Analysis for Ben Hur, 23 June 2002

This is how you described the room:

On the far wall of this room is painted a large tree with birds on its branches. The room's sole window is open, letting in a warm, salty breeze. Besides the iron-framed queen bed I awake in, there are no other furnishings, save for a small wooden treasure chest in the corner by the opened window.

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. 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 very swamp-like. Epiphytic mosses and ferns drape down from the large branches of the trees. These tall trees form a thick canopy, which blocks much of the light, making the forest dreary and forbidding.

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. The epiphytic plants, the hangers-on, suggest that the subject encountered a lot of adults that had no influence whatsoever because of their passive, ne’er-do-well lifestyle. A very dark forest tells us that the subject felt considerably oppressed by the attentions of the adults.

This is how you described the path:

There is little undergrowth in the forest, so the path is not blocked, although it is hard to see from years of un-use and from the lack of light.

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 water is slowly flowing in a creek, which bends around many trees. The area must experience floods often, because there is driftwood piled up in some places, which temporarily dams the water. In these spots, the water is covered with a thick foam.

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. Murky, dirty, or otherwise unclear water suggests that the subject has significant issues regarding sex.

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 military-issue canteen is halfway covered with debris. The canteen seems to be made out of a single sheet of metal, most likely aluminum.

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 left the cup behind.

The subject is not interested in marriage.

This is how you described the key:

The small key is made out of silver, and has a rounded head. However, there is no hole in the head for a keyring. This key looks like the type that would open a padlock or a locker.

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.