Analysis for deuxanges, 21 November 1998

This is how you described the room:

I see a cold room furnished, albeit sparsely, all in beige. The sofa, carpet and even the drapes covering a closed window, are all beige. It's not comfortable in here.

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. An uncomfortable room suggests a childhood that was devoid of happiness. Few, simple furnishings tells us that the subject has few memories of that time.

You wanted to leave the room.

The subject wanted to become an adult.

This is how you described the forest:

There are row after row of tall pines on each side of the trail. The trees are so tall and thick, they prevent much light from shining through. Even so, I see many colorful wild flowers growing amongst the trees.

The forest is growing up, and the trees are those adults with whom the subject interacted at that time. Tall trees imply that the adults had a strong influence on the subject. A semi-dark forest tells us that the subject felt somewhat oppressed by the attention the adults gave.

This is how you described the path:

The gravel path is a good width for several friends to walk through side-by-side. It is fairly well-traveled. I see some skid marks in a few places, perhaps where someone once ran and skidded to a stop (or fell).

Adolescence is represented by the path through the forest. The visibility of the path tells us that the subject had a good idea of what to expect from adolescence. A wide path indicates that the subject had numerous options for emotional growth at this time. The strong evidence of fellow travelers tells us that the subject received a lot of support from friends and family during that potentially troubling time. That the path is free of obstructions indicates that the subject had no problems during adolescence.

This is how you described the water:

It is a clean, clear river. The trees have thinned around here, and sunlight is pouring through. I feel a bit warm now, and decide to wade in the water. It is very cool. A bunch of little fish come swarming around my toes.

The water is the subject’s sexuality. What interests us here is the clarity of the water (representing attitude) and its movement (representing libido). The movement of the water suggests a normal, average if somewhat playful sex drive. Clear water tells us that the subject has no issues regarding sex. The presence of life in or around the water indicates a strong desire for children.

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 is a glass (crystal?) goblet. It is multi-faceted, has a tinge of rose on the top edge and looks exquisite. I can't see why it would be left behind like this.

The vessel, or specifically the practicality of the vessel, is how the subject approaches marriage or bonding. A decorative container indicates that the subject views marriage as a romantic adventure.

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:

It is an antique looking key (but surprisingly untarnished) and has interesting designs, Celtic perhaps? It looks like it might open some kind of chest. I wonder what it has inside...

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). Having the key open a house, car, or other commonplace use tells us that the subject has no extraordinary expectations about a career. Decorative keys suggest that the subject wants an attention-grabbing, one-of-a-kind career.

You avoided the bear.

In a crisis, the subject prefers the indirect, non-confrontational approach.

When you came to the wall, you tried to go around it.

The wall represents death: by trying to walk around it, the subject shows an acknowledgment of death, but also a need for an alternative to its finality, such as an afterlife or reincarnation.