A symbol of individuality—of private thoughts. The windows symbolize the possibility of understanding and of passing through to the external and
the beyond, and are also an illustration of any idea of communication. Hence, a
closed room lacking windows may be symbolic of virginity, according to Frazer,
and also of other kinds of non-communication. Many rites involving the
enclosureimage are performed to mark the reaching of puberty, all over the world.
The legend about Danae, shut up by her father in a bronze tower, pertains to this
particular symbolism. There is a Siberian legend concerning a ‘dark house of iron’
which is also relevant to it (21). We might also mention the ‘vase with a lid’, one
of the eight emblems of good luck in Chinese Buddhism, and a symbol of wholeness, of the idea with no ‘exit’, or, in other words, of supreme intelligence triumphant over birth and death (signified respectively by the doors and windows of
the room) (5). This explains why the hermetically sealed room may possibly be
a variant form of the ‘vase with a lid’.

To dream that you are in a room, represents a particular aspect of yourself or a specific relationship. Dreams about various rooms often relate to hidden areas of the conscious mind and different aspects of your personality. If the room is welcoming or comfortable, then it signifies opulence and satisfaction in life. If you see a dark or confined room, then it denotes that you feel trapped or repressed in a situation.

To dream that you find or discover a new room, suggests that you are developing new strengths and taking on new roles. You may be growing emotionally. Consider what you find in the discovered room as it may indicate repressed memories, fears, or rejected emotions. Alternatively, such rooms are symbolic of neglected skills or rejected potential.

To dream that you are in an empty white room, indicates a fresh start. It is like a blank canvas where you want to start life anew. Alternatively, the dream means that you are trying to isolate yourself. You do not want any outside influences.

To dream of a yellow room, suggests that you need to use your mind. You are feeling stimulated mentally.

Dreaming that you are in a room, represents a particular aspect of yourself or a particular relationship. Dreams about various rooms often relate to hidden areas of the conscious mind and different aspects of your personality. Dreaming that you find or discover new rooms, suggests that you are developing new strengths and taking on new roles. You may be growing emotionally. Seeing an appealing or comfortable room in your dream means opulence and satisfaction in life. Seeing a dark, eerie or confining room indicates that that you feel trapped or repressed in a situation.

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.

To dream that you are in a meeting, suggests that you need to redirect your energies toward a more productive endeavor. Alternatively, the dream means that you are learning to accept various aspects of yourself and integrating them into your personality.

To dream that you are late or miss a meeting, signifies anxieties that you are not measuring when it comes to achieving your goals. You may unprepared in some situation or challenge in your waking life.

Dreaming that you are in a meeting, suggests that you need to redirect your energies toward a more productive endeavor. Alternatively, you are learning to accept various aspects of yourself and integrating these various parts. Dreaming that you are late or miss a meeting means anxieties that you are not measuring when it comes to your professional life and toward achieving your goals. You may feel unprepared in some situation or challenge in your waking life.

In symbolism, numbers are not merely the expressions of quantities, but idea-forces, each with a particular character of its own. The actual digits
are, as it were, only the outer garments. All numbers are derived from the number
one (which is equivalent to the mystic, non-manifest point of no magnitude). The
farther a number is from unity, the more deeply it is involved in matter, in the
involutive process, in the ‘world’. The first ten numbers in the Greek system (or
twelve in the oriental tradition) pertain to the spirit: they are entities, archetypes
and symbols. The rest are the product of combinations of these basic numbers
(44). The Greeks were much preoccupied with the symbolism of numbers.
Pythagoras, for example, observed that ‘Everything is disposed according to the
numbers’. Plato regarded number as the essence of harmony, and harmony as the
basis of the cosmos and of man, asserting that the movements of harmony ‘are of
the same kind as the regular revolutions of our soul’ (24). The philosophy of
numbers was further developed by the Hebrews, the Gnoptics and the Cabbalists,
spreading to the alchemists as well. The same basic, universal notions are found
in oriental thought—Lao-tse, for example: ‘One becomes two; two becomes
three; and from the ternary comes one’—the new unity or new order—’as four’
(Maria Prophetissa) (32). Modern symbolic logic and the theory of groupings go
back to the idea of the quantitative as the basis for the qualitative. Pierce suggests
that the laws of nature and of the human spirit are based on these same principles,
and that they can be ordered along these same lines (24). Apart from the basic symbols of unity and multiplicity, there is another general symbolism attached to
the even numbers (expressing the negative and passive principle) and the uneven
numbers (the positive and active). Furthermore, the numerical series possesses a
symbolic dynamism which it is essential not to overlook. The idea that one engenders two and two creates three is founded upon the premiss that every
entity tends to surpass its limits, or to confront itself with its opposite. Where
there are two elements, the third appears as the union of the first two and then as
three, in turn giving rise to the fourth number as the link between the first three,
and so on (32). Next to unity and duality (expressing conflict, echo and primordial duplication), the ternary and the quaternary are the principal groupings; from
their sum comes the septenary; and from their multiplication the dodecanary.
Three is the more direct derivation of seven (since both are uneven) and four more
closely related to twelve (both being even numbers). The usual symbolisms are as
follows: The ternary represents the intellectual or spiritual order; the quaternary
the terrestrial order; the septenary the planetary and moral order; the dodecanary
the universal order. Here now are the most generally accepted symbolic meanings
of each number, which will serve as a basis for a brief summary of the psychological theory of Paneth.
Zero Non-being, mysteriously connected with unity as its opposite and its
reflection; it is symbolic of the latent and potential and is the ‘Orphic Egg’. From
the viewpoint of man in existence, it symbolizes death as the state in which the life-forces are transformed (40, 55). Because of its circular form it signifies eternity.
One Symbolic of being (40) and of the revelation to men of the spiritual
essence. It is the active principle which, broken into fragments, gives rise to
multiplicity (43), and is to be equated with the mystic Centre (7), the Irradiating
Point and the Supreme Power (44). It also stands for spiritual unity—the common basis between all beings (55). Guénon draws a distinction between unity and
one, after the Islamic mystic thinkers: unity differs from one in that it is absolute
and complete in itself, admitting neither two nor dualism. Hence, unity is the
symbol of divinity (26). One is also equated with light (49).
Two Two stands for echo, reflection, conflict and counterpoise or
contraposition; or the momentary stillness of forces in equilibrium (43); it also
corresponds to the passage of time—the line which goes from behind forward (7);
it is expressed geometrically by two points, two lines or an angle (44). It is also
symbolic of the first nucleus of matter, of nature in opposition to the creator, of
the moon as opposed to the sun (55). In all esoteric thought, two is regarded as
ominous (9): it connotes shadow (49) and the bisexuality of all things, or dualism
(represented by the basic myth of the Gemini) in the sense of the connecting-link
between the immortal and the mortal, or of the unvarying and the varying (49).
Within the mystic symbolism of landscape in megalithic culture, two is associated with the mandorla-shaped mountain, the focal point of symbolic Inversion,
forming the crucible of life and comprising the two opposite poles of good and
evil, life and death (51), Two, then, is the number associated with the Magna
Mater (51).
Three Three symbolizes spiritual synthesis, and is the formula for the creation of each of the worlds. It represents the solution of the conflict posed by
dualism (43). It forms a half-circle comprising: birth, zenith and descent (7).
Geometrically it is expressed by three points and by the triangle (44). It is the
harmonic product of the action of unity upon duality (55). It is the number
concerned with basic principles (41), and expresses sufficiency, or the growth of
unity within itself (9). Finally, it is associated with the concepts of heaven (51)
and the Trinity.
Four Symbolic of the earth, of terrestrial space, of the human situation, of the
external, natural limits of the ‘minimum’ awareness of totality, and, finally, of
rational organization. It is equated with the square and the cube, and the cross
representing the four seasons and the points of the compass. A great many
material and spiritual forms are modelled after the quaternary (43). It is the
number associated with tangible achievement (55) and with the Elements (41). In
mystic thought, it represents the tetramorphs.
Five Symbolic of Man, health and love, and of the quintessence acting upon
matter. It comprises the four limbs of the body plus the head which controls
them, and likewise the four fingers plus the thumb (43) and the four cardinal
points together with the centre (7). The hieros gamos is signified by the number
five, since it represents the union of the principle of heaven (three) with that of
the Magna Mater (two). Geometrically, it is the pentagram, or the five-pointed
star (44). It corresponds to pentagonal symmetry, a common characteristic of
organic nature, to the golden section (as noted by the Pythagoreans) (24), and to
the five senses (55) representing the five ‘forms’ of matter.
Six Symbolic of ambivalence and equilibrium, six comprises the union of the
two triangles (of fire and water) and hence signifies the human soul. The Greeks
regarded it as a symbol of the hermaphrodite (33). It corresponds to the six
Directions of Space (two for each dimension) (7), and to the cessation of movement (since the Creation took six days). Hence it is associated with trial and effort
(37). It has also been shown to be related to virginity (50), and to the scales.
Seven Symbolic of perfect order, a complete period or cycle. It comprises the
union of the ternary and the quaternary, and hence it is endowed with exceptional
value (43). It corresponds to the seven Directions of Space (that is, the six
existential dimensions plus the centre) (7), to the seven-pointed star, to the
reconciliation of the square with the triangle by superimposing the latter upon the
former (as the sky over the earth) or by inscribing it within. It is the number
forming the basic series of musical notes, of colours and of the planetary spheres
(55), as well as of the gods corresponding to them; and also of the capital sins and
their opposing virtues (41). It also corresponds to the three-dimensional cross
(38), and, finally, it is the symbol of pain (50).
Eight The octonary, related to two squares or the octagon (44), is the intermediate form between the square (or the terrestrial order) and the circle (the eternal
order) and is, in consequence, a symbol of regeneration. By virtue of its shape, the
numeral is associated with the two interlacing serpents of the caduceus, signifying the balancing out of opposing forces or the equivalence of the spiritual power
to the natural (55). It also symbolizes—again because of its shape—the eternally
spiralling movement of the heavens (shown also by the double sigmoid line—the
sign of the infinite) (9). Because of its implications of regeneration, eight was in
the Middle Ages an emblem of the waters of baptism. Furthermore, it corresponds in mediaeval mystic cosmogony to the fixed stars of the firmament,
denoting that the planetary influences have been overcome.
Nine The triangle of the ternary, and the triplication of the triple. It is therefore a complete image of the three worlds. It is the end-limit of the numerical
series before its return to unity (43). For the Hebrews, it was the symbol of truth, being characterized by the fact that when multiplied it reproduces itself (in mystic addition) (4). In medicinal rites, it is the symbolic number par excellence, for
it represents triple synthesis, that is, the disposition on each plane of the corporal, the intellectual and the spiritual (51).
Ten Symbolic, in decimal systems, of the return to unity. In the Tetractys
(whose triangle of points—four, three, two, one—adds up to ten) it is related to
four. Symbolic also of spiritual achievement, as well as of unity in its function as
an even (or ambivalent) number or as the beginning of a new, multiple series (44).
According to some theories, ten symbolizes the totality of the universe—both
metaphysical and material—since it raises all things to unity (9). From ancient
oriental thought through the Pythagorean school and right up to St. Jerome, it was
known as the number of perfection (50).
Eleven Symbolic of transition, excess and peril and of conflict and martyrdom
(37). According to Schneider, there is an infernal character about it: since it is in
excess of the number of perfection—ten—it therefore stands for incontinence
(50); but at the same time it corresponds, like two, to the mandorla-shaped
mountain, to the focal point of symbolic Inversion and antithesis, because it is
made up of one plus one (comparable in a way with two) (51).
Twelve Symbolic of cosmic order and salvation. It corresponds to the number
of the signs of the Zodiac, and is the basis of all dodecanary groups. Linked to it
are the notions of space and time, and the wheel or circle.
Thirteen Symbolic of death and birth, of beginning afresh (37). Hence it has
unfavourable implications.
Fourteen Stands for fusion and organization (37) and also for justice and
temperance (59).
Fifteen is markedly erotic and is associated with the devil (59).
Other Numbers Each of the numbers from sixteen to twenty-two is related to
the corresponding card of the Tarot pack; and sometimes the meaning is derived
from the fusion of the symbols of the units composing it. There are two ways in
which this fusion may occur: either by mystic addition (for example,
374=3+7+4=14=1+4=5) or by succession, in which case the right-hand digit
expresses the outcome of a situation denoted by the left-hand number (so 21
expresses the reduction of a conflict—two—to its solution—unity). These numbers also possess certain meanings drawn from traditional sources and remote
from their intrinsic symbolism: 24, for example, is the sacred number in Sankhya
philosophy, and 50 is very common in Greek mythology—there were fifty
Danaides, fifty Argonauts, fifty sons of Priam and of Aegyptus, for example—as
a symbol, we would suggest, of that powerful quality of the erotic and human
which is so typical of Hellenic myths. The repetition of a given number stresses its quantitative power but detracts from its spiritual dignity. So, for example, 666
was the number of the Beast because 6 was regarded as inferior to seven (37).
When several kinds of symbolic meaning are contained within a multiple number,
the symbolism of that number is accordingly enriched and strengthened. Thus,
144 was considered very favourable because its sum was 9 (1+4+4) and because
it comprises multiples of 10 and 4 plus the quaternary itself (37). Dante, in the
Divine Comedy, has frequent recourse to the symbolism of numbers (27).
The work of Ludwig Paneth upon numbers concerns not so much symbolism
as such, but rather the normal interpretation of numbers from the psychologist’s
point of view as they appear in obsessions and dreams of average people. His
conclusions are as follows:
One rarely appears, but where it does occur it alludes to the paradisiac state
which preceded good and evil—which preceded, that is to say, dualism.
Two signifies counterpoise, or man’s experience of separate existence, with
its concomitant problems, inevitable analysis, dividing up, inner disintegration
and struggle.
Three stands for biological synthesis, childbirth and the solution of a conflict.
Four, as a kind of double division (two and two), no longer signifies separation (like the number two) but the orderly arrangement of what is separate.
Hence, it is a symbol of order in space and, by analogy, of every other wellordered structure. As Simonides, the Greek poet, observed: ‘It is difficult to
become a superior man, tetragonal in hand, foot and spirit, forming a perfect
whole.’
Five is a number which often occurs in animate nature, and hence its triumphant growth corresponds to the burgeoning of spring. It signifies the organic
fullness of life as opposed to the rigidity of death. There is an erotic sense to it as
well.
Six is, like two, a particularly ambiguous number: it is expressive of dualism
(2 × 3 or 3 × 2). However, it is like four in that it has a normative value as opposed
to the liberating tendencies of five and the mystic (or conflicting) character of
seven.
Seven is, like all the prime numbers, an irreducible datum, and an expression
of conflict or of a complex unity (the higher the prime number the greater the
complexity). It is sometimes associated with the moon (since 7 × 4=the 28 days
of the month).
Ten, in its graphic form as 10, is sometimes used to express marriage.
Nought, as the decimal multiplier, raises the quantitative power of a numerical symbol. A number of repeated noughts indicates a passion for grand things.
General Characteristics of Numbers Paneth draws a distinction between the
arithmetical number and the symbolic number: the former defines an object by its
quantity but says nothing about its nature, whereas the latter expresses an inner
link with the object it defines by virtue of a mystic relationship between what is
enumerated and the number itself. In arithmetic, the addition of 1 and 1 and 1
gives 3, but not triunity; in symbolism the second and third of these ones are
intrinsically different from the first because they always function within ternary
orders which establish the first term as an active element, the second as passive
and the third as neuter or consequent. Aristotle spoke of the ‘qualitative structure’ of the numbers as opposed to the amorphous character of the arithmetical
unity. Concerning the higher numbers, Paneth has this to say: ‘The multiplication
of a number simply increases its power: thus, 25 and 15 are both symbols of
eroticism. Numbers composed of two digits express a mutual relationship between the individual digits (reading from left to right). For example, 23=2 (conflict) and 3 (the outcome).’ Numbers made up of more than two digits may be
broken down and analysed in a number of different ways. For example, 338 may
equal 300 plus 2 × 19, or else 3 and 3 and 8. The dynamism and symbolic richness
of the number three is so exceptional that it cannot be over-emphasized. The
reconciling function of the third element of the ternary, we would add, may
appear in either a favourable or an adverse light. For instance, when in myths and
legends there are three brothers or sisters, three suitors, three trials, three wishes,
and so on (42), the first and second elements correspond broadly to what is
already possessed, and the third element represents the magic or miraculous
solution desired and sought after; but this third element may—as we have said—
also be negative. Thus, just as there are legends where the first and the second fail
and the third succeeds—sometimes it is the first six followed by the successful
seventh—so there are others where the inversion of the symbolism produces the
opposite result: the first two are favourable (and the second usually more so than
the first) but then comes the third which is destructive or negative. The Three
Kings, for example, offer the Infant Jesus gifts of gold, frankincense (both positive) and myrrh (negative). In almost all those myths and tales about three chalices, three chests or three rooms, the third element corresponds to death, because
of the asymmetrical division of the cycle of man’s life, composed of two parts
which are ascending (infancy-adolescence, youth-maturity) and the third and last
which is descending (old age-death). There is a Hebrew tale, called ‘True Happiness’, which exactly expresses the symbolic significance of this ‘third element’.
Here it is in Loeffler’s exemplary version: ‘A peasant and his wife, dissatisfied
with their lot, envied those who dwelt in palaces, imagining their existence to be
an unending flow of delights. While he was working in the fields, the man came across three iron chests. On the first was an inscription which said: “He who
opens me will become rich.” On the second he read: “If gold makes you happy,
open me.” On the third: “He who opens me, loses all that he possesses.” The first
chest was at once opened up and with the silver it contained the couple gave a
sumptuous banquet, purchased splendid garments and slaves. The contents of
the second chest enabled the couple to discover the luxury of refined living. But
with the opening of the third, a terrible storm destroyed all their belongings’ (38).
The symbolism bears a relationship to the asymmetrical cycle of the year (Spring—
Summer—Autumn followed by Winter) and to all symbols of the ‘superior’—
for superiority is always perilous.
Finally, there are also visual interpretations of number-symbols, derived from
the shape of the digits; but such interpretations are of a specialized nature and are
not always well-founded.

To see numbers in your dream, symbolize material gains and possessions. You are keeping close track of things. Alternatively, numbers indicate that you are being over analytical or rational. Or that you need to evaluate a situation more thoroughly. Numbers also carry much personal significance. They may represent a special date, address, age, lucky number or something meaningful and significant to only you.

To hear numbers in your dream, mean that you need to pace yourself in some situation. Or perhaps you need to calm down and take things a little slowly.

To dream of numbers, denotes that unsettled conditions in business will cause you uneasiness and dissatisfaction.

Interpreting numbers that we see in dreams may be difficult. Their meaning my be very personal, such as a reflection of financial concern or any other area of daily life represented by numbers. One way to interpret numbers is to try to see how they are specifically related to you. (E.g. If you have the number 25 in your dream. Your house number is 12 while your parent's number is 13. Together they make 25, and this dream could have been addressing issues in regard to you and your parents.) On the other hand, numbers in dreams may represent global concepts and point to collective dilemmas.

To dream that you are giving something away, indicates that you need to give more in some relationship or situation. To be able to give, helps fulfill your need to share and to belong. Consider also how you were received.

To dream that something is given to you, suggests that you need to appreciate the gifts you have.

Seeing numbers in your dream means unsettled conditions in business resulting in uneasiness and dissatisfaction. For a specific number, please see Dream Themes: Numbers.