In the symbolism pertaining to the body, the most elementary association is the one between the organ or member and its function. It is, then, selfevident that, in Egyptian hieroglyphs, the mouth should stand for the power of
speech and hence for the creative word. In this sense it stands for the pristine
emanation of creative power. Very closely connected with this hieroglyph is
another showing a mouth with a solar disk inside. This disk, primarily standing
for the sun, is connected, but not identical, with the eye. (In hieroglyphs which
are coloured, the eye is wholly blue, while the sign under discussion consists of a
blue mouth with a little red circle inside) (19). Guénon supports this interpretation of the sign (29), pointing to the example of the Mândûkya Upanishad where,
apropos the state of deep sleep, the mouth is said to represent integral consciousness (26). In the Old Testament, the concepts of mouth and fire are frequently
associated; epithets such as ‘devouring’ or ‘consuming’, frequently applied to the
latter, are descriptive of the functions of the former. Hence the fire-breathing
animals of legend. Jung explains these associations by synaesthesia and suggests
that they are connected with Apollo, the sun-god who is depicted with a lyre as
his characteristic attribute. The common link between the symbolisms of sounding, speaking, shining and burning finds a physiological parallel in the phenomenon known as ‘coloured hearing’ whereby some individuals experience sounds
as colours. Furthermore, it is hardly a coincidence that the two main characteristics that set Man apart from all other beings are the power of speech and the use
of fire. Both are, in fact, the product of mana (psychic energy) (31). In consequence, mouth-symbolism, like fire-symbolism, has two aspects: creative (as in
speech) and destructive (devouring). And, of course, the mouth is the point of
convergence between the external and the inner worlds. This explains the frequent
symbol of the ‘monster’s mouth’, with sets of upper and lower teeth that are
expressive of the ‘interlocking’ of the two worlds: heaven and earth or, more
often, hell and earth (50). There are, in mediaeval iconography, abundant examples of the mouths of dragons or large fishes affording access to the inner world
or to the underworld.

To see a mouth in your dream, signifies your need to express yourself or talk about an issue that's bothering you. Alternatively, the dream suggests that you have said too much and you need to keep your mouth shut.

Seeing a mouth in your dream means your need to express yourself or talk about an issue that's bothering you. On the other hand, perhaps you have said too much and you need to keep your mouth shut.

To dream of hearing voices, denotes pleasant reconciliations, if they are calm and pleasing; high-pitched and angry voices, signify disappointments and unfavorable situations.

To hear weeping voices, shows that sudden anger will cause you to inflict injury upon a friend.

If you hear the voice of God, you will make a noble effort to rise higher in unselfish and honorable principles, and will justly hold the admiration of high-minded people.

For a mother to hear the voice of her child, is a sign of approaching misery, perplexity and grievous doubts.

To hear the voice of distress, or a warning one calling to you, implies your own serious misfortune or that of some one close to you. If the voice is recognized, it is often ominous of accident or illness, which may eliminate death or loss.

To see your teacher (past or present) in your dream, suggests that you are seeking some advice, guidance, or knowledge. You are heading into a new path in life and are ready to learn by example or from a past experience. Consider your own personal experiences with that particular teacher. What subject was taught? Alternatively, a teacher relates to issues with authority and seeking approval. You may be going through a situation in your waking life where you feel that you are being treated like a student or in which you feel you are being put to a test.

To dream that you are a teacher, indicates that you are in a position of disseminating your knowledge and wisdom to others. The dream may imply how you are "teaching someone a lesson" and giving them a hard time about something. If you are a teacher in real life, then the dream is just a reflection of who you are and is about your work.

To dream that you are having sex with a teacher, implies that there are still things you need to learn when it comes to sex.

Seeing your teacher (past or present) in your dream, suggests that you are seeking some advice, guidance, or knowledge. You are heading into a new path in life and ready to learn by example or from a past experience. Consider your own personal experiences with that particular teacher. What subject was taught? Alternatively, it may relate to issues with authority and seeking approval. You may going through a situation in your waking life where you feel that you are being treated like a student or in which you feel you are being put to a test.

The meaning of this dream depends on your own experiences with teachers or teaching and, of course, the circumstances in your dream. The dream could be addressing your issues with authority and approval. Also, you may have a need for guidance and new learning.

To dream of seeing a well-developed and graceful throat, portends a rise in position.

If you feel that your throat is sore, you will be deceived in your estimation of a friend, and will have anxiety over the discovery.

To see your throat in your dream, symbolizes the ability to express yourself and communicate your thoughts and ideas.

To dream that you have a sore throat or have throat problems, suggest that you are having problems saying what you really think. You are having difficulties experiencing how you feel and conveying your thoughts. You may feel threatened or vulnerable when you express yourself. Alternatively, your dream may be telling you that you need to swallow your pride.

Seeing your throat in your dream, symbolizes the ability to express yourself and communicate your thoughts/ideas. Dreaming that you have a sore throat, suggests that you are having problems saying what you really think. You may feel threatened when you express yourself. Alternatively, your dream may be telling you that you need to swallow your pride. Seeing a nice and graceful throat in your dream, foretells of an advancement in your position.

To see a cobra in your dream, represents creation and creative energies. Some situation or relationship has you hypnotized.

Seeing a cobra in your dream, represents creation, and creative energies. Some situation or relationship has you hypnotized.

The symbolism of music is of the greatest complexity and we cannot
here do more than sketch out some general ideas. It pervades all the component
elements of created sound: instruments, rhythm, tone or timbre, the notes of the
natural scale, serial patterns, expressive devices, melodies, harmonies and forms.
The symbolism of music may be approached from two basic standpoints: either
by regarding it as part of the ordered pattern of the cosmos as understood by the ancient, megalithic and astrobiological cultures, or else by accepting it as a phenomenon of ‘correspondence’ linked with the business of expression and communication. Another of the fundamental aspects of music-symbolism is its connexion
with metre and with number, arising out of the Pythagorean theory (27). The
cosmic significance of musical instruments—their allegiance to one particular
Element—was first studied by Curt Sachs in Geist und Werden der
Musikinstrumente (Berlin, 1929). In this symbolism, the characteristic shape of
an instrument must be distinguished from the timbre, and there are some common
‘contradictions’ between these two aspects which might possibly be of significance as an expression of the mediating rôle of the musical instrument and of
music as a whole (for an instrument is a form of relationship or communication,
substantially dynamic, as in the case of the voice or the spoken word). For
example, the flute is phallic and masculine in shape and feminine in its shrill pitch
and light, silvery (and therefore lunar) tone, while the drum is feminine by virtue
of its receptacle-like shape, yet masculine in its deep tones (50). The connexion
of music-symbolism with self-expression (and even with graphic art) is well in
evidence in primitive music-making, which often amounted to almost literal imitations of the rhythms and movements, the features and even the shapes of
animals. Schneider describes how, hearing some Senegalese singing the ‘Song of
the Stork’, he began to ‘see as he was listening’, for the rhythm corresponded
exactly to the movements of the bird. When he asked the singers about this, their
reply confirmed his observation. Given the laws of analogy, we can also find
cases of the expressive transferred to the symbolic: that is, a melodic progression
as a whole expresses certain coherent emotions, and this progression corresponds
to certain coherent, symbolic forms. On the other hand, alternating deep and highpitched tones express a ‘leap’, anguish and the need for Inversion; Schneider
concludes that this is an expression of the idea of conquering the space between
the valley and the mountain (corresponding to the earth and the sky). He observes that in Europe the mystic designation of ‘high music’ (that is, high-pitched)
and ‘low music’ (low-pitched) persisted right up to the Renaissance. The question of relating musical notes to colours or to planets is far from being as certain
as other symbolic correspondences of music. Nevertheless, we cannot pass on
without giving some idea of the profound, serial relationship which exists in
phenomena: for instance, corresponding to the pentatonic scale we usually find
patterns grouped in fives; the diatonic and modal scale, since it has seven notes,
is related to most of the astrobiological systems, and is unquestionably the most
important of all the series; the present-day tendency towards the twelve-note
series could be compared to the signs of the Zodiac. But, so far, we have not found sufficient evidence for this particular facet of musicsymbolism. All the
same, here are the correspondences as set down by Fabre d’Olivet, the French
occultist: Mi—the Sun, fa—Mercury, sol—Venus, la—the Moon, ti—Saturn,
do—Jupiter, re—Mars (26). A more valid series of relationships, at least in the
expressive aspect, is that which links the Greek modes with the planets and with
particular aspects of the ethos, as follows: the mi-mode (the Dorian)—Mars
(who is severe or pathetic); the re-mode (the Phrygian)—Jupiter (ecstatic): the
do-mode (the Lydian)—Saturn (pained and sad); the ti-mode (the Hypodorian)—
the Sun (enthusiastic); the la-mode (the Hypophrygian)—Mercury (active); the
sol-mode (the Hypolydian)—Venus (erotic); the fa-mode (the Mixolydian)—the
Moon (melancholy) (50). Schneider’s profound investigations into the symbolism of music seem to us well-founded. The tetrachord formed by the notes do, re,
mi, fa, he considers, for instance, to be a mediator between heaven and earth, the
four notes corresponding respectively to the lion (signifying valour and strength),
the ox (sacrifice and duty), man (faith and incarnation) and the eagle (elevation
and prayer). Conversely, the tetrachord formed by sol, la, ti, do, could represent
a kind of divine duplicate of the previous tetrachord. Fa, do, sol, re are regarded as
masculine elements corresponding to the Elements of fire and air and to the
instruments of stone and metal, whereas la, mi, ti, are feminine, and pertain to the
Elements of water and earth. The interval fa-ti, known to musicologists as a
tritone (or augmented fourth), expresses with its dissonance the ‘painful’ clash
between the Elements of fire and water—a clash occurring in death itself (50). We
have been able to suggest here only a few outlines of the music-symbolism
developed by Schneider in his work The Musical Origin of Animal-Symbols, the
scope of which is so wide that, as he has privately intimated to us, he believes all
symbolic meanings are at root musical or at least to do with sounds. This becomes
easier to understand when we recall that singing, as the harmonization of successive, melodic elements, is an image of the natural connexion between all things,
and, at the same time, the communication, the spreading and the exaltation of the
inner relationship linking all things together. Hence Plato’s remark that the character of a nation’s music cannot be altered without changing the customs and
institutions of the State (26).

To hear harmonious and soothing music in your dream, signifies prosperity and pleasure. You are expressing your emotions in a positive way. Music serves to heal the soul.

To hear discordant or out of tune music in your dream, signifies unhappiness, lack of harmony, and troubles in your relationship or domestic life.

To dream of hearing harmonious music, omens pleasure and prosperity.

Discordant music foretells troubles with unruly children, and unhappiness in the household.

Seeing a girl in your dream, represents your playful, innocent, and childlike nature. Perhaps you have been behaving prematurely. Dreaming about a girl that you just met, represents your anxieties and thoughts of whether you had made a good impression on her and what she thought of you. If she told you that she disliked you in the dream, then it may be an excuse for you to dismiss her and not pursue a relationship that is beyond friendship. For a man to dream that he is a girl means that he aspires to be an actor and play female parts.

If all symbols are really functions and signs of things
imbued with energy, then the serpent or snake is, by analogy, symbolic of energy
itself—of force pure and simple; hence its ambivalence and multivalencies. Another reason for its great variety of symbolic meaning derives from the consideration that these meanings may relate either to the serpent as a whole or to any of
its major characteristics—for example, to its sinuous movements, its common
association with the tree and its formal analogy with the roots and branches of the
tree, the way it sheds its skin, its threatening tongue, the undulating pattern of its
body, its hiss, its resemblance to a ligament, its method of attacking its victims by coiling itself round them, and so on. Still another explanation lies in its varying
habitat: there are snakes which inhabit woods, others which thrive in the desert,
aquatic serpents and those that lurk in lakes and ponds, wells and springs. In India, snake cults or cults of the spirit of the snake are connected with the
symbolism of the waters of the sea. Snakes are guardians of the springs of life and
of immortality, and also of those superior riches of the spirit that are symbolized
by hidden treasure (17). As regards the West, Bayley has suggested that the
snake, since its sinuous shape is similar to that of waves, may be a symbol of the
wisdom of the deeps (4) and of the great mysteries. Yet, in their multiplicity and
as creatures of the desert, snakes are forces of destruction, afflicting all those who
have succeeded in crossing the Red Sea and leaving Egypt (57); in this sense, they
are connected with the ‘temptations’ facing those who have overcome the limitations of matter and have entered into the realm of the ‘dryness’ of the spirit. This
explains why Blavatsky can say that, physically, the snake symbolizes the seduction of strength by matter (as Jason by Medea, Hercules by Omphale, Adam
by Eve), thereby providing us with a palpable illustration of the workings of the
process of involution; and of how the inferior can lurk within the superior, or the
previous within the subsequent (9). This is borne out by Diel, for whom the
snake is symbolic not of personal sin but of the principle of evil inherent in all
worldly things. The same idea is incorporated into the Nordic myth about the
serpent of Midgard (15). There is a clear connexion between the snake and the
feminine principle. Eliade observes that Gresmann (Mytische Reste in der
Paradieserzahlung, in Archiv f. Rel. X, 345) regarded Eve as an archaic Phoenician
goddess of the underworld who is personified in the serpent (although a better
interpretation would be to identify it with the allegorical figure of Lilith, the
enemy and temptress of Eve). In support of this, Eliade points to the numerous
Mediterranean deities who are represented carrying a snake in one or both of their
hands (for example, the Greek Artemis, Hecate, Persephone), and he relates these
to the finely sculpted Cretan priestesses in gold or ivory, and to mythic figures
with snakes for hair (Medusa the Gorgon, or the Erinyes). He goes on to mention
that in Central Europe there is a belief that hairs pulled out from the head of a
woman under the influence of the moon will be turned into snakes (17). The
serpent (or snake) was very common in Egypt; the hieroglyph which corresponds phonetically to the letter Z is a representation of the movement of the
snake. Like the sign of the slug, or horned snake (phonetically equivalent to F),
this hieroglyph refers to primigenial and cosmic forces. Generally speaking, the
names of the goddesses are determined by signs representing the snake—which is
tantamount to saying that it is because of Woman that the spirit has fallen into
matter and evil. The snake is also used, as are other reptiles, to refer to the
primordial—the most primitive strata of life. In the Book of the Dead (XVII), the
reptiles are the first to acclaim Ra when he appears above the surface of the waters of Nou (or Nu or Nun). The demonic implications of the serpent are
exemplified in Tuat, whose evil spirits are portrayed as snakes; however, these—
like the vanquished dragon—may also take on a beneficent form as forces which
have been mastered, controlled, sublimated and utilized for the superior purposes
of the psyche and the development of mankind, and in this sense they correspond
to the goddesses Nekhebit and Uadjit (or Buto). They also become an Uraeus—
the same thing happens in the symbolism of the Kundalini—constituting the
most precious ornament of the royal diadem (19).
As we have said, it is the basic characteristics of the snake which have
determined its symbolic significances. To quote Teillard’s definition of the snake,
it is: ‘An animal endowed with magnetic force. Because it sheds its skin, it
symbolizes resurrection. Because of its sinuous movement’ (and also because its
coils are capable of strangling) ‘it signifies strength. Because of its viciousness, it
represents the evil side of nature’ (56). Its ability to shed its skin greatly impressed ancient writers: Philo of Alexandria believed that when the snake shakes
off its skin it likewise shakes off its old age, that it can both kill and cure and that
it is therefore the symbol and attribute of the aggressive powers, positive and
negative, which rule the world. (This is a Gnostic and Manichean idea of Persian
provenance.) He decided finally that it is the ‘most spiritual of animals’. Jung has
pointed out that the Gnostics related it to the spinal cord and the spinal marrow,
an excellent image of the way the unconscious expresses itself suddenly and
unexpectedly with its peremptory and terrible incursions (31). He adds that,
psychologically, the snake is a symptom of anguish expressive of abnormal stirrings
in the unconscious, that is, of a reactivation of its destructive potentiality. This is
directly comparable to the significance of the serpent of Midgard in Norse mythology. In the Völuspa it is proclaimed that the deluge will commence when the
serpent awakens to destroy the universe (31). For Zimmer, the serpent is the
lifeforce which determines birth and rebirth and hence it is connected with the
Wheel of Life. The legend of Buddha tells how the serpent wound itself round his
body seven times (as in the effigies of the Mithraic Cronos), but, since it could
not crush him, it turned into a youth bowing low before Gautama (60).
The connexion of the snake with the wheel is expressed in graphic form in the
Gnostic symbol of the Ouroboros, or serpent biting its own tail; half of this
mythic being is dark and the other half light (as in the Chinese Yang-Yin symbol),
which clearly illustrates the essential ambivalence of the snake in that it pertains
to both aspects of the cycle (the active and the passive, the affirmative and the
negative, the constructive and the destructive). Wirth comments that the ‘ancient
serpent is the prop of the world, providing it with both materials and energy, unfolding as reason and imagination, and also as a force of the darkness’ (59). The
snake was an important symbol for the Gnostics, and especially for the so-called
Naassene sect (from naas—snake). Hippolytus, criticizing this doctrine, asserted that the snake was said to live in all objects and in all beings. This brings us
to the Yoga concept of the Kundalini or the snake as an image of inner strength.
Kundalini is represented symbolically as a snake coiled up upon itself in the form
of a ring (kundala) (29), in that subtle part of the organism corresponding to the
lower extremity of the spinal column; this, at any rate, is the case with the
ordinary man. But, as a result of exercises directed towards his spiritualization—
Hatha Yoga, for instance—the snake uncoils and stretches up through wheels
(chakras) corresponding to the various plexuses of the body until it reaches the
area of the forehead corresponding to the third eye of Shiva. It is then, according
to Hindu belief, that man recovers his sense of the eternal (28). The symbolism
here probably relates to an ascending force, rising up, that is, from the area
governed by the sexual organ up to the realm of thought—an interpretation which
it is also possible to justify by simple reference to the symbolism of level, taking
the heart as central. In other words, the symbol denotes ‘sublimation of the
personality’ (Avalon, The Serpent Power). Jung has noted that the custom of
representing transformation and renovation of figures of snakes constitutes a
well-documented archetype; and he suggests that the Egyptian Uraeus is the
visible expression of the Kundalini on a higher plane (32). There are also various
rites which accord with this concept of progressive elevation. The progress through
the six chakras—there is in fact a seventh, but it is unnamed and (like the central
point of certain mandala-like patterns) is not represented visually—may be regarded as analogous to climbing up the terraces of the ziggurat or mounting the
steps pertaining to the seven metals in the Mithraic ritual (11). Apart from the
circular (and cosmic) position it tends to take up, and the quality of completeness
which this implies, the snake is frequently related to other symbols. The most
common of these is the tree, which, being unitary, may be said to correspond to
the masculine principle, in which case the ophidian would represent the feminine.
The tree and the serpent are, in mythology, prefigurations of Adam and Eve.
Furthermore, by analogy, we also have here a situation of symbolic Entanglement—the snake curled round the tree (or round the staff of Aesculapius)—and
a symbolic image of moral dualism. Diel, who tends to favour this kind of interpretation, suggests that the snake coiled round the staff or club of the god of
medicine recalls the basic, Biblical symbol of the Tree of Life encircled by the
snake and signifying the principle of evil; the pattern here points to the close
relationship between life and corruption as the source of all evil. Diel goes on to suggest that it is this subversion of the spirit that brings about the death of the
soul, and that this is what medicine must, in the first place, set out to combat (15).
Now, the opposite to the encircling (or triumphant) snake is the crucified
snake, as it is to be found among the figures included in Abraham le Juif (Paris,
Bibl. Nat. Ms. Fr. 14765, of the 16th century) (32). This figure of the reptile
nailed to a cross—or the chthonian and feminine principle vanquished by the
spirit—is also represented mythically by the victory of eagle over serpent. Heinrich
Zimmer recalls that, in the Iliad, an eagle appears to the Greeks, carrying a
wounded snake in its claws. The seer Calchas saw this as an omen portending the
triumph of the Greeks (the masculine and patriarchal order of the Aryans subduing the predominantly feminine and matriarchal principle of Asia) (60). Since all
struggle is a form of ‘conjunction’ and therefore of love, it is hardly surprising that
man should have created a synthesis of opposing powers—heaven and earth—in
the image of the ‘plumed serpent’, the most notable symbol of pre-Columbian
America. This serpent has feathers on its head, in its tail and sometimes on its
body. Quetzalcoatl is another androgynous symbol of this kind (41). The symmetrical placing of two serpents, as in the caduceus of Mercury, is indicative of an
equilibrium of forces, of the counterbalancing of the cowed serpent (or sublimated power) by the untamed serpent, so representing good balanced by evil,
health by sickness. As Jung has shrewdly observed, this much-used image is an
adumbration of homoeopathy—a cure effected by what caused the ailment. The
serpent therefore becomes the source of the healing of the wound caused by the
serpent. This is why it could serve as a symbol of St. John the Evangelist (32) and
appear in association with a chalice.
The different forms which the serpent may take are not numerous. The seaserpent seems simply to emphasize the integration of the symbolism of the
unconscious with that of the abyss (9). If it has more than one head, this merely
serves to add to the basic symbolism, the extra significance corresponding to the
particular number of heads it is given. The dragon or the serpent with seven heads
occurs often in legends, myths and folktales simply because seven represents
multiplication of unity and locates the reptile among the essential orders of the
cosmos. The seven-headed serpent partakes of the symbolism of the seven Directions of Space, the seven days of the week, and the seven planetary gods, and
has a bearing upon the seven sins (9). The three-headed serpent refers to the three
principles of the active, the passive and the neutral. In alchemy, the winged
serpent represents the volatile principle, and the wingless the fixed principle. The
crucified serpent denotes the fixation of the volatile and also sublimation (as in
the Prometheus myth). Alchemists also saw in the serpent an illustration of ‘the feminine in Man’ or his ‘humid essence’, relating the reptile to Mercury (57) as
the androgynous god who—like Shiva—was doubtless endowed with a tendency
towards both good and evil (an aspect also portrayed by the Gnostics in their
twin serpents called Agathodaemon and Kakodaemon) (9). There are also serpents of unusual aspect—the snake with a sheep’s head, for instance, in reliefs on
certain Gallo-Roman sepulchres. In view of the favourable symbolic sense of the
sheep (connected with Aries, spring, initiation and fire), this adaptation implies a
degree of spiritualization (16). Finally, according to Schneider, the sacrificed
serpent is the symbolic equivalent of the swan’s neck and of the swan itself (and
it is by the swan that the hero is wafted heavenwards, plucking away upon his
harp) (50). That is to say, the sacrifice of the serpent (as a life-force) makes it
possible to accept death gratefully (like the swan) and to soar up to higher
regions. Father Heras has suggested that the snake is symbolic of fertility and
destruction and that it is in this sense that it appears on the menhir of Kernuz
(Finistère). It appears in opposition to the arrow in the effigy of the horned god
of Cerdeña (with another head on top alluding to the symbolism of the Gemini).

To see a serpent in your dream, signifies the balance of good and evil.

To see a winged serpent in your dream, denotes wisdom. You have overcome the negativity in your life.

Seeing a serpent in your dream means high intellectual power, deception, and the balance of good and evil. Seeing a winged serpent in your dream indicates wisdom and that you've overcome negative ways.

To see a rock in your dream, symbolizes strength, permanence, stability and integrity, as conveyed in the common phrase "as solid as a rock". The dream may also indicate that you are making a commitment to a relationship or that you are contemplating some changes in your life that will lay the groundwork for a more solid foundation. Alternatively, a rock represents stubbornness, disharmony and unhappiness.

To dream that you are climbing a rock, signifies your determination, ambition and struggle. If the rock is particularly steep, then it refers to obstacles and disappointments.

To dream of rocks, denotes that you will meet reverses, and that there will be discord and general unhappiness.

To climb a steep rock, foretells immediate struggles and disappointing surroundings.

To dream that you are listening to something, indicates that you need to pay closer attention to what you are being told and what you are seeing. Perhaps your dream is telling you to be more receptive towards the guidance or criticism of others.

Dreaming that you are listening to something indicates that you need to pay more close attention to what you are being told and what you are seeing. Perhaps your dream is telling you to be more receptive towards the guidance/criticism of others.

To dream that no one hears you, refers to a waking situation where you feel that no one is listening to you or paying attention to what you are saying. You feel you are being overlooked or overshadowed.

Dreaming that no one hears you, refers to a waking situation where you feel that no one is listening to you or paying attention to what you are saying. You feel you are being overlooked or overshadowed.

Man comes to see himself as a symbol in so far as he is conscious of his
being. Hallstatt art, in Austria, shows fine examples of animal-heads with human
figures appearing above them. In India, in New Guinea, in the West as well, the
bull’s or ox’s head with a human form drawn between the horns is a very common
motif. Since the bull is a symbol for the father-heaven, man comes to be seen as
both his and the earth’s son (22), also, as a third possibility, the son of the sun and
the moon (49). The implications of Origen’s remark: ‘Understand that you are
another world in miniature and that in you are the sun, the moon and also the
stars’, are to be found in all symbolic traditions. In Moslem esoteric thought, man
is the symbol of universal existence (29), an idea which has found its way into
contemporary philosophy in the definition of man as ‘the messenger of being’;
however, in symbolic theory, man is not defined by function alone (that of
appropriating the consciousness of the cosmos), but rather by analogy, whereby
he is seen as an image of the universe. This analogical relationship is sometimes
expressed explicitly, as in some of the more ancient sections of the Upanishads—
the Brihadaranyaka and the Chandogya for instance—where the analogy between the human organism and the macrocosmos is drawn step by step by means
of correspondences with the organs of the body and the senses (7). So, for
example, the components of the nervous system are derived from fiery substance, and blood from watery substance (26). These oriental concepts first
appear in the West during the Romanesque period: Honorius of Autun, in his Elucidarium (12th century) states that the flesh (and the bones) of man are
derived from the earth, blood from water, his breath from air, and body-heat from
fire. Each part of the body relates to a corresponding part of the universe: the
head corresponds to the heavens, the breath to air, the belly to the sea, the lower
extremities to earth. The five senses were given analogies in accordance with a
system which came to Europe, perhaps, from the Hebrews and the Greeks (14).
Thus, Hildegard of Bingen, living in the same period, states that man is disposed
according to the number five: he is of five equal parts in height and five in girth; he
has five senses, and five members, echoed in the hand as five fingers. Hence the
pentagram is a sign of the microcosmos. Agrippa of Nettesheim represented this graphically, after Valeriano, who drew the analogy between the five-pointed star
and the five wounds of Christ. There is a relationship, too, between the organic
laws of Man and the Cistercian temple (14). Fabre d’Olivet, following the Cabala,
maintains that another number closely associated with the human being is nine—
the triple ternary. He divides human potentialities into three planes: those of the
body, of the soul or life and of the spirit. Each of these planes is characterized by
three modes: the active, the passive and the neutral (43). In the Far East, also,
speculation about the symbolism of man began very early. The same kind of
triple ternary organization is to be seen in the ancient teachings of the Taoists
(13). It is also interesting to note that there is a relationship between the human
being and the essential or archetypal animals (the turtle, the phoenix, the dragon
and the unicorn) who appear to bear the same relation to man—who is central—
as the tetramorphs do to the Pantokrator. Now, between man as a concrete
individual and the universe there is a medial term—a mesocosmos. And this
mesocosmos is the ‘Universal Man’, the King (Wang) in Far Eastern tradition,
and the Adam Kadmon of the Cabala. He symbolizes the whole pattern of the
world of manifestation, that is, the complete range of possibilities open to mankind. In a way, the concept corresponds to Jung’s ‘collective unconscious’. According to Guénon, Leibniz—perhaps influenced by Raymond Lull—conceded
that every ‘individual substance’ must contain within itself an integral reproduction of the universe, even if only as an image, just as the seed contains the totality
of the being into which it will develop (25). In Indian symbolism, Vaishvânara, or
the ‘Universal Man’, is divided into seven principal sections: (1) The superior,
luminous spheres as a whole, or the supreme states of being; (2) the sun and the
moon—or rather, the principles to which they pertain—as expressed in the right
and the left eye respectively; (3) the fire-principle—the mouth; (4) the directions
of space—the ears; (5) the atmosphere—the lungs; (6) the intermediary zone
between earth and heaven—the stomach; (7) the earth—the natural functions or
the lower part of the body. The heart is not mentioned, because, being the ‘centre’
or dwelling-place of Brahma, it is regarded as being beyond the ‘wheel’ of things
(26). Now, this concept of the ‘Universal Man’ implies hermaphroditism, though
never specifically. For the concrete, existential human being, in so far as he is
either a man or a woman, represents the dissected ‘human’ whole, not only in the
physical sense but also spiritually. Thus, to quote the Upanishads: ‘He was, in
truth, as big as a man and a woman embracing. He divided this atman into two
parts; from them sprang husband and wife.’ In Western iconography one sometimes finds images which would seem to be echoes of this concept (32). A human
couple, by their very nature, must always symbolize the urge to unite what is in
fact discrete. Figures which are shown embracing one another, or joining hands, or growing out of roots which bind them together, and so on, symbolize ‘conjunction’, that is, coincidentia oppositorum. There is a Hindu image representing the
‘joining of the unjoinable’ (analogous to the marriage of fire and water) by the
interlinking of Man and Woman, which may be taken to symbolize the joining of
all opposites: good and bad, high and low, cold and hot, wet and dry, and so on
(32). In alchemy, Man and Woman symbolize sulphur and mercury (the metal).
In psychology, level-symbolism is often brought to bear upon the members of the
body, so that the right side corresponds to the conscious level and the left to the
unconscious. The shapes of the parts of the body, depending upon whether they
are positive or negative—whether they are protuberances or cavities—should be
seen not only as sex-symbols but also in the light of the symbolism of levels. The
head is almost universally regarded as a symbol of virility (56). The attitudes
which the body may take up are of great symbolic importance, because they are
both the instrument and the expression of the human tendency towards ascendence
and evolution. A position with the arms wide open pertains to the symbolism of
the cross. And a posture in the form of the letter ‘X’ refers to the union of the two
worlds, a symbol which is related to the hour-glass, the ‘X’ and all other symbols
of intersection (50). Another important posture is that of Buddha in the traditional iconography of the Orient, a posture characteristic also of some Celtic gods
such as the so-called ‘Bouray god’ or the famous Roquepertuse figure. This
squatting position expresses the renunciation of the ‘baser part’ and of ambulatory movement and symbolizes identification with the mystic centre.

To see a man in your dream, denotes the aspect of yourself that is assertive, rational, aggressive, and/or competitive. Perhaps you need to incorporate these aspects into your own character. If the man is known to you, then the dream may reflect you feelings and concerns you have about him.

If you are a woman and dream that you are in the arms of a man, then it suggests that you are accepting and welcoming your stronger assertive personality. It may also highlight your desires to be in a relationship and your image of the ideal man.

To see an old man in your dream, represents wisdom or forgiveness. The old man may be a archetypal figure who is offering guidance to some daily problem.

To dream of a man, if handsome, well formed and supple, denotes that you will enjoy life vastly and come into rich possessions. If he is misshapen and sour-visaged, you will meet disappointments and many perplexities will involve you.

For a woman to dream of a handsome man, she is likely to have distinction offered her. If he is ugly, she will experience trouble through some one whom she considers a friend.

Seeing a man in your dream indicates the masculine aspect of yourself - the side that is assertive, rational, aggressive, and/or competitive. If the man is known to you, then the dream may reflect you feelings and concerns you have about him. If you are a woman and dream that you are in the arms of a man, suggests that you are accepting and welcoming your stronger assertive personality . It may also highlight your desires to be in a relationship and your image of the ideal man. Seeing an old man in your dream, represents wisdom or forgiveness.

All different kinds of people clutter our dream landscape. The men in your dream may include family members or total strangers. You may dream about your father, son, husband, or friend and should interpret the dream according to its details. A man, particularly the father figure, may represent collective consciousness and the traditional human spirit. He is the Yang and his energy, when mobilised, creates the earthly realities. Depending on the details of the dream, the masculine figure could be interpreted as the Creator or Destroyer. At times, women dream about men that are strangers to them. These men may represent the women's unconscious psychic energy. At times, a strange and ominous man in men's dreams could represent their "shadow" or their negativity and darker sides of personality.