All things that flow and grow were regarded in early religions as a symbol
of life: fire represented the vital craving for nourishment, water was chosen for its
fertilizing powers, plants because of their verdure in spring-time. Now, all—or
very nearly all—symbols of life are also symbolic of death. Media vita in morte
sumus, observed the mediaeval monk, to which modern science has replied La vie
c’est la mort (Claude Bernard). Thus, fire is the destroyer, while water in its
various forms signifies dissolution, as suggested in the Psalms. In legend and
folklore, the Origin of life—or the source of the renewal of the life forces—takes
the form of caves and caverns where wondrous torrents and springs well up (38).

In Egyptian hieroglyphs, the symbol for water is a wavy line with
small sharp crests, representing the water’s surface. The same sign, when tripled,
symbolizes a volume of water, that is, the primaeval ocean and prime matter.
According to hermetic tradition, the god Nu was the substance from which the
gods of the first ennead emerged (19). The Chinese consider water as the specific
abode of the dragon, because all life comes from the waters (13). In the Vedas,
water is referred to as mâtritamâh (the most maternal) because, in the beginning,
everything was like a sea without light. In India, this element is generally regarded
as the preserver of life, circulating throughout the whole of nature, in the form of
rain, sap, milk and blood. Limitless and immortal, the waters are the beginning and
the end of all things on earth (60). Although water is, in appearance, formless,
ancient cultures made a distinction between ‘upper waters’ and ‘lower waters’.
The former correspond to the potential or what is still possible, the latter to what
is actual or already created (26). In a general sense, the concept of ‘water’ stands,
of course, for all liquid matter. Moreover, the primaeval waters, the image of
prime matter, also contained all solid bodies before they acquired form and rigidity. For this reason, the alchemists gave the name of ‘water’ to quicksilver in its
first stage of transmutation and, by analogy, also to the ‘fluid body’ of Man (57).
This ‘fluid body’ is interpreted by modern psychology as a symbol of the unconscious, that is, of the non-formal, dynamic, motivating, female side of the personality. The projection of the mother-imago into the waters endows them with
various numinous properties characteristic of the mother (31). A secondary meaning of this symbolism is found in the identification of water with intuitive wisdom. In the cosmogony of the Mesopotamian peoples, the abyss of water was
regarded as a symbol of the unfathomable, impersonal Wisdom. An ancient Irish
god was called Domnu, which means ‘marine depth’. In prehistoric times the
word for abyss seems to have been used exclusively to denote that which was
unfathomable and mysterious (4). The waters, in short, symbolize the universal
congress of potentialities, the fons et origo, which precedes all form and all
creation. Immersion in water signifies a return to the preformal state, with a sense
of death and annihilation on the one hand, but of rebirth and regeneration on the
other, since immersion intensifies the life-force. The symbolism of baptism,
which is closely linked to that of water, has been expounded by St. John
Chrysostom (Homil. in Joh., XXV, 2): ‘It represents death and interment, life and
resurrection. . . . When we plunge our head beneath water, as in a sepulchre, the
old man becomes completely immersed and buried. When we leave the water, the
new man suddenly appears’ (18). The ambiguity of this quotation is only on the
surface: in this particular aspect of the general symbolism of water, death affects
only Man-in-nature while the rebirth is that of spiritual man. On the cosmic level,
the equivalent of immersion is the flood, which causes all forms to dissolve and
return to a fluid state, thus liberating the elements which will later be recombined
in new cosmic patterns. The qualities of transparency and depth, often associated with water, go far towards explaining the veneration of the ancients for this
element which, like earth, was a female principle. The Babylonians called it ‘the
home of wisdom’. Oannes, the mythical being who brings culture to mankind, is
portrayed as half man and half fish (17). Moreover, in dreams, birth is usually
expressed through water-imagery (v. Freud, Introduction to Psycho-Analysis).
The expressions ‘risen from the waves’ and ‘saved from the waters’ symbolize
fertility, and are metaphorical images of childbirth. On the other hand, water is, of
all the elements, the most clearly transitional, between fire and air (the ethereal
elements) and earth (the solid element). By analogy, water stands as a mediator
between life and death, with a two-way positive and negative flow of creation and
destruction. The Charon and Ophelia myths symbolize the last voyage. Death
was the first mariner. ‘Transparent depth’, apart from other meanings, stands in
particular for the communicating link between the surface and the abyss. It can
therefore be said that water conjoins these two images (2). Gaston Bachelard
points to many different characteristics of water, and derives from them many
secondary symbolic meanings which enrich the fundamental meaning we have described. These secondary meanings are not so much a set of strict symbols, as
a kind of language expressing the transmutations of this ever-flowing element.
Bachelard enumerates clear water, spring water, running water, stagnant water,
dead water, fresh and salt water, reflecting water, purifying water, deep water,
stormy water. Whether we take water as a symbol of the collective or of the
personal unconscious, or else as an element of mediation and dissolution, it is
obvious that this symbolism is an expression of the vital potential of the psyche,
of the struggles of the psychic depths to find a way of formulating a clear message
comprehensible to the consciousness. On the other hand, secondary symbolisms
are derived from associated objects such as water-containers, and also from the
ways in which water is used: ablutions, baths, holy water, etc. There is also a
very important spatial symbolism connected with the ‘level’ of the waters, denoting a correlation between actual physical level and absolute moral level. It is
for this reason that the Buddha, in his Assapuram sermon, was able to regard the
mountain-lake—whose transparent waters reveal, at the bottom, sand, shells,
snails and fishes—as the path of redemption. This lake obviously corresponds to
a fundamental aspect of the ‘Upper Waters’. Clouds are another aspect of the
‘Upper Waters’. In Le Transformationi of Ludovico Dolce, we find a mystic
figure looking into the unruffled surface of a pond, in contrast with the accursed
hunter, always in restless pursuit of his prey, implying the symbolic contrast
between contemplative activity—the sattva state of Yoga—and blind outward
activity—the rajas state. Finally, the upper and lower waters communicate reciprocally through the process of rain (involution) and evaporation (evolution).
Here, fire intervenes to modify water: the sun (spirit) causes sea water to evaporate (i.e. it sublimates life). Water is condensed in clouds and returns to earth in
the form of life-giving rain, which is invested with twofold virtues: it is water, and
it comes from heaven (15). Lao-Tse paid considerable attention to this cyclic
process of meteorology, which is at one and the same time physical and spiritual,
observing that: ‘Water never rests, neither by day nor by night. When flowing
above, it causes rain and dew. When flowing below, it forms streams and rivers.
Water is outstanding in doing good. If a dam is raised against it, it stops. If way is
made for it, it flows along that path. Hence it is said that it does not struggle. And
yet it has no equal in destroying that which is strong and hard’ (13). When water
stands revealed in its destructive aspects, in the course of cataclysmic events, its
symbolism does not change, but is merely subordinated to the dominant symbolism of the storm. Similarly, in those contexts where the flowing nature of water is
emphasized, as in the contention of Heraclitus that ‘You cannot step twice into
the same river; for fresh waters are ever flowing in upon you.’ Here the reference is not to water-symbolism as such, but to the idea of the irreversible flow along a
given path. To quote Evola, in La tradizione ermetica: ‘Without divine water,
nothing exists, according to Zosimus. On the other hand, among the symbols of
the female principle are included those which figure as origins of the waters
(mother, life), such as: Mother Earth, Mother of the Waters, Stone, Cave, House
of the Mother, Night, House of Depth, House of Force, House of Wisdom,
Forest, etc. One should not be misled by the word “divine”. Water symbolizes
terrestrial and natural life, never metaphysical life.’

This indicates birth (of some person).

To dream of clear water, foretells that you will joyfully realize prosperity and pleasure.

If the water is muddy, you will be in danger and gloom will occupy Pleasure's seat.

If you see it rise up in your house, denotes that you will struggle to resist evil, but unless you see it subside, you will succumb to dangerous influences.

If you find yourself baling it out, but with feet growing wet, foreshadows trouble, sickness, and misery will work you a hard task, but you will forestall them by your watchfulness. The same may be applied to muddy water rising in vessels.

To fall into muddy water, is a sign that you will make many bitter mistakes, and will suffer poignant grief therefrom.

To drink muddy water, portends sickness, but drinking it clear and refreshing brings favorable consummation of fair hopes.

To sport with water, denotes a sudden awakening to love and passion.

To have it sprayed on your head, denotes that your passionate awakening to love will meet reciprocal consummation.

The following dream and its allegorical occurrence in actual life is related by a young woman student of dreams:

``Without knowing how, I was (in my dream) on a boat, I waded through clear blue water to a wharfboat, which I found to be snow white, but rough and splintry. The next evening I had a delightful male caller, but he remained beyond the time prescribed by mothers and I was severely censured for it.'' The blue water and fairy white boat were the disappointing prospects in the symbol.

To see water in your dream, symbolizes your unconscious and your emotional state of mind. Water is the living essence of the psyche and the flow of life energy. It is also symbolic of spirituality, knowledge, healing and refreshment. To dream that water is boiling, suggests that you are expressing some emotional turmoil. Feelings from your unconscious are surfacing and ready to be acknowledged. You need to let out some steam.

To see calm, clear water in your dream, means that you are in tune with your spirituality. It denotes serenity, peace of mind, and rejuvenation.

To see muddy or dirty water in your dream, indicates that you are wallowing in your negative emotions. You may need to take some time to cleanse your mind and find internal peace. Alternatively, the dream suggests that your thinking/judgment is unclear and clouded. If you are immersed in muddy water, then it indicates that you are in over your head in a situation and are overwhelmed by your emotions.

To dream that water is rising up in your house, suggests that you are becoming overwhelmed by your emotions.

To hear running water in your dream, denotes meditation and reflection. You are reflecting on your thoughts and emotions.

To dream that you are walking on water, indicates that you have total control over your emotions. It also suggests that you need to "stay on top" of your emotions and not let them explode out of hand. Alternatively, the dream is symbolic of faith in yourself.

Seeing water in your dream, symbolizes your unconscious and your emotional state of mind. Water is the living essence of the psyche and the flow of life energy. It is also symbolic of spirituality, knowledge, healing and refreshment. Seeing calm, clear water in your dream means that you are in tune with your spirituality. It indicates serenity, peace of mind, and rejuvenation. Seeing muddy or dirty water in your dream indicates that you are wallowing in your negative emotions. You may need to devote some time to clarify your mind and find internal peace. Alternatively, it suggests that your thinking/judgment is unclear and clouded. If you are immersed in muddy water, then it indicates that you are in over your head in a situation and are overwhelmed by your emotions. Dreaming that water is rising up in your house means your struggles and overwhelming emotions. Hearing running water in your dream indicates meditation, reflection and pondering of your thoughts and emotions. Dreaming that you are walking on water, suggests that you have supreme and ultimate control over your emotions. It may also suggest that you need to "stay on top" of your emotions and not let them explode out of hand. Alternatively, it is symbolic of faith in yourself.

Seeing flies in your dream, symbolizes feelings of guilt or a breakdown of a plan. Flies may also forewarn of a contagious sickness or a surrounding of enemies. Dreaming that you kill or exterminate the flies means that you will regain your honor after you fell from grace and will be recapture the heart of your intended.

The Fly teach the ability to greatly multiply prosperity, endeavors and ventures at enormous rates. He shows how to be quick to act and respond to achieve results. Fly aids in demonstrating the power of keen eyesight along with expanding awareness in many directions. Although flies are known for carrying diseases in unfavorable surroundings, the lesson of fly is in the value of carrying your emotions, thoughts and feelings in order to act quickly in sometimes unfavorable or uncomfortable conditions. It takes about two weeks from hatching for new eggs to be laid, likewise, two weeks is significant in one's personal development. Are you ready for quick and abrupt changes? Are you ready to move quickly? Fly will show how to make quick changes for rapid growth.

Logically speaking it may be deduced that the countryside—
landscapes of all kinds—is the mundane manifestation of a dynamic complex
which in origin was non-spatial. Inner forces are liberated to unfold as forms
which disclose in themselves the qualitative and quantitative order of their inner
tensions. Thus a mountain crest becomes a graphic sign. Let us take, by way of
illustration, landscapes as they appear in dreams. Leaving aside the phenomenon
of memory, reminiscence, or the complex association of various sense-data, the
scenes and towns which figure in dreams are neither arbitrary and indeterminate
nor objective: they are symbolic—that is, they well up in order to illuminate
certain momentary experiences called forth by varying combinations of influences in varying degrees of intensity. Landscape-scenes arising in the imagination
in this way are sustained solely by the validity, duration and intensity of the
feelings which aroused them. Form—just as in physical morphology—is the
diagram of force. Now, what we have said about landscapes in dreams can be
applied also to an actual landscape, seen and selected by an automatic response of
the unconscious, which detects in it an affinity that gives us pause and makes us
return to it again and again. This, then, is a question not of a projection of the mind
but of an analogy whereby the landscape is adopted by the spirit in consequence
of the inner bond linking the character of the scene with the spirit of the observer
himself. Subjectivism concerns only the act of choosing. The intellection of the
significance of a landscape is, then, wholly objective, as is the grasping of the
symbolic values of colours and numbers. The Chinese saw this with the utmost
clarity: as Luc Benoist has observed, Chinese art has always placed more emphasis upon landscape than upon man (as a figure, that is to say), and upon the
macrocosm rather than the microcosm. ‘If the superior man loves the countryside,’ to quote the words of Kuo Hsi, ‘why is this so? Hills and gardens will
always be the haunts of him who seeks to cultivate his original nature; fountains
and rocks are a constant joy to him who wanders whistling among them. . .’ (6).
It is a well-established tradition of symbology that the different worlds (or zones)
are strictly only different states of being. Hence the fact that the ‘chosen site’ is
the enshrining image which arises out of it. The ‘trysting place’, when it truly
possesses that character, and is not merely arbitrary or fortuitous, signifies a
meeting or ‘conjoining’ in precisely this same sense—that is, transposed into topographical or spatial terms (26). However revolutionary these assertions may
seem, they are nevertheless confirmed by the findings of the psychology of form
and by isomorphism, since it has been shown that it is not possible to distinguish
between psychic and physical formal processes—other than externally. In support of all this, there is the comment of Mircea Eliade that ‘In point of fact, man
never chooses a site, he simply “discovers it”. . . . One of the means of discovering
one’s situation is by orientation’ (17). Now, in order to grasp the symbolic sense
of a landscape it is necessary to distinguish between the predominant elements
and the merely incidental, and between the character of the whole and the character of the component elements. When the predominant element is a cosmic one,
its effect is to bind all the other components together, and it is this cosmic
ingredient which makes its influence felt over and above that of the individual
features of the landscape. Instances of such cosmic features are the sea, the
desert, the icy wastes, the mountain-peak, clouds and sky. It is when the ingredients of landscape-symbolism are varied and evenly balanced that symbolic interpretation is most needed. The interpreter must, then, look for the following: (a)
a spatial pattern organized within particular limits which endow it with a structure after the manner of a building or a work of art. By spatial symbolism we
mean, in the first place, the symbolism of level, that is, the disposition of the
zones of the landscape according to the three levels of the normal, the lower and
the higher; and secondly the symbolism of orientation, that is, the position of the
accidental elements in relation to the north-south and the east-west axes. He must
then bear in mind (b) the form—the pattern or the shape of the terrain, whether
it is undulating or broken, steeply sloped or flat, soft or hard; (c) the positional
relationship of the particular area chosen to the region as a whole or to the zone
surrounding it—whether it is lower or higher, more open or more enclosed; and
finally (d) the natural and artificial elements which make up the organized pattern: trees, shrubs, plants, lakes, springs, wells, rocks, sandy shores, houses,
steps, benches, grottoes, gardens, fences, doors and gates. Also important is the
predominating colour, or the clash of colours, or the general feeling of fecundity or
barrenness, of brightness or gloom, of order or disorder. Roads and cross-roads
are of great significance, and so are streams. About the objective meaning of each
of the factors we have listed above there is much that we could say; however,
since the more important factors—such as the symbolism of level—are dealt
with under separate headings, we will here add no more than a few notes. Steepness indicates primitiveness and regression; flat country denotes the apocalyptic
end, the longing for power and for death. There is a Persian tradition that, when
the end of the world has come—when Ahriman is vanquished for ever, the mountains will be levelled and all the earth will become one great plain. Ideas cognate with this are to be found in certain traditions of Israel and France (35). It would
not be hard to point to the history of architecture and town-planning as evidence
of the subconscious application of these principles. Furthermore, there are some
aspects of landscapes which have a symbolic air about them that is very difficult
to analyse intellectually. For instance, the following descriptive passage from
Dante’s Commedia has always seemed to us to evoke an atmosphere of profound
mystery: ‘Around this little island, in its lowest reaches, there, where it is lashed
by the waves, reeds grow in the soft mud’ (Purgatorio I, 100). Independent of the
cosmic significance of landscape, there may also be a sexual implication. It is also
essential to bear in mind that this is not strictly a matter of symbols as such but
of complex, symbolic functions. For instance, in scenes depicting low-lying topographical features, the following factors may be at work: (a) depth in the sense
of what is base, comparable therefore with the wicked and infernal; (b) depth in
the sense of what is symbolically profound; (c) depth as it pertains to the material earth itself, implying a chthonian and maternal symbolism. Only the context
can help us to tell the essence from the accessory—as is true also of the vast
majority of symbols. Here we must bear in mind the primitive concept of the
archetypal ‘ideal countryside’. Schneider has observed that the fact of there being
so many identical names for rivers and mountains in different parts of the world,
suggests that megalithic ways of thought must have led to the custom of naming
the topographical features of different regions after some ideal model. This model,
it may be argued, could be the product of the lasting impression made upon the
mind of Primitive Man by a particular environment endowed with such unity and
variety as to prevent him from ever wishing to leave it; but it could also be
explained as the projection of a psychic order founded upon laws comparable
with those governing quaternary patterns, or the mandala, etc. Man’s attention
was first drawn to the contraposition of heaven and earth by topographical
features, and he gave expression to this in the struggle between gods and Titans,
angels and demons, and in the opposition of mountain and valley. Next, he set out
to explain the earth’s surface by means of the laws of orientation, taking the four
points of the compass from the apparent orbit of the sun as well as from the
human anatomy, and identifying them as ambivalent forces—ambivalent because
they are at once hostile to things external and the defenders of their limits. As
Schneider adds: ‘To preserve cosmic order, the gods fought with the giants and
the monsters which had from the very beginning of creation sought to devour the
sun. They stationed the heroic lion on the celestial mountain. Four archers’—the
tetramorphs—’are continuously on guard day and night against anyone who
attempts to disrupt the order of the cosmos’ (50). The stockade, the wall or stone
enclosure, comments Eliade, are among the oldest known parts of the structure of temples, appearing as early as in proto-Indian civilizations such as that of MohenjoDaro and also in Crete (17). They owe their origins to the same basic, primordial
idea of the symbolism of landscape—its representation of cosmic order. The
mountain with one peak is symbolic of the One—of transcendent purpose; the
two-peaked Mountain of Mars stands for the Gemini, the world of appearances
and the dualism of all forms of life. Both these symbolic mountains find their
symbolic complement in the general pattern of archetypal landscape—also, incidentally, an image of the year; this pattern is composed of the river of life (denoting the positive phase) and the river of oblivion (the negative phase) which flow
through the sea of flames (expressing infirmity) and well up from a single source
(birth or the Origin). According to this scheme, every landscape has a disastrous
and a felicitous tendency, corresponding on the temporal plane with the selfevident distinction between ‘coming’ and ‘going’ which in turn is analogous to the
two halves of human existence. But, quite apart from all this, the symbolic
interpretation of a landscape may be determined according to the laws governing
diverse and individual correspondences, as well as the overall significance derived
from the complex of meanings afforded by its separate features. By way of an
illustration of the many possibilities of interpreting the significance of a landscape, we will conclude with some comments on Vallcarca with its characteristic
low-lying features. The gardens are at a lower level than the city proper, and
screened from it by the vegetation, which has something of the archaic and oriental about it. The main street leads north towards an open plain, signifying the
process of disintegration. On the other hand, those streets which lead towards the
mountain are on the favourable axis. In this case, the interpretation is obvious
enough, as it is in all instances of scenes where it is possible to identify the
essential features of archetypal landscape.

To dream of various landscapes in your dream, represent where you are in your life or in your relationships. How do you see yourself with respect to the rest of the world and those around you? Consider what is going on in the landscape and how it may parallel your own waking life. In particular, a barren or dry landscape depicts dissatisfaction in your love life. According to Freud, the dream landscape symbolizes the human body. A landscape with gentle contours symbolize the female body, while a rocky landscape represents the male body. Also consider the feelings that the landscape invokes.

To dream of ever changing landscapes, indicates psychological transitions or emotional progress. It represents the various stages in your life. Alternatively, it may be offering you various viewpoints in looking at the same idea or situation. Something may be slipping away from your grasp. Look at the symbolism of key elements in the landscape.

Dreaming of various landscapes in your dream, represents where you are in your life or in your relationships. How do you see yourself with respect to the rest of the world and those around you? According to Freud, the landscape symbolizes the human body. Dreaming of ever changing landscapes indicates psychological transitions or emotional progress. It represents the various stages in your life. Alternatively, it may be offering you various viewpoints in looking at the same idea or situation. Consider the symbolism of key elements in the landscape.

To dream that spring is advancing, is a sign of fortunate undertakings and cheerful companions.

To see spring appearing unnaturally, is a foreboding of disquiet and losses.

Dreaming of the season of spring means new beginnings and creative endeavors. It is also a symbol for virility and fruitfulness. Seeing a water spring, symbolizes your emotional energy and expressiveness. You have the tendency to make your feelings and opinions known. You may also have the ability to draw on your inner resources.

Its significance is diverse, depending upon which of its different characteristics is taken as fundamental. In the Egyptian system of hieroglyphs, the
wall is a determinative sign conveying the idea of ‘rising above the common level’
(19); clearly the predominant sense here is that of its height. A wall enclosing a
space is the ‘wall of lamentations’, symbolic of the sensation of the world as a
‘cavern’—of the doctrine of immanentism or the metaphysical notion of the
impossibility of reaching the outside. It expresses the ideas of impotence, delay,
resistance, or a limiting situation. Now, the wall seen from within as an enclosure
has a secondary implication of protection which, according to its function and the
attitude of the individual, may even be taken as its principal meaning. Psychoanalysts frequently regard it in this light and hence have classified it as a mothersymbol, comparable with the town and the house or home (56). Bayley sums up the two essential features of the wall as follows: Like the house, it is a mystic
symbol representing the feminine element of mankind. This enables us to understand the (otherwise absurd) assertion of the Shulamite in the Song of Songs: ‘I
am a wall’. At the same time, this image has another term of comparison, that of
matter as opposed to spirit (4). It should be noted that the symbolism in the latter
case remains unchanged, since matter corresponds to the passive or feminine
principle, and spirit to the active or masculine.

To dream of darkness overtaking you on a journey, augurs ill for any work you may attempt, unless the sun breaks through before the journey ends, then faults will be overcome.

To lose your friend, or child, in the darkness, portends many provocations to wrath. Try to remain under control after dreaming of darkness, for trials in business and love will beset you.

A dark place, such as a cave, in a dream can symbolize negative emotions. In your dream, are you able to find your way out of the dark place?

A dream about being in darkness can also mean that you believe you are being "kept in the dark" about something - that someone else is keeping a secret from you.

If you dream that you are afraid of the dark you could be unwilling to deal with obstacles that you expect to face in the future.

To see your parents in your dream, symbolize both power, shelter, and love. You may be expressing your concerns and worries about your own parents. Alternatively, it represents the merging of the female and male aspects of your character.

To dream about the death of your parents, indicates that you are undergoing a significant change in your waking life. Your relationship with your parents has evolved into a new realm.

To see your parents looking cheerful while dreaming, denotes harmony and pleasant associates.

If they appear to you after they are dead, it is a warning of approaching trouble, and you should be particular of your dealings.

To see them while they are living, and they seem to be
in your home and happy, denotes pleasant changes for you.
To a young woman, this usually brings marriage and prosperity.
If pale and attired in black, grave disappointments will harass you.
To dream of seeing your parents looking robust and contented, denotes you are under fortunate environments; your business and love interests will flourish. If they appear indisposed or sad, you will find life's favors passing you by without recognition.

Seeing your parents in your dream, symbolizes both power, shelter, and love. You may be expressing your concerns and worries about your own parents. Alternatively, it represents the merging of the female and male aspects of your character.

In this dream you may be expressing feelings and concerns about your parents that you could not express in daily life. Some believe that this dream usually has nothing to do with your parents, but rather the male and female sides of personality or Self. The father may represent the expressive, creative, and protective sides of God while the mother His receptive and nurturing side. The woman is that force, or current, inside of you that urges you on and inspires you. This knowledge is intuitive and unexpressed by words. Men, on the other hand, represent the active part of us that uses the information received to create the physical reality of our lives. When the two are working together well we have balance and experience awareness leading to peace and productivity.