Character Twos – Page 3 – Enneagram and Encaustic

WILLIAM COLLINS, TWO

Although I love the screen portrayals of Mr. Collins, I’m interested that in the novel he’s described as tall and more physically present. He’s not diminutive. The kind of cringy or bantam-like behavior I associate with him all come from the actors.

He’s always obsequious, of course. The little attentions to the ladies, studied and prepared, is one of his ridiculous traits.

Let’s take Austen’s description as an Enneagram indicator, though. Forget about the actors. Collins is large. My first instincts — a One or a Six — are not correct. If he’s athletic, he’s a Nine. If not, he’s a Two. And he’s not athletic, regardless of how often Charlotte encourages him to enjoy his garden.

I would dearly love to see a production of P&P that casts Mr. Collins as a large Two. How does his character change? That mix of empathy and envy, how does it play out? When he comes to the Bennets after Lydia’s fall — always a scene that doesn’t quite work — how does it play if he’s a Two moving to Eight (weakness) at that moment? Or perhaps he’s a Two moving to Four (strength), looking out for himself and his own? Right now he’s portrayed as a judgmental placeholder, a mouthpiece for Lady Catherine. What if he expresses his own interests in that scene? Ooh, so exciting!

Isn’t that funny? Collins is beloved. I clap when I see him ooze onto the screen. But they’ve all been playing him wrong, and it’s deeply thrilling to imagine a production that gets him right. He doesn’t collect musical instruments or obscure tools, he collects Lady Catherine’s advice. Her attentions are the objects this Man Two places on his hobby shelf. It’s absolutely delightful.

UNCLE BILLY, TWO

He’s forgetful. When Mr. Bailey dies no one suggests that Uncle Billy could run the Savings and Loan. He’s a beautiful, loyal heart, but a manager he is not.

Uncle Billy loses the deposit — forgets it — because he wants a piece of Mr. Potter. He just has to tell him off, which causes him to leave the money behind, momentarily forgotten. Is this a trait that helps identify his Enneagram? Anyone would want a righteous poke at Potter. Not everyone would let their emotion out until the deposit was secured, though.

And when George yells at him . . . oh, doesn’t it break your heart? It’s because Uncle Billy, in a small way, deserves it. He’s a grown man who can’t be trusted with a grown-up’s responsibility. However, it’s possible that Billy is mentally challenged. No one spells it out, but that’s how he’s played. Without George, in the angel’s version, Billy is committed to a mental institution. No one’s asked him to step up, no one’s depended on his support. On his own he can’t cope.

I’m tempted to say that Uncle Billy has no Enneagram. He has the strings on his fingers, and all else could be attributed to challenge rather than personality. Is he a Head Type? A Body Type? Probably not. As a Heart Type is he a befuddled Two? His sweet enthusiasm, and his love for George, are priceless.

Actually, that’s the clue that he’s a Two, albeit a challenged Two. Sevens, which is George, tend to collect Twos as precious sidekicks. (Notice that Clarence is also a Two.) Without George, Billy has no purpose or direction.

CLARENCE, TWO

He’s an angel. He’s an inept angel. In the hierarchy of heavenly beings, he’s on the bottom rung.

The more I think about Clarence, the more he bugs me. He’s so twee! As a trope subverter — dufus angel — he feels very contrived. Of course this bumbling fool will find a way to save George’s soul. No competent angel could figure out how to show George the purpose of his life? All the wise angels were busy? And heaven is ordered like a first-grade classroom, with wings passed out like gold stars for getting the math quiz correct?

Whew, I had no idea poor Clarence pushed my outrage button like this!

He connects with George on an emotional and sympathetic level. Heart Type. Not a Three, obviously. (A Three on the bottom rung of the angel ladder? Puh-leaze.) He’s too gentle with George to be a Four.

Two. He has that oddball quality. Heaven is happy to have him, they just can’t figure out what to do with him yet. To devise a plan that shows such heartbreak to not only the family but the entire town, is not something a Head or Body would’ve thought up. Not in this way. The social fabric of Bedford Falls is ruined by George’s absence. That’s very Heart.

LUCY, TWO

If you look beyond Bullock’s charisma, who is Lucy? Nice, helpful, sensitive. Is she observant? She notices that Peter gives up his seat on the train, but she also fails to notice that Peter is a schmuck. She has few friends — a work colleague only — yet she can immediately connect with Peter’s family and be liked by them. She’s very lonely.

I’m pointing toward Heart Type. Feelings drive her, even to rescuing a stranger on the train tracks and following him to the emergency room to make sure he’s okay. Anyone can be lonely, but a Head Type would’ve probably extricated herself before the confusion went too far. A Heart Type is, frankly, more careful about hurting others’ feelings, which is how Lucy ends up in a pickle. It’s really a great gimmick and a very fun, rewatchable movie.

Sentimental objects (the golden world lamp, the Florence snow globe) and bottled-up dreams . . . Two. Their giving impulse keeps them from treating themselves sometimes. Lucy is so very kind — working the Christmas shift, allowing Joe Junior in her closet, partnering up with Saul — even seeing good in Peter after getting to know how shallow he is. Her generosity is basically the movie’s antagonist: all the conflict comes from her behavior. They’re good instincts, though, which makes this a lovely Christmas film.

MARCUS BREWER, TWO

He’s a child, but he’s also a major character. We won’t be able to use his physical qualities to help determine his Enneagram — he’s not mature enough for that. The costume designer has made strong choices, though, that give him a definite physical presence.

For instance, awkwardness. The shoes are in the script. Marcus wears a brown loafer, something unathletic (as well as uncool). The trainers are his for only a brief time, basically showing that they aren’t a physical match for his character (as well as continuing the bullying storyline).

Not a Body Type. Not a Head Type, either. He’s clearly a Heart. Community, connection, social gathering — these are the theme. Marcus represents all the arguments for these things, going directly against (and ultimately persuading) Will and his lifestyle. Marcus wins, and he does so by repeatedly throwing himself into a difficult social milieu. Very Heart Type.

He’s not a Three. Can Threes even be bullied? And he’s much too unstylish to be a Four. That rainbow sweater! Oops, jumper, as they say across the pond.

He must be a Two, which makes sense with his generous nature. Instead of collecting gadgets or gewgaws, Marcus collects people. Friends and family.

CARL, TWO

He’s a friar. Bookish, ivory tower-dwelling, into research and experimentation but not real world application of his knowledge. Of course, in a hallmark of great storytelling, Carl must leave his comfort zone. “I want to return to my laboratory” would be a perfectly good action phrase for Carl to play. A lot of thwarting makes for exciting drama.

Out in the world, though, he doesn’t shirk. He’s a good teammate with untapped bravery. So, what number is he?

I want to lean away from Body Type. He’s not athletic. He’s a sympathetic fellow towards others, and he loves his inventions. Two? He’s also kind of ambivalent about his religious vocation. If he’s a Head Type it’s not as a Five or Six. He may have stumbled into the job as a Seven — he certainly has a lot of fun in his lab — but he seems a little too timid for that. A Seven would jump at the chance to ride with Van Helsing.

Two it is. Carl is a kind heart, but he’s not fastidious about rules. And he loves the gadgets.

PROSPECTOR, TWO

Heart Type, hands down, one hundred percent! His speech at the end, the fact that no child wanted to buy or play with the Prospector doll, is just so perfect. It’s been eating him alive. Oh, the irony of being the sidekick toy that no one wants is magnificent.

Which number? If we give the creators credit for instinctually understanding Enneagram physiques (as we did with Woody), then he is no Four.

I’m totally cracking up. He’s a Two! It’s the pickaxe. He has accessories! Also, it’s quite heartbreaking that a doll with so much love to give, as a Two would, is ignored. His bitterness is justified. What a lovely choice.

COSMO KRAMER, TWO

Two. Boom. That’s my first brain blast when I think of Kramer’s idiosyncratic humor.

Is that really his Enneagram number, though?

It’s his interest in collecting that leads me to a Two. He’s constantly accumulating or rearranging or testing: the bed drawers, the movie hotline, the vegetable shower. He’s very busy and enjoying all of it.

He always has an iron in the fire. This could be Seven-like, but Kramer really doesn’t seem like a Head Type. He’s eclectic, but he’s also just wacky. Planning is not really a thing. He’s spur of the moment, and away he goes.

Also, he’s very Heart Type. His relationship with Newman always has a touch of envy to it.

He’s not a Three. Too rattled and explosive. And although he feels big emotions, he’s not a Four. He’s not self-deprecating enough, and he doesn’t really feel depression. Life is always good.

Kramer is actually a great example of a Man Two. Very charming, and just slightly overwhelming.

HOMER SIMPSON, TWO

Homer is not a thinking man. If we want to know his Enneagram number, I think we can safely rule out any of the Head Types.

And yet he has such a love of the carnal, as a Seven would. Food, sloth, fun. The gyroscope of the world holds no interest for him, though. Not a Seven.

Well, then, a Body Type. To take such pleasure in digestion, to the workings of the body, suggests an Eight or Nine. (Not a One. Heavens, no.) He doesn’t seem aggressive enough to be an Eight. Homer is content to ride along on the wave of comfort. Very Nine-ish. But, boy oh boy, is he no diplomat or community leader. Not very Nine-ish.

Not a Three or Four. He’s not fastidious enough for either number.

A Two? He actually has a good heart for his family. In his comic strip/animation way, he’s a loving father and husband. Twos also take pleasure in the community of eating and entertaining. It doesn’t come from lust or laziness. A party is how people relax with each other.

Also, a Two’s oldest child could very well be an Eight, as Bart is. It’s the strength/weakness move again.

There’s something strangely lovable about Homer. He’s accessible. A Two.

ELIZABETH SWANN, TWO

As a child, she’s bold and unintimidated. Brave, kind. Curious, loyal.

When she gets older, she still cares for Will despite class differences. Rules mean little. Social conventions mean less. However, most female characters in the late 21st century action movie genre act this way. Can we determine Elizabeth’s Enneagram number or are we stuck with only stereotypical writing?

Let’s go back to the child. Young Elizabeth is extremely likable, a protagonist worth following. She feels strongly but is also active. Her emotions don’t leave her passive. She’s not a brat, though. She’s respectful, yet insistent. Young Elizabeth is a leader, probably an Eight.

Grown Elizabeth is not an Eight. She’s still active rather than passive, and insistent. She no longer has that decisive calm, though. She’s no leader. Bravery has turned to recklessness. She’s also no Head Type; much too impulsive.

Heart. She’s not a good enough fighter to be a Body Type. She’s competent, make no mistake. That’s all, though. And envy drives a lot of her actions. Envy of Sparrow’s insouciance, actually, although I don’t know if anyone involved in the production saw it this way. Elizabeth may want to ignore society’s rules, but she’ll never be as good at it as Sparrow.

A Two goes to Eight in weakness. An Eight’s decisiveness becomes a Two’s cruelty. We see this at the end of the second Pirates movie. Her treatment of Sparrow and Will has an uncomfortable edge.

This is a mish-mosh of a character. Ultimately I’d classify Elizabeth as a Two, but I would write and direct her quite differently to make that clear. She’s living in a gray zone right now, which is what makes her character vulnerable to stereotyping.

Except for when she stays on the island, true to Will. Her sacrifice and generosity shine through at the end of the trilogy, marking a very Two-like moment.