To dream of saying prayers, or seeing others doing so, foretells you will be threatened with failure, which will take strenuous efforts to avert.

The symbolism of power has been subjected to an extensive study by
Percy Ernst Schramm in his Herrschaftszeichen und Staatssymbolik (Stuttgart,
1954). Power, as a symbol, represents irradiating force, but it is only latterly that
it has acquired this significance, for in totemistic and primitive times it was
generally understood more in the sense of an image of the forces of nature (and of
the animal world in particular) than as an expression of abstract or temporal
dominion. Hence, the principal attributes of a superior power are simply magnified versions of totemic emblems or of adornments derived from them, such as
necklaces of teeth and claws, hides, head-dresses, horns, and various kinds of
standards exhibiting these objects. It was probably with the dawning of the solar
cult that the diadem—the original form of the crown—came to be adopted as
another attribute of power. The immediate effect of the assumption of power upon the body and the attitude of mind is to confer impassivity, indifference—
either real or affected—and serenity and, equally, a tendency to ‘swell with
pride’. Hence the fascination of the hieratic gesture and its use on solemn occasions. Dynamic movements such as stretching out the arms or nodding or turning
the head may also be executed in a rhythm suggestive of hieratic strength and
calm. Ancient art gave expression to a basically similar attitude towards the
powers of the world. Height above ground-level, and the situation of a particular
symbolic element at the centre of a symmetrical pattern—the Greek Potne Theron
for instance—are further illustrations of power-symbolism, deriving from the
symbolisms of level and of the ‘Centre’. Differentiated expressions of power give
rise to the king, the priest and the military leader, each one characterized by his
respective attributes. The synthesis of power is denoted by ternary symbols
such as the triple crown. Certain other symbols embracing the threefold power,
such as the trident, are generally reckoned to pertain to the infernal regions, but
this has come about rather through the influence of traditional, mythological ideas
than by true symbolic logic. Magic power—a corrupt form of religious power—
is symbolized by the wand and sometimes by the sword. There are also certain
other objects linked with the idea of power, but they are attributes or instruments
rather than symbols proper.
Of great interest is the complex symbolic system behind the emblems of the
Egyptian pharaoh. The double crown denotes Upper and Lower Egypt, but it
also expresses the ideas of the masculine and feminine principles, and of heaven
and earth. Sceptres—straight (the lash) and curved (the crook)—are probably
attributes of cattle-raising and of agriculture respectively; yet at the same time
they denote the straight path (or the solar, diurnal, logical course) and the crooked
path (the lunar, nocturnal and intuitive). The Uraeus beyond doubt symbolizes
the sublimated serpent—raised, that is to say, in height (the kundalini), so as to
become a symbol of strength transformed into spirit or an aspect of power. In
itself, the idea of power embraces the notions of extreme self-awareness and
integrity, defensive concentration of forces, appropriation and domination of the
environment, and effulgence. Hence, to take these ideas in turn, the symbols of
power are names, seals, marks, standards and signs; masks, helmets, head-dresses,
swords and shields; sceptres, crowns, pallia and palaces; and effulgence is expressed by gold and precious stones. Domination also finds expression in such
forms of the quaternary as four-headed sceptres, hermae or thrones alluding to
the cardinal points. The crown, in its most highly developed form, embraces the
diadem or circle and the hemisphere or image of the vault of heavens; and sometimes it denotes the four points of the compass—or suggests them by means of four bands which rise up from the diadem to meet higher up, in the middle,
surmounted by another symbolic motif. The idea of royalty is, of course, linked
with sun-symbolism, and therefore the animals associated with it are such as the
eagle and the lion, and on occasion the dragon. Once Christianity had become the
official religion of the Roman Empire, various Christian symbols of sublimation
accrue to the symbolism of power, notably the crucifix and the fleur-de-lis. The
latter symbol is found in Byzantium, whence it reached Central Europe, Germany, France and the Western world by the 1st millennium A.D.

To dream that you have power, indicates your growing confidence, high self-esteem and increasing skills. Alternatively, your dream of power may try to compensate for a waking situation where you felt powerless.

To dream that you do not have any power, refers to a waking situation in which you felt unable to do anything.

Dreaming that you have power indicates your growing confidence, high self-esteem and increasing skills. Alternatively, your dream of power may try to compensate for a waking situation in which you were powerless. Dreaming that you do not have any power or feel powerless, refers to a waking situation in which you felt unable to do anything.

To see the universe in your dream, signifies the endless possibilities. You need to look at the overall big picture. Alternatively, the dream brings to your attention that we are all interconnected in some way.

Dreaming that you are playing a game of cards means that you have successfully utilized skills of bluff, strategy, and timing in your everyday life. In particular, diamonds indicates wealth, clubs indicated work, hearts indicate happiness in love, and spades indicate troubling times are in your near future.

A symbol of invisible forces, of the powers ascending and descending
between the Source-of-Life and the world of phenomena (50). Here, as in other
cases (such as the Cross), the symbolic fact does not modify the real fact. In
alchemy, the angel symbolizes sublimation, i.e. the ascension of a volatile (spiritual) principle, as in the figures of the Viatorium spagyricum. The parallelism
between angelic orders and astral worlds has been traced with singular precision
by Rudolf Steiner in Les Hiérarchies spirituelles, following the treatise on the
celestial hierarchies by the Pseudo-Dionysius. From the earliest days of culture,
angels figure in artistic iconography, and by the 4th millennium B.C. little or no
distinction is made between angels and winged deities. Gothic art, in many remarkable images, expresses the protective and sublime aspects of the angelfigure, while the Romanesque tends rather to stress its other-worldly nature.

Dreaming of angels will have a profound impact on your life. Holy, pure, divine, they are trying to convey an important message to you: they might bring more spirituality, joy, and peace to your life, if you have a clear consciousness. If it is not the case, they might remind you that it is time for you to think about your choices and actions, do you need to make things better? Three angels have a great symbolic signigication, try to listen to their message, it must have a holy dimension to it.

An immortal spiritual being which functions as an intermediary between the realm of men and that of the Divine. Angels are more powerful than humans and are believed to be composed of ethereal matter, thus allowing them to take on whichever physical form best suits their immediate needs. In Christian, Muslim, Jewish and other theologies an angel can be one who acts as a messenger, attendant or agent of God.

Of the utmost importance in symbolism, both in connexion with
their distinguishing features, their movement, shapes and colours, and because of
their relationship with man. The origins of animal symbolism are closely linked
with totemism and animal worship. The symbolism of any given animal varies
according to its position in the symbolic pattern, and to the attitude and context
in which it is depicted. Thus the frequent symbol of the ‘tamed animal’ can
signify the reversal of those symbolic meanings associated with the same animal
when wild. In the struggle between a knight and a wild or fabulous animal—one of
the most frequent themes in symbolism—the knight’s victory can consist either
in the death or in the taming of the animal. In Chrétien de Troyes’ mediaeval
romance, Yvain, the hero is assisted by a lion. In the legend of St. George, the
conquered dragon serves its conqueror. In the West, some of the earliest references to animal symbolism are found in Aristotle and in Pliny, but the most
important source is the treatise Physiologus, written in Alexandria in the 2nd
century A.D. Another important contribution was made one or two centuries
later by Horapollo, with his two treatises on Hieroglyphica, based on Egyptian
symbolism. From these sources flows a stream of mediaeval animal symbolism
which produced such notable bestiaries as that of Philip of Thaun (A.D. 1121),
Peter of Picardy and William of Normandy (13th century); or the De Animalibus,
attributed to Albertus Magnus; Libre de les besties of Raymond Lull; and
Fournival’s Bestiaire d’Amour (14th century). The primitives’ view of animals,
as analysed by Schneider (50), is mirrored in all these works, namely that while
man is an equivocal, ‘masked’ or complex being, the animal is univocal, for its
positive or negative qualities remain ever constant, thus making it possible to
classify each animal, once and for all, as belonging to a specific mode of cosmic
phenomena. More generally, the different stages of animal evolution, as manifested by the varying degrees of biological complexity, ranging from the insect and
the reptile to the mammal, reflect the hierarchy of the instincts. In Assyrian and
Persian bas-reliefs, the victory of a higher over a lower animal always stands for
the victory of the higher life over the lower instincts. A similar case is in the
characteristic struggle of the eagle with the snake as found in pre-Columbian
America. The victory of the lion over the bull usually signifies the victory of Day
over Night and, by analogy, Light triumphing over Darkness and Good over Evil.
The symbolic classification of animals is often related to that of the four Elements. Animals such as the duck, the frog and the fish, however much they may
differ one from the other, are all connected with the idea of water and hence with
the concept of the ‘primal waters’; consequently, they can stand as symbols of
the origin of things and of the powers of rebirth (37, 9). On the other hand, some animals, such as dragons and snakes, are sometimes assigned to water, sometimes
to earth and sometimes even to fire (17). However, the most generally accepted
classification—which is also the most fundamentally correct—associates aquatic
and amphibious animals with water; reptiles with earth; birds with air; and mammals (because they are warm-blooded) with fire. For the purposes of symbolic
art, animals are subdivided into two categories: natural (often in antithetical
pairs: toad/frog, owl/eagle, etc.) and fabulous. Within the cosmic order, the latter
occupy an intermediate position between the world of fully differentiated beings
and the world of formless matter (50). They may have been suggested by the
discovery of skeletons of antediluvian animals, and also by certain beings which,
though natural, are ambiguous in appearance (carnivorous plants, sea urchins,
flying fish, bats), and thus stand for flux and transformism, and also for purposeful evolution towards new forms. In any event, fabulous animals are powerful
instruments of psychological projection. The most important fabulous animals
are: chimaera, sphinx, lamia, minotaur, siren, triton, hydra, unicorn, griffin, harpy,
winged horse, hippogryph, dragon, etc. In some of these the transmutation is a
simple one, and clearly positive in character—such as Pegasus’ wings (the spiritualization of a lower force)—but more often the symbol is a consequence of a
more complex and ambiguous process of the imagination. The result is a range of
highly ambivalent symbols, whose significance is heightened by the ingrained
belief in the great powers exercised by such beings as well as in the magic importance of abnormality and deformity. In addition, there are animals which, while
hardly or not at all fabulous in appearance, are credited with non-existential or
supernatural qualities as the result of a symbolic projection (for example, the
pelican, phoenix, salamander). There is a fragment by Callimachus on the Age of
Saturn, in which animals have the power of speech (this being a symbol of the
Golden Age which preceded the emergence of the intellect—Man—when the
blind forces of Nature, not yet subject to the logos, were endowed with all sorts
of extraordinary and exalted qualities). Hebrew and Islamic traditions also include
references to ‘speaking animals’ (35). Another interesting classification is that of
‘lunar animals’, embracing all those animals whose life-span includes some kind
of cyclic alternation, with periodic appearances and disappearances (18). The
symbolism of such animals includes, in addition to the animal’s specific symbolic
significance, a whole range of lunar meanings. Schneider also mentions a very
curious primitive belief: namely, that the voice of those animals which can be said
to serve as symbols of heaven is high-pitched if the animal is large (the elephant,
for example), but low-pitched if the animal is small (as the bee); while the converse is true of earth-symbol animals. Some animals, in particular the eagle and the lion, seem to embody certain qualities, such as beauty and the fighting spirit,
to such an extent that they have come to be universally accepted as the allegorical
representations of these qualities. The emblematic animals of Roman signa were:
eagle, wolf, bull, horse and wild boar. In symbolism, whenever animals (or any
other symbolic elements) are brought together in a system, the order of arrangement is always highly significant, implying either hierarchical precedence or relative position in space. In alchemy, the descending order of precedence is symbolized by different animals, thus: the phoenix (the culmination of the alchemical
opus), the unicorn, the lion (the necessary qualities), the dragon (prime matter)
(32). Symbolic groups of animals are usually based on analogical and numerical
patterns: the tetramorphs of Western tradition, as found in the Bible, are a fundamental example; another example would be the Chinese series of the four benevolent animals: the unicorn, phoenix, turtle and dragon. The following animals occur
particularly in Romanesque art: the peacock, ox, eagle, hare, lion, cock, crane,
locust and partridge (50). Their symbolic meaning is mainly derived from the
Scriptures or from patristic tradition, though some meanings, arising from analogy, such as that between cruelty and the leopard, are immediately obvious (20).
The importance in Christianity of the symbols of the dove, the lamb and the fish
is well known. The significance of the attitudes in which symbolic animals are
depicted is usually self-evident: the counterbalancing of two identical—or two
different— animals, so common in heraldry, stands for balance (i.e. justice and
order, as symbolized for instance by the two snakes of the caduceus); the animals
are usually shown supporting a shield or surmounting the crest of a helmet. Jung
supports this interpretation with his observation that the counterbalancing of the
lion and the unicorn in Britain’s coat of arms stands for the inner stress of
balanced opposites finding their equilibrium in the centre (32). In alchemy, the
counterbalancing of the male and the female of the same species (lion/lioness, dog/
bitch) signifies the essential contrast between sulphur and mercury, the fixed and
the volatile elements. This is also the case when a winged animal is opposed to a
wingless one. The ancient interest in animals as vehicles of cosmic meanings, over
and above the mere fact of their physical existence, persisted from the earliest
beginnings of the Neolithic Age up to as late as 1767, with the publication of such
works as Jubile van den Heyligen Macarius. This treatise describes processions
in which each symbolic chariot has a characteristic animal (the peacock, phoenix,
pelican, unicorn, lion, eagle, stag, ostrich, dragon, crocodile, wild boar, goat, swan,
winged horse, rhinoceros, tiger and elephant). These same animals, together with
many others (such as the duck, donkey, ox, owl, horse, camel, ram, pig, deer stork, cat, griffin, ibis, leopard, wolf, fly, bear, bird, dove, panther, fish,-snake
and fox) are those mainly used also as watermarks in papermaking. The use of
watermarks, undoubtedly mystical and symbolic in origin, spread throughout the
Western world from the end of the 13th century onwards. All the above particular
symbolic uses rest on a general symbolism of animals, in which they are related to
three main ideas: the animal as a mount (i.e. as a means of transport); as an object
of sacrifice; and as an inferior form of life (4). The appearance of animals in
dreams or visions, as in Fuseli’s famous painting, expresses an energy still undifferentiated and not yet rationalized, nor yet mastered by the will (in the sense of
that which controls the instincts) (31). According to Jung, the animal stands for
the non-human psyche, for the world of subhuman instincts, and for the unconscious areas of the psyche. The more primitive the animal, the deeper the stratum
of which it is an expression. As in all symbolism, the greater the number of objects
depicted, the baser and the more primitive is the meaning (56). Identifying oneself
with animals represents integration of the unconscious and sometimes—like immersion in the primal waters—rejuvenation through bathing in the sources of life
itself (32). It is obvious that, for pre-Christian man (as well as in amoral cults),
the animal signifies exaltation rather than opposition. This is clearly seen in the
Roman signa, showing eagles and wolves symbolically placed on cubes (the
earth) and spheres (heaven, the universe) in order to express the triumphant
power of the force of an instinct. With regard to mythic animals, a more extensive
treatment of this subject is to be found in the Manual de zoología fantástica of
Borges y Guerrero (Mexico and Buenos Aires, 1957), in which such creatures are
characterized as basically symbolic and, in most cases, expressive of ‘cosmic
terror’.

To see animals in your dream, represent your own physical characteristic, primitive desires, and sexual nature, depending on the qualities of the particular animal. Animals symbolize the untamed and uncivilized aspects of yourself. Thus, to dream that you are fighting with an animal signifies a hidden part of yourself that you are trying to reject and push back into your subconscious. Refer to the specific animal in your dream.

To dream that animals can talk, represent superior knowledge. Its message is often some form of wisdom. Alternatively, a talking animal denotes your potential to be all that you can be.

To dream that you are saving the life of an animal, suggests that you are successfully acknowledging certain emotions and characteristics represented by the animal. The dream may also stem from feelings of inadequacy or being overwhelmed. If you are setting an animal free, then it indicates an expression and release of your own primal desires.

To see lab animals in your dream, suggest that an aspect of yourself is being repressed. You feel that you are not able to fully express your desires and emotions. Alternatively, it suggests that you need to experiment with your fears, choices, and beliefs. Try not to limit yourself.

To dream that you are waiting, is indicative of issues of power/control and feelings of dependence/independence, especially in a relationship. Consider how you feel in the dream while you were waiting. If you are patient, then you know things will happen at their own pace. If you are impatient, then it means that you are being too demanding or that your expectations are too high.

Alternatively, the dream may denote your expectations and anxieties about some unknown situation or decision. You are experiencing a sense of anticipation or uneasiness.

Dreaming that you are waiting, is indicative of issues of power/control and feelings of dependence/independence, especially in a relationship. Consider how you feel in the dream while you were waiting. Alternatively, it may denote your expectations and anxieties about some unknown situation or result. You are ready to take action.

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.