Nan Zhubin said, "A kind of reality where one thinks they can control, solve, and escape, but in actuality, they are still consumed by negative experiences and emotions."

"At least while dreaming, the negative emotional experience you have at that moment indeed reaches an extreme point."

As he said this, Nan Zhubin recalled the visitor's reaction when describing this dream.

The visitor remained silent, just kept drinking water.

"This also led to the subsequent appearance of your dream—"

"A splendid sky, an ultimate beautiful scenery."

At this point, Nan Zhubin shifted the topic.

"Your dream can be said to be divided into two parts; here is a huge turning point, a clear boundary."

Nan Zhubin observed the visitor's actions: "If your previous dream had any elements of reality affecting it, here, you could say it's entirely your subjective cognition at work."

The visitor still held the glass, dramatically tilting it.

But she soon realized she had already finished the glass of water; there was nothing left inside.

"Shall I pour you another glass?" Nan Zhubin asked.

The visitor gently shook her head, placing the glass on the coffee table, and asked Nan Zhubin, "Then why do you think there was such a sudden change in my dream?"

Nan Zhubin mentioned a professional term: "Because of 'dissociation.'

The visitor blinked: "'Dissociation'?"

Nan Zhubin explained, "When people are harmed beyond their capacity in daily life, they enter a state of 'defense' and 'escape.'

"These states can be mild or severe. Slight 'defense' and 'escape' might be subconscious rebuttal, subconscious denial, or turning a deaf ear."

"If it becomes severe, certain pathological manifestations will arise. For example, 'regression,' which means an adult displays infantile behavior patterns, resulting in a kind of backwardness."

At this point, Nan Zhubin glanced at the visitor.

"The 'dissociation' in your dream refers to the disruption or separation of normal links between one's thoughts, memories, feelings, actions, or sense of self-awareness."

Nan Zhubin made a hand gesture resembling a clean break: "You can see it as a kind of circuit breaker. When the current of emotions is too strong, about to burn out an individual, the brain trips the circuit."

"In reality, many forms of 'dissociation' manifest: when someone reaches a certain pressure point, they might suddenly feel the world around them becoming strange and unfamiliar, like looking through a layer of glass; more dramatically, one might produce feelings akin to 'out-of-body experiences,' observing oneself externally."

Nan Zhubin then looked at the visitor: "In your dream, 'dissociation' created an abstract, sensory-distorted yet beautiful fairytale wonderland."

Saying this, Nan Zhubin slightly eased the atmosphere back.

"Of course, 'dissociation' doesn't necessarily mean something bad. This state of detachment not only prevents further harm by negative emotions but also grants a sliver of the ability to think, attempting to find a way out of difficulties."

"The ultimate beautiful scenery in the latter part of your dream, those auroras, clouds, can also be seen as an extreme yearning. Confronting an expectation too elusive to have a substantial exterior, you assign it an approximate image in this manner."

By now, Nan Zhubin's wording had imperceptibly shifted.

Compared to initially just analyzing the 'imagery' by the book, Nan Zhubin now started using many vividly directional descriptions.

The visitor didn't respond.

She lowered her head slightly, her gaze no longer meeting Nan Zhubin's.

"As for the state of 'falling yet floating' at the end, it's a residual real-world reflection in the latter half of your fantastical dream. If you interpret it, there are approximately three possibilities."

Nan Zhubin looked at the visitor and said, "One is the most direct interpretation—loss of control."

Spoken very succinctly. There's no need to explain this term excessively.

"The second is the materialization of a certain inner idea. It's an intense inner desire for something but worrying that after obtaining it, the ideal shatters, hence the fear and hesitation."

Nan Zhubin observed the visitor's demeanor.

"As for the third, it reflects reality. Perhaps you tried to obtain something in reality and ultimately failed; you wish to compensate in the dream, but deep down, you know this is impossible. Hence the 'fall when wanting to float, float when wanting to fall' state manifests, obstructing this compensation in the dream."

Actually, Nan Zhubin could basically determine which of these three possibilities the visitor leaned towards.

However, saying it too precisely now would make the visitor feel overly exposed.

The specific effect is similar to those broken down by Nan Zhubin's 'Micro-expression Analysis.'

Therefore, blending this conclusion with the other two, rendering it as 'one of three possibilities,' is preferable. It demonstrates Nan Zhubin's professional level and strikes the visitor's heart, yet also provides her some room for maneuver and maintains sufficient security.

The visitor fell silent for a while; she seldom reacted to Nan Zhubin in the latter half.

After a while, she suddenly took a deep breath: "Teacher, you forgot to analyze one thing."

Nan Zhubin asked, "What is it?"

Uncertain if this question from the visitor was driven by true curiosity or was a 'defensive' rebuttal, a change of topic.

"The train," the visitor laughed, "Why does a train appear at the end?"

Nan Zhubin also laughed: "That counts as the imagery carrying the most information. So, I wanted to save it for last."

Nan Zhubin made a gesture: "Let's first talk about the role of 'the train' as part of your dream. In the fantasy-laden latter half, suddenly a realistic image appears; primarily, it is something external, full of power, and something you yearn for."

Here, Nan Zhubin appeared reminiscing: "The 'train' itself is also a classic dream imagery, with many possible meanings."

"From the most surface level, it symbolizes 'sex.' It carries characteristics of length, rhythm, and strength; simultaneously, during its movement, it often has the characteristic of 'shuttling.'

Nan Zhubin's expression was serious, as if teaching a class; the visitor's expression was also calm, as if genuinely absorbing knowledge.

As a nurse, her endurance for such knowledge was very high.

"Secondly, a train is also an embodiment of 'stability.' A train runs strictly according to schedule and track; it might symbolize some rule, routine, or even a monotonous life."

"Moreover, a train is often linked with one's 'life direction,' representing 'destiny.' Catching a train is seizing an opportunity; missing a train is losing something significant."

"Lastly, trains encompass 'connection' and 'parting' elements."

This time, Nan Zhubin spoke at great length.

Not just to obscure the visitor's true circumstances among many probabilities but because the visitor's true state might encompass more than one.

The train is a complex imagery.

The visitor remained silent.

Nan Zhubin also remained silent, as today's session could almost be concluded at this point.

Nan Zhubin quietly watched her think, and after half a minute, said, "The general analysis for your dream is roughly these."

"If there are no issues, then we'll end here today."

The visitor still didn't speak.

Nan Zhubin smiled. Just as he was about to get up and let Mo Kai wrap things up.

The visitor finally lifted her head.

She asked, "Teacher, do you usually have free time at this hour?"

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