To dream that you or someone is lame, signifies disappointments and failures in realizing your hopes and desires. Ask yourself who or what is holding you back. You may have lost your confidence. Don't be afraid to ask for help when you need it.

For a woman to dream of seeing any one lame, foretells that her pleasures and hopes will be unfruitful and disappointing.

Dreaming that someone is lame means failure in realizing your hopes and desires and much disappointments. As yourself who or what is holding you back.

To dream of the past, suggests that a current waking situation is paralleling a past situation. You need to learn from the past and not make the same mistake again. Alternatively, the dream may represent unresolved issues from the past. Or that you need to stop living in the past and look forward toward the future.

To dream that you are happy, may be a compensatory dream and is often a dream of the contrary. You may be trying to compensate for the sadness or stress in your waking life.

Dreaming that you are happy, may be a compensatory dream and is often a dream of the contrary. You may be trying to compensate for the sadness or stress in your waking life.

To notice the earth in your dream, indicates that you need to be "grounded" and realistic. Perhaps your sense of stability and security is lacking. Consider the consistency of the earth for additional significance on how you are feeling. If the earth opens or separates, then it represents a project or relationship that you are afraid of falling into.

To see the planet Earth in your dream, signifies wholeness and global consciousness. You are interconnected with the world.

Seeing the earth in your dream means wholeness and global consciousness. It may also symbolize the sense of being "grounded" and your need to be realistic.

To remember something in your dream, indicates that you have learned something significant from your past mistakes or previous experiences. The dream may also serve as a reminder of something important that is occurring in your waking life. You are so worried that you will forget something that the preoccupation has made its way into your dream.

The symbolism of objects varies with the kind of object in question.
But, broadly speaking, every object consists of a material structure with certain
unconscious elements adhering to it (31). The fact that these forgotten or repressed constituents should reappear in a new medium—the object—enables the
spirit to accept them in a form different from the original. Utensils in particular
are possessed of a mystic force which helps to strengthen the intensity and the
rhythm of human volition. Thus, Schneider maintains that such instruments fulfil
a triple rôle: they are cultural instruments, instruments of labour and finally
reflections of the harmonious soul of the universe. The drinking-vessel, for instance, is a sacrificial vessel and also a drum. The blow-pipe is both a flute and a
magic whistle, etc. (50). Such ideas as these, concerned with the primitive notion
of an object, have lately been resuscitated by artistic movements such as Dadaism
and surrealism. By depicting objects in common use as if they were works of art,
Marcel Duchamp removed them from the context of their merely utilitarian function (their only function according to Western ways of thinking) and showed
them in the light of their true essence, since that essence is revealed only in their
uselessness (freed from the necessity to serve some useful purpose). He showed
that it was possible to see in a bottle-stand, for instance, the very mystic structure that governed the Gothic spires rising in the form of a cage, or the lamps in
Islamic mosques with their multiple, descending hoops; and that all the foregoing
are related to the hollow pyramid of the Primitives (a symbol of the ‘conjunction’
of earth—or the mother—with fire—or the spirit), and also to the artificial mountain and the geometric temple. The form of the object, then, fulfils an essential
rôle in determining the symbolism; thus, all those symbols which take the form of
a twin bell, with the upper bell placed upside down on the lower—for example,
the twin drum or the hour-glass—are closely related to the corresponding graphic
symbol: the letter X, or the cross of St. Andrew (symbolic of the intercommunication between the Upper and the Lower Worlds). Objects that are simple in form
and function usually correspond either to the active or to the passive groups; in
other words, they represent either the contents or the receptacle. For instance:
the lance (which is made to pierce) and the cup or chalice (whose sole function is
to contain). The parallel between this classification and the division of the sexes
is self-evident; but to limit the symbolic relevance of a given object to this sexual
implication is to mutilate seriously its true symbolism. The ‘conjunction’ of the
feminine and masculine principles within a complex object, specially if this object
is—as in the case of a machine—endowed with movement, enables us to carry the sexual parallel a stage further and to characterize it as a kind of secularized lingam.
The ‘objects of symbolic function’ of the surrealists were nothing but the practical illustration of this allusive reality, strengthened by the fetishistic character of
the objects illustrated in their compositions. It was Lautréamont in Les Chants de
Maldoror who best described this shifting of the symbolic significance of objects
towards their generic grouping in his remark: ‘beautiful as the chance-finding of an
umbrella and a sewing-machine on a dissecting table’. As always, a symbol of
integration such as this can be taken either on the cosmic plane or at the existential
and sexual level. In the latter case, the umbrella would be a merely phallic representation, the machine would stand for the cteis, and the dissection-table would
be an illustration of the bed. On the cosmic plane, the umbrella is the cosmic
serpent, the machine is the jaguar, and the table is the universe. At the same time,
objects owe part of their significance to their origins: objects fallen from heaven,
such as aerolites and meteorites for example, partake of the sacred character of
Uranus and constitute a symbol of the power of the celestial deities (17). Submarine objects, on the other hand, possess a viscous and abysmal quality betokening
their irrational nature and their aptness for the expression of all that is base and
unconscious. Sacred objects are so by virtue of their associations—as in the case
of attributes or emblems for instance, or their origins—such as the legendary
palladium of Troy, the Salian shields of Rome, the Hebrew Ark of the Covenant,
etc. (28). To come back now to the broadest of generalizations, alongside their
specific symbolism deriving from their form, function, character, origin, colour
and so on, objects in themselves are always symbols of the world: that is, they are
particular expressions of a material order which expounds both the blind irrational force of continuity and the structural pattern defining the object as opposed
to the subject. Finally we would mention that an elaborate application of the
theory of correspondences would demonstrate the serial structure of objects and
suggest a way of reconciling their ‘character’ with the principles governing the
two essential prototypes of the serial arrangement of the universe: that based
upon the number seven, or the planetary prototype; and twelve, or the zodiacal
model. The incomplete character of such forms of symbolic expression has been
apparent to man since the earliest times, and for this reason the attempt was made
to discover objects which could be invested with great symbolic power by means
of the combination and juxtaposition of various ingredients, which were usually
‘noble’ in character, but were occasionally bizarre or even base—as was the case,
for example, with the alchemic preparation known as ‘prime matter’. The aim
was to endow the object with all the powers inherent in the several planes of
cosmic reality. An example of a ‘complete object’ of this kind is the sword in the Grail legend: its pommel was a precious stone of many colours, each colour
representing a particular virtue; its haft was composed of the bones of strange
beasts.