The symbols of the masculine principle indicate immediate action, the initiation of a thing, a work, or a love.
The symbols of the feminine principle indicate the passive, which is not immediately achievable, but they cause something to sprout. They are awakening.
The masculine composes through involvement in events. The feminine composes through the intuition of events. The feminine is the night of events surpassing the vigil. It triggers awakening, toward the conception of things.
The feminine is the symbol of the night (passive); it unites with the day to form a day (action). Thus, the masculine is inseparable from the feminine, and vice versa. In essence, they form but one.
THE FEMININE PRINCIPLE
She is the representation of the feminine soul. It can take on the negative representation of the soul or of the inner mother who turns away from the normal goals of evolution and condemns the dreamer to regression: the witch, the prostitute, the drunkard, the nymphs, the black-haired woman, scenes of orgies, of pornography.
the dilapidated, wretched boats leading to mysterious places or onto reefs, the ghost ship, or the boat docked with no hope of departure.
Corrupt cities, symbolic towers of Babel, Babels. Generally, places remarkable for the vices to which they refer in the dreamer's mind.
Winter gardens, secret or misty.
Female statues with a malevolent, unsettling appearance, brimming with messages of vengeance.
Polluted, frozen, dangerous, engulfing, black, mysterious, and yet attractive waters. Sometimes, through the mist, one can hear songs that are all the negative aspects of the feminine principle; and which inevitably become the romantic relationship in a man's dream.
In other dream clichés, we encounter more reassuring female images. Representations of women are less threatening. Gazes soften, romantic poems are heard, a pretty passenger may appear on boats or barges, hair is colored: blonde, red, light brown; they are unknown but beautiful, often dressed in pale colors, but never in bright colors, checks, or florals; although sad, infirm, or unconscious, or even asleep, the dreamer is in love with them and still feels happy to devote himself to them. These clichés still promise a little happiness in the dreamer's life.
The princesses wake up, the crippled are healed, the unconscious revive, and the depressed become joyful. There are earthly declarations. Joyful cities appear, illuminated and sunlit, from which a great joie de vivre and prosperity seem to emanate.
Plains filled with light stretch out to infinity and reassure the dreamer about the direction of his life.
The waters become clear, crystalline, calm: one sees rivers appearing where a peaceful navigation circulates, the springs flow limpid, pure. Blinding jets of water, refreshing baths of clear water lighten the soul and revitalize it, houses surrounded by gardens that please the dreamer with the peace that emanates from them. The snows shine in the sun, the mountains are colored with life by the reflection of greenery. The statues protect and speak to the soul that is rebuilding itself. These clichés of dreams within a masculine dream indicate blossoming in love.
THE MASCULINE PRINCIPLE
It is a representation of the masculine soul or the inner father. It can take on a regressive or evolutionary aspect, or even hesitate between the two.
In a woman's dream, it often represents the lover or the husband. It is the animus.
The one that allows for social affirmation through confidence is a negative representation of the father. It denotes an inability to express one’s own opinions; one prefers to speak on behalf of someone else, and one lacks the will to externalize one’s projects. If one succeeds, it is in a form of cold, overly rigid authority, which then gives rise to a desire to dominate in a peremptory manner.
When the negative masculine principle influences dreams, one notices cars moving without a driver, trains advancing without a locomotive. In general, vehicles operate without a determined direction, boats get lost, or follow the current too easily.
The roads lead nowhere, the works that have been started are not completed, one does not reach one's goals. Aggressive actions end weakly without one succeeding in defending oneself, the bullets do not hit their target.
All objects used for ascending—ropes, ladders, staircases, elevators—are out of service.
The sun is hazy, the columns are broken or weak. At the same time, hordes of bandits, outlaws, killers, pirates, demons, sadistic men, and armies attacking the dreamer suddenly appear in dreams. Here are multiple symbols to speak of the negative masculine principle.
Men's behavior improves significantly. Then, in the dream images, muscular but somewhat primitive men appear: the wood Indians, the kind and devoted bandits. All the negative aspects become benevolent, devoted, even protective, without, however, shedding a somewhat unsettling appearance. One can see a sleeping man. At this stage, the inner man is not yet awake. The masculine aspect is still being copied, but it is on the path to affirmation, initially frustrated, still aggressive, but already present and protective.
Men’s groups are beaten down or no longer exist. The dreamer encounters her masculine soul. She thinks and acts with self-assured confidence. She appears warmer, and her inner principle awakens. She sees appear in her dreams knights, kings, aristocrats, rulers, and famous actors onto whom qualities of remarkable intelligence are projected, as well as heroes, astronauts, and pilots.
But she may even be seen performing masculine jobs. She no longer copies, is no longer the spectator who passively endures her life; she drives vehicles herself, thinks autonomously, and knows how to direct her own existence.
Prophetic post: the other so-called general symbols, the numbers of great importance, the colors, the musical ones, the archetypes, the inductive words, the ancient peoples, the top and the bottom, the recurring symbols.