Analysis for Cas, 2 January 2003

This is how you described the room:

The room is bright, and comfortably cold. It is all in black and white. Two Matisse paintings hang on either side of the window. There is a desk in the far corner.

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. The depth of description tells us that the subject has strong memories of childhood. Note, however, the lack of color, suggesting the memories are austere and lifeless.

You wanted to leave the room.

The subject wanted to become an adult.

This is how you described the forest:

The forest is dark, but beautiful. There is a surreal feel to the trees, which do not seem of this world. They have a dark, twisted bark, and as I walk closer, they whisper towards me.

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. Note, however, the trees are “twisted,” suggesting that the relationship may not have been healthy. 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 long, and twisted. I had to move many branches and leaves to see the actual path. It seems as though no one has traveled it in a very long time. Quite a few thorn bushes grasp onto my pant leg as I walk.

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 plants are the major source of obstructions tells us that the subject’s problems arose mostly from interactions with adults.

This is how you described the water:

It is a creek, moving, but quiet. There are rocks of different sizes inside and lining it, most are wet from the water falling over them. It is bright and clear, sparkling in what sun breaks through the canopy of branches above. It looks shallow, but speaks of untold depth.

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. Clear water tells us that the subject has no 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:

The flask is made of dark dried leather, and is a copper charcoal color. There is a curled design on it. The flask is opened by a black cork-like stopper, which is held to it by a shiny chain. The chain seems unnatural fastened to the old-world type drinking vessel.

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.

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:

The key is medium sized and heavy, seemingly made from iron or another metal like it. There is a detailed and intricate design on the handle of the key, and upon closer examination, I see that the same design is engraved all over the key's surface. I believe it opens a box.

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. Decorative keys suggest that the subject wants an attention-grabbing, one-of-a-kind 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.