floating and zooming around a vast underground temple. there are hundreds of monumental ornate square pillars, at least 100 feet high, perhaps more... every inch of them is adorned with a mosaic of blue and yellow mirrors, pulsing with pink glowing veins and edges.
at the base of the pillars are 4 gorgeous (gigantic) black and gold anubis monoliths. he is sitting, donning his gold/black striped headpiece. i zooom down closer and see that there are hundreds of zombies rampaging the temple and attempting to knock down the monolith. dreamblip, and im on the ground. the zombies are running wild and FAST everywhere but dont pay any attention to me. THEN i see HER..... the Queen of the Underworld. she is more beautiful than any being I've ever seen, has white milky porcelain skin, a golden crown upon her head and wears slices of silky dancing fabric. and she glides through the air like water with her power walk, like I did when I was her in a "previous dream" [http://dreamcatcher.net/alunaverse/10165]
the zombies were trying to kill her, but I got to her first. I don't recall "how", but I knew it had to do with the transfer of power and queendom-ship. I dont recall if I performed the deed, or if the zombies got to her first, As she lie dying on the temple floor, before her body fully disintegrated like ash from an ember rich fire, I tore a piece of her bloody flesh from her shoulder and put it in my brown leather satchel. At that precise dramatic moment, all of the zombies zeroed in on me and swarmed. I kept pulling out dagger after sword after dagger and ninja slicing them up. A few of them had daggers as well, but I was yet unharmed the entire dream recall. I woke up in the midst of the warrioress-ness.
location: el paso, tx on the second day of my move to L.A.
The word ‘temple’ derives from the root tem—’to divide’. Etruscan
soothsayers made a division of the heavens by means of two straight lines intersecting at a point directly above the head, the point of intersection being a projection of the notion of the ‘Centre’, and the lines representing the two ‘directions’
of the plane; the north-south line was called cardo and the east-west decumanus.
Phenomena were interpreted according to their situation within this division of
space. Hence, the earthly temple is seen as an image of the celestial temple and its
basic structure is determined by considerations of order and orientation (7). The
temple affords a particular and additional meaning to the generic symbolism of architectonic structures. Broadly speaking, it is the mystic significance of the
‘Centre’ which prevails; the temple and, in particular, the altar, being identified
with the symbol of the mountain-top as the focal point of the intersection of the
two worlds of heaven and earth. Solomon’s temple, according to Philo and Flavius
Josephus, was a figurative representation of the cosmos, and its interior was
disposed accordingly: the incense table signified thanksgiving; the seven-branched
candelabra stood for the seven planetary heavens; the holy table represented the
terrestrial order. In addition to this, the twelve loaves of bread corresponded to
the twelve months of the year. The Ark of the Covenant symbolizes the intelligibles
(14). Romanesque, Gothic and Renaissance architects, each in their own way,
sought to imitate this superior archetype. For example, between 1596 and 1604,
imaginary reconstructions of the Temple of Solomon appeared in various works
published in Rome and based upon holy writ, and the illustrations they contained
deeply influenced the architects of the period. Another fundamental significance
of the temple derives from its being a synthesis of the various symbols for the
world-axis, such as the hollow mountain, steps and the sacrificial mountain-peak
mentioned above. In certain astrobiological cultures the temple or altar is in fact
built upon an artificial mountain—the teocalli of Mexico is an example. A more
advanced concept can be seen in the architectural portrayal of those essential
elements of the inner pattern of the universe founded upon the numbers three,
seven, ten and twelve in particular. Seven is basic to the representation of the
planets and their derived symbolisms, and hence the Mesopotamian templemountains—or ziggurats—were constructed after the fashion of a seven-terraced
pyramid. Each of the terraces was dedicate to a particular planet. The Babylonian
ziggurat known as Etemenanki (‘the house of the seven directions of heaven and
earth’) was built of crude bricks overlaid with others that had been fired. A tablet
in the Louvre records that in plan it measured 2,200 feet long by 1,200 wide. The
first level was black in colour and dedicated to Saturn, the second orange-coloured
and sacred to Jupiter, the third red and consecrated to Mars, the fourth golden and
sacred to the Sun, the fifth yellow (to Venus), the sixth blue (to Mercury), the
seventh silver (to the Moon) (39). This order is not always observed, for sometimes the Moon is situated in the sixth heaven and the Sun in the seventh (17).
Berthelot, however, suggests that the ziggurat not only embraces the mystic
aspects of the Mountain and the Centre (by virtue of its mass and situation) and
of Steps (because of its shape), but also constitutes an image of paradise, since
vegetation appears to flourish on its terraces (7). The origins of this type of
structure are Sumerian (7), and examples are to be found in Egypt, India, China
and pre-Columbian America. Eliade, in confirming this, adds that the climb to the top of the Mesopotamian or of the Hindu temple-mountain was equivalent to an
ecstatic journey to the ‘Centre’ of the world; once the traveller has reached the
topmost terrace, he breaks free from the laws of level, transcends profane space
and enters a region of purity (18). It is hardly necessary to observe that climbing
mountains implies ultimately the same mystic tendency, as can be seen in the fact
that mountain heights are the chosen abode of the recluse. And the favourable
symbolic significance of the goat derives solely from his predilection for heights.
Another important example of the temple-mountain, a product of Hindu culture,
comes from Indo-China—the temple of Borobudur built in the centre of the
island of Java in the 8th century of our era. Basically it consists of four levels of
square-shaped galleries, with four more circular platforms on top surmounted by
an enclosed belvedere. In form, then, it is similar to the Egyptian ziggurat, or, in
the Khmer language, a Phnom, signifying a temple-mountain comparable with
Meru, the Hindu Olympus. Four flights of steps up the centre of each pyramid
face lead directly from the base to the top. It would appear that the profoundest
meaning attached to this temple is of a supernatural character. Its name—
Borobudur—signifies ‘the seat of secret revelation’. All graduated edifices such
as steps concern the symbolism of discontinuous spiritual evolution, that is, the
separate but progressive stages of evolution (6). At the same time, the groundplan of the Borobudur temple is diagrammatically a true yantra, and its various
square and round-shaped levels constitute a mandala related to the symbolism of
‘squaring the circle’ (6). The symbolic structure of the Greek temple is fundamentally the same as that of the lake-dwelling: that is, it symbolizes the intercommunication between the Three Worlds—the Lower (represented by the water and
the piles on the one hand and earth and the subterranean part on the other), the
Terrestrial (the base and columns) and the Upper (suggested by the pediment).
Christian cathedrals are related less to the macrocosm than to the microcosm, the
human figure being depicted in terms of the apse (representing the head), the
cross and transepts (the arms), the nave and side aisles (the body) and the altar
(the heart). In the Gothic temple, the upward sweep, the vital rôle of the vertical
axis—and indeed the structure as a whole—embrace the idea of the templemountain with its implied synthesis of the symbolism of both macrocosm and
microcosm. According to Schneider, the two towers usually placed at the western
face correspond to the twin-peaked ‘mountain of Mars’ in primitive megalithic
cultures (and linked with the Gemini myth), while the cimborrio over the transept
is expressive of a higher synthesis, an image of heaven. Both the synthesis and the
crux of the matter are established by Gershom G. Scholem, in Les Origines de la
Kabbale (Paris, 1966). He recalls that God lives in his reason or that God is the absolute Reason and logos of the world, and that the temple ‘is the house’ or
abode of God, and thus identifies temple with reason.
To see a temple in your dream, represents inspiration, spiritual thinking, meditation and growth. It is also symbolic of your physical body and the attention you give it. Perhaps you need to pamper yourself. Alternatively, the dream suggests that you are looking for a place of refuge and a place to keep things that are dear to you.
Seeing a temple in your dream, represents your spiritual thinking, meditation and growth. It is also symbolic of your physical body and the attention you give it.
To see Anubis in your dream, indicates you are in search of clarity. You need some spiritual guidance. Alternatively, it suggests that death is near.
In Hindu doctrine, gold is the ‘mineral light’. According to Guénon, the
Latin word for gold—aurum—is the same as the Hebrew for light—aor (26).
Jung quotes the delightful explanation offered by the alchemist Michael Maier in
De Circulo Physico Quadrato to the effect that the sun, by virtue of millions of
journeys round the earth (or conversely) has spun threads of gold all round it.
Gold is the image of solar light and hence of the divine intelligence. If the heart is
the image of the sun in man, in the earth it is gold (32). Consequently, gold is
symbolic of all that is superior, the glorified or ‘fourth state’ after the first three
stages of black (standing for sin and penitence), white (remission and innocence)
and red (sublimation and passion). Everything golden or made of gold tends to
pass on this quality of superiority to its utilitarian function. Chrysaor, the magic
sword of gold, symbolizes supreme spiritual determination. Gold is also the
essential element in the symbolism of the hidden or elusive treasure which is an
illustration of the fruits of the spirit and of supreme illumination.
To see gold in your dream, symbolizes wealth, riches, natural healing, illumination and/or spirituality. It is also a symbol of love, longevity and domestic bliss. Negatively, gold may represent greed, corruption and temptation.
To find gold in your dream, indicates that you have discovered something valuable about yourself. This may be some hidden talent or knowledge.
To bury gold in your dream, suggests that you are trying to hide something about yourself.
f you handle gold in your dream, you will be unusually successful in all enterprises. For a woman to dream that she receives presents of gold, either money or ornaments, she will marry a wealthy but mercenary man.
To find gold, indicates that your superior abilities will place you easily ahead in the race for honors and wealth.
If you lose gold, you will miss the grandest opportunity of your life through negligence.
To dream of finding a gold vein, denotes that some uneasy honor will be thrust upon you.
If you dream that you contemplate working a gold mine, you will endeavor to usurp the rights of others, and should beware of domestic scandals.
Finding gold in your dream means that your superior abilities will place you easily ahead of others. Seeing bars of gold and gold jewelry in your dream means your carelessness with the spending of your money. Seeing golden tableware and flatware indicates financial gain and stability. For a pregnant woman, to dream of gold, foretells that your expected child will be a girl.
Dreaming about gold could be a reflection of concerns that you have about your most precious valuables or a reference to "alchemist's gold" which is usually spiritual in nature. If you are losing gold in your dream, it may express your anxieties over a missed opportunity. However, remember, "All that glitters is not gold." Your unconscious mind may be reminding you not to judge things on appearances
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 or use a dagger in your dream, represents some "cutting remark". Perhaps you feel that you have been stabbed in the back.
To dream that you take a dagger from somebody's hand, means you will overcome hardships and misfortune.
If seen in a dream, denotes threatening enemies. If you wrench the dagger from the hand of another, it denotes that you will be able to counteract the influence of your enemies and overcome misfortune.
Dreaming of being attacked by someone with a dagger, warns of physical injury from an enemy or a mugger. You may feel that you have been stabbed in the back by somebody. Dreaming that you take a dagger from somebody's hand means you will overcome hardships and misfortune.
Daggers, knives, and swords could represent significant feelings of anger toward yourself and others. If you kill or wound a perceived enemy in your dream, your unconscious mind may be encouraging you to conquer your fears.
The Chinese, in their solar rites, utilize a tablet of red jade, which they
call Chang; it symbolizes the Element of fire (39). In Egyptian hieroglyphics, fire
is also related to the solar-symbolism of the flame, and associated in particular
with the concepts of life and health (deriving from the idea of body-heat). It is
also allied with the concept of superiority and control (19), showing that the
symbol had by this time developed into an expression of spiritual energy. The
alchemists retained in particular the Heraclitean notion of fire as ‘the agent of
transmutation’, since all things derive from, and return to, fire. It is the seed which
is reproduced in each successive life (and is thereby linked with the libido and
fecundity) (57). In this sense as a mediator between forms which vanish and
forms in creation, fire is, like water, a symbol of transformation and regeneration.
For most primitives, fire was a demiurge emanating from the sun, whose earthly
representative it was; hence it is related on the one hand with the ray of light and
the lightning (35), and, on the other, with gold. Frazer lists many rites in which
torches, bonfires, burning embers and even ashes are considered capable of stimulating the growth of the cornfields and the well-being of man and of animals.
However, anthropological research has furnished two explanations of the firefestival (as it persists today in the Valencian bonfires on the night of St. John,
fireworks and the illuminated Christmas tree): on the one hand, there is the
opinion of Wilhelm Mannhardt, to the effect that it is imitative magic purporting
to assure the supply of light and heat from the sun, and, on the other, the view of
Eugene Mogk and Edward Westermarck that it has as its aim the purification or
destruction of the forces of evil (21); however, these two hypotheses are not opposing but complementary. The triumphant power and the vitality of the
sun—by analogy, the spirit of the shining Origin—is tantamount to victory over
the power of evil (the forces of darkness); purification is the necessary sacrificial
means of achieving the sun’s triumph. Marius Schneider, however, distinguishes
between two kinds of fire, depending upon their direction (or their function): fire
as in the axis fire-earth (representing eroticism, solar heat and physical energy),
and fire of the axis fire-air (linked with mysticism, purification or sublimation,
and spiritual energy). There is an exact parallel here with the ambivalent symbolism of the sword (denoting both physical destruction and determination of spirit)
(50). Fire, in consequence, is an image of energy which may be found at the level
of animal passion as well as on the plane of spiritual strength (56). The Heraclitean
idea of fire as the agent of destruction and regeneration is reproduced in the Indian
Puranas and in the Apocalypse (27). Gaston Bachelard recalls the alchemists’
concept of fire as ‘an Element which operates in the centre of all things’, as a
unifying and stabilizing factor. Paracelsus demonstrated the parallel between fire
and life, pointing out that both must feed upon other lives in order to keep alive.
To steal fire like Prometheus, or to give oneself up to fire like Empedocles, are
two concepts which point to the basic dualism of the human predicament. The
middle way lies in the comfortable solution of simply making material use of the
benefits of fire. But fire is ultra-life. It embraces both good (vital heat) and bad
(destruction and conflagration). It implies the desire to annihilate time and to
bring all things to their end. Fire is the archetypal image of phenomena in themselves (1). To pass through fire is symbolic of transcending the human condition,
according to Eliade in Myths, Dreams and Mysteries (London, 1960).
Depending on the context of your dream, to see fire in your dream can symbolize destruction, passion, desire, illumination, purification, transformation, enlightenment, or anger. It may suggest that something old is passing and something new is entering into your life. Your thoughts and views are changing. In particular, if the fire is under control or contained in one area, then it is a metaphor of your own internal fire and inner transformation. The dream may be a metaphor for someone who is "fiery". It represents your drive, motivation, and creative energy. Alternatively, the dream may be warning you of your dangerous or risky activities. You are literally "playing with fire".
To dream that you are being burned by fire, indicates that your temper is getting out of control. Some issue or situation is burning you up inside.
To dream that a house is on fire, indicates that you need to undergo some transformation. If you have recurring dreams of your family house on fire, then it suggests that you are still not ready for the change or that you are fighting against the change. Alternatively, it highlights passion and the love of those around you.
To dream that you put out a fire, signifies that you will overcome your obstacles in your life through much work and effort. If you are setting a fire to something or even to yourself, then it indicates that you are undergoing some great distress. You are at the brink of desperation and want to destroy something or some aspect of yourself.
Fire is favorable to the dreamer if he does not get burned. It brings continued prosperity to seamen and voyagers, as well as to those on land.
To dream of seeing your home burning, denotes a loving companion, obedient children, and careful servants.
For a business man to dream that his store is burning, and he is looking on, foretells a great rush in business and profitable results.
To dream that he is fighting fire and does not get burned, denotes that he will be much worked and worried as to the conduct of his business. To see the ruins of his store after a fire, forebodes ill luck. He will be almost ready to give up the effort of amassing a handsome fortune and a brilliant business record as useless, but some unforeseen good fortune will bear him up again.
If you dream of kindling a fire, you may expect many pleasant surprises.
You will have distant friends to visit.
To see a large conflagration, denotes to sailors a profitable and safe voyage. To men of literary affairs, advancement and honors; to business people, unlimited success.
Health and great happiness, kind relations and warm friends.
Depending on the context of your dream, to see fire in your dream can symbolizes destruction, passion, desire, illumination, transformation, enlightenment, or anger. It may suggest that something old is passing and something new is entering your life. Your thoughts and views are changing. In particular, if the fire is under control or contained in one area, it is a metaphor of your own internal fire and inner transformation. It also represents your drive and motivation. Dreaming of that you are being burned by fire indicates that your temper is getting out of control. Some issue or situation is burning you up inside. Dreaming that a house is on fire means passion and loving companions. Dreaming that you put out a fire means that you will overcome your obstacles in your life through much work and effort.
This is a very complex symbol that can have both negative and positive connotations. When interpreting this dream, you need to consider all of its details and your emotional responses in the dream. Fire can be a deeply spiritual symbol representing transformation and enlightenment. On the other hand, it could represent danger, anger, passion, pain or fear. A warm fireplace can symbolize happiness and security. Is the fire in your dream destroying something or simply warming you? Are you currently engaging in negative behaviors, or are you knowingly making wrong (or destructive) choices? Are you putting out fires in your dream? Your unconscious mind may be warning you and at the same time encouraging you to alter those things in your life that may be hurtful and dangerous.
To see a ninja in your dream, symbolizes a someone in your life whose intentions are unclear. You may feel threatened by this person's abilities or suspicious of their motivations.
To dream that you are a ninja, indicates passive aggressive behavior. You are trying to be defiant without appearing confrontational.
The sword is in essence composed of a blade and a guard; it is
therefore a symbol of ‘conjunction’, especially when, in the Middle Ages, it takes
on the form of a cross. Among many primitive peoples it was the object of much
veneration. The Scythians used to make an annual sacrifice of several horses to
the blade of a sword, which they conceived as a god of war. Similarly, the Romans
believed that iron, because of its association with Mars, was capable of warding
off evil spirits (8). The belief still persists in Scotland (21). Founders of cities, in
the ancient Che-King tales of China, wear swords (7). As a religious symbol, it is
still in use as part of the ceremonial dress of oriental bishops. Its primary symbolic meaning, however, is of a wound and the power to wound, and hence of
liberty and strength. Schneider has shown that, in megalithic culture, the sword is
the counterpart of the distaff, which is the feminine symbol of the continuity of
life. The sword and the distaff symbolize, respectively, death and fertility—the
two opposites which constitute the basic symbolism of the mountain (Schneider
suggests that in the animal world the equivalents are the phallic fish and the frog)
(50). Furthermore, given the cosmic sense of sacrifice (that is, the inversion of the
implied realities of the terrestrial and the celestial orders), the sword is then seen
as a symbol of physical extermination and psychic decision (60), as well as of the spirit and the word of God, the latter being a particularly common symbol during
the Middle Ages (4). In this connexion, Bayley draws attention to the interesting
relationship between the English words sword and word. There can be no doubt
that there is a sociological factor in sword-symbolism, since the sword is an
instrument proper to the knight, who is the defender of the forces of light against
the forces of darkness. But the fact is that in rites at the dawning of history and
in folklore even today, the sword plays a similar spiritual rôle, with the magic
power to fight off the dark powers personified in the ‘malevolent dead’, which is
why it always figures in apotropaic dances. When it appears in association with
fire and flames—which correspond to it in shape and resplendence—it symbolizes purification. Schneider bears this out with his comment that whereas purification goes with fire and the sword, punishment goes with the lash and the club
(51). In alchemy, the sword is a symbol for purifying fire. The golden sword—
Chrysaor in Greek mythology—is a symbol for supreme spiritualization (15).
The Western type of sword, with its straight blade, is, by virtue of its shape, a
solar and masculine symbol. The Oriental sword, being curved, is lunar and
feminine. Here one must recall the general meaning of weapons, which is the
antithesis of the monster. The sword, because of its implication of ‘physical
extermination’, must be a symbol of spiritual evolution, just as the tree is of
involution; that is, the tree stands for the development of life within matter and
activity. This dualism between the spirit on the one hand and life on the other was
resolved by Ludwig Klages, for his part, by opting for life, but Novalis has well
expressed the contrary opinion with his observation that ‘life is an infirmity of
the spirit’. It is a duality which is well illustrated by the opposing characteristics
of wood (which is feminine) and metal. If the tree corresponds to the process of
proliferation, then the sword represents the inverse. At least Conrad Dinckmut’s
Seelen Wurzgarten (Ulm, 1483), like many other similar works, has a 15thcentury illustration of Christ with a branch or a tree on the left side of his face,
whereas symmetrically opposite there is a sword. This association of the sword
with the tree is of great antiquity: we ourselves have seen a prehistoric Germanic
relief depicting two figures, one being feminine and bearing a branch, the other
masculine, with a sword. One may also see here an allegory of War and Peace;
certainly the mediaeval illustration may allude to the olive branch, but there is
nothing of this in the Germanic relief. Evola maintains that the sword is related to
Mars, but with additional vertical—and horizontal—symbolisms, alluding, that
is, to life and death. It is also linked with steel as a symbol of the transcendent
toughness of the all-conquering spirit. To quote from Emilio Sobejano, Swords of
Spain, in Arte Español, XXI (1956): ‘Among the Germanic races, as Livy observed, the sword was at no time very common; on the contrary, it served as a
symbol befitting high command and the loftiest rank; one only has to think of the
dignity and pomp which characterized the institution of the Comes Spatharius,
created by the Emperor Gordian the Younger around the year 247. . . . The sword
is almost exclusively the prerogative of high dignitaries. There is an Arabic tradition to the effect that it was the Hebrews who invented the sword, and that the
place where it was first made—a tragic sign of how the idea first came into the
world—was mount Casium, on the outskirts of Damascus, which was to become
famous throughout Islam on account of its steel, and where, according to the
ancient belief, Cain slew his brother. There, by an accident of fate, settled the first
artificers of the newly invented weapon.’ The sword of fire bears testimony to
the intrinsic relationship between the symbols of the sword, steel (or iron), Mars
and fire, all of which have a ‘common rhythm’. On the other hand, it emphasizes
the heat of the flame and the coldness of the bare metal; hence, the sword of fire
is a symbol implying an ambivalent synthesis, like the volcano (gelat et ardet),
and also a symbol of the weapon which severs Paradise (the realm of the fire of
love) from earth (the world of affliction).
To dream that you wear a sword, indicates that you will fill some public position with honor.
To have your sword taken from you, denotes your vanquishment in rivalry.
To see others bearing swords, foretells that altercations will be attended with danger.
A broken sword, foretells despair.
To dream that you are wielding a sword, represents your strength, ambition, competitive nature decisiveness and willpower. You are looking to hold a position of prestige, authority, and distinction. Alternatively, the sword may be seen as a phallic symbol and thus represent masculine power.
Dreaming that you are wielding a sword, represents your ambition, competitive nature decisiveness and will power.. You seek to hold a position of prestige, authority, and distinction. Alternatively, the sword can be seen as a phallic symbol and thus represent masculine power.