Functional Order: Ne-Fi-Te-Si
Enola is witty and inviting in her desire to interact with the audience. She is good at solving puzzles and understanding her mother’s cryptic meaning, relying on the methods her mother taught her to make sense of things. She solves her mother’s cryptogram, knows her brother has set a trap to get his hands on her (and evades it), and operates off her assumption about who sent a hit man to attack the young Viscount (she’s right about the motive but wrong about who is responsible). Halfway through her mission, she decides to change her focus entirely and pursue a new thread (the Vicount’s safety) since she realizes he is more important than her mother’s disappearance. Enola is naieve and too trusting of her rooms being good in London. She sees the big picture in needing to allow the Viscount to escape for his own safety. She is more wrapped up in her own feelings than she is in the Vicount’s case — she is so busy thinking about finding her mother and returning her life to normal that she doesn’t ask any questions about who is after him or why or if she should be concerned. She is preoccupied with her present problem, and leaves him alone in London to fend for himself. Enola has a fierce need to be true to herself and not pressured into being like anyone else. She has no interest in wearing a corset unless it is her choice (and serves a purpose in hiding her from her brothers). Enola becomes offended when her brothers poke through her mother’s room in their investigations and make disparaging remarks about her, and tells them to get out. She sasses her teacher and gets a smack and also splashes her bowl of soup into another student’s face. Enola helps the Vicount escape death because it’s the right thing to do, but refuses to tell him anything about herself and leaves him in London because that’s “part of the plan.” She prefers operating off a complex plan rather than winging it—but can do so under pressure, such as when she knows the only way to escape and survive an assassination attempt is to leap off a moving train. Throughout the story, Enola references her previous experiences, the things her mother taught her, and flashes back to her recent memories as she strings together what is actually going on around her. She was content in her life in the country with just the two of them, odd though it may have been, and for awhile all she wants is to “get her mother back, so my life can go back to normal.” Ie, the way it’s always been.
Enneagram: cp 6w7 so/sp
Enola liked her secure life in the country, even if she did find it a tad bit dull. She uses her head to figure things out, distrusting her emotions (she likes the Viscount) and operating off of “plans” – she admits at one point that she may have “over-thought” her widow’s disguise. She uses the narrative audience like a fellow conspirator, her friends and supporters who are there for her at all times. Enola shows her apprehensiveness in London, but covers it up with false confidence and flaunts her money. She pretends to be less fearful than she is, and for the most part, it works; it’s only when things go wrong that she shows her fear (assassins, a big, crowded, noisy street, etc). Thrown into a school to teach her manners, even though she hates it, she remains mostly compliant and obedient to the authorities to avoid getting into trouble. She wants her authority figure (her mother) back, and is defiant toward the other two authority figures in her life (Mycroft and Sherlock) — though with Sherlock, she tries to get him on her side as a protector. Enola wants to remain happy and free of incumberances. Rather than tie herself down to a boy, she chooses to live on her own in London and seek freedom.