International Journal Of Literature And Languages
81
https://theusajournals.com/index.php/ijll
VOLUME
Vol.05 Issue03 2025
PAGE NO.
81-85
10.37547/ijll/Volume05Issue03-21
The dream as a narrative and symbolic device in
adventure literature
Dilnoza Xamroyeva Jahongir qizi
PhD student, Jizzakh state pedagogical university, Uzbekistan
Received:
24 January 2025;
Accepted:
23 February 2025;
Published:
25 March 3025
Abstract:
This article explores the role of the dream motif in adventure literature, focusing on Ro‘yo yoxud
G‘ulistonga safar by Ahmad A’zam and comparing it with other works such as Gulliver’s Travels, The Land of Sweet
Melons, and Alamozon and His Pawns. The study analyzes how dreams serve as a symbolic and narrative tool that
shapes the composition, develops the protagonist’s journey, and deepens the philosophical and psychological
aspects of the work. Dreams in literature often blur the boundaries between reality and fantasy, allowing authors
to reflect on inner experiences, subconscious fears, and societal issues. In Ro‘yo yoxud G‘ulistonga safar, the
protagonist’s journey is framed entirely within a dream, making it a key structural and thematic element. Simila
rly,
in Gulliver’s Travels, Gulliver’s dreams reveal his mental state and adaptation to unfamiliar worlds. The symbolic
nature of dreams in these adventure narratives serves to highlight moral dilemmas, existential questions, and the
protagonist’s struggle
for self-awareness. The article also discusses how literary dreams function in different
ways
—sometimes revealing the hero’s psychology, sometimes shaping the ideological content of the work, and
sometimes acting as a divine or supernatural message. The study concludes that dreams are a unique artistic
method in adventure literature, merging fantasy, philosophy, and psychological depth to create a richer reading
experience.
Keywords:
Dream motif, adventure literature, symbolism in dreams, narrative structure, fantasy and reality,
philosophical themes, subconscious fears, self-awareness in literature, magical realism, psychological depth,
freedom vs. captivity, allegorical storytelling, compositional function of dreams, myth and dream interpretation,
literary dreams.
Introduction:
A dream is a psychological phenomenon
that occurs in the subconscious during sleep, rich in
images and emotions. It is a reflection of processes
occurring
in
human
consciousness
and
subconsciousness, a set of events that did not occur in
real life but are embodied in consciousness in a
symbolic or real form. "Creators who strived towards
the inner consciousness were the first to encounter
symbols and the phenomenon of dreams. Symbol is the
language of inner consciousness. Dream is the language
of the subconscious. Dreams are curious - in our
dreams, some reality becomes wrapped in mind-
boggling symbols. A dream is a completely secret
phenomenon. Anyone who wants to understand its
essence must have a perfect command of the symbolic
language. Kafka's work 'Metamorphosis' can also be
interpreted as a dream."[1;260] In a dream, a person,
unconsciously perceiving the essence of the world and
its events, can transcend the boundaries of life's logic,
time and space. The interconnection of the creative
process and dreams stems from their perception as a
mental state. "According to the research of Freud, Jung,
and Fromm, dreams are a special function of the brain,
in which everything appears with symbols and masks.
Unconscious desires, wishes, fears, inclinations, hopes,
dreams, delights, amazement, and dread settle in the
mind. Even childhood experiences do not disappear:
they lie waiting in some corner of the brain; after 40-50
years, they surface and change a person's life." [2;103]
The above thoughts of literary critic Jabbor Eshonkul
are also important in the analysis of literary works,
because the dream motif is often used to express the
inner experiences, mental anguish, and internal
conflicts of the characters. In particular, in adventure
and philosophical novels, a dream serves as a means for
the
protagonist's
personal
development
and
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International Journal Of Literature And Languages (ISSN: 2771-2834)
confrontation with subconscious fears and hopes. The
dream symbol expresses ideas more profoundly in
fiction, especially in adventure genres, and is a unique
means of revealing the philosophical layers of the work.
For instance, "among famous Latin American writers,
we cannot find one who hasn't deliberately written a
story about dreams. Writing a dream story began to
determine the skill of using symbols." [2;103] Writers
used dreams as a means of introducing the reader to
symbolic and philosophical layers. That is, the dream
serves not only to express the mental state of the
protagonist but also to illuminate the general problems
of society. "Romantic writers saw dreams as a powerful
symbol of imagination, self-awareness, and heightened
emotions." [2] In romantic literature, dreams,
connected with imagination, open the way from a
limited physical world to an infinite spiritual world.
They allowed writers to go beyond the laws of real life
and bring the reader into a new realm of perception.
This symbol, along with showing the boundaries of
human consciousness and imagination, strengthens
the connection between real life and imagination. The
symbolic meaning of a dream manifests itself in several
aspects. Firstly, it reflects the desires, fears, and
aspirations that lie in the subconscious. Secondly,
through dreams, events are conveyed to the reader in
a metaphorical form. Thirdly, it not only enriches the
events of the work but also expands their philosophical
meanings. "Dreams, which occupy an important place
in the composition of works and are harmoniously
integrated, perform different functions depending on
the authors' goals. Sometimes they express the entire
idea of the work, sometimes they serve to express the
psyche of the characters, sometimes they explain the
image of society, sometimes they serve as symbols. In
this way, they give the reader the opportunity to
glimpse the invisible aspects of thought and philosophy
in the world they created, the relationship between the
individual and society, and, finally, the mysterious,
divine connections between their inner world and the
primary world."[4] The opinion of researcher Bibi Robia
Saidova confirms the multifaceted nature of the dream
motif in literature. A dream is not just an image in the
hero's subconscious, but an expression of the author's
idea, a reflection of the hero's emotional experiences,
a symbolic image of society, and an expression of divine
connections. This approach can serve as an important
methodological basis for the analysis of adventure
literature and philosophical works. "Literary scholars
classify artistic dreams according to their function in
the work as follows: 1) dreams that interpret and
evaluate the events being described; 2) dreams that
give psychological characteristics to the characters; 3)
dreams that help to reflect on the ideological content
of the work; 4) "divine message, voice" - dreams in the
form of communication with the Creator." [4] The
classification of artistic dreams by literary scholars
helps to more precisely determine and analyze their
place in the composition of the work. Through these
categories, it is possible to understand the purpose of
the dream motif.
Main Part
In Ahmad A'zam's work "Dream or Journey to Gulistan,"
the concept of a dream serves as the main motif from
the beginning to the end of the work. The meaning of
the word "rўё," given in the title of the work, is defined
in the explanatory dictionary of the Uzbek language as
"Rўё
- [a. - seeing; dreaming, what is seen in a dream]
Something that does not exist, an event" [5]. Through
this, the writer emphasizes that most of the events of
the work are a product of imagination. The widespread
use of the dream motif ensures the development of
non-traditional events characteristic of adventure
literature. The description of the hero's journeys and
the unusual situations he encounters through dreams
strengthens the fantastic-realistic direction of the
work. When the word "dream" is raised to the title, the
dream motif becomes the main means of forming the
composition, the supporting motif, unites all the events
of the work around itself and tries to reveal the main
idea" [6] As can be seen from the title of the novel
"Dream or Journey to Gulistan," the dream (i.e., dream)
here serves as a compositional basis. The hero of the
work, separated from reality, wanders in a world of
dreams and fantasies. All events are connected by a
dream, revealing the main idea. The writer prepares
the reader for a complex process. Reality and dream
are depicted in harmony.
We witness a similar situation in H.Tukhtaboev's work
"The Land of Sweet Melons or the Battle of Wizards."
The main character Akbar's arrival in another country
occurs in his dream. This style not only influences the
development of the plot, but also ensures that the
events unfold in the spirit of magical realism. In such
cases, a dream serves as a symbolic means of
expressing the inner changes of the hero, the process
of his self-awareness, and encounters with
extraordinary events.
The events in Anvar Obidjon's work "Alamazon and His
Pawns" also take place in the main character's dream.
Under the influence of medicine received from his
uncle, Alamazon falls into a deep sleep and journeys to
the Land of Stars. The writer embeds the idea he wants
to express into the depths of the dream.
Gulistan, the Land of Sweet Melons, and Yulduzistan
are all symbolic spaces beyond the real world,
accessible only through dreams, and these realms
become testing grounds for the heroes. Through
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International Journal Of Literature And Languages (ISSN: 2771-2834)
dreams, they discover themselves, gain new
experiences, and broaden their thinking. This approach
in adventure literature serves not only to create a
magical environment that captivates the reader but
also to impart deep philosophical meaning. All three
countries in the heroes' dreams are products of the
writer's imagination and carry certain symbolic
significance. Gulistan symbolizes a perfect society for
its inhabitants, as the population lives a prosperous life
without having to rack their brains. The portrayal of this
country illustrates the fine line between freedom and
dependence. In contrast to Gulistan, the "Land of
Sweet Melons" represents an ideal society and its
decline. In a country where the principles of honesty
and justice prevail, with the birth of the sorcerer Iblis,
vices multiply and take over people's blood. The writer
Kh. Tukhtaboev effectively depicts that the foundation
of any just system consists of honest and righteous
people, and that the proliferation of vices in the blood
leads to societal decline. Yulduzistan, unlike both other
countries, is a nation that embodies both positive and
negative characteristics. Civilization flourished in the
country, but with the rise to power of Dirty I, life
changed dramatically. Due to the leader's policies, the
country fell into ruin, and filth spread from div to
soul, beginning to poison hearts as well. Yulduzistan
serves as a typical example of how the behavior,
character, and policies of a country's leaders influence
its people. By depicting imaginary spaces in dreams, the
writers successfully reveal their artistic goals and the
core idea of the work.
DISCUSSION AND RESULTS
Ahmad A'zam's words, "The seventh answer: the
beginning of this story is a dream, the middle is a
dream, and the end is a dream," [7] reveal the
significance of dreams. This epigraph from the story of
Joseph serves as the next key to the novel. The reader
anticipates the vision that awaits them. The selection
of this epigraph from the story of Joseph, relating to
dreams, can be interpreted in various ways. According
to researcher Bibi Robia Saidova's analysis, the work
"Dream or Journey to Gulistan" is connected to the
story of Joseph in terms of meaning and structure. Her
article "Dream Symbols in Novels" explains the
similarities between the two works through the
harmony of dream and reality, the state of freedom
and captivity, longing for family and homeland, and the
spiritual and moral trials that befall the protagonist.1
The researcher's insights into the similarities between
"Dream or Journey to Gulistan" and the story of Joseph
represent an important scholarly approach, serving to
deeply uncover the layers of meaning in the novel. The
researcher emphasizes that while the work is not
directly related to the story of Joseph, the similarities
in plot and symbolic elements guide the reader to this
story. Furthermore, these ideas can be expanded upon.
For instance, analyzing the blurred boundary between
dream and reality in "Dream" alongside the symbolic
dream interpretation in Joseph's story reveals that both
works emphasize the divine direction of human
destiny. In his dream, Prophet Joseph saw eleven stars,
the Sun, and the Moon prostrating before him. This
dream symbolizes the elevation of Joseph's knowledge,
virtue, and morality to a high rank, and is interpreted as
a symbolic turning point in the narrative that
determines his subsequent fate. Similarly, in the novel
"Dream or Journey to Gulistan," a fusion of dream and
reality is observed. The events in the work seem to
unfold as if in a dream, leaving the reader uncertain
whether they are witnessing a dream or reality. This
blurs the line between symbolic and actual reality in the
novel, intensifying the story's dramatic power.
"Sometimes I have very vivid, beautiful dreams, and in
my sleep, I'm aware that I've risen and ventured into
airy expanses. How wonderful it is; I press my face
harder into the feather pillow, hoping the dream won't
end, so I can see it through to its conclusion." [7]
Moreover, by comparing the concepts of captivity
and freedom in the story of Yusuf with those in "Ro'yo"
(Dream), the depth of philosophical thought in the
work becomes even more evident. The Ghulies
consider chains as happiness and always live
contentedly, while in Ghulistan, the concepts of
freedom and captivity are used in the opposite sense.
Captivity is portrayed not only as a physical state but
also as a mental and spiritual condition. The work
depicts a scene where a Ghuly picking apples betrays
her spouse and accepts this as a normal situation. The
protagonist reflects on this situation as follows: "In
short, the condition of all three is not good, and this is
due to the chains wrapped around their limbs and
necks. What appears to be love between them is
actually a silent rebellion against the chains, for
betrayal is also a form of rebellion. However, they have
not yet reached the level of understanding that this is
rebellion, because they are chained, and so on..." [7]
The main character emphasizes that it is impossible to
chain human desires and passions. While the trials and
tribulations in the story of Yusuf serve as a means of
spiritual purification, in "Ro'yo," this is illuminated
through symbolic and internal contradictions.
However, viewing "Ro'yo" solely as a work based on the
story of Yusuf may create certain limitations. The socio-
political, philosophical, and spiritual issues in the novel,
as well as the critical views on modern society, require
a broader analysis beyond explanation in a purely
religious context. Therefore, it is important to analyze
"Ro'yo yoxud G'ulistonga safar" (Dream or Journey to
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International Journal Of Literature And Languages (ISSN: 2771-2834)
Gulistan) as an independent philosophical, social, and
literary work, without limiting its connection only to the
story of Yusuf.
In adventure stories, one of the most common
elements is the hero's journey through dreams, facing
various trials, and striving for self-understanding in the
process. Such dreams reflect inner experiences and
echoes of the subconscious. The protagonist who finds
himself in Gulistan continues in his dreams what he
sees in life; if he quarrels with someone during the day,
it all directly transfers into his dream. [7] He relives in
his dreams the people and situations he encountered
during the day. The events and characters of the work
may also be depicted from real life, as described above.
Through these dreams, reality and fantasy merge, and
the reader feels as if they too are experiencing this
journey. Dreams appear here not only as simple wishes
or products of imagination but as the hero's search for
identity, striving for freedom, and attempt to break
free from constraints. In reality, he feels confined, but
in his dreams, the open expanses and the ability to go
anywhere give him a new sense of freedom. However,
he cannot fully grasp this freedom - because it exists
only in dream form. This represents the hero's inner
conflicts on the path to self-discovery.
When Gulliver finds himself in Brobdingnag, the land of
giants, he dreams of his family. Gulliver feels small,
weak, and frail among the giants. Although he is a
mature, knowledgeable person in real life, in this
country he is completely different - small and in need
of protection. In such conditions, his mind returns him
to his family through dreams to imagine himself in a
safe and familiar environment.2 When a person feels in
a difficult and uncomfortable situation, their mind tries
to take them to familiar and safe places. For Gulliver,
this place is his family and homeland. He tries to
overcome his inner fears and loneliness by seeing his
family in his dreams. Gulliver's dream after escaping
from Brobdingnag can be understood as a process of
mental recovery after difficult trials. The prolonged
dangers and sense of helplessness in an unknown world
among giant people left a deep mark on his psyche. This
is one of the classic features of adventure literature,
where the hero, having passed through new trials,
renews himself and continues his journey.
In "The Land of Sweet Melons," Akbar the melon-
grower creates the sorcerer Iblis and falls into a two-
year sleep. "Sometimes I even talked in my sleep.
Everything I said was recorded on tape. The worst part
was that during those ramblings, I apparently called out
a girl's name." [8] The dream depicts the hero's inner
experiences and subconscious events. There is a
connection between dreams and reality, and a fear of
revealing hidden secrets. Here, the phrase "recorded
on tape" intensifies the drama of the events, as the
hero unknowingly reveals his secrets. Moreover, the
phrase "I called out this girl's name" implies love,
loyalty, or inner turmoil. From the perspective of
adventure literature, this dream indicates that the hero
is caught in a whirlpool of dangerous and intriguing
events. It also foreshadows the dangers that await the
hero in the future.
In Anvar Obidjon's work "Alamozon and His Pawns,"
the Filthy First sees himself in a dream being chased by
an armed mob. He tries to escape, but the crowd keeps
catching up. He locks himself inside and searches for a
way out. At this moment, he encounters an
extraordinary scene: a ghost riding a donkey appears in
the fog, looking at him with a terrifying appearance.
The mob, threatening him, bursts inside. As the ghost
says, "First I will gouge out his eyes, then you can ask,"
[9] the king wakes up in extreme fear [9] This dream is
a powerful artistic device that reflects the inner
experiences of the Filthy First, the hero's feelings of
guilt or fear, and expresses his psychological state and
internal conflicts. The dynamics of the dream are based
on elements of fear, persecution, uncertainty, and
confrontation with reality. The images of the ghost and
the mob express the hero's inability to escape from
himself and the necessity for him to face reality.
"According to the traditional compositional-stylistic
pattern of dreams, the narration of events in them is
often expressed through the incomplete narrative verb
'emish.' [10] The same situation is observed in the
above dream. This feature helps the reader to perceive
and understand the dream as a distinct element within
the plot events.
CONCLUSION
In works such as "Dream or Journey to Gulistan,"
"Gulliver's Travels," "Land of Sweet Melons," and
"Alamozon and His Pawns," the inner experiences,
mental states, and subconscious fears of the characters
are revealed through dreams. For the characters, the
dream serves as a means of confronting reality, a
struggle between freedom and dependence, and an
echo of internal contradictions and desires. The
characters relive in their dreams the reality they
encounter in real life, which demonstrates the complex
connections between their inner world and the
external world. Through dream adventures, the heroes
come to self-realization, confront their inner fears, and
progress towards personal development.
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International Journal Of Literature And Languages
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International Journal Of Literature And Languages (ISSN: 2771-2834)
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