The phrase negative consciousness describes its character most
exactly, though the meaning is not at once apparent. Positive
consciousness marks the second stage. There we are obliged to think of
each point involved, in order to bring it into action. In piano-
playing, for example, I had to study my seat at the piano, the music
on the rack, the letters of the keyboard, the position of my fingers,
and the coordination of all these with one another. To each such
matter a separate and positive attention is given. But even at the
last, when I am playing at my ease, we cannot say that consciousness
is altogether absent. I am conscious of the harmony, and if I do not
direct, I still verify results. As an entire phrase of music rolls off
my rapid fingers, I judge it to be good. But if one of the notes
sticks, or I perceive that the phrase might be improved by a slightly
changed stress, I can check my spontaneous movements and correct the
error. There is therefore a watchful, if not a prompting,
consciousness at work. It is true that, the first note started, all
the others follow of themselves in natural sequence. Though I withdraw
attention from my fingers, they run their round as a part of the
associated train. But if they go awry, consciousness is ready with its
inhibition. I accordingly call this the stage of negative
consciousness.
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