In a manner of speaking, space is an intermediate zone between the
cosmos and chaos. Taken as the realm of all that is possible, it is chaotic; regarded
as the region in which all forms and structures have their existence, it is cosmic.
Space soon came to be associated with time, and this association proved one of
the ways of coming to grips with the recalcitrant nature of space. Another—and
the most important—was the concept of space as a three-part organization based
upon its three dimensions. Each dimension has two possible directions of movement, implying the possibility of two poles or two contexts. To the six points
achieved in this way, there was added a seventh: the centre; and space thus
became a logical structure. The symbolisms of level and of orientation were
finally brought to bear in order to complete the exegesis. The three dimensions of
space are illustrated by means of a three-dimensional cross, whose arms are oriented along these six spatial directions, made up of the four points of the
compass plus the two points of the zenith and the nadir. According to René
Guénon, this symbolism—because of its structural character—is identical with
that of the Sacred Palace (or the inner palace) of the Cabala, located at the centrepoint from which the six directions radiate. In the three-dimensional cross, the
zenith and the nadir correspond to the top and the bottom, the front and back to
East and West, the right and left to the South and North. The upright axis is the
polar axis, the North-South axis is the solstitial line, the East-West the equinoctial. The significance of the vertical or level-symbolism concerns the analogy
between the high and the good, the low and the inferior. The Hindu doctrine of the
three gunas—sattva (height, superiority), rajas (intermediate zone of the world
of appearances, or ambivalence) and tamas (inferiority, or darkness)—is in itself
sufficient to explain the meaning of the symbolism of level up and down the
vertical axis. It is, in consequence, the intermediate plane of the four-directional
cross (that which incorporates the cardinal points and which implies the square)
which represents the world of appearances. Taking next the East-West axis,
traditional orientation-symbolism associates the East—being the point of sunrise—with spiritual illumination; and the West—the point where the sun sets—
with death and darkness. Passing next to the North-South axis, there is no one
definite interpretation. In many oriental cultures, the zenith coincides with the
mystic ‘Hole’ through which transition and transcendence are effected, that is,
the path from the world of manifestation (spatial and temporal) to that of eternity. But it has also been identified with the centre of the three-dimensional cross,
taken as the heart of space. Reduced to two dimensions—those of the contrasting
horizontal and vertical arms—the cross comes to represent harmony between
extension (associated with width) and exaltation (with height). The horizontal
arm concerns the implications of a given gradation or moment in an individual’s
existence, and the vertical pertains to moral elevation (25). William of SaintThierry, describing the seven gradations of the soul, observes that it ascends these
steps in order to reach the celestial life (14). If we seek an interpretation which
will justify the four points of the horizontal plane’s being reduced to two (the left
and right), we can find a basis for it in Jung’s assertion that the rear part coincides
with the unconscious and the front with the manifest or consciousness; and since
the left also can be equated with the unconscious and the right with consciousness, the rear then becomes equivalent to the left and the front to the right (32).
Other equivalents are: left side with the past, the sinister, the repressed, involution, the abnormal and the illegitimate; the right side with the future, the felicitous, openness, evolution, the normal and the legitimate (42). In all this, there is an apparent contradiction with the corresponding number-symbolisms: Paneth
observes that, in most cultures, the uneven numbers are considered to be masculine and the even numbers to be feminine. Since the left side is the zone of origin
and the right that of the outcome, the corresponding number-symbolisms would
seem to be one (the uneven or masculine number) for the left side (that is, the
past) and two (the even or feminine number) for the right side (the subsequent or
outcome). The solution is to be found in the fact that the number one (unity)
never corresponds to the plane of the manifest world or to spatial reality: it is the
symbol of the centre, but not in the sense of occupying any situation in space
which might imply a sequel. Hence we must conclude that two is the number
corresponding to the left side and three is that related to the right. Guénon
explains the way in which the cosmic order conforms with all this in a lucid
exposition of the relevant Hindu doctrines to the effect that the right hand zone is
the solar region; the left-hand the lunar. ‘In the aspect of this symbolism which
refers to the temporal condition, the Sun and the right eye correspond to the
future, the Moon and the left eye to the past; the frontal eye corresponds to the
present which, from the point of view of the manifested, is but an imperceptible
moment, comparable to the geometrical point without dimensions in the spatial
order; that is why a single look from the third eye destroys all manifestation
(which is expressed symbolically by saying that it reduces everything to ashes),
and that is also why it is not represented by any bodily organ; but when one rises
above this contingent point of view, the present is seen to contain all reality (just
as the point carries within itself all the possibilities of space), and when succession is transmuted into simultaneity, all things abide in the “eternal present”, so
that the apparent destruction is truly a “transformation” ‘ (26). Now, the seven
aspects that define space have been regarded as the origin of all septenary groups,
and in particular of the seven planets, the seven colours and the seven kinds of
landscape (50). Hence Luc Benoist can assert that the Christian Church, by
building on earth a mighty, three-dimensional cross of stone, has created for the
entire world the co-ordinate lines of a supernatural geometry. Benoist then quotes
Clement of Alexandria as saying that the six directions of space symbolize—or
are equivalent to—the simultaneous and eternal presence of the six days of the
Creation, and that the seventh day (of rest) signifies the return to the centre and
the beginning (6). Once the cosmic sense of spatial symbolism has been demonstrated, it is simple to deduce its psychological applications. And once the static
laws have been determined, it is easy to grasp the dynamic-implications, always
bearing in mind the symbolism of orientation. Here, we must point out that the
swastika—a solar and polar symbol—implies a movement from right to left, like the apparent movement of the sun; and that Clotho—one of the Parcae—spins
her ‘wheel of destiny’ in the same direction, that is, the opposite way to existence, so destroying it. Right-handedness is characteristic of all symbols of natural
life (28); hence, in the Egyptian system of hieroglyphs, to enter is to go towards
the right and to go out is to go towards the left (19); orienting these hieroglyphs,
we have the right corresponding with the rise and the left with the setting of the
sun. Similarly, the right side takes on an extra implication of birth and life, while
the left side acquires an association with death (17). Another consequence, apparent in allegories and emblems, is that the right side corresponds to the higher
virtues—if one may put it that way—such as compassion, and the left side to
justice. All of the above conclusions are logical deductions drawn from the study
of oriental tradition, supported by the findings of experimental psychology. But
they are conclusions which have also been verified by anthropologists and sociologists in their studies of the habits of diverse peoples. Ania Teillard, for example, has collated a mass of facts; she quotes J. J. Bachofen as asserting (in his
Mutterrecht und Urreligion und Grabersymbolik der Alten) that, in the important
and very common equation ‘right hand=masculinity’, the left hand harbours
magic powers and the right hand the force of reason, and also that in matriarchal
societies one always finds the idea of superiority attributed to the left side, and
conversely. To turn to the left is to look back upon the past, the unconscious,
implying introversion; to turn to the right is to look upon the outside world,
implying action and extraversion. At the same time, ethnologists are agreed that
during the first stage of any period of sun-worship, the right side becomes preeminent, whereas in lunar cults it is the left side which prevails (56). In paintings,
reliefs and other artistic creations of man, the left side is characterized by a more
vivid projection of the self (that is, by identification) and the right side is more
extravert.

Seeing or dreaming that you are in space, represents exploration. You are an independent thinker.

To dream that you are eating, giving, receiving, or stealing cookies, signify that you will let trivial problems and minor disputes annoy you.

To dream that you are baking cookies, signifies feelings of optimism and increases You may also experience a rise in status.

To see or eat chocolate chip cookies, symbolizes your guilty indulgences. If you are baking chocolate chip cookies, then it represents your connection to someone in an intimate and emotional way.

To dream that you are eating an oatmeal cookie, suggests that it is okay to indulge once in a while.

The symbolism of power has been subjected to an extensive study by
Percy Ernst Schramm in his Herrschaftszeichen und Staatssymbolik (Stuttgart,
1954). Power, as a symbol, represents irradiating force, but it is only latterly that
it has acquired this significance, for in totemistic and primitive times it was
generally understood more in the sense of an image of the forces of nature (and of
the animal world in particular) than as an expression of abstract or temporal
dominion. Hence, the principal attributes of a superior power are simply magnified versions of totemic emblems or of adornments derived from them, such as
necklaces of teeth and claws, hides, head-dresses, horns, and various kinds of
standards exhibiting these objects. It was probably with the dawning of the solar
cult that the diadem—the original form of the crown—came to be adopted as
another attribute of power. The immediate effect of the assumption of power upon the body and the attitude of mind is to confer impassivity, indifference—
either real or affected—and serenity and, equally, a tendency to ‘swell with
pride’. Hence the fascination of the hieratic gesture and its use on solemn occasions. Dynamic movements such as stretching out the arms or nodding or turning
the head may also be executed in a rhythm suggestive of hieratic strength and
calm. Ancient art gave expression to a basically similar attitude towards the
powers of the world. Height above ground-level, and the situation of a particular
symbolic element at the centre of a symmetrical pattern—the Greek Potne Theron
for instance—are further illustrations of power-symbolism, deriving from the
symbolisms of level and of the ‘Centre’. Differentiated expressions of power give
rise to the king, the priest and the military leader, each one characterized by his
respective attributes. The synthesis of power is denoted by ternary symbols
such as the triple crown. Certain other symbols embracing the threefold power,
such as the trident, are generally reckoned to pertain to the infernal regions, but
this has come about rather through the influence of traditional, mythological ideas
than by true symbolic logic. Magic power—a corrupt form of religious power—
is symbolized by the wand and sometimes by the sword. There are also certain
other objects linked with the idea of power, but they are attributes or instruments
rather than symbols proper.
Of great interest is the complex symbolic system behind the emblems of the
Egyptian pharaoh. The double crown denotes Upper and Lower Egypt, but it
also expresses the ideas of the masculine and feminine principles, and of heaven
and earth. Sceptres—straight (the lash) and curved (the crook)—are probably
attributes of cattle-raising and of agriculture respectively; yet at the same time
they denote the straight path (or the solar, diurnal, logical course) and the crooked
path (the lunar, nocturnal and intuitive). The Uraeus beyond doubt symbolizes
the sublimated serpent—raised, that is to say, in height (the kundalini), so as to
become a symbol of strength transformed into spirit or an aspect of power. In
itself, the idea of power embraces the notions of extreme self-awareness and
integrity, defensive concentration of forces, appropriation and domination of the
environment, and effulgence. Hence, to take these ideas in turn, the symbols of
power are names, seals, marks, standards and signs; masks, helmets, head-dresses,
swords and shields; sceptres, crowns, pallia and palaces; and effulgence is expressed by gold and precious stones. Domination also finds expression in such
forms of the quaternary as four-headed sceptres, hermae or thrones alluding to
the cardinal points. The crown, in its most highly developed form, embraces the
diadem or circle and the hemisphere or image of the vault of heavens; and sometimes it denotes the four points of the compass—or suggests them by means of four bands which rise up from the diadem to meet higher up, in the middle,
surmounted by another symbolic motif. The idea of royalty is, of course, linked
with sun-symbolism, and therefore the animals associated with it are such as the
eagle and the lion, and on occasion the dragon. Once Christianity had become the
official religion of the Roman Empire, various Christian symbols of sublimation
accrue to the symbolism of power, notably the crucifix and the fleur-de-lis. The
latter symbol is found in Byzantium, whence it reached Central Europe, Germany, France and the Western world by the 1st millennium A.D.

To dream that you have power, indicates your growing confidence, high self-esteem and increasing skills. Alternatively, your dream of power may try to compensate for a waking situation where you felt powerless.

To dream that you do not have any power, refers to a waking situation in which you felt unable to do anything.

Dreaming that you have power indicates your growing confidence, high self-esteem and increasing skills. Alternatively, your dream of power may try to compensate for a waking situation in which you were powerless. Dreaming that you do not have any power or feel powerless, refers to a waking situation in which you felt unable to do anything.

To dream that you are part of a team, indicates the importance of working together. The dream may be a metaphor that you have your life in order. If you are unhappy in the team, then it suggests that you are having issues in some area of your waking relationship. You may not be getting along with some work colleague or family member.

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.

To dream that you are filling something, indicates that you are replenishing your energies. It is symbolic of renewal and revitalization.