Everybody knows what a dream is. All human beings are capable of recognizing a dream when they have one, and because art practically imitates life, it follows that the characters, both major and trivial, portrayed by the fictional writing can competently identify what constitute the experience of having a dream, in a human perspective, as well.
Dreams can only be described as a matter of experience, and nothing more. Although psychology offers a more technical definition, the main focus of the discipline is to dissect the experience as to how and why the dreams develop from neurological methods to the more complex processes of cognition. While these natural methods agree to the causation, the dreams themselves are nearly impossible to replicate from person to person.
It then begs the question of the metaphysical inquiry as to the substantial meaning of these dreams (some call this momentum), since scientific approach lacks the parameters from such question to be a matter that is observable to even begin a competent experience. Everything that exists in the universe is known to be inherently embued with a standard substantial element that may satisfy philosophical reasoning in such a way that dreams must have a source from which psychology offers a limited purview of elucidation.
What the characters in a highly successful commercial fiction (or, in reality, the agency of reason contained in a person) is how dreams connect to the universal experience available to our sensory perception, which can extend beyond the established methods of attaining knowledge, as opposed to empirical efforts, and this is how dreams are now to be defined in a non-fictional method of explanation.
As far as this story is concerned, let the dreams be defined to be the totality of human experience that is unhindered by the limitations of reality, which is unconsciously exposed from the subconscious mind and then blends with a deeper sensory cognizance. This defination may not be exactly true in all circumstances for it to be universally accepted, but it can be confirmed to be too accurate as far as this story (and maybe some books would agree) is concerned, and so the skepticism to this whole hypothesis is not to be entertained at this point.
Dreams are considered to be a doorway from which ideas emerge, return, degenerate, and flourish. It mixes with reality, and dreams offer an escape from which reality may be present. Creativity is mandatorily present in a dream, and where there is a beauty in a person's dream, the pen of the author usually follows.
But dreams are not just the means from which creativity is born, because the limitation offered by reality actually molds the imagination from the impossibility of fantasy that eventually reaches anthropological awareness. The immense rationality of the mind that regulates the longings of the soul actually portrays itself in the form of dreams, or maybe its illusions as well, which, in itself, is of the same substance as reason and argumentation.
This is the highway of dreams, as some would say. It may be true or not to be accepted by all, but this one thing remains unhindered: the experience shaped by sensory perception becomes an individual's world in which he is trying to live in; sometimes, it is where a person becomes incarcerated in his own twisted ideas and beliefs.
And whether that is to be considered real, unreal or something universal to be contemplated, notwithstanding.
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This Chapter is paid for by Lacoste shoes.
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