Trying to find light porn on someone's computer. Scared they might see. I go into a room to be alone. Don't remember if I succeed to find what I'm looking for, but I vaguely remember getting turned on and grinding the floor to get off.
At dinner with Dad and Diane. Out at a restaurant. The people at the table kitty-corner are really obnoxious. They may have mental illness. They are talking loudly and crudely to tables adjacent. Diane gets fed up, leaves the restaurant. Dad and I are trying to ignore them. Police come, we help by giving them information.
At my childhood home. On the lawn with Dan, Rick, others? A baby? Dan and Diane inside. There is a commotion in a car that has pulled up a few doors down. I look over to see what's going on. It's a white-trash family. Dad, Mom, Uncle, kids. The dad sees me looking and gets angry. He dons several large knives and starts marching up toward the house. I run inside, straight to the kitchen. I'm frantic. I'm searching for knives, weapons. Dad's kitchen isn't as I remember. I grab scissors, knives, skewers. The man is coming through the house now. I can hear him yelling for me. He has a hatchet, a large saber. Both with longer reach than mine.
I'm terrified, but I have to react. I try the element of surprise and attack first - running straight at him with a knife. I bury it to the handle in his chest. This stops him cold. But now he's even more angry. He pulls the knife out and readys his weapons. All the while I've been sifting through drawers, desperately searing for something bigger. To no avail. I throw a paring knife at him. It bounces off. I feel like the knives in my hand are getting smaller by the moment. I find a longer blade, good balance. He's coming at me. I throw with all my might. It sticks in his bicep and again he stops. I take the opportunity to advance and start stabbing him with every knife I can aim his way. This seems to be working. He drops his knives. But then his brother is behind him, picking them up. Rick is in the kitchen now, wondering what's going on. The man with the knives targets him and slashes his head on the side. Noooo!! I scream and attack, throwing knives and amazingly, they are penetrating deep, stopping this man from continuing.
It's been a while since I had a dream where my life felt in danger. What an awful feeling! I get do violent in my dreams when I feel I've been wronged.
We're hanging out with Rick and some music friends of his. They are improvising acoustic guitar and singing. It's so beautiful! As I watch, their performance turns into a psychedelic music video. Dan and Rick are hanging out. Rick does/says something out of line and Dan asks him to leave. They have a falling out but I don't hear any of what's actually being argued. I'm still enjoying the music. After the argument, Rick leaves and Dan decides it will be best if we leave as well. I'm feeling poorly that we disturbed such a lovely performance. They don't seem to care. The girl is falling asleep on the floor now. I quietly thank her and let her know that we live much closer now so maybe we can come back and visit again soon, under better circumstances.
A symbol which is the inversion of sword-symbolism. It is associated
with vengeance and death, but also with sacrifice (8). The short blade of the knife
represents, by analogy, the primacy of the instinctive forces in the man wielding
it, whereas the long blade of the sword illustrates the spiritual height of the
To dream that you are carrying a knife, signifies anger, aggression and/or separation. There may be something in your life that you need to cut out and get rid of. Perhaps you need to cut ties or sever some relationship. Be more divisive. Alternatively, a knife refers to some sexual tension or sexual confrontation.
If the knife is dull, then it denotes that your hard work will result in little or no gain.
To dream that you are wounded by a knife, is symbolic of masculine or animalistic aggression.
To see an electric knife in your dream, indicates your power to get down to the truth of a situation quickly.
To dream of a knife is bad for the dreamer, as it portends separation and quarrels, and losses in affairs of a business character.
To see rusty knives, means dissatisfaction, and complaints of those in the home, and separation of lovers.
Sharp knives and highly polished, denotes worry.
Foes are ever surrounding you.
Broken knives, denotes defeat whatever the pursuit, whether in love or business.
To dream that you are wounded with a knife, foretells domestic troubles, in which disobedient children will figure largely. To the unmarried, it denotes that disgrace may follow.
To dream that you stab another with a knife, denotes baseness of character, and you should strive to cultivate a higher sense of right.
Dreaming that you are carrying a knife means anger, aggression and/or separation. There may be something in your life that you need to cut out and get rid of. Seeing a dull knife in your dream indicates that your hard work is accompanied by little or no gain. Dreaming that you are wounded by a knife, suggests that you or someone is affected by hurtful remarks or malicious gossip. Seeing an electric knife in your dream indicates your power to get down to the truth of a situation quickly.
To remember something in your dream, indicates that you have learned something significant from your past mistakes or previous experiences. The dream may also serve as a reminder of something important that is occurring in your waking life. You are so worried that you will forget something that the preoccupation has made its way into your dream.
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.
To dream that you find something, suggests that you are coming into contact with some aspect of your psyche or unconscious. You are recognizing a part of yourself that was previously repressed or undeveloped. Alternatively, it represents change.
To dream that you find someone, indicates that you are identifying new facets of a relationship. You may be taking the relationship to a new level and/or direction.
Dreaming that you find something, suggests that you are coming into contact with some aspect of your psyche or unconscious. You are recognizing a part of yourself that was previously repressed or undeveloped. Alternatively, it represents change. Dreaming that you find someone indicates that you are identifying new facets of a relationship. You may be taking the relationship to a new level and/or direction.
To see a kitchen in your dream, signifies your need for warmth, spiritual nourishment and healing. It may also be symbolic of the nurturing mother or the way that you are for your loved ones. Alternatively the kitchen, represents a transformation. Or perhaps the dream could be telling you that if "you can't stand the heat, then you need to get out of the kitchen". You need to abort your plans.
To dream of a kitchen, denotes you will be forced to meet emergencies which will depress your spirits. For a woman to dream that her kitchen is clear. and orderly, foretells she will become the mistress of interesting fortunes.
Seeing a kitchen in your dream means your need for spiritual nourishment. It also forewarns that you will be met with some depressing news.
Houses in dreams generally represent the dreamer. The kitchen is the heart of the house. For most families, the kitchen is a place of warmth and nourishment (emotional as well as physical). Examine the conditions of your dream kitchen and you may become aware of some emotional needs and feelings toward yourself and others.
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).
The symbolism of music is of the greatest complexity and we cannot
here do more than sketch out some general ideas. It pervades all the component
elements of created sound: instruments, rhythm, tone or timbre, the notes of the
natural scale, serial patterns, expressive devices, melodies, harmonies and forms.
The symbolism of music may be approached from two basic standpoints: either
by regarding it as part of the ordered pattern of the cosmos as understood by the ancient, megalithic and astrobiological cultures, or else by accepting it as a phenomenon of ‘correspondence’ linked with the business of expression and communication. Another of the fundamental aspects of music-symbolism is its connexion
with metre and with number, arising out of the Pythagorean theory (27). The
cosmic significance of musical instruments—their allegiance to one particular
Element—was first studied by Curt Sachs in Geist und Werden der
Musikinstrumente (Berlin, 1929). In this symbolism, the characteristic shape of
an instrument must be distinguished from the timbre, and there are some common
‘contradictions’ between these two aspects which might possibly be of significance as an expression of the mediating rôle of the musical instrument and of
music as a whole (for an instrument is a form of relationship or communication,
substantially dynamic, as in the case of the voice or the spoken word). For
example, the flute is phallic and masculine in shape and feminine in its shrill pitch
and light, silvery (and therefore lunar) tone, while the drum is feminine by virtue
of its receptacle-like shape, yet masculine in its deep tones (50). The connexion
of music-symbolism with self-expression (and even with graphic art) is well in
evidence in primitive music-making, which often amounted to almost literal imitations of the rhythms and movements, the features and even the shapes of
animals. Schneider describes how, hearing some Senegalese singing the ‘Song of
the Stork’, he began to ‘see as he was listening’, for the rhythm corresponded
exactly to the movements of the bird. When he asked the singers about this, their
reply confirmed his observation. Given the laws of analogy, we can also find
cases of the expressive transferred to the symbolic: that is, a melodic progression
as a whole expresses certain coherent emotions, and this progression corresponds
to certain coherent, symbolic forms. On the other hand, alternating deep and highpitched tones express a ‘leap’, anguish and the need for Inversion; Schneider
concludes that this is an expression of the idea of conquering the space between
the valley and the mountain (corresponding to the earth and the sky). He observes that in Europe the mystic designation of ‘high music’ (that is, high-pitched)
and ‘low music’ (low-pitched) persisted right up to the Renaissance. The question of relating musical notes to colours or to planets is far from being as certain
as other symbolic correspondences of music. Nevertheless, we cannot pass on
without giving some idea of the profound, serial relationship which exists in
phenomena: for instance, corresponding to the pentatonic scale we usually find
patterns grouped in fives; the diatonic and modal scale, since it has seven notes,
is related to most of the astrobiological systems, and is unquestionably the most
important of all the series; the present-day tendency towards the twelve-note
series could be compared to the signs of the Zodiac. But, so far, we have not found sufficient evidence for this particular facet of musicsymbolism. All the
same, here are the correspondences as set down by Fabre d’Olivet, the French
occultist: Mi—the Sun, fa—Mercury, sol—Venus, la—the Moon, ti—Saturn,
do—Jupiter, re—Mars (26). A more valid series of relationships, at least in the
expressive aspect, is that which links the Greek modes with the planets and with
particular aspects of the ethos, as follows: the mi-mode (the Dorian)—Mars
(who is severe or pathetic); the re-mode (the Phrygian)—Jupiter (ecstatic): the
do-mode (the Lydian)—Saturn (pained and sad); the ti-mode (the Hypodorian)—
the Sun (enthusiastic); the la-mode (the Hypophrygian)—Mercury (active); the
sol-mode (the Hypolydian)—Venus (erotic); the fa-mode (the Mixolydian)—the
Moon (melancholy) (50). Schneider’s profound investigations into the symbolism of music seem to us well-founded. The tetrachord formed by the notes do, re,
mi, fa, he considers, for instance, to be a mediator between heaven and earth, the
four notes corresponding respectively to the lion (signifying valour and strength),
the ox (sacrifice and duty), man (faith and incarnation) and the eagle (elevation
and prayer). Conversely, the tetrachord formed by sol, la, ti, do, could represent
a kind of divine duplicate of the previous tetrachord. Fa, do, sol, re are regarded as
masculine elements corresponding to the Elements of fire and air and to the
instruments of stone and metal, whereas la, mi, ti, are feminine, and pertain to the
Elements of water and earth. The interval fa-ti, known to musicologists as a
tritone (or augmented fourth), expresses with its dissonance the ‘painful’ clash
between the Elements of fire and water—a clash occurring in death itself (50). We
have been able to suggest here only a few outlines of the music-symbolism
developed by Schneider in his work The Musical Origin of Animal-Symbols, the
scope of which is so wide that, as he has privately intimated to us, he believes all
symbolic meanings are at root musical or at least to do with sounds. This becomes
easier to understand when we recall that singing, as the harmonization of successive, melodic elements, is an image of the natural connexion between all things,
and, at the same time, the communication, the spreading and the exaltation of the
inner relationship linking all things together. Hence Plato’s remark that the character of a nation’s music cannot be altered without changing the customs and
institutions of the State (26).
To hear harmonious and soothing music in your dream, signifies prosperity and pleasure. You are expressing your emotions in a positive way. Music serves to heal the soul.
To hear discordant or out of tune music in your dream, signifies unhappiness, lack of harmony, and troubles in your relationship or domestic life.
To dream of hearing harmonious music, omens pleasure and prosperity.
Discordant music foretells troubles with unruly children, and unhappiness in the household.
Dreams about falling are very common anxiety dreams that can represent underlying fears and feelings of inadequacy and helplessness. Interpret your dream by considering your primary fears, current difficulties, and situations in your life that seem to be on a downward spiral, especially those situations that seem outside of your control (financial, romantic, etc.). Some people believe that if you keep falling in your dream and don't wake up that you will die at the point of impact. This is absolutely not true. In a falling dream you wake up out of fear and not because of danger of dying.
You could be falling from anywhere, a high rise building, from a mountain, from a plane, or even from your bed.
This is a very common dream, and is sometimes accompanied by muscle jerks, which may jolt you, awake.
The dream can occur due to:
* The posture of a limb dangling off the bed
* Lowering of your blood pressure
* Movement of fluid in the middle ear
After the fall, you may be hurt, you may be unharmed, or you wake up before you hit the ground.
At an emotional level the dream probably signifies a fear of fall from position/moral/ethical values, sexual inadequacy, fear of losing your job, the way your dream ends tells you how you would handle such a situation.
One interesting theory of a falling dream goes way back when man made his house on trees?
Recurring falling dreams could mean that your emotional strength is not at an optimum level. Trying to relax, by listening to music , visualizing tranquil scenes, can help you avoid falling dreams.