A dream object is an external object affecting a mental consciousness just as a reflection in a mirror is an external object affecting an eye consciousness.
The symbolism of objects varies with the kind of object in question.
But, broadly speaking, every object consists of a material structure with certain
unconscious elements adhering to it (31). The fact that these forgotten or repressed constituents should reappear in a new medium—the object—enables the
spirit to accept them in a form different from the original. Utensils in particular
are possessed of a mystic force which helps to strengthen the intensity and the
rhythm of human volition. Thus, Schneider maintains that such instruments fulfil
a triple rôle: they are cultural instruments, instruments of labour and finally
reflections of the harmonious soul of the universe. The drinking-vessel, for instance, is a sacrificial vessel and also a drum. The blow-pipe is both a flute and a
magic whistle, etc. (50). Such ideas as these, concerned with the primitive notion
of an object, have lately been resuscitated by artistic movements such as Dadaism
and surrealism. By depicting objects in common use as if they were works of art,
Marcel Duchamp removed them from the context of their merely utilitarian function (their only function according to Western ways of thinking) and showed
them in the light of their true essence, since that essence is revealed only in their
uselessness (freed from the necessity to serve some useful purpose). He showed
that it was possible to see in a bottle-stand, for instance, the very mystic structure that governed the Gothic spires rising in the form of a cage, or the lamps in
Islamic mosques with their multiple, descending hoops; and that all the foregoing
are related to the hollow pyramid of the Primitives (a symbol of the ‘conjunction’
of earth—or the mother—with fire—or the spirit), and also to the artificial mountain and the geometric temple. The form of the object, then, fulfils an essential
rôle in determining the symbolism; thus, all those symbols which take the form of
a twin bell, with the upper bell placed upside down on the lower—for example,
the twin drum or the hour-glass—are closely related to the corresponding graphic
symbol: the letter X, or the cross of St. Andrew (symbolic of the intercommunication between the Upper and the Lower Worlds). Objects that are simple in form
and function usually correspond either to the active or to the passive groups; in
other words, they represent either the contents or the receptacle. For instance:
the lance (which is made to pierce) and the cup or chalice (whose sole function is
to contain). The parallel between this classification and the division of the sexes
is self-evident; but to limit the symbolic relevance of a given object to this sexual
implication is to mutilate seriously its true symbolism. The ‘conjunction’ of the
feminine and masculine principles within a complex object, specially if this object
is—as in the case of a machine—endowed with movement, enables us to carry the sexual parallel a stage further and to characterize it as a kind of secularized lingam.
The ‘objects of symbolic function’ of the surrealists were nothing but the practical illustration of this allusive reality, strengthened by the fetishistic character of
the objects illustrated in their compositions. It was Lautréamont in Les Chants de
Maldoror who best described this shifting of the symbolic significance of objects
towards their generic grouping in his remark: ‘beautiful as the chance-finding of an
umbrella and a sewing-machine on a dissecting table’. As always, a symbol of
integration such as this can be taken either on the cosmic plane or at the existential
and sexual level. In the latter case, the umbrella would be a merely phallic representation, the machine would stand for the cteis, and the dissection-table would
be an illustration of the bed. On the cosmic plane, the umbrella is the cosmic
serpent, the machine is the jaguar, and the table is the universe. At the same time,
objects owe part of their significance to their origins: objects fallen from heaven,
such as aerolites and meteorites for example, partake of the sacred character of
Uranus and constitute a symbol of the power of the celestial deities (17). Submarine objects, on the other hand, possess a viscous and abysmal quality betokening
their irrational nature and their aptness for the expression of all that is base and
unconscious. Sacred objects are so by virtue of their associations—as in the case
of attributes or emblems for instance, or their origins—such as the legendary
palladium of Troy, the Salian shields of Rome, the Hebrew Ark of the Covenant,
etc. (28). To come back now to the broadest of generalizations, alongside their
specific symbolism deriving from their form, function, character, origin, colour
and so on, objects in themselves are always symbols of the world: that is, they are
particular expressions of a material order which expounds both the blind irrational force of continuity and the structural pattern defining the object as opposed
to the subject. Finally we would mention that an elaborate application of the
theory of correspondences would demonstrate the serial structure of objects and
suggest a way of reconciling their ‘character’ with the principles governing the
two essential prototypes of the serial arrangement of the universe: that based
upon the number seven, or the planetary prototype; and twelve, or the zodiacal
model. The incomplete character of such forms of symbolic expression has been
apparent to man since the earliest times, and for this reason the attempt was made
to discover objects which could be invested with great symbolic power by means
of the combination and juxtaposition of various ingredients, which were usually
‘noble’ in character, but were occasionally bizarre or even base—as was the case,
for example, with the alchemic preparation known as ‘prime matter’. The aim
was to endow the object with all the powers inherent in the several planes of
cosmic reality. An example of a ‘complete object’ of this kind is the sword in the Grail legend: its pommel was a precious stone of many colours, each colour
representing a particular virtue; its haft was composed of the bones of strange
To see your reflection in your dream, represents your true self; it is time to look within. The reflection may highlight both your flaws and positive attributes. Learn from your flaws and how to improve them. At the same time, appreciate your good qualities. Alternatively, your reflection indicates how you want others to perceive you.
If you see a strange figure or something other than your own reflection, then it suggests that you are undergoing some identity crisis. You are not sure about who you are anymore.
Seeing your reflection in your dream, represents your true self; it is time to look within. The reflection may highlight both your flaws and positive attributes. Learn from your flaws and how to improve on them and at the same time appreciate your good qualities. Alternatively, your reflection could also indicate how you want others to perceive you.
To dream you are possessed of wisdom, signifies your spirit will be brave under trying circumstances, and you will be able to overcome these trials and rise to prosperous living. If you think you lack wisdom, it implies you are wasting your native talents.
As a symbol, it has the same characteristics as the mirror in fact; the
temporal and existential variety of its function provides the explanation of its
significance and at the same time the diversity of its meaningful associations. It
has been said that it is a symbol of the imagination—or of consciousness—in its
capacity to reflect the formal reality of the visible world. It has also been related
to thought, in so far as thought—for Scheler and other philosophers—is the
instrument of self-contemplation as well as the reflection of the universe. This
links mirror-symbolism with water as a reflector and with the Narcissus myth:
the cosmos appears as a huge Narcissus regarding his own reflections in the
human consciousness. Now, the world, as a state of discontinuity affected by the
laws of change and substitution, is the agent which projects this quasinegative,
kaleidoscopic image of appearance and disappearance reflected in the mirror.
From the earliest times, the mirror has been thought of as ambivalent. It is a
surface which reproduces images and in a way contains and absorbs them. In
legend and folklore, it is frequently invested with a magic quality—a mere hypertrophic version of its fundamental meaning. In this way it serves to invoke
apparitions by conjuring up again the images which it has received at some time
in the past, or by annihilating distances when it reflects what was once an object
facing it and now is far removed. This fluctuation between the ‘absent’ mirror and
the ‘peopled’ mirror lends it a kind of phasing, feminine in implication, and
hence—like the fan—it is related to moon-symbolism. Further evidence that the
mirror is lunar is afforded by its reflecting and passive characteristics, for it
receives images as the moon receives the light of the sun (8). Again, its close
relationship to the moon is demonstrated by the fact that among the primitives it
was seen as a symbol of the multiplicity of the soul: of its mobility and its ability
to adapt itself to those objects which ‘visit’ it and retain its ‘interest’. At times,
it takes the mythic form of a door through which the soul may free itself ‘passing’
to the other side: this is an idea reproduced by Lewis Carroll in Alice Through the
Looking Glass. This alone is sufficient explanation of the custom of covering up
mirrors or turning them to face the wall on certain occasions, in particular when someone in the house dies (21). All that we have said so far by no means exhausts
the complex symbolism of the mirror: like the echo, it stands for twins (thesis and
antithesis), and specifically for the sea of flames (or life as an infirmity) (50, 51).
For Loeffler, mirrors are magic symbols for unconscious memories (comparable
with crystal palaces) (38). Hand-mirrors, in particular, are emblems of truth (4),
and in China they are supposed to have an allegorical function as aids to conjugal
happiness as well as a protection against diabolical influences (5). Some Chinese
legends tell of ‘the animals in the mirror’.
To dream of your own reflection in the mirror, suggests that you are pondering thoughts about your inner self. The reflection in the mirror is how you perceive yourself or how you want others to see you. You may be contemplating on strengthening and changing aspects of your character.
To dream that you are looking through a two-way mirror, indicates that you are coming face to face with some inner or worldly issue. What you see is related to your persona and unconscious. Seeing images through the mirror may be a safe way for you to consider and/or confront material from your unconscious. Mirrors symbolize the imagination and the link between the conscious and unconscious.
If you are being watched through a two-way mirror, then it suggests that you feel you are being scrutinized and criticized. Alternatively, the dream means that you are unwilling to acknowledge your unconscious emotions.
To break a mirror in your dream, suggests that you are breaking an old image of yourself. You may be putting an end to an old habit. Breaking a mirror is also an old symbol for seven years of bad luck.
To see a cracked or broken mirror in your dream. represents a poor or distorted self-image. Alternatively, it means that you have put an end to your old habits and ways.
To see a fogged mirror in your dream, signifies a hazy concept of who you are and confusion in your life goals. You are lacking clarity and purpose and questioning your self-identity.
To dream of seeing yourself in a mirror, denotes that you will meet many discouraging issues, and sickness will cause you distress and loss in fortune.
To see a broken mirror, foretells the sudden or violent death of some one related to you.
To see others in a mirror, denotes that others will act unfairly towards you to promote their own interests.
To see animals in a mirror, denotes disappointment and loss in fortune.
For a young woman to break a mirror, foretells unfortunate friendships and an unhappy marriage. To see her lover in a mirror looking pale and careworn, denotes death or a broken engagement. If he seems happy, a slight estrangement will arise, but it will be of short duration.
Seeing your own reflection in the mirror, suggests that you are pondering thoughts about your inner self. The reflection in the mirror is how you perceive yourself or how you want others to see you. You may be contemplating on strengthening and changing aspects of your character. Dreaming that you are looking through a two-way mirror indicates that you are coming face to face with some inner or worldly issue. What you see is related to your persona and unconscious. Seeing images through the mirror may be a safe way for you to consider and/or confront material from your unconscious. Mirrors symbolize the imagination and a link between the conscious and unconscious. Dreaming that you are being watched through a two-way mirror, suggests that you feel you are being scrutinized and criticized. Alternatively, you may be blocking or unwilling to acknowledge your unconscious emotions. To break a mirror in your dream, suggests that you are breaking an old image of yourself. You may be putting an end to an old habit. Breaking a mirror is also an old symbol for seven years of bad luck. Seeing a cracked or broken mirror in your dream. represents a poor or distorted self-image. Alternatively, it suggests that you have put an end to your old habits and ways. Seeing a fogged mirror in your dream means a hazy concept of who you are and questions about your self-identity. You are confused in your goals in life an you may have a lack of clarity in a purpose.
It is a symbol of vanity and superficiality. You may be concerned about your image and the way you present yourself to the world. Some say that if you see a clear image, you may be getting a glimpse of your true self. Broken mirrors always seem to be a sign of bad luck, or, at least, represent some distortions. On a deeper level the mirror can be considered to be a representation of the intellect. The intellect is an instrument of navigation and is constantly persuading us to identify ourselves. When we think about this, it makes a lot of sense. Our self-identity is very much connected to the way we look (not only superficially but also characteristically as man - woman, young - old, etc). We use this self-identity, which is greatly a production of our intellect, to navigate through life.
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’.
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
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.