This is how you described the room:
It's a large room, but it feels a little claustrophobic, like the ceiling is too low. It's cold, and fairly dark and dingy, but not without life (good life, not creepy life). It's furnished mostly with old, embellished wood furniture, the kind with faded, musty smelling, but well-loved upholstery. The decorations are mostly mirrors and sconces, simple decorations against an ornate but faded wallpaper.
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. The items in the room are average, which tells us that the subject has the normal memories of childhood.
You wanted to stay in the room.
The subject did not want to grow up.
This is how you described the forest:
It's a sunny day, but the trees filter out most of the light, like twilight. The trees are tall, with medium-sized trunks, and no branches until about 50 feet up them, and then the trees have large, leafy canopies. The trees are some kind of pine.
The forest is growing up, and the trees are those adults with whom the subject interacted at that time. A semi-dark forest tells us that the subject felt somewhat oppressed by the attention the adults gave. Tall trees imply that the adults had a strong influence on the subject.
This is how you described the path:
It's a thin, well-traveled path, visible, but it still manages to be covered in grass. It's straight through the trees.
Adolescence is represented by the path through the forest. That the path is free of obstructions indicates that the subject had no problems during 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. The visibility of the path tells us that the subject had a good idea of what to expect from adolescence. A narrow path suggests that the subject had limited options for emotional growth at this time. The grass covering the path is incidental.
This is how you described the water:
It's a clear, small stream, bubbling loudly over rocks and cataracts. You could jump over it in a large leap, if you tried.
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. The movement of the water suggests a normal, average if somewhat playful sex drive.
When you came to the water, you crossed it.
The subject is open to new sexual experiences.
This is how you described the cup:
It's just a small wooden cup, carved with a knife, and well-used.
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 an old, ornate key that looks like it belongs in the room I found myself in in the beginning. It looks like it might unlock a garden gate, or a cellar door.
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). Decorative keys suggest that the subject wants an attention-grabbing, one-of-a-kind career. Indicating that the key accesses something along the path (the subject’s history) suggests that a career is to solve a life-problem.
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.