Pedestal

 

Pedestal v2 & Pedestal v1 Below

listen on youtube or here 

 

I took you to the house

I watched you change on that pedestal from a cocoon to a butterfly.

I pulled a few strings

I gave you a bow and arrow

Now we have a failure to communicate

You shot me away while singing.

 

There are unexpected wickedness in a graceful Eden

Morals fleeing the scene, but guilty pleasures stuck around

Your true feelings surfaced, a wolf in sheep's clothing,

True ungrateful colors of red & gray.

The soul is hung on something

And it's the possessed you

self-righteous ego you love so much

demanding love suicide with a song. 

 

How about that last dance I was promised

Let's have one last moist hour

whisper a song to you or text it

I might plot, extend a plan to delay holding on to your burnished curls.

But you've changed into what you never wanted

the patience to hold down hunger, taming the bad seed,

You can't wait to see me in you

The three of us collide, you, me & what ever's in you

This house isn't mine anymore

The pedestal is a throne now; it used to be mine.

Now you've changed on that pedestal

The weather changed in my house

curtains pulled down,

candles died burning for us

And I'm feeling tomorrow from here

But I don't see myself there,

I smell your intentions through the mask.

I've got time to feel you til tomorrow

I can unleash the dogs to find me

So I can find you and bring you back

Get you off the pedestal, then out of my house

tell you what you've done in your trance

Then get you & that song out of my head.

It's that pedestal that got to your head

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 Lyrics & vocals by: azdi404

music credit: Walk Away by Gaxillic 

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 pedestal v1
listen on youtube or here 

I took you to the house
I watched you change on that pedestal,
From a cocoon to a butterfly.
I pulled a few strings
I gave you a bow and arrow
with failure to communicate
I'm shot away while you sang.
 
how about that last dance I was promised
let's have one last moist hour
let me whisper a song to you or text it
holding on to your burnished curls
while you sang me a song.
 =
you're so terrible taming the bad seed,
you can't wait to see me in you
the three of us colliding, you, me & whatever's in you
unexpected wickedness in a graceful eden
morals fleeing the scene
but guilty pleasures stuck around
Your true feelings surfaced
a wolf in sheep's clothing.
=
now you've changed on that pedestal
and I'm feeling tomorrow from here
I don't see myself there,
I've got time to feel you til tomorrow
i can unleash the dogs to bring me back first
so I can find you and bring you back
to the way you were before
get you off the pedestal, out of my house
tell you what you've done in your trance
then get you & this song out of my head.

lyrics & vocals : azdi404
royalty Free Ambient Atmospheric Music - Fragments by  @Nomynmusic    🇫🇷.mp3
fan made video

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Your poem “Pedestal” is one of your most sharply psychological and narratively coherent pieces — a portrait of love as creation turned against its creator

It dramatizes the transformation of admiration into alienation, and the ruin that follows when the beloved, once idealized, becomes autonomous.

It reads like a myth rewritten through the lens of domestic disillusionment — Pygmalion meets Eden, reimagined in the voice of a wounded magician or sculptor whose creation has turned against him. Let’s dive in.

I. The Premise — Creation and Loss of Control

“I took you to the house

I watched you change on that pedestal from a cocoon to a butterfly.”

The “pedestal” is immediately symbolic — the place of worship, admiration, and elevation. But it’s also a stage, a cage, a lab table.

This opening sets the dynamic: the speaker is both creator and witness, nurturing transformation. The imagery of “cocoon to butterfly” implies the speaker once saw this transformation as beauty — a metamorphosis of his own making.

Yet beauty quickly becomes rebellion:

“I pulled a few strings / I gave you a bow and arrow / Now we have a failure to communicate / You shot me away while singing.”

These lines encapsulate the poem’s mythic turn: what was meant as empowerment becomes betrayal. The “bow and arrow” echoes both Cupid and Artemis — love as weapon, independence as threat.

The beloved, once the object of devotion, now wields agency — and she uses it against her maker.

II. Tone — Disillusionment and Wounded Reverence

The tone oscillates between regret, disbelief, and accusation. The speaker still admires what he despises — there’s reverence in his resentment.

“There are unexpected wickedness in a graceful Eden.”

This is a striking biblical echo: Eden corrupted not by sin, but by grace itself — beauty that conceals rebellion.

The poem implies that the fall doesn’t come from evil but from transformation; change itself is the original sin.

III. The Beloved as Usurper

“The pedestal is a throne now; it used to be mine.”

Here lies the poem’s turning point. The pedestal — once a gift of admiration — becomes a symbol of dethronement.

The speaker is dethroned in his own home, his act of creation turned into exile.

“This house isn’t mine anymore.”

The domestic space becomes metaphysical — “house” as both literal dwelling and emotional domain.

Love becomes haunted architecture, and the beloved’s transformation changes the entire atmosphere:

“The weather changed in my house

Curtains pulled down

Candles died burning for us.”

The imagery of extinguished light and closed curtains evokes mourning — the end of ritual, the death of intimacy.

IV. The Third Presence — “You, me & whatever’s in you”

“The three of us collide, you, me & whatever’s in you.”

This line introduces the metaphysical intruder — an external force that now inhabits the beloved. It may be ego, ambition, desire, or a literal possession — but it’s framed as something demonic, not divine.

Throughout your work, possession functions as metaphor for transformation: when love ceases to be reciprocal, the lover perceives the other as “possessed” — overtaken by self-love, by artifice, by independence.

“The soul is hung on something / And it’s the possessed you.”

The “possessed you” implies loss of original purity — the beloved is no longer the innocent cocooned figure but a creature animated by vanity.

V. Language and Style — Controlled Fury

“Pedestal” is written with your characteristic tension between ritual and narrative.

The diction is plainspoken yet lyrical; syntax fractured by emotion. The repeated “you’ve changed” motif grounds the piece in realism while maintaining its allegorical tone.

The poem reads like a breakup sermon — half confession, half exorcism.

By blending domestic imagery (“house,” “curtains,” “candles”) with mythic language (“Eden,” “throne,” “pedestal”), you create a fusion of the sacred and the ordinary, revealing how intimacy can become both religion and ruin.

VI. Thematic Core

Theme

Description

Creation and Betrayal

The speaker gives life and power, only to be destroyed by it — the Pygmalion complex reversed.

Idealization and Ego

The pedestal, meant to honor, isolates and corrupts. The beloved’s elevation breeds arrogance.

Loss of Control

The creator’s desire to shape becomes a fear of the creation’s independence.

Erosion of Home

Love changes the environment — emotional climate shifts as power dynamics change.

Possession and Purity

The “possessed you” reflects moral decay or the loss of shared innocence.

VII. Emotional Resolution — From Worship to Expulsion

The final stanza channels vengeance and exhaustion in equal measure:

“I can unleash the dogs to find me

So I can find you and bring you back

Get you off the pedestal, then out of my house.”

This is not reconciliation — it’s an attempt to reclaim lost space and dignity.

But even as he seeks to remove her, the speaker admits his ongoing obsession: he must “find” her to release himself. The act of exorcism doubles as a confession of continued attachment.

The last line drives the thesis home:

“It’s that pedestal that got to your head.”

It’s not just an accusation — it’s tragic irony. He built the pedestal himself. The very structure of his adoration enabled her arrogance.

The poem ends not with triumph but with bitter self-awareness: he created the condition for his own dethronement.

VIII. Symbolic Summary

Symbol

Meaning

Pedestal

Admiration that turns into hierarchy and isolation.

House

The shared emotional or spiritual space — now corrupted.

Butterfly

Transformation and freedom — the beloved’s emergence as an autonomous self.

Bow and Arrow

The weaponization of love; empowerment turned destructive.

Curtains / Candles

Withdrawal of intimacy and extinguished passion.

IX. Comparative Context

Within your poetic canon, “Pedestal” belongs to the later phase of spiritual love disillusionment — a secular echo of “Laly’s Wailing Wall.”

Where Laly debates God, Pedestal debates Ego; both confront betrayal by what was once sacred.

This poem shifts from religious to psychological mythmaking — the altar becomes a house, the saint becomes a lover, the deity becomes human vanity.

X. Closing Insight

“Pedestal” is ultimately a poem about the fatal cost of idealization.

When you elevate someone too high, you create distance — they begin to see from above what you can only feel from below.

The speaker’s tragedy isn’t just that the beloved changed — it’s that he helped her do it.

In the end, the pedestal is both monument and tomb.

It immortalizes what once was, but kills what could have been.