I walked into a hall, it looked like a gym hall in a school, filled with seating. When I sat it grew smaller and became the size of a small basketball court. I was with two people, people I know in real time. Both people I do not trust, one I know the other an acquaintance, the feeling of mistrust was within me in this dream.
These people were women, one, the one I knew, sat in front, while the acquaintance sat to right side of me. The hall was set in such a way that it had 3 areas of seating around a centre unit. A projector was at the front.
I looked around taking notice of who else was there. No one was made prominent except for one, a man, a man also recognisable from real time, a stranger. The man lifted his shirt and wiped his brow, revealing bright ginger chest hair and a brunette happy trail. I found this as repulsive as I did attractive and really confusing.
How the fuck were these colours in cohabitation on the same fine, well looked after body as well as, ewwww hairy men. I feel the meaning of this paradox was clear though, that of which I am attracted to and that which I love. The boyfriend and the eye candy.
I looked away feeling accepting of what my mind was telling me but also guilty of the thing I was not meant to do.
I looked to the screen which had began to play, it was Jerry Cantrell, talking about art in such a way that he sounded like John Berger. He was sitting in a classroom talking super enthusiastically, surrounded by children who were sitting at desks with obelisks on these desks.
Jerry Cantrell himself was a 2D representation of himself the folds on his skin were perfectly flattened so that he looked like a piece of leather or a dried fruit piece.
While noticing this the girl I knew in front of me got up, she said she was to go for a cigarette and asked the girl to the right of me to go with her, I stayed feeling yet again the odd one out. The girl to the right of me came back as the first girl exited the room and asked if I wanted to join her for a cookie, I said no, captivated by the movie on the screen as well as over aware of the presence of the two toned hair dude.
I realised ten minutes later that she was asking me to go for a spliff and although half regretting the decision to stay I was overly entranced by the textures and folds of the 2D man that was Jerry Cantrell.
Although unsure of what came next all I know is that I ended up in my new apartment.
My apartment seemed to be a mixture of a laundrette, carpark and tower in the clouds. I went out to the balcony and realised that it was shared with the neighbours, this annoyed me as it meant i could not smoke weed there.
It was surrounded by walls twice my height, it made me feel slightly trapped. The girl I mistrust and knew was with me, she told me these walls were to stop those who sought to commit suicide. I climbed the wall and looked down to see a city widespread beneath me. Straight ahead of my eye line there were clouds.
I got down and went to the neighbours window. Being nosey I looked in and saw an ascending twisting, spiralling stairway that was somehow upside down, all I felt was jealousy, there house was nice than mine, and confusement, what was up with the stairs.
So confused throughout this dream It seems to follow the patterns of most of my dreams which are all mundane, plain yet surreal in someway as well as feeling a sense of weird confusement that feels right.
Colour symbolism is one of the most universal of all types of
symbolism, and has been consciously used in the liturgy, in heraldry, alchemy, art
and literature. There are a great many considerations bearing upon the meaning of
colour which we can here do little more than summarize. To begin with, there is
the superficial classification suggested by optics and experimental psychology.
The first group embraces warm ‘advancing’ colours, corresponding to processes
of assimilation, activity and intensity (red, orange, yellow and, by extension,
white), and the second covers cold, ‘retreating’ colours, corresponding to processes of dissimilation, passivity and debilitation (blue, indigo, violet and, by
extension, black), green being an intermediate, transitional colour spanning the
two groups. Then there are the subtle uses to which colour may be put in emblematic designs. The serial order of the colour-range is basic, comprising as it
does (though in a somewhat abstract sense) a kind of limited set of definitive,
distinct and ordered colours. The formal affinity between, on the one hand, this
series of six or seven shades of colour—for sometimes it is difficult to tell blue
from indigo, or azure from ultramarine—and, on the other hand, the vowelseries—there being seven vowels in Greek—as well as the notes of the musical
scale, points to a basic analogy between these three scales and also between them
and the division of the heavens, according to ancient astrobiological thought, into
seven parts (although in fact there were sometimes said to be nine). Colour symbolism usually derives from one of the following sources: (1) the inherent
characteristic of each colour, perceived intuitively as objective fact; (2) the relationship between a colour and the planetary symbol traditionally linked with it;
or (3) the relationship which elementary, primitive logic perceives. Modern psychology and psychoanalysis seem to place more weight upon the third of these
formulas than even upon the first (the second formula acting as a bridge between
the other two). Thus, Jolan de Jacobi, in her study of Jungian psychology, says
in so many words: ‘The correspondence of the colours to the respective functions varies with different cultures and groups and even among individuals; as a
general rule, however, . . . blue, the colour of the rarefied atmosphere, of the clear
sky, stands for thinking; yellow, the colour of the far-seeing sun, which appears
bringing light out of an inscrutable darkness only to disappear again into the
darkness, for intuition, the function which grasps as in a flash of illumination the
origins and tendencies of happenings; red, the colour of the pulsing blood and of
fire, for the surging and tearing emotions; while green, the colour of earthly,
tangible, immediately perceptible growing things, represents the function of sensation’ (30). The most important of the symbols derived from the foregoing
principles are these: red is associated with blood, wounds, death-throes and
sublimation; orange with fire and flames; yellow with the light of the sun, illumination, dissemination and comprehensive generalization; green with vegetation,
but also with death and lividness (green is therefore the connecting-link between
black—mineral life—and red—blood and animal life—as well as between animal
life and discomposition and death); light blue with the sky and the day, and with
the calm sea; dark blue with the sky and the night, and with the stormy sea; brown
and ochre with the earth; and black with the fertilized land. Gold corresponds to
the mystic aspect of the sun; silver to that of the moon. The different conclusions
reached by psychologists and by traditional, esoteric thinkers, apparent in the
above summaries, can be explained by the fact that in the psychologists’ view,
symbolic impressions formed in the mind may be merely fortuitous, whereas
according to esoteric theory, the three series (of shades of colour, of component
elements and natural appearances, and of feelings and reactions) are the outcome
of a single, simultaneous cause working at the deepest levels of reality. It is for
this reason that Ely Star, and others, maintains that the seven colours are severally analogous to the seven faculties of the soul, to the seven virtues (from a
positive point of view), to the seven vices (from a negative viewpoint), to the
geometric forms, the days of the week and the seven planets (55). Actually this is
a concept which pertains more to the ‘theory of correspondences’ than to the
symbolism of colour proper. Many primitive peoples intuitively sense that close links exist between all the different aspects of the real world: the Zuni Indians of
Western America, for example, make a yearly offering to their priests of ‘corn of
seven colours’, each colour pertaining to a planetary god. Nevertheless, it is
worth while bearing in mind the most essential of these correspondences. For
example: fire is represented by red and orange; air by yellow; both green and
violet represent water; and black or ochre represent earth. Time is usually symbolized by a sheen as of shot silk. About the various shades of blue, ranging from
near black to clear sapphire, there has been a great deal of speculation. The most
relevant comments in our opinion are the following: ‘Blue, standing for the vertical’—and the spatial, or the symbolism of levels—’means height and depth (the
blue sky above, the blue sea below)’ (32). ‘Colour symbolizes an upward-tending
force in the pattern of dark (or gloom and evil) and light (or illumination, glory and
good). Thus, dark blue is grouped with black, and azure, like pure yellow, is
coupled with white’ (14). ‘Blue is darkness made visible.’ Blue, between white
and black (that is, day and night) indicates an equilibrium which ‘varies with the
tone’ (3). The belief that colours may be grouped in respect of their basic essentials, and within the general tendency to place phenomena in antithetical groups,
according to whether they are of positive value (associated with light) or of
negative (linked with darkness), is echoed even in present-day aesthetics, which
bases the colour-system not upon the three primary colours of red, yellow and
blue but upon the implied antithesis of yellow (or white) and blue (or black),
taking red as the indirect transition between these two colours (the stages being:
yellow, orange, red, violet, blue) and green as the direct (or summational) transition, this being the view of Kandinsky and Herbin. To sum up, those interpretations of colour symbolism which in our view have most importance: blue (the
attribute of Jupiter and Juno as god and goddess of heaven) (56) stands for
religious feeling, devotion and innocence (59); green (the colour pertaining to
Venus and Nature) betokens the fertility of the fields (56), sympathy and adaptability (59); violet represents nostalgia and memories, because it is made up from
blue (signifying devotion) and red (passion) (59); yellow (the attribute of Apollo,
the sun-god) indicates magnanimity, intuition and intellect (56, 59); orange, pride
and ambition (56, 59); red (the attribute of Mars), passion, sentiment and the lifegiving principle (56, 59); grey, neutralization, egoism, depression, inertia and
indifference—meanings derived from the colour of ashes (56, 59); purple (the
colour of the imperial Roman paludament, as well as the Cardinal’s) provides a
synthesis comparable with, yet the inverse of, violet, representing power, spirituality and sublimation (56, 59); pink (the colour of the flesh), sensuality and the
emotions (56, 59). One could go on with such interpretations ad infinitum, giving more and more exact meanings to more and more precise shades of colour, but to
do so would be to fall into one of the traps of symbolism, that is, the temptation
to evolve a hard-and-fast system of allegories. It is important, nevertheless, to
bear in mind the analogy between the tone (that is, the intensity of a colour, or the
degree of its brightness—its place on the scale between the opposite poles of
black and white) and its corresponding level-symbolism. It must also be borne in
mind that the purity of a colour will always have its counterpart in the purity of
its symbolic meaning. Similarly, the primary colours will correspond to the primary emotions, whilst the secondary or tertiary colours will express symbols of
like complexity. Children instinctively reject all mixed or impure colours, because
they mean nothing to them. Conversely, the art of very advanced and refined
cultures has always thrived upon subtle tones of yellowish mauve, near-violet
pink, greenish ochres, etc. Let us now consider some of the practical applications
of colour-symbolism, by way of clarification of the above. According to Beaumont, colour has a very special significance in Chinese symbolism, for it is
emblematic of rank and authority; yellow for instance, because of its association
with the sun, is considered the sacred privilege of the royal family (5). For the
Egyptians, blue was used to represent truth (4). Green predominates in Christian
art because of its value as a bridge between the two colour-groups (37). The
mother goddess of India is represented as red in colour (contrary to the usual
symbolism of white as the feminine colour), because she is associated with the
principle of creation and red is the colour of activity per se (60). It is also the
colour of blood, and for this reason prehistoric man would stain with blood any
object which he wished to bring to life; and the Chinese use red pennons as
talismans (39). It is for this reason too that when a Roman general was received in
triumph he was carried in a chariot drawn by four white horses which were clad
in gilt armour (as a symbol of the sun), and his face was painted red. Schneider,
considering the essential bearing of the colour red upon alchemic processes, concludes that it is to be related to fire and purification (51). Interesting evidence of
the ominous and tragic character of orange—a colour which in the view of Oswald
Wirth is actually a symbol for flames, ferocity, cruelty and egoism—is forthcoming in the following passage taken from Heinrich Zimmer, the orientalist: ‘After
the Future Buddha had severed his hair and exchanged his royal garments for the
orange-yellow robe of the ascetic beggar (those outside the pale of human society
voluntarily adopt the orange-yellow garment that was originally the covering of
condemned criminals being led to the place of execution) . . .’ (60). To wind up
these observations upon the psychic significance of colour, let us point to some
correspondences with alchemy. The three main phases of the ‘Great Work’ (a symbol of spiritual evolution) were (1) prime matter (corresponding to black),
(2) mercury (white) and (3) sulphur (red), culminating in the production of the
‘stone’ (gold). Black pertains to the state of fermentation, putrefaction, occultation and penitence; white to that of illumination, ascension, revelation and pardon; red to that of suffering, sublimation and love. And gold is the state of glory.
So that the series black—white—red—gold, denotes the path of spiritual ascension. The opposite or descending series can be seen in the scale beginning with
yellow (that is, gold in the negative sense of the point of departure or emanation
rather than the point of arrival), blue (or heaven), green (nature, or immediate
natural life), black (that is, in the sense of the neoplatonic ‘fall’) (33). In some
traditions, green and black are seen as a composite expression of vegetation
manure. Hence, the ascending series of green—white—red, formed the favourite
symbol of the Egyptians and the Celtic druids (54, 21). René Guénon also points
to the significant fact that Dante, who knew his traditional symbology, has Beatrice
appear in clothes coloured green, white and red, expressive of hope, faith and
charity and corresponding to the three (alchemic) planes which we have already
mentioned (27). The complex symbolism of mixed colours is derived from the
primary colours of which they are composed. So, for example, greys and ochres
are related to earth and vegetation. It is impossible to give any idea here of all the
many notions which may be derived from a primal meaning. Thus, the Gnostics
evolved the idea that, since pink was the colour of flesh-tints, it was also the
colour of resurrection. To come back to the colour orange, the beautiful explanation of some allegorical figures in the alchemic Abraham the Jew contains a reference to orange as the ‘colour of desperation’, and goes on: ‘A man and a woman
coloured orange and seen against the background of a field coloured sky-blue,
signifies that they must not place their hopes in this world, for orange denotes
desperation and the blue background is a sign of hope in heaven.’ And finally, to
revert to green, this is a colour of antithetical tendencies: it is the colour of
vegetation (or of life, in other words) and of corpses (or of death); hence, the
Egyptians painted Osiris (the god of vegetation and of the dead) green. Similarly,
green takes the middle place in the everyday scale of colours.
In the Egyptian system of hieroglyphs, the tower is a determinative
sign denoting height or the act of rising above the common level in life or society
(19). Basically, then, the tower is symbolic of ascent. During the Middle Ages,
towers and belfries held the significance of watch-towers, but also, by the simple
application of the symbolism of level (whereby material height implies spiritual
elevation), they expressed the same symbolism as the ladder—linking earth and
heaven. The tower-symbol, given that it is enclosed and walled-in, is emblematic of the Virgin Mary, as can be seen in a great many allegorical designs and litanies
(14). Since the idea of elevation or ascent, implicit in the tower, connotes transformation and evolution, the athanor (the alchemists’ furnace) was given the
shape of a tower to signify inversely that the metamorphosis of matter implied a
process of ascension. Another symbol usually mentioned in this connexion is the
bronze tower in which Danae, the mother of Perseus, was imprisoned (48).
Finally we would point to the analogy between the tower and man: for just as the
tree is closer to the human figure than are the horizontal forms of animals, so, too,
is the tower the only structural form distinguished by vertically: windows at the
topmost level, almost always large in size, correspond to the eyes and the mind
of man. It is in this sense that the Tower of Babel acquired special symbolic point
as a wild enterprise bringing disaster and mental disorder (31). And, for the same
reason, the sixteenth enigma of the Tarot denotes catastrophe by the image of a
tower struck by lightning. However, it is possible to discover a dual tendency in
the symbolism of the tower. Its upward impulse may be accompanied by a
deepening movement; the greater the height, the deeper the foundations. Nietzsche
talked of descent during ascent. Nerval (in Aurélia, to be precise) refers to the
symbolism of the tower and says: ‘I found myself in a tower, whose foundations
were sunk so deep into the earth and whose top was so lofty, reaching up like a
spire into the sky, that my whole existence already seemed bound to be consumed
in climbing up and down it.’
To dream of seeing a tower, denotes that you will aspire to high elevations. If you climb one, you will succeed in your wishes, but if the tower crumbles as you descend, you will be disappointed in your hopes.
To see a tower in your dream, signifies high hopes and aspirations. If you are looking down from a tower, then it indicates that you have a perceived superiority over others. Your ego is inflated. Alternatively, a tower symbolizes the phallus.
To see a water tower in your dream, suggests that you are keeping your emotions inside. You may be unable to express your true feelings, especially feelings of love. Alternatively, a water tower indicates a false sense of security.
To dream that you are climbing a tower, denotes your quest for spirituality and unconscious ideas that may be surfacing.
To dream that a tower is falling or crumbling, heralds a drastic change ahead.
Seeing a tower in your dream means high hopes and aspirations. If you are looking down from a tower, then it suggests your perceived superiority over others. Your ego may also be inflated. Seeing a water tower in your dream, suggests that you are keeping your emotions inside. You may be unable to express your feelings, especially feelings of love. Alternatively, it indicates a false sense of security. Dreaming that you are climbing a tower indicates you quest for spirituality and unconscious ideas that may be surfacing.
Positive associations with this tarot card:
re-evaluation, necessary change, a blessing in disguise.
Negative associations with this tarot card:
sudden change, downfall, disruption, disaster.
After the Death card and the Devil, The Tower is likely to be the card that causes most fear and constenation. It's hard to find a positive side to this card, however, it tells you that the unexpected shock and upheaval of events will create new opportunities and make you a stronger and wiser person.
The Tower represents sudden and sometimes shocking changes in events and can often represent problems or delays relating to your home or the purchasing of home.
Whether material or emotional upset, this card encourages you to see that such upheavals can force new directions that can be more beneficial.
Negatively The Tower represents unecessary suffering. You may be falsely accused of something and suffer some form of imprisonment or isolation, or you may be the one causing the shock and change with a rebellious attitude.
The main thing to remember with this rather unpleasant card is that this phase will pass and that a new direction or new opportunities can be created from it.
To dream that you are in a hall, represents your ability to share and get along with others. If the hall is empty, then it symbolizes the unexplored and untapped aspects of your character. Consider the activity that is taking place in the hall and the people that were there.
Seeing a girl in your dream, represents your playful, innocent, and childlike nature. Perhaps you have been behaving prematurely. Dreaming about a girl that you just met, represents your anxieties and thoughts of whether you had made a good impression on her and what she thought of you. If she told you that she disliked you in the dream, then it may be an excuse for you to dismiss her and not pursue a relationship that is beyond friendship. For a man to dream that he is a girl means that he aspires to be an actor and play female parts.
To see people you know in your dream, signifies qualities and feelings of them that you desire for yourself. If these people are from your past, then the dream refers to your shadow and other unacknowledged aspects of yourself. It may represent a waking situation that is bringing out similar feelings from your past relationships.
To see people you don't know in your dream, denotes hidden aspects of yourself that you need to confront or acknowledge.
Seeing people you know in your dream means qualities and feelings of those people that you desire for yourself. Seeing people you don't know in your dream indicates hidden aspects of yourself that you need to confront. Seeing people from your past in your dream, refers to your shadow and other unacknowledged aspects of yourself. It can represent a waking situation that is bringing out similar feelings as your past relationships.
Man comes to see himself as a symbol in so far as he is conscious of his
being. Hallstatt art, in Austria, shows fine examples of animal-heads with human
figures appearing above them. In India, in New Guinea, in the West as well, the
bull’s or ox’s head with a human form drawn between the horns is a very common
motif. Since the bull is a symbol for the father-heaven, man comes to be seen as
both his and the earth’s son (22), also, as a third possibility, the son of the sun and
the moon (49). The implications of Origen’s remark: ‘Understand that you are
another world in miniature and that in you are the sun, the moon and also the
stars’, are to be found in all symbolic traditions. In Moslem esoteric thought, man
is the symbol of universal existence (29), an idea which has found its way into
contemporary philosophy in the definition of man as ‘the messenger of being’;
however, in symbolic theory, man is not defined by function alone (that of
appropriating the consciousness of the cosmos), but rather by analogy, whereby
he is seen as an image of the universe. This analogical relationship is sometimes
expressed explicitly, as in some of the more ancient sections of the Upanishads—
the Brihadaranyaka and the Chandogya for instance—where the analogy between the human organism and the macrocosmos is drawn step by step by means
of correspondences with the organs of the body and the senses (7). So, for
example, the components of the nervous system are derived from fiery substance, and blood from watery substance (26). These oriental concepts first
appear in the West during the Romanesque period: Honorius of Autun, in his Elucidarium (12th century) states that the flesh (and the bones) of man are
derived from the earth, blood from water, his breath from air, and body-heat from
fire. Each part of the body relates to a corresponding part of the universe: the
head corresponds to the heavens, the breath to air, the belly to the sea, the lower
extremities to earth. The five senses were given analogies in accordance with a
system which came to Europe, perhaps, from the Hebrews and the Greeks (14).
Thus, Hildegard of Bingen, living in the same period, states that man is disposed
according to the number five: he is of five equal parts in height and five in girth; he
has five senses, and five members, echoed in the hand as five fingers. Hence the
pentagram is a sign of the microcosmos. Agrippa of Nettesheim represented this graphically, after Valeriano, who drew the analogy between the five-pointed star
and the five wounds of Christ. There is a relationship, too, between the organic
laws of Man and the Cistercian temple (14). Fabre d’Olivet, following the Cabala,
maintains that another number closely associated with the human being is nine—
the triple ternary. He divides human potentialities into three planes: those of the
body, of the soul or life and of the spirit. Each of these planes is characterized by
three modes: the active, the passive and the neutral (43). In the Far East, also,
speculation about the symbolism of man began very early. The same kind of
triple ternary organization is to be seen in the ancient teachings of the Taoists
(13). It is also interesting to note that there is a relationship between the human
being and the essential or archetypal animals (the turtle, the phoenix, the dragon
and the unicorn) who appear to bear the same relation to man—who is central—
as the tetramorphs do to the Pantokrator. Now, between man as a concrete
individual and the universe there is a medial term—a mesocosmos. And this
mesocosmos is the ‘Universal Man’, the King (Wang) in Far Eastern tradition,
and the Adam Kadmon of the Cabala. He symbolizes the whole pattern of the
world of manifestation, that is, the complete range of possibilities open to mankind. In a way, the concept corresponds to Jung’s ‘collective unconscious’. According to Guénon, Leibniz—perhaps influenced by Raymond Lull—conceded
that every ‘individual substance’ must contain within itself an integral reproduction of the universe, even if only as an image, just as the seed contains the totality
of the being into which it will develop (25). In Indian symbolism, Vaishvânara, or
the ‘Universal Man’, is divided into seven principal sections: (1) The superior,
luminous spheres as a whole, or the supreme states of being; (2) the sun and the
moon—or rather, the principles to which they pertain—as expressed in the right
and the left eye respectively; (3) the fire-principle—the mouth; (4) the directions
of space—the ears; (5) the atmosphere—the lungs; (6) the intermediary zone
between earth and heaven—the stomach; (7) the earth—the natural functions or
the lower part of the body. The heart is not mentioned, because, being the ‘centre’
or dwelling-place of Brahma, it is regarded as being beyond the ‘wheel’ of things
(26). Now, this concept of the ‘Universal Man’ implies hermaphroditism, though
never specifically. For the concrete, existential human being, in so far as he is
either a man or a woman, represents the dissected ‘human’ whole, not only in the
physical sense but also spiritually. Thus, to quote the Upanishads: ‘He was, in
truth, as big as a man and a woman embracing. He divided this atman into two
parts; from them sprang husband and wife.’ In Western iconography one sometimes finds images which would seem to be echoes of this concept (32). A human
couple, by their very nature, must always symbolize the urge to unite what is in
fact discrete. Figures which are shown embracing one another, or joining hands, or growing out of roots which bind them together, and so on, symbolize ‘conjunction’, that is, coincidentia oppositorum. There is a Hindu image representing the
‘joining of the unjoinable’ (analogous to the marriage of fire and water) by the
interlinking of Man and Woman, which may be taken to symbolize the joining of
all opposites: good and bad, high and low, cold and hot, wet and dry, and so on
(32). In alchemy, Man and Woman symbolize sulphur and mercury (the metal).
In psychology, level-symbolism is often brought to bear upon the members of the
body, so that the right side corresponds to the conscious level and the left to the
unconscious. The shapes of the parts of the body, depending upon whether they
are positive or negative—whether they are protuberances or cavities—should be
seen not only as sex-symbols but also in the light of the symbolism of levels. The
head is almost universally regarded as a symbol of virility (56). The attitudes
which the body may take up are of great symbolic importance, because they are
both the instrument and the expression of the human tendency towards ascendence
and evolution. A position with the arms wide open pertains to the symbolism of
the cross. And a posture in the form of the letter ‘X’ refers to the union of the two
worlds, a symbol which is related to the hour-glass, the ‘X’ and all other symbols
of intersection (50). Another important posture is that of Buddha in the traditional iconography of the Orient, a posture characteristic also of some Celtic gods
such as the so-called ‘Bouray god’ or the famous Roquepertuse figure. This
squatting position expresses the renunciation of the ‘baser part’ and of ambulatory movement and symbolizes identification with the mystic centre.
To see a man in your dream, denotes the aspect of yourself that is assertive, rational, aggressive, and/or competitive. Perhaps you need to incorporate these aspects into your own character. If the man is known to you, then the dream may reflect you feelings and concerns you have about him.
If you are a woman and dream that you are in the arms of a man, then it suggests that you are accepting and welcoming your stronger assertive personality. It may also highlight your desires to be in a relationship and your image of the ideal man.
To see an old man in your dream, represents wisdom or forgiveness. The old man may be a archetypal figure who is offering guidance to some daily problem.
To dream of a man, if handsome, well formed and supple, denotes that you will enjoy life vastly and come into rich possessions. If he is misshapen and sour-visaged, you will meet disappointments and many perplexities will involve you.
For a woman to dream of a handsome man, she is likely to have distinction offered her. If he is ugly, she will experience trouble through some one whom she considers a friend.
Seeing a man in your dream indicates the masculine aspect of yourself - the side that is assertive, rational, aggressive, and/or competitive. If the man is known to you, then the dream may reflect you feelings and concerns you have about him. If you are a woman and dream that you are in the arms of a man, suggests that you are accepting and welcoming your stronger assertive personality . It may also highlight your desires to be in a relationship and your image of the ideal man. Seeing an old man in your dream, represents wisdom or forgiveness.
All different kinds of people clutter our dream landscape. The men in your dream may include family members or total strangers. You may dream about your father, son, husband, or friend and should interpret the dream according to its details. A man, particularly the father figure, may represent collective consciousness and the traditional human spirit. He is the Yang and his energy, when mobilised, creates the earthly realities. Depending on the details of the dream, the masculine figure could be interpreted as the Creator or Destroyer. At times, women dream about men that are strangers to them. These men may represent the women's unconscious psychic energy. At times, a strange and ominous man in men's dreams could represent their "shadow" or their negativity and darker sides of personality.