Functional Order: Ni-Te-Fi-Se

Navarre is a romantic idealist to the extreme, who places a great deal of faith in his own intuitive insights. When he “hears the bells” of the city ring, he “knows” someone has escaped that can help him, even though he does not know who that person might be. He believes in his destiny, and berates Mouse for trying to thwart his intentions, because he has devoted his entire life to finding his “quest.” He argues with Mouse about divine right and God’s place in their lives… but is also locked into ‘how things are’ (how he sees them) and will not consider any other alternatives. Navarre, after two hellish years of enduring separation due to the curse, has reached a low point of surrender to their fate, which makes him think things can never change. This fatalism leads him to want to kill the man responsible, and to reject the priest’s belief that they can break the curse. He is so stubborn about his desired outcome that he refuses to change his mind; Mouse and the priest must kidnap him, steal his sword, and convince him it’s gone to derail his intentions. Navarre has an attachment to his ‘family sword’ and intends to vanquish his enemy with it; his entire life, he has sought for his ‘right’ to put his gemstone into the handle, fulfilling his own ‘quest.’ He is abrasive, harsh, authoritarian, and even harsh. He orders the priest to kill Isabeau if his plan to kill the bishop fails (he assumes he knows her well enough, she would not want to live in torment without him, which is a tad bit arrogant); he is cold and refuses to explain himself to Mouse, just insists “God” has chosen Mouse to “help him,” and forces him through direct threats of violence into staying with him. If he were more forthcoming and less private, he might have earned Mouse’s willing assistance much sooner. Navarre is a deeply emotional, sensitive, and tormented man, who shows none of that to the outside world. He first strikes Mouse as distant, aloof, and cold, but as Mouse grows to know him and gets to know more about him and “LadyHawke,” Mouse discovers that emotions – his own deep sorrow over being separated by species from Isabeau – drives his intentions. When he rescues Mouse from the clutches of the men sent to capture him, Navarre intends no violence – and is visibly upset, when the new Captain of the Guard thrusts a man onto his sword. He is eager to hear what Isabeau has told Mouse about him, but not forthcoming with his own feelings. His own emotions override those of everyone else – but Navarre is also willing to admit to his mistakes; when he sees the claw marks he has left on Mouse after falling in the river, he feels sorrowful (even though a moment before, he cursed Mouse for losing his precious family sword). Navarre can be so wrapped up in his own feelings, he blocks out other possibilities (insisting on killing the bishop, rather than waiting to see if the priest’s obscure prediction is correct).

Enneagram: 4w5 sx/sp

Navarre has the 4ish sin of ‘fatalism’ – he is so wrapped up in misery that he refuses to believe there will be any other outcome other than the negative one that has locked him in its grasp – they are forever doomed to be apart, never together, never to touch, or kiss, or caress as humans… and if they cannot break this spell (and that is certain) then both of them must die, if they cannot be together. But as a 5 wing, he keeps most of this locked deep inside himself, avoiding the external world and taking risks in it, by dwelling on what has happened. After two years, unable to stand it anymore, he intends to kill the bishop who cursed them, possibly dying in the process. His 5 wing is part of what makes him so deeply private; he shares almost nothing with Mouse, who has to figure out what has happened on his own. He is not easy to emotionally access, and can somewhat compartmentalize his feelings (such as when he assumes Isabeau is dead, and can still attack the Captain of the Guard, to resume his intentions). Navarre can be brutally logical at times, pointing out that it’s absurd to believe in a ‘day without a night, and a night without a day – you are too much in your cups, old man.’ He needs the optimists in his life (Mouse and Isabeau) to save him.