To dream that you are at the circus, indicates your desires for a more exciting life. Alternatively, it suggests that you are easily influenced or lured into dangerous situations. Sometimes you are giving off the wrong impression to others. Consider the significance of the various acts you see in your dream.

To dream that the circus is abandoned or empty, suggests that you are feeling excluded in some situation. You are feeling lonely.

To dream that there is chaos at the circus, signifies that your life is out of control.

Dreaming that you are having a terrific time at a circus means your satisfaction and contentment with your current surroundings. But to dream that you are just at the circus means that you are being misunderstood in some way. You are giving off the wrong impression to others. Dreaming that there is chaos at the circus means that your life is out of control.

To dream that you are at the fair, suggests that you may be regressing into your childhood where times were simpler. You feel you can let your inhibitions go and forget about the cultural mores. Also consider the various side shows and arcades as they could symbolize aspects of your personality. Alternatively, the dream may also be a pun on fairness and being "fair" in a situation or decision.

To dream of being at a fair, denotes that you will have a pleasant and profitable business and a congenial companion.

For a young woman, this dream signifies a jovial and even-tempered man for a life partner.

Dreaming that you are at the fair, suggests that you have overcame some minor obstacle and ready to move forward with renewed energy.

To dream that you are in a mine, suggests that you are getting to the core of an issue or condition. Alternatively, it indicates that something from your unconscious is coming to the surface. The dream may also be a metaphor to claim what is "mine".

To dream of being in a mine, denotes failure in affairs.

To own a mine, denotes future wealth.

Dreaming that you are in a mine means that you are getting to depth or core of an issue or condition. It also forewarns that will fail in your endeavors. Dreaming that you own a mine means future riches.

The point signifies unity, the Origin and the Centre. It also represents
the principles of manifestation and emanation, and hence in some mandalas the
centre is not actually shown but must be imagined by the initiate. There are two
kinds of point to be considered: that which has no magnitude and is symbolic of
creative virtue, and that which—as suggested by Raymond Lull in his Nova
Geometria—has the smallest conceivable or practicable magnitude and is a symbol of the principle of manifestation. Moses of Leon defined the nature of the
original Point as follows: ‘This degree is the sum total of all subsequent mirrors,
that is, of all external aspects related to this one degree. They proceed therefrom
because of the mystery of the point, which is in itself an occult degree emanating
from the mystery of the pure and awe-inspiring ether. The first degree of all is
absolutely occult, that is, not manifest, and cannot be attained’ (25). This explains why the Centre—identical with the mystic point of Moses of Leon—is
usually represented as a hole.

To see something pointed in your dream, represents action, urgency and completion. The dream suggests that you have arrived to a decision or common understanding. Alternatively, the dream may also be a metaphor that there is a point to your dream. Or you need to get your point across.

Dreaming that you are on a stage, represents your behavior, manipulation of and relationships with others. It is telling of your interactions with society. There is a saying that goes, "All the world is your stage" and thus may refer to your desire to be the center of attention. Consider how your stage performance parallels a waking situation. Dreaming that you are on a side stage, reflects your introverted personality. This dream may indicate your need to be more confident and self-assured.

In the symbolism pertaining to the body, the most elementary association is the one between the organ or member and its function. It is, then, selfevident that, in Egyptian hieroglyphs, the mouth should stand for the power of
speech and hence for the creative word. In this sense it stands for the pristine
emanation of creative power. Very closely connected with this hieroglyph is
another showing a mouth with a solar disk inside. This disk, primarily standing
for the sun, is connected, but not identical, with the eye. (In hieroglyphs which
are coloured, the eye is wholly blue, while the sign under discussion consists of a
blue mouth with a little red circle inside) (19). Guénon supports this interpretation of the sign (29), pointing to the example of the Mândûkya Upanishad where,
apropos the state of deep sleep, the mouth is said to represent integral consciousness (26). In the Old Testament, the concepts of mouth and fire are frequently
associated; epithets such as ‘devouring’ or ‘consuming’, frequently applied to the
latter, are descriptive of the functions of the former. Hence the fire-breathing
animals of legend. Jung explains these associations by synaesthesia and suggests
that they are connected with Apollo, the sun-god who is depicted with a lyre as
his characteristic attribute. The common link between the symbolisms of sounding, speaking, shining and burning finds a physiological parallel in the phenomenon known as ‘coloured hearing’ whereby some individuals experience sounds
as colours. Furthermore, it is hardly a coincidence that the two main characteristics that set Man apart from all other beings are the power of speech and the use
of fire. Both are, in fact, the product of mana (psychic energy) (31). In consequence, mouth-symbolism, like fire-symbolism, has two aspects: creative (as in
speech) and destructive (devouring). And, of course, the mouth is the point of
convergence between the external and the inner worlds. This explains the frequent
symbol of the ‘monster’s mouth’, with sets of upper and lower teeth that are
expressive of the ‘interlocking’ of the two worlds: heaven and earth or, more
often, hell and earth (50). There are, in mediaeval iconography, abundant examples of the mouths of dragons or large fishes affording access to the inner world
or to the underworld.

To see a mouth in your dream, signifies your need to express yourself or talk about an issue that's bothering you. Alternatively, the dream suggests that you have said too much and you need to keep your mouth shut.

Seeing a mouth in your dream means your need to express yourself or talk about an issue that's bothering you. On the other hand, perhaps you have said too much and you need to keep your mouth shut.

To dream about yesterday, indicates that you need to stop reliving the past and learn to let go. Focus on the future. Alternatively, the dream symbolizes past regrets.

To dream that you are being chased, signifies that you are avoiding a situation that you do not think is conquerable. It is a metaphor for some form of insecurity. In particular, to dream that you are chased by an animal, represents your own unexpressed and unacknowledged anger which is being projected onto that animal. Alternatively, you may be running away from a primal urge or fear.

To dream that you are chasing someone, signifies that you are attempting to overcome a difficult goal or task. You may also be expressing some aggressive feelings toward others.

Dreaming that you are being chased means that you are avoiding a situation that you do not think is conquerable. It is often a metaphor for some form of insecurity. In particular, to dream that you are chased by an animal, represents your own unexpressed and unacknowledged anger which is being projected onto that animal. Alternatively, you may be running away from a primal urge or fear. Dreaming that you are chasing someone means that you are attempting to overcome a difficult goal or task. You may also be expressing some aggressive feelings toward others.

Folklore interpretations say that if you are looking at a chase or participating in it, you will have a comfortable old age. Although this may be comforting, there is a more realistic understanding of this activity in a dream. If you are being chased, maybe you are running away from or trying to escape those things that are frightening and unpleasant (possibly your own habits and negative behaviours). If you are doing the chasing, it may be that you are expressing some aggressive feelings toward others or are pursuing a very difficult goal. On the deepest level, if a stranger is chasing you it may represent your chasing a part of yourself, the unconscious attempts to catch up with the conscious in order for you to become more aware of yourself and your own multidimensional nature.

This is the most common negative dream. Did you know that the cultural identity of the dreamer could determine the nature of the pursuer? You could say that people from the same country sometimes have the same creatures chasing them.

* In India, children dream of being chases by bats
* In Switzerland, a wolf chasing you, would be a common dream
* While in Canada the pursuers are bears
* After the release of the movie Jaws , many dreamed that sharks attacked or chased them!

You are running away, rather than confronting an issue. That's what a chase dream often means, say experts. A wish to get away from the over protected environment of your parents home, could be a more specific explanation. Or is it an attempt to live life your own way? (Breaking some social code)

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.