In close connection with these stimuli of pressure are those of muscular movement, whether unimpeded or impeded. We need not enter into the difficult question how far the "muscular sense" is connected with the activity of the motor nerves, and how far with sensory fibres attached to the muscular or the adjacent tissues. Suffice it to say that an actual movement, a resistance to an attempted movement, or a mere disposition to movement, whether consequent on a surplus of motor energy or on a sensation of discomfort or fatigue in the part to be moved, somehow or other makes itself known to our minds, even when we are deprived of the assistance of vision. And these feelings of movement, impeded or unimpeded, are common initial impulses in our dream-experiences. It is quite a mistake to suppose that dreams are built up out of the purely passive sensations of sight and hearing. A close observation will show that in nearly every dream we imagine ourselves either moving among the objects we perceive or striving to move when some weighty obstacle obstructs us. All of us are familiar with the common forms of nightmare, in which we strive hopelessly to flee from some menacing evil, and this dream-experience, it may be presumed, frequently comes from a feeling of strain in the muscles, due to an awkward disposition of the limbs during sleep. The common dream-illusion of falling down a vast abyss is plausibly referred by Wundt to an involuntary extension of the foot of the sleeper. _Action of Internal Stimuli._ Let us now pass from the action of stimuli lying outside the organism, to that of stimuli lying within the peripheral regions of the sense-organs. I have already spoken of the influence of subjective sensations of sight, hearing, etc., on the illusions of waking life, and it is now to be added that these sensations play an important part in our dream-life. Johannes Mueller lays great prominence on the part taken by ocular spectra in the production of dreams. As he observes, the apparent rays of light, light-patches, mists of light, and so on, due to changes of blood-pressure in the retina, only manifest themselves clearly when the eyes are closed and the more powerful effect of the external stimulus cut off. These subjective spectra come into prominence in the sleepy condition, giving rise to what M. Maury calls "hallucinations hypnagogiques," and which he regards (after Gruithuisen) as the chaos out of which the dream-cosmos is evolved.[83] They are pretty certainly the starting-point in those picturesque dreams in which figure a number of bright objects, such as beautiful birds, butterflies, flowers, or angels.