106 On Dramatic Reprefentations, 
leaft affifted by external objedts, to thofe in which it 
is moftfo. And, not to dwell upon the conviction 
of reality attending dreams, delirium, and infanity, 
where there is probably a phyfical caufe operating 
on the brain, I fhall firft confidet the cafe of a 
reverie, or day-dream. 
Sitting alone in my ftudy, I fhut my book, lean 
back in my chair, and following, either involuntarily 
or with defign, a particular train of ideas, foon 
become infenfible to all the objeéts around me, and 
with the mind’s eye behold a courfe of action with 
its correfpondent fcenery, in which I appear engaged 
either as a fpectator or an actor. The confciouf- 
nefs of my real condition is for a time fufpended ; 
and I feel pleafure or pain, approbation or difguft, 
according to the nature of the fancied fcene. Nor 
are aflions indicatory of what paffes within, entirely 
wanting ; and though I may not, with the violencé 
of Alanafcar kicking the bafket, fpurn the table 
from me, yet I fmile, frown, move my lips, and 
affume imperfect geftures and attitudes, in correfpon- 
dence with my internal emotions. Here, then, is a 
perfect illufion effected by the mental faculties alone ; 
commencing with complete confcioufnefs of my 
real fituation, and proceeding to as complete a forget+ 
fulnefs of it, A petfon enters the room—and the 
pageant vanifhes. 
Again—I fit in the fame place, and take up 
Sterne’s ftory of Le Fevre. Iam perfectly apprized, 
not only that Le Fevre is not in my room, but 
) that 
