back to themselves in order to stimulate themselves.
By allocating these three behavioural patterns to the three basic types in the Enneagram, we get a slightly differentiated picture of nine character profiles (according to Gallen and Neidhardt):
The nine character profiles have labels that vary, according to the interpretation in the Enneagram. I think the following terms are useful because they express both positive and negative character traits. Here, they are always used in the plural:
By now it should be clear why we have nine different character profiles. This model is sufficiently proven by empirical application. Here is an interesting analogy: The nine character profiles are definitely related to the original nine basic sins or root sins of Christianity.
In their book THE ENNEAGRAM – THE NINE FACES OF THE SOUL, Richard Rohr and Andreas Ebert put strong emphasis on this point. From a dramaturgical point of view the basic sins reflect which inner conflicts the characters have to face in order to mature.
According to the ‘Theory of passions’ by Evagrius Ponticus (ca. 350 BC) there are eight vices: Wrath, Pride, Vanity, Envy, Greed, Gluttony, Lust and Sloth. Later, Pope Gregor I. reduced this list to seven – vanity was dropped. In the Enneagram, all eight vices are kept and one more added: Fear.
1.4. Outline of the Enneagram Character Model
The Enneagram as a Script Tool is designed so that a user can get a quick overview of the character profiles or dig into specific singular profiles. Here, we find causalities for the behaviour of characters that you can use or renounce as a writer – in both cases they are a goal oriented inspiration. I use the mechanical term ‘tool’ in order to clearly show that the Enneagram is exactly that – neither more nor less and certainly not a surrogate for one’s own phantasy.
Nine Character Profiles
Now, first we should take a look at the basic pattern of the Enneagram. Maybe you are surprised that the circle is replaced by irregular forms that evolve from different cubes. The answer is simple: The graphic designers and I wanted to be different because we are classical Fours (when you have come to know the Four, you will understand what I mean). Now you can delve into every single character profile.
Orientation within the Character Profiles
You get to know all the characters from many different angles – light, shadow, childhood patterns, dilemma, inner conflict, danger, maturity, entanglement in one’s own pattern, development, the wings and conflict behaviour.
Entanglement in one’s own Pattern
The character’s problem is that their behaviour does not lead to the goal that they aspire to, but that it actually prevents it. This constellation is called the self-entanglement-spiral. The character can only escape this self-entanglement-spiral by maturing and changing their behaviour in a conscious way.
Development
This scheme describes a possible Process of Maturing. It is important to understand that a character cannot change fundamentally. All they can do is develop, which means that they have to take on a new quality. In life, the process of maturing can be very long. But it can also happen quickly if there is an event that triggers it. In a dramatic plot, the process of maturing must be introduced by a trigger moment, a decisive turning point. Often, characters can only reach their goal by confronting their inner conflict and resolving it. This leads to a maturing of the character and to an extension of their radius of operation.
The Enneagram can give thought-provoking impulses as to how such a maturity can happen while remaining credible at the same time.
The Wings
Naturally, the nine character profiles rarely exist in their purest form. The transitions between them are fluent. If a figure’s character cannot be precisely defined, it is highly likely that it is a mixed form of two closely allied profiles. For example, the 3 can lean towards the 2 and 4, but certainly not towards the 8. These closely allied neighbour-profiles are called wings. Hence, we get totally new options that make the system of the Enneagram much more diversified – especially if we include the mature and the non-mature state of the profiles in our considerations.
Conflict Behaviour
If the characters are very agitated because conflict and stress have unbearably amassed, the figure can change their normal pattern of behaviour and suddenly break out of it. In this case, they take on the light– or shadow side of another character profile. The connecting lines of the Enneagram depict these movements. In the direction of the arrow, the shadow side of another profile is taken on. This is counterproductive for the figure, leads to failure and enhances the pressure even more. This is called the stress point. If the figure matures and learns to break out of their self-entanglement, they will act in the opposite direction to the arrow. In this case, they find the light side of another profile and will be successful. This is called the comfort or relax point.
1.5. The Enneagram Character Model in Detail
Character 1 – Perfectionists Idealists Dogmatics
Gut-Type Inward Looking
Light
Characters from Type 1 are idealists and strive for perfection. They more or less apply themselves for a better world and try to act justly and responsibly. They have a decisive consciousness and tend to have permanent inner conflicts about whether their actions are good and right or not. They try to convince others of their principles and therefore may be good teachers and mentors.
Shadow
Characters from type 1 have a problem with accepting other people’s errors and their own. They cannot accept the world in its whole unfinished state or imperfection. This is why they tend to be morose and lack a sense of humour. They love to put themselves under time pressure and go their way directly and consequently even to total asceticism. These traits are always kept under self-control by the one. If the 1 is not satisfied with themselves, they can even choose self-punishment.
Childhood Patterns
As a rule, characters from type 1 were ideal children who tried to fulfil the rules of adults in order to be loved by them. Very often, the parents themselves were perfectionists already and had high demands on the child. Characters from type 1 try to fulfil these demands perfectly, if possible and not rebel against them. Maybe they had to take up responsibility too early, when one parent was missing or because they were the eldest of many children.
Dilemma
The problem of the 1 is their permanent fixation on completeness, which does not exist in reality. They are disgusted with the world’s faults. Nobody can even approximately fulfil the requirements of the 1, they are permanently dissatisfied with the world, with other people and with themselves. They can grow up to be fanatics
