whether we should advance our leg if we had no sensation of its movement as executed, and not even a minimal feeling of impulse to set it down. Knitting appears altogether mechanical, and the knitter keeps up her knitting even while she reads or is engaged in lively talk. But if we ask her how this be possible, she will hardly reply that the knitting goes on of itself. She will rather say that she has a feeling of it, that she feels in her hands that she knits and how she must knit, and that therefore the movements of knitting are called forth and regulated by the sensations associated therewithal, even when the attention is called away.
"So of every one who practices, apparently automatically, a long familiar handicraft. The smith turning his tongs, as he smites the iron, the carpenter wielding his plane, the lace-maker with her bobbin, the weaver at his loom, all will answer the same question in the same way by saying that they have a feeling of the proper management of the implement in their hands.
"In these cases, the feelings which are conditions of the appropriate acts, are very faint. But none the less are they necessary. Imagine your hands not feeling; your movements could then only be provoked by ideas, and if your ideas were then diverted away, the movements ought to come to a standstill, which is a consequence that seldom occurs."[1] Again—
"An idea makes you take, for example, a violin into your left hand. But it is not necessary that your idea should remain fixed on the contraction of the muscles of the left hand and fingers, in order that the violin should continue to be held fast and not let fall. The sensations themselves which the holding of the instrument awakens in the hand, since they are associated with the motor impulse of grasping, are sufficient to cause this impulse, which then lasts as long as the feeling itself lasts, or until the impulse is inhibited by the idea of some antagonistic motion." And the same may be said of the manner in which the right hand holds the bow. "It sometimes happens, in beginning these simultaneous combinations, that one movement or impulse will cease, if the consciousness turns particularly toward another, because at the outset the guiding sensations must all be strongly felt. The bow will perhaps slip from the fingers, because some of the muscles have relaxed. But the slipping is a cause of new sensations starting up in the hand, so that the attention is in a moment brought back to the grasping of the bow.
"The following experiment shows this well: When one begins to play on the violin, to keep him from raising bis right elbow in playing a book is placed under his right armpit, which he is ordered to hold fast by keeping the upper arm tight against his body. The muscular feelings, and feelings of contact connected with the book, provoke an impulse to press it tight. But often it happens that the beginner,
- ↑ "Der menschliche Wille," pp.447, 443.
