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 of darkness overtaking you on a journey, augurs ill for any work you may attempt, unless the sun breaks through before the journey ends, then faults will be overcome.

To lose your friend, or child, in the darkness, portends many provocations to wrath. Try to remain under control after dreaming of darkness, for trials in business and love will beset you.

A dark place, such as a cave, in a dream can symbolize negative emotions. In your dream, are you able to find your way out of the dark place?

A dream about being in darkness can also mean that you believe you are being "kept in the dark" about something - that someone else is keeping a secret from you.

If you dream that you are afraid of the dark you could be unwilling to deal with obstacles that you expect to face in the future.

From the spiritual point of view, the journey is never merely a
passage through space, but rather an expression of the urgent desire for discovery
and change that underlies the actual movement and experience of travelling. Hence, to study, to inquire, to seek or to live with intensity through new and profound
experiences are all modes of travelling or, to put it another way, spiritual and
symbolic equivalents of the journey. Heroes are always travellers, in that they are
restless. Travelling, Jung observes, is an image of aspiration, of an unsatisfied
longing that never finds its goal, seek where it may (31). He goes on to point out
that this goal is in fact the lost Mother; but this is a moot point, for we might
equally well say that, on the contrary, its journey is a flight from the Mother.
Flying, swimming and running are other activities which may be equated with
travelling; and so also are dreaming, day-dreaming and imagining. Crossing a ford
marks the decisive stage in the passage from one state to another (56). There is a
connexion between the symbolism of the journey, in its cosmic sense, and the
symbolism of the essential landscape of megalithic cults (or that seen by the
shamans in their visions). Travelling may also be related to the complete cycle of
the year or to the attempt to escape from it, depending upon certain secondary
characteristics of the journey. But the true Journey is neither acquiescence nor
escape—it is evolution. For this reason Guénon has suggested that ordeals of
initiation frequently take the form of ‘symbolic journeys’ representing a quest
that starts in the darkness of the profane world (or of the unconscious—the
mother) and gropes towards the light. Such ordeals or trials—like the stages in a
journey—are rites of purification (29). The archetype of the journey is the pilgrimage to the ‘Centre’ or the holy land—or the way out of the maze. The Night
Sea-Crossing, equivalent to the Journey into Hell, illustrates certain basic aspects
of journey-symbolism which still call for elucidation. Primarily, to travel is to
seek. The Turkish Kalenderi sect require their initiates to travel ceaselessly, since,
as we have suggested, travelling is often invested with a higher, sublimatory
significance.

To dream that you are going on a journey, signifies profits, self-discovery or progress. The scenery you see in your journey and the method of travel is telling of your feelings and circumstances you may be currently experiencing.

To dream that your friends go on a journey, signifies a welcoming and harmonious change.

To dream of the band Journey, represents advice that some of their songs may offer in some waking situation. "Don't stop believing", "Open Arms", etc.

To dream that you go on a journey, signifies profit or a disappointment, as the travels are pleasing and successful or as accidents and disagreeable events take active part in your journeying.

To see your friends start cheerfully on a journey, signifies delightful change and more harmonious companions than you have heretofore known. If you see them depart looking sad, it may be many moons before you see them again. Power and loss are implied.

To make a long-distance journey in a much shorter time than you expected, denotes you will accomplish some work in a surprisingly short time, which will be satisfactory in the way of reimbursement.

This indicates that there will be a great change in conditions and circumstances.
Good journey indicates good conditions and bad journey with troubles indicates a bad life.

Dreaming that you are going on a journey means profits, self-discovery or progress. The scenery you see in your journey is telling of your feelings and circumstances you may be currently experiencing. Dreaming that your friends go on a journey means delightful and welcomed change and harmony.

A dream about a journey represents your path in life or a part of your life's journey. It may reflect some of your fear and anticipation.

The meaning of a dream about a journey will depend upon where you are going and the form of transportation that you use.

Superstion-based dream interpretations say that if you go on a voyage by sea, you will have an unexpected visitor, and that if you take a trip to the shore, you will receive money.

To dream that you are being forced to do something, indicates negative feelings that are being pushed out of the unconscious. Feelings of hate, aggression or anger which you may have suppressed need to be addressed head on.

Seeing flies in your dream, symbolizes feelings of guilt or a breakdown of a plan. Flies may also forewarn of a contagious sickness or a surrounding of enemies. Dreaming that you kill or exterminate the flies means that you will regain your honor after you fell from grace and will be recapture the heart of your intended.

The Fly teach the ability to greatly multiply prosperity, endeavors and ventures at enormous rates. He shows how to be quick to act and respond to achieve results. Fly aids in demonstrating the power of keen eyesight along with expanding awareness in many directions. Although flies are known for carrying diseases in unfavorable surroundings, the lesson of fly is in the value of carrying your emotions, thoughts and feelings in order to act quickly in sometimes unfavorable or uncomfortable conditions. It takes about two weeks from hatching for new eggs to be laid, likewise, two weeks is significant in one's personal development. Are you ready for quick and abrupt changes? Are you ready to move quickly? Fly will show how to make quick changes for rapid growth.