Analysis for Spamantha, 9 May 2005

This is how you described the room:

It's a small, warm, cozy room, decorated as a study. There are two bookshelves which each take up a wall. There is also a window, which gives a view of a grassy field. I am in a plush chair and there is a fire in the 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. The significant detail in the description of the room tells us that the subject has rich, lasting memories of childhood (96.60%). This comfortable room suggests a childhood that was pleasant (97.28%).

You wanted to leave the room.

The subject wanted to become an adult.

This is how you described the forest:

There is some light. The trees and nice and green, and there are maples and other deciduous trees. There is some underbrush but the forest is pretty open.

The forest is growing up, and the trees are those adults with whom the subject interacted at that time. That the forest is very bright tells us that the subject had extensive freedom while growing up (51.70%). Average-sized trees imply the normal influence adults have on a child: neither insignificant nor impressive (89.68%).

This is how you described the path:

There is a narrow dirt path. It is fairly clear, and the curves are gentle. The underbrush grows close to it, so if I am walking on it I brush the plants.

Adolescence is represented by the path through the forest. A narrow path suggests that the subject had limited options for emotional growth at this time (99.80%). The visibility of the path tells us that the subject had a good idea of what to expect from adolescence (55.11%). 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 (65.55%). That the path is free of obstructions indicates that the subject had no problems during adolescence (52.30%).

This is how you described the water:

It is either an ocean or a lake, I cannot tell, but it is big. It is incredibly blue and sparkling in the sun. The path gently slopes down to it. The water is comfortably cool and laps around my feet.

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 (100.00%). Slow, gently moving water suggests a passive, restrained, calm sex drive (99.03%).

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 cup is sort of shaped like a gourd, with two squashed spheres on top of one another, and a thin neck. It is green glass, and has a cork in the top. It looks old and is sort of dirty, and when I pick it up it is heavier than I expect it to be. Liquid sloshes around inside.

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 (99.97%).

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 is a silver key, a little larger than a normal key, and much heavier. It is very simple and shiny, and might open a chest.

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). Keys that allow access to treasure or other valuable things indicate that the subject is fixated on gaining wealth through a career (48.86%). An ordinary-looking key suggests that the subject desires a nondescript career (96.86%).

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.