This is how you described the room:
The room is moist and dark. It is exactly like my office in Florida, except for one detail which is puzzling: everything is mirror image. It's as if I'm working late, in the past, in some sort of alternate universe.
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. The items in the room are average, which tells us that the subject has the normal memories of childhood. We can ignore the mirror-image remark as it simply changes the aspect of the room, not its degree of furnishing.
You wanted to leave the room.
The subject wanted to become an adult.
This is how you described the forest:
The forest is populated with tropical trees, which strangely give way to evergreens and other trees of colder climes. There is no sign of wildlife, not even insects, though I keep expecting to meet a cloud of gnats.
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.
This is how you described the path:
The path, paved at first, fades to dirt and then to scrub - disappearing entirely under my feet into brambles and fallen, rotting branches.
Adolescence is represented by the path through the forest. That plants are the major source of obstructions tells us that the subject’s problems arose mostly from interactions with adults. The visibility of the path tells us that the subject had a good idea of what to expect from adolescence. That the path fades away may suggest that the subject became more confused as adolescence progressed.
This is how you described the water:
The path finally fades out on a hillside, and there is a brook, some fifteen feet across - shallow against smooth, reddish brown rocks. It looks as if it would be difficult to cross on the rocks - an experimental touch, and then a taste, reveals the water to be numbingly cold, as if melted snow.
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. Fast-moving water indicates a strong, active 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:
A crumpled, rusted steel beer can is half-embedded at the riverside. It is an ancient relic, a fragment of its lid showing it had been pierced long ago with a church-key. No paint or label remains; but as I pick it up I see a faint "Schlitz" embedded into its top.
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. That it is litter could indicate a negative overall view of marriage. (Lots of people have been making the container waste of some sort lately.)
You left the cup behind.
The subject is not interested in marriage.
This is how you described the key:
A sparkle in the path turns out to be a key, an odd barrel-shaped one. It looks like it might be the type used to open vending machines. Idly, I wonder if vending machines ever sold beer, long ago.
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). This vending machine key is unusual in both appearance and purpose; therefore, the subject is looking for a challenging, off-the-wall career.
You confronted the bear.
In a crisis, the subject prefers the direct, no-nonsense 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.