Analysis for Ryan, 26 April 2000

This is how you described the room:

The room is quite small with two desks. The many-paned window looks out on a small garden. The room is generally cold, except near the fireplace, which the maid keeps burning constantly.

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. That the one warm spot in the room was the responsibility of another person may indicate that the subject sought sanctuary in the arms of a trusted adult. The depth of description tells us that the subject has strong memories of childhood.

You wanted to leave the room.

The subject wanted to become an adult.

This is how you described the forest:

The forest has mostly middle-aged oak trees. The light doesn't filter through and the leaves give a greenish tint to the light. There is no underbrush whatsoever, and the dirt is fine and powdery.

The forest is growing up, and the trees are those adults with whom the subject interacted at that time. Average-sized trees imply the normal influence adults have on a child: neither insignificant nor impressive. 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 path is difficult to follow because there is no growth to mark the edges of the path. Many footprints appear in the dirt, but without a navigational aid (such as a GPS system, or a compass) you cannot really tell which way to go.

Adolescence is represented by the path through the forest. Poor visibility of the path tells us the subject was often confused by the changes brought on by adolescence. 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.

This is how you described the water:

This small stream provides the first view of the sky in quite some time. The natural stream has washed away all the powdery dirt and runs over very smooth stones. The water feels like it come from melted snow. It tastes pure, but it probably contains many organisms just waiting to make you sick. Did you bring your filter bottle?

The water is the subject’s sexuality. What interests us here is the clarity of the water (representing attitude) and its movement (representing libido). Slow, gently moving water suggests a passive, restrained, calm sex drive. The clarity of the water would normally tell us that the subject has no issues regarding sex; however, the subject fears biological contamination—does this indicate a pathological fear of the dangers of sexual intimacy?

When you came to the water, you crossed it.

The subject is open to new sexual experiences.

This is how you described the cup:

The vessel is an earthenware mug with a light glaze. The mug-maker didn't decorate the mug, so it is a glossy, grey color. The inside of the mug is still wet, but doesn't have enough liquid left to drink.

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.

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:

The key hasn't been in the dirt long -- it hasn't oxidized at all. The key fits a Schlage, six-pin lock -- probably someone's front door, and maybe the back, too. The peaks on the key don't show much sign of wear.

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. An ordinary-looking key suggests that the subject desires a nondescript 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.