OBJECT AND LIVING ORGANISM 117 



which we otherwise exert over the direction the movement 

 follows, and the sequence of the movement-impulse, thoroughly 

 learnt for the right hand, produces mirror-writing in the left, 

 which is its mirror-image. This experiment enables us to 

 separate the impulse-sequence from the controlling schemata, 

 which otherwise regulate our movement all the time. 



The separation becomes even more obvious in those cases 

 where, as in the movements of our larynx, there is never any 

 control by the eye. 



In such instances, control by the outer and inner direction- 

 signs disappears altogether, and is given over to the ear 

 alone. For the movements of the laryngeal muscles do not 

 reach us through inner direction-signs, but, along with vague 

 muscular feelings, come to our consciousness indirectly only 

 through the sounds produced. 



From this it clearly follows that the impulse-sequence, / 

 although connected up into a compact unity, must not be 

 confused with the sense-schema, which may be regarded as a 

 space-monogram or a melody of direction-signs. 



We make the schema of the alphabet our own through 

 learning to read, a faculty originating from the direction-signs 

 of the eye-muscles as our glance sweeps over the contours ; 

 and it is not permissible to assume that this schema is trans- 

 ferred directly to the muscles moving the hand. On the 

 contrary, by performing the movements of the hands, we get 

 another schema, coming from the direction-signs of the hand- 

 muscles ; and it is this which, ^ combined with the sight- 

 schema of the eye-muscles, controls the movements in writing. 



The schemata are undoubtedly acquired by movement of 

 the muscles, because the direction-signs sound during the 

 movement ; but they have nothing directly to do with the 

 muscular innervation. The sense-schemata are aids to per- 

 ception ; the impulse-sequences, on the other hand, are 

 directors of our activity. When they come into action, the 



