When she finally realizes that she cannot be with that person, she loses that protection. We can see the change from rejecting the pressure of society to embracing it as the chorus changes from “She says / I can't see you any more, baby, / Can't see you anymore.” (Ian, 10-12) to “They say I can't see you anymore baby, / Can't see you anymore.” (Ian, 20-21) and finally “I say I can't see you anymore baby, / Can't see you anymore./ No, I don't want to see you anymore, baby.” (Ian, 29-31). This change we see in the denouement is brought around by the fact that the speaker cannot “…stop [her] listening…” (Ian, 23) or “…raise [her] head up high” (Ian, 24) because she has lost the innocence that let her ignore them before. We can see how the speaker has ignored this pressure because of the protection her innocence provides in the second stanza, where she says “Walk me down to school, baby…” (Ian, 13) despite her mother telling her that she cannot be with him just the line
When she finally realizes that she cannot be with that person, she loses that protection. We can see the change from rejecting the pressure of society to embracing it as the chorus changes from “She says / I can't see you any more, baby, / Can't see you anymore.” (Ian, 10-12) to “They say I can't see you anymore baby, / Can't see you anymore.” (Ian, 20-21) and finally “I say I can't see you anymore baby, / Can't see you anymore./ No, I don't want to see you anymore, baby.” (Ian, 29-31). This change we see in the denouement is brought around by the fact that the speaker cannot “…stop [her] listening…” (Ian, 23) or “…raise [her] head up high” (Ian, 24) because she has lost the innocence that let her ignore them before. We can see how the speaker has ignored this pressure because of the protection her innocence provides in the second stanza, where she says “Walk me down to school, baby…” (Ian, 13) despite her mother telling her that she cannot be with him just the line