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. In it consciousness is not employed as a positive guiding force, but the moment inhibition or check is required for reaching the intended result, consciousness is ready and asserts itself in the way of forbiddal. This third stage, therefore, differs from the first through having its results embody a conscious purpose; from the second, through having consciousness superintend the process in a negative and hindering, rather than in a positive and prompting way. It is the stage of habit. I call it second nature because it is worked, not by original instincts, but by a new kind of associative mechanism which must first be laboriously constructed.