exhibited all of these SP traits in his roller-coaster career:
He has yelled at Foreign Ministers and cursed at a President. He has negotiated agreements of immense consequence on the fly, making them up as he goes along... betting on himself and the deal in hand at two o'clock in the morning. He has politely negotiated with killers and, by his own account, at least one psychopath .... He has shamelessly and effectively exploited the media.. .in order to promote American policy aims and to intimidate those who stood in his way.

f

No high-flown speculation for the Artisan, no deep meaning or introspection. Leave to others the protocol, the scientific inquiry, the inward search. SPs focus on what actually happens in the real world, on what works, on what pays off, and not on whose toes get stepped on, what principles are involved, or why things happen.

The Tactical Intellect
What Artisans do most and best is work on their immediate environs in a tactical way. Tactics i~\.the art of making moves to better one's position in the here and now, whether those moves are dabbing oils on canvas, flying in rough weather, dishi~g off the basketball on a fast-break, or skirmishing on the battlefield. Indeed, SP battle leaders are no different from SP painters, pilots, or point guards: they are always scanning for opportunities, always looking for the best angle of approach, and so are able to come up with that particular action which at the moment gives them the greatest advantage, and that brings success. Robert E. Lee, George Patton, and Erwin Rommel were all brilliant SP tactical leaders, able to notice the smallest details in their immediate surroundings, the slightest changes in both foreground and background, which allowed them to grasp the moment and to exploit fully whatever resources were at hand. With their ear to the ground and their finger on the pulse of battle, they could spot an opening, sniff out an opportunity, and taste a victory. Tactical intelligence, however, need not be confined to the gym, the cockpit, the art studio, or the battlefield. Artisans are the great performers,

• stars such as Judy Garland, Louis Armstrong, Marlon Brando, Bob Hope, and Gene Kelly. They also make gifted business and politicalleaders--John DeLorean and Rupert Murdoch, for example, and Winston Churchill, Theodore and Franklin Roosevelt, John F. Kennedy and Lyndon Johnson, just to name a few. Moreover, the Artisans' keen perception makes them the natural scroungers or foragers among the four temperaments, those with an uncanny ability to locate any and all available resources, and to turn some sort of profit on them. Films such as Stalag 17, The Great Escape, and Empire of the Sun depict the incredible skill of the Artisan scroungers as prisoners of war. But whether on the battlefield or the stage, in the corporate suite or the political arena, SPs are busy making maneuvers with equipment of all sorts, from paint brushes to basketballs, jet planes to tanks--even singers, dancers, and actors call their voice or their body their "instrument," and comedians describe their skill with an audience as "working the room." Artisans can handle their equipment in an expediting or an improvising way-or both-but they are interested first, last, and always in working with equipment.

!

The Tactical Intellect

39

, r I ,
'j ~-

j

1

Interest, Practice, Skill
Now, skills are acquired by practice. No practice, no skill; much practice, much skill. Any skill will wither on the vine and gradually fade away in the degree it is starved of practice, and the same skill will increase precisely in the degree it is given exercise in practice. The neural cell is no different from the muscle cell in this. Use it or Lose it is Nature's inviolable law. Moreover, there is a feedback relation between interest and ability. We improve in doing things we're interested in doing, and have greater interest in things we do well. Interest reinforces skill, skill reinforces interest, and neither seems to be the starting point. So the Artisans' lifelong interest in tactical action fuels their daily exercise of tactical skills, and as tactical skill increases so then does interest in it, precisely and exclusively measured by the amount of practice. Naturally, we all have our short suit as well as our long suit in the things we do well. Whatever our long suit, we are not totally without talent in our short suit-it is merely shorter. In the following graph, which shows the natural variation in the development of Artisan intelligence, notice that the tactical intelligence of SPs is usually far advanced over their diplomatic intelligence. This disparity occurs because of the Artisans' constant practice of tactical operations and inconstant practice of diplomatic operations, since the SPs are frequently interested in tactics and rarely interested in diplomacy. Note also that their strategic and logistical intelligence lag behind tactics but outdo diplomacy, owing to the middling amount of practice usually given them.

L , t ..

f

I

. .. ,

r

r

.,

!.

i

I ,

,

~-

,-

40

Artisans

-

-1-3 t') t') CIl

_. = ~

NF r-- en .....
'"I Q)

'E. 0
8 Q)
(')

0 ....

-en
(JQ

..... '"I Q) ..... CD

NT

SJ r-r-"0 "":3 Q)

(JQ

i£ _. t') CIl

~

en

'<

~ ~.
~

;-

DJ~

e

~

r--

(JQ

~ ....
(')
CIl

b ..... .... ~ ....
~

'<

0 .... "0
8 Q)
(')

b ....
CIl

..... ....
(') CIl

0

-

~

"":3 Q)

n. r-~.
(JQ

~

'<

~

=

b .... ..... ....
CIl (') CIl

,-t

8" 9
CD CD
>-t

0

9

o t:t.>
~

~>-t >-t ~

s
~

0 CD

~ 9r-(t

- e--~

o()~

>-t

>-t

9 '"C:I ~
~

0

a.. S
0
>-t

CD

n
>-t

e---9
0

~"8
9
0
>-t

Q 8rIJ
>-t

S
>-t

CD

CD

t:t.>

~

CD

>-t

(t

CD

Promoter ESTP
...

Composer ISFP

Crafter ISTP

Performer ESFP

,

,
;.

I
~

.

.

.'

J

I

,-

Note that Promoters (ESTPs) and Composers (ISFPs) are mirror images .' of each other, as are Crafters (ISTPs) and Performers (ESFPs). Thus the Promoters are usually ready, willing, and able to talk up their enterprises, while they are less inclined to fashion works of art. The reverse holds for the Composers, who are likely to create entertaining works with increasing energy, while they would find it more difficult to boost enterprises. Just so, the Crafters are quite willing and able to run all sorts of machinery, but less so to stage a performance. And last, the Performers are the best of all in putting on a show of some kind, though not the best at operating tools. However, even with their long and short suits, Artisans will tend to practice, and thus will develop, anyone of these four tactical roles well above those strategic, logistical, or diplomatic roles of the other types. Complete portraits of the four Artisan role variants can be found at the end of this chapter, beginning on page 63. It must be said that tactical intelligence, in any of its forms, is so much more observable than the other kinds! Strategic, logistical, and diplomatic intelligence, if observable at all, are hard to see or hear for what they are. But not tactical intelligence, shouting as it does into our ears and parading itself before our eyes, so that we cannot help noticing it. Think about it: who are the most famous artists, entertainers, athletes, warriors, politicians, and entrepreneurs-all visibly persons of effective action-if not Artisans?

)

i

The Interests of Artisans
Everyone has interests, but not everyone has the same interests. Remember that we are interested in doing what we do well, and tend to do well in what we are interested in doing. The interests of Artisans are diametrically opposite of those of Idealists and quite different from those of Guardians and Rationals. These differences are most easily seen when placed side by side for comparison, as in the following chart:

,

!
I ,.

44

Artisans Artisans Artcrafts Techniques Equipment Guardians Commerce Morality Materiel Idealists Humanities Morale Personnel Rationals Sciences Technology Systems

Interests Education Preoccupation Vocation

..:

At school the Artisans typically head for the arts and crafts, and steer clear of the humanities and sciences. Later on, when looking for work, some will study commerce, and can become quite successful in business and industry. But SPs are rarely interested in building morale, or in worrying about morality, and even have some aversion to technology. When they go to work, if they are lucky, they get to work on or with tools and equipqlent. Educational Interest in Artcrafts In school Artisans tend to be interested in artcrafts, where they can practice the required techniques. SPs can appear to be dull, and even bored, when asked to study business (particularly clerical matters), or the humanities, or science and technology, but give them the opportunity to practice any of the arts or crafts and watch them shine. Parents and teachers only rarely give SP children permission, or opportunity, to follow their artistic interests, but this has always been the case, as t~e Italian Renaissance artisan Benvenuto Cellini reminds us:
[at] the age of fifteen, I put myself, against my father's will, to the goldsmith's trade with a man called Antonio, son of Sandro .... a most excellent craftsman and a very good fellow to boot, high-spirited and frank in all his ways. My father would not let him give me wages like the other apprentices; for having taken up the study of this art to please myself, he wished me to indulge my whim for drawing to the full. I did so willingly enough; and that honest master of mine took marvellous delight in my performances.

Remember, however, that artcraft must not be limited to the so-called fine arts, such as painting and sculpture, or the performing arts, such as music and dance, but in fact includes the athletic, culinary, literary, martial, mechanical, theatrical, and industrial arts, not to mention what Donald Trump called the "Art of the Deal" in big business. Artisans have a natural ability to excel in any of these arts-a Pete Sampras service game in tennis or a Chuck Yeager supersonic test flight is just as artistic as a Rembrandt painting or Beethoven symphony. Preoccupied with Techniques Artisans don't spend much time worrying about morality or morale, and they have only a passing interest in devising technology (the concerns, respectively, of the Guardians, Idealists, and Rationals.) But they are always interested, even preoccupied, with the acquisition of technique. In regard

,(

!

,,
!

The Interests ofArtisans

45

to this distinction between SP technique and NT technology, it is necessary to understand that; although the two resemble each other in a superficial manner, they are fundamentally different. Both are derived from the root 'tech,' which means they have to do with effective building, but they are entirely different ways of building. Technology is the theoretical study of method, technique the empirical perfecting of method. And this is where the Artisans shine. No matter what the cost in time, energy, hardship, peril, or expense, they must perfect their repertoire of techniques. This is most easily observed in artists and athletes, who give over their lives to mastering the techniques of painting or sculpting, of playing musical instruments, of throwing, catching, kicking, and so on. Watch surfers. They will spend hours daily-and for years-in perfecting their technique of riding the waves. Many then take up wind-surfing,or riding the waves with a sail attached to their surfboard, so that they can develop the technique of doing somersaults directly into the waves! No matter the SP's activity, however, technique is the main issue. Whether it be a President's technique of speechmaking, the business tycoon's technique of making deals, or the skip loader's technique of earthmoving, it is the mastery of technique that draws the SPs like moths to a flame.

Vocational Interest in Equipment
Artisans are happiest when working with any and all sorts of equipment. Apparatus, implements, machines, and instruments captivate them; they are things to be used~mployed, deployed-and the SPs cannot not operate them. They must drive the bulldozer, pilot the plane, steer the boat, fire the gun, toot the horn, wield the scalpel, brush, or chisel. Something about equipment strikes a chord in the character of the SPs, extending the reach, augmenting, amplifying, and sharpening the effects of the many techniques they increasingly acquire and perfect. Listen as a truck driver interviewed by Studs Terkel describes the excitement of being behind the wheel of a big tractor and semi-trailer:
The minute you climb into that truck, the adrenaline starts pumping. If you want a thrill, there's no comparison, not even a jet plane, to climbing on a steel truck and going out there on the expressway. You'll swear you'll never be able to get out the other end of that thing without an accident. There's thousands of cars, and thousands of trucks and you're shifting like a maniac and you're braking and accelerating and the object is to try to move with the traffic and try to keep from running over all those crazy fools who are trying to get under your wheel.

r-

Even in ancient times, long before industrial civilization, Artisans must have been the chief hunters and the finest warriors. The sling, the club, the spear, the bow and arrow: these equipped the SP tribesmen for their deadly art. And is it not so even today, for who but the Artisan is first to enlist

46

Artisans

when war comes, and who but the Artisan best wields the weapons and the machines of modem warfare?

The Orientation of Artisans
We are born into a social field and we live out our lives in that field, never, for long, stepping outside of it into isolation. Of course, we can be disoriented for short periods of time, owing to a shock or a danger. But we soon reorient ourselves and return to our ordinary waking social frame of reference. Indeed, we are the most social of all the animals, our sociability ending in massive and complex societies. Whatever we think or feel, say or do, occurs, must occur, in the iron crucible of social reality. We are oriented always from a certain angle, a slant, a standpoint, something Adickes spoke of as our built-in "Weltanschauung," or "worldview." But different personalities have different perspectives, viewing time and place as well as past, present, and future differently. Consider the following chart in making these comparisons:
Orientation Artisans Hedonistic Optimistic Cynical Here Now

Guardians Stoical Pessimistic Fatalistic Gateways Yesterday

Idealists Altruistic Credulous Mystical Pathways Tomorrow

Rationals Pragmatic Skeptical Relativistic Intersections Intervals

Present Future Past Place Time

Here it is claimed that Artisans are hedonistic about the present, optimistic about the future, cynical about the past, their preferred place is here in the middle of the action, and their preferred time is now. How different are the other temperaments in the way they view these things. So let us look closely at these five dimensions of orientation so that we will not be surprised when our Artisan friends prove, for example, to be less stoical, or altruistic, or pragmatic than we are.
Hedonistic in Looking Around It was Aristotle who detected the underlying hedonism in Plato's Artisans. Hedonism is the ethical philosophy that defines the "good" as what is pleasurable, especially to the senses. Of course, all of us want to have pleasure, some of the time anyway, but not with the insistence of the Artisans. Idealists would take pleasure in what they do, but if pleasure interferes with their altruistic goals, then pleasure must be forsaken. As for Guardians, pleasure must wait upon a stoical acceptance of their duty, and duty need not be pleasurable at all. And for the Rationals, if what is done is not pragmatic, that is, does not lead efficiently toward their goal, then it is simply not done, no matter how much fun it might be. i f'"

(

.I

The Orientation of Artisans
'-

47

Artisans, on the other hand, do things for the fun of it; to them, a life without pleasure is not worth living, and the hedonist's motto of "eat, drink, and be merry" are words to live by. To wait, to save, to store, to prepare, to sacrifice for tomorrow-that is not the Artisan way. To these Dionysians, today must be enjoyed, for tomorrow might not come-or, as Sally Bowles sang in Cabaret,
What good is sitting alone in your room? Come hear the music play. Life is a cabaret, old chum, Come to the cabaret. Put down your knitting, your book, and your broom, It's time for a holiday. Life is a cabaret, old chum, Come to the cabaret.

Optimistic in Looking Ahead
Artisans are the supreme optimists. The past is water under the bridge, so forget it. The distant future is a long way off, so don't waste time planning for it. But the next moment? Here the SPs shine with a natural confidence that things are going to turn their way. SPs feel lucky: the next roll of the dice, the next move, shot, or ploy will be a lucky one, never mind that the last few have failed. What comes next is bound to be a break, a windfall, some smile from Lady Luck. And once on roll or a hot streak, SPs believe their luck will hold, and they will push it to the limit. Along with their optimism, Artisans have an incorrigible belief that they lead a charmed life, which makes them easily the most devil-may-care of all the types. And which can get them into trouble. SPs are more subject to accidents and downturns than other temperaments, injuring themselves through inattention to possible sources of setback, defeat, or loss. SPs often live a life of violent ups and downs, winning a fortune one day and gambling it away the next, trusting the fickle goddess Fortune as she spins her wheel.

,
,,.;'

/
,

,

I

Cynical in Looking Back
We all have times when things don't turn out well, when we lose, take a hit, are in the wrong place at the wrong time. Each type has its own way of coping with such negative outcomes, of explaining them or rationalizing them. SJ s, for example, tend to take a stoical view, often believing that difficulties, when they come, are inevitable, fated, that nothing could have been done to avoid them, perhaps even that they are the will of some deity. SPs, on the other hand, look upon mishaps in a cynical manner, which means that they don't see life as having some larger pattern to it. Artisans view life as chancy, risky, a leap in the dark, a crap-shoot-and they would have it no other way. When luck smiles on them they ride the streak, and when their luck turns sour they simply shrug their shoulders, sloughing off adversity with an attitude of "that's life," "that's the breaks," or "that's the way the ball bounces." No doubt it was some hardened

48

Artisans

soldier who came up with the expression "c'est la guerre." Artisans can be cynical about human motives as well. They harbor no illusions about people being noble or saintly-"come off it," says the SP, no matter how virtuous we think ourselves, we all have feet of clay, we are all ultimately corruptible and self-serving. With their cynical take on people's intentions, Artisans know to look a gift horse in the mouth and to check on their wallet when someone is trying to give them something. And a great source of chagrin for SPs is to be naive and fall for a trick, to be taken, duped, to be a sap or a sucker. Such cynicism gives SPs a huge tactical advantage over the other more trusting and gullible types, who can become easy marks for Artisans. Listen as P.T. Barnum recalls how cleverly he manipulated the American public with one of his famous hoaxes (and notice how he expresses himself in feeding images):
The public appetite was craving something ... the community was absol,lltely famishing. They were ravenous. They could have swallowed anything, and .. .1 threw them, not a 'bone,' but a regular tidbit, a bon-bon, and they swallowed it in a single gulp.

In another area of show business actor and film director Clint Eastwood explored the aesthetics of cynicism in his Italian-made "spaghetti westerns," then later in his popular Dirty Harry movies, with his sardonic take on the world reaching its zenith in his 1990s films, White Hunter, Black Heart, A Perfect World, and Unforgiven. After Eastwood's artful display of cynicism, American movies would never be the same. Indeed, the philosophy of the cynic, albeit eschewed by those Guardians and Idealists who strongly advocate cooperation, is as morally correct for Artisans as the stoicism, mysticism, and relativism are for the other types.

I I

r

The Place is Here
Artisans do not care to take tickets at the gate, or sit in the bleachers, or referee the game. They must be in the game, at the very center of things where the action is. Just as their time is now, their place is here, and so they can be said to live in the "here-and-now." Their time and space are inseparable, and it is this unity of time and space that makes their precision of motion in the arts, especially the athletic arts, understandable. How is it possible, for instance, for baseball players to hit a one hundred mile-per-hour fastball? Or for basketball players to hit so small a target from so far away? Of course they must swing their bats and shoot their jump shots daily, and for long hours. But other types could do that and still not attain the SPs' prowess. While others attempt their motions they are all too often concerned about what is going on elsewhere, or at some other time. The Artisans' only concern is what is happening here at this very moment, and this makes them the masters of timing and graceful movement.

f-

t

1
I

The Orientation ofArtisans

49

I

, ,..
1
I

i

Arthur Hailey captured the here-and-now expertise of the Artisan in this scene of troubleshooting from his novel, Airport:
'Mister, there's spilled gasoline around here. You'd better get that cigar out.' ... Patroni ignored the instruction, as he ignored almost all smoking regulations. He waved his cigar toward the overturned tractor-trailer. ' ...son, you'd be wasting everybody's time, including mine and yours, trying to get that hunk of junk right side up tonight. You'll have to drag it clear so traffic can move, and to do that you need two more tow trucks--one on this side to push, two over there to pull.' He began moving around, using his electric lantern to inspect the big articulated vehicle from various angles. As always, when considering a problem he was totally absorbed. He waved his cigar once more, 'The two trucks together'll hitch onto three points. They'll pull the cab first, and faster. That'll overcome the jackknifing. The other truck... ' 'Hold it,' the state trooper said. He called across to one of the other officers .... 'Hank, there's a guy here sounds like he knows what he's talking about.'

,
,;

I

,
I'

r

I

If-I

,.
I

f

.t'

iI

I

The Time is Now Far more than the rest of us, Artisans live and act in the present. After all, they tell us, "tomorrow never comes" and yesterday is "water over the dam." To an SP, there's no time like the present, so we'd better make the most of it, better seize the day, strike while the iron is hot, or get while the getting's good. Watch a thorough-going SP athlete in action. He or she acts to a great extent in the now, focusing easily on this time, not that time, on this stroke, not the last one or the next one. Others may grouse and groan about their errors, or worry that the next shot might fail, but less so the Artisans. They do not mourn their losses as their concrete cousins the Guardians do; they do not dissect and redesign their mistakes as their abstract cousins the Rationals do; nor do they live in anticipation of mistakes as their abstract opposites the Idealists do. What SPs do is keep their eye on the ball and so are able, more than the others, to hit it at precisely the right instant. Oblivious to the past and the future, they can concentrate all their powers on a clear and present opportunity. And so more often than not they win. However, there's a price to pay for living so intently in the moment. Since Artisans do not reflect very much on their errors or analyze their mistakes to any great extent, it is difficult for them to learn from their errors, and so they can become caught in a loop, repeating their mistakes. Here, however, their talent for going with what works usually saves them. SPs instinctively repeat those acts that bring them success, and so they do indeed learn from positive experience.

r ,

50

Artisans

The Self-Image of Artisans
All of us have a concept of ourselves composed of things we believe about ourselves. Three aspects of our self-image or self-concept are of particular importance in determining how well we regard ourselves: selfesteem, self-respect, and self-confidence. Thus the self-image is a triangular affair, the three bases of self-regard vitally affecting each other. For example, when our self-esteem diminishes, this decrement tends to undermine our self-respect and self-confidence. Likewise, as we lose self-respect, it becomes more difficult for us to maintain our self-confidence and self-esteem. And it works the other way too--the more we prize ourselves the more we respect ourselves and the greater our self-confidence. But different types of personality base their self-image on entirely different things. Since having a good opinion of oneself is one of the keys to happiness, and often to success, it is well that we pause for a moment to compare the four temperaments on this important aspect of personality: Self-Image Artisans Guardians Dependable Beneficent Respectable Idealists Rationals

Self-Esteem Artistic Self-Respect Audacious Self-Confidence Adaptable

~--------~~~------------------------~

Empathic Ingenious Benevolent Autonomous Authentic Resolute

Thus, to feel good about themThe Self-Image of Artisans selves Artisans must regard themArtistic selves as artistic, audacious, and adaptable, while other attributes, emIL~~ pathy and benevolence, for instance, contribute little to their self-image. I believe that these three attitudes -artistry, audacity, adaptabilityAdaptable. • Audacious are mutually reinforcing, as suggested by the figure at the right, such that they wax and wane together. Perhaps this is so even though they independently characterize the self-esteem, self-respect, and self-confidence of the Artisans. Still, whether interdependent or independent of one another, the three attitudes toward the self deserve careful examination, so let us look at them one at a time. Self-Esteem in Artistry Artisan self-esteem is greatest when they see themselves and are seen by others as artistic in expediting and improvising productions. Most Artisans enjoy presenting themselves as graceful in action, their sense of pride stemming from their ability to act fluidly, beautifully, and with effortless freedom. John Updike captures this pride-of-performance when his character

i j The Self-Image ofArtisans

51

Rabbit Angstrom stops to shoot baskets with some playground teenagers:
As they stare hushed he sights squinting ... setting his feet with care, wiggling the ball with nervousness in front of his chest, one widespread white hand on top of the ball and the other underneath, jiggling it patiently .... Then the ball seems to ride up the right lapel of his coat and comes off his shoulder as his knees dip down, and it ... drops into the circle of the rim, whipping the net with a ladylike whisper. [That his touch still lives in his hands elates him. He feels liberated.] 'Hey!' he shouts in pride .... ' Luck,' one of the kids says .... ' Skill,' he answers.

On the other hand, the Artisans' greatest source of embarrassment is in performing some action poorly or awkwardly, any lapse of what dancer Martha Graham calls "the physical use of the body in action." When Graham became too old to dance with the fluid gracefulness which was her trademark, she was frustrated by the loss of her masterful technique:
I wonder where all the loveliness, all the awareness of the magic of the body, has gone .... What I miss some days .. .is the eagerness to meet life, the curiosity, the wonder that you feel when you can really move-to work toward a perfect first or a perfect fifth position. There becomes an excitement, an avidity, a forgetfulness of everyone about you. You are so completely absorbed in this instrument that is vibrant to life.

It is a mistake to confuse the artistic action of the Artisans with the efficient action of the Rationals. Efficiency is measured by the proportion of input to output. The action that gets the most result for the least effort is efficient, and NTs take pride in their efficiency. In contrast, graceful action boosts the SPs' self-esteem regardless of the effort they put into the performance. Artisans will expend whatever effort is required to adorn an activity, styling and restyling their performance, pushing their artistry to its limits, failing again and again until fluency has been reached. And in this they can be quite wasteful of effort, at least in the eyes of the NT. For example, witness how tap-dance prodigy Savion Glover, as he choreographs a number with his dance troupe, is far more concerned with embellishing his moves than with running his rehearsal efficiently:
As Glover takes the members of Real Tap Skills through the steps in rehearsals, he improvises as he goes .... [He] paces and taps in front of the mirror, hearing phrases, repeating them, building up a tapestry of intricate sound, which sometimes frustrates the dancers of Real Tap Skills, who struggle to keep up with him. 'Let's go again,' he says, and they stolidly assume their positions and start over.

Self.Respect in Audacity
Artisans see themselves, and wish to be seen by others, as bold, daring,

52

Artisans

venturesome-audacious. General Patton is credited with saying that it is "I' audace, toujour I' audace" that wins battles. The SPs' self-respect depends upon their ability to act fearlessly, to look danger in the eye and defeat it under any circumstances. Boldness is a virtue to cultivate, and like the lion in The Wizard of Oz, Artisans feel guilty if they are cowardly, if they are yellow or chicken out. Hemingway often wrote about what his biographer Carlos Baker called "his favorite subjects of bravery and cowardice":
Courage, he believed, was a matter of dignity .... A man without inner dignity was an embarrassment. Ernest knew from personal experience 'what is was to be a coward and what it was to cease being a coward.' Now, in the presence of actual danger, he found that he did not care what happened. 'I knew it was better to live it so that if you died you had done everything that you could do about your work and your enjoyment of life up to that minute.'

With this eagerness to live boldly "up to that minute," Artisans are the world's great risk-takers. They delight in putting themselves in jeopardy, taking chances, facing hazards, whatever form their endangerment might take. Even if it means they must walk away from a good job or a settled life, they might very well pay that price. SPs say that "life is too short," that they must "make hay while the sun shines," and that "he who hesitates is lost." SPs do not hesitate; on the contrary, they often find risk-taking so irresistible that they court it again and again, pushing ever closer to the edge. It is likely that most skydivers, race drivers, and mercenary soldiers are SPs who have become compUlsive in risking themselves. Not that all risks are death-defying. The most successful Wall Street wheeler-dealers and corporate high-rollers are usually Artisans, as are many surgeons and defense lawyers, political negotiators, trouble-shooters-and comedians. Johnny Carson, for example, developed a brand of humor based on risque jokes and stories. Even in college, hosting fraternity shows, Carson's quips were brash and slightly off color, or as biographer Laurence Leamer puts it:
Johnny's ... best jokes were usually about sex, not bawdy burlesque stories, but witty allusions. He gave thousands before him the feeling that here was a daring young man.

Generally speaking, however, the SP gravitates toward jobs where bold physical action is involved, not only in the performing arts and athletics, but in construction work, jobs where heavy machinery is employed, in the building operations for dams and skyscrapers, for freeways and mines, in operations for pitting human force against the forces of nature, such as working the oil fields and logging, in loading freight, in driving ambulances, motorcycles, and aircraft, in detective work, police work, soldiering, fire and rescue work. All these are SP occupations which require bold action

The Self-Image ofArtisans

53

and a considerable amount of physical courage. Unfortunately, cultural stereotyping provides male Artisans far more than female Artisans the opportunity to express their attraction to risk. Perhaps the influence of the feminist movement will eventually make this style of life more socially acceptable for females; nonetheless, current realities still exclude the SP female from most typical SP occupations, in spite of the fact that half of the SPs are women. True, a few women have entered professional athletics (golf, tennis, and now basketball), also heavy construction and the military, and some have succeeded as trouble shooters; but the action occupations, involving precision, endurance, strength, boldness, and timing, remain largely in the hands of men. The majority of women still enter three traditional occupations, nursing, teaching, and clerical work, none of which is likely to give the female Artisan much chance to build her self-respect.

Self-Confidence in Adaptability
Artisans may well pride themselves on their artistry, and respect themselves for their boldness, but they base their self-confidence on their ability to adapt spontaneously to changing circumstances, to alter and shape their behavior in the moment, in order to operate effectively in the most unstable situations. Paracelsus, as noted earlier, saw this type as guided by the Salamander, a mythical creature capable of changing its appearance so as to blend in with its immediate surroundings. And, indeed, of all the styles Artisans are best able to respond quickly and flexibly to a changing environment. This is why Artisans work so well in a crisis; new situations demand new actions, and earlier commitments often have to be abandoned-with regret, perhaps, but still abandoned. Today is today, and yesterday's arrangements must give way in the face of more urgent demands. SPs hate to be bound by rigid, pre-established laws-by the SJ's rules and regulations, by the NF's ethical concerns, or by the NT's laws of logic. SPs will go along with such conventions for a time, lying low and not rocking the boat, but only until a crisis occurs, and then they spring into action. Of course Artisans are not always successful in dealing with crises. They have successes and failures like everyone, perhaps more than most people. But win or lose, they are always adaptable, pliable, and have the ability to roll with the punches and land on their feet, surviving setbacks which might leave other types permanently immobilized. Jennie Churchill, Winston Churchill's extraordinary mother, showed this knack of adapting to survive. She lived with a vivacity which is rare, even in SPs, and Ralph Martin caught her style when he wrote of a low point in her life:
For Jennie, the year 1895 began bitter and bleak. Mter a lingering illness, her husband had died of syphilis, raving mad. Only weeks before, her lover, unwilling to wait any longer, had married. Her sons, Winston and

/

54

Artisans
.j

Jack, both had problems which required her full attention. Physically and emotionally she felt drained ....So here was Jennie with the man who had loved her most now married to someone else, little money, not even a home of her own ....And yet, such was the inner resource and resilience of this woman that her life soon took on an excitement and vitality such as she had never dreamed of. As her friend, Lady Curzon, said in a letter to her, 'You are the only person who lives on the crest of a wave.'

The Values of Artisans
Different people value different things, but even in our values temperament plays a decisive role. Even though we may wish to value something, if it is not in our nature to do so, we cannot. We may will, but we cannot will to will. Different types differ in their preferred mood, in what they put their trust in, what they yearn for, what they seek, what they prize, and what they aspire to. It is perhaps in our values that the patterns of personality are most easily discernible, moreso than in other domains, such as the self-image or the forms of intelligence. To appreciate these differences let us study the following chart: Value Being Trusting Yearning Seeking Prizing ASpiring Artisans Excited Impulse Impact Stimulation Generosity Virtuoso Guardians Concerned Authority Belonging Security Gratitude Executive Idealists Enthusiastic Intuition Romance Identity Recognition Sage Rationals Calm Reason Achievement Knowledge Deference Wizard

"

I think that Artisans typically enjoy being excited, trust their impulses, yearn to have impact on others, often seek stimulation, prize generosity, and aspire to virtuosity. These value preferences are radically different from those of other temperament. Therefore is will serve us well if we study these six kinds of value in the case of Artisans lest we are surprised (and perhaps annoyed) to find them, for instance, less security-minded, less sagacious, or less hungry for achievement than we are. Being Excited Artisans like being excited and insist on being excited, especially when things get dull. They are excitable as children and they never seem to get less excitable as they grow up. They enjoy being turned on and can tolerate a lot of excitement for long periods of time. Unlike the other three temperaments, the SPs' public performances even improve the more excited they get. Not that this excitement is always displayed openly. Artisans at their milling machine or crawling on the World Wide Web, working on their

The Values ofArtisans

55

)"

i

paintings or taking batting practice, are just as keyed up, high-strung, and show the same restless energy. This excitability is what enables Artisans to be oblivious to pain or fatigue, depending, of course, on what they're doing. If they're caught up in spme artistic activity, grasped by the action itself-as by a magnet-then they are too excited to feel pain or fatigue. The rest of us get tired and sore in our efforts, but the Artisans are not making effort in our sense; rather, they are acting in the heat of excitement, and so need not endure anything. SPs climb the mountain for the thrill of it-because it's there-not to get to the top or the other side. Action is for the high, the rush, not for something else. Some say that Artisans, during their excited actions, are dedicated, but this is neither dedication, commitment, nor devotion. It is, rather, a kind of repetition compulsion, making them continue the action that has caught them in its energy field. Moreover, Artisans (especially the sociable ones) lend an electricity to the environment and to the people around them. SPs tend to live life at the level of a gourmet feast, and they bring to work and to play a sense that something delicious is about to happen. Wherever they go, the atmosphere takes on a glow, seems brighter, more colorful--charged with an excitement that others often admire and even envy. Auntie Marne defies a disapproving world, urging her friend to take some risks: "Yes! Life is a banquet, and most poor sons-of-bitches are starving to death! Live!" And her friend catches the SP fever, responding, "Yes! Live, live, live!" Excitability has its price, however, which is that Artisans can easily become bored. Boredom is one of the most painful conditions SPs can experience, and if it continues for long they are likely to do almost anything to end it. A friend of Leonard Bernstein remembers the brilliant young musician in his student days at Harvard as "endlessly energetic and ... needing constant variety": He was magnetic, outgoing, fun-loving, surrounded himself with many friends and had an abundance of acquaintances, from all walks of life .... He became bored if made to have a regimental existence. He had a fascination with unique people and artistic projects, and needed to have many projects going on at once. Similarly, John F. Kennedy hated bo~edom above all else, as White House correspondent Nancy Dickerson recalls: To Jack, the cardinal sin was boredom; it was his biggest enemy, and he didn't know how to handle it. When he was bored, a hood would come down over his eyes and his nervous system would start churning. You could do anything to him-steal his wallet, insult him, argue with him-but to bore him was unpardonable. Very likely the SP's love of excitement is why Kennedy pulled strings

56

Artisans

to get himself assigned to the dangerous PT boats during World War II, only to have his boat crushed by a Japanese destroyer. Artisans, of course, are capable of all the moods. Besides being excited, they can be calm, concerned, or enthused like other types. In old age, particularly, sonie SPs seem to calm down a bit, but this may be because they have lost some of their steam, or because they have gained some control over their impulses. But even with their best years behind them, Artisans still prefer to be excited-to be hot, turned on, to be a live wire-and the other moods of calm, concern, and enthusiasm tend to be short-lived. It may seem strange to distinguish between enthusiasm and excitement, especially when dictionaries present them as synonymous. But they are quite different attitudes. To be enthused is to be aroused by something inside-an idea, an image, a goal. To be excited is to be stimulated by something outside-a game, a contest, a challenge, an opportunity. Thus the prevailing mood of the SPs is opposite that of the NFs, with SPs frequently and easily becoming excited, but only slowly and rarely becoming enthused; and with NFs frequently and easily showing enthusiasm, but only slowly and uneasily getting excited. Trusting Impulses Artisans are impulsive. They like being that way. To be impulsive, spontaneous, is to be really alive. SPs trust their impulses without reserve, enjoy feeling them well up within; and they love discharging them, like setting off an explosion. They even feel uneasy if they don't have impulses. At one time or another all the types feel these sudden urges to act, but the others try to control them, looking ahead to what they think of as more valuable goals. SJs, NFs, and NTs discipline their impulses in the name of duty, ethics, or reason, behavior which would only make the SP feel bound and confined. Joe Namath, professional football player (and one-time famous bachelor), was more interested in playing the field than in committing to marriage:
I have no desire to have children, so why get married? Ladies, for the most part, want to get married and have children. Most have been conditioned that way. I can't handle it. Inside of me I get a little crazy. I start feeling locked in if I have to be somewhere at a certain time and then I worry if I'm not there, she'll worry. Man, the biggest burden I ever had was love.

r

Life for an Artisan means having impulses and acting spontaneously on those impulses. Since an impulse, by definition, is ephemeral, the SP must live in the immediate moment. Action cannot be saved for tomorrow. The young Hemingway suddenly quit his job and volunteered to drive ambulances in World War I, but he became impossibly "bored with sightseeing" in France while waiting for his assignment and wrote his sister, "I

The Values ofArtisans

57

I

!

!

wish they'd hurry up and ship us off to the front." For SPs, to wait is psychological death, no matter how dangerous the action. Other types often find it hard to understand why an Artisan wants to live so impulsively; but to an Artisan, a life of action in the moment, which disregards long term goals, is life at its freest and most intense. This is not to say that SPs do not have goals and ties just like the rest of us. They do, of course, only their goals are fewer and more tentatively held. And if the ties become too numerous or too binding, then the SP is likely to become restless and get the urge to take off for elsewhere. Artisans, of all the types, are most likely to answer the call to wander, and they can sever social or family ties more easily than others, even though they may be aware of the distress such behavior causes those close to them. The SP can abruptly abandon either an activity or a relationship, walking away without a backward glance. At mid-life particularly, the Artisans' need for freedom from constraints may be so intense that they can bec:ome unusually impatient. A stifling career is suddenly discarded; family responsibilities are dropped, sadly, even painfully, but still with little regret. Although the SP himself created these ties, now they seem a suffocating burden. Gauguin, in his early forties, turned away from his wife and children and sailed off to Tahiti, where he produced many paintings, some held to be masterpieces, though he left broken trust behind. Artisans must do whatever their impulse dictates and continue the action as long as the urge compels. When the impulse lets up, when they no longer feel like racing, painting, playing, or whatever, then they can stop. Under stress, SPs will sometimes claim that they have to behave in a particular way, that they can't help themselves. Thus they may admit to being "compulsive gamblers," for example, or "compulsive drinkers," and are likely to be labeled as such by therapists who encounter them. But while compulsions are experienced by the other types as burdensome and onerous (NTs can be compulsive, too), the SPs' compulsions are almost all exciting and not at all burdensome.
Yearning for Impact Social impact is vital for Artisans, even for those who appear to shrug their shoulders and turn away from society. Artisans need to be potent, to be felt as a strong presence, and they want to affect the course of events, if only by defying, shocking, or mocking the establishment. For an Artisan, to be without impact, to make no difference in human affairs, is like being deprived of oxygen. More than other types, the SP is subject to what Karl Biihler, one of the great Gestalt psychologists, called "function lust," that is, a craving for impressive action, a longing to perform some conspicuous function in their social context and so make their mark. SPs hunger to have a piece of the action, to make a splash, to make something happen, to hit the big time, whether in the world of art or corporate business, on the battlefield or ball field, on stage or in the political arena. This is why so

58

Artisans

many professional politicians are SPs: the world of politics allows not only for maneuvering, excitement, and risk-but for powerful social impact. In his Presidency, and in his life, Teddy Roosevelt lived by a motto that speaks for all his fellow-Artisans: "Get action; do things ...create, act, take a place wherever you are; get action." Seeking Stimulation Artisans spend a good deal of their time seeking stimulation because they need it. As much as possible, they live in their five senses, and they seem to like their music a little louder than the other types, their clothes a little more colorful, and their food and drink a little stronger. Marvin Zuckerman, an American psychologist, spoke of this type as the "SensationSeeking Personality," a name that British playwright Alan Ayckbourn seems almost to have had in mind when one of his comic heroes, Norman Dewers, rather drunkenly begs his brother-in-law to join him on a holiday: no, not a holiday-that sounds so damn conventional. I want us just to go .... And see things. And taste things. And smell things. And touch things ... touch trees-and grass-and--earth .... Let's be able to say-we have seen and experienced everything.

~

Artisans believe that variety is the spice of life, and they want their lives to be filled with new sensations and experiences. In family life, Artisans are eager to try different vacation spots, to buy new cars, new clothes, to change houses, to try out new foods, new places to eat, or even to vary the dinner hour, wanting to eat whenever the impulse strikes. This tends to be upsetting to the more conservative types, SJs particularly, and can lead to difficulty when an SP marries. The same at work: if their job has little variety or unpredictability, in other words, little that is stimulating about it, the Artisan becomes disinterested. But as the range of possibilities and emergencies increases, so does the SP's eagerness to take on the task. In fact, when a job becomes too dull and routine, SPs have been known to create a sensation-just to liven things up a little. Not that Artisans refuse to do what they're supposed to do, or in the prescribed way, or even to do it over and over again. They mayor may not, depending on how they feel at the moment. But they will turn the job into play if they can, and if they must repeat an action, they will either make it variations on a theme, or they will tune out and reduce it to an automatic way of operating, their modus operandi, or M.D., a habit pattern which Artisans often resort to. Prizing Generosity Child-like in other ways, perhaps Artisans are most child-like in the life-long pleasure they get out of giving. They never really lose the sense of fun that accompanies fortuitous generosity-not giving because some-

r"

The Values ofArtisans

59

thing is owed to them or by them, but giving that is done spontaneously, for no reason other than having fun. For SPs giving out of duty isn't fun at all, but impulsive giving is very gratifying. For example, Artisan men are the most likely of all the types to bring flowers, candy, and whatnot to their girl friend or spouse, while Artisan women are the most likely to throw a party for spouse or child or parent just for the fun of it, and are just as delighted when this is done for them. Of course other types, especially Guardians, are pleased to give gifts, but not to the same extent or frequency of pleasure experienced by Artisans. Santa Claus, the elfin spirit of the Guardians, is known to give only to the deserving, but Dionysus, the spiritual guide of the Artisans, is pleased to give of his bounty to all who come to the party, whatever their just deserts mayor may not be. This impulsive generosity can be expensive at times, as seen in a story about one of Elvis Presley's whims. Presley had parked his custom-made Cadillac near a car lot, and when he returned he found a total stranger with her head in his car, looking it over longingly. Elvis asked the woman if she liked it, and then offered, "This one is mine, but I'll buy you one." He caught the stranger by the arm, took her to the nearby car lot, and told her to pick one out. After she had selected a gold and white model, Presley learned that it was the woman's birthday, so he handed her the keys to the car, wished her happy birthday, and told his aide to write her a check so that the woman could "buy some clothes to go with the car." And Frank Sinatra, according to John Lahr's New Yorker profile, "has always been known among his friends for impulsive, awesome acts of generosity-those grand gestures that Sicilians callla bella figura." For instance, one time when his friend actor George Raft was under indictment by the IRS, Sinatra sent him a blank check with a note saying, "To use if you need it."
,/

Aspiring to be a Virtuoso Aspiration is more of a dream than an ambition, something one would be if only one could, something seen as almost out of one's reach, such that those who make it to that level of expertise wonder how they got there. In the case of Artisans, they so covet skill in technique that they tend to aspire secretly to becoming some sort of virtuoso of performance, the aspiration becoming less secret as the technical mastery increases. Scratch an SP, find a would-be virtuoso, who, short of virtuosity, can attain surprising proficiency in some art form. Now, it's one thing to dream of being a virtuoso-an ace in one's field-and quite another actually to become one. Mter all, a virtuoso is the ultimate technician, capable at times of perfect artistic execution, showing skill so great as to be unimaginable. Take figure skating. How Olympic skaters perform those incredible turns and leaps so flawlessly is beyond imagination, even though it is clear that such skill requires daily practice for years on end. Most of us, were we somehow to practice that much, still would not develop such extreme prowess. No, it is something in the Artisans'

60

Artisans

temperament that puts virtuosity barely within their reach but not the reach of others. After all, those of other type aspire to other things-wizardry, wisdom, executive status-and so cannot aspire at the same time to virtuosity. Virtuoso performers in the fine arts, or on stage and screen, are apt to be Artisans, but we must not forget that virtuosity in performance can be achieved, or at least sought, by any of the SPs: not only the figure-skater, but the surfer, the chef, the sculptor, the surgeon, the racer, the mountainclimber, the gambler, the politician, the fighter-pilot, even the con artist and the gunslinger of the Old West. Indeed, the gunslinger could draw his long-barreled revolver, cock it, aim it, and fire it, hitting unbelievably small moving targets, without sighting down the barrel. He was able to perform this feat in less than one-fifth of a second-so swiftly that the motion of his hand could not be seen. The fast draw of the gunslinger is just as incredible as the bowing and fingering of the violinist, the twirling of the ice-skater, or the triple somersaults of the high board diver-all feats of the same character type.

The Social Roles Artisans Play
There are two kinds of social roles, those that are allotted to us by virtue of our position in our social milieu, and those that we reach out and take for ourselves. It is impossible not to play a role in all of our social transactions. We perforce play offspring to our parents, siblings to our brothers and sisters, and relatives to our extended family members. On the other hand we choose to play mate to our spouse, parent to our offspring, superior to our subordinate, subordinate to our superior, friend to friend, and so on. Allotted or embraced, we have no choice but to enact our roles, since interaction with others can never be role-free. Three of our social roles are of special significance in the context of the study of personality: mating, parenting, and leading. In these three roles the temperaments differ in important ways, important, that is, in the effects their ways of mating, parenting, and leading have on their mates, offspring, and followers. Let us consider a chart which shows the different ways in which mating, parenting, and leading roles are played: Social Roles Mating Parenting Leading r-----------------~--------------------------------------------------------~ /

r

(

./

Artisans Playmate Liberator Negotiator

Guardians Helpmate Socializer Stabilizer

Idealists Soulmate Harmonizer Catalyst

Rationals Mindmate Individuator Visionary

Note the striking difference between enacting the Playmate role in the case of the Artisans, and the Helpmate, Soulmate, and Mindmate in the other three types of personality. These different roles will require lengthy and complex study and so a chapter on mating (Chapter 7) is provided.

The Social Roles Artisans Play

61

Chapters on parenting roles (Chapter 8) and leadership roles (Chapter 9) are also furnished. Even so, a few remarks on each of the Artisan's social roles can at least give outlines of how they are played.

..
I

.,

The Playmate The spousal role the Artisan is something to behold. The most hedonic of all, the Artisans seek to lighten up their spouses, and in taking the role of Playmate, devote themselves to giving pleasure and excitement to their mates. The vast majority of Artisans end up, if they do not start out, with Guardian mates. One reason is that together the Artisans and Guardians comprise about 85% of the population, so there is little chance of either of them even encountering, let alone marrying, either Rationals or Idealists. Another reason is that marriage between Artisans tends to be rather unstable and is often terminated after a few months or years, so the second time around the divorced Artisan goes for a Guardian. And a third reason is that SPs and SJs complement each other very nicely, for reasons to be discussed in Chapter 7. To say the least, marriage to an Artisan can be exciting and fun, and never boring, whatever the temperament of his or her mate. The Liberator Parent Wanting freedom for themselves, it is quite natural that Artisans would want freedom for their kids. Not that they let their kids get away with abusing their privileges, but Artisans are apt to encourage their kids to test the limits of their surroundings, so that they can do things on their own as early as possible-shoved out of the nest as soon as they're ready to fly. In line with liberating their kids, SP parents are likely to see to it that they get to learn how to do lots of concrete operations such as using hand tools, building things, running vehicles, playing games, and participating in sports or theater. In short, Artisan parents are likely to be less concerned than other types about socializing, individuating, or bonding with their children, and more concerned with encouraging them to become free spirits with enough gumption to take off and sample the world's waiting pleasures. The Negotiator Leader Negotiating is a kind of bargaining or dealing in such a manner that the negotiator is able to resolve a strained and trying situation. Effective negotiators make do by using whatever is at hand at the moment, and to their advantage. It must be the opportunism of the SPs-always on the lookout for an edge-that sets them up as good negotiators. That's it: an edge. Artisans can spot things that give them an edge where others can't, at least not with the same ease and accuracy. By the way, that's why SPs make good trouble shooters in corporations and institutions, but more about this in Chapter 9. For now, suffice it to say that when taking on a leadership role, the Artisan has no peer in negotiating tense situations.

,j

!

r
\

62

Artisans

Matrix of Artisan Traits
The matrix below collects and highlights the terms used in this chapter to define the personality of the Artisans. For ease of comparison, I have placed these terms in parallel with those used to define the other three personalities.

The Traits of Temperament and Character
Communication Implementation Character Language
Referential Syntactical Rhetorical

r- Concrete......, r- Abstract--, Utilitarian Cooperative Cooperative Utilitarian Artisan Guardian Idealist Rational

Harmonic
Indicative Descriptive Heterodox

Associative
Imperative Comparative Orthodox

Inductive
Interpretive Metaphoric Hyperbolic

Deductive
Categorical Subjunctive Technical

Intellect
Directive Role • Expressive Role • Reserved Role Informative Role • Expressive Role • Reserved Role Education Preoccupation Vocation

Tactical
Operator • Promoter • Crafter Entertainer • Performer • Composer Artcraft Technique Equipment Hedonism Optimism Cynicism Here Now Artistic Audacious Adaptable Excited Impulse Impact Stimulation Generosity Virtuoso Playmate Liberator Negotiator

Logistical
Administrator • Supervisor • Inspector Conservator • Provider • Protector Commerce Morality Materiel Stoicism Pessimism Fatalism Gateways Yesterday Dependable Beneficent Respectable Concerned Authority Belonging Security Gratitude Executive Helpmate Socializer Stabilizer

Diplomatic
Mentor • Teacher • Counselor Advocate • Champion • Healer Humanities Morale Personnel Altruism Credulism Mysticism Pathways Tomorrow Empathic Benevolent Authentic Enthusiastic Intuition Romance Identity Recognition Sage Soulmate Harmonizer Catalyst

Strategic
Coordinator • Fieldmarshal • Mastermind Engineer • Inventor • Architect Sciences Technology Systems Pragmatism Skepticism Relativism Intersections Intervals Ingenious Autonomous Resolute Calm Reason Achievement Knowledge Deference Wizard Mindmate Individuator Visionary
J
I f

Interest

;

Orientation
Present Future Past Place Time

Self-Image
Self-Esteem Self-Respect Self-Confidence

Value
Being Trusting Yearning Seeking Prizing Aspiring

Social Role
Mating Parenting Leading

l
Artisan Role Variants 63

.
t.

It might prove useful to take time to study this matrix and thumb back to it from time to time, in order to get a sure grip on the complex configuration of the Hedonic Artisan Personality, as well as to get a feel for its uniqueness and radical difference from the Proprietary Guardians, the Ethical Idealists, and the Dialectical Rationals.

Artisan Role Variants
These "Concrete Utilitarians" as I like to call them-Plato's Artisans, Aristotle's Hedonics, Galen's Sanguines, Myers's SPs-have a tightly configured personality, so that each trait of character entails the other traits. This means that Mother Nature does not permit Artisans, any more than other types, to pick and choose their traits. If their environment enables them to develop a given trait it can only be one that is predetermined by their temperament. While it is useful to think of each of the four temperaments as a single, unified pattern of attitudes and actions, individual members of each temperament clearly differ from one another. Thus, all the Artisans seem to have a gift for tactical artistry, but some (the tough-minded SPs) are drawn to the directive role of Operator, while others (the friendly SPs) take up the informative or reporting role of Entertainer. These two divisions can be further broken down to reflect an expressive or a reserved social attitude, with the Operators tending to play the role variants of Promoter or Crafter, and the Entertainers playing Performer or Composer.

,i

)

i

,/

,.'

.~'

,

" I

.

The Promoter [ESTP] Promoting is the art of putting forward an enterprise and then of winning others to your side, persuading them have confidence in you and to go along with what you propose. Of all the Artisans, ESTPs seem especially able to advertise or publicize their endeavors in this way, and to maneuver others in the direction they want them to go. In a sense, they are able to operate people with much the same skill as ISTPs operate instruments, machines, vehicles, and other tools. It might be said that people are instruments in the hands of these Promoters, and that they play them artistically. As a variant of Plato's Artisans and Aristotle's Hedonics, the ESTPs are little different from other SPs in most respects. Like all the Artisans they are concrete in their communication and utilitarian in their use of tools. They are interested in learning about arts and crafts, are preoccupied with technique, and work well with equipment. In orientation they tend to be hedonistic, optimistic, cynical, and focused on the here and now. They want to be seen as artistic, audacious, and adaptable. Often excited, they trust their impulses, yearn for impact, seek sensation, prize generosity, and aspire to virtuosity. Intellectually, they are prone to practice tactics far more than logistics, strategy, and especially diplomacy. Further, with their tough-minded nature they tend to play the directive role of Operator more

64

Artisans

easily than the informative role of Entertainer, which takes a more friendly or soft-hearted character. And because of their expressiveness and sociability they prefer to be a Promoter boosting enterprises than an Crafter handling instruments. To visualize ESTP intellectual development consider the following graph which depicts the most probable profile of their tactical roles:

The Tactical Roles of the ESTP
Promoter Crafter Performer Composer

Operator Entertainer ~

I

I

Promoter

There are lots of Promoters, maybe ten or so percent of the population, and life is never dull around them. Witty, clever, and fun, they live with a theatrical flourish which makes even the most routine events seem exciting. Not that they waste much time on routine events. Promoters have a knack for knowing where the action is. They always seem to have tickets to the hot show or big game (or can get them when others can't), and they usually know the best restaurants, where the headwaiters are likely to call them by name. To be sure, ESTPs have a hearty appetite for the finer things of life, the best food, the best wine, expensive cars, and fashionable clothes. And they are extremely attentive to others and smooth in social circles, knowing many, many people by name, and knowing how to say just the right thing to most everyone they meet. None are as socially sophisticated as they, none as suave and polished-and none such master manipulators of the people around them. Promoters are so engaging with people that they might seem to possess an unusual amount of empathy, when in fact this is not the case. Rather, they are uncanny at reading people's faces and observing their body language, hypersensitive to the tiniest nonverbal cues that give away the other's attitudes. ESTPs keep their eyes on their audience, ever on the lookout for signs of assent or dissent, and with nerves of steel they will use this information to achieve the ends they have in mind-which is to sell the customer in some way. Winning people over with this kind of brinkmanship might seem exhausting to others, but Promoters are exhilarated by working close to the edge. Indeed, a theme of seeking excitement through taking risks runs throughout their lives. Promoters can be hard-nosed utilitarians, willing to do whatever it takes to achieve their goals, and it is this utilitarianism that allows them to be such capable troubleshooters and negotiators. Concerned more with what works than with traditions or moral niceties, they can keep their cool in crises and operate freely, since they do not stand on ceremony, do not worry much about justifying their actions, and are fully aware of all expe-

/
(

(

Artisan Role Variants-The Promoter

65

dients that can be put to immediate use. Thus ESTPs are invaluable as hired gun administrators who can pull troubled companies or departments out of the red very quickly, and with style. Thus, too, they make the very best negotiators, willing to put anything and everything on the table, which gives them a tactical edge over opponents who might hold some asset or procedure as sacred and thus non-negotiable. Promoters can be sharp entrepreneurs, able to swing deals and kick-start enterprises in a way no other type can-although they ordinarily have little patience with following through and mopping up. This impatience can obscure their extraordinary talents, since people lose sight of their contributions and focus on the little things they've left undone, criticizing their weaknesses rather than appreciating their strengths. Few companies or institutions use this type of Artisan as they should be used. But neither does this type always succeed when they strike out on their own, because their unwillingness to bother with follow-up details may cause an otherwise excellent project to fail. Whenever possible, ESTPs need careful, methodical assistants who will take care of completing their operations. If the promotional, entrepreneurial capabilities of Promoters are used to constructive ends, an institution-or a nation-is fortunate for their presence. ESTPs are without peer as deal-makers, sales promoters, arbitrators, and negotiators, just as they make bold defense lawyers, aggressive industrialists and real estate developers, and flamboyant show-business producers. And Promoters have been some of America's most charismatic political leaders, including Andrew Jackson, Teddy Roosevelt, Franklin Roosevelt, John Kennedy, and Lyndon Johnson. On the other hand, if their desire for excitement is not met constructively, they may channel their energies into antisocial activities such as those of the con artist. Although nothing is too good for their friends, Promoters are rarely interested in heartfelt, long-term commitments with their mates, and at times give their family responsibilities second priority. All relationships are essentially conditional for ESTPs, with their eye on what they have to gain by their investment. As long as there is a social or sexual payoff for them, they can be captivating mates, giving freely and generously to their spouses, and bringing fun and surprise to their relationships. Concerning matters of personal sympathy and family commitment, however, they can be less generous, and their mates may in time come to feel like possessions or negotiable commodities. In their role as parents, ESTPs are energetic and spontaneous, much like their children. They will arrange lavish birthday parties for their children, with the latest toys and equipment in abundance. They will push their children to take up competitive sports and to play hard at them-"nice guys finish last" they say. And they are proud to have their children tackle exciting, even dangerous activities, surfing, skiing, racing, rock-climbing, and so on, and will often participate with them. However, while they entertain and play with their children, they can be impatient with weakness

66

Artisans

or timidity in their children, and are all too often unavailable for the personal chat or the quiet moment of sharing. Charming, confident, popular, these tough, outgoing Artisans carryon amusing repartee with friends and colleagues, the laughter surrounding them as they recount from their endless supply of quips, anecdotes, and jokes. At the same time, these smooth Operators are usually something of a mystery to others. While they live in the moment and lend excitement-and unpredictability-to all their relationships, they rarely let anyone get really close to them. They have a low tolerance for anxiety and are apt to leave relationships that are filled with interpersonal tensions. Promoters understand well the maxim, "He who travels fastest, travels alone," although they are not likely to be lonely for long, since their boldness and sense of adventure tends to make ESTPs highly attractive to many other people.
The Crafter [lSTP] The nature of the ISTPs is most clearly seen in their masterful operation of tools, equipment, machines, and instruments of all kinds. From microscopic drill to supersonic jet, from tiny scalpel to giant crane, a tool is any piece of equipment that extends or varies human powers-vehicles, lifters, cutters, and weapons are just four of the many categories of the tools that surround us. Most of us use tools in some capacity, of course, but these Crafters (as much as ten percent of the population) are the true masters of tool work, with an innate ability to command tools and to become expert at all the crafts requiring hand tool skills. Even from an early age they are drawn to tools as to a magnet-tools fall into their hands demanding use, and they must manipulate them. Indeed, if a given tool is operated with a precision that defies belief, that operator is likely an ISTP. As a variant of Plato's Artisans and Aristotle's Hedonics, the ISTPs are little different from other SPs in most respects. Like all the Artisans they are concrete in the way they use words and utilitarian in the way they use tools. They are interested in learning about arts and crafts, are preoccupied with technique, and work well with equipment. In orientation they tend to be hedonistic, optimistic, cynical, and focused on the here and now. They want to be seen as artistic, audacious, and adaptable. Often excited, they trust their impulses, yearn for impact, seek sensation, prize generosity, and aspire to virtuosity. Intellectually, they are prone to practice tactics far more than logistics, strategy, and especially diplomacy. Further, with their tough-minded nature they tend to play the directive role of Operator more readily than the informative role of Entertainer, which takes a friendly or fond-hearted character. And owing to their reserve and love of solitude they seem more drawn to be a Crafter wielding instruments than a Promoter boosting enterprises. To visualize ISTP i'ntellectual development consider the following graph depicting the most probable profile of their tactical roles:

I

~

!
,I

J

Artisan Role Variants-The Crafter
The Tactical Roles of the ISTP
Crafter Promoter Composer Performer

67

Operator Entertainer

!

'"

T

I
Crafter

I

.>

,,

t

r ,

i' j The Crafter's tool artisanship is masterful, but it is also born of impulse rather than of deliberate purpose. For these Artisans, action is more enjoyable-and more effective-if it is unplanned, serving no purpose other than the doing. ISTPs prefer their actions to be spontaneous and unfettered; they want to follow their own lead, and to have their own impulses not subject to rules, regulations, or laws. Indeed, Crafters can be fiercely insubordinate, seeing hierarchy and authority as unnecessary and even irksome. It is not so much a matter of going against regulations as it is simply ignoring them, and not allowing them to influence execution. ISTPs must be free to do their thing, varying each next move as the urge strikes them, and they are proud of their ability to make the next move skillfully. In a sense, Crafters do not work with their tools, but play with them on impulse and not on schedule. If an externally imposed schedule coincides with their impulse, fine; if not, so much the worse for the schedule. Crafters also seek recreation on impulse, taking off at any time just because they feel like it to play with their toys. The surgeon shifts his schedule in order to get in a round of golf, or the carpenter is late to the job site because the surf was up or the fish were biting. Such urges to escape routine and to play can be irresistible and overpowering, and we are advised not to try to stop the ISTP who feels like doing something. Not only impulsive, Crafters are fearless in their play, risking themselves again and again, despite frequent injury. Of all the types, these Artisans are most likely to pit themselves, or their technique, against chance or odds. There can be no end to the ways they seek thrills in their recreation, daring disaster for the fun of it. They thrive on excitement, especially in the form of fast motion-racing, sky diving, or water-skiing, for instance. This desire for the rush of peak experiences also makes them more subject to boredom than any other type, their need for stimulation driving them to faster and faster pace. Strangely, however, Crafters are not bored while doing their thing, even though there may be long stretches when nothing happens, as during travel, surfing, hunting, or fishing. In general these hard-bitten, soft-spoken Artisans communicate through action, and show little interest in developing verbal skills. Their lack of expressiveness makes them seem like loners at school and on the job, and even though they hang around their own kind in play, they base their companionship on their mastery of tools, and their conversation is sparse and terse. Indeed, this lack of interest in communication is often mistaken

68

Artisans

by physicians and teachers as "learning disability" or "dyslexia," both questionable notions of medics and academicians. Let ISTPs handle equipment of any complexity and power and see how fast they learn to use it, and how precisely they speak of it. With their concrete, artisan intelligence, Crafters are not in the least interested in the clerical, humanities, and science curricula that abound in modern American schools, and this often gets them into trouble, because they refuse to do their assignments. Ordinary school work is, after all, mere preparation for something the ISTPs figure they're never going to do anyway. Crafters do not wish to prepare-for anything-and they are careful to make this clear to their would-be instructors. All too often this refusal to sit still and cooperate gets them labeled as "minimally brain damaged," or "hyperactive," or as having "attention deficit disorder," and they are prescribed stimulant narcotics to drug them into apparent obedience. Such labels are purely fictional, and this experimental narcotherapy is likely criminal. Certainly ISTPs are active, but only in their stubborn insistence upon getting to do something interesting, something that allows them to test their mettle. They'll work in a tool-centered curriculum. In spite of poor schooling many Crafters manage to develop their tactical skills on their own. Gifted with their hands and eyes, Crafters make wonderful tradespeople, carpenters, mechanics, plumbers, furniture makers, weavers, jewelry smiths, and so on. They are the very best pilots of all manner of vehicles, trucks, trains, planes, boats, and they also make incomparable surgeons, artists, athletes, musicians-and warriors. Born hunters, Crafters are from an early age fascinated by weapons of all kinds, and soon learn to wield their weapons with lethal virtuosity, taking pride in their prowess. Warriors good and evil can be seen as weapons artists, not only the marksmen among soldiers and police, but also the mob hit man and the gunslinger of the American West. This is not to say that all warriors are ISTPs, or that all ISTPs are weapons experts, but that the weapons virtuoso is more frequently than not an ISTP. Crafters are hard to get to know. On the one hand, they are egalitarian and can be fiercely loyal to their friends, teammates, and sidekicks. They will give their friends the shirt off their back, and will often give generously of their time and tool skills to help their friends with building projects or mechanical jobs, house remodeling, for example, or repairing their cars or boats. On the other hand, these Artisans are lone wolves who will not be tied to schedules and commitments, and thus they cannot always be counted on to follow through on their offers of assistance. They might show up, or they might not, as the impulse strikes them, and their friends are best off not expecting them until they see them. This combination of generosity and waywardness is especially difficult for the members of a Crafter's family. ISTPs can treat their mates royally, with ardent attention and beautiful gifts of their handiwork, and they can be great buddies with their children and patiently teach them their tool

,
I
1

f

Artisan Role Variants-The Performer

69

rI
}.

t
I

J'
I

j

skills. But they can also forget their family and go off with their friends for extended periods of time, taking a road trip from family responsibilities. These Crafters need their freedom to seek adventure, flying their plane, sailing their boat, racing their motorcycle, and mates who wish to keep them happy are wise to give them a long leash.
The Performer [ESFP] Performing is putting on a show or demonstration of some kind to entertain others, and ESFPs are the natural performers among the types, people for whom it can truly be said "all the world's a stage." Playful and fun-loving, these expressive Artisans' primary social interest lies in stimulating those around them, arousing their senses and their pleasurable emotions~harming them, in a sense, to cast off their concerns and lighten up. Such Performers radiate warmth and festivity, and whether on the job, with friends, or with their families, they are able to lift others' spirits with their contagious good humor and their irrepressible joy of living . As a variant of Plato's Artisans and Aristotle's Hedonics, the ESFPs are little different from other SPs in most respects. Like all the Artisans they are concrete in their communication and utilitarian in their use of tools. They are interested in learning about arts and crafts, are preoccupied with technique, and work well with equipment. In orientation they tend to be hedonistic, optimistic, cynical, and focused on the here and now. They want to be seen as artistic, audacious, and adaptable. Often excited, they trust their impulses, yearn for impact, seek sensation, prize generosity, and aspire to virtuosity. Intellectually, they are prone to practice tactics far more than logistics, strategy, and especially diplomacy. Further, with their friendly nature they tend to play the informative role of Entertainer over the tough-minded, directive role of Operator. And with their outgoing expressiveness they lean more toward pleasing others as a Performer than as a Composer. To visualize ESFP intellectual development consider the following graph depicting the most likely profile of their tactical roles: The Tactical Abilities of the ESFP
Performer Composer Promoter Crafter

J
J

(

J

.-

I

I ~
I

J

r

.
I

~

,

,
J

I I i ,

I

I J
I

r

,
I

Entertainer

operator~

I

I

Performer

Performers are plentiful, something over ten per cent of the population, and that is fortunate, because they bring joy to so many of us. They love the excitement of playing to an audience, and they try to generate a sense of showtime wherever they are. They aren't comfortable being alone, and seek the company of others whenever possible-which they usually find, for they make wonderful playmates. Lively, witty conversationalists, they

70

Artisans

always seem to know the latest jokes and stories, and are quick with wisecracks and wordplay-nothing is so serious or sacred that it can't be made fun of. Performers also like to live in the fast lane, and seem up on latest fads of dress, food, drink, and entertainment, the chic new fashion, the in nightclub, the hot new musical group. Energetic and uninhibited, ESFPs create a mood of eat, drink, and be merry wherever they go, and life around them can have a continual party-like atmosphere. The Performers' talent for enjoying life is healthy for the most part, though it also makes them more subject to temptations than the other types. ESFPs are inclined to be impulsive and self-indulgent, which makes them vulnerable to seduction, giving in easily to the wishes of others, or to the desire of the moment. Pleasure seems to be an end in itself for the Performers, and variety is the spice of life, and so they are open to trying almost anything that promises them a good time, not always giving enough thought to the consequences. Most often, they will do what they feel like in the moment rather than what is good for them in the long run, chalking it up to experience, or blaming someone else, if things don't turn out well. Performers do quite well when life is easy for them, and they don't let themselves get too caught up in what they call "sticky" situations. Their tolerance for anxiety is the lowest of all the types, and they will avoid worries and troubles by ignoring the unhappiness of a situation as long as possible. "Always look on the bright side," is their motto, and if forced to endure a tense, complicated situation (at work, for example, or in a love relationship), they will not make waves or put up a show of resistance. They will let themselves appear outwardly concerned-and then go their own way to do what they enjoy. ESFPs are the most generous of all the types, and second only to the ISFPs in kindness. They haven't a mean or stingy bone in their body-what's theirs is yours-and they seem to have little idea of saving or conserving. These Artisans view life as an eternal cornucopia from which flows an endless supply of pleasures that require no effort on their part to create or to insure. Essentially communal in outlook, they give what they have to one and all without expectation of reward, just as they love freely, and without expecting anything in return. Performers are emotionally expressive and affectionate people, virtually unable to hide their feelings or hold their tongue. With their emotions so close to the surface-their heart forever on their sleeve-they tend to fall in love easily, impetuously, and always as if for the first time. Intent on pleasing everybody, Performers can appear fickle, even promiscuous, to other types, when in truth they are simply, and rather innocently, sharing with others from the bounty of life. Although they are often popular with their classmates because of their good-hearted clowning and cutting up, Performers are not deeply interested in school or scholastic pursuits, caring little about preparation, schedules, and grades. Unlike the ISTPs, ESFPs are not usually hostile to their teachers,

Artisan Role Variants-The Composer
,i'

71

f

r
) (

)

) )
)

~

(
~

f

J
;

,
J.

;
'.

J f ,

!
}

-

(

I
1

I
I

i

(

t
~

.

and will go along with the classroom agenda in a friendly way, though the work they hand in rarely shows the kind of effort the teacher hopes for. Performers put up with school, finding fun where they can, in sports, in music, in the school play, and especially in fooling around with their friends. But, as with all the Artisans, the traditional school is largely a waste of time for Performers, who want knowledge only so that they can do practical things in the here and now. In the matter of career, ESFPs enjoy entertaining people and are thus drawn to the performing arts, thriving on the excitement of being on-stage, in the limelight. But even in less glamorous pursuits, they prefer active people jobs over solitary, technical occupations, and thus they avoid science and engineering and gravitate toward business, where they are apt at selling, particularly at selling tangible goods. Performers can be extremely effective real estate agents, for example, because they are continuously and effortlessly scanning both clients and listings, gathering information to help them fit people to properties. These Artisans love working with people, and are outstanding at public relations, their sociability and adaptability making them easy to get along with and fun to be around. They can be effective teachers, especially at the elementary level, and are also good at working with people in crisis, a talent which often leads them into social work, where they are very sensitive to the pain and suffering of others, particularly small children. ESFPs are childlike themselves, and perhaps this is why they seem so finely attuned to children's feelings. Performers-sociable and outspoken Artisans-make exciting and entertaining (though somewhat unpredictable) mates and parents, which may give their families a good deal of anxiety. They love to spend money on fun things (like clothes, jewelry, sports cars, vacation trips, and so on), and they will impulsively use up their credit card limits, and more, without giving much thought to family necessities. ESFPs are happiest when their home is filled with people all having a good time, led by the ESFP who weaves his or her way through the party, welcoming, teasing, laughing. In such a generally festive atmosphere, family problems will not be allowed to make their appearance. Performers prefer to walk by the graveyard whistling, often refusing to recognize their mate's dissatisfactions or their child's need for stability. Performers make warm, generous, loving friends to their mates and children, but should not be expected to take these relationships much more seriously than that. The Composer [lSFP] Although ISFPs excel in what are called the "fine arts," composing must not be thought of as only writing music, but as bringing into synthesis any aspect of the world of the senses. More than the other Artisans, Composers have a sure grasp of what fits and what doesn't fit in any and all kinds of artistic works, and so when an especially gifted painter, sculptor, choreographer, film director, song writer, playwright, poet, novelist, chef,

.
I
I

~
"

J

t

J

72

Artisans

decorator, or fashion designer shows up, he or she is likely an ISFP. As a variant of Plato's Artisans and Aristotle's Hedonics, the ISFPs are little different from other SPs in most respects. Like all the Artisans they are concrete in their communication and utilitarian in their use of tools. They are interested in learning about arts and crafts, are preoccupied with technique, and work well with equipment. In orientation they tend to be hedonistic, optimistic, cynical, and focused on the here and now. They want to be seen as artistic, audacious, and adaptable. Often excited, they trust their impulses, yearn for impact, seek sensation, prize generosity, and aspire to virtuosity. Intellectually, they are prone to practice tactics far more than logistics, strategy, and especially diplomacy. Further, with their friendly nature they tend to play the informative role of Entertainer more comfortably than the tough-minded, directive role of Operator. And with their quiet reserve they prefer playing the part of a Composer than a Performer. To visualize ISFP intellectual development consider the following graph that depicts the most probable profile of their tactical roles: The Tactical Roles of the ISFP
Composer Performer Crafter Promoter

Entertainer Operator

~I

I

I

Composer

Composers are just as plentiful as the other Artisans, say nine or ten per cent of the population. And like the other Artisans, they have a special talent for tactical artistry, such talent differing radically from that possessed by Idealists, Rationals, and Guardians. As the word 'tactical' implies, Artisans know their way around in the world, their senses finely tuned to concrete reality. However, while the Crafters are attuned to the tool and its uses, the Composers are attuned to sensory variation, which gives them an extraordinary ability to work with the slightest nuances of color, tone, texture, aroma, and flavor. This observant sensuality seems to come naturally to the ISFPs, as if inborn. While a few of these Artisans become world famous, Composers in general are very difficult to observe, making this type probably the least understood of all. Perhaps such misunderstanding comes from their tendency not to express themselves verbally, but through action. Like the ISTPs, ISFPs are usually not interested in developing facility in speaking or conversation. The spoken word, after all, is not as handy as the tool, and Composers prefer to have their fingers on their compositional tools and through them feel the pulse of life. That pulse must be felt-by touch, in the muscles, in the eyes, in the ears. This insistence on the senses being so closely attuned to concrete reality can, in some ISFPs, occasion a breach with language, such that they give up rather easily in their attempts to

Artisan Role Variants-The Composer

73

express themselves verbally. But this reluctance in speech is not so much a lack of ability as disinterest. If Composers find a medium of expression, some art form, then they will express their character quite eloquently via that medium. If not, it simply doesn't come out, and no one knows them, their reticence leaving their character all but invisible. Again, in those rare cases where remarkable skill is achieved, such as in the virtuoso, ISFPs can become celebrities, but their nature is still far from visible. Although Composers often put long, lonely hours into their compositions, we must not assume that they are working on their art in the sense of careful planning and dutiful execution. On close observation, ISFPs prove to be just as impulsive as the other Artisans. Indeed, they covet their impulses and see them as the center of their lives. They do not wait to act or to consider their moves, for to wait is to see their impulse wither and die; rather, they live intensely in the here and now, and as gracefully as possible, with little or no planning or preparation. Submergence in their artistry is not preparation for something later, and neither is it artful play, such as Crafters engage in with their tools. Composers are seized by the act of artistic composition, as if caught up in a whirlwind. The act is their master, not the reverse, and, in a sense, the doing is elicited by the action itself. ISFPs paint or sculpt, they dance or skate, they write melodies or recipes--or whatever-simply because they must. They climb the mountain because it is there. Captured as they are by whatever actions are underway, Composers seem oblivious to the fatigue, and even the pain, that accompanies many of their activities. It is not that they are hardened to these difficulties as much as it is that, absorbed and excited, and wholly engaged by an action, they simply do not notice the difficulties. In this the ISFP is similar to other Artisans and different from all the other types. This ability to lose themselves in action accounts for the spectacular individual works some Composers are capable of, and yet they also have a social side. The ISFP is the kindest of all the types, with only the ESFP as a near competitor. Here is unconditional kindness carried to its most extreme form. In addition, Composers are especially sensitive to the pain and suffering of others, and with a sympathetic impulsivity they give freely to the sufferer. Some have a remarkable way with young children, almost as if there were a bond of mutual sympathy and trust. In some instances a similar bond may be seen between the ISFP and animals, even wild animals. Many Composers have an instinctive longing for the pastoral, the bucolic, the out-of-doors, the wilds, and nature seems to welcome them. Of course, all ISFPs have not been and need not be artists in the narrow sense of the word. Art, broadly conceived, is any action the next move of which is a free variable, and thus Composers have a lot of leeway in choice of occupation, especially if they don't drop out of school early (though a great number do, since the school offers little that is of interest to them or that challenges their special talents). These ISFPs do quite well

74

Artisans

in business, particularly in decorative design (from automobiles to book covers) and purchasing (selecting a line of clothing, home furnishings, or gift shop items). With their kindness, they make wonderful nurses, and they can satisfy their love of nature by working in forestry, in landscape design and gardening, and even in veterinary medicine. Composers also make excellent teachers, especially of a school's arts curriculum, subjects such as drawing, music, drama, photography, and so on. Notice that all of these careers allow them a great deal of freedom and spontaneity. It is a sad day indeed when the ISFP chooses work wherein the operations are fixed by rule or iron-clad necessity. To be happy and productive they must choose free, variable actions and be rewarded for doing them. These friendly and soft-spoken Artisans tend to seek a safe anchorage in their home and family. While they enjoy their personal freedom as much as any Artisan, and will roam when the opportunity presents itself, they seem to value the stability and patience of a dutiful spouse (most often an SJ Guardian of some sort) to help keep them from wandering off too far and for too long. Conflict in such marriages is almost inevitable, but Composers will put up with a lot more interpersonal tension than the other Artisans, hanging in there to keep the family intact-then will leave when the children are grown and go off to paint in the mountains. With their children, as with their mates, Composers are great friends and playmates, though they can be hard to get to know, and their reserve can be a barrier to close relations.

4
Guardians
If you speak of solid information and sound judgment, Colonel Washington is undoubtedly the greatest man present.

"

Thus Patrick Henry proclaimed his support for George Washington to be Commander of the Virginia militia, but such words would ring true throughout Washington's long career in public life. Washington's first great feat was leading the rag-tag Continental army to victory over the powerful British expeditionary forces in the American colonies. To achieve such a stunning success, he had to hold his tiny army of volunteers together for eight desperate years, always under unbelievably harsh conditions. Further, he had to avoid engaging the British in open battle, or if he did engage them, to do so only on his own terms. Fortunately for his country, General Washington's abilities were not those of a tactical commander, such as Andy Jackson, or of a strategic commander, such as Dwight Eisenhower. Washington was instead a brilliant quartermaster with highly developed logistical skills, and what concerned him was equipping and sheltering his soldiers, and as far as possible keeping them out of harm's way. He knew full well that he was out-numbered, out-provisioned, out-gunned, and very much out-generaled. And he knew that, despite his prodigious efforts to supply his troops, his men would have to fight in rags, and on empty stomachs and bare feet. So his task was to conserve his meager forces and resources, letting the British wear themselves out chasing after him. In this way he managed to make the Revolutionary War a guerrilla war, a war of harassment and retreat, that was too wearisome and expensive for British taste. Freeing the colonies from the British was not Washington's only achievement. He also saw it as his duty to oversee the United States of America's ascent into democracy. And so, for eight more difficult and discouraging years as the first President of the United States, Washington struggled with internecine disputes within his cabinet and among the states. It would appear that he and he alone kept the new nation from regressing into monarchy or dictatorship, as had all previously liberated regions in Europe and Asia. In the mid 1970s I referred to Myers's SJs as "Epimetheans," after 75

76

Guardians

Epimetheus, the Greek god of duty. During the eighties, with a powerful nudge from my editor, Stephen Montgomery, it became clear that the Greek goddess Demeter was a far better choice. Demeter was worshipped in autumn, and her duty was to protect the harvest and to insure the careful provisioning of home and family as the year turned toward the long months of winter. Even Demeter's name suggests the logistical intelligence of the "Guardians" (as I now call them) in both its essential forms: first, Administering, or measuring stores and meting out portions, keeping track of quantities, seeing to it that everything'S in its proper place, and that everyone's doing what they're supposed to be doing; and second, Conserving, or carefully husbanding goods and services, meeting the needs of others and keeping them from want or harm. Of late I have come to think of the Guardian as well represented by the Beaver. The only other animal that comes close to the beaver as totem for the Guardian temperament is the squirrel. Although the squirrel is diligent about storing nuts and other edibles for a time when food is scarce, the beaver is an indefatigable worker for the good of the whole woodland community. First the beaver dams up a stream, creating a pond in which to build a safe house for protecting its family and for storing bark to eat during the winter months. But the beaver also stands guard over the pond, ever on the lookout for lurking predators, and, detecting one, spanks the water with its broad tail to warn its family and neighbors of the impending danger. What better totemic symbol of the Guardian temperament? Looking back, I must say that most of my friends have been and still are Guardians. At school all through the twelve grades such was the case. And this was true even during flight training in World War II, for I was invariably drawn to the Guardians rather than the Artisans, who were too reckless for my taste. In my own fighter squadron my buddy and wingman was a Guardian. And when working for public schools after the war my friends and tennis partners were invariably Guardian administrators. Though diametrically opposite in temperament from me, I admire Guardians for their logistical capabilities (my short suit) and for their abiding social interest and constant dependability. I like them and appreciate them for what they are, the pillars of society.

Plato's Guardians
The word 'Guardian' is the English equivalent of the Greek word 'pistike,' which means "those with trustworthy convictions." In Plato's Republic the social function of Guardians wa~ to ~eeI? watch over t~e activities as well as the attitudes of the people In theIr CIrcle. Centered In the world of visible and tangible things, Plato's Guardians were known for relying on common sense and for holding morally correct beliefs, and they were alert to both the needs and the perils of others. Plato's pupil, Aristotle, said that some men find happiness not in "sen-

Plato's Guardians

77

suous living" (hedone), or in "ethical musing" (ethike), or in "theoretical dialogue" (dialogike), but in "a life of money-making," in "a life of gain," or in the acquisition and control of "property" (propraietari). So in Aristotle's view the social role of Plato's Guardians is that of the Proprietary. Galen called these Guardians the "Melancholics" because their temperament was dominated by black bile or gall, causing them to expect unfavorable outcomes, and making them glum, doleful, and solemn. Galen's interests, however, lay on the dark side of temperament, on the four negative extremes, such that he regarded the somber Melancholics as different from, but no worse than, the over-optimistic Sanguines (Artisans), the irascible Cholerics (Idealists), or the taciturn Phlegmatics (Rationals). Paracelsus patterned this sort of person on the Gnome, one of a fabled race of dwarflike creatures who live in underground caves and hollows, where they look after treasures. Tales of Gnomes such as Santa Claus and his helpers, together with tales of the Niebelungs, the Hobbits of the J.R.R. Tolkien tales, and Snow White's Seven Dwarves tell much of the character of Gnomes. Also, the ~eprechaun in Irish folklore is an elfin creature who can reveal hidden treasure to someone who catches him. Besides being treasurers, or keepers of whatever is of most value, Gnomes are thought to be well-versed in pithy or "gnomic" old sayings such as adages, aphorisms, maxims, morals, precepts, proverbs, and truisms, and feel it helpful to offer them to those who seek their advice. Adickes's name for Plato's Guardian was the "Traditional," identifying those who believe in and take part in the time-honored practices of their social groups. Adickes thought of his Traditionals, like his Innovatives (the Artisans), as "heteronomous" or "other-centered" beings, but whose heteronomy took the form of careful observance of tradition, custom, ceremony, and ritual at home and in the community. Spranger considered the Guardian as the "Economic" type, and thus very similar to Aristotle's Proprietary, economics pertaining as it does to the production, development, and management of material wealth. It might be said that in Spranger's view the Economic type tries to find security in money and property, and so has what I like to call a "Security Seeking Personality. " Kretschmer was first to take a careful look at the dark side of character, and he named the Guardians "Depressives," even on occasion using Galen's term 'Melancholics.' Thus he echoed Galen in seeing them as somber, doleful, and solemn, but Kretschmer was also suggesting much more, that the kind of irrational behavior that befalls some Guardians is a matter of temperament rather than a matter of choice. If Guardians are forced by untoward circumstances to become downcast for no apparent reason, it is because they are beset by strong negative feelings that overwhelm them and render them immobile and helpless. Like Kretschmer, Fromm examined both sides of character, negative as well as positive. He called the Guardians the "Hoarding" type, considering

78

Guardians

hoarding a bad thing to do, but on the positive side he praised them for their steadfastness and for being "careful," "cautious," "composed," "economical," "imperturbable," "loyal," "methodical," "orderly," "patient," "practical," and "reserved." Last, we come to Myers's contribution to the study of the Guardian character. As mentioned earlier, she named them the "Sensory Judging" types-"SJs"-and said of them that they are "conservative," "consistent," "dependable," "detailed," "factual," "hard-working," "painstaking," "patient," "persevering," "routinized," "sensible," "stable," "thorough," "undistractable," and "unimpulsive." This is a very clear-cut pattern of action and attitude, quite different from the SPs, and as will be shown, starkly different from NFs and NTs. Though apparently unaware of the contributions of her predecessors Myers was clearly able to identify the more salient traits that characterize Plato's Guardians.

The Concrete Cooperators
These different views of Plato's Guardians, no matter what they're called, all have something in common, namely they all suggest that this type is concret~ in t~ou~ht and spe~ch Words and cooperatIve 10 lmplementmg Abstract Concrete goals. Thus, in beginning our consideration of the habits of action and Concrete attitude of the SJ Guardians, let's look NF SJ at their quadrant in a matrix of char- Cooperative Cooperators acter. As shown, the foundation of Tools the SJ character, setting them apart unmistakably from the other personalities, is their unique combination Utilitarian NT SP of concrete word usage with cooperative tool usage-and so I call them the "Concrete Cooperators."

Concrete Word Usage Like their Artisan cousins, Guardians talk for the most part about the concrete particulars they observe in their material or social surroundings. They might listen politely to conversation on theoretical or fanciful topics, but they tend not to respond in kind and will shift to more concrete things to talk about, more solid and sensible topics, such as goods and services, food and clothing, credits and debits, prices and wages, gains and losses, transportation and recreation, weather and shelter, accidents and disasters, rich and poor, famous and infamous, radio, TV, and the movies. Of course they can and will discuss abstractions, but lacking much interest in them, they are inclined to shift the conversation away from the abstract to the concrete.

The Concrete Cooperators

79

I

I

Guardian speech is coherent in the associative sense, which means they move from one topic to another associatively rather than deductively or inductively, as do Rationals and Idealists. When Guardians are reminded of something, however distant from or unrelated to the topic at hand, they mention it. And often this reminds others of something else, who then mention that. And so the conversation goes from topic to topic, by contiguity rather than implication, like a row of dominoes, each toppling the next. Such conversations are interesting to all who participate, since each is speaking of what is pertinent to his or her own life, but no single topic is pursued at length, and issues, if surfaced, tend not to get settled. SJs are very good at this sort of small talk, something their opposites, the NTs, are very poor at-which puts the SJs firmly in the social driver's seat and the NTs in the trailer. On topics that interest them Guardians are able to store an enormous fund of facts, which they will call up and, again, freely associate in conversation. They can remember people's names, birthdays, the names of their friends' parents and children, how those children are doing at school, who their relatives' friends are, who's gotten what job, who's recently been born or has died (when, and of what), the date, time, and location of family, social, or civic events, and so on, one bit of information easily calling forth another. This is concrete information, concerning specific persons, products, times, and places, and lending itself to comparative value (this better than that) and amount (too much, not enough). It is the storage, retrieval, and effortless association of such data that makes Guardians the most comfortable at conversation of all the types. Besides being associative and comparative, Guardian speech is predominantly orthodox. SJs are ever wary of putting on airs or getting fancy in what they say. So they tend to use a rather conventional vocabulary and phrasing, often throwing in old sayings, proverbs, and adages (particularly about value and amount), such as "a penny saved is a penny earned," "a stitch in time saves nine," "one bad apple spoils the barrel," or "it's either feast or famine." Guardians also use words and sentences common to the area they call home. Harry Truman, for instance, grew up in a rural setting, and always considered himself a hometQwn boy. Not surprisingly he was well-known for his folksy comments. When in 1945 Franklin Roosevelt died in office, and Truman suddenly found himself President of the United States, he told newsmen that he felt like "a load of hay" had fallen on him. Hist011: has shown that the feisty Truman was up to the job, indeed thrived under Its e~ormous responsibilities. And he expressed his satisfaction in true GuardIan style when he admitted that being President "is an all day and nearly all night job," but that "just between you and me and the gatepost, I like it." ~t ~he same time, Guardian speech is often laced with admonition. SJs are InclIned to warn others of possible danger, whether of hurting themselves

80

Guardians

or others-"be careful, you'll hurt yourself." They are also inclined to caution others about the danger of committing moral transgression-"It wouldn't be right to do that." And when their warnings are ignored they are the most likely of all to chide or reprove the transgressor, for they are reluctant to let others get away with much. Guardians usually avoid showy hand gestures when they speak. But when they do get animated out come the hands: the index finger wags in warning, or the fist rises in front of them-not the square, menacing fist of the SPs, but a fist with the thumb atop the curled index finger, as if holding the reins and driving a team of horses. And perhaps most familiar of all, SJ~ will bring one or both hands swiftly down in a chopping motion, to emphasize their statements or to cut off further discussion, something Truman himself did when he summed up the responsibility of the Presidency: "The buck stops here." Cooperative Tool Usage Civilization is a cluster of cities, and cities are clusters of tools. Streets, sidewalks, buildings, and conveyances are all tools. And the millions of instruments, implements, and machines in those buildings, on those streets, and in those conveyances are also tools. Now, wherever there are tools there must be rules that govern their use. Our inclination can be either to cooperate with these rules or to go our own way, and SJs are very much on the side of cooperation. For example, SJs believe we should park on the right side of the street even if the left side is empty, stop at red lights when there is no other traffic, signal when turning even if there's no one to signal to, and on and on. Cooperation, compliance, conformity, obedience: these attitudes toward the rules loom larger in the consciousness of Guardians than any other temperament. Indeed, Guardians can regard the Artisans' utilitarian style-do whatever it takes to get the job done-as somehow anti-social and irresponsible. No one is permitted to ignore the rules merely to have fun or just to speed things up. Ignoring the rules might work for a while, but that way is the road to ruin. Cooperation is the safer way, and this requires giving up one's selfish concerns and working with others-mutual conformity to mutual agreements long held-else there will surely be chaos. Let us all cooperate with one another in pursuit of common goals, says the Guardian, for in the long run discipline and teamwork get us where we want to go: Guardians work hard to make and enforce the laws that govern action, insisting that only by establishing and obeying rules and regulations. ~an we hope to maintain civil order, and thus safeguard our homes, commumtIes, and businesses. The other types, though they may be grateful that somebody is keeping order, are not vitally interested in either rule making