Awake and asleep,
Sometimes when I'm awake.
I watch the world,
Shift and change,
By a feeling,
A state of being,
A cosmic heart,
beating with mine,
Beyond space and time,
Countless heart beats,
All in sink and rhyme.
All things that flow and grow were regarded in early religions as a symbol
of life: fire represented the vital craving for nourishment, water was chosen for its
fertilizing powers, plants because of their verdure in spring-time. Now, all—or
very nearly all—symbols of life are also symbolic of death. Media vita in morte
sumus, observed the mediaeval monk, to which modern science has replied La vie
c’est la mort (Claude Bernard). Thus, fire is the destroyer, while water in its
various forms signifies dissolution, as suggested in the Psalms. In legend and
folklore, the Origin of life—or the source of the renewal of the life forces—takes
the form of caves and caverns where wondrous torrents and springs well up (38).
In the vertical scheme of the human body, the focal points are three in
number: the brain, the heart and the sexual organs. But the central point is the
heart, and in consequence it comes to partake of the meanings of the other two.
The heart was the only part of the viscera left by the Egyptians in the mummy,
since it was regarded as the centre indispensable to the body in eternity; for all
centres are symbols of eternity, since time is the motion of the periphery of the
wheel of phenomena rotating around the Aristotelian ‘unmoved mover’. In traditional ways of thought, the heart was taken as the true seat of intelligence, the
brain being merely instrumental (25); hence, in ancient attempts to explain the
profound and continuing analogies between concepts, the moon was said to
correspond to the brain and the sun to the heart. All representations of the
‘Centre’ have been related in some way to the heart, either through correspondences or through substitution, as in the case of the goblet, the coffer and the
cavern. For the alchemists, the heart was the image of the sun within man, just as
gold was the image of the sun on earth (32). The importance of love in the mystic
doctrine of unity explains how it is that love-symbolism came to be closely linked
with heart-symbolism, for to love is only to experience a force which urges the
lover towards a given centre. In emblems, then, the heart signifies love as the
centre of illumination and happiness, and this is why it is surmounted by flames,
or a cross, or a fleur-de-lis, or a crown (4).
To see your heart in your dream, signifies truth, courage, love, and romance. It is representative of how you are currently dealing with your feelings and expressing your emotions. Also consider the saying "the heart of the matter" which implies that you may need to get down to the core of a situation before proceeding.
To see a winged heart in your dream, represents the power of love and its ability to penetrate through to anyone.
To dream that your heart is bleeding or aching, represents desperation, despair, extreme sadness and sympathy. You are lacking support or love in some a situation in your life.
To dream that you have a heart transplant or heart surgery, indicates a huge change in your personal relationship. Perhaps you are involved in a rebound relationship.
To dream of your heart paining and suffocating you, there will be trouble in your business. Some mistake of your own will bring loss if not corrected.
Seeing your heart, foretells sickness and failure of energy.
To see the heart of an animal, you will overcome enemies and merit the respect of all.
To eat the heart of a chicken, denotes strange desires will cause you to carry out very difficult projects for your advancement.
Seeing your heart in your dream means truth, courage, love, and romance. It is representative of how you are currently dealing with your feelings and expressing your emotions. Also consider the saying "the heart of the matter" which implies that you may need to get down to the core of a situation before proceeding.
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 planets constitute a particular order within the cosmos. It is the
business of the science of astronomy to study them from a naturalistic and
mathematical point of view, upon the basis of the system which Copernicus
established with his De Revolutionibus Orbium Coelestium of 1543, according to
which the sun is the centre around which are set the orbits of the planets: Mercury, the nearest, followed by Venus, Earth, Mars, the Asteroids, Jupiter, Saturn,
Uranus, Neptune (and Pluto). But astrology and traditional symbolism owe their
inspiration not to the Copernican system but to that which had been accepted by
the Ancients. Since the validity of the symbolism here depends exclusively upon
a process of catasterism (that is, the projection of a given mental order into the
celestial order, or the interpretation of a ‘series’ capable of explaining phenomena
in the psychological and spiritual world) it is unnecessary for us to examine the
complex question of how far the Ptolemaic system (in part confirmed by the
Theory of Relativity) can be reconciled with the Copernican. At the same time,
the fact of there being seven planets responds to the idea of the seven planetary
heavens, which in turn tallies with that of the seven Directions or areas in space
(which in turn, when transposed into terms of time, becomes the origin of the
seven days of the week). The relationship of the planets to the seven points in
space is as follows: Sun—the zenith, Moon—the nadir, Mercury—the centre,
Venus—the West, Mars—the South, Jupiter—the East, and Saturn—the North
(54). The order in which astrology places the planets—counting the Sun and the
Moon also as planets—is as follows, taking the Earth as the centre and then
proceeding from the nearest to the farthest: Moon, Mercury, Venus, the Sun,
Mars, Jupiter, Saturn (Uranus and Neptune, although these two are not generally
counted). The sex of these entities is clearly established so far as Venus, Mars,
Jupiter and Saturn are concerned. Mercury appears as both masculine and androgynous. The Sun and the Moon have interchanged their sex through the ages,
according to the culture of the period. The mystic basis of the planetary myth is
to be sought in the generalization of Varro to the effect that the planets are
celestial bodies and, at the same time, generators of life (7). Each of these generating powers has a characteristic sphere of action, which is its ‘heaven’, and the
influence of this ‘heaven’ spreads out through the interpenetrating zones of space.
Planetary symbolism reaches its highest degree of complexity in its relationship
to the Zodiac; whereas the Zodiac symbolizes the grades and phases of a given
cycle of creation, the planetary ‘series’ expresses rather the pattern of the moral
world. The theory of ‘correspondences’, applied to the planets, educes a complex system wherein each planet is seen as a particular ‘mode’ endowed with a
specific characteristic, and related to one particular Sense, or a metal, a perfume,
or a plant, for example. It is more important, however, to grasp the connexion of
each planet with a given virtue or tendency: thus, the Sun is related to the will and
to activity, the Moon to imagination and the world of forms, Mars to action and
destruction, Mercury to intuition and movement, Jupiter to good judgement and
direction, Venus to love and relationships, Saturn to endurance and reserve. However, the fundamental tendencies of these qualities are sometimes negative and
sometimes positive. Ely Star suggests the following arrangement, in accordance
with the principles of evolution and spiritualization: Sun—potential good, Moon—
potential evil, Mercury—duality and, consequently, free will, Venus—objective
good, Mars—objective evil, Jupiter—subjective good, Saturn—subjective evil.
The planets are thus divided into two zones, one luminous and the other dark,
both of them necessary to the cycle of existence; these zones correspond to the
clear and dark sections respectively of the Chinese symbol of universal flux—the
Yang-Yin (54). Mertens-Stienon has studied the planetary powers in their theogonic
aspect, proceeding from the outside inward, so that the most distant becomes the
oldest and the most ‘primitive’ of the gods: Uranus engenders Saturn (celestial
space creates time), and the reign of Saturn is succeeded by the constructive order
of Jupiter; next comes the offspring of Jupiter—Mars (the active principle),
Venus (the passive) and Mercury (the neutral) (40). From the symbolic point of
view, this evolutive series draws the inquirer inwards, concentrating itself within
the human spirit, since the spirit is the microcosm which reflects the macrocosmic
universe. The importance of the planetary archetypes is apparent in the persistent influence of Graeco-Roman mythology, for it was the classic myths that
most clearly and forcibly expressed their inner meaning; as Jean Seznec (53) has
shown, these myths continued in popularity throughout the Christian culture of
the Middle Ages and the Renaissance unopposed by the Church, since it perceived their symbolic and psychological truth. Waldemar Fenn maintains that
there are certain prehistoric engravings which contain groups of four and of three
component elements and that these drawings correspond to planetary configurations. The popular art of the Nordic races, of course, keeps to this division of the spheres—essential from the psychological viewpoint—into two groups: an inner
group of three factors and an outer one of four. Given the equation of the planets
with the seven Directions of Space (as we have previously outlined), then the
inner group (disposed along the vertical axis) would comprise the series of SunMercury-Moon, while the outer, equivalent to the cardinal points, relates to
Venus-Mars-Jupiter-Saturn. This suggests that, as components of the human
spirit, the three central ingredients have more importance and greater influence
than the outer four, since the latter concern the square and the symbolism of
situation and limitation (as with the tetramorphs), whereas the former constitute
the very psychic dynamism of the ternary order, comprehending the active, the
passive and the neuter.
Dreaming about planets could represent desire to explore either our internal world or the world of our egos (the external or physical world). Planets could also represent deeper things such as the way that we relate to ourselves. They can say something about the relationship that exists between our soul and ego. An orbiting planet could represent your ego. It is travelling around the sun (i.e. soul) and the entire thing could be a huge circle that is you.
To dream that you are awake, denotes that you will experience strange happenings which will throw you into gloom.
To pass through green, growing fields, and look upon landscape, in your dreams, and feel that it is an awaking experience, signifies that there is some good and brightness in store for you, but there will be disappointments intermingled between the present and that time.
To dream that you are in a mine, suggests that you are getting to the core of an issue or condition. Alternatively, it indicates that something from your unconscious is coming to the surface. The dream may also be a metaphor to claim what is "mine".
To dream of being in a mine, denotes failure in affairs.
To own a mine, denotes future wealth.
Dreaming that you are in a mine means that you are getting to depth or core of an issue or condition. It also forewarns that will fail in your endeavors. Dreaming that you own a mine means future riches.
To dream that you are beaten, indicates that you need to make some fundamental changes to your character. You need to make some conscious adjustments and evaluations. Alternatively, it suggests that someone is pushing you beyond your limits.
To see others being beaten, suggests that some part of your life is out of balance.
To dream that you are beating someone, indicates that you are shoving your own views and opinions on others.
Dreaming that you are beaten indicates that you need to make some fundamental changes to yourself. You need to make some conscious adjustments and evaluations. Dreaming of others being beaten, suggests that some part of your life is out of balance.