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 difficu