This is how you described the room:
The room is large, with bright lights shining from an unknown direction. It feels strangely warm, but has no obvious source of the heat. It is mostly bare, with only the bed I am lying on, and a closed, shaded window off to my right.
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. No furnishings at all tells of either a complete absence of memories from that time or active suppression of said memories.
You wanted to leave the room.
The subject wanted to become an adult.
This is how you described the forest:
The forest is very dark, with most of the light vanishing as soon as you enter. I can hear birds far above, but the lower levels of the forest seem devoid of life. The trees are very tall, like Redwoods, and seem to go on forever. The dark, very dark green leaves cover the sky, with only a few tiny specks of light showing through.
The forest is growing up, and the trees are those adults with whom the subject interacted at that time. A very dark forest tells us that the subject felt considerably oppressed by the attentions of the adults. Very tall trees imply that the adults had a significant and substantial impact on the subject’s life.
This is how you described the path:
The path is desolate, barely visible. It has been left alone for many years. Decaying trees lie accross it, forcing you to step around them, onto the more muddy terrain beside the path.
Adolescence is represented by the path through the forest. That plants are the major source of obstructions tells us that the subject’s problems arose mostly from interactions with adults. The lack of evidence of fellow travelers suggests strong feelings of isolation at that time. Poor visibility of the path tells us the subject was often confused by the changes brought on by adolescence. A narrow path suggests that the subject had limited options for emotional growth at this time.
This is how you described the water:
The water is a lake. It is large, with two main sections. The first is the largest, and round, with rock formations around the edges and in the center. The second is attached to the side, and is longer forming a handle shape. The water flows from one side to the other here, on a slope.
The water is the subject’s sexuality. What interests us here is the clarity of the water (representing attitude) and its movement (representing libido). The movement of the water suggests a normal, average if somewhat playful sex drive.
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 is a traditional coffee flash. It has a reflective silver surface, with a yellow plastic cap that is also a cup. It's very clean, and very shiny, despite sitting so close to the muddy path.
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 a large key, and heavy. It seems to be made of brass. It has a plain shaft, but a moderately decorated handle. It looks like it would unlock some old chest, or perhaps a Grandfather Clock, or other old cabinate.
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. Having the key open a house, car, or other commonplace use tells us that the subject has no extraordinary 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 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.