The tree is one of the most essential of traditional symbols. Very often
the symbolic tree is of no particular genus, although some peoples have singled
out one species as exemplifying par excellence the generic qualities. Thus, the oak
was sacred to the Celts; the ash to the Scandinavian peoples; the lime-tree in Germany; the fig-tree in India. Mythological associations between gods and trees
are extremely frequent: so, Attis and the pine; Osiris and the cedar; Jupiter and
the oak; Apollo and the laurel, etc. They express a kind of ‘elective correspondence’ (26, 17). In its most general sense, the symbolism of the tree denotes the
life of the cosmos: its consistence, growth, proliferation, generative and regenerative processes. It stands for inexhaustible life, and is therefore equivalent to a
symbol of immortality. According to Eliade, the concept of ‘life without death’
stands, ontologically speaking, for ‘absolute reality’ and, consequently, the tree
becomes a symbol of this absolute reality, that is, of the centre of the world.
Because a tree has a long, vertical shape, the centre-of-the-world symbolism is
expressed in terms of a world-axis (17). The tree, with its roots underground and
its branches rising to the sky, symbolizes an upward trend (3) and is therefore
related to other symbols, such as the ladder and the mountain, which stand for the
general relationship between the ‘three worlds’ (the lower world: the underworld,
hell; the middle world: earth; the upper world: heaven). Christian symbolism—
and especially Romanesque art—is fully aware of the primary significance of the
tree as an axis linking different worlds (14). According to Rabanus Maurus,
however, in his Allegoriae in Sacram Scripturam (46), it also symbolizes human
nature (which follows from the equation of the macrocosm with the microcosm).
The tree also corresponds to the Cross of Redemption and the Cross is often
depicted, in Christian iconography, as the Tree of Life (17). It is, of course, the
vertical arm of the Cross which is identified with the tree, and hence with the
‘world-axis’. The world-axis symbolism (which goes back to pre-Neolithic times)
has a further symbolic implication: that of the central point in the cosmos. Clearly,
the tree (or the cross) can only be the axis linking the three worlds if it stands in
the centre of the cosmos they constitute. It is interesting to note that the three
worlds of tree-symbolism reflect the three main portions of the structure of the
tree: roots, trunk and foliage. Within the general significance of the tree as worldaxis and as a symbol of the inexhaustible life-process (growth and development),
different mythologies and folklores distinguish three or four different shades of
meaning. Some of these are merely aspects of the basic symbolism, but others are
of a subtlety which gives further enrichment to the symbol. At the most primitive
level, there are the ‘Tree of Life’ and the ‘Tree of Death’ (35), rather than, as in
later stages, the cosmic tree and the tree of the knowledge of Good and Evil; but
the two trees are merely two different representations of the same idea. The
arbor vitae is found frequently, in a variety of forms, in Eastern art. The—
apparently purely decorative—motif of hom (the central tree), placed between
two fabulous beings or two animals facing each other, is a theme of Mesopotamian origin, brought both to the West and to the Far East by Persians, Arabs and
Byzantines (6). In Romanesque decoration it is the labyrinthine foliage of the
Tree of Life which receives most emphasis (the symbolic meaning remaining
unchanged, but with the addition of the theme of Entanglement) (46). An important point in connexion with the ‘cosmic tree’ symbol is that it often appears
upside down, with its roots in heaven and its foliage on earth; here, the natural
symbolism based on the analogy with actual trees has been displaced by a meaning expressing the idea of involution, as derived from the doctrines of emanation:
namely, that every process of physical growth is a spiritual opus in reverse.
Thus, Blavatsky says: ‘In the beginning, its roots were generated in Heaven, and
grew out of the Rootless Root of all-being. . . . Its trunk grew and developed,
crossing the plains of Pleroma, it shot out crossways its luxuriant branches, first
on the plane of hardly differentiated matter, and then downward till they touched
the terrestrial plane. Thus . . . (it) is said to grow with its roots above and its
branches below’ (9). This concept is already found in the Upanishads, where it is
said that the branches of the tree are: ether, air, fire, water and earth. In the Zohar
of Hebrew tradition it is also stated that ‘the Tree of Life spreads downwards
from above, and is entirely bathed in the light of the sun’. Dante, too, portrays the
pattern of the celestial spheres as the foliage of a tree whose roots (i.e. origin)
spread upwards (Uranus). In other traditions, on the other hand, no such inversion occurs, and this symbolic aspect gives way to the symbolism of vertical
upward growth. In Nordic mythology, the cosmic tree, called Yggdrasil, sends its
roots down into the very core of the earth, where hell lies (Völuspâ, 19;
Grimnismâl, 31) (17).
We can next consider the two-tree symbolism in the Bible. In Paradise there
were the Tree of Life and the tree of the knowledge of good and evil. Both were
centrally placed in the Garden of Eden. In this connexion, Schneider says (50):
‘Why does God not mention the Tree of Life to Adam? Is it because it was a
second tree of knowledge or is it because it was hidden from the sight of Adam
until he came to recognize it with his new-found knowledge of good and evil—of
wisdom? We prefer the latter hypothesis. The Tree of Life, once discovered, can
confer immortality; but to discover it is not easy. It is “hidden”, like the herb of
immortality which Gilgamesh seeks at the bottom of the sea, or is guarded by
monsters, like the golden apples of the Hesperides. The two trees occur more
frequently than might be expected. At the East gate of the Babylonian heaven, for
instance, there grew the Tree of Truth and the Tree of Life.’ The doubling of the
tree does not modify the symbol’s fundamental significance, but it does add
further symbolic implications connected with the dual nature of the Gemini: the tree, under the influence of the symbolism of the number two, then reflects the
parallel worlds of living and knowing (the Tree of Life and the Tree of Knowledge). As is often the case with symbols, many more specialized meanings have
been developed on the basis of the general tree-symbolism already outlined. Here
are a few: firstly, the triple tree. According to Schneider, the Tree of Life, when it
rises no higher than the mountain of Mars (the world of phenomena) is regarded
as a pillar supporting heaven. It is made up of three roots and three trunks—or
rather one central trunk with two large boughs corresponding to the two peaks of
the mountain of Mars (the two faces of Janus). Here the central trunk or axis
unifies the dualism expressed in the two-tree symbolism. In its lunar aspect, it is
the Tree of Life and emphasizes the moon’s identification with the realm of
phenomena; in its solar aspect it relates to knowledge and death (which, in symbolism, are often associated). In iconography, the Tree of Life (or the lunar side of
a double or triple tree) is depicted in bloom; the tree of death or knowledge (or the
solar side of a double or triple tree) is dry, and shows signs of fire (50). Psychology has interpreted this symbolic duality in sexual terms, Jung affirming that the
tree has a symbolic, bisexual nature, as can also be seen in the fact that, in Latin,
the endings of the names of trees are masculine even though their gender is
feminine (31). This conjunctio confirms the unifying significance of the cosmic
tree. Other symbols are often brought into association with the tree, sometimes
by analogy with real situations, sometimes through the juxtaposition of psychic
images and projections. The resulting composite symbolism is, of course, richer
and more complex, but also more specific, and consequently less spontaneous
and of less scope. The tree is frequently related to the rock or the mountain on
which it grows. On the other hand, the Tree of Life, as found in the celestial
Jerusalem, bears twelve fruits, or sun-shapes (symbols of the Zodiac, perhaps).
In many images, the sun, the moon and the stars are associated with the tree, thus
stressing its cosmic and astral character. In India we find a triple tree, with three
suns, the image of the Trimurti; and in China a tree with the twelve suns of the
Zodiac (25). In alchemy, a tree with moons denotes the lunar opus (the Lesser
Work) and the tree with suns the solar opus (the Great Work). The tree with the
signs of the seven planets (or metals) stands for prime matter (protohyle), from
which all differentiations emerge. Again, in alchemy, the Tree of Knowledge is
called arbor philosophica (a symbol of evolution, or of the growth of an idea, a
vocation or a force). ‘To plant the philosophers’ tree’ is tantamount to stimulating the creative imagination (32). Another interesting symbol is that of the ‘seatree’ or coral, related to the mythic sea king. The fountain, the dragon and the
snake are also frequently related to the tree. Symbol LVII of Bosch’s Ars Symbolica shows the dragon beside the tree of the Hesperides. As regards the symbolism of
levels, it is possible to establish a vertical scale of analogies: dragons and snakes
(primal forces) are associated with the roots; the lion, the unicorn, the stag and
other animals expressing the ideas of elevation, aggression and penetration, correspond to the trunk; and birds and heavenly bodies are brought into relation with
the foliage. Colour correspondences, are: roots/black; trunk/white; foliage/red.
The snake coiled round the tree introduces another symbol, that of the spiral. The
tree as world-axis is surrounded by the sequence of cycles which characterizes
the revealed world. This is an interpretation applicable to the serpent watching at
the foot of the tree on which the Golden Fleece is suspended (25). Endless
instances could be quoted of such associations of symbols, full of psychological
implications. Another typical combination of symbols, extremely frequent in
folktales, is that of the ‘singing tree’. In the Passio S. Perpetuae XI (Cambridge,
1891) we read that St. Saturius, a martyr alongside St. Perpetua, dreamed on the
eve of his martyrdom ‘that, having shed his mortal flesh, he was carried eastward
by four angels. Going up a gentle slope, they reached a spot bathed in the most
beautiful light: it was Paradise opening before us’, he adds, ‘like a garden, with
trees bearing roses and many other flower-blooms; trees tall as cypresses, singing
the while’ (46). The sacrificial stake, the harp-lyre, the ship-of-death and the
drum are all symbols derived from the tree seen as the path leading to the other
world (50) (Plate XXIX). Gershom G. Scholem, in Les Origines de la Kabbale,
speaks of the symbolism of the tree in connexion with hierarchical, vertical structures (such as the ‘sefirothic tree’ of the Cabbala, a theme that we cannot develop
here). He asks himself whether the ‘tree of Porphyry’, which was a widespread
symbol during the Middle Ages, was of a similar nature. In any case, it is reminiscent of the Arbor elementalis of Raymond Lull (1295), whose trunk symbolizes
the primordial substance of Creation, or hyle, and whose branches and leaves
represent its nine accidents. The figure ten has the same connotation as in the
sefiroth, the ‘sum of all the real which can be determined by numbers’.

The tree in your dream is you. The health, size and overall quality of the tree is indicative of how you feel about yourself. This interpretation is to be made only when the tree is the focal point of the dream. Also, consider whether the tree is alive with leaves, flowers or fruit, or if it's barren. You may see trees in your dream as a part of a landscape or as a secondary symbol. At those times, consider all of the details as they may have different interpretations than the one just given.

To see or dream that you are in a greenhouse, represents transformation. You are experiencing some changes in your life brought about mainly as a result of your own doing. It also suggests that you may be too overly controlling. You want things done your way, but in the process you may be isolating yourself.

An image of life, expressive of the manifestation of the cosmos and of
the birth of forms. Aquatic plants, in particular, are symbolic of the ‘nascent’
character of life. In India, cosmic images are depicted as emerging from the lotus
flower (17). At the same time, man, conscious that biologically he was related to
the animals, could not but be aware that his upright posture was more closely
related to that of the tree, the shrub and the very grass, than to the horizontal
posture of all animals (other than the celestial birds). Thus, whereas totemism
drew up relationships between man and certain animals, the astrobiological era
was characterized by frequent connexions and equations between mythic beings
and plants. In particular, lives which had come to a violent end were supposed to
carry on a metamorphosed existence in vegetable form. Osiris, Attis, Adonis, to
name only a few deities, are closely related to plants. Another aspect of plantsymbolism is the annual cycle, in consequence of which they sometimes symbolize the mystery of death and resurrection (17). The fertility of the fields affords
the most powerful image of cosmic, material and spiritual fecundity.

To see plants in your dream, indicate fertility, spiritual development, potential, and growth. Alternatively, the appearance of plants in your dream reflect your caring and loving nature. If you are estranged from your children, then the plants can be seen as representative for your children.

In particular, to see indoor plants in your dream, suggest that your growth is being hindered or slowed in some way. You are experiencing a lack of independence. Alternatively, the dream signifies your desire to be closer to nature.

To see droopy, withered or dead plants in your dream, suggest that you are at a standstill in your life. You are lacking initiative.

Symbolically, to breathe is to assimilate spiritual power. Yoga
exercises place particular emphasis upon breathing, since it enables man to absorb
not only air but also the light of the sun. Concerning solar light, the alchemists had
this to say: ‘It is a fiery substance, a continuous emanation of solar corpuscles
which, owing to the movement of the sun and the astral bodies, is in a perpetual
state of flux and change, filling all the universe. . . . We breathe this astral gold
continuously.’ The two movements—positive and negative—of breathing are
connected with the circulation of the blood and with the important symbolic paths of involution and evolution (3). Difficulty in breathing may therefore symbolize difficulty in assimilating the principles of the spirit and of the cosmos. The
‘proper rhythm’ of Yoga-breathing is associated with the ‘proper voice’ demanded by the Egyptians for the ritual reading of the sacred texts. Both are
founded upon imitation of the rhythms of the universe.

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.

In the Egyptian tongue, the term designating the hand was related to
that for the pillar (or a support, or strength) and for the palm (4). In esoteric
doctrine, the position of the hand in relation to the body, and the arrangement of
the fingers, convey certain precise symbolic notions (48). According to the Egyptian system of hieroglyphs, the hand signifies manifestation, action, donating and
husbandry. An eye in association with a hand—as for example in some oriental
mythic beings—symbolize ‘clairvoyant action’ (19). Schneider concedes a major
rôle to the hand ‘because it is the corporeal manifestation of the inner state of the
human being’ and because ‘it expresses an attitude of mind in terms other than the
acoustic’—or, in other words, a gesture. It follows, then, that the raised hand is
the symbol of the voice and of song; the hand placed on the breast indicates the
attitude of the sage; placed on the neck it denotes sacrifice; two hands joined
signifies mystic marriage—the Jungian individuation; the hand covering the eyes
represents clairvoyance at the moment of death (50). Of great importance is the
fact that the hand has five fingers, firstly, because of its broad analogy with the
human figure (composed of four extremities plus the head), and, secondly, by
reason of the symbolism of the number five (denoting love, health and humanity)
(40). In Egyptian hieroglyphics, the open hand signifies any specificially human
task as well as magnetic force (19)—an idea also characteristic of pre-Columbian
America. And a very similar belief lies behind the widespread use of the hand as
an amulet in Islamic cultures. According to Berber thought, the hand signifies
protection, authority, power and strength; the manus had the same meaning for
the Romans, symbolizing in particular the authority of the pater familias and of
the emperor, and is sometimes to be seen surmounting the signum of the legions
in place of the imperial eagle. In the Islamic amulets mentioned above, the figure
of the hand undergoes various modifications or appears in association with other
symbols, as, for instance, the star, the dove, the bird, the fan, the zigzag and the
circle, forming emblems comparable with those of the Christian West (12). The
familiar emblem of the ‘linked hands’ is expressive of a virile fraternity, or solidarity in the face of danger (49). In Jung’s opinion, the hand is endowed with a generative significance (31). The difference between the right hand and the left is
usually ignored, but when the distinction is made it appears merely to serve the
purpose of enriching the basic significance with the additional implications of
space-symbolism, the right side corresponding to the rational, the conscious, the
logical and the virile; the left side representing the converse (33). There are alchemic images which represent a King clasping in his own left hand the left hand
of the Queen. Jung suggests that this may refer to the unconscious character of
their union but that it may also be indicative either of affection or of suspicion
(33).

To dream of your hands, represent your relationships with those around you and how you connect with the world. Hands serve as a form of communication and can represent authority, hate, protection, justice, etc depending on the gesture. Perhaps you need to lend a helping hand to someone. In particular, the left hand symbolizes your graciousness and your feminine, receptive qualities, while the right hand symbolizes the masculine and active attributes. The right hand may also be a pun for some decision or something being "right". If you dream that your hands are detached or see disembodied hands, then it indicates that you are not getting your point of view across. You are not being understood. The dream may also symbolize feelings of loneliness.

To dream that you are holding hands with someone, represents love, affection and your connection with that person. Your dream may also reflect anxieties about losing touch with him/her or that you are drifting apart.

To dream that you hands are injured, denote an attack on your ego.

To dream that your hands are clasped or closed, signify unity, completeness, acceptance or agreement. On a more negative note, it may suggest that you are close-minded, ungiving or unwilling to help.

To dream that you have unusually large hands, denote success in achieving your goals.

To dream that your hands are hairy or rough, imply your lack of gentleness in dealing with others. You may be too brash and abrasive.

To see blood on your hands, signifies that you are experiencing some sort of guilt.

To dream that you are washing your hands, represent a worrisome issue that you need to work through. Alternatively, it suggests that you are in denial or no longer taking responsibility of some matter. You are letting go and getting things out of your system.

To dream that your hands are itchy, indicate issues with money. If the left hand is itchy, then it signifies money being received. If the right hand or both hands are itchy, then it signifies money being given or lost.

If you see beautiful hands in your dream, you will enjoy great distinction, and rise rapidly in your calling; but ugly and malformed hands point to disappointments and poverty. To see blood on them, denotes estrangement and unjust censure from members of your family.

If you have an injured hand, some person will succeed to what you are striving most to obtain.

To see a detached hand, indicates a solitary life, that is, people will fail to understand your views and feelings. To burn your hands, you will overreach the bounds of reason in your struggles for wealth and fame, and lose thereby.

To see your hands covered with hair, denotes that you will not become a solid and leading factor in your circle.

To see your hands enlarged, denotes a quick advancement in your affairs.
To see them smaller, the reverse is predicted.
To see your hands soiled, denotes that you will be envious and unjust to others.

To wash your hands, you will participate in some joyous festivity.

For a woman to admire her own hands, is proof that she will win and hold the sincere regard of the man she prizes above all others.

To admire the hands of others, she will be subjected to the whims of a jealous man. To have a man hold her hands, she will be enticed into illicit engagements. If she lets others kiss her hands, she will have gossips busy with her reputation. To handle fire without burning her hands, she will rise to high rank and commanding positions.

To dream that your hands are tied, denotes that you will be involved in difficulties. In loosening them, you will force others to submit to your dictations.

Dreaming of your hands, represents your relationship to those around you and how you connect with the world. Hands serve as a form of communication. Perhaps you need to lend out a helping hand to someone. In particular, the left hand symbolizes your graciousness and feminine, receptive qualities. And the right hand symbolizes masculine, active attributes. It may also be a pun for some decision or something being "right". Dreaming that you are holding hands with someone, represents your connection with that person. Your dream may also reflect anxieties about losing touch with him/her or that you are drifting apart. Dreaming that you hands are injured indicates an attack on your ego. Dreaming that your hands are clasped or closed means unity, completeness, acceptance or agreement. On a more negative note, it may suggest that you are close-minded, ungiving or unwilling to help. Dreaming that you have unusually large hands indicates much success in achieving your goals. Dreaming that your hands are hairy or rough, implies your lack of gentleness in dealing with others. You may be too brash and abrasive. Seeing blood on your hands means that you are experiencing some sort of guilt. Dreaming that you are washing your hands, represents a worrisome issue that you need to work through. Alternatively, it suggests that you are no longer taking responsibilities in some matter. You are letting go and getting things out of your system.

Mist is symbolic of things indeterminate, or the fusing together of the
Elements of air and water, and the inevitable obscuring of the outlines of each
aspect and each particular phase of the evolutive process. The ‘mist of fire’ is that
stage of cosmic life which follows upon the state of chaos (9) and corresponds to
the three Elements which existed prior to the solid Element—earth.

To dream that you are caught in a mist, indicates that there is some confusion and uncertainty in your waking life. You need some clarity in a situation.

To dream that you are enveloped in a mist, denotes uncertain fortunes and domestic unhappiness. If the mist clears away, your troubles will be of short duration.

To see others in a mist, you will profit by the misfortune of others.

Dreaming that you are caught in a mist means confusion and unhappiness in your home life and uncertain fortune. You need to see things more clearly. Seeing others caught in a mist means that you will gain from the misfortune of others.

To see leaves in your dream, signify new found happiness and improvements in various aspects of your life. It is symbolic of fertility, growth and openness. Alternatively, leaves represent a passage of time. Depending on the color and type of leaf, the dream could be highlighting a certain period of time. The leaves may also be a metaphor to "leave" you alone.

To see brown or withered leaves in your dream, signifies fallen hopes, despair, sadness and loss. If you are sweeping or raking leaves, then it represents the end of a project, relationship or situation. It also signifies experience.

To dream of leaves, denotes happiness and wonderful improvement in your business.

Withered leaves, indicate false hopes and gloomy forebodings will harass your spirit into a whirlpool of despondency and loss.

If a young woman dreams of withered leaves, she will be left lonely on the road to conjugality. Death is sometimes implied.

If the leaves are green and fresh, she will come into a legacy and marry a wealthy and prepossessing husband.

Seeing leaves in your dream means new found happiness and an improvement in various aspects of your life. It is symbolic of growth and openness. Seeing brown or withered leaves in your dream means fallen hopes, despair, and loss.