There is an apparent contradiction in the symbolism of the pyramid. In the first place, in megalithic culture and in European folklores which have
preserved its memory, it is symbolic of the earth in its maternal aspect. Pyramids
with Christmas decorations and lights, moreover, express the twofold idea of
death and immortality, both associated with the Great Mother. But this concerns
the pyramid only in so far as it is a hollow mountain, the dwelling of ancestors
and an earth-monument. The pyramid of stone, of regular geometrical shape,
corresponds to fire, at any rate in the Far East (4). Marc Saunier has suggested the
right approach to a more precise understanding of the problem. He regards the
pyramid as a synthesis of different forms, each with its own significance. The
base is square and represents the earth. The apex is the starting-point and the
finishing-point of all things—the mystic ‘Centre’ (Nicholas of Cusa, in his disquisitions, concurs with this interpretation). Joining the apex to the base are the
triangular-shaped faces of the pyramid, symbolizing fire, divine revelation and
the threefold principle of creation. In consequence, the pyramid is seen as a
symbol expressing the whole of the work of creation in its three essential aspects.

To see a pyramid in your dream, symbolizes longevity and stability. You have built a solid foundation for success. Alternatively, the dream suggests that major changes will occur over a short period of time.

To dream that you are climbing a pyramid, indicates that you will find gratification and fulfillment through perseverance.

To dream of pyramids, denotes that many changes will come to you.

If you scale them, you will journey along before you find the gratification of desires. For the young woman, it prognosticates a husband who is in no sense congenial.

To dream that you are studying the mystery of the ancient pyramids, denotes that you will develop a love for the mysteries of nature, and you will become learned and polished.

Seeing pyramids in your dream means that many new and major changes will be occurring in a short amount of time. It is a symbol of longevity, stability, and a firm foundation. Dreaming that you are climbing a pyramid indicates that you will wander aimlessly for awhile before finding the gratification of your desires.

To see a kitten in your dream, represents a transitional phase toward independence. Alternatively, the dream symbolizes innocence and purity.

For a woman to dream of a beautiful fat, white kitten, omens artful deception will be practised upon her, which will almost ensnare her to destruction, but her good sense and judgment will prevail in warding off unfortunate complications. If the kittens are soiled, or colored and lean, she will be victimized into glaring indiscretions.

To dream of kittens, denotes abominable small troubles and vexations will pursue and work you loss, unless you kill the kitten, and then you will overcome these worries.

To see snakes kill kittens, you have enemies who in seeking to injure you will work harm to themselves.

Seeing a white kitten in your dream means deceit and trouble. Seeing non-white or soiled kittens, indicates trouble ahead for you.

Man comes to see himself as a symbol in so far as he is conscious of his
being. Hallstatt art, in Austria, shows fine examples of animal-heads with human
figures appearing above them. In India, in New Guinea, in the West as well, the
bull’s or ox’s head with a human form drawn between the horns is a very common
motif. Since the bull is a symbol for the father-heaven, man comes to be seen as
both his and the earth’s son (22), also, as a third possibility, the son of the sun and
the moon (49). The implications of Origen’s remark: ‘Understand that you are
another world in miniature and that in you are the sun, the moon and also the
stars’, are to be found in all symbolic traditions. In Moslem esoteric thought, man
is the symbol of universal existence (29), an idea which has found its way into
contemporary philosophy in the definition of man as ‘the messenger of being’;
however, in symbolic theory, man is not defined by function alone (that of
appropriating the consciousness of the cosmos), but rather by analogy, whereby
he is seen as an image of the universe. This analogical relationship is sometimes
expressed explicitly, as in some of the more ancient sections of the Upanishads—
the Brihadaranyaka and the Chandogya for instance—where the analogy between the human organism and the macrocosmos is drawn step by step by means
of correspondences with the organs of the body and the senses (7). So, for
example, the components of the nervous system are derived from fiery substance, and blood from watery substance (26). These oriental concepts first
appear in the West during the Romanesque period: Honorius of Autun, in his Elucidarium (12th century) states that the flesh (and the bones) of man are
derived from the earth, blood from water, his breath from air, and body-heat from
fire. Each part of the body relates to a corresponding part of the universe: the
head corresponds to the heavens, the breath to air, the belly to the sea, the lower
extremities to earth. The five senses were given analogies in accordance with a
system which came to Europe, perhaps, from the Hebrews and the Greeks (14).
Thus, Hildegard of Bingen, living in the same period, states that man is disposed
according to the number five: he is of five equal parts in height and five in girth; he
has five senses, and five members, echoed in the hand as five fingers. Hence the
pentagram is a sign of the microcosmos. Agrippa of Nettesheim represented this graphically, after Valeriano, who drew the analogy between the five-pointed star
and the five wounds of Christ. There is a relationship, too, between the organic
laws of Man and the Cistercian temple (14). Fabre d’Olivet, following the Cabala,
maintains that another number closely associated with the human being is nine—
the triple ternary. He divides human potentialities into three planes: those of the
body, of the soul or life and of the spirit. Each of these planes is characterized by
three modes: the active, the passive and the neutral (43). In the Far East, also,
speculation about the symbolism of man began very early. The same kind of
triple ternary organization is to be seen in the ancient teachings of the Taoists
(13). It is also interesting to note that there is a relationship between the human
being and the essential or archetypal animals (the turtle, the phoenix, the dragon
and the unicorn) who appear to bear the same relation to man—who is central—
as the tetramorphs do to the Pantokrator. Now, between man as a concrete
individual and the universe there is a medial term—a mesocosmos. And this
mesocosmos is the ‘Universal Man’, the King (Wang) in Far Eastern tradition,
and the Adam Kadmon of the Cabala. He symbolizes the whole pattern of the
world of manifestation, that is, the complete range of possibilities open to mankind. In a way, the concept corresponds to Jung’s ‘collective unconscious’. According to Guénon, Leibniz—perhaps influenced by Raymond Lull—conceded
that every ‘individual substance’ must contain within itself an integral reproduction of the universe, even if only as an image, just as the seed contains the totality
of the being into which it will develop (25). In Indian symbolism, Vaishvânara, or
the ‘Universal Man’, is divided into seven principal sections: (1) The superior,
luminous spheres as a whole, or the supreme states of being; (2) the sun and the
moon—or rather, the principles to which they pertain—as expressed in the right
and the left eye respectively; (3) the fire-principle—the mouth; (4) the directions
of space—the ears; (5) the atmosphere—the lungs; (6) the intermediary zone
between earth and heaven—the stomach; (7) the earth—the natural functions or
the lower part of the body. The heart is not mentioned, because, being the ‘centre’
or dwelling-place of Brahma, it is regarded as being beyond the ‘wheel’ of things
(26). Now, this concept of the ‘Universal Man’ implies hermaphroditism, though
never specifically. For the concrete, existential human being, in so far as he is
either a man or a woman, represents the dissected ‘human’ whole, not only in the
physical sense but also spiritually. Thus, to quote the Upanishads: ‘He was, in
truth, as big as a man and a woman embracing. He divided this atman into two
parts; from them sprang husband and wife.’ In Western iconography one sometimes finds images which would seem to be echoes of this concept (32). A human
couple, by their very nature, must always symbolize the urge to unite what is in
fact discrete. Figures which are shown embracing one another, or joining hands, or growing out of roots which bind them together, and so on, symbolize ‘conjunction’, that is, coincidentia oppositorum. There is a Hindu image representing the
‘joining of the unjoinable’ (analogous to the marriage of fire and water) by the
interlinking of Man and Woman, which may be taken to symbolize the joining of
all opposites: good and bad, high and low, cold and hot, wet and dry, and so on
(32). In alchemy, Man and Woman symbolize sulphur and mercury (the metal).
In psychology, level-symbolism is often brought to bear upon the members of the
body, so that the right side corresponds to the conscious level and the left to the
unconscious. The shapes of the parts of the body, depending upon whether they
are positive or negative—whether they are protuberances or cavities—should be
seen not only as sex-symbols but also in the light of the symbolism of levels. The
head is almost universally regarded as a symbol of virility (56). The attitudes
which the body may take up are of great symbolic importance, because they are
both the instrument and the expression of the human tendency towards ascendence
and evolution. A position with the arms wide open pertains to the symbolism of
the cross. And a posture in the form of the letter ‘X’ refers to the union of the two
worlds, a symbol which is related to the hour-glass, the ‘X’ and all other symbols
of intersection (50). Another important posture is that of Buddha in the traditional iconography of the Orient, a posture characteristic also of some Celtic gods
such as the so-called ‘Bouray god’ or the famous Roquepertuse figure. This
squatting position expresses the renunciation of the ‘baser part’ and of ambulatory movement and symbolizes identification with the mystic centre.

To see a man in your dream, denotes the aspect of yourself that is assertive, rational, aggressive, and/or competitive. Perhaps you need to incorporate these aspects into your own character. If the man is known to you, then the dream may reflect you feelings and concerns you have about him.

If you are a woman and dream that you are in the arms of a man, then it suggests that you are accepting and welcoming your stronger assertive personality. It may also highlight your desires to be in a relationship and your image of the ideal man.

To see an old man in your dream, represents wisdom or forgiveness. The old man may be a archetypal figure who is offering guidance to some daily problem.

To dream of a man, if handsome, well formed and supple, denotes that you will enjoy life vastly and come into rich possessions. If he is misshapen and sour-visaged, you will meet disappointments and many perplexities will involve you.

For a woman to dream of a handsome man, she is likely to have distinction offered her. If he is ugly, she will experience trouble through some one whom she considers a friend.

Seeing a man in your dream indicates the masculine aspect of yourself - the side that is assertive, rational, aggressive, and/or competitive. If the man is known to you, then the dream may reflect you feelings and concerns you have about him. If you are a woman and dream that you are in the arms of a man, suggests that you are accepting and welcoming your stronger assertive personality . It may also highlight your desires to be in a relationship and your image of the ideal man. Seeing an old man in your dream, represents wisdom or forgiveness.

All different kinds of people clutter our dream landscape. The men in your dream may include family members or total strangers. You may dream about your father, son, husband, or friend and should interpret the dream according to its details. A man, particularly the father figure, may represent collective consciousness and the traditional human spirit. He is the Yang and his energy, when mobilised, creates the earthly realities. Depending on the details of the dream, the masculine figure could be interpreted as the Creator or Destroyer. At times, women dream about men that are strangers to them. These men may represent the women's unconscious psychic energy. At times, a strange and ominous man in men's dreams could represent their "shadow" or their negativity and darker sides of personality.

Of the utmost importance in symbolism, both in connexion with
their distinguishing features, their movement, shapes and colours, and because of
their relationship with man. The origins of animal symbolism are closely linked
with totemism and animal worship. The symbolism of any given animal varies
according to its position in the symbolic pattern, and to the attitude and context
in which it is depicted. Thus the frequent symbol of the ‘tamed animal’ can
signify the reversal of those symbolic meanings associated with the same animal
when wild. In the struggle between a knight and a wild or fabulous animal—one of
the most frequent themes in symbolism—the knight’s victory can consist either
in the death or in the taming of the animal. In Chrétien de Troyes’ mediaeval
romance, Yvain, the hero is assisted by a lion. In the legend of St. George, the
conquered dragon serves its conqueror. In the West, some of the earliest references to animal symbolism are found in Aristotle and in Pliny, but the most
important source is the treatise Physiologus, written in Alexandria in the 2nd
century A.D. Another important contribution was made one or two centuries
later by Horapollo, with his two treatises on Hieroglyphica, based on Egyptian
symbolism. From these sources flows a stream of mediaeval animal symbolism
which produced such notable bestiaries as that of Philip of Thaun (A.D. 1121),
Peter of Picardy and William of Normandy (13th century); or the De Animalibus,
attributed to Albertus Magnus; Libre de les besties of Raymond Lull; and
Fournival’s Bestiaire d’Amour (14th century). The primitives’ view of animals,
as analysed by Schneider (50), is mirrored in all these works, namely that while
man is an equivocal, ‘masked’ or complex being, the animal is univocal, for its
positive or negative qualities remain ever constant, thus making it possible to
classify each animal, once and for all, as belonging to a specific mode of cosmic
phenomena. More generally, the different stages of animal evolution, as manifested by the varying degrees of biological complexity, ranging from the insect and
the reptile to the mammal, reflect the hierarchy of the instincts. In Assyrian and
Persian bas-reliefs, the victory of a higher over a lower animal always stands for
the victory of the higher life over the lower instincts. A similar case is in the
characteristic struggle of the eagle with the snake as found in pre-Columbian
America. The victory of the lion over the bull usually signifies the victory of Day
over Night and, by analogy, Light triumphing over Darkness and Good over Evil.
The symbolic classification of animals is often related to that of the four Elements. Animals such as the duck, the frog and the fish, however much they may
differ one from the other, are all connected with the idea of water and hence with
the concept of the ‘primal waters’; consequently, they can stand as symbols of
the origin of things and of the powers of rebirth (37, 9). On the other hand, some animals, such as dragons and snakes, are sometimes assigned to water, sometimes
to earth and sometimes even to fire (17). However, the most generally accepted
classification—which is also the most fundamentally correct—associates aquatic
and amphibious animals with water; reptiles with earth; birds with air; and mammals (because they are warm-blooded) with fire. For the purposes of symbolic
art, animals are subdivided into two categories: natural (often in antithetical
pairs: toad/frog, owl/eagle, etc.) and fabulous. Within the cosmic order, the latter
occupy an intermediate position between the world of fully differentiated beings
and the world of formless matter (50). They may have been suggested by the
discovery of skeletons of antediluvian animals, and also by certain beings which,
though natural, are ambiguous in appearance (carnivorous plants, sea urchins,
flying fish, bats), and thus stand for flux and transformism, and also for purposeful evolution towards new forms. In any event, fabulous animals are powerful
instruments of psychological projection. The most important fabulous animals
are: chimaera, sphinx, lamia, minotaur, siren, triton, hydra, unicorn, griffin, harpy,
winged horse, hippogryph, dragon, etc. In some of these the transmutation is a
simple one, and clearly positive in character—such as Pegasus’ wings (the spiritualization of a lower force)—but more often the symbol is a consequence of a
more complex and ambiguous process of the imagination. The result is a range of
highly ambivalent symbols, whose significance is heightened by the ingrained
belief in the great powers exercised by such beings as well as in the magic importance of abnormality and deformity. In addition, there are animals which, while
hardly or not at all fabulous in appearance, are credited with non-existential or
supernatural qualities as the result of a symbolic projection (for example, the
pelican, phoenix, salamander). There is a fragment by Callimachus on the Age of
Saturn, in which animals have the power of speech (this being a symbol of the
Golden Age which preceded the emergence of the intellect—Man—when the
blind forces of Nature, not yet subject to the logos, were endowed with all sorts
of extraordinary and exalted qualities). Hebrew and Islamic traditions also include
references to ‘speaking animals’ (35). Another interesting classification is that of
‘lunar animals’, embracing all those animals whose life-span includes some kind
of cyclic alternation, with periodic appearances and disappearances (18). The
symbolism of such animals includes, in addition to the animal’s specific symbolic
significance, a whole range of lunar meanings. Schneider also mentions a very
curious primitive belief: namely, that the voice of those animals which can be said
to serve as symbols of heaven is high-pitched if the animal is large (the elephant,
for example), but low-pitched if the animal is small (as the bee); while the converse is true of earth-symbol animals. Some animals, in particular the eagle and the lion, seem to embody certain qualities, such as beauty and the fighting spirit,
to such an extent that they have come to be universally accepted as the allegorical
representations of these qualities. The emblematic animals of Roman signa were:
eagle, wolf, bull, horse and wild boar. In symbolism, whenever animals (or any
other symbolic elements) are brought together in a system, the order of arrangement is always highly significant, implying either hierarchical precedence or relative position in space. In alchemy, the descending order of precedence is symbolized by different animals, thus: the phoenix (the culmination of the alchemical
opus), the unicorn, the lion (the necessary qualities), the dragon (prime matter)
(32). Symbolic groups of animals are usually based on analogical and numerical
patterns: the tetramorphs of Western tradition, as found in the Bible, are a fundamental example; another example would be the Chinese series of the four benevolent animals: the unicorn, phoenix, turtle and dragon. The following animals occur
particularly in Romanesque art: the peacock, ox, eagle, hare, lion, cock, crane,
locust and partridge (50). Their symbolic meaning is mainly derived from the
Scriptures or from patristic tradition, though some meanings, arising from analogy, such as that between cruelty and the leopard, are immediately obvious (20).
The importance in Christianity of the symbols of the dove, the lamb and the fish
is well known. The significance of the attitudes in which symbolic animals are
depicted is usually self-evident: the counterbalancing of two identical—or two
different— animals, so common in heraldry, stands for balance (i.e. justice and
order, as symbolized for instance by the two snakes of the caduceus); the animals
are usually shown supporting a shield or surmounting the crest of a helmet. Jung
supports this interpretation with his observation that the counterbalancing of the
lion and the unicorn in Britain’s coat of arms stands for the inner stress of
balanced opposites finding their equilibrium in the centre (32). In alchemy, the
counterbalancing of the male and the female of the same species (lion/lioness, dog/
bitch) signifies the essential contrast between sulphur and mercury, the fixed and
the volatile elements. This is also the case when a winged animal is opposed to a
wingless one. The ancient interest in animals as vehicles of cosmic meanings, over
and above the mere fact of their physical existence, persisted from the earliest
beginnings of the Neolithic Age up to as late as 1767, with the publication of such
works as Jubile van den Heyligen Macarius. This treatise describes processions
in which each symbolic chariot has a characteristic animal (the peacock, phoenix,
pelican, unicorn, lion, eagle, stag, ostrich, dragon, crocodile, wild boar, goat, swan,
winged horse, rhinoceros, tiger and elephant). These same animals, together with
many others (such as the duck, donkey, ox, owl, horse, camel, ram, pig, deer stork, cat, griffin, ibis, leopard, wolf, fly, bear, bird, dove, panther, fish,-snake
and fox) are those mainly used also as watermarks in papermaking. The use of
watermarks, undoubtedly mystical and symbolic in origin, spread throughout the
Western world from the end of the 13th century onwards. All the above particular
symbolic uses rest on a general symbolism of animals, in which they are related to
three main ideas: the animal as a mount (i.e. as a means of transport); as an object
of sacrifice; and as an inferior form of life (4). The appearance of animals in
dreams or visions, as in Fuseli’s famous painting, expresses an energy still undifferentiated and not yet rationalized, nor yet mastered by the will (in the sense of
that which controls the instincts) (31). According to Jung, the animal stands for
the non-human psyche, for the world of subhuman instincts, and for the unconscious areas of the psyche. The more primitive the animal, the deeper the stratum
of which it is an expression. As in all symbolism, the greater the number of objects
depicted, the baser and the more primitive is the meaning (56). Identifying oneself
with animals represents integration of the unconscious and sometimes—like immersion in the primal waters—rejuvenation through bathing in the sources of life
itself (32). It is obvious that, for pre-Christian man (as well as in amoral cults),
the animal signifies exaltation rather than opposition. This is clearly seen in the
Roman signa, showing eagles and wolves symbolically placed on cubes (the
earth) and spheres (heaven, the universe) in order to express the triumphant
power of the force of an instinct. With regard to mythic animals, a more extensive
treatment of this subject is to be found in the Manual de zoología fantástica of
Borges y Guerrero (Mexico and Buenos Aires, 1957), in which such creatures are
characterized as basically symbolic and, in most cases, expressive of ‘cosmic
terror’.

To see animals in your dream, represent your own physical characteristic, primitive desires, and sexual nature, depending on the qualities of the particular animal. Animals symbolize the untamed and uncivilized aspects of yourself. Thus, to dream that you are fighting with an animal signifies a hidden part of yourself that you are trying to reject and push back into your subconscious. Refer to the specific animal in your dream.

To dream that animals can talk, represent superior knowledge. Its message is often some form of wisdom. Alternatively, a talking animal denotes your potential to be all that you can be.

To dream that you are saving the life of an animal, suggests that you are successfully acknowledging certain emotions and characteristics represented by the animal. The dream may also stem from feelings of inadequacy or being overwhelmed. If you are setting an animal free, then it indicates an expression and release of your own primal desires.

To see lab animals in your dream, suggest that an aspect of yourself is being repressed. You feel that you are not able to fully express your desires and emotions. Alternatively, it suggests that you need to experiment with your fears, choices, and beliefs. Try not to limit yourself.

To see a bullet or bullets in your dream, indicate anger and aggression directed at you or someone else. You need to be cautious on what you say and do. Your actions and words may easily be misinterpreted. Alternatively, the dream may be telling you that you need to "bite the bullet" and accept some difficult situation.

To dream of being hit by a bullet, suggests that you need to persevere and endure the difficult times.

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).

To dream of a certain place in your dream, is telling of your inner state of mind. Consider the feel, the appearance, and the coloring of the place. Also consider your own personal feelings and memories with that particular place.

To think, in a dream, that some one has taken your seat, denotes you will be tormented by people calling on you for aid. To give a woman your seat, implies your yielding to some fair one's artfulness.

A feminine symbol (32) which, notwithstanding, contains all the implications of the symbolic hole, since it is the door which gives access to the hole; its
significance is therefore the antithesis of the wall. There is the same relationship
between the temple-door and the altar as between the circumference and the
centre: even though in each case the two component elements are the farthest
apart, they are nonetheless, in a way, the closest since the one determines and
reflects the other. This is well illustrated in the architectural ornamentation of
cathedrals, where the façade is nearly always treated as if it were an altar-piece.

To dream that you are entering through a door, signifies new opportunities that are presented before you. You are entering into a new stage in your life and moving from one level of consciousness to another. In particular, a door that opens to the outside, signifies your need to be more accessible to others, whereas a door that opens into the inside, denotes your desire for inner exploration and self-discovery.

To see an opened door in your dream, symbolizes your receptiveness and willingness to accept new ideas/concepts. In particular, to see a light behind the door, suggests that you are moving toward greater enlightenment/spirituality.

To dream that the door is closed or locked, signifies opportunities that are denied and not available to you or that you have missed out on. Something or someone is blocking your progress. It also symbolizes the ending of a phase or project. In particular, if you are outside the locked door, then it suggests that you have anti-social tendencies. If you are inside the locked door, then it represents harsh lessons that need to be learned.

To dream that you are locking the door, suggests that you are closing yourself off from others. You are hesitant in letting others in and revealing your feelings. It is indicative of some fear and low self-worth. If someone slams the door in your face, then it indicates that you are feeling shut out or some activity or that you are being ignored.

To see revolving doors in your dream, suggests that you are literally moving in circles and going nowhere. You may feel that your opportunities and choices lead to a dead end.

To dream of entering a door, denotes slander, and enemies from whom you are trying in vain to escape. This is the same of any door, except the door of your childhood home. If it is this door you dream of entering, your days will be filled with plenty and congeniality.

To dream of entering a door at night through the rain, denotes, to women, unpardonable escapades; to a man, it is significant of a drawing on his resources by unwarranted vice, and also foretells assignations.

To see others go through a doorway, denotes unsuccessful attempts to get your affairs into a paying condition. It also means changes to farmers and the political world. To an author, it foretells that the reading public will reprove his way of stating facts by refusing to read his later works.

To dream that you attempt to close a door, and it falls from its hinges, injuring some one, denotes that malignant evil threatens your friend through your unintentionally wrong advice. If you see another attempt to lock a door, and it falls from its hinges, you will have knowledge of some friend's misfortune and be powerless to aid him.

Dreaming that you are entering through a door means new opportunities that will be presented before you. You are entering into a new stage in your life and moving from one level of consciousness to another. In particular, a door that opens to the outside means your need to be more accessible to others, whereas a door that opens into the inside indicates your desire for inner exploration and self-discovery. Seeing opened doors in your dream, symbolizes your receptiveness and willingness to accept new ideas/concepts. In particular, to see a light behind it suggests that you are moving toward greater enlightenment/spirituality. Dreaming that the doors are locked means opportunities that are denied and not available to you or that you have missed out on. In particular, if you are outside the locked door, then it suggests that you are having some anti-social tendencies. If you are inside the locked door, then it represents harsh lessons that need to be learned. Dreaming that you are locking doors, suggests that you are closing yourself off from others. You are hesitant in letting others in and revealing your feelings. It is indicative of some fear and low self-worth. Seeing revolving doors in your dream, suggests that you are literally moving in circles and going no where. You may feel that your opportunities and choices lead to a dead end.

Doors are passageways and in our dreams that is their symbolism. Going through a door may represent going from one state of consciousness to another, or from one inner plane to another. Locked or closed doors may represent an obstacle or opportunities that are not currently available to you. Many doors may represent your current choices.