Charles shows the strongest evidence for Fi in his behavior pertaining to his wife and her attempts to repair a marriage he has become increasingly dissatisfied with over the course of the last seven years – though his entire family wants his marriage to succeed, he intends for it to fail and goes out of his way to sabotage it. Because he does not “feel” in love with Diana, he ignores her phone calls and in this way, encourages her to find a lover, which he can then use against her in divorce court. He can be self-centered at times, constantly angry over not getting the attention he feels he deserves. Charles is far more sensitive than his father, who looks upon his fragile emotions as a “weakness” and assumes he can eradicate it through sending Charles off to the same military boarding school that “turned me into a man.” Instead of thriving there, Charles suffers—and hates it, since he is forced to conform to a tough sensory environment he’s not equipped to handle. A romantic at heart, Charles feels a sense of alienation from his family that leads him to have sympathy for, and identify with, his abdicated uncle David. Upon his uncle’s death, Charles realizes he is “the new David.” When his mother sends him to Wales to learn the language and give a speech in Welsh, Charles deliberately changes certain lines and adds in his own meaning, because he feels passionate about the topic—against his mother and father’s wishes and hoping they will not “understand,” and therefore not know. And when he purchases a castle in the countryside, as his mother points out, he decides to make it a “living testament to… me,” through all his choice of aesthetics. He is deeply hurt by his mother informing him that no one wants to hear his opinions. Charles shows little ambition beyond what is expected of him, and can be hurtful, direct, and frank whenever he is angry, lampooning his mother and his wife in his own disappointment (inferior Te outbursts). He is an intellectual and a dreamer, a romantic at heart who his sister Anne accuses of being someone more involved in dream worlds (“fantasizing”) than in reality. Charles doesn’t like to feel confined by anything, and chafes under his responsibilities as the Prince of Wales. He’s happiest to create his own home in the country and plant the garden full of unconventional choices and an avoidance of straight lines, because he cannot abide them. He doesn’t bond to his wife, because she has no interest in his intellectual pursuits and he finds her “dull.” He reaches swift intuitive conclusions, such as realizing that he is the “new” David in the family (someone misunderstood and disliked, who is going to be forced to conform to others’ expectations at the cost of his own happiness). Charles often likes to speak in metaphors and reference plays. He dares to want things different for himself than is traditionally expected of him; he dabbles in the theatre, easily picks up Welsh when he attempts to learn it, and is open minded and forward-thinking. Rather than the stoic speech prepared for him, he adds in things he wants to see happen in Wales and throughout England. He muses philosophically that he is “useless” until his mother dies, and what a dreadful thing that is to think about, that he will have no purpose until she is gone. Charles shows a poor ability to adapt to a sensory environment at the boy’s school, where he makes repeated failures and finds it difficult to keep up with the other boys in sports. He can be somewhat practical and traditional, not venturing too far outside his rut and remaining respectful of the family traditions. But he is also incredibly fastidious and picky – as Camilla tells Diana at their lunch together, Charles “will not eat lunch, and despises trying new things.”

Enneagram: 4w3 sp/so

Charles’ older sister Anne calls him “Eoyre” for a good reason – Charles has fixated on all the unhappy things about his life, his great miseries in being born a sovereign, his bullying at school, his feelings of never being loved or shown emotional sensitivity by his mother, and his great unhappiness at being forced into a marriage he doesn’t really want, because Camilla has married someone else. Diana is ready and willing to love and be loved, and all he can do is push her away, ignore her phone calls, long for a woman he cannot have except in an illicit manner, and mope about his misfortune. When given the chance to repair his marriage, he refuses to even consider it – he is not “feeling it,” therefore he doesn’t bother. He also has 4ish tendencies of haughty superiority, informing his brother that he is going to be “pushed to the fringe outskirts” of the family and fall out of the line of succession, looking down on Diana for her public displays of affection (her dancing for him on the stage, her gift of a tape of herself singing Christine Daee’s role in Phantom of the Opera), and calling her the most “un-intellectually curious” woman he has ever met. He partly hates and resents her because she steals all the attention away from him wherever he goes; he egotistically wants to be the praised, beloved, center of attention and cannot be, whenever she is around (“they boo me, and praise you!”). He also accuses her of his own faults – being narcissistic (his anger that tomorrow, instead of the papers talking about his birthday gala, it will be all about her charming performance).