It appears, on first and subsequent listens that this narrator tries to rekindle what was once there. Perhaps trying to be again what he once was. However, the object of his affections wants to progress, move forward. And Sufjan's use of "scenery" like a play, seems to indicate that he is staging things. Showing her a false image of himself. Therefore if it suffocates her, he tells her he'll recast it. Change things but not reveal the truth of things.
However, the refrain seems to indicate that he's aware that she is going to leave and he in fact encourages it. Perhaps seeing in her a ghost, a remembrance of things that once were. Also, it goes into the dichotomy of him trying to build something and her wishing for momentum.
In the second verse we find him again as the carpenter, the carrier. Him wanting to bring love and liveliness. However, his edges (the rough aspects of his personality) are too sharp for her. He in himself brings is the poison to the cure he wishes to provide. A pest who wishes to be something else.
In the second refrain we have him once again dueling with his desires. At once wishing to bring her happiness, love but also realizing that he has no power over her own desires. And that's what was so enchanting, her breeziness. Once again, we have a room for them to speak alone, akin to the scene of the past he'd rebuild but they both grieve/suffocate her. It's like the saying "If it's meant to be, release it and it will come back to you".
He then goes on to talk of the keepsakes, the four anointing oils and interestingly a paper weight. First, the anointing oils goes back to Christianity, also her enchanting ghost has a vague parallel to the Holy Ghost, God's agent of grace. Perhaps he views her as his grace? Also, the paperweight is meant to keep things in place. To make sure papers stay secure. And, oils once exposed evaporate and disappear. Again with two dueling impulses. One that keeps things in place. One, a fragrance that is wonderful but vanishes.
We also have him telling her that he hasn't carried them. But his bringing them up signifies importance. He hasn't buried/discarded them in the name of love lost. I think this ties in nicely with the last refrain.
In the last refrain we have him for the first time telling her not to go. Don't leave. He wants to feel again that spirit he adores. Wants to get as close as he can by laying down to rest next to the host. This also goes to Sufjan's previous song "Vito's Ordination Song" with the lines, "Rest in my arms, sleep in my bed." That being a more spiritual song than this but an allusion or call-back to that same desire of wanderers. The desire to find home, closeness. But then we have him coming back to his senses and telling her to go if she wishes. Because, at heart, he understands that she is like the oils, the relationship anointed and lovely but ultimately vanishing.
It appears, on first and subsequent listens that this narrator tries to rekindle what was once there. Perhaps trying to be again what he once was. However, the object of his affections wants to progress, move forward. And Sufjan's use of "scenery" like a play, seems to indicate that he is staging things. Showing her a false image of himself. Therefore if it suffocates her, he tells her he'll recast it. Change things but not reveal the truth of things.
However, the refrain seems to indicate that he's aware that she is going to leave and he in fact encourages it. Perhaps seeing in her a ghost, a remembrance of things that once were. Also, it goes into the dichotomy of him trying to build something and her wishing for momentum.
In the second verse we find him again as the carpenter, the carrier. Him wanting to bring love and liveliness. However, his edges (the rough aspects of his personality) are too sharp for her. He in himself brings is the poison to the cure he wishes to provide. A pest who wishes to be something else.
In the second refrain we have him once again dueling with his desires. At once wishing to bring her happiness, love but also realizing that he has no power over her own desires. And that's what was so enchanting, her breeziness. Once again, we have a room for them to speak alone, akin to the scene of the past he'd rebuild but they both grieve/suffocate her. It's like the saying "If it's meant to be, release it and it will come back to you".
He then goes on to talk of the keepsakes, the four anointing oils and interestingly a paper weight. First, the anointing oils goes back to Christianity, also her enchanting ghost has a vague parallel to the Holy Ghost, God's agent of grace. Perhaps he views her as his grace? Also, the paperweight is meant to keep things in place. To make sure papers stay secure. And, oils once exposed evaporate and disappear. Again with two dueling impulses. One that keeps things in place. One, a fragrance that is wonderful but vanishes.
We also have him telling her that he hasn't carried them. But his bringing them up signifies importance. He hasn't buried/discarded them in the name of love lost. I think this ties in nicely with the last refrain.
In the last refrain we have him for the first time telling her not to go. Don't leave. He wants to feel again that spirit he adores. Wants to get as close as he can by laying down to rest next to the host. This also goes to Sufjan's previous song "Vito's Ordination Song" with the lines, "Rest in my arms, sleep in my bed." That being a more spiritual song than this but an allusion or call-back to that same desire of wanderers. The desire to find home, closeness. But then we have him coming back to his senses and telling her to go if she wishes. Because, at heart, he understands that she is like the oils, the relationship anointed and lovely but ultimately vanishing.