Analysis for Sarah, 2 May 2002

This is how you described the room:

The room is large, painted a warm pinkish-cream, with high ceilings and carved wooden coves. There are floor-to-ceiling windows along the right side. The windows are open and a slight breeze blows through them, gently ruffling the very sheer cream-colored curtains which cover them yet admit much light.

The floor is bare hardwood, well-buffed, with mahogany inlays around the edges in a geometric design.

In the center of the room is an ebony grand piano with the top open. On the piano are a single silver candlestick with a red taper and a small bouquet of cala lilies laying on its side at the base of the candlestick.

The room has a slight floral fragrance. There are no pictures on the walls and no other decoration.

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 comfortable room suggests a childhood that was pleasant. Note, however, the extreme precision of the description coupled with the minimalist decor: phrases such as “pinkish-cream,” “geometric design,” and “single silver candlestick” hint at a rigid, strict upbringing—a marshaled happiness. Few, simple furnishings tells us that the subject has few memories of that time.

You wanted to stay in the room.

The subject did not want to grow up.

This is how you described the forest:

The forest is moderately dense, although the fall-colored canopy is dwindling and allows dappled light to filter through in some areas. The trees are a mix of evergreen, oak and elm, some young and spindly and some old and thick-trunked. The floor of the forest is covered in a fairly-thick layer of pine needles and brightly-colored leaves.

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 well-lit forest tells us that the subject had considerable freedom at this time. Note that the light admitted to the forest floor is the result of the season, as if the adults were viewed as too old to place any significant restrictions on the subject.

This is how you described the path:

The path through the forest is seldom-traveled, by the looks of the forest floor which appears not to have been disturbed in quite some time. However, there appears to be a natural path through the trees, as some are spaced more widely-apart than others. The path follows the base of a slight incline or hill on the left side. At time, the path seems to disappear and the land flattens out.

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 lack of evidence of fellow travelers suggests strong feelings of isolation at that time. That the path is free of obstructions indicates that the subject had no problems during adolescence.

This is how you described the water:

The path leads to a small creek, approximately 2-3 feet deep on average. The entire area is shaded by the tall trees on either side. There are many rocks in the creek's bed, creating small whirlpools and little areas of white water as the water flows over and around the rock obstructions.

The water, itself, is very cold and clear. One can see to the bottom of the creek's bed through it. An old, rotted tree has fallen along the side and part-way into the creek, making a home for aquatic life. Tall grass and rocks covered with lichen line the far side.

The water is the subject’s sexuality. What interests us here is the clarity of the water (representing attitude) and its movement (representing libido). Fast-moving water indicates a strong, active 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:

The vessel appears to be made of pottery (clay). It is unglazed, terra cotta-colored with simple black and white design painted on it. It appears very old and there is a crack along the side of it. One of the two handles has broken off and is nowhere to be found.

The vessel, or specifically the practicality of the vessel, is how the subject approaches marriage or bonding. A container that is both decorative and practical indicates that the subject considers both romantic and pragmatic aspects of marriage. That the vessel is cracked could indicate a touch of cynicism about the institution.

You left the cup behind.

The subject is not interested in marriage.

This is how you described the key:

The key is an old-fashioned skeleton key, made of iron. It is approximately 6 inches long and is a bit weighty. While it appears to have once been quite engraved, much of the design has been obliterated by a thick layer of rust.

It looks, to my mind, like a key to an old iron gate which may have been part of the boundary to someone's property.

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. Old-fashioned keys suggest that the subject desires a traditional career. That this key may have been engraved at one point (decorative) could indicate that the subject vacillates between a traditional and a flashy 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.