10.  The absence of the stimuli of external bodies, and of volition, in our dreams renders the organs of sense liable to be more strongly affected by the powers of sensation, and of association.  For our desires or aversions, or the obtrusions of surrounding bodies, dissever the sensitive and associate tribes of ideas in our waking hours by introducing those of irritation and volition amongst them.  Hence proceeds the superior distinctness of pleasurable or painful imagery in our sleep; for we recal the figure and the features of a long lost friend, whom we loved, in our dreams with much more accuracy and vivacity than in our waking thoughts.  This circumstance contributes to prove, that our ideas of imagination are reiterations of those motions of our organs of sense, which were excited by external objects; because while we are exposed to the stimuli of present objects, our ideas of absent objects cannot be so distinctly formed.

11.  The rapidity of the succession of transactions in our dreams is almost inconceivable; insomuch that, when we are accidentally awakened by the jarring of a door, which is opened into our bed-chamber, we sometimes dream a whole history of thieves or fire in the very instant of awaking.

During the suspension of volition we cannot compare our other ideas with those of the parts of time in which they exist; that is, we cannot compare the imaginary scene, which is before us, with those changes of it, which precede or follow it:  because this act of comparing requires recollection or voluntary exertion.  Whereas in our waking hours, we are perpetually making this comparison, and by that means our waking ideas are kept confident with each other by intuitive analogy; but this companion retards the succession of them, by occasioning their repetition.  Add to this, that the transactions of our dreams consist chiefly of visible ideas, and that a whole history of thieves and fire may be beheld in an instant of time like the figures in a picture.

12.  From this incapacity of attending to the parts of time in our dreams, arises our ignorance of the length of the night; which, but from our constant experience to the contrary, we should conclude was but a few minutes, when our sleep is perfect.  The same happens in our reveries; thus when we are possessed with vehement joy, grief, or anger, time appears short, for we exert no volition to compare the present scenery with the past or future; but when we are compelled to perform those exercises of mind or body, which, are unmixed with passion, as in travelling over a dreary country, time appears long; for our desire to finish our journey occasions us more frequently to compare our present situation with the parts of time or place, which are before and behind us.