I referred at the beginning of this account of sense-illusions to the readiness with which the mind deceives itself with respect to the nature and causes of the vague sensations which usually form the dim background of our mental life. A person of lively imagination, by trying to view these in a particular way, and by selectively attending to those aspects of the sensation which answer to the caprice of the moment, may give a variety of interpretations to one and the same set of sensations. For example, it is very easy to get confused with respect to those tactual and motor feelings which inform us of the position of our bodily members. And so, when lying in bed, and attending to the sensations connected with the legs, we may easily delude ourselves into supposing that these members are arranged in a most eccentric fashion. Similarly, by giving special heed to the sensations arising in connection with the condition of the skin at any part, we may amuse ourselves with the strangest fancies as to what is going on in these regions. Again, when any object of visual perception is indistinct or indefinite in form, there is plainly an opening for this capricious play of fancy in transforming the actual. This is illustrated in the well-known pastime of discovering familiar forms, such as those of the human head and animals, in distant rocks and clouds, and of seeing pictures in the fire, and so on. The indistinct and indefinite shapes of the masses of rock, cloud, or glowing coal, offer an excellent field for creative fancy, and a person of lively imagination will discover endless forms in what, to an unimaginative eye, is a formless waste. Johannes Mueller relates that, when a child, he used to spend hours in discovering the outlines of forms in the partly blackened and cracked stucco of the house that stood opposite to his own.[50] Here it is plain that, while experience and association are not wholly absent, but place certain wide limits on this process of castle-building, the spontaneous activity of the percipient mind is the great determining force. So much as to the influence of a perfectly unfettered voluntary attention on the determination of the stage of preperception, and, through this, of the resulting interpretation. Let us now pass to cases in which this direction of preperception follows not the caprice of the moment, but the leading of some fixed predisposition in the interpreter's mind. In these cases attention is no longer free, but fettered, only it is now fettered rather from within than from without; that is to say, the dominating preperception is much more the result of an independent bent of the imagination than of some suggestion forced on the mind by the actual impression of the moment. _Involuntary Mental Preadjustment._