Moreover, each act of attention has been followed by an act of volition, and each act of volition by a muscular action, which is composed of many minor actions; some so small that we can no more follow them than the player himself can perceive them; nevertheless, it may have been perfectly plain that the player was not attending to what he was doing, but was listening to conversation on some other subject, not to say joining in it himself. If he has been playing the violin, he may have done all the above, and may also have been walking about. Herr Joachim would unquestionably be able to do all that has here been described.
So complete may be the player’s unconsciousness of the attention he is giving, and the brain power he is exerting, that we may find it difficult to awaken his attention to any particular part of his performance without putting him out. Indeed we cannot do so.
We observe that he finds it hardly less difficult to compass a voluntary consciousness of what he has once learnt so thoroughly that it has passed, so to speak, into the domain of unconsciousness, than he found it to learn the note or passage in the first instance. The effort after a second consciousness of detail baffles him—compels him to turn to his music or play slowly. In fact it seems as though he knows the piece too well to be able to know that he knows it, and is only conscious of knowing those passages which he does not know so thoroughly.
At the end of his performance, his power of recollecting appears to be no less annihilated than was his consciousness of attention and volition. For of the thousands of acts requiring the exercise of both the one and the other, which he has done during the five minutes, we will say, of his performance, he will remember hardly one when it is over. If he calls to mind anything beyond the main fact that he has played such and such a piece, it will probably be some passage which he has found more difficult than the others, and with the like of which he has not been so long familiar. All the rest he will forget as completely as the breath which he has drawn while playing.
He finds it difficult to remember even the difficulties he experienced in learning to play. A few may have so impressed him that they remain with him, but the greater part will have escaped him as completely as the remembrance of what he ate, or how he put on his clothes, this day ten years ago; nevertheless, it is plain he does in reality remember more than he remembers remembering, for he avoids mistakes which he made at one time, and his performance proves that
all the notes are in his memory, though if called upon to play such and such a bar at random from the middle of the piece, and neither more nor less, he will probably say that he cannot remember it unless he begins from the beginning of the phrase which leads to it.
In spite, however, of the performer’s present proficiency, our experience of the manner in which proficiency is usually acquired warrants us in assuming that there must have been a time when what is now so easy as to be done without conscious effort of the brain was only done by means of brain work which was very keenly perceived, even to fatigue and positive distress. Even now, if the player is playing something the like of which he has not met before, we observe he pauses and becomes immediately conscious of attention.
We draw the inference, therefore, as regards pianoforte or violin playing, that the more the familiarity or knowledge of the art, the less is there consciousness of such knowledge; even so far as that there should be almost as much difficulty in awakening consciousness which has become, so to speak, latent,—a consciousness of that which is known too well to admit of recognised self-analysis while the knowledge is being exercised—as in creating a consciousness of that which is not yet well enough known to be properly designated as known at all. On the other hand, we observe that the less the familiarity or knowledge, the greater the consciousness of whatever knowledge there is.
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To sum up, then, briefly. It would appear as though perfect knowledge and perfect ignorance were extremes which meet and become indistinguishable from one another; so also perfect volition and perfect