The wise Bird Man told me that he would see me on the astral. Last night we met there. We are sitting on a beautiful mountain hillside, there is a dirt road behind us, and the light is golden. I knew why he had come.....
A few days ago in my waking life a spirit who had recently passed into death came to me for help. He did not know how to communicate or get my attention so he did what they always try to do...... come into my body. I am usually very aware when there is a spirit present and can set up my boundaries very swiftly so that they know not to come into my space. This time was different. All the warning signs were different. At first I did not know that it was a spirit needing help. Because of this I did not properly define my space. This spirit was in me, transferring all the pain he had carried over from his death into my body. It was the most excruciating pain. It was crippling. All of my organs were screaming and my nervous system was pulsing. I felt shock waves through my spinal cord. I could see the tiny branches of my nervous system having spasms. I am panting and vomiting and struggling so much. I am alone and am thinking that I have to go to the emergency room. I make some phone calls to my partner and a few close friends who may be able to take me to the hospital. They tell me they are on their way. In the mean time I am trying to breath through this insane pain. I call out to my guides. I think of the Bird Man and immediately call out to him. I call for him so intensely and so crisply. I am heard. My guides are there. The Bird Man is there with his wise medicine. My partner and friends arrive at my house and it is then when I realize that this is a spirit. I immediately call him out of my space and set up my boundaries. The pain is fleeing. I then begin calling on his guides to help him shed his pain so that he can proceed on his path and not be stuck in this realm. He had suffered and died from cancer. The healing went on as usual. All the while the wisdom of the Bird Man is shining through at such a high vibration. My partner and friends held beautiful space for the transformation.
So back to last night's sleep and meeting the Bird Man on the astral.... We spoke through our eyes. He was concerned for me and my urgent cry for him the other day. He wanted to know how it all went. I showed him the experience and he affirmed some very deep questions I had about the nature of the trans-medium work I have been doing. I have never been able to recall something so accurately from my waking life while I am asleep and in the astral. I observed his nature and felt my child self coming to the surface. He helps so many beings. He is so humble and pure. Rarely does he receive what he gives. He receives a great deal from spirit and from Gaia, but rarely does he receive from other humans what he gives. I smile up at him and show him my gratitude. I rest my head on his shoulder and put my hand on his back the way a child would with their father. I channel pure love through me and give and give and give to him. He gives back and it is a beautiful union of heart space. I am so grateful for him. So grateful for his medicine that radiated through out my experience with the spirit and radiates so brightly for the world........
Dreaming that you are talking to an unknown spirit, forewarns that someone is trying to deceive you. Generally if the spirit is known and welcomed it is a sign of great good luck and/or good fortune in business affairs.
Every winged being is symbolic of spiritualization. The bird, according to Jung, is a beneficent animal representing spirits or angels, supernatural
aid (31), thoughts and flights of fancy (32). Hindu tradition has it that birds
represent the higher states of being. To quote a passage from the Upanishads:
Two birds, inseparable companions, inhabit the same tree; the first eats of the
fruit of the tree, the second regards it but does not eat. The first bird is Jivâtmâ,
and the second is Atmâ or pure knowledge, free and unconditioned; and when
they are joined inseparably, then the one is indistinguishable from the other except in an illusory sense’ (26). This interpretation of the bird as symbolic of
the soul is very commonly found in folklore all over the world. There is a Hindu
tale retold by Frazer in which an ogre explains to his daughter where he keeps
his soul: ‘Sixteen miles away from this place’, he says, ‘is a tree. Round the tree
are tigers, and bears, and scorpions, and snakes; on the top of the tree is a very
great fat snake; on his head is a little cage; in the cage is a bird; and my soul is in
that bird’ (21). This was given precise expression in ancient Egyptian symbolism by supplying the bird with a human head; in their system of hieroglyphs it
was a sign corresponding to the determinative Ba (the soul), or the idea that the
soul flies away from the body after death (19). This androcephalous bird appears also in Greek and Romanesque art, and always in this same sense (50).
But the idea of the soul as a bird—the reverse of the symbolic notion—does not
of itself imply that the soul is good. Hence the passage in Revelation (xvii, 2)
describing Babylon as ‘the hold of every foul spirit, and a cage of every unclean
and hateful bird’. According to Loeffler, the bird, like the fish, was originally a
phallic symbol, endowed however with the power of heightening—suggesting
sublimation and spiritualization. In fairy stories there are many birds which
talk and sing, symbolizing amorous yearning (and cognate with arrows and
breezes). The bird may also stand for the metamorphosis of a lover. Loeffler
adds that birds are universally recognized as intelligent collaborators with man
in myths and folktales, and that they are derived from the great bird-demiurges
of the primitives—bearers of celestial messages and creators of the nether
world; this explains the further significance of birds as messengers (38). The
particular colour of a bird is a factor which determines its secondary symbolisms. The blue bird is regarded by Bachelard (3) as ‘the outcome of aerial
motion’, that is, as a pure association of ideas; but in our view, although this
may well have been its origin, its ultimate aim is something quite different—to
provide a symbol of the impossible (like the blue rose). In alchemy, birds stand
for forces in process of activation; here the precise sense is determined by the
location of the bird: soaring skywards it expresses volatilization or sublimation, and swooping earthwards it expresses precipitation and condensation;
these two symbolic movements joined to form a single figure are expressive of
distillation. Winged beings contrasted with others that are wingless constitute a
symbol of air, of the volatile principle as opposed to the fixed. Nevertheless, as
Diel has pointed out, birds, and particularly flocks of birds—for multiplicity is
ever a sign of the negative—may take on evil implications; for example, swarms
of insects symbolize forces in process of dissolution—forces which are teeming, restless, indeterminate, shattered. Thus, birds, in the Hercules legend, rising up from the lake Stymphalus (which stands for the stagnation of the soul
and the paralysis of the spirit) denote manifold wicked desires (15). The ‘giant
bird’ is always symbolic of a creative deity. The Hindus of Vedic times used to
depict the sun in the form of a huge bird—an eagle or a swan. Germanic tradition
affords further examples of a solar bird (35). It is also symbolic of storms; in
Scandinavian mythology there are references to a gigantic bird called Hraesvelg
(or Hraesveglur), which is supposed to create the wind by beating its wings
(35). In North America, the supreme Being is often equated with the mythic
personification of lightning and thunder as a great bird (17). The bird has a
formidable antagonist in the snake or serpent. According to Zimmer, it is only
in the West that this carries a moral implication; in India, the natural elements
only are contrasted—the solar force as opposed to the fluid energy of the
terrestrial oceans. The name of this solar bird is Garuda, the ‘slayer of the nâgas
or serpents’ (60). Kühn, in The Rock Pictures of Europe, considers a Lascaux
cave picture of a wounded bison, a man stricken to death and a bird on a pole,
and suggests that, by the late Palaeolithic, the bird may have come to symbolize
the soul or a trance-like state.
To see birds in your dream, symbolize your goals, aspirations and hopes. To dream of chirping and/or flying birds, represent joy, harmony, ecstasy, balance, and love. It denotes a sunny outlook in life. You are experiencing spiritual freedom and psychological liberation. It is almost as if a weight has been lifted off your shoulders.
To dream of dead or dying birds, indicates disappointments. You will find yourself worrying over problems that are nagging on your mind.
To see bird eggs in your dream, symbolize money.
To see birds hatching in your dream, symbolize delayed success.
To see a bird nest in your dream, symbolizes independence, refuge and security. You need something to fall back on. Alternatively, it may signify a prosperous endeavor, new opportunities, and fortune.
Dreaming of a chirping and/or flying birds, represents joy, harmony, ecstasy, balance, and love. It indicates a sunny outlook in life. You will experience spiritual freedom and psychological liberation. It is almost as if a weight has been lifted off your shoulders. Dreaming of dead or dying birds, foretells a period of coming disappointments. You will find yourself worrying over problems that are constantly on your mind. Dreaming of bird eggs, symbolizes money. Dreaming of birds hatching, symbolizes delayed success. Dreaming of a bird nest, symbolizes independence, refuge and security. You need something to fall back on. Alternatively, it may signify a prosperous endeavor, new opportunities, and fortune.
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.
In a manner of speaking, space is an intermediate zone between the
cosmos and chaos. Taken as the realm of all that is possible, it is chaotic; regarded
as the region in which all forms and structures have their existence, it is cosmic.
Space soon came to be associated with time, and this association proved one of
the ways of coming to grips with the recalcitrant nature of space. Another—and
the most important—was the concept of space as a three-part organization based
upon its three dimensions. Each dimension has two possible directions of movement, implying the possibility of two poles or two contexts. To the six points
achieved in this way, there was added a seventh: the centre; and space thus
became a logical structure. The symbolisms of level and of orientation were
finally brought to bear in order to complete the exegesis. The three dimensions of
space are illustrated by means of a three-dimensional cross, whose arms are oriented along these six spatial directions, made up of the four points of the
compass plus the two points of the zenith and the nadir. According to René
Guénon, this symbolism—because of its structural character—is identical with
that of the Sacred Palace (or the inner palace) of the Cabala, located at the centrepoint from which the six directions radiate. In the three-dimensional cross, the
zenith and the nadir correspond to the top and the bottom, the front and back to
East and West, the right and left to the South and North. The upright axis is the
polar axis, the North-South axis is the solstitial line, the East-West the equinoctial. The significance of the vertical or level-symbolism concerns the analogy
between the high and the good, the low and the inferior. The Hindu doctrine of the
three gunas—sattva (height, superiority), rajas (intermediate zone of the world
of appearances, or ambivalence) and tamas (inferiority, or darkness)—is in itself
sufficient to explain the meaning of the symbolism of level up and down the
vertical axis. It is, in consequence, the intermediate plane of the four-directional
cross (that which incorporates the cardinal points and which implies the square)
which represents the world of appearances. Taking next the East-West axis,
traditional orientation-symbolism associates the East—being the point of sunrise—with spiritual illumination; and the West—the point where the sun sets—
with death and darkness. Passing next to the North-South axis, there is no one
definite interpretation. In many oriental cultures, the zenith coincides with the
mystic ‘Hole’ through which transition and transcendence are effected, that is,
the path from the world of manifestation (spatial and temporal) to that of eternity. But it has also been identified with the centre of the three-dimensional cross,
taken as the heart of space. Reduced to two dimensions—those of the contrasting
horizontal and vertical arms—the cross comes to represent harmony between
extension (associated with width) and exaltation (with height). The horizontal
arm concerns the implications of a given gradation or moment in an individual’s
existence, and the vertical pertains to moral elevation (25). William of SaintThierry, describing the seven gradations of the soul, observes that it ascends these
steps in order to reach the celestial life (14). If we seek an interpretation which
will justify the four points of the horizontal plane’s being reduced to two (the left
and right), we can find a basis for it in Jung’s assertion that the rear part coincides
with the unconscious and the front with the manifest or consciousness; and since
the left also can be equated with the unconscious and the right with consciousness, the rear then becomes equivalent to the left and the front to the right (32).
Other equivalents are: left side with the past, the sinister, the repressed, involution, the abnormal and the illegitimate; the right side with the future, the felicitous, openness, evolution, the normal and the legitimate (42). In all this, there is an apparent contradiction with the corresponding number-symbolisms: Paneth
observes that, in most cultures, the uneven numbers are considered to be masculine and the even numbers to be feminine. Since the left side is the zone of origin
and the right that of the outcome, the corresponding number-symbolisms would
seem to be one (the uneven or masculine number) for the left side (that is, the
past) and two (the even or feminine number) for the right side (the subsequent or
outcome). The solution is to be found in the fact that the number one (unity)
never corresponds to the plane of the manifest world or to spatial reality: it is the
symbol of the centre, but not in the sense of occupying any situation in space
which might imply a sequel. Hence we must conclude that two is the number
corresponding to the left side and three is that related to the right. Guénon
explains the way in which the cosmic order conforms with all this in a lucid
exposition of the relevant Hindu doctrines to the effect that the right hand zone is
the solar region; the left-hand the lunar. ‘In the aspect of this symbolism which
refers to the temporal condition, the Sun and the right eye correspond to the
future, the Moon and the left eye to the past; the frontal eye corresponds to the
present which, from the point of view of the manifested, is but an imperceptible
moment, comparable to the geometrical point without dimensions in the spatial
order; that is why a single look from the third eye destroys all manifestation
(which is expressed symbolically by saying that it reduces everything to ashes),
and that is also why it is not represented by any bodily organ; but when one rises
above this contingent point of view, the present is seen to contain all reality (just
as the point carries within itself all the possibilities of space), and when succession is transmuted into simultaneity, all things abide in the “eternal present”, so
that the apparent destruction is truly a “transformation” ‘ (26). Now, the seven
aspects that define space have been regarded as the origin of all septenary groups,
and in particular of the seven planets, the seven colours and the seven kinds of
landscape (50). Hence Luc Benoist can assert that the Christian Church, by
building on earth a mighty, three-dimensional cross of stone, has created for the
entire world the co-ordinate lines of a supernatural geometry. Benoist then quotes
Clement of Alexandria as saying that the six directions of space symbolize—or
are equivalent to—the simultaneous and eternal presence of the six days of the
Creation, and that the seventh day (of rest) signifies the return to the centre and
the beginning (6). Once the cosmic sense of spatial symbolism has been demonstrated, it is simple to deduce its psychological applications. And once the static
laws have been determined, it is easy to grasp the dynamic-implications, always
bearing in mind the symbolism of orientation. Here, we must point out that the
swastika—a solar and polar symbol—implies a movement from right to left, like the apparent movement of the sun; and that Clotho—one of the Parcae—spins
her ‘wheel of destiny’ in the same direction, that is, the opposite way to existence, so destroying it. Right-handedness is characteristic of all symbols of natural
life (28); hence, in the Egyptian system of hieroglyphs, to enter is to go towards
the right and to go out is to go towards the left (19); orienting these hieroglyphs,
we have the right corresponding with the rise and the left with the setting of the
sun. Similarly, the right side takes on an extra implication of birth and life, while
the left side acquires an association with death (17). Another consequence, apparent in allegories and emblems, is that the right side corresponds to the higher
virtues—if one may put it that way—such as compassion, and the left side to
justice. All of the above conclusions are logical deductions drawn from the study
of oriental tradition, supported by the findings of experimental psychology. But
they are conclusions which have also been verified by anthropologists and sociologists in their studies of the habits of diverse peoples. Ania Teillard, for example, has collated a mass of facts; she quotes J. J. Bachofen as asserting (in his
Mutterrecht und Urreligion und Grabersymbolik der Alten) that, in the important
and very common equation ‘right hand=masculinity’, the left hand harbours
magic powers and the right hand the force of reason, and also that in matriarchal
societies one always finds the idea of superiority attributed to the left side, and
conversely. To turn to the left is to look back upon the past, the unconscious,
implying introversion; to turn to the right is to look upon the outside world,
implying action and extraversion. At the same time, ethnologists are agreed that
during the first stage of any period of sun-worship, the right side becomes preeminent, whereas in lunar cults it is the left side which prevails (56). In paintings,
reliefs and other artistic creations of man, the left side is characterized by a more
vivid projection of the self (that is, by identification) and the right side is more
Seeing or dreaming that you are in space, represents exploration. You are an independent thinker.
To dream that you are in pain, suggests that you are being too hard on yourself, especially if a situation was out of your control. The dream may also be a true reflection of actual pain that exists somewhere in your body. Dreams can reveal and warn about health problems. Consider where the pain is for additional significance. If the pain is in your neck, then the dream may be a metaphor that you are literally being a "pain in the neck".
To dream that you are inflicting pain to yourself, indicates that you are experiencing some overwhelming turmoil or problems in your waking life. You are trying to disconnect yourself from your reality by focusing on the pain that you inflicted to yourself. meanings by DreamMoods.com
To dream that you are in pain, will make sure of your own unhappiness.
This dream foretells useless regrets over some trivial transaction.
To see others in pain, warns you that you are making mistakes in your life.
Dreaming that you are in pain means that you are being too hard on yourself with regards to a situation that was out of your control. It may also be a true reflection of real pain that exists somewhere in your body. Dreams can reveal and warn about health problems. Dreaming that you are inflicting pain to yourself, indicates that you are experiencing some overwhelming turmoil or problems in your waking life. You are trying to disconnect yourself from your reality by concentrating on the pain that you inflicted to yourself.
To see a partner in your dream, suggests that you need to seek the help of others in order to accomplish a mutual goal. Alternatively, a partner symbolizes the duality of your personality. Also consider your waking relationship with your own partner.
To dream of seeing your business partner with a basket of crockery on his back, and, letting it fall, gets it mixed with other crockery, denotes your business will sustain a loss through the indiscriminate dealings of your partner. If you reprimand him for it, you will, to some extent, recover the loss.
Seeing a partner in your dream, suggests that you need to seek the help of others in order to accomplish mutual goals.
Dreams of the astral, denote that your efforts and plans will culminate in worldly success and distinction. A spectre or picture of your astral self brings heart-rending tribulation.
Symbolically, death represents the end of an epoch, particularly when
it takes the form of sacrifice or the desire for self-destruction in the face of
unendurable tension (as with Romeo and Juliet, or Tristan and Isolde). The hero
dies young for this same reason: Siegfried, Achilles or Balder for example. The
public necessity for a sacrifice of this kind was what lay behind the ‘ritual
assassination of the king’ in which the possibility of his survival was sometimes
left open, should he prove victor in combat. As an example of this rite, Frazer
cites a festival called ‘The Great Sacrifice’ in which the king of Calicut was made
to hazard his crown and his life. It took place every twelve years, at the time the
planet Jupiter turns back towards the constellation of Cancer, since there was a
supposed relationship between the planet and the king’s destiny (21).
To dream about the death of a loved one, suggests that you are lacking a certain aspect or quality that the loved one embodies. Ask yourself what makes this person special or what you like about them. It is that very quality that you are lacking in your own relationship or circumstances. Alternatively, the dream indicates that whatever that person represents has no part in your own life anymore. In particular, to dream about the death of your parents, indicates that you are undergoing a significant change in your waking life. Your relationship with your parents has evolved into a new realm.
To dream that you are faking your own death, suggests that you are looking for a new start. You need some change in your life.
To dream that you die in your dream, symbolizes inner changes, transformation, self-discovery and positive development that is happening within you or your life. You are undergoing a transitional phase and are becoming more enlightened or spiritual. Although such a dream may bring about feelings of fear and anxiety, it is no cause for alarm as it is often considered a positive symbol. Dreams of experiencing your own death usually means that big changes are ahead for you. You are moving on to new beginnings and leaving the past behind. These changes does not necessarily imply a negative turn of events. Metaphorically, dying can be seen as an end or a termination to your old ways and habits. So, dying does not always mean a physical death, but an ending of something.
On a negative note, to dream that you die may represent involvement in deeply painful relationships or unhealthy, destructive behaviors. You may feeling depressed or feel strangled by a situation or person in your waking life. Perhaps your mind is preoccupied with someone who is terminally ill or dying. Alternatively, you may be trying to get out of some obligation, responsibility or other situation. You are desperately trying to escape from the demands of your daily life.
To see someone dying in your dream, signifies that your feelings for that person are dead or that a significant change/loss is occurring in your relationship with that person. Alternatively, you may want to repress that aspect of yourself that is represented by the dying person.
To dream of seeing any of your people dead, warns you of coming dissolution or sorrow. Disappointments always follow dreams of this nature.
To hear of any friend or relative being dead, you will soon have bad news from some of them.
Dreams relating to death or dying, unless they are due to spiritual causes, are misleading and very confusing to the novice in dream lore when he attempts to interpret them. A man who thinks intensely fills his aura with thought or subjective images active with the passions that gave them birth; by thinking and acting on other lines, he may supplant these images with others possessed of a different form and nature. In his dreams he may see these images dying, dead or their burial, and mistake them for friends or enemies. In this way he may, while asleep, see himself or a relative die, when in reality he has been warned that some good thought or deed is to be supplanted by an evil one. To illustrate: If it is a dear friend or relative whom he sees in the agony of death, he is warned against immoral or other improper thought and action, but if it is an enemy or some repulsive object dismantled in death, he may overcome his evil ways and thus give himself or friends cause for joy. Often the end or beginning of suspense or trials are foretold by dreams of this nature. They also frequently occur when the dreamer is controlled by imaginary states of evil or good. A man in that state is not himself, but is what the dominating influences make him. He may be warned of approaching conditions or his extrication from the same. In our dreams we are closer to our real self than in waking life. The hideous or pleasing incidents seen and heard about us in our dreams are all of our own making, they reflect the true state of our soul and body, and we cannot flee from them unless we drive them out of our being by the use of good thoughts and deeds, by the power of the spirit within us.
This indicates long life. But a sick person dreaming of death has the positive results.
Dreaming about the death of a loved one, suggests that you are lacking a certain aspect or quality that the loved one embodies. Ask yourself what makes this person special or what do you like about him. It is that very quality that you are lacking in your own relationship or circumstances. Alternatively, it indicates that whatever that person represents has no part in your own life.
Dreaming about death is very common and it can be interpreted in many different ways. Death is usually a symbol of some type of closure or end. It implies an end to one thing and a beginning of another. Death dreams usually have positive symbolism. If you are the dead person in your dream, it could imply that you would like to leave all of your worries and struggles behind and begin anew. Dreaming about someone that you care about may express your fear about losing them. Dreaming that one of your parents died may express fear of loss, but it also may be an unconscious valve through which you release anger and other negative feelings. In some cultures dreaming about death and dying is a very good omen that represents longevity and prosperity.
Astrological Sign: Scorpio.
Positive associations with this tarot card:
endings, transformation, clearance, sweeping change.
Negative associations with this tarot card:
stagnation, loss of opportunity, loss of friendship, fear of change.
Without a doubt it is this card that causes most fear in a reading and yet it rarely, if ever, symbolizes actual death, more a time of absolute endings and absolute beginnings.
Whilst The Death card can represent rather shocking or unexpected events or changes, they usually clear the way for a brand new start and a greater value for life itself.
Out with the old and in with the new, a time of transformation is another way of looking at this card.
Negatively there isn't much difference, other than you may have a greater sense of fear and dread. when this card appears it's time to show what you're made of.
Another negative aspect of The Death card is stagnation, resisiting change when change is essential which may lead to lost opportunities.
All things that flow and grow were regarded in early religions as a symbol
of life: fire represented the vital craving for nourishment, water was chosen for its
fertilizing powers, plants because of their verdure in spring-time. Now, all—or
very nearly all—symbols of life are also symbolic of death. Media vita in morte
sumus, observed the mediaeval monk, to which modern science has replied La vie
c’est la mort (Claude Bernard). Thus, fire is the destroyer, while water in its
various forms signifies dissolution, as suggested in the Psalms. In legend and
folklore, the Origin of life—or the source of the renewal of the life forces—takes
the form of caves and caverns where wondrous torrents and springs well up (38).