Introverted Sensing and Sensing Judgment

• Extraverted Thinking—ET and TJ one-sidedness
• Extraverted Feeling—EF and FJ one-sidedness
• Extraverted Sensing—ES and SP one-sidedness
• Extraverted Intuition—EN and NP one-sidedness
• Introverted Thinking—IT and TP one-sidedness
• Introverted Feeling—IF and FP one-sidedness
• Introverted Sensing—IS and SJ one-sidedness
• Introverted Intuition—IN and NJ one-sidedness

📝 The structure of this reference article resembles a pyramid, beginning with concise and straightforward information and progressively delving into more intricate and detailed content to accommodate various levels of depth required by different readers.

Introverted Sensing—The Myers & Briggs Foundation

Introverted Sensing:

(Si) ISTJ/ISFJ: Compares present facts and situations to past experience. Excellent recall for specific details. Trusts and remembers the past. Stores sensory data that is important to them for future use.

Keyword: Remembering.

The Myers & Briggs Foundation

Psychological Types BY CARL JUNG: Adapted Simplified Translation

It is now clear that the bulk of Carl Jung’s work was not about type but one-sidedness. Carl Jung simply saw the type as a lens, a language and a liver to help free man from excessive one-sidedness.

His main purpose and the bulk of his work in typology was to help free man from excessive one-sidedness. One-sidedness is a form of aberration.

“Man cannot stand a meaningless life.” — Carl Jung

Introverted Sensation—IS(F) and IS(T)

• In the introverted attitude, sensation is definitely based upon the subjective aspect of perception.
  
  – What is meant by this, finds its best example in the reproduction of objects in artistic expression.
  – For instance, when several painters attempt to paint the same landscape, with a sincere attempt to reproduce it faithfully, each painting will still differ from one another, chiefly because of different ways of seeing.
  ‐ There will even appear in some of the paintings, a decided psychological difference, both in general mood and in treatment of color and form.

• It always looks as though the object did not penetrate into the subject, but as though the subject was seeing the object quite differently, or saw quite other things than other people.

• The Introverted Sensing [the IS and SJ one-sidedness] seeks to make a definite inner impression. It is concerned with dispositions of the archetypal experiences of objects.

• Subjective perception as a whole—Introverted Sensing and Introverted Intuition—is characterized by significance and meaning.

• The Introverted Sensing [the IS and SJ one-sidedness] apprehends the background of the physical world rather than its surface. The decisive thing is not the reality of the object, but the reality of the impressions they release, i.e. the archaic archetypal images.

• The reality of these inner impressions creates an ideal mirror world or an alternate inner reality. This reality represents things not in their known form (Extraverted Sensing), but rather in an enduring and eternal form, somewhat as a million-year-old consciousness might see them.

• Such a consciousness would see the birth and passing of things existing in the present, and it would also see what was before their birth and what will be after their passing.

• The Introverted Sensing [the IS and SJ one-sidedness] transmits an image that does not necessarily reproduce the object, but rather spreads over it the impression of age-old subjective experience as well as events that are still unborn [hence its eternal nature].

• Viewed from other people, whatever will make an impression and what will not, can never be seen. This type’s characteristic lay in the difficulty in expressing themselves hides their irrationality. They may be noticeable for their calmness and passivity, or for their stoic self-control.

• Types with Introverted Sensing [the IS and SJ one-sidedness] can easily question why one should exist at all, or why objects, in general, should have any right to exist since everything essential happens without the object.

• Seen from the outside, it looks as though the effect of the object did not penetrate into the subject at all. Subjective sensation can become so alive that it almost completely obscures the influence of the object. The results of this are:
  
  ‐ a feeling of complete depreciation of the object
  ‐ an illusory conception of reality, which in extreme cases may even reach the point of a complete inability to distinguish between the real object and the subjective perception.

• When there is no capacity for artistic expression, all impressions sink into the inner depths of consciousness. The Introverted Sensing [the IS and SJ one-sidedness] lives in a mythological world, where people, animals, trains, houses, rivers, and mountains appear as benevolent deities or as malevolent demons.

• Whereas pure Extraverted Intuition [EN and NP one-sidedness] has a characteristic resourcefulness, and a ‘good nose’ for every possibility in objective reality, inferior Extraverted Intuition has an amazing flair for every ambiguous, negative, and dangerous possibility in the background of reality.

• The real intentions of the object mean nothing to the Introverted Sensing [the IS and SJ one-sidedness]; instead, it sniffs out every conceivable dangerous motive underlying such an intention.

• Repressed Extraverted Intuition [EN and NP one-sidedness] releases possibilities about objects of the most perverse kind, resulting in compulsion neurosis.

“What we walk away from, shying away from. ostensibly forgetting, is dangerously close to us. And eventually it will return, but with redoubled force.” — Carl Jung

UNVEILING INTROVERTED SensING (IS AND SJ ONE-SIDEDNESS) WITH UNPARALLELED DEPTH AND PRECISION

Let me offer a cautionary note about the following, Carl Jung’s work primarily addresses one-sidedness rather than specific functions or personality types.

Short summary of Introverted Sensing as described by J.H. van der Hoop

The instinctive introvert is guided by emotions and impulses, representing the subjective aspect of instinctual life, in contrast to the objective side represented by sensation. Their attention gravitates toward the “feeling-tone” of sensation and their own impulses rather than the source of sensation itself.

Their experiences make a strong impression based on their emotional response, rather than the intensity of the sensation. These individuals have a gentle and receptive nature, but may also display periods of timidity and reserve, exhibiting a passive resistance to anything new. They form deep attachments to familiar things and might express a preference for routine.

They are particularly attuned to sensory experiences with lasting value, which can lend a sense of comfort and security but may lead to cautiousness or resistance to change, often preferring the old ways.

Their well-developed sense organs give them a good mastery of their chosen field, leading to technical competence, yet they may underestimate themselves and be reserved about their abilities. They can appear somewhat passive, except in relation to people and familiar things, where they reveal instinctual reactions.

Reasoning for these individuals begins with facts and involves thorough investigation of fundamental facts. They exhibit a desire for clarity and are obstinate in their pursuit of clarity regarding anything new.

They tend to rely on knowledgeable authorities to form opinions and may become upset when their views are challenged. Emotions are prominent and are tied to concrete objects, forming a compelling and unchangeable aspect of their personality, influencing their sentimental relationships.

Understanding intuition is challenging for this type, leading them to accept traditional intuitive views from leading figures. They have a passive life attitude, often considering predestination and fate in their philosophy. Their lack of a comprehensive vision hampers their adaptation to external circumstances, and they may require assistance to find an environment where their qualities can flourish.

“Everything that irritates us about others can lead us to an understanding of ourselves.” — Carl Jung

Here’s a shorter analysis of the text you provided with key points in bullet form:

• Sensation and its Subjective Facet in the Introverted Attitude:
  • Sensation, primarily concerned with the object and its objective stimulus, experiences a considerable modification in the introverted attitude.
  • Beside the sensed object stands a sensing subject contributing a subjective disposition to the objective stimulus.
  • Introverted sensation relies on the subjective portion of perception, demonstrated in the various interpretations artists create while reproducing the same object.
  • The subjective factor of sensation is an unconscious disposition, altering sense-perception at its source, making sensation primarily related to the subject rather than the object.
  • Subjective perception differs remarkably from the objective, revealing a deeper meaning derived from presuppositions of the collective unconscious, mythological images, and primal possibilities of ideas.
  • Subjective perception holds a significance that transcends the mere image of the object but is only apparent to those for whom the subjective factor is meaningful.
  • It apprehends the background of the physical world rather than its surface, emphasizing the reality of the subjective factor and its primordial images representing a psychic mirror-world.
• Introverted Sensation Type’s Characteristics:
  • This type is an irrational one, not primarily guided by rationality but by subjective sensation.
  • There is no proportional relation between object and sensation, making it impossible to predict what will make an impression.
  • The individual may appear calm and passive or display rational self-control, appearing unrelated to objects despite not consciously devaluing them.
  • The subjective factor can sometimes completely suppress the influence of the object, leading to a feeling of object depreciation.
  • Subjective perception might influence thought, feeling, and action to an extreme degree, even though the object’s reality is clearly seen.
  • The individual might experience an illusory concept of reality or a complete inability to differentiate between the real object and subjective perception.
  • In this type, expressions are archaic, with thought and feeling relatively unconscious and serving necessary, everyday expressions, making the type inaccessible to objective understanding.
• Impact on Reality and Development of the Introverted Sensation Type:
  • The development of this type distances them from the reality of the object, orientating their consciousness according to an archaic reality without realizing it.
  • The individual operates in a mythological world where ordinary entities appear as benevolent deities or malevolent demons, affecting their judgments and actions.
  • They might act as if they have powers to deal with these entities but only realize the disparity between their sensations and reality later on.
  • Their unconscious repression of intuition acquires an extraverted and archaic character, possessing a dangerous and undermining aspect, often in contrast to the benevolence of consciousness.
  • Unconscious intuition compensates for their fantastic attitude but can have a compelling influence, resulting in compulsive ideas about objects and a tendency towards neurosis, typically a compulsion neurosis.

This type demonstrates a divergence between their subjective perception and the objective reality, leading to a deep and multifaceted inner world that can significantly influence their thoughts and actions. Their tendency to focus on the subjective may sometimes lead to an inability to fully engage with objective reality.

CARL JUNG’S DESCRIPTION OF THE INTROVERTED SensING TYPE SUMMARISED IN 1200 WORDS

Here is an AI summary of a verbatim excerpt taken from Chapter 10 of Carl Gustav Jung’s work “Psychological Types” (1921):

Sensation

Sensation, inherently concerned with the object and its objective stimulus, undergoes a significant transformation in the introverted attitude. Within this disposition, it acquires a subjective facet. Alongside the sensed object, there exists a sensing subject contributing a subjective disposition to the objective stimulus. In the introverted attitude, sensation primarily relies on the subjective portion of perception. This is best illustrated in the reproduction of objects in art. For example, when several painters aim to faithfully paint the same landscape, each artwork differs not just due to varying skill but mainly because of a unique vision.

Some paintings reveal distinct psychic variations in mood, color, and form, reflecting the subjective factor’s influence. This subjective aspect of sensation aligns with other functions, presenting an unconscious disposition that alters sense-perception at its core, deviating it from a purely objective influence. Here, sensation is related primarily to the subject and only secondarily to the object.

The potency of the subjective factor is particularly evident in art, where it occasionally suppresses the mere influence of the object. Nevertheless, sensation retains its essence, although it becomes a perception of the subjective factor, diminishing the effect of the object to that of a mere stimulant. Introverted sensation evolves along this subjective path, presenting a true sense-perception that seemingly depicts objects not merely as forces into the subject but as something that the subject sees differently or as entirely different from the perspective of others.

In truth, the subject perceives the same things as everyone else but doesn’t stop at the purely objective effect. Rather, they focus on the subjective perception stimulated by the objective stimulus. Subjective perception significantly differs from the objective; it might not be found in the object at all, or at most, it’s faintly suggested by it. However, it might still resemble the sensation of others, not directly derived from the objective behavior of things.

It doesn’t appear as a product of consciousness but as something genuine that makes a definite psychic impression, revealing elements of a higher psychic order. This order doesn’t align with the contents of consciousness; it’s associated with assumptions and dispositions of the collective unconscious, mythological images, and primal ideas. Subjective perception holds significance and meaning beyond the mere object image, perceptible only to those for whom the subjective factor holds relevance.

Subjective sensation captures the essence of the physical world’s background rather than its surface. The crucial aspect is not the reality of the object, but the reality of the subjective factor, those primordial images forming a psychic mirror-world. This mirror reflects present consciousness not in its known form but akin to how a million-year-old consciousness might perceive it.

It transcends the present, seeing both the becoming and passing of things beside their momentary existence and recognizing ‘the Other’ that was before their becoming and will be after their passing. To this consciousness, the present moment seems improbable. This is, of course, a simile that outlines the peculiar nature of introverted sensation. It doesn’t aim to reproduce the object but wraps it in a sheen derived from age-old subjective experience and the still unborn future. It elevates mere sense impressions into the realm of the meaningful, contrasting with extraverted sensation, which seizes the momentary and manifest existence of things.

The Introverted Sensation Type (The IS and SJ one-sidedness)

The dominance of introverted sensation defines a specific type characterized by particularities. It’s an irrational type as its choices among occurrences aren’t primarily rational but are based on what just happens. Unlike the extraverted sensation-type, determined by the objective influence’s intensity, the introverted type is driven by the intensity of the subjective sensation released by the objective stimulus. Consequently, there exists no proportional relation between object and sensation.

Judging from outside, this relationship seems irregular and arbitrary, making it nearly impossible to predict what will make an impression. If there were a capacity for expression matching the strength of sensation, the irrationality of this type would be obvious. When the individual is a creative artist, this alignment is evident. However, since this is the exception, their introverted difficulty in expression often conceals their irrationality.

They might stand out due to calmness and passivity, leading to superficial misjudgment due to their detachment from objects. The object is not consciously devalued, but its stimulus is removed, replaced by a subjective reaction unrelated to the object’s reality, which has a similar effect to devaluation. This type might question the necessity of existence or the object’s right to exist, as everything essential seems to occur without the object. This doubt is justified in extreme cases but not in normal ones since the objective stimulus is indispensable to their sensation, producing something different from the external state of affairs.

This might create an impression that the effect of the object does not impose itself on the subject. This is correct to a degree, as subjective content intervenes from the unconscious, snatching away the object’s effect. In severe cases, this intervention shields the individual from any possible object influence. Even with slight reinforcement of the unconscious, the subjective constituent of sensation becomes so pronounced that it almost completely obscures the objective influence.

This results in a feeling of object depreciation and an illusory conception of reality, reaching a point of complete inability to discern between the real object and subjective perception in extreme cases. Long before reaching a psychotic state, subjective perception significantly influences thought, feeling, and action despite a clear view of the object’s reality.

When the objective influence succeeds in reaching the subject due to particular circumstances or a strong analogy with the unconscious image, even the normal example of this type is induced to act according to their unconscious model. Such actions appear illusory in relation to objective reality, revealing the anti-real subjectivity of the type. If the object’s influence doesn’t entirely succeed, it faces a benevolent neutrality with little sympathy, constantly attempting to keep the influence of the object within necessary bounds.

This type, no longer above suspicion due to their harmlessness, can become an affliction to their circle. If so, they might fall victim to the aggressiveness and ambitions of others, retaliating at unsuitable times with stubbornness and resistance. If artistic expression isn’t present, all impressions sink into inner depths, holding consciousness spellbound and depriving it of expressing these fascinating impressions consciously.

Consequently, this type has relatively archaic means of expression for their impressions. Thought and feeling remain relatively unconscious and, when conscious, serve banal, everyday expressions. Thus, as conscious functions, they inadequately render subjective perceptions. Consequently, this type remains highly inaccessible to objective understanding, struggling with self-understanding.

Primarily, their development distances them from the object’s reality, aligning their consciousness with an archaic reality. However, their lack of comparative judgment renders them unaware of this fact. They inhabit a mythological world where ordinary entities appear partly as benevolent deities and partly as malevolent demons, an interpretation they don’t consciously acknowledge.

They judge and act as if they have powers over these entities but only realize the disparity between their sensations and reality later. If they lean towards objective reasoning, they might sense this disparity as morbid. If they remain faithful to their irrationality, the objective world appears as make-belief and a comedy. Extreme dilemmas are rare, as they generally acquiesce to their isolation and the banality of reality, unconsciously treating it archaically.

Their unconscious chiefly represses intuition, acquiring an extraverted and archaic character. True extraverted intuition is resourceful, with a ‘good nose’ for possibilities in objective reality. In contrast, this archaic, extraverted intuition detects ambiguous, gloomy, dirty, and dangerous possibilities in the background of reality. In the presence of this intuition, the conscious intention of the object is insignificant, as it peers behind possible archaic antecedents of such intentions.

This intuition has a somewhat dangerous, undermining quality that contrasts vividly with the gentle benevolence of consciousness. If the individual remains connected to the object, the unconscious intuition acts as a compensatory force, balancing the fantastic and overly credulous attitude of consciousness. However, if the unconscious becomes antagonistic, these intuitions surface, releasing compulsive ideas about objects, leading to neuroses, typically a compulsion neurosis obscuring hysterical elements with exhaustion symptoms.

CARL JUNG’S ORIGINAL DESCRIPTION OF THE INTROVERTED SENSING TYPE

Here is the original, verbatim excerpt taken from Chapter 10 of Carl Gustav Jung’s work “Psychological Types” (1921). This text can be used for direct, unaltered quotation of Carl Gustav Jung’s work:

Sensation

Sensation, which in obedience to its whole nature is concerned with the object and the objective stimulus, also undergoes a considerable modification in the introverted attitude. It, too, has a subjective factor, for beside the object sensed there stands a sensing subject, who contributes his subjective disposition to the objective stimulus. In the introverted attitude sensation is definitely based upon the subjective portion of perception.

What is meant by this finds its best illustration in the reproduction of objects in art. When, for instance, several painters undertake to paint one and the same landscape, with a sincere attempt to reproduce it faithfully, each painting will none the less differ from the rest, not merely by virtue of a more or less developed ability, but chiefly because of a different vision; there will even appear in some of the paintings a decided psychic variation, both in general mood and in treatment of colour and form.

Such qualities betray a more or less influential co-operation of the subjective factor. The subjective factor of sensation is essentially the same as in the other functions already spoken of. It is an unconscious disposition, which alters [p. 499] the sense-perception at its very source, thus depriving it of the character of a purely objective influence. In this case, sensation is related primarily to the subject, and only secondarily to the object.

How extraordinarily strong the subjective factor can be is shown most clearly in art. The ascendancy of the subjective factor occasionally achieves a complete suppression of the mere influence of the object; but none the less sensation remains sensation, although it has come to be a perception of the subjective factor, and the effect of the object has sunk to the level of a mere stimulant. Introverted sensation develops in accordance with this subjective direction.

A true sense-perception certainly exists, but it always looks as though objects were not so much forcing their way into the subject in their own right as that the subject were seeing things quite differently, or saw quite other things than the rest of mankind. As a matter of fact, the subject perceives the same things as everybody else, only, he never stops at the purely objective effect, but concerns himself with the subjective perception released by the objective stimulus. Subjective perception differs remarkably from the objective.

It is either not found at all in the object, or, at most, merely suggested by it; it can, however, be similar to the sensation of other men, although not immediately derived from the objective behaviour of things. It does not impress one as a mere product of consciousness — it is too genuine for that. But it makes a definite psychic impression, since elements of a higher psychic order are perceptible to it. This order, however, does not coincide with the contents of consciousness.

It is concerned with presuppositions, or dispositions of the collective unconscious, with mythological images, with primal possibilities of ideas. The character of significance and meaning clings to subjective perception. It says more than the mere image of the object, though naturally only to him for whom the subjective factor has some meaning. To another, a reproduced subjective impression seems to suffer from the defect of possessing insufficient similarity with the object; it seems, therefore, to have failed in its purpose.

Subjective sensation apprehends the background of the physical world rather than its surface. The decisive thing is not the reality of the object, but the reality of the subjective factor, i.e. the primordial images, which in their totality represent a psychic mirror-world. It is a mirror, however, with the peculiar capacity of representing the present contents of consciousness not in their known and customary form but in a certain sense sub specie aeternitatis, somewhat as a million-year old consciousness might see them.

Such a consciousness would see the becoming and the passing of things beside their present and momentary existence, and not only that, but at the same time it would also see that Other, which was before their becoming and will be after their passing hence. To this consciousness the present moment is improbable. This is, of course, only a simile, of which, however, I had need to give some sort of illustration of the peculiar nature of introverted sensation.

Introverted sensation conveys an image whose effect is not so much to reproduce the object as to throw over it a wrapping whose lustre is derived from age-old subjective experience and the still unborn future event. Thus, mere sense impression develops into the depth of the meaningful, while extraverted sensation seizes only the momentary and manifest existence of things.

The Introverted Sensation Type

The priority of introverted sensation produces a definite type, which is characterized by certain peculiarities. It is an irrational type, inasmuch as its selection among occurrences is not primarily rational, but is guided rather [p. 501] by what just happens. Whereas, the extraverted sensation-type is determined by the intensity of the objective influence, the introverted type is orientated by the intensity of the subjective sensation-constituent released by the objective stimulus.

Obviously, therefore, no sort of proportional relation exists between object and sensation, but something that is apparently quite irregular and arbitrary judging from without, therefore, it is practically impossible to foretell what will make an impression and what will not. If there were present a capacity and readiness for expression in any way commensurate with the strength of sensation, the irrationality of this type would be extremely evident.

This is the case, for instance, when the individual is a creative artist. But, since this is the exception, it usually happens that the characteristic introverted difficulty of expression also conceals his irrationality. On the contrary, he may actually stand out by the very calmness and passivity of his demeanour, or by his rational self-control.

This peculiarity, which often leads the superficial judgment astray, is really due to his unrelatedness to objects. Normally the object is not consciously depreciated in the least, but its stimulus is removed from it, because it is immediately replaced by a subjective reaction, which is no longer related to the reality of the object. This, of course, has the same effect as a depreciation of the object. Such a type can easily make one question why one should exist at all; or why objects in general should have any right to existence, since everything essential happens without the object.

This doubt may be justified in extreme cases, though not in the normal, since the objective stimulus is indispensable to his sensation, only it produces something different from what was to be surmised from the external state of affairs. Considered from without, it looks as though the effect of the object [p. 502] did not obtrude itself upon the subject. This impression is so far correct inasmuch as a subjective content does, in fact, intervene from the unconscious, thus snatching away the effect of the object.

This intervention may be so abrupt that the individual appears to shield himself directly from any possible influence of the object. In any aggravated or well-marked case, such a protective guard is also actually present. Even with only a slight reinforcement of the unconscious, the subjective constituent of sensation becomes so alive that it almost completely obscures the objective influence. The results of this are, on the one hand, a feeling of complete depreciation on the part of the object, and, on the other, an illusory conception of reality on the part of the subject, which in morbid cases may even reach the point of a complete inability to discriminate between the real object and the subjective perception.

Although so vital a distinction vanishes completely only in a practically psychotic state, yet long before that point is reached subjective perception may influence thought, feeling, and action to an extreme degree, in spite of the fact that the object is clearly seen in its fullest reality. Whenever the objective influence does succeed in forcing its way into the subject — as the result of particular circumstances of special intensity, or because of a more perfect analogy with the unconscious image — even the normal example of this type is induced to act in accordance with his unconscious model. Such action has an illusory quality in relation to objective reality, and therefore has a very odd and strange character.

It instantly reveals the anti-real subjectivity of the type, But, where the influence of the object does not entirely succeed, it encounters a benevolent neutrality, disclosing little sympathy, yet constantly striving to reassure and adjust. The too-low is raised a little, the too-high is made a little lower; the enthusiastic is damped, the [p. 503] extravagant restrained; and the unusual brought within the ‘correct’ formula: all this in order to keep the influence of the object within the necessary bounds.

Thus, this type becomes an affliction to his circle, just in so far as his entire harmlessness is no longer above suspicion. But, if the latter should be the case, the individual readily becomes a victim to the aggressiveness and ambitions of others. Such men allow themselves to be abused, for which they usually take vengeance at the most unsuitable occasions with redoubled stubbornness and resistance.

When there exists no capacity for artistic expression, all impressions sink into the inner depths, whence they hold consciousness under a spell, removing any possibility it might have had of mastering the fascinating impression by means of conscious expression. Relatively speaking, this type has only archaic possibilities of expression for the disposal of his impressions; thought and feeling are relatively unconscious, and, in so far as they have a certain consciousness, they only serve in the necessary, banal, every-day expressions. Hence as conscious functions, they are wholly unfitted to give any adequate rendering of the subjective perceptions.

This type, therefore, is uncommonly inaccessible to an objective understanding and he fares no better in the understanding of himself. Above all, his development estranges him from the reality of the object, handing him over to his subjective perceptions, which orientate his consciousness in accordance with an archaic reality, although his deficiency in comparative judgment keeps him wholly unaware of this fact. Actually he moves in a mythological world, where men animals, railways, houses, rivers, and mountains appear partly as benevolent deities and partly as malevolent demons.

That thus they, appear to him never enters his mind, although their effect upon his judgments and acts can bear no other interpretation. He judges and acts as [p. 504] though he had such powers to deal with; but this begins to strike him only when he discovers that his sensations are totally different from reality. If his tendency is to reason objectively, he will sense this difference as morbid; but if, on the other hand, he remains faithful to his irrationality, and is prepared to grant his sensation reality value, the objective world will appear a mere make-belief and a comedy.

Only in extreme cases, however, is this dilemma reached. As a rule, the individual acquiesces in his isolation and in the banality of the reality, which, however, he unconsciously treats archaically. His unconscious is distinguished chiefly by the repression of intuition, which thereby acquires an extraverted and archaic character. Whereas true extraverted intuition has a characteristic resourcefulness, and a ‘good nose’ for every possibility in objective reality, this archaic, extraverted intuition has an amazing flair for every ambiguous, gloomy, dirty, and dangerous possibility in the background of reality.

In the presence of this intuition the real and conscious intention of the object has no significance; it will peer behind every possible archaic antecedent of such an intention. It possesses, therefore, something dangerous, something actually undermining, which often stands in most vivid contrast to the gentle benevolence of consciousness. So long as the individual is not too aloof from the object, the unconscious intuition effects a wholesome compensation to the rather fantastic and over credulous attitude of consciousness.

But as soon as the unconscious becomes antagonistic to consciousness, such intuitions come to the surface and expand their nefarious influence: they force themselves compellingly upon the individual, releasing compulsive ideas about objects of the most perverse kind. The neurosis arising from this sequence of events is usually a compulsion neurosis, in which the hysterical characters recede and are obscured by symptoms of exhaustion.