So a while ago, a friend of mine who had never journeyed with mushrooms asked me to guide him for his first time. He wanted to try a few in the comfort of his own home. I came over early, and we ate about three each. Not a big jump off the cliff, but enough to properly introduce oneself to the experience for sure.
So I thought it would be proper to get comfortable, and put on some interesting music, and wait for the journey to begin. We each chose a couch, and traded Ipods. I put on some psychedelic trance for him. He chose some minimalistic experimental ambient music for me. I advised him to enjoy whatever he may experience, and rouse me if he needed me. We both laid down and closed our eyes.
So I was just enjoying the music, when the mushrooms started to work on me. I asked them to show me the epicenter of creation for all goodness. And...WHAM!!!! There I was in empty space, floating, looking at this totally wild vision. In front of me was what looked like an infinite tower of light, suspended vertically, in utter darkness. Roughly 100 meters apart, stacked on top of each other, were these vortices in the most incredible colors I'd ever seen. Somewhat like a rainbow of chakras, but as if I were now capable of seeing every shade of illumination, every possible frequency of light, instead of just the average rainbow. They were kaleidoscopic mandalas, radiating emanations of creative thought. They vibrated joy and curiosity. They were extending in all directions laughter and mists of possibilities. The emptiness absorbed the light and sent it…somewhere else. I felt like moving closer to the light, as I felt the expansion of the space I was in. Total infinite space, with nothing, absolutely NOTHING, besides these mandalas. Totally still, yet somehow aware. They were outside of the material Universe. I looked up, I looked down, and the tower just kept going. As I continued to look down and sponge up the awesome loveliness that these mandalas were, I thought to myself how beautiful this vision gift was, and that I was anxious to experience the opposite, just for reference sake.
Just then, an eye in a triangle extended itself to me from one of the mandalas above. It stared right through me and projected a question. "Are you sure?" Yes. I thought.
And…WHAM!!!! There I was, tiny. Being crushed in infinite lack of space. Full in all directions with insects. Locusts most likely. Stinging. Buzzing. Disgusting. Biting. I remained calm and just felt what that was like. Thinking, so this is what evil feels like to me? Is it just my perception alone, or is this Universally applicable? Thinking too much. Rampant discursive thoughts crawling over me like the insects. Blah blah, buzz buzz. Chewing, laying eggs in my skin, bursting out, eating my flesh. I wasn't terrified, simply curious. I felt more and more pressure of this energy closing in on me until I was completely eaten away and dissolved wholly into this mass of teeth and pincers, and busyness.
Then there was nothing again, and I took off my headphones.
My friend was sitting up on the couch, fully absorbed in visions. All he could say was, "This is amazing," for a few hours.
To see mushrooms in your dreams, denotes unhealthy desires, and unwise haste in amassing wealth, as it may vanish in law suits and vain pleasures.
To eat them, signifies humiliation and disgraceful love.
For a young woman to dream of them, foretells her defiance of propriety in her pursuit of foolish pleasures.
Light, traditionally, is equated with the spirit (9). Ely Star asserts that
the superiority of the spirit is immediately recognizable by its luminous intensity. Light is the manifestation of morality, of the intellect and the seven virtues
(54). Its whiteness alludes to just such a synthesis of the All. Light of any given
colour possesses a symbolism corresponding to that colour, plus the significance
of emanation from the ‘Centre’, for light is also the creative force, cosmic energy irradiation (57). Symbolically, illumination comes from the East. Psychologically
speaking, to become illuminated is to become aware of a source of light, and, in
consequence, of spiritual strength (32).
To see light in your dream, represents illumination, clarity, guidance, plain understanding, and insight. Light is being shed on a once cloudy situation or problem. You have found the truth to a situation or an answer to a problem. Also consider the color of the light for additional significance.
If the light is particularly bright, then it indicates that you need to move toward a higher level of awareness and feeling. Bright light dreams are sometimes common for those who are near death.
To see soft or shadowy lighting in your dreams, indicates feelings and thoughts from the primal aspects and less developed parts of your unconscious.
To dream that you cannot turn on the light, indicates a lack of insight and perspective on a situation.
If you dream of light, success will attend you. To dream of weird light, or if the light goes out, you will be disagreeably surprised by some undertaking resulting in nothing.
To see a dim light, indicates partial success.
To dream of lights is very good. It denotes riches and honour.
Seeing light in your dream indicates a clear mind, plain understanding, and insight. Light has been shed on a once cloudy situation or problem. You have found the truth to a situation or an answer to a problem. Seeing a bright light in your dream indicates that you need to move toward a higher level of awareness and feeling. Bright light dreams are sometimes common for those who are near death.
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
Seeing or dreaming that you are in space, represents exploration. You are an independent thinker.
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 your vision is obstructed, indicates that you are about to make an error in judgment. There is something that you are not seeing clearly.
To see visions in your dream, indicate that your mind is free from any restraint and free to wander without any inhibitions. Such dreams are said to have a different feel. Some of these vision dreams may be described as epic dreams.
Dreaming that your vision is obstructed means that you are having difficulties and errors in judgment. Seeing strange visions in your dream indicates misfortune and illness.
To see or dream that you are on a couch, represents rest, relaxation, laziness or boredom. It may also mean you need to clear you mind and thoughts. Consider also who is on the couch with you as the dream may also have sexual connotations.
To dream of reclining on a couch, indicates that false hopes will be entertained. You should be alert to every change of your affairs, for only in this way will your hopes be realized.
Seeing a couch in your dream means need for rest and mental cleansing.
In the Egyptian system of hieroglyphs, the tower is a determinative
sign denoting height or the act of rising above the common level in life or society
(19). Basically, then, the tower is symbolic of ascent. During the Middle Ages,
towers and belfries held the significance of watch-towers, but also, by the simple
application of the symbolism of level (whereby material height implies spiritual
elevation), they expressed the same symbolism as the ladder—linking earth and
heaven. The tower-symbol, given that it is enclosed and walled-in, is emblematic of the Virgin Mary, as can be seen in a great many allegorical designs and litanies
(14). Since the idea of elevation or ascent, implicit in the tower, connotes transformation and evolution, the athanor (the alchemists’ furnace) was given the
shape of a tower to signify inversely that the metamorphosis of matter implied a
process of ascension. Another symbol usually mentioned in this connexion is the
bronze tower in which Danae, the mother of Perseus, was imprisoned (48).
Finally we would point to the analogy between the tower and man: for just as the
tree is closer to the human figure than are the horizontal forms of animals, so, too,
is the tower the only structural form distinguished by vertically: windows at the
topmost level, almost always large in size, correspond to the eyes and the mind
of man. It is in this sense that the Tower of Babel acquired special symbolic point
as a wild enterprise bringing disaster and mental disorder (31). And, for the same
reason, the sixteenth enigma of the Tarot denotes catastrophe by the image of a
tower struck by lightning. However, it is possible to discover a dual tendency in
the symbolism of the tower. Its upward impulse may be accompanied by a
deepening movement; the greater the height, the deeper the foundations. Nietzsche
talked of descent during ascent. Nerval (in Aurélia, to be precise) refers to the
symbolism of the tower and says: ‘I found myself in a tower, whose foundations
were sunk so deep into the earth and whose top was so lofty, reaching up like a
spire into the sky, that my whole existence already seemed bound to be consumed
in climbing up and down it.’
To dream of seeing a tower, denotes that you will aspire to high elevations. If you climb one, you will succeed in your wishes, but if the tower crumbles as you descend, you will be disappointed in your hopes.
To see a tower in your dream, signifies high hopes and aspirations. If you are looking down from a tower, then it indicates that you have a perceived superiority over others. Your ego is inflated. Alternatively, a tower symbolizes the phallus.
To see a water tower in your dream, suggests that you are keeping your emotions inside. You may be unable to express your true feelings, especially feelings of love. Alternatively, a water tower indicates a false sense of security.
To dream that you are climbing a tower, denotes your quest for spirituality and unconscious ideas that may be surfacing.
To dream that a tower is falling or crumbling, heralds a drastic change ahead.
Seeing a tower in your dream means high hopes and aspirations. If you are looking down from a tower, then it suggests your perceived superiority over others. Your ego may also be inflated. Seeing a water tower in your dream, suggests that you are keeping your emotions inside. You may be unable to express your feelings, especially feelings of love. Alternatively, it indicates a false sense of security. Dreaming that you are climbing a tower indicates you quest for spirituality and unconscious ideas that may be surfacing.
Positive associations with this tarot card:
re-evaluation, necessary change, a blessing in disguise.
Negative associations with this tarot card:
sudden change, downfall, disruption, disaster.
After the Death card and the Devil, The Tower is likely to be the card that causes most fear and constenation. It's hard to find a positive side to this card, however, it tells you that the unexpected shock and upheaval of events will create new opportunities and make you a stronger and wiser person.
The Tower represents sudden and sometimes shocking changes in events and can often represent problems or delays relating to your home or the purchasing of home.
Whether material or emotional upset, this card encourages you to see that such upheavals can force new directions that can be more beneficial.
Negatively The Tower represents unecessary suffering. You may be falsely accused of something and suffer some form of imprisonment or isolation, or you may be the one causing the shock and change with a rebellious attitude.
The main thing to remember with this rather unpleasant card is that this phase will pass and that a new direction or new opportunities can be created from it.