INTp profile by Stratiyevskaya
(partial translation-further translation needed)
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Ni Block of Ego, 1st position, Program Function: "Intuition of Time"
ILI lives according to the principle "hurry unhurriedly" and does not like it when others try to assign him any other pace. One can only envy his manner to not hurry anywhere and yet rarely be late for anything (even intentionally he cannot make himself be late.) Traffic jams on the roads, similarly, in no way complicate his life: despite everything, he still arrives on time.
This is partially so because in his life there is rarely anything that is unforeseen Balzac knows how to foresee everything. This realization of his or her talent for forecasts very early on ceases to surprise and excite Balzac. It is as if he/she was born knowing all that will occur with him in the future, and all that which has already occurred in the distant past. This, it would seem, enormous advantage turns into a fundamental problem for Balzac sometimes he feels too bored to live; he foresees everything so well that there remain very few refreshing and exciting surprises within his life.
Balzac does not hurry to share his predictions with everyone; he doesn't work as a "fortune teller". The ability to see "through time" for him is all too natural to present this as an "attraction". He prefers the role of a mentor or a counselor, who analyzes past mistakes, failings, and omissions and admonishes of repeating them. The ILI possesses the ability to spot the weakest link in any chain of events and occurrences. He proceeds to analyze concurrently the hidden risks and dangers that are involved and the future difficulties and troubles that may lie ahead. With characteristic for him negativism, he frequently fulfills the role of that enchanted stone from a folktale, which tells the hero: "If you go to the right you will lose your horse, if you go to the left you will lay down your head..." And seemingly there remain no other options except to turn back.
ILI does not glorify and "sing odes" to the brave. To the contrary, he will consider it to be his responsibility to timely warn others against rash decisions and actions, to counsel them about all the possible lacks and dangers, to point out all the unfavorable courses of events. He, as no one another, sees the original hopelessness of many enterprises and the foolishness of poorly timed undertakings. Nevertheless, even with all these expectations of the worst, the ILI, in contrast to some other intuitive types, does not foretell of an imminent end of the world; he is generally against causing public hysteria by means of bleak predictions.
Balzac likes to look at everything that is occurring around him philosophically; therefore he finds "comfort" in sayings of the kind: "everything passes", "we'll all be there", "tomorrow is not the end of the world", "this, too, shall pass"...
He considers that everything will come in time to a person who knows how to wait. And Balzac knows how to await. He also knows how to fill this waiting time such that it can last his entire life, and still not have any negative impact on his plans.
He usually knows how to manage and "own" his time this enables him to feel independent. He does not subordinate himself to the circumstances, rather he utilizes them to his benefit. He is not in a habit of harboring any flattering delusions concerning himself and thus capable of realistically estimating his own possibilities under the specific circumstances at some stage in time.
Balzac is able to see the most subtle, hidden, and imperceptible tendencies of the historical development of a society. He is perceptive of the interrelation of events in time and understands how the proceedings of today will influence the future unfolding of history. Whichever event he is reflecting on, he sees it simultaneously in the present, past, and future. And this for him is nothing more than his natural perception of all that occurs around him.
Following his perpetual desire to avoid possible errors, Balzac frequently takes on the role of an outside observer. This at time spurs accusations in ILI's address that he relates to life in a manner that is too passive.
A drawback of Balzac's warnings and admonishments is the absence of positive alternatives within them, in consequence of which they frequently have the effect of "freezing" or "stopping" some activity. With all of Balzac's efforts to prevent all the errors committed in this world, their quantity does not diminish. For one this is because rejection of an accepted plan of action in order to avoid some danger which is associated with its realization can in itself be a mistake.
Te Block of Ego, 2nd position, Creative Function: "Logic of Actions"
Balzac's time is filled either with matters and affairs or with reflections on how to better accomplish them.
Balzac performs best where he is not pressed, influenced, distracted or interfered with, where there is the smallest probability of unnecessary fuss, confusion, urgency, ethical sorting out of relations or intrigues in the association.
Internally, he is deeply independent and strives in any matter to free himself from the circumstances. However urgent and pressing are the proceedings at his work, on him this has no effect: he will methodically and calmly work through his workday, deliberately and conveniently distribute his forces, alternating different types of work and the different types of loads.
Balzac pedantically follows assigned requirements and specifications. If a specific sequence of work has been established, he will strictly follow it through. Where he is only responsible for the final result but the sequence of steps was not specified, he prefers to follow his own plan and work schedule, if possible, and his own rational procedures.
He is very assiduous, with pleasure takes on tedious, meticulous work, thoroughly familiarizes himself with all its details. Before turning in work, he attentively checks it, verifying that there are no errors and omissions. It is very important for Balzac that the analysis of mistakes in his work would be timely, most importantly, constructive.
Constantly worries about his level of qualification. Always grateful for valuable indications and advice regarding his work.
He greatly worries when his work does not earn appreciation this leads him to thoughts of his own unsuitability for a given profession. Sometimes he comes to the conclusion that he will bring more benefit working as consultant, instructor, methodologist, or inspector, rather than occupying positions that require executive and implementary activities.
He greatly enjoys when new workers are sent to receive instructions from him. Balzac loves to teach, advise, and instruct this is his moment, his hour of triumph, which he impatiently awaits.
One should not teach Balzac, in which order he should realize his plans, when and how to take up his matters. Especially, one should not try to teach him what to do and how to do it. He prefers not to deal with who, who know "how it should be": he knows this better than anyone.
The main thing is that he knows whether some matter is worth engaging in, in general. First of all, in his opinion, one should thoroughly think over what this matter is, to whom and for what it is necessary, and precisely how he will be instrumental for its realization.
If he is assigned some work, but not appointed a time period for its fulfillment, Balzac will not even consider this as an assignment: he either will forget about it or ignore it. He needs to be argumentatively explained for what it is needed and how soon his contribution is expected. Only then will he approach it with seriousness. His approach is more easily understood considering his tendency to not undertake any superfluous, pointless actions, to not do that which nobody needs.
For Balzac, as for any representative of the 3rd quadra, is very important to be aware of his own usefulness and necessity: he won't do anything that is not needed by anyone, he wants to be free for matters, that are actually necessary. Balzac will take up work which he considers to be useless only if so far he has been unemployed and has no money to pay for his livelihood. Later, he will try to find himself a more beneficial application.
Balzac is one of those people, who will "measure off seven times" and think one hundred additional times before deciding to "make the cut".
Balzac will compulsorily think about the consequences of his participation in anything. He tries not to risk with anything and never subject himself to indeterminate risks. He is not one of those, who joins the opposition or dissenting movement, although he can maintain personal relations with individual representatives from such groups. It is not necessary for him, for he knows how to wait for the right political situation to use it for realization of his plans.
Si Block of Superego, 3rd position, Normative Function: "Sensing of Experiences"
Balzac tries to do everything necessary to manage and sustain his lifestyle. House of Balzac is not only his fortress, but it is also a spiritual and intellectual "oasis", where without fail must contain all the things that are dear to him: valuable books, favorite music, treasured portraits and photograph on the walls, prized "memorable gifts".
Balzac can comfortably accommodate himself in a small room the main thing is that there would be place for his "dear" armchair and pile of books. Balzac loves comfortable and convenient furniture, it is not important, what style, loves muted, soft illumination. Loves to light up the fireplace in the winter evening, loves to listen to the noise of rain outside the window.
Balzac tries to be prepared "for the rainy day" and make all the necessary provisions. Non-dualized Balzac may purchase everything possible "in two, four, six, eight" exemplars. One of the representatives of this type built in his home a cozy basement, which he stocked with everything necessary "in the case of war".
Balzac greatly values his own comfort and soulful rest. He tries to create comfortable and convenient medium for his living. With pleasure he surrounds himself with beautiful things. He loves to start small collections of the works of art and other articles, and to contribute "memorable gifts" into these collections.
He feels wonderfully well in a comfortable and pleasant situation. He loves to pay visits to the hospitable and plentiful households (but only if he is sure, that he is indeed welcome there). Willingly accepts invitations to parties and gathering of pleasant and interesting company. He worries beforehand about how to spend advancing holidays. Enjoys receiving a small circle of close friends at his place, entertaining them not only with tasty food, but also by pleasant intellectual conversation about what he has recently learned and analyzed of the latest events and developments in spheres of politics, culture, region. An evening spent without intellectually saturated conversation Balzac considers to be unsuccessful. (Therefore the success of "Balzac's evenings" in large degree depends on the perceptiveness of his dual Caesar (SEE), to cease taking up the leading position and retreat into the background in timely manner, to not interfere with Balzac's intellectual initiatives.)
Balzac is always open to experiencing new sensations. With a child's curiosity he will try new dishes and foods. He listens to new music very attentively. For his tastes, the mixing of various musical styles is not alien: he can record "heavy metal" and "baroque" on the same CD.
However, some of the representatives of this type try not to encumber their ears by music of low quality, which relates to Balzac's desire to develop his artistic taste and erudition, to create most pleasant conditions for himself: surround himself with things of the highest quality, to dress expensively, neatly, beautifully, to try to be up to date in all artistic novelties premiers and openings, fashionable exhibitions, concerts of famous artists and performers.
For the same reason Balzac is watchful of his health. As is needed, he looks after his weight, takes up diets, implements preventive measures, tries to eat healthy vegetarian food.
Special attention he devotes to leisure and sleep. Some representatives of this type follow a very idiosyncratic schedule of work and rest. Balzac may not see anything wrong with falling asleep whenever and wherever it occurred to him. Sometimes it is possible to see Balzac sleeping at his work desk or even while carrying out monotonous work, that he continued automatically doing with his hands, during a lesson or a lecture, at a musical premier. Balzac can even comfortably arrange a bed outside, out in nature, and sleep. (Kutuzov, as is known, could fall asleep during the military council.)
Nevertheless sensing of experiences is an area that Balzac tries to develop in himself to the accepted norms. His successes in this is future guarantee of successful dualization: Balzac's efforts to look well-groomed, to dress neatly and trimly, to approperly organize his household, are rewarded by attention and appreciation of his dual Caesar (SEE), who has a well developed sense of self-respect and astute sensory perception, and who will not suffer next to himself an unsightly and slovenly person. (There are cases of unsuccessful dualization of Balzacs with underdeveloped sensing which did not meet the norms.) Therefore, with his entire unwillingness to force himself into exerting volitional force, Balzac is pressed to invest his time and efforts into his own upkeep, to thoroughly take care of his own appearance, to set up his household with tasteful and impressive items, to go out into the "social light" more often where he has many more chances to meet his dual at home, sitting in his own comfortable chair.
Fe Block of Superego, 4th position, Mobilizing Function: "Ethics of Actions"
This function manifests as attempts of Balzac to guard himself from strong influences or pressuring, and in his unwillingness to get drawn into strained emotional regime.
Balzac considers it necessary to subordinate his emotions to his reason this is his firm rule, which he strictly adheres to himself, and constantly suggests to those in his environment.
"Tragic-nervous breakdowns, fainting, tears..." Balzac cannot stand, however, while he attempts to avoid them at any cost, he frequently behaves himself unethically and immorally to a certain extent, such that he involuntarily provokes such episodes himself.
Attempting to be maximally restrained in showing his own feelings, to not reveal in any way his true emotional state, from fear of getting drawn into some personal intrigue, Balzac unconsciously behaves in a most intriguing manner, by manner of which he subjects himself to the risk of the stormiest explications of relations. Assuming a demonstratively dispassionate appearance, he, in reality, frequently creates a falsely meaningful "mask", which simultaneously intrigues and irritates. In many of his partners this "mask" evokes a desire to tear it away, to reveal his true face. Frequently it happens that the more "mysteriousness" he assumes, the "sharper" and more aggressive are such investigations. ("Pretended indifference" of Balzac is frequently for him a tactic of "ethical reconnaissance" designed to test how invested and interested his partner is in further development of relations.) For emotionally vulnerable, easily hurt, uncertain of his attractiveness Balzac, it is extremely important to know the degree of interest of his partner. Sometimes he uses the following trick": after addressing his partner about anything of prime importance, he suddenly pauses, as if he is distracted by something minor, and secretly observes the behavior of his partner, waiting for when he will show an interest in the topic that he touched upon. In relations with Caesar (SEE) this is also a method to discipline his inattentive dual, an attempt to catch his attention; and also, what is very important in the process of dualization, the attempt to estimate the significance of his own values with the values of his partner.)
It stands to reason, Balzac even for himself cannot explain the true reason for his "imperturbability" (he generally does not see any mysteriousness in himself and never admits to intentionally creating such - he is a logical type after all). Most frequently he behaves in this manner from desire to shield himself from psychological discomfort, which he experiences in emotionally oversaturated atmosphere. For this very reason, as he considers, the only possible way to safeguard himself is to keep up impassive appearance. Since this is also done in ethical situations, Balzac's partners frequently feel themselves insulted by this feigned indifference. Thus, it turns out that farsighted Balzac becomes the first victim of his own hedging.
Situation may get even worse when Balzac tries "to equalize" the emotional state of his partner, encouraging him by look or words. In itself, this is probably a good gesture, but in a complex ethical situation this kind of behavior is usually received not only as "moral support", but also as an appeasement, which leads to the subsequent sorting out of relations with all emerging emotional consequences.
His own emotional displays also do not pass without complications. Due to the eternal fear of being incorrectly understood during their natural manifestation, or with intentional concealment, Balzac is often in state of confusion when the matter concerns the expression of his own feelings. Here he runs into many problems simultaneously: sometimes he simply cannot tell them apart - his feeling seem either contradictory or insufficiently differentiated and developed. Furthermore, he doesn't always find a suitable form for their expression, and won't allow just anyone to aid him in self-expression. Often he is afraid of saying something excessive, to not encourage someone and then inadvertently let them down. His own emotional capabilities to him seem obscure and insufficiently studied. He can display his feelings in such an "odd" form as concerning about the fate of his partner, warning him against associating with himself, the "unworthy". He can say many unpleasant things about himself, subjecting to judgement "what kind of roses were prepared for us by Hymen
". Moreover, since all this is said in a confident and reasonable tone, almost no one will suspect that underneath this pile of contradictory reasons hides an elementary uncertainty in himself.
Unfortunately, to free Balzac from this uncertainty and lack of confidence in himself is a long, arduous, and often thankless labor. The only one who can manage this task successfully is his dual partner Caesar (SEE). Without troubling himself with reflections about the discrepancies and contradictions of Balzac's ethics, he naturally draws him into his naive, guileless, and sincerely compassionate relational game. Practice shows that even the closest ethical type of the same quadra, Dreiser (ESI), cannot successfully manage and resolve Balzac's "ethical puzzles".
Balzac is always frightened and irritated by inadequately expressed emotions, regardless of the fact, whether they are positive or negative. One immoderate or inappropriate exclamation is sufficient for his mood to drop. Therefore, Balzac painfully endures conversations conducted in a raised tone. Irrespective of whether this is a business conversation or sorting out of relations, he feels himself badly within a continuous flow of saturated emotions. Balzac dislikes irritated tone, but he is doomed to encounter it for his entire life: in the childhood he suffers from the irritation of parents and teachers, in adult years he irritates his bosses and colleagues. This irritation can be caused by anything: sluggishness or awkwardness of movements, monotony of voice, gentle or frightened appearance, old-fashioned manners the matter is not so much in himself, as in the inconvenient and uncomfortable relations into which he constantly falls (as, however, happens with each one of us).
What is there to say about hysterics with tears and reproaches, about scandals with beating of dishes, tears and exclamations, with "valerian pills" and "emergency medical services" ... This for Balzac is simply a punishment of the powers above it is only incomprehensible for what sins. Finding himself in the whirlpool of hysterics, on top of that accompanied by pressuring, Balzac experiences panicky horror the state, from which he does not know how to get out. Therefore, in that moment, he is capable of committing the wildest, the most unexpected act. (For example, similar to Pierre Bezukhov, swing a marble table at his wife.)
In any awkward ethical situation, Balzac feels himself very restless. Sometimes in the searches for an exit he aggravates the existing tension, no longer thinking, whether he is right or wrong, desperately trying to "extinguish" the situation whatever it costs him. In such minutes, he is capable of an act, about which he will then possibly regret, but for the moment this is of no importance for him: his reason is completely subordinated to the whirlpool of emotions, before which he is helpless, and therefore he is not in control of himself.
Being blinded by emotions for Balzac is equivalent to madness. The same he thinks about others. Therefore, he fears and hates the manifestation of socio-political hysteria in any shape or form. As soon as there appears the next maniacal political leader or latter-day prophet , Balzac "departs" to his well-organized basement and wait there until the better times or escapes somewhere "overseas".
After all shake-ups experienced by him in the real life, an easy emotional discharge in the form of a scary story or a horror movie for Balzac is no more than children's amusement. Favorite genre - comic necrotriller (of type "Adams Family").
Humor of Balzac - is a kind of tactic of intellectual-emotional "retribution". Sometimes, it is expressed as reaction to the perceived by him psychological discomfort:
"Celebrating ahead of time,
he started delineating in his soul
the caricatures of all the guests."
Sometimes Balzac's humor is expressed in the form of very successful epigrams. Sometimes, this is the simply thin irony, painted in darker tones. Balzac's "black humor" is characterized by unique necro-orientation. Perhaps Balzacs, in contrast to Hamlets, do not philosophize over the skulls of their friends, but fairly often they joke on this theme. From an early childhood Balzac forms a philosophically-ironic relation to the question of death. (Children Balzacs frequently entertain themselves by drawing skeletons and reading "horror stories".)
Se Block of SuperId, 5th position, Suggestive Function: "Volitional Sensing"
Balzac respects strong, willful people, who understand their goals well, who do not cower before difficulties but rather act confidently breaking through their path ahead. His dual Caesar (SEE) possesses precisely such qualities.
Balzac does not attempt to lead himself, preferring to remain a figure "number two" a "shadow" leader who supports a powerful patron.
Democratic in nature, Balzac usually does not openly boast of his position and influential connections. Knowing perfectly well that "everything passes", he is not one of those people who will trade his life and his health for an outstanding career. Even at the very peak of authority, he is, first of all, a person, who will not hide his weaknesses, tastes and habits.
Nevertheless Balzac possesses a deep feeling of his own value. He also knows how to value the merit of other and knows how to demand respect for himself.
Although demanding is precisely what is difficult for Balzac. He is a kind of person for whom it is difficult "to pull his will into his fist". Balzac doesn't know how to and doesn't like to subordinate someone else to his will. He also will not suffer direct pressure applied to himself. (Willful pressuring of Caesar, realized by ethical manipulations, is not perceived by him as suppression of his own personality. While direct volitional actions "volitional sensorics" of Zhukov (SLE), Maxim (LSI), or Dreiser (ESI), just as the demonstrative energetic nature of Hugo (ESE) oppress him.)
For Balzac the characteristic state is one of constant semi-relaxation. He prefers not to make excess efforts, attempts to expend his physical energy very economically. He will not invest more effort and forces than what this is dictated by objective needs into anything, even the most captivating work. He is not the type of person who will thoroughly invest himself, "wholly put himself out", solely on basis of enthusiasm. Balzac asks for respect for his own labor and a worthy payment.
Money for Balzac has an important meaning. (Although some representatives of this type relate to its absence with a philosophical calmness: "Money comes and goes.") Nevertheless Balzac approaches this topic very seriously, for he is acutely and deeply aware of the advantages of money as the real lever of force and authority. Rarely you will meet Balzac who quietly accepts lack of money or a negative balance in the bank. To the contrary, many of them see money not only as means of supporting themselves, but also as a guaranteed possibility to realize their plans that they crafted long time ago ("If only I will want - the halls will arise before me...")
Accumulation of money for Balzac is also a method of "conservation" of his own invested labor, the path of safety and and preservation of reasonable distribution of his own forces. Money for Balzac is the "equivalent of force", saved during young years in order to support himself in the old age.
Fi Block of SuperId, 6th position, Activating Function: "Ethics of Relations"
The problem of Balzac's ethics is that often it is not at the center of his attention rather it is a passive, steady value for him, and nothing more. Balzac is interested in obtaining of information on this aspect he is inspired by sincere interest and sympathy expressed in his address. Benevolent, compassionate relations impels him to noble emotional outbursts, which are also expressed in concrete help and supportive actions.
Those relations that Balzac can subordinate to his reason, transpire comparatively satisfactorily: Balzac is predisposed to be good and responsive friend, thoughtful family man, who sincerely loves his close ones. He is soft and yielding by nature, able (when he desires so) to be tactful, gentle and self-controlled, having a sense of self-respect, Balzac, it would seem, is safeguarded against "ethical troubles".
However, at closer examination, it appears that he has numerous problems in this respect. Simplest example: Balzac, imperceptibly to himself, has habit of breaking the conversation, as soon as it ceases to be interesting and meaningful to himself, without worrying about the feeling awkwardness that his conversation partner will experience after this and what kind of opinion his will form of his manners. In this case, he is directed only by the factor of the expediency of continuing an "empty" conversation and the fear of pointlessly wasting time. Let us assume that this single case will not result in serious ethical repercussions and complications, but, since relations are constructed from a composite of many such "single cases", in each of them for Balzac there is a real danger to unconsciously display his unethicalness and personal insensitivity, which under the conditions of strained intertype relations can be received as quite conscious and intended.
Problems begin already at formative stages of relations: from one side, in view of his exceptional ability for foresight, Balzac sometimes sees from the very beginning the acceptable and exemplary course of events, and this means that he can sufficiently rapidly lose interest in them, with which he risks to offend his partner and to provoke the unhealthy episodes of sorting out and explications of relations.
Another version is when Balzac in spite of his own reason nevertheless yields to his feelings: under unfavorable intertype relations this creates additional emotional stress, as a result of which his contradictory and unethical behavior only aggravates the problem.
In addition, lets not forget the ever present tendency of Balzac "to equalize" the emotional state of his partner! Preaching the principle "Learn to control yourself" he frequently places himself in a ridiculous and absurd position (especially, if his partner is an ethical type), for which he will later pay with remaining unsettled and forced solitude.
And these are yet not all of his problems. Subconsciously, oriented at his dual Caesar - bright, strong, positive personality - Balzac constantly expects the "crane in the sky", preferring not to trade it for insignificant "titmice" *. Sometimes, relying on his own foresight more than on real observations, he doesn't even permit himself to take his time to examine in the next titmouse to see in it his desired crane, later in life repeatedly regretting the opportunities that he has missed.
[*this is a reference to a well-known Russian idiom: "it's better to have a titmouse in your hands than a crane in the sky" - equivalent English version: "sparrow in the hand is better than a cock on the roof" - which means that it is better to have a small but actual benefit over one that seems greater and more lucrative but is unattainable, out of reach]
Furthermore, Balzac frequently does not recognize and admit to the presence of some deficiencies in himself. Practice shows that sometimes, when he finally meets the embodiment of his ideal, i.e. when his partner meets his criteria for both external and internal qualities, even then he managers to write off his own failures and flaws and assign them to some qualities of his partner, which personally he cannot make amends with. (Possibly, the fable of the "Fox and Grapes" was written by Balzacs for themselves.)
Irrespectively of his individual qualities, it is precisely the arrangement of his personal life that frequently causes serious difficulties for Balzac. Specifically here all "weak points" of this sociotype "work" against him: the passive relation to life, the deep pessimism, the unwillingness to make some extra effort, the fear before novel situations and experiences, the lack of understanding of basic ethical principles, and the overestimation of his own capabilities. The absence of these qualities would substantially facilitate resolution of Balzac's personal problems.
Their own negative experience does not prevent Balzacs from sufficiently successfully working in the spheres of the ethics and relations. Some representatives of this type are kind, patient, and responsive, and frequently become admired teachers and educators. Some of them find their calling in the field of psychology. And, it goes without saying that they may find success as writers, where they describe some ethical intrigues basing on their intuitive understanding the ethics of relations and their deep (subconsious) ethical values.
Ne Block of Id, 7th position, Observing Function: "Intuition of Possibilities"
Impression is created, what Balzac consciously does not desire to see the positive tendencies in its surrounding phenomena - and he actually this does not desire. Only not osoznanno, but it is subconsious.
Of all observed by it possibilities it subconsiously notes only those, in which it assumes the concealed danger. (in this it it sees its destination.)
In understanding of Balzac, are positive only those possibilities, which are least negative. In other words: is best anything that least of all is bad. Therefore the bal'zakovskoye observation of potential possibilities - this first of all calculation and the analysis of all "minuses".
The uzkopessimisticheskiy analysis of observations is explained by the subconsious orientation of Balzac to the exorbitant optimism of its duala of Caesar and is unique protection from it. Therefore bal'zakovskiy pessimism constantly "collects" the necessary "safety factor": and itself "to insure", and duala "to cool".
(try to convince Balzac that his fears are useless - it is irritated, and in it immediately appears the expression of fright in the eyes. It actual becomes terribly, and first of all for itself.)
Force of bal'zakovskoy intuition - in its "positive" pessimism, which makes it possible to consider all possible complications in the realization of its plans. Making it necessary to subconsiously calculate the time of the fulfillment of work taking into account vynuzhdenno of the decreased rates: to the "rocking", to the fatigue, to the distracting interferences, to the unforeseen complications.
Balzac - only, who considers this factor of the expenditure of time as the sluggishness of any undertaking. In any business he tries to insure himself by the necessary material base - "safety factor", taking into account the sluggishness of "rocking".
Balzac never relies on rapid success and rapid incomes - this he considers unpardonable adventurism.
He tries to go not "right through" (and its duala from this it warns), but "in the circuit". Knows how and itself to leave the difficult situation and others will learn, as this to make.
Of its insight and to foresight it is possible to only envy: it is careful, farsighted, laconic. It prefers not to give the far reaching advice, he always tries to prompt output from the concrete difficult situation.
It advertises nothing excess - namerenno of nedemonstrativen, it gives no promises "in advance". It is not inclined to take to the faith whose- or sensational ideas, itself tries to be dismantled at everything.
Frequently it demolishes itself apropos of its own missed possibilities - inevitable consequence of its passively observant relation to the life.
Ti Block of Id, 8th position, Demonstrative Function: "Logic of Relations"
Balzac in any situation tries to appear objective. He with the pleasure demonstrates this his quality.
But acting in the interests of "absolute objectivity", it frequently falls into the awkward position: thinking about the absolute validity of its behavior, frequently forgets their ethical aspect - "it is correct with respect to whom?"
In any dispute Balzac holds demonstrative neutrality, trying no one not "to accompany". Its relation to any act it expresses not as particular, personal opinion, but seemingly advances certain, as it it seems, objective and correct evaluation. Balzac loves himself to place in the position of judge for it characteristically not simple to voice his opinion, namely "to carry judgment" for each question (even if to it it is proposed to only discuss theme).
Balzac's reasonings are characterized by accuracy, laconicism and a fundamental understanding of the very essence of things. Ease and simplicity of its statements shake and enrapture. To fall under for the bal'zakovskoye profound arrangement of spirit - this enormous "is intellectual enjoyment". This is always richest material for the reflections. This of the sayings, which it is desirable to absorb and to utter as its own. When you listen to Balzac's reasonings, involuntarily appears the desire to walk after it by track "with the parchment" and to write each word.
Balzac prefers not to encumber his memory by encyclopaedic information, and although an enormous quantity of exclusively erudite people is encountered among the representatives of this type, Balzac first of all strikes with the depth of his knowledge.
Balzac loves and knows how to learn, trying to obtain new information consecutively and gradually so that this would not leave far beyond the framework of its observations: first of all of it the connections between the already studied phenomena interest.
Accepting new information, Balzac immediately tries to connect it into the already existing system of knowledge. The information, which contradicts the prevailing systems or destroys them, it accepts very critically.
To Balzac unusually blind admiration before the authorities. Referring to someone, it supports its statement by precise and appropriate quotation, always explaining, what relation it has to its reasonings.
Balzac frequently supports his reasonings by instructive parable. Sometimes parable presents instead of the reasonings, so that to listener there remains only to guess, this was said to what. In actuality Balzacs are frequently "covered" by parable, attempting to discuss about the fact that badly yields to their understanding as, for example, the aspect of the ethics of emotion or ethics of relations.
Balzac does not see crime in discussing simultaneously about everything. It is ready to catch any theme, being freely switched with one to another. This occurs not because to it it is difficult to be concentrated on by something one - these are the natural dynamics of its intellect, subconsiously disposed to the weak function on the analogous aspect in its duala of Caesar, who unnoticeably for himself jumps over from one question to another. Balzac each new theme intertwines in the common course of his reasonings so that the entirety of logical connection in this case is not disrupted.