This is how you described the room:
The room is freezing. I am well covered by the thick comforter that I have tucked under my feet, arms and shoulders in my sleep as the night grew colder and colder. I am on an enormous bed; enormous because I like to have a lot of space in bed, and I sleep diagonally across it because I am tall. There are many pillows, and a book is lying face-down on one of the corners of the bed upon which I am NOT lying. I know that placing a book in this manner is bad for the spine, but I was exhausted when I finally permitted myself to put the book down and sleep.
The initial room is the subject’s childhood. What interests us here is the general atmosphere of the room, in addition to the level of furnishings described by the subject. This room is neither comfortable nor uncomfortable; this suggests the subject had a bland, uninspiring childhood. The depth of description tells us that the subject has strong memories of childhood. The problem here is that we have a conflict of images: one of the freezing room, and one of the cozy bed.
You wanted to stay in the room.
The subject did not want to grow up.
This is how you described the forest:
The trees are narrow and straight and grouped thickly together. The bark of the trees is grey mostly, with patches of brown. The leafy cover is not exactly sparse, but it is not so thick as to block out all the light. It's almost autumn, and the ground is littered with leaves in beautiful colors, and moistened deadwood sprouting fungi.
The forest is growing up, and the trees are those adults with whom the subject interacted at that time. Average lighting tells us that the subject received enough attention from the adults to be guided but not oppressed. Small trees imply that the adults had a weak influence on the subject.
This is how you described the path:
The path is tramped down in the leaves, but it's not as clear as one might like. It's a footpath, and it is not easy going.
Adolescence is represented by the path through the forest. A few, scattered obstructions indicate the occasional problem in adolescence, but nothing consistent nor insurmountable. The lack of evidence of fellow travelers suggests strong feelings of isolation at that time. Poor visibility of the path tells us the subject was often confused by the changes brought on by adolescence. A narrow path suggests that the subject had limited options for emotional growth at this time.
This is how you described the water:
The water tumbles against rocks, carrying along some of the fallen leaves. It's pretty and clear, and not moving too swiftly to traverse. It's natural, and the rocks along the bottom are smooth and pretty from years of being washed by the waters. It smells very fresh and cool.
The water is the subject’s sexuality. What interests us here is the clarity of the water (representing attitude) and its movement (representing libido). Clear water tells us that the subject has no issues regarding sex. The movement of the water suggests a normal, average if somewhat playful sex drive.
When you came to the water, you crossed it.
The subject is open to new sexual experiences.
This is how you described the cup:
It's a metal canteen in an olive green pouch with a nylon strap of the same color. It was probably gotten in some army surplus or second-hand shop. It is devoid of rust, so it was well-cared for and has obviously not been here for too long. The canvas is wet and there was a salamander perched on it before I scared it off with my curiosity.
The vessel, or specifically the practicality of the vessel, is how the subject approaches marriage or bonding. A practical container indicates that the subject is pragmatic when it comes to questions of marriage. As for the salamander, I’m going to go out on a limb here and say it represents the desire for children. (Normally the presence of life in the water above—fish, frogs, &c—implies children. But then, from where would the salamander come?)
You took the cup and filled it.
The subject is interested in marriage, and sex will be a significant part of that relationship.
This is how you described the key:
The key is bright and shiny and silver. It has a lavender ribbon threaded through the eyelet, and it looks like it could open any number of things. Mostly it looks like a pristine and new version of a very old design.
The key is the ideal career for the subject. What interests us here is how the key appears (representing how others view the career) and what it may open (representing the subject’s goals for the career). Old-fashioned keys suggest that the subject desires a traditional career. Versatile keys tell us that the subject has numerous but unfocused expectations about a career.
You avoided the bear.
In a crisis, the subject prefers the indirect, non-confrontational approach.
When you came to the wall, you jumped over it.
The wall represents death: by jumping over it, the subject not only acknowledges death but has come to accept its finality.