The better to understand this free productivity, we must further circumscribe the domain of immediate consciousness. In this we can find nothing more helpful than comparing it with the images produced by dreams. The artist has his own dreams: he dreams with open eyes, and from among the thick-thronging images of this dream-state those having sufficient energy alone become works of art, the rest remaining a mere background from which the others stand out. All the essential elements of art are found in the dream-state, which is the production of free thoughts and sensuous intuitions consisting of mere images. Certainly something is lacking in dreams, and they differ from art not only in their absence of technique, which has already been excluded as irrelevant to art, but in another way, viz. that a dream is a chaotic fact, without stability, order, connexion or measure. But when some sort of order is introduced into the chaos the difference at once disappears, and the likeness to art merges in identity. This internal activity which introduces order and measure, fixes and determines the image, is that which distinguishes art from a dream or transforms a dream into art. It often involves struggle, labour, the obligation to stem the involuntary flood of internal images; in a word, it means reflexion or deliberation. But the dream and the cessation of dreaming are equally indispensable elements of art. There must be production of thoughts and images and, together with such production, there must be measure, determination and unity, "otherwise each image would be confused with its neighbour and have no definiteness." The instant of inspiration (_Begeisterung_) is as essential as that of deliberation (_Besonnenheit)_.[10] [Sidenote: _Art and the typical._]