Eye am in a field of grass surrounded by many animals and a few scattered human beings. The animals and people are simply sort of co existing in the field which fills me with a vast sense of peace. Having a piece of paper/cardboard, eye roll it up funnel style and sitting on the grass in the lotus position begin playing a ‘HU’ through the makeshift horn. The animals immediately stop and stare at me as well as the insects/floating particles in the field as well.
Eye repeat this process 3-5 times at which point the human beings also sit lotus style sort of forming a circle with myself and the animals. Eye notice one young man who looks like he is feeling the essence of our co created existence and eye gently speak to him across the circle saying ‘tres bien’ he softly replies ‘bien, oui’ with a bit of a smile. My lungs are starting to become sore from the playing and eye suddenly stand up and walk over to another section of the field where Steve and my sister Megan are sitting watching the event from afar. As eye sit down among them my mother arrives as well. Eye asked ‘were you just over there?!’ excitedly and she replied that yes she had.
Suddenly my mother is driving a car with Steve in the front passenger seat and myself in the back driver side seat. Mom says she likes Europe but does not like all of the valet parking and Steve says he thinks it is beautiful. Mom has been on the phone talking about our little time at the ‘park’ and says that Megan had commented that if we wanted to make friends / animal friends there we could always ‘play the strollers’. She laughed at that however a bit of dismal coursed through my being at the thought of the co created oneness and sacred life energy that had just been shared had somehow monotheistic-like and rigidly been lost to her as well as Megan. Mom commented that whomever she had told that story to on the phone commented that eye was more like my aunt Melinda in that way and that eye would naturally be the one playing music harmoniously with the creatures. A lovely lovely moment in REM.
The essence of the question involved here is contained in the saying of
Plotinus that the eye would not be able to see the sun if, in a manner, it were not
itself a sun. Given that the sun is the source of light and that light is symbolic of
the intelligence and of the spirit, then the process of seeing represents a spiritual
act and symbolizes understanding. Hence, the ‘divine eye’ of the Egyptians—a
determinative sign in their hieroglyphics called Wadza—denotes ‘He who feeds
the sacred fire or the intelligence of Man’ (28)—Osiris, in fact. Very interesting,
too, is the way the Egyptians defined the eye—or, rather, the circle of the iris
with the pupil as centre—as the ‘sun in the mouth’ (or the creative Word) (8). René Magritte, the surrealist painter, has illustrated this same relationship between the sun and the mouth in one of his most fascinating paintings. The possession of two eyes conveys physical normality and its spiritual equivalent, and it
follows that the third eye is symbolic of the superhuman or the divine. As for the
single eye, its significance is ambivalent: on the one hand it implies the subhuman
because it is less than two (two eyes being equated with the norm); but on the
other hand, given its location in the forehead, above the place designated for the
eyes by nature, it seems to allude to extra-human powers which are in fact—in
mythology—incarnated in the Cyclops. At the same time the eye in the forehead
is linked up with the idea of destruction, for obvious reasons in the case of the
single eye; but the same also applies when there is a third eye in the forehead, as
with Siva (or Shiva). This is explained by reference to one of the facets of the
symbolism of the number three: for if three can be said to correspond to the
active, the passive and the neutral, it can also apply to creation, conservation and
destruction. Heterotopic eyes are the spiritual equivalent of sight, that is, of
clairvoyance. (Heterotopic eyes are those which have been transferred anatomically to various parts of the body, such as the hands, wings, torso, arms, and
different parts of the head, in figures of fantastic beings, angels, deities and so on.)
When the eyes are situated in the hand, for example, by association with the
symbolism of the hand they come to denote clairvoyant action. An excessive
number of eyes has an ambivalent significance which it is important to note. In
the first place, the eyes refer to night with its myriads of stars, in the second
place, paradoxically yet necessarily, the possessor of so many eyes is left in
darkness. Furthermore, by way of corroboration, let us recall that in symbolist
theory multiplicity is always a sign of inferiority. Such ambivalences are common
in the realm of the unconscious and its projected images. Instructive in this
connexion is the example of Argus, who with all his eyes could not escape death.
The Adversary (Satan, in Hebrew) has been represented in a variety of ways,
among others, as a being with many eyes. A Tarot card in the Cabinet des Estampes
in Paris (Kh. 34d), for instance, depicts the devil as Argus with many eyes all over
his body. Another comparable symbolic device is also found commonly in demonic figures: it consists of taking some part of the body that possesses, as it
were, a certain autonomy of character or which is directly associated with a
definite function, and portraying it as a face. Multiple faces and eyes imply
disintegration or psychic decomposition—a conception which lies at the root of the demoniacal idea of rending apart (59). Finally, to come back to the pure
meaning of the eye in itself, Jung considers it to be the maternal bosom, and the
pupil its ‘child’.
(1)
Thus the great solar god becomes a child again, seeking renovation at his mother’s bosom (a symbol, for the Egyptians, of the mouth) (31).
1 The Jungian idea is expressed as a pun. ‘Niña’ means both ‘daughter’ and ‘pupil (of the eye)’. The
phrase ‘Niña de los ojos’ is like the English ‘apple of one’s eye’, which gives something of the feel of
the pun.—Translator
To dream of seeing an eye, warns you that watchful enemies are seeking the slightest chance to work injury to your business. This dream indicates to a lover, that a rival will usurp him if he is not careful.
To dream of brown eyes, denotes deceit and perfidy.
To see blue eyes, denotes weakness in carrying out any intention.
To see gray eyes, denotes a love of flattery for the owner.
To dream of losing an eye, or that the eyes are sore, denotes trouble.
To see a one-eyed man, denotes that you will be threatened with loss and trouble, beside which all others will appear insignificant.
Seeing your own eyes in your dream, represents enlightenment, knowledge, comprehension, understanding, and intellectual awareness. Unconscious thoughts may be coming onto the surface. The left eye is symbolic of the moon, while the right eye represents the sun. It may also be a pun on "I" or the self. If you dream that your eyes have turned inside your head and you can now see the inside of your head, then it symbolizes insight and something that you need to be aware of. This dream may be literally telling you that you need to look within yourself. Trust your intuition and instincts. Dreaming that you have something in your eye, represents obstacles in your path. Alternatively, it may represent your critical view and how you tend to see faults in others. Dreaming that you have one eye indicates your refusal to accept another viewpoint. It suggests that you are one-sided in your ways of thinking. Dreaming that you have a third eye, symbolizes inner vision and insight. You need to start looking within yourself. Dreaming that your eyes are injured or closed, suggests your refusal to see the truth about something or the avoidance of intimacy. You may be expressing feelings of hurt, pain or sympathy. Dreaming that you have crossed eyes indicates that you are not seeing straight with regards to some situation. You may be getting your facts mixed up.
To see green fields in your dream, symbolize great abundance, freedom, and happiness. You may also be going through a period of personal growth. Alternatively, this dream may simply be an expression for your love of nature.
To see freshly plowed fields in your dream, signify growth, early rise to wealth and fortunate advancements to places of honor.
To see dead or barren fields, signifies lack, pessimism and your jaded prospects for the future.
To dream of dead corn or stubble fields, indicates to the dreamer dreary prospects for the future.
To see green fields, or ripe with corn or grain, denotes great abundance and happiness to all classes.
To see newly plowed fields, denotes early rise in wealth and fortunate advancement to places of honor.
To see fields freshly harrowed and ready for planting, denotes that you are soon to benefit by your endeavor and long struggles for success.
Seeing green fields in your dream, symbolizes great abundance, freedom, and happiness. You may also be going through a period of personal growth. Alternatively, this dream may simply be an expression for your love of nature.` Seeing freshly plowed fields in your dream means growth, early rise to wealth and fortunate advancements to places of honor. Seeing dead or barren fields means lack, pessimism and your jaded prospects for the future.
Dreaming that you’re in a field can have differing meanings, you have to look at all the details carefully and make an interpretation based on how it made you feel; still, green and pleasant fields are usually a symbol of happiness and great prosperity in your personal and working life. If the field has withering crops and is dried up it signifies completely the opposite. If you are in a newly ploughed field it can signify that you will achieve everything you want so long as you put in the hard work, you reap what you sow as it were.
Of the utmost importance in symbolism, both in connexion with
their distinguishing features, their movement, shapes and colours, and because of
their relationship with man. The origins of animal symbolism are closely linked
with totemism and animal worship. The symbolism of any given animal varies
according to its position in the symbolic pattern, and to the attitude and context
in which it is depicted. Thus the frequent symbol of the ‘tamed animal’ can
signify the reversal of those symbolic meanings associated with the same animal
when wild. In the struggle between a knight and a wild or fabulous animal—one of
the most frequent themes in symbolism—the knight’s victory can consist either
in the death or in the taming of the animal. In Chrétien de Troyes’ mediaeval
romance, Yvain, the hero is assisted by a lion. In the legend of St. George, the
conquered dragon serves its conqueror. In the West, some of the earliest references to animal symbolism are found in Aristotle and in Pliny, but the most
important source is the treatise Physiologus, written in Alexandria in the 2nd
century A.D. Another important contribution was made one or two centuries
later by Horapollo, with his two treatises on Hieroglyphica, based on Egyptian
symbolism. From these sources flows a stream of mediaeval animal symbolism
which produced such notable bestiaries as that of Philip of Thaun (A.D. 1121),
Peter of Picardy and William of Normandy (13th century); or the De Animalibus,
attributed to Albertus Magnus; Libre de les besties of Raymond Lull; and
Fournival’s Bestiaire d’Amour (14th century). The primitives’ view of animals,
as analysed by Schneider (50), is mirrored in all these works, namely that while
man is an equivocal, ‘masked’ or complex being, the animal is univocal, for its
positive or negative qualities remain ever constant, thus making it possible to
classify each animal, once and for all, as belonging to a specific mode of cosmic
phenomena. More generally, the different stages of animal evolution, as manifested by the varying degrees of biological complexity, ranging from the insect and
the reptile to the mammal, reflect the hierarchy of the instincts. In Assyrian and
Persian bas-reliefs, the victory of a higher over a lower animal always stands for
the victory of the higher life over the lower instincts. A similar case is in the
characteristic struggle of the eagle with the snake as found in pre-Columbian
America. The victory of the lion over the bull usually signifies the victory of Day
over Night and, by analogy, Light triumphing over Darkness and Good over Evil.
The symbolic classification of animals is often related to that of the four Elements. Animals such as the duck, the frog and the fish, however much they may
differ one from the other, are all connected with the idea of water and hence with
the concept of the ‘primal waters’; consequently, they can stand as symbols of
the origin of things and of the powers of rebirth (37, 9). On the other hand, some animals, such as dragons and snakes, are sometimes assigned to water, sometimes
to earth and sometimes even to fire (17). However, the most generally accepted
classification—which is also the most fundamentally correct—associates aquatic
and amphibious animals with water; reptiles with earth; birds with air; and mammals (because they are warm-blooded) with fire. For the purposes of symbolic
art, animals are subdivided into two categories: natural (often in antithetical
pairs: toad/frog, owl/eagle, etc.) and fabulous. Within the cosmic order, the latter
occupy an intermediate position between the world of fully differentiated beings
and the world of formless matter (50). They may have been suggested by the
discovery of skeletons of antediluvian animals, and also by certain beings which,
though natural, are ambiguous in appearance (carnivorous plants, sea urchins,
flying fish, bats), and thus stand for flux and transformism, and also for purposeful evolution towards new forms. In any event, fabulous animals are powerful
instruments of psychological projection. The most important fabulous animals
are: chimaera, sphinx, lamia, minotaur, siren, triton, hydra, unicorn, griffin, harpy,
winged horse, hippogryph, dragon, etc. In some of these the transmutation is a
simple one, and clearly positive in character—such as Pegasus’ wings (the spiritualization of a lower force)—but more often the symbol is a consequence of a
more complex and ambiguous process of the imagination. The result is a range of
highly ambivalent symbols, whose significance is heightened by the ingrained
belief in the great powers exercised by such beings as well as in the magic importance of abnormality and deformity. In addition, there are animals which, while
hardly or not at all fabulous in appearance, are credited with non-existential or
supernatural qualities as the result of a symbolic projection (for example, the
pelican, phoenix, salamander). There is a fragment by Callimachus on the Age of
Saturn, in which animals have the power of speech (this being a symbol of the
Golden Age which preceded the emergence of the intellect—Man—when the
blind forces of Nature, not yet subject to the logos, were endowed with all sorts
of extraordinary and exalted qualities). Hebrew and Islamic traditions also include
references to ‘speaking animals’ (35). Another interesting classification is that of
‘lunar animals’, embracing all those animals whose life-span includes some kind
of cyclic alternation, with periodic appearances and disappearances (18). The
symbolism of such animals includes, in addition to the animal’s specific symbolic
significance, a whole range of lunar meanings. Schneider also mentions a very
curious primitive belief: namely, that the voice of those animals which can be said
to serve as symbols of heaven is high-pitched if the animal is large (the elephant,
for example), but low-pitched if the animal is small (as the bee); while the converse is true of earth-symbol animals. Some animals, in particular the eagle and the lion, seem to embody certain qualities, such as beauty and the fighting spirit,
to such an extent that they have come to be universally accepted as the allegorical
representations of these qualities. The emblematic animals of Roman signa were:
eagle, wolf, bull, horse and wild boar. In symbolism, whenever animals (or any
other symbolic elements) are brought together in a system, the order of arrangement is always highly significant, implying either hierarchical precedence or relative position in space. In alchemy, the descending order of precedence is symbolized by different animals, thus: the phoenix (the culmination of the alchemical
opus), the unicorn, the lion (the necessary qualities), the dragon (prime matter)
(32). Symbolic groups of animals are usually based on analogical and numerical
patterns: the tetramorphs of Western tradition, as found in the Bible, are a fundamental example; another example would be the Chinese series of the four benevolent animals: the unicorn, phoenix, turtle and dragon. The following animals occur
particularly in Romanesque art: the peacock, ox, eagle, hare, lion, cock, crane,
locust and partridge (50). Their symbolic meaning is mainly derived from the
Scriptures or from patristic tradition, though some meanings, arising from analogy, such as that between cruelty and the leopard, are immediately obvious (20).
The importance in Christianity of the symbols of the dove, the lamb and the fish
is well known. The significance of the attitudes in which symbolic animals are
depicted is usually self-evident: the counterbalancing of two identical—or two
different— animals, so common in heraldry, stands for balance (i.e. justice and
order, as symbolized for instance by the two snakes of the caduceus); the animals
are usually shown supporting a shield or surmounting the crest of a helmet. Jung
supports this interpretation with his observation that the counterbalancing of the
lion and the unicorn in Britain’s coat of arms stands for the inner stress of
balanced opposites finding their equilibrium in the centre (32). In alchemy, the
counterbalancing of the male and the female of the same species (lion/lioness, dog/
bitch) signifies the essential contrast between sulphur and mercury, the fixed and
the volatile elements. This is also the case when a winged animal is opposed to a
wingless one. The ancient interest in animals as vehicles of cosmic meanings, over
and above the mere fact of their physical existence, persisted from the earliest
beginnings of the Neolithic Age up to as late as 1767, with the publication of such
works as Jubile van den Heyligen Macarius. This treatise describes processions
in which each symbolic chariot has a characteristic animal (the peacock, phoenix,
pelican, unicorn, lion, eagle, stag, ostrich, dragon, crocodile, wild boar, goat, swan,
winged horse, rhinoceros, tiger and elephant). These same animals, together with
many others (such as the duck, donkey, ox, owl, horse, camel, ram, pig, deer stork, cat, griffin, ibis, leopard, wolf, fly, bear, bird, dove, panther, fish,-snake
and fox) are those mainly used also as watermarks in papermaking. The use of
watermarks, undoubtedly mystical and symbolic in origin, spread throughout the
Western world from the end of the 13th century onwards. All the above particular
symbolic uses rest on a general symbolism of animals, in which they are related to
three main ideas: the animal as a mount (i.e. as a means of transport); as an object
of sacrifice; and as an inferior form of life (4). The appearance of animals in
dreams or visions, as in Fuseli’s famous painting, expresses an energy still undifferentiated and not yet rationalized, nor yet mastered by the will (in the sense of
that which controls the instincts) (31). According to Jung, the animal stands for
the non-human psyche, for the world of subhuman instincts, and for the unconscious areas of the psyche. The more primitive the animal, the deeper the stratum
of which it is an expression. As in all symbolism, the greater the number of objects
depicted, the baser and the more primitive is the meaning (56). Identifying oneself
with animals represents integration of the unconscious and sometimes—like immersion in the primal waters—rejuvenation through bathing in the sources of life
itself (32). It is obvious that, for pre-Christian man (as well as in amoral cults),
the animal signifies exaltation rather than opposition. This is clearly seen in the
Roman signa, showing eagles and wolves symbolically placed on cubes (the
earth) and spheres (heaven, the universe) in order to express the triumphant
power of the force of an instinct. With regard to mythic animals, a more extensive
treatment of this subject is to be found in the Manual de zoología fantástica of
Borges y Guerrero (Mexico and Buenos Aires, 1957), in which such creatures are
characterized as basically symbolic and, in most cases, expressive of ‘cosmic
terror’.
To see animals in your dream, represent your own physical characteristic, primitive desires, and sexual nature, depending on the qualities of the particular animal. Animals symbolize the untamed and uncivilized aspects of yourself. Thus, to dream that you are fighting with an animal signifies a hidden part of yourself that you are trying to reject and push back into your subconscious. Refer to the specific animal in your dream.
To dream that animals can talk, represent superior knowledge. Its message is often some form of wisdom. Alternatively, a talking animal denotes your potential to be all that you can be.
To dream that you are saving the life of an animal, suggests that you are successfully acknowledging certain emotions and characteristics represented by the animal. The dream may also stem from feelings of inadequacy or being overwhelmed. If you are setting an animal free, then it indicates an expression and release of your own primal desires.
To see lab animals in your dream, suggest that an aspect of yourself is being repressed. You feel that you are not able to fully express your desires and emotions. Alternatively, it suggests that you need to experiment with your fears, choices, and beliefs. Try not to limit yourself.
To dream that you are sitting, indicates your indecision. You do not know what you want to do about something. It also suggests that you are idling and wasting your life away.
Dreaming that you are sitting indicates your indecision and not knowing what you want to do with yourself in the near future. It may also suggest that you are just being idle and doing nothing.
There is a certain parallel between the symbolism of the lotus and that
of the rose in Western culture. In Egypt, the lotus symbolizes nascent life, or first
appearance (19). Saunier regards it as a natural symbol for all forms of evolution
(49). In the Middle Ages it was equated with the mystic ‘Centre’ and, consequently, with the heart (56, 14). As an artistic creation it is related to the mandala,
its significance varying according to the number of its petals: the eight-petalled
lotus-is considered in India as the Centre where Brahma dwells and as the visible
manifestation of his occult activity (26). The figure eight is like the mandorla of
Romanesque art, signifying the intersection of the earth (four, or the square) with
heaven (the circle). The ‘thousand-petalled’ lotus symbolizes the final revelation;
in the centre there is usually a triangle and inside the triangle is the ‘great emptiness’ symbolic of formlessness. René Guénon has examined lotus-symbolism at
great length, observing that The potentialities of being are realized by means of an
activity which is always internal’ (this is the ‘growth’ of Father Gratry) ‘since it
is exercised from the centre of each plane; furthermore, from the metaphysical
point of view, it is impossible for external action to be brought to bear upon the
total being, for such action is possible only on a relative and a particular plane. .
This realization of potentialities is depicted in various symbolisms as the . .
unfolding of a flower on the surface of the “waters”; generally, in oriental traditions, it is a lotus, and a rose or lis in the West. There is a further relationship
between these flowers and the circumference as a symbol of the manifest world,
as well as with the cosmic Wheel. This symbol finds other forms of expression in
many different ways, but always related to the symbolism of numbers, that is,
depending upon the number of petals’ (25). From the remotest days of antiquity,
the lotus was the unanimous choice of the Chinese, the Japanese, the Hindus, the
Egyptians and the Aryans. The lotus flower growing out of the navel of Vishnu,
symbolizes the universe growing out of the central sun—the central point or the
‘unmoved mover’. It is the attribute of many deities (9). In lotus symbolism, the
idea of emanation and of realization predominated over that of the hidden Centre,
which is a Western accretion.
To see a lotus in your dream, represents enlightenment, growth, purity, beauty and expansion of the soul. The image of the lotus serves as encouragement and provides hope in dark and murky times.
Seeing a lotus in your dream, represents growth, purity, beauty and expansion of the soul.
At times it is synonymous with the circumference, just as the circumference is often equated with circular movement. But although its general meaning
embraces both aspects, there are some further details which it is important to
emphasize. The circle or disk is, very frequently, an emblem of the sun (and
indisputably so when it is surrounded by rays). It also bears a certain relationship
to the number ten (symbolizing the return to unity from multiplicity) (49), when
it comes to stand for heaven and perfection (4) and sometimes eternity as well
(20). There are profound psychological implications in this particular concept of
perfection. As Jung observes, the square, representing the lowest of the composite and factorial numbers, symbolizes the pluralist state of man who has not
achieved inner unity (perfection) whilst the circle would correspond to this ultimate state of Oneness. The octagon is the intermediate state between the square
and the circle. Representations of the relationship between the circle and the square are very common in the universal and spiritual world of morphology,
notably in the mandalas of India and Tibet and in Chinese emblems. Indeed,
according to Chochod, in China, activity, or the masculine principle (Yang), is
represented by a white circle (depicting heaven), whereas passivity, the feminine
principle (Yin) is denoted by a black square (portraying earth). The white circle
stands for energy and celestial influences and the black square for telluric forces.
The interaction implicit in dualism is represented by the famous symbol of the Yang-Yin, a circle divided into two equal sections by a sigmoid line across the
diameter, the white section (Yang) having a black spot within it, and the black
(Yin) a white spot. These two spots signify that there is always something of the
feminine in the masculine and something of the masculine in the feminine. The
sigmoid line is a symbol of the movement of communication and serves the
purpose of implying—like the swastika—the idea of rotation, so imparting a
dynamic and complementary character to this bipartite symbol. The law of polarity has been, the subject of much thought among Chinese philosophers, who
have deduced from this bipolar symbol a series of principles of unquestionable
value, which we here transcribe: (a) the quantity of energy distributed throughout
the universe is invariable; (b) it consists of the sum of two equal amounts of
energy, one positive and active in kind and the other negative and passive; (c) the
nature of cosmic phenomena is characterized by the varying proportions of the
two modes of energy involved in their creation. In the twelve months of the year,
for example, there is a given quantity of energy drawn from six parts of Yang and
six of Yin, in varying proportions (13). We must also point to the relationship
between the circle and the sphere, which is a symbol of the All.
To see a circle in your dream, symbolizes perfection, completeness, immortality and/or wholeness. On a less positive note, it may also mean that you are going around in circles in some situation. Or the circle can indicate monotony and endless repetition.
To see circles within circles in your dream, indicate that you are well protected or that you are being overly guarded. You may need to let down your defenses. Alternatively, the dream may highlight the notion that you are going around in a vicious circle. You need to somehow find a way to break this circle.
To see an imperfect or incomplete circle in your dream, suggests that you will face many obstacles and setbacks toward achieving your goals. You need to work on your inner self and develop more knowledge. Eventually, you will overcome these obstacles and find that your struggles are well worth it.
To see a circle with a cross, symbolizes earth. It may also serve as guidance toward the center and self-orientation.
To dream of a circle, denotes that your affairs will deceive you in their proportions of gain. For a young woman to dream of a circle, warns her of indiscreet involvement to the exclusion of marriage.
Seeing a circle in your dream, foretells that you will have fabulous luck in securing your fortune and happiness. The circle symbolizes perfection, completeness and wholeness. On a less positive note, it may also mean that you are going around in circles in a particular situation.. Seeing an imperfect circle in your dream means that you will face many obstacles and setbacks in achieving your goals. In the end, you will overcome these obstacles and you will find that your struggle was well worth it. Seeing a circle with a cross, symbolizes earth. It may also serve as guidance toward the center and self-orientation.
The circle symbolises infinity, the circle of life and the eternal unknown. You, the dreamer, may have come to a greater degree of spiritual awareness, so the dream could be spiritual in nature. It is one of the most important dream symbols that represent the psychic centre of personality. It is symbolic of wholeness, completeness and unity of the self. However, as always, examine all of the details in the dream, as well as its tone and mood, and rule out the possibility of "going in circles" as the primary message in the dream.