The Principles of Psychology, Volume 1 · William James
FIVE CHARACTERS IN THOUGHT.
Suppose we try to recall a forgotten name. The state of our consciousness is peculiar. There is a gap therein; but no mere gap. It is a gap that is intensely active. A sort of wraith of the name is in it, beckoning us in a given direction, making us at moments tingle with the sense of our closeness, and then letting us sink back without the longed-for term. If wrong names are proposed to us, this singularly definite gap acts immediately so as to negate them. They do not fit into its mould. And the gap of one word does not feel like the gap of another, all empty of content as both might seem necessarily to be when described as gaps. When I vainly try to recall the name of Spalding, my consciousness is far removed from what it is when I vainly try to recall the name of Bowles. Here some ingenious persons will say: "How _can_ the two consciousnesses be different when the terms which might make them different are not there? All that is there, so long as the effort to recall is vain, is the bare effort itself. How should that differ in the two cases?
You are making it seem to differ by prematurely filling it out with the different names, although these, by the hypothesis, have not yet come. Stick to the two efforts as they are, without naming them after facts not yet existent, and you'll be quite unable to designate any point in which they differ." Designate, truly enough. We can only designate the difference by borrowing the names of objects not yet in the mind. Which is to say that our psychological vocabulary is wholly inadequate to name the differences that exist, even such strong differences as these. But namelessness is compatible with existence. There are innumerable consciousnesses of emptiness, no one of which taken in itself has a name, but all different from each other. The ordinary way is to assume that they are all emptinesses of consciousness, and so the same state. But the feeling of an absence is _toto cœlo_ other than the absence of a feeling. It is an intense feeling. The rhythm of a lost word may be there without a sound to clothe it; or the evanescent sense of something which is the initial vowel or consonant may mock us fitfully, without growing more distinct. Every one must know the tantalizing effect of the blank rhythm of some forgotten verse, restlessly dancing in one's mind, striving to be filled out with words.
Again, what is the strange difference between an experience tasted for the first time and the same experience recognized as familiar, as having been enjoyed before, though we cannot name it or say where or when? A tune, an odor, a flavor sometimes carry this inarticulate feeling of their familiarity so deep into our consciousness that we are fairly shaken by its mysterious emotional power. But strong and characteristic as this psychosis is--it probably is due to the submaximal excitement of wide-spreading associational brain-tracts--the only name we have for all its shadings is 'sense of familiarity.' When we read such phrases as 'naught but,' 'either one or the other,' '_a_ is _b_, but,' 'although it is, nevertheless,' 'it is an excluded middle, there is no _tertium quid_,' and a host of other verbal skeletons of logical relation, is it true that there is nothing more in our minds than the words themselves as they pass? What then is the meaning of the words which we think we understand as we read? What makes that meaning different in one phrase from what it is in the other? 'Who?' 'When?' 'Where?' Is the difference of felt meaning in these interrogatives nothing more than their difference of sound? And is it not (just like the difference of sound itself) known and understood in an affection of consciousness correlative to it, though so impalpable to direct examination? Is not the same true of such negatives as 'no,' 'never,' 'not yet'?
The truth is that large tracts of human speech are nothing but _signs of direction_ in thought, of which direction we nevertheless have an acutely discriminative sense, though no definite sensorial image plays any part in it whatsoever. Sensorial images are stable psychic facts; we can hold them still and look at them as long as we like. These bare images of logical movement, on the contrary, are psychic transitions, always on the wing, so to speak, and not to be glimpsed except in flight. Their function is to lead from one set of images to another. As they pass, we feel both the waxing and the waning images in a way altogether peculiar and a way quite different from the way of their full presence. If we try to hold fast the feeling of direction, the full presence comes and the feeling of direction is lost. The blank verbal scheme of the logical movement gives us the fleeting sense of the movement as we read it, quite as well as does a rational sentence awakening definite imaginations by its words.
What is that first instantaneous glimpse of some one's meaning which we have, when in vulgar phrase we say we 'twig' it? Surely an altogether specific affection of our mind. And has the reader never asked himself what kind of a mental fact is his _intention of saying a thing_ before he has said it? It is an entirely definite intention, distinct from all other intentions, an absolutely distinct state of consciousness, therefore; and yet how much of it consists of definite sensorial images, either of words or of things? Hardly anything! Linger, and the words and things come into the mind; the anticipatory intention, the divination is there no more. But as the words that replace it arrive, it welcomes them successively and calls them right if they agree with it, it rejects them and calls them wrong if they do not. It has therefore a nature of its own of the most positive sort, and yet what can we say about it without using words that belong to the later mental facts that replace it? The intention _to-say-so-and-so_ is the only name it can receive. One may admit that a good third of our psychic life consists in these rapid premonitory perspective views of schemes of thought not yet articulate.
How comes it about that a man reading something aloud for the first time is able immediately to emphasize all his words aright, unless from the very first he have a sense of at least the form of the sentence yet to come, which sense is fused with his consciousness of the present word, and modifies its emphasis in his mind so as to make him give it the proper accent as he utters it? Emphasis of this kind is almost altogether a matter of grammatical construction. If we read 'no more' we expect presently to come upon a 'than'; if we read 'however' at the outset of a sentence it is a 'yet,' a 'still,' or a 'nevertheless,' that we expect. A noun in a certain position demands a verb in a certain mood and number, in another position it expects a relative pronoun. Adjectives call for nouns, verbs for adverbs, etc., etc. And this foreboding of the coming grammatical scheme combined with each successive uttered word is so practically accurate that a reader incapable of understanding four ideas of the book he is reading aloud, can nevertheless read it with the most delicately modulated expression of intelligence. Some will interpret these facts by calling them all cases in which certain images, by laws of association, awaken others so very rapidly that we think afterwards we felt the very _tendencies_ of the nascent images to arise, before they were actually there. For this school the only possible materials of consciousness are images of a perfectly definite nature. Tendencies exist, but they are facts for the outside psychologist rather than for the subject of the observation. The tendency is thus a _psychical_ zero; only its _results_ are felt.
Now what I contend for, and accumulate examples to show, is that 'tendencies' are not only descriptions from without, but that they are among the _objects_ of the stream, which is thus aware of them from within, and must be described as in very large measure constituted of _feelings_ of _tendency_, often so vague that we are unable to name them at all. It is, in short, the re-instatement of the vague to its proper place in our mental life which I am so anxious to press on the attention. Mr. Galton and Prof. Huxley have, as we shall see in Chapter XVIII, made one step in advance in exploding the ridiculous theory of Hume and Berkeley that we can have no images but of perfectly definite things. Another is made in the overthrow of the equally ridiculous notion that, whilst simple objective qualities are revealed to our knowledge in subjective feelings, relations are not. But these reforms are not half sweeping and radical enough. What must be admitted is that the definite images of traditional psychology form but the very smallest part of our minds as they actually live. The traditional psychology talks like one who should say a river consists of nothing but pailsful, spoonsful, quartpotsful, barrelsful, and other moulded forms of water.
Even were the pails and the pots all actually standing in the stream, still between them the free water would continue to flow. It is just this free water of consciousness that psychologists resolutely overlook. Every definite image in the mind is steeped and dyed in the free water that flows round it. With it goes the sense of its relations, near and remote, the dying echo of whence it came to us, the dawning sense of whither it is to lead. The significance, the value, of the image is all in this halo or penumbra that surrounds and escorts it,--or rather that is fused into one with it and has become bone of its bone and flesh of its flesh; leaving it, it is true, an image of the same _thing_ it was before, but making it an image of that thing newly taken and freshly understood.
What is that shadowy scheme of the 'form' of an opera, play, or book, which remains in our mind and on which we pass judgment when the actual thing is done? What is our notion of a scientific or philosophical system? Great thinkers have vast premonitory glimpses of schemes of relation between terms, which hardly even as verbal images enter the mind, so rapid is the whole process.[232] We all of us have this permanent consciousness of whither our thought is going. It is a feeling like any other, a feeling of what thoughts are next to arise, before they have arisen. This field of view of consciousness varies very much in extent, depending largely on the degree of mental freshness or fatigue. When very fresh, our minds carry an immense horizon with them. The present image shoots its perspective far before it, irradiating in advance the regions in which lie the thoughts as yet unborn. Under ordinary conditions the halo of felt relations is much more circumscribed. And in states of extreme brain-fag the horizon is narrowed almost to the passing word,--the associative machinery, however, providing for the next word turning up in orderly sequence, until at last the tired thinker is led to some kind of a conclusion. At certain moments he may find himself doubting whether his thoughts have not come to a full stop; but the vague sense of a _plus ultra_ makes him ever struggle on towards a more definite expression of what it may be; whilst the slowness of his utterance shows how difficult, under such conditions, the labor of thinking must be.
Each point of the horizontal line stands for some brain-tract or process. The height of the curve above the line stands for the intensity of the process. All the processes are _present_, in the intensities shown by the curve. But those before the latter's apex _were_ more intense a moment ago; those after it _will be_ more intense a moment hence. If I recite _a, b, c, d, e, f, g,_ at the moment of uttering _d_, neither _a, b, c,_ nor _e, f, g,_ are out of my consciousness altogether, but both, after their respective fashions, 'mix their dim lights' with the stronger one of the _d_, because their neuroses are both awake in some degree. There is a common class of mistakes which shows how brain-processes begin to be excited before the thoughts attached to them are _due_--due, that is, in substantive and vivid form. I mean those mistakes of speech or writing by which, in Dr. Carpenter's words, "we mispronounce or misspell a word, by introducing into it a letter or syllable of some other, whose turn is shortly to come; or, it may be, the whole of the anticipated word is substituted for the one which ought to have been expressed."[233] In these cases one of two things must have happened: either some local accident of nutrition _blocks_ the process that is _due_, so that other processes discharge that ought as yet to be but nascently aroused; or some opposite local accident _furthers_ the _latter processes_ and makes them explode before their time. In the chapter on Association of Ideas, numerous instances will come before us of the actual effect on consciousness of neuroses not yet maximally aroused.
It is just like the 'overtones' in music. Different instruments give the 'same note,' but each in a different voice, because each gives more than that note, namely, various upper harmonics of it which differ from one instrument to another. They are not separately heard by the ear; they blend with the fundamental note, and suffuse it, and alter it; and even so do the waxing and waning brain-processes at every moment blend with and suffuse and alter the psychic effect of the processes which are at their culminating point. * * * * * Let us use the words _psychic overtone, suffusion,_ or _fringe_, to designate the influence of a faint brain-process upon our thought, as it makes it aware of relations and objects but dimly perceived.[234] If we then consider the _cognitive function_ of different states of mind, we may feel assured that the difference between those that are mere 'acquaintance,' and those that are 'knowledges-_about_' (see p. 221) is reducible almost entirely to the absence or presence of psychic fringes or overtones. Knowledge _about_ a thing is knowledge of its relations. Acquaintance with it is limitation to the bare impression which it makes. Of most of its relations we are only aware in the penumbral nascent way of a 'fringe' of unarticulated affinities about it. And, before passing to the next topic in order, I must say a little of this sense of affinity, as itself one of the most interesting features of the subjective stream.
In all our voluntary thinking there is some topic or subject about which all the members of the thought revolve. Half the time this topic is a problem, a gap we cannot yet fill with a definite picture, word, or phrase, but which, in the manner described some time back, influences us in an intensely active and determinate psychic way. Whatever may be the images and phrases that pass before us, we feel their relation to this aching gap. To fill it up is our thoughts' destiny. Some bring us nearer to that consummation. Some the gap negates as quite irrelevant. Each swims in a felt fringe of relations of which the aforesaid gap is the term. Or instead of a definite gap we may merely carry a mood of interest about with us. Then, however vague the mood, it will still act in the same way, throwing a mantle of felt affinity over such representations, entering the mind, as suit it, and tingeing with the feeling of tediousness or discord all those with which it has no concern. Relation, then, to our topic or interest is constantly felt in the fringe, and particularly the relation of harmony and discord, of furtherance or hindrance of the topic. When the sense of furtherance is there, we are 'all right;' with the sense of hindrance we are dissatisfied and perplexed, and cast about us for other thoughts. Now _any_ thought the quality of whose fringe lets us feel ourselves 'all right,' is an acceptable member of our thinking, whatever kind of thought it may otherwise be. Provided we only feel it to have a place in the scheme of relations in which the interesting topic also lies, that is quite sufficient to make of it a relevant and appropriate portion of our train of ideas.
_For the important thing about a train of thought is its conclusion._ That is the _meaning_, or, as we say, the topic of the thought. That is what abides when all its other members have faded from memory. Usually this conclusion is a word or phrase or particular image, or practical attitude or resolve, whether rising to answer a problem or fill a pre-existing gap that worried us, or whether accidentally stumbled on in revery. In either case it stands out from the other segments of the stream by reason of the peculiar interest attaching to it. This interest _arrests_ it, makes a sort of crisis of it when it comes, induces attention upon it and makes us treat it in a substantive way. The parts of the stream that precede these substantive conclusions are but the means of the latter's attainment. And, provided the same conclusion be reached, the means may be as mutable as we like, for the 'meaning' of the stream of thought will be the same. What difference does it make what the means are? "_Qu'importe le flacon, pourvu qu'on ait l'ivresse?_" The relative unimportance of the means appears from the fact that when the conclusion is there, we have always forgotten most of the steps preceding its attainment. When we have uttered a proposition, we are rarely able a moment afterwards to recall our exact words, though we can express it in different words easily enough. The practical upshot of a book we read remains with us, though we may not recall one of its sentences.
"That connection [he says] or relation which comes gradually to subsist among the different words of a language, in the minds of those who speak it,... is merely consequent on this, that those words are employed as signs of connected or related things. It is an axiom in geometry that things equal to the same thing are equal to one another. It may, in like manner, be admitted as an axiom in psychology that ideas associated by the same idea will associate one another. Hence it will happen that if, from experiencing the connection of two things, there results, as infallibly there will result, an association between the ideas or notions annexed to them, as each idea will moreover be associated by its sign, there will likewise be an association between the ideas of the signs. Hence the sounds considered as signs will be conceived to have a connection analogous to that which subsisteth among the things signified; I say, the sounds considered as signs; for this way of considering them constantly attends us in speaking, writing, hearing, and reading. When we purposely abstract from it, and regard them merely as sounds, we are instantly sensible that they are quite unconnected, and have no other relation than what ariseth from similitude of tone or accent. But to consider them in this manner commonly results from previous design, and requires a kind of effort which is not exerted in the ordinary use of speech. In ordinary use they are regarded solely as signs, or, rather, they are confounded with the things they signify; the consequence of which is that, in the manner just now explained, we come insensibly to conceive a connection among them of a very different sort from that of which sounds are naturally susceptible.
"Now this conception, habit, or tendency of the mind, call it which you please, is considerably strengthened by the frequent use of language and by the structure of it. Language is the sole channel through which we communicate our knowledge and discoveries to others, and through which the knowledge and discoveries of others are communicated to us. By reiterated recourse to this medium, it necessarily happens that when things are related to each other, the words signifying those things are more commonly brought together in discourse. Hence the words and names by themselves, by customary vicinity, contract in the fancy a relation additional to that which they derive purely from being the symbols of related things. Farther, this tendency is strengthened by the structure of language. All languages whatever, even the most barbarous, as far as hath yet appeared, are of a regular and analogical make. The consequence is that similar relations in things will be expressed similarly; that is, by similar inflections, derivations, compositions, arrangement of words, or juxtaposition of particles, according to the genius or grammatical form of the particular tongue. Now as, by the habitual use of a language (even though it were quite irregular), the signs would insensibly become connected in the imagination wherever the things signified are connected in nature, so, by the regular structure of a language, this connection among the signs is conceived as analogous to that which subsisteth among their archetypes."
If we know English and French and begin a sentence in French, all the later words that come are French; we hardly ever drop into English. And this affinity of the French words for each other is not something merely operating mechanically as a brain-law, it is something we feel at the time. Our understanding of a French sentence heard never falls to so low an ebb that we are not aware that the words linguistically belong together. Our attention can hardly so wander that if an English word be suddenly introduced we shall not start at the change. Such a vague sense as this of the words belonging together is the very minimum of fringe that can accompany them, if 'thought' at all. Usually the vague perception that all the words we hear belong to the same language and to the same special vocabulary in that language, and that the grammatical sequence is familiar, is practically equivalent to an admission that what we hear is sense. But if an unusual foreign word be introduced, if the grammar trip, or if a term from an incongruous vocabulary suddenly appear, such as 'rat-trap' or 'plumber's bill' in a philosophical discourse, the sentence detonates, as it were, we receive a shock from the incongruity, and the drowsy assent is gone. The feeling of rationality in these cases seems rather a negative than a positive thing, being the mere absence of shock, or sense of discord, between the terms of thought.
So delicate and incessant is this recognition by the mind of the mere fitness of words to be mentioned together that the slightest misreading, such as 'casualty' for 'causality,' or 'perpetual' for 'perceptual,' will be corrected by a listener whose attention is so relaxed that he gets no idea of the _meaning_ of the sentence at all. Conversely, if words do belong to the same vocabulary, and if the grammatical structure is correct, sentences with absolutely no meaning may be uttered in good faith and pass unchallenged. Discourses at prayer-meetings, reshuffling the same collection of cant phrases, and the whole genus of penny-a-line-isms and newspaper-reporter's flourishes give illustrations of this. "The birds filled the tree-tops with their morning song, making the air moist, cool, and pleasant," is a sentence I remember reading once in a report of some athletic exercises in Jerome Park. It was probably written unconsciously by the hurried reporter, and read uncritically by many readers. An entire volume of 784 pages lately published in Boston[236] is composed of stuff like this passage picked out at random: "The flow of the efferent fluids of all these vessels from their outlets at the terminal loop of each culminate link on the surface of the nuclear organism is continuous as their respective atmospheric fruitage up to the altitudinal limit of their expansibility, whence, when atmosphered by like but coalescing essences from higher altitudes,--those sensibly expressed as the essential qualities of external forms,--they descend, and become assimilated by the afferents of the nuclear organism."[237]
Ideas discussed in this chapter
Text from Project Gutenberg, public domain in the United States.