performed. No writer, no catalogue, no reception, no container. One line sits in another language and is a short image rather than a passage, so the text is not a translation and reads as written.

Visceral: +25. Honest accounting, wished ending.

A narrator asks another party for help separating right from wrong inside himself, and admits in the same breath that his problems are kept out of sight below the house and that a group of friends carries the same load. A returning passage names what he wanted to be to his family and states that he wanted to stand against his own wrongdoing, which he calls by its name, while conceding that what he actually brings the person he loves is refusal to look at it. The song ends by repeating what he wanted to be.

acknowledged. No real public figures appear. Nothing is quoted; every line below describes the situation in original language. TERM CHECK, run before the axes because a misreading here would move the tier. The word the chorus repeats carries a loaded public meaning about social division, and the song defines its own use of it in the second verse: stripping the disguises off things and sorting them into right and wrong, then choosing what to fight for and what to die on. That is moral discernment turned inward, and reading the public connotation into it would import a frame the page never delivers, which is the same error class R12 names on the time axis and R6 names on the artist. Read as the text defines it.

Route: internal_work The case for height rests on the narrator's own accounting: wrongdoing owned by name, denial identified as denial, and help requested for the sorting.

(all three sub-tests) - Opening posture: hiding problems, asking for help, reporting that refusal to look is the whole of what he feels. - Closing posture: a past-tense statement of what he wanted to be, repeated three times to end the song. - Inward subjunctive test: FAILS, and this is the decisive one. The closing state rests entirely on a wish form about an unreached position, which the rule names outright as imagining a posture rather than occupying one. - Outward wish test: FAILS. The chorus asks another party for help and the bridge requires that party to come looking; both are wants directed outward. - Aesthetic-markers test: FAILS. Nothing concrete is cited as changed. The accountability language is substantive rather than stylistic, which is why this sub-test needed argument rather than assumption, but what it delivers is an accurate account of a standing condition. All three fail, so the transcendence read is capped at the Decent band, and the rule is explicit that the cap governs the tier while leaving the top of the band available.

Nothing grades. The wrongdoing is named by the narrator against himself and framed as the thing he wanted to oppose, which is the confessing position rather than the endorsing one under R5. Keeping his problems out of sight is avoidance reported by the person doing it, and R16 keeps a naming of pain off the harm axis absent a concrete signal; running its test literally produces no ego-flex, no objectified body, no celebrated intoxication, and no contempt aimed at any target. Deciding where to fight and where to die is an abstract statement about choosing commitments, with no violence enacted or advocated on the page. Harm: 0. Pervasiveness: none.

Blue 2 fires and carries the read: wrongdoing owned by name, with a stated wish to have been its adversary, which is ownership rather than deflection. Blue 1 fires on the request itself, since asking for help telling his own right from wrong concedes that his judgment on the matter is compromised. Blue 8 fires on the repeated identification of his own refusal to look, named accurately each time it appears. Blue 6 fires on the bridge, where he reports having lost the thing that made him presentable and asks to be found. Blue 5 explicitly does NOT fire: growth is stated as something wanted, never as something done. Violet stays dark, since the widest reach is a circle of friends carrying similar trouble. Under the cap the value sits near the top of the band. Transcendence: +23.

The governing axis is transcendence; the harm axis is empty. Well above +12, whose substance is diffuse mood: this narrator owns a specific wrong, names the mechanism he uses to avoid it, and asks for help he cannot supply himself. Below both +25 entries, which clear into Elevated on substance the whole work earns, because this one closes on a wish for a position never occupied, and the rule holds wishes to high-Decent. Sits at the top of the Decent band, held there by the ending rather than by any thinness in the accounting. Precedents: ["+12", "+25-contaminated"] Center: +21

- Saturation: +1. Accountability recurs in every returning passage. - Resolution: -1. Ends repeating what he wanted to be. - Register: +1. Own wrongdoing named a thing to oppose. - Reach: 0. One man, one circle, same as placement.

The harm axis is empty, so there is no discrete artifact to flag. Contamination: none

A lost halo appears once as an image, and a day of the week carries an incidental religious association. Neither is load-bearing, and the swap test leaves the accounting standing whole. Dogma: none

Decent territory, above +12 and below the +25 entries, because the arc is a man naming his own wrong and the refusal he keeps meeting it with, closing on the better version of himself he meant to become.

Reconciliation: aligned

Decent territory, above +12 and below the +25 entries, because the arc is a man naming his own wrong and the refusal he keeps meeting it with, closing on the better version of himself he meant to become.