Moreover, these dreams, to their eloquence, were beautiful. Freud neglected this aspect in his theory of dreams. The dream is not only a communication (a communication symbolized when necessary), but also an aesthetic activity and a game of imagination. This game is itself value. The dream is the proof that the imagination and the perception of what does not exist, is one of the basic needs of a person, and here lies the origin of the deceptive danger inherent in the dream. If the dream is not beautiful, we could easily forget it. Therefore, Teresa was constantly returning to her dreams, returning her in her imagination and fabricating legends from her. As for Thomas, he lived in the sophisticated magic, the magic of the painful beauty of Teresa's dreams.
The dreams described in the text are portrayed as not just mere communications but as an artistic and imaginative endeavor that holds significant value. Freud's theory overlooked the aesthetic dimension of dreams, which serve as a vital expression of human creativity and the need to envision what does not exist. This imagination can be both enchanting and deceptive, illustrating how essential beauty is in the dream experience.
Teresa's continuous return to her dreams indicates her deep connection to their beauty, transforming them into legends in her mind. In contrast, Thomas finds himself captivated by the complex allure of Teresa's dreams, which blend pain and beauty. This dynamic highlights the interplay between suffering and the art of dreaming, showcasing how dreams can shape and enrich human experience.