n precisely the same way as extraverted thinking strives to rid itself of subjective influences, extraverted feeling has also to undergo a certain process of differentiation, before it is finally denuded of every subjective [p. 447] trimming. The valuations resulting from the act of feeling either correspond directly with objective values or at least chime in with certain traditional and generally known standards of value. This kind of feeling is very largely responsible for the fact that so many people flock to the theatre, to concerts, or to Church, and what is more, with correctly adjusted positive feelings. Fashions, too, owe their existence to it, and, what is far more valuable, the whole positive and wide-spread support of social, philanthropic, and such like cultural enterprises. In such matters, extraverted feeling proves itself a creative factor. Without this feeling, for instance, a beautiful and harmonious sociability would be unthinkable. So far extraverted feeling is just as beneficent and rationally effective as extraverted thinking. But this salutary effect is lost as soon as the object gains an exaggerated influence. For, when this happens, extraverted feeling draws the personality too much into the object, i.e. the object assimilates the person, whereupon the personal character of the feeling, which constitutes its principal charm, is lost. Feeling then becomes cold, material, untrustworthy. It betrays a secret aim, or at least arouses the suspicion of it in an impartial observer. No longer does it make that welcome and refreshing impression the invariable accompaniment of genuine feeling; instead, one scents a pose or affectation, although the egocentric motive may be entirely unconscious.
