This is how you described the room:
I am in stark, gray room. It is devoid of all furnishings or detail, except for a gray marble bench near one end. The temperature is warm, yet oddly draining due to the thermal properties of the room and its furnishing. Light comes in from the ceiling, possibly fluorescent. A faint humming can be heard.
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. No furnishings at all tells of either a complete absence of memories from that time or active suppression of said memories. That the room is superficially warm suggests that the subject pretended to have a happy childhood even though it was not.
You wanted to leave the room.
The subject wanted to become an adult.
This is how you described the forest:
The forest is filled with spring beech trees, as you might find in the Danish countryside. Their leaves are bright green. Their trunks are dark brown. And the light filtering down lends a soft yet intense green light to everything. It is stunning in its effect.
The forest is growing up, and the trees are those adults with whom the subject interacted at that time. A well-lit forest tells us that the subject had considerable freedom at this time. Average-sized trees imply the normal influence adults have on a child: neither insignificant nor impressive.
This is how you described the path:
The path is of medium width, sufficient to allow the passage of two people passing each other, if they step slightly to the side. There are no visible footprints, however.
Adolescence is represented by the path through the forest. The lack of evidence of fellow travelers suggests strong feelings of isolation at that time.
This is how you described the water:
The path cuts through a cleft in a small hillock, emptying out to the sea like a tributary of some stream. The water is choppy, with small white caps, probably stirred up by the heavy wind coming off the ocean.
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. Rushing, violent water indicates a powerful, vigorous, and quite possibly compulsive 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:
After swimming the ocean and throwing myself upon the beach on the other side, I gaze through tired eyes at a golden chalice. Simple in its construction, it is elegant yet bold. Perhaps it is a religious artifact.
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 but left it empty.
The subject is interested in marriage, but sex won’t be a significant part of that relationship.
This is how you described the key:
There is no drinking water nearby, so I leave the cup empty. Perhaps it can be returned to its rightful owner. Picking up the chalice, I spot a key. It is an old, iron key. Perhaps it unlocks a treasure chest hidden by local pirates.
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. Keys that allow access to treasure or other valuable things indicate that the subject is fixated on gaining wealth through a 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.