Hope, George Frederic Watts and workshop, 1886; oil on canvas, Tate Britain
Hope, George Frederic Watts and workshop, 1886; oil on canvas, Tate Britain

I Can’t Recall the Name, but That Isn’t It

The name is forgotten, yet another name will not fit: William James on an active gap in consciousness.

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. There are innumerable consciousnesses of want, no one of which taken in itself has a name, but all different from each other.

Such feeling of want is tota cœlo other than a want of 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.

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