On the whole, then, it seems as probable as anything can well be, that these feelings of innervation do not exist. If the motor cells are distinct structures, they are as insentient as the motor nerve-trunks are after the posterior roots are cut. If they are not distinct structures, but are only the last sensory cells, those at the 'mouth of the funnel,'[460] then their consciousness is that of kinæsthetic ideas and sensations merely, and this consciousness accompanies the rise of activity in them rather than its discharge. The entire content and material of our consciousness—consciousness of movement, as of all things else—is thus of peripheral origin, and came to us in the first instance through the peripheral nerves. If it be asked what we gain by this sensationalistic conclusion, I reply that we gain at any rate simplicity and uniformity. In the chapters on Space, on Belief, on the Emotions, we found sensation to be a much richer thing than is commonly supposed; and this chapter seems at this point to fall into line with those. Then, as for sensationalism being a degrading belief, which abolishes all inward originality and spontaneity, there is this to be said, that the advocates of inward spontaneity may be turning their backs on its real citadel, when they make a fight, on its behalf, for the consciousness of energy put forth in the outgoing discharge. Let there be no such consciousness; let all our thoughts of movements be of sensational constitution; still in the emphasizing, choosing, and espousing of one of them rather than another, in the saying to it, 'be thou the reality for me,' there is ample scope for our inward initiative to be shown. Here, it seems to me, the true line between the passive materials and the activity of the spirit should be drawn. It is certainly false strategy to draw it between such ideas as are connected with the outgoing and such as are connected with the incoming neural wave.[461]
If the ideas by which we discriminate between one movement and another, at the instant of deciding in our mind which one we shall perform, are always of sensorial origin, then the question arises, "Of which sensorial order need they be?" It will be remembered that we distinguished two orders of kinæsthetic impression, the remote ones, made by the movement on the eye or ear or distant skin, etc., and the resident ones, made on the moving parts themselves, muscles, joints, etc. Now do resident images, exclusively, form what I have called the mental cue, or will remote ones equally suffice?
There can be no doubt whatever that the mental cue may be either an image of the resident or of the remote kind. Although, at the outset of our learning a movement, it would seem that the resident feelings must come strongly before consciousness (cf. [p. 487]), later this need not be the case. The rule, in fact, would seem to be that they tend to lapse more and more from consciousness, and that the more practised we become in a movement, the more 'remote' do the ideas become which form its mental cue. What we are interested in is what sticks in our consciousness; everything else we get rid of as quickly as we can. Our resident feelings of movement have no substantive interest for us at all, as a rule. What interest us are the ends which the movement is to attain. Such an end is generally an outer impression on the eye or ear, or sometimes on the skin, nose, or palate. Now let the idea of the end associate itself definitely with the right motor innervation, and the thought of the innervation's resident effects will become as great an encumbrance as we formerly concluded that the feeling of the innervation itself would be. The mind does not need it; the end alone is enough.
The idea of the end, then, tends more and more to make itself all-sufficient. Or, at any rate, if the kinæsthetic ideas are called up at all, they are so swamped in the vivid kinæsthetic feelings by which they are immediately overtaken that we have no time to be aware of their separate existence. As I write, I have no anticipation, as a thing distinct from my sensation, of either the look or the digital feel of the letters which flow from my pen. The words chime on my mental ear, as it were, before I write them, but not on my mental eye or hand. This comes from the rapidity with which often-repeated movements follow on their mental cue. An end consented to as soon as conceived innervates directly the centre of the first movement of the chain which leads to its accomplishment, and then the whole chain rattles off quasi-reflexly, as was described on pp. 115-6 of Vol. I.
The reader will certainly recognize this to be true in all fluent and unhesitating voluntary acts. The only special fiat there is at the outset of the performance. A man says to himself, "I must change my shirt," and involuntarily he has taken off his coat, and his fingers are at work in their accustomed manner on his waistcoat-buttons, etc.; or we say, "I must go downstairs," and ere we know it we have risen, walked, and turned the handle of the door;—all through the idea of an end coupled with a series of guiding sensations which successively arise. It would seem indeed that we fail of accuracy and certainty in our attainment of the end whenever we are preoccupied with much ideal consciousness of the means. We walk a beam the better the less we think of the position of our feet upon it. We pitch or catch, we shoot or chop the better the less tactile and muscular (the less resident), and the more exclusively optical, (the more remote) our consciousness is. Keep your eye on the place aimed at, and your hand will fetch it; think of your hand, and you will very likely miss your aim. Dr. Southard found that he could touch a spot with a pencil-point more accurately with a visual than with a tactile mental cue. In the former case he looked at a small object and closed his eyes before trying to touch it. In the latter case he placed it with closed eyes, and then after removing his hand tried to touch it again. The average error with touch (when the results were most favorable) was 17.13 mm. With sight it was only 12.37 mm.[462]—All these are plain results of introspection and observation. By what neural machinery they are made possible we need not, at this present stage, inquire.
In [Chapter XVIII] we saw how enormously individuals differ in respect to their mental imagery. In the type of imagination called tactile by the French authors, it is probable that the kinæsthetic ideas are more prominent than in my account. We must not expect too great a uniformity in individual accounts, nor wrangle overmuch as to which one 'truly' represents the process.[463]
I trust that I have now made clear what that 'idea of a movement' is which must precede it in order that it be voluntary. It is not the thought of the innervation which the movement requires. It is the anticipation of the movement's sensible effects, resident or remote, and sometimes very remote indeed. Such anticipations, to say the least, determine what our movements shall be. I have spoken all along as if they also might determine that they shall be. This, no doubt, has disconcerted many readers, for it certainly seems as if a special fiat, or consent to the movement were required in addition to the mere conception of it, in many cases of volition; and this fiat I have altogether left out of my account. This leads us to the next point in the psychology of the Will. It can be the more easily treated now that we have got rid of so much tedious preliminary matter.