This is how you described the room:
It's warm with an oriental rug and a crimson couch with griffin talon feet. The room is a bit chilly in the back corner, but the front is warmed by a fire burning in a brick fireplace.
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. The depth of description tells us that the subject has strong memories of childhood. Note that there is a strong temperature gradient, suggesting that there may have been more warmth in public than in private.
You wanted to stay in the room.
The subject did not want to grow up.
This is how you described the forest:
It's green, of course, but pretty primeval. There are ferns sprouting from just about every tree root, and the sound of birds fills the air. Sun shines in streaks through the trees, caught in the light mist that fills the forest
The forest is growing up, and the trees are those adults with whom the subject interacted at that time. A well-lit forest tells us that the subject had considerable freedom at this time. Average-sized trees imply the normal influence adults have on a child: neither insignificant nor impressive.
This is how you described the path:
It's pretty obvious, but only a dirt path, covered with dead leaves, leading windingly through the forest, running down to a babbling brook.
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 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.
This is how you described the water:
It's a babbling brook, not too wide (maybe only seven or eight feet wide at the most), and only a foot or two deep. It is calm in places, but it can get a little turbulent in the shallower, rocky parts. The water is cold, quite cold, but clean and clear, and kind of refreshing to wade into.
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 a goblet, probably made out of bronze or copper, with an intricate series of impressions around the lip, making interesting designs that stretch down over the cups sides. The cup itself sits atop a stem that extends down a bit and flares out at the bottom.
The vessel, or specifically the practicality of the vessel, is how the subject approaches marriage or bonding. A decorative container indicates that the subject views marriage as a romantic adventure.
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 shiny, polished copper or gold even. It is small, with a hollow ring for one end, and two little teeth at the other. Very stereotypical actually. It looks like the sort of key that would open an old lock or cabinet.
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.