Dreamed that I won 4 live baby dragons in a raffle at some big party. Later I was in my room with a kid and he asked me to see the dragons. I was keeping them in a box in my closet. I told him they were getting big really fast and be careful. When I took them out the four of them could barely fit in the box. They were all coiled up in the box and the Blue one had it's head sticking out and looked at us. There was a part of the cardboard box that was singed.
Later I was flying through a landscape with green grass and waterfalls and Michaela, Briz and some other girl were dancing with gold bikini tops on. It was like a music video.
Like all receptacles whose basic use is keeping or containing, the box is
a feminine symbol which can refer both to the unconscious (15) and to the
maternal body itself (31). We do not here refer to spherical objects, which are symbols of Oneness and of the spiritual principle. The myth of ‘Pandora’s box’
appears to allude to the significance of the unconscious, particularly in the special
sense of its unexpected, excessive, destructive potentialities. Diel relates this
symbol to ‘imaginative exaltation’ (15). In addition, we would like to point out
the analogy—the family resemblance—between Pandora’s box and the ‘third
casket’ which figures in so many legends. The first and second contain goods and
riches; the third discharges storms, devastation, death. This is clearly an example
of a symbol of human life (of the cycle of the year), which is divided into three
stages, consisting of two favourable thirds and one adverse. A superb elaboration
upon the Pandora theme is to be found in Dora and Erwin Panofsky’s Pandora’s
Box (London, 1956). Particularly interesting is the authors’ study of the literary
heritage of a myth, and the ways in which it may be adapted to serve the visual
To see a box in your dream, signifies your instinctual nature and destructive impulses. Alternatively, you may be trying to preserve and protect some aspect of yourself. The box may also symbolize your limitations and restrictions. Consider the pun of "being boxed in".
To dream that you are opening a box, indicates an aspect of yourself that was once hidden is now being revealed. It symbolizes self discovery. Consider your feelings as you open the box. If opening the box fills you will fear, you may be uncovering aspects of yourself that cause you to feel anxious.
Opening a goods box in your dream, signifies untold wealth and that delightful journeys to distant places may be made with happy results. If the box is empty disappointment in works of all kinds will follow.
To see full money boxes, augurs cessation from business cares and a pleasant retirement.
Dreaming of a box means your instinctual nature and destructive impulses. Alternatively, you may be trying to preserve and protect some aspect of yourself. The box may also symbolize your limitations and restrictions. Dreaming that you are opening a box indicates that things are being revealed about yourself that were once hidden. Consider your feelings as you open the box. If opening the box fills you will fear, you may be uncovering aspects of yourself that make you feel anxious. Also consider the pun, "being boxed in".
In Hindu doctrine, gold is the ‘mineral light’. According to Guénon, the
Latin word for gold—aurum—is the same as the Hebrew for light—aor (26).
Jung quotes the delightful explanation offered by the alchemist Michael Maier in
De Circulo Physico Quadrato to the effect that the sun, by virtue of millions of
journeys round the earth (or conversely) has spun threads of gold all round it.
Gold is the image of solar light and hence of the divine intelligence. If the heart is
the image of the sun in man, in the earth it is gold (32). Consequently, gold is
symbolic of all that is superior, the glorified or ‘fourth state’ after the first three
stages of black (standing for sin and penitence), white (remission and innocence)
and red (sublimation and passion). Everything golden or made of gold tends to
pass on this quality of superiority to its utilitarian function. Chrysaor, the magic
sword of gold, symbolizes supreme spiritual determination. Gold is also the
essential element in the symbolism of the hidden or elusive treasure which is an
illustration of the fruits of the spirit and of supreme illumination.
To see gold in your dream, symbolizes wealth, riches, natural healing, illumination and/or spirituality. It is also a symbol of love, longevity and domestic bliss. Negatively, gold may represent greed, corruption and temptation.
To find gold in your dream, indicates that you have discovered something valuable about yourself. This may be some hidden talent or knowledge.
To bury gold in your dream, suggests that you are trying to hide something about yourself.
f you handle gold in your dream, you will be unusually successful in all enterprises. For a woman to dream that she receives presents of gold, either money or ornaments, she will marry a wealthy but mercenary man.
To find gold, indicates that your superior abilities will place you easily ahead in the race for honors and wealth.
If you lose gold, you will miss the grandest opportunity of your life through negligence.
To dream of finding a gold vein, denotes that some uneasy honor will be thrust upon you.
If you dream that you contemplate working a gold mine, you will endeavor to usurp the rights of others, and should beware of domestic scandals.
Finding gold in your dream means that your superior abilities will place you easily ahead of others. Seeing bars of gold and gold jewelry in your dream means your carelessness with the spending of your money. Seeing golden tableware and flatware indicates financial gain and stability. For a pregnant woman, to dream of gold, foretells that your expected child will be a girl.
Dreaming about gold could be a reflection of concerns that you have about your most precious valuables or a reference to "alchemist's gold" which is usually spiritual in nature. If you are losing gold in your dream, it may express your anxieties over a missed opportunity. However, remember, "All that glitters is not gold." Your unconscious mind may be reminding you not to judge things on appearances
To dream that you are wearing a bikini, suggests that you are feeling exposed. You may feel unprotected emotionally. It may also signal a return to innocence or youth. Alternatively, a bikini indicates superficial desires.
Dreaming that you are wearing a bikini, suggests that you are feeling exposed. You may feel unprotected emotionally. It may also signal a return to innocence or youth. Alternatively, it indicates superficial desires.
To dream that someone or something is bigger than normal, indicates that you either have an inflated opinion of yourself or of someone. You may be expressing a desire to be more dominant in some situation or relationship.
To see a big figure in your dream, represents authority and power.
Dreaming that someone or something is bigger than normal indicates that you either have an inflated opinion of yourself or of someone. You may be expressing a desire to be more dominant in some situation or relationship. Dreaming of a big figure, represents authority and power.
Dreaming that you are having fits means failing health and loss of employment. Seeing others throwing fits indicates unpleasantness and coldness amongst your social and/or business circle.
To see green grass in your dream, suggests that there is a part of yourself that you can always rely on. The dream is also symbolic of natural protection. Also consider the phrase "the grass is always greener on the other side." Do you always compare yourself with others and look at what other people have?
To dream that you are planting grass, indicates that your hard work and efforts will pay off in the end.
This is a very propitious dream indeed. It gives promise of a happy and well advanced life to the tradesman, rapid accumulation of wealth, fame to literary and artistic people, and a safe voyage through the turbulent sea of love is promised to all lovers.
To see a rugged mountain beyond the green expanse of grass, is momentous of remote trouble.
If in passing through green grass, you pass withered places, it denotes your sickness or embarrassments in business.
To be a perfect dream, the grass must be clear of obstruction or blemishes.
If you dream of withered grass, the reverse is predicted.
Seeing green grass in your dream, suggests that there is a part of yourself that you can always rely on. The dream is also symbolic of natural protection. Dreaming that you are planting grass indicates that your hard work and efforts will pay off in the end.
Logically speaking it may be deduced that the countryside—
landscapes of all kinds—is the mundane manifestation of a dynamic complex
which in origin was non-spatial. Inner forces are liberated to unfold as forms
which disclose in themselves the qualitative and quantitative order of their inner
tensions. Thus a mountain crest becomes a graphic sign. Let us take, by way of
illustration, landscapes as they appear in dreams. Leaving aside the phenomenon
of memory, reminiscence, or the complex association of various sense-data, the
scenes and towns which figure in dreams are neither arbitrary and indeterminate
nor objective: they are symbolic—that is, they well up in order to illuminate
certain momentary experiences called forth by varying combinations of influences in varying degrees of intensity. Landscape-scenes arising in the imagination
in this way are sustained solely by the validity, duration and intensity of the
feelings which aroused them. Form—just as in physical morphology—is the
diagram of force. Now, what we have said about landscapes in dreams can be
applied also to an actual landscape, seen and selected by an automatic response of
the unconscious, which detects in it an affinity that gives us pause and makes us
return to it again and again. This, then, is a question not of a projection of the mind
but of an analogy whereby the landscape is adopted by the spirit in consequence
of the inner bond linking the character of the scene with the spirit of the observer
himself. Subjectivism concerns only the act of choosing. The intellection of the
significance of a landscape is, then, wholly objective, as is the grasping of the
symbolic values of colours and numbers. The Chinese saw this with the utmost
clarity: as Luc Benoist has observed, Chinese art has always placed more emphasis upon landscape than upon man (as a figure, that is to say), and upon the
macrocosm rather than the microcosm. ‘If the superior man loves the countryside,’ to quote the words of Kuo Hsi, ‘why is this so? Hills and gardens will
always be the haunts of him who seeks to cultivate his original nature; fountains
and rocks are a constant joy to him who wanders whistling among them. . .’ (6).
It is a well-established tradition of symbology that the different worlds (or zones)
are strictly only different states of being. Hence the fact that the ‘chosen site’ is
the enshrining image which arises out of it. The ‘trysting place’, when it truly
possesses that character, and is not merely arbitrary or fortuitous, signifies a
meeting or ‘conjoining’ in precisely this same sense—that is, transposed into topographical or spatial terms (26). However revolutionary these assertions may
seem, they are nevertheless confirmed by the findings of the psychology of form
and by isomorphism, since it has been shown that it is not possible to distinguish
between psychic and physical formal processes—other than externally. In support of all this, there is the comment of Mircea Eliade that ‘In point of fact, man
never chooses a site, he simply “discovers it”. . . . One of the means of discovering
one’s situation is by orientation’ (17). Now, in order to grasp the symbolic sense
of a landscape it is necessary to distinguish between the predominant elements
and the merely incidental, and between the character of the whole and the character of the component elements. When the predominant element is a cosmic one,
its effect is to bind all the other components together, and it is this cosmic
ingredient which makes its influence felt over and above that of the individual
features of the landscape. Instances of such cosmic features are the sea, the
desert, the icy wastes, the mountain-peak, clouds and sky. It is when the ingredients of landscape-symbolism are varied and evenly balanced that symbolic interpretation is most needed. The interpreter must, then, look for the following: (a)
a spatial pattern organized within particular limits which endow it with a structure after the manner of a building or a work of art. By spatial symbolism we
mean, in the first place, the symbolism of level, that is, the disposition of the
zones of the landscape according to the three levels of the normal, the lower and
the higher; and secondly the symbolism of orientation, that is, the position of the
accidental elements in relation to the north-south and the east-west axes. He must
then bear in mind (b) the form—the pattern or the shape of the terrain, whether
it is undulating or broken, steeply sloped or flat, soft or hard; (c) the positional
relationship of the particular area chosen to the region as a whole or to the zone
surrounding it—whether it is lower or higher, more open or more enclosed; and
finally (d) the natural and artificial elements which make up the organized pattern: trees, shrubs, plants, lakes, springs, wells, rocks, sandy shores, houses,
steps, benches, grottoes, gardens, fences, doors and gates. Also important is the
predominating colour, or the clash of colours, or the general feeling of fecundity or
barrenness, of brightness or gloom, of order or disorder. Roads and cross-roads
are of great significance, and so are streams. About the objective meaning of each
of the factors we have listed above there is much that we could say; however,
since the more important factors—such as the symbolism of level—are dealt
with under separate headings, we will here add no more than a few notes. Steepness indicates primitiveness and regression; flat country denotes the apocalyptic
end, the longing for power and for death. There is a Persian tradition that, when
the end of the world has come—when Ahriman is vanquished for ever, the mountains will be levelled and all the earth will become one great plain. Ideas cognate with this are to be found in certain traditions of Israel and France (35). It would
not be hard to point to the history of architecture and town-planning as evidence
of the subconscious application of these principles. Furthermore, there are some
aspects of landscapes which have a symbolic air about them that is very difficult
to analyse intellectually. For instance, the following descriptive passage from
Dante’s Commedia has always seemed to us to evoke an atmosphere of profound
mystery: ‘Around this little island, in its lowest reaches, there, where it is lashed
by the waves, reeds grow in the soft mud’ (Purgatorio I, 100). Independent of the
cosmic significance of landscape, there may also be a sexual implication. It is also
essential to bear in mind that this is not strictly a matter of symbols as such but
of complex, symbolic functions. For instance, in scenes depicting low-lying topographical features, the following factors may be at work: (a) depth in the sense
of what is base, comparable therefore with the wicked and infernal; (b) depth in
the sense of what is symbolically profound; (c) depth as it pertains to the material earth itself, implying a chthonian and maternal symbolism. Only the context
can help us to tell the essence from the accessory—as is true also of the vast
majority of symbols. Here we must bear in mind the primitive concept of the
archetypal ‘ideal countryside’. Schneider has observed that the fact of there being
so many identical names for rivers and mountains in different parts of the world,
suggests that megalithic ways of thought must have led to the custom of naming
the topographical features of different regions after some ideal model. This model,
it may be argued, could be the product of the lasting impression made upon the
mind of Primitive Man by a particular environment endowed with such unity and
variety as to prevent him from ever wishing to leave it; but it could also be
explained as the projection of a psychic order founded upon laws comparable
with those governing quaternary patterns, or the mandala, etc. Man’s attention
was first drawn to the contraposition of heaven and earth by topographical
features, and he gave expression to this in the struggle between gods and Titans,
angels and demons, and in the opposition of mountain and valley. Next, he set out
to explain the earth’s surface by means of the laws of orientation, taking the four
points of the compass from the apparent orbit of the sun as well as from the
human anatomy, and identifying them as ambivalent forces—ambivalent because
they are at once hostile to things external and the defenders of their limits. As
Schneider adds: ‘To preserve cosmic order, the gods fought with the giants and
the monsters which had from the very beginning of creation sought to devour the
sun. They stationed the heroic lion on the celestial mountain. Four archers’—the
tetramorphs—’are continuously on guard day and night against anyone who
attempts to disrupt the order of the cosmos’ (50). The stockade, the wall or stone
enclosure, comments Eliade, are among the oldest known parts of the structure of temples, appearing as early as in proto-Indian civilizations such as that of MohenjoDaro and also in Crete (17). They owe their origins to the same basic, primordial
idea of the symbolism of landscape—its representation of cosmic order. The
mountain with one peak is symbolic of the One—of transcendent purpose; the
two-peaked Mountain of Mars stands for the Gemini, the world of appearances
and the dualism of all forms of life. Both these symbolic mountains find their
symbolic complement in the general pattern of archetypal landscape—also, incidentally, an image of the year; this pattern is composed of the river of life (denoting the positive phase) and the river of oblivion (the negative phase) which flow
through the sea of flames (expressing infirmity) and well up from a single source
(birth or the Origin). According to this scheme, every landscape has a disastrous
and a felicitous tendency, corresponding on the temporal plane with the selfevident distinction between ‘coming’ and ‘going’ which in turn is analogous to the
two halves of human existence. But, quite apart from all this, the symbolic
interpretation of a landscape may be determined according to the laws governing
diverse and individual correspondences, as well as the overall significance derived
from the complex of meanings afforded by its separate features. By way of an
illustration of the many possibilities of interpreting the significance of a landscape, we will conclude with some comments on Vallcarca with its characteristic
low-lying features. The gardens are at a lower level than the city proper, and
screened from it by the vegetation, which has something of the archaic and oriental about it. The main street leads north towards an open plain, signifying the
process of disintegration. On the other hand, those streets which lead towards the
mountain are on the favourable axis. In this case, the interpretation is obvious
enough, as it is in all instances of scenes where it is possible to identify the
essential features of archetypal landscape.
To dream of various landscapes in your dream, represent where you are in your life or in your relationships. How do you see yourself with respect to the rest of the world and those around you? Consider what is going on in the landscape and how it may parallel your own waking life. In particular, a barren or dry landscape depicts dissatisfaction in your love life. According to Freud, the dream landscape symbolizes the human body. A landscape with gentle contours symbolize the female body, while a rocky landscape represents the male body. Also consider the feelings that the landscape invokes.
To dream of ever changing landscapes, indicates psychological transitions or emotional progress. It represents the various stages in your life. Alternatively, it may be offering you various viewpoints in looking at the same idea or situation. Something may be slipping away from your grasp. Look at the symbolism of key elements in the landscape.
Dreaming of various landscapes in your dream, represents where you are in your life or in your relationships. How do you see yourself with respect to the rest of the world and those around you? According to Freud, the landscape symbolizes the human body. Dreaming of ever changing landscapes indicates psychological transitions or emotional progress. It represents the various stages in your life. Alternatively, it may be offering you various viewpoints in looking at the same idea or situation. Consider the symbolism of key elements in the landscape.
To dream that you are flying, signifies a sense of freedom where you had initially felt restricted and limited.
To dream that you are flying with black wings, signifies bitter disappointments.
To dream of flying high through a space, denotes marital calamities.
To fly low, almost to the ground, indicates sickness and uneasy states from which the dreamer will recover.
To fly over muddy water, warns you to keep close with your private affairs, as enemies are watching to enthrall you.
To fly over broken places, signifies ill luck and gloomy surroundings. If you notice green trees and vegetation below you in flying, you will suffer temporary embarrassment, but will have a flood of prosperity upon you.
To dream of seeing the sun while flying, signifies useless worries, as your affairs will succeed despite your fears of evil.
To dream of flying through the firmament passing the moon and other planets; foretells famine, wars, and troubles of all kinds.
To dream that you fly with black wings, portends bitter disappointments. To fall while flying, signifies your downfall. If you wake while falling, you will succeed in reinstating yourself.
For a young man to dream that he is flying with white wings above green foliage, foretells advancement in business, and he will also be successful in love. If he dreams this often it is a sign of increasing prosperity and the fulfilment of desires. If the trees appear barren or dead, there will be obstacles to combat in obtaining desires. He will get along, but his work will bring small results.
For a woman to dream of flying from one city to another, and alighting on church spires, foretells she will have much to contend against in the way of false persuasions and declarations of love. She will be threatened with a disastrous season of ill health, and the death of some one near to her may follow.
For a young woman to dream that she is shot at while flying, denotes enemies will endeavor to restrain her advancement into higher spheres of usefulness and prosperity.
Dreaming that you are flying means a sense of freedom where you had initially felt restricted and limited. Dreaming that you are flying with black wings means bitter disappointments.
Dreams of flying are common and most people can recall having flown in a dream or two. There are many ideas as to what this means. Some people believe that flying in our dreams can be an actual out of body experience, that we go to places on this physical plane as well as into the inner planes (mostly the Astral). We have a desire to be free and above all difficulties! The details of your dream will give you clues as to what it symbolizes, if your dream was a spiritual experience or ego based; enjoy it, flying is great!
You first start dreaming of flying when you are 3 to 5 years old. It is a very common dream, though less prevalent in adults. More than one third of the dreaming population has dreamed of flying one time or the other.
* Flying dreams are known to have a positive relationship with relief from tension and nightmares.
* Lucid dreamers tend to have twice as much of flying dreams.
* An intense emotional condition can also trigger off a flying dream
* The dreams are not exclusive to the post flying machines era. They have occurred in ancient times too, as records in dream books
of Babylonian and Egyptian civilizations reveal.
* People with an imaginative personality and creative thinkers have more flying dreams
* Those who fly planes have these dreams, though they rather fly like Superman in their dreams, not in aeroplanes.
What triggers off a flying dream? The reasons offered for these dreams are
* Psychological - The dreamer has had an intense emotional experience
* Physiological - There is a change in the breathing pattern of the dreamer
* Physical - There is an actual physical movement of the bed.
* Precognitive - In preparation of a flying trip
* Consciousness - Awareness of movement around you
To see a cardboard box in your dream, indicates a lack of protection against risk.