Dreaming, as we have seen, is not the sole source of such conceptions. But they could scarcely have been found convincing, and possibly could not even have arisen, among races which were wholly devoid of dream experiences. A large part of all progress in psychological knowledge, and, indeed, a large part of civilisation itself, lies in realising that the apparently objective is really subjective, that the angels and demons and geniuses of all sorts that once seemed to be external forces taking possession of feeble and vacant individualities are themselves but modes of action of marvellously rich and varied personalities. In our dreams we are brought back into the magic circle of early culture, and we shrink and shudder in the presence of imaginative phantoms that are built up of our own thoughts and emotions, and are really our own flesh. FOOTNOTES: [Footnote 130: See _e.g._ Galton, _Inquiries_ (Everyman's Library edition), pp. 79-112. Among more recent writings on this subject may be mentioned Bleuler, art. 'Secondary Sensations,' Tuke's _Dictionary of Psychological Medicine;_ Suarez de Mendoza, _L'Audition Colorée;_ Jules Millet, _Audition Colorée;_ and especially a useful summary by Clavière, 'L'Audition Colorée,' _L'Année Psychologique_, fifth year, 1899. A case of auditory gustation is recorded by A. M. Pierce, _American Journal of Psychology_, 1907. It may be noted that Boris Sidis has argued (_Psychological Review_, January 1904) that all hallucinations are of the nature of secondary sensations.] [Footnote 131: Ferrero, in his _Lois Psychologiques du Symbolisme_ (1895), deals broadly with symbolism in human thought and life.] [Footnote 132: _Revue Philosophique_, November 1902.] [Footnote 133: 'Richard Wagner et Tannhauser' in _L'Art Romantique_.] [Footnote 134: The motor imagery suggested by music is in some persons profuse and apparently capricious, and may be regarded as an anomaly comparable to a synaesthesia. Heine was an example of this, and he has described in _Florentine Nights_ the visions aroused by the playing of Paganini, and elsewhere the visions evoked in him by the music of Berlioz. Though I do not myself experience this phenomenon, I have found that there is sometimes a tendency for music to arouse ideas of motor imagery; thus some melodies of Handel suggest a giant painting frescoes on a vast wall space. The most elementary motor relationship of music is seen in the tendency of many people to sway portions of their body--to 'beat time'--in sympathy with the music. (This phenomenon has been experimentally studied by J. B. Miner, 'Motor, Visual, and Applied Rhythms,' Monograph Supplement to the _Psychological Review_, vol. v., No. 4, June 1903). Music is fundamentally an audible dance, and the most primitive music is dance music.]