But passing from this exceptional kind of unity in dreams, let us inquire how the heterogeneous elements of our dream-fancy become ordered and arranged when they preserve their separate existence. If we look closely at the structure of our more finished dreams, we find that the appearance of harmony, connectedness, or order, may be given in one of two ways. There may, first of all, be a subjective harmony, the various images being held together by an emotional thread. Or there may, secondly, be an objective harmony, the parts of the dream, though answering to no particular experiences of waking life, bearing a certain resemblance to our habitual modes of experience. Let us inquire into the way in which each kind of order is brought about. _Lyrical Element in Dreams._ The only unity that belongs to many of our dreams is a subjective emotional unity. This is the basis of harmony in lyrical poetry, where the succession of images turns mainly on their emotional colouring. Thus, the images that float before the mind of the Poet Laureate, in his _In Memoriam_, clearly have their link of connection in their common emotional tone, rather than in any logical continuity. Dreaming has been likened to poetic composition, and certainly many of our dreams are built upon a groundwork of lyrical feeling. They might be marked off, perhaps, as our lyrical dreams. The way in which this emotional force acts in these cases has already been hinted at. We have seen that the analogy of feeling is a common link between dream-images. Now, if any shade of feeling becomes fixed and dominant in the mind, it will tend to control all the images of the time, allowing certain congruous ones to enter, and excluding others.[95] If, for example, a feeling of distress occupies the mind, distressing images will have the advantage in the struggle for existence which goes on in the world of mind as well as in that of matter. We may say that attention, which is here wholly a passive process, is controlled by the emotion of the time, and bent in the direction of congruent or harmonious images. Now, a ground-tone of feeling of a certain complexion, answering to the sum of sensations arising in connection with the different organic processes of the time, is a very frequent foundation of our dream-structure. So frequent is it, indeed, that one might almost say there is no dream in which it is not one great determining factor. The analysis of a very large number of dreams has convinced me that traces of this influence are discoverable in a great majority.