This is how you described the room:
There is a single chair, in which I am sitting. It is upholstered, but not overstuffed. The fabric is a pale grey. The room does not appear to have a door, but I assume it's behind me. It is lit by indirect lighting, whose source I cannot determine. The walls are a plain cream color, yet do not seem boring. There is a reddish-brown carpet on the floor.
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. 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 is a trail ahead of me. It curves away to the left, and out of sight within about 20 or 30 yards. The trees are a mixture of conifers and deciduous trees. There is undergrowth, but it is not impassable should I decide to leave the trail. It is sunny, although most of the sunlight is blocked by the thick tree cover.
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. Average-sized trees imply the normal influence adults have on a child: neither insignificant nor impressive.
This is how you described the path:
It appears to be clear enough, although there is no indication it has been used recently. The undergrowth is starting to encroach on it ever so slightly, but the path itself is mostly pebbles and doesn't show any growth.
Adolescence is represented by the path through the forest. The lack of evidence of fellow travelers suggests strong feelings of isolation at that time. The visibility of the path tells us that the subject had a good idea of what to expect from adolescence.
This is how you described the water:
It's a lake. It's moving against the rocky beach because there's a stiff breeze blowing. The beach seems shallow enough, but I get the feeling it drops off quickly once you get into the water. The water looks quite chilly.
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. A lake is usually a static body of water; in this case, there is motion from the wind. This suggests that the subject has a relatively inert sex drive, which only comes to life when influenced by external forces.
When you came to the water, you went around it.
The subject is not interested in new sexual experiences.
This is how you described the cup:
It's a hollowed out gourd. It's pale brown or tan. It looks clean enough to use, and if it's been there any length of time there is no sign of animal or insect interest in it.
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 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's not a modern key, but rather an old barrel-style key. It's made of brass, but isn't much larger than most Yale-type keys. It's quite shiny, and has a mildly ornate handle end.
What it unlocks, I have no idea. Since it's in the middle of a forest, it could be anything, anywhere.
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.