“It ain't the melodies that're important man, it's the words”:, Study notes of History

Download “It ain't the melodies that're important man, it's the words”: and more Study notes History in PDF only on Docsity! “It ain’t the melodies that’re important man, it’s the words”: Dylan’s use of figurative language in The Times They Are A-Changin’ and Highway 61 Revisited ”Det är inte melodierna som är viktiga, det är orden”: Dylans användning av figurativt språk i The Times They Are A-Changin’ och Highway 61 Revisited Jacob Forsberg Fakulteten för humaniora och samhällsvetenskap English 15 Points Supervisor: Åke Bergvall Examiner: Elisabeth Wennö 2016-03-14 C-Essay Jacob Forsberg Supervisor: Åke Bergvall 2 Abstract This essay compares the figurative language of Bob Dylan’s albums The Times They Are A- Changin’ (1964) and Highway 61 Revisited (1965), with a focus on how Dylan remained engaged with societal injustices and human rights as he switched from acoustic to fronting a rock ‘n’ roll band. The essay argues that Dylan kept his critical stance on social issues, and that the poet’s usage of figurative language became more expressive and complex in the later album. In the earlier album Dylan’s critique, as seen in his use of figurative language, is presented in a more obvious manner in comparison to Highway 61 Revisited, where the figurative language is more vivid, and with a more embedded critical stance. Uppsatsen jämför det figurativa språket i Bob Dylans skivor The Times They Are A-Changin’ (1964) och Highway 61 Revisited (1965), med ett fokus på hur Dylan fortsatte vara engagerad inom samhällsfrågor och mänskliga rättigheter när han gick över från akustisk solomusik till att leda ett rockband. Uppsatsen argumenterar för att Dylan behöll sin kritiska syn på samhällsfrågor, och att poetens användning av figurativt språk blev mer expressivt och komplext i det senare albumet. I det tidigare albumet är Dylans kritik, som den framstår i hans användning av figurativt språk, presenterad mer direkt i jämförelse med Highway 61 Revisited, där det figurativa språket är mer levande och innehåller en mer förtäckt kritik. C-Essay Jacob Forsberg Supervisor: Åke Bergvall 5 secondary levels of interpretations beyond the literal level, and the message of these secondary levels is often of a moral or political character. In other words, characters of an allegory become examples of, for instance, moral qualities. The setting is where the story itself takes place, and the settings can be physical, historical, psychological or geographical. I will not discuss the setting, however, if it does not affect the figurative language. Finally, the narrator is the one telling the story. First person narrative is when the story is told from an “I” perspective, while third person narrative is when the story is told from a “he” or “she” perspective. Third person narrative is often omniscient, which means there is an all-knowing narrator using multiple perspectives. Dylan became the acknowledged “Voice of a Generation” with The Freewhelin’ Bob Dylan (1963), an album where seven of thirteen tracks are protest- or political songs. With it, he changed the concept of singing: it was no longer about how pretty the voice is, but how much the audience believes that the voice singing is telling the truth (Lethem). He followed this up with The Times They Are A-Changin’, and the consensus was that here was a poet who finally expressed the younger generation’s thoughts on political or social injustice through beautiful imagery (Lethem). The Times They Are A-Changin’ (1964) is Dylan’s last album (until the 1990s) where he plays folk songs and songs of protest with only his acoustic guitar. In it Dylan told stories as a protest against the world’s injustice, with songs that are critical of societal issues such as discrimination, racism, and murder. Three songs from the album are considered in my analysis: “The Times They Are A-changin’” (1963)1, “With God on Our Side” (1963) and “When the Ship Comes in” (1963). The title of the album, The Times They Are A-Changin’ provides the overarching message that social change is immanent, and the same message is repeated in each stanza of the title song. Its outspoken an explicit criticism of social inequality and authority figures such as politicians, parents, and the cultural elite have made it the prototypical protest song. The lyrics starts with the poet wanting all to gather around him because something important will be said, and it does not matter who you are. Each stanza except the last one is an address in the imperative: “Come gather ‘round people”, “Come writers and critics”, “Come senators, congressmen”, “Come mothers and fathers”, which makes the song easy to follow (Ricks 222). The last verse instead focuses on the fact that “the line it is drawn, the curse it is cast”, metaphors for something final. 1 The album The Times They Are A-Changin’ was released on the 13 of January in 1964, but the title songs were written in 1963. C-Essay Jacob Forsberg Supervisor: Åke Bergvall 6 The lyrics goes on to use a powerful metaphor of change, the rising tide of powerful waters: “and admit that the waters around you have grown”, admonishing people to wake up and realize that bad things are happening before it is too late (Manzella 31). The metaphor stands for the on-going changes which were taking place in America in the 1960s, especially the civil rights movement. One major event was “the March of Washington”, where Martin Luther King Jr. held the famous “I have a Dream” speech, and where Dylan also got to play live (Euchner). The mistreatment of Afro-Americans and other less privileged people is what the poet refers to through the metaphor of the rising “waters”. The following line, “And accept it that soon or you’ll be drenched to the bone”, continues the metaphor’s theme of a rising flood that signifies an increasing injustice that will soon be unbearable. In addition, the line: if one does not “swim” one will “sink like a stone” hammers home the seriousness of the issue. The criticism of social inequality seen in the first stanza continues throughout the song. For instance, “There is a battle outside and it’s ragin’” in the third stanza contains another metaphor that connects to the social inequality theme: it refers to unfair political situations that can be easily fixed if not the majority of all politicians were thinking of themselves instead of the people (Manzella 32). Apart from having a strong stance on social inequalities, the song also criticizes authority figures and the cultural elite, as seen in the second, third, and fourth stanza. In the second stanza, a metonymy is at work; the poet refers to “writers and critics”, which is closely associated to the cultural elite and the media,2 and it is used as a critique towards those who “prophesize with [their] pen”. It can be interpreted as criticism to other musicians, writers, or publishers of the major newspapers. The whole second stanza criticizes the media, but ends on a hopeful note: “for the loser now will be later to win”. The figurative language used suggests that media should think before publishing their truths, because everything is temporary (Ricks 218). The “senators, and congressmen” in the third stanza is a metonymy for the rulers, since both “Senators and Congressmen” are closely associated with Congress, which in turn is commonly used as a metonymy for the American Government (Littlemore 102). Here the lyrics continue with “Don’t stand in the doorway, don’t block up the hall”, which can be seen as both metonymies and metaphors with a prodigious rhetorical effect. As metonymies they represent the whole Congress, but they also have a metaphorical force since both “doorway” and “hall” are narrow paths which commonly are easy to walk through. The 2 As in ”the pen is mightier than the sword”. Pen is closely associated to writing in general, whereas sword is closely associated with war in general. C-Essay Jacob Forsberg Supervisor: Åke Bergvall 7 figurative language here suggests that the changes can easily be made, as long as the politicians do not block up the narrow paths which leads to justice. The fourth stanza goes on to address the “Mothers and fathers throughout the land”, another type of authority figures, and a metaphor is presented in the seventh line: “You’re old road is rapidly aging … get out … if you can’t lend a hand”, which refers to change happening fast: the values of parents might not be the same as for their “sons and daughters”, and the only thing to do is to accept changes because everything is temporary (Ricks 223). There is not a specific group of people being addressed in the final stanza: “The line it is drawn, the curse it is cast”. Instead the song concludes with metaphors that emphasize that everything is temporary, but also that things will change: “the slow one now, will later be fast”, “the first one now, will later be last”. All criticism presented in the stanzas is tied together by the fact that everything is under constant change. In short, the use of figurative language in “The Times They Are A-changin’” is used to create an emotional response to social inequalities. While events such as the civil rights movement are only referred to as “waters” that have “grown”, the criticism of society and authority figures throughout the song is obvious. However, by not spelling out all specific issues, the figurative language helps making the song both current and timeless: the metaphors make the song still relevant for today and tomorrow. The third song of the album, “With God On Our Side”, is basically a summary of America’s war history until the nuclear threats of the Cold War, with God as a recurring metaphor for the use of religion to justify wars. There is therefore a lot of critique towards America as a nation, and how the American people are fooled to support acts of war. The song is unusually direct, with several stanzas that contain no figurative language at all. However, there are allusions to the Bible in the lyrics, which are used to question the religious assumptions of the title. The song-title reeks of disgruntled sarcasm, and each stanza ends with different variations of the line “God on our/their/your side”. The sarcasm is especially directed towards America’s handling of current acts of war, the Vietnam War in particular (RightwingBob). I will first go through how the song criticizes America’s history of war, and secondly how other themes strengthen the main theme. The narrative voice starts by presenting himself, where he is born and raised, that he was brought up “by the laws to abide”, and that the country he lives in has “God on its side.” The story is told with an air of truthfulness by an adolescent with great awareness of his environment, and is general enough to be applicable to C-Essay Jacob Forsberg Supervisor: Åke Bergvall 10 implies that the ship will be a good thing without specifying in what way. While the raging wind, like the earlier hurricane, implies that the change is forceful and potentially destructive, the laughing fish become a metaphor for the positive result. The fourth stanza makes a slightly clearer connection to the Civil Rights Movement by mixing its metaphors, with the implication that the ship represents social change: And the words that are used For to get the ship confused Will not be understood as they’re spoken. (Dylan, “When The Ship Comes In”) The fight for civil rights was a long and difficult process, and the opposing voices were loud and persistent, yet the “ship” has caught up such speed that it is impossible to stop. The lyrics carries on by stating that the ship “drifts on to the shoreline”, and that “the sun will respect every face on the deck”, where “the sun” is used as a personification/metaphor of acceptance: the sun is all-seeing, and respects every single person regardless of the colour of their skin. In addition, the stanza that follows brings up “the ship’s wise men”, who “will remind you once again that the whole wide world is watching”. The wise men is a metonymy for the leaders in the civil rights movement, people like Martin Luther King Jr. His speech I have a Dream from 1963 was a reminder of what kind of place earth could, and should be. Similarly, the protest chant “the entire world is watching!” was a call for America to become more humane. The structure of the song is clear, although its punchline only occurs in every other stanza. My focus will now switch to the other issues of the song, and how they support the main theme. Just like “The Times They Are A-Changin’” and “With God On Our Side”, the song criticizes certain authorities, while praising others. The praise is seen in the third stanza, which states that “the rocks on the sand will proudly stand”, a metaphor for the people who became the foundation of the Civil Rights Movement: “stone” is commonly considered as something steady and solid, which means they will not move an inch from the opposing political winds as they come (Kovecses 33). The opposition is dealt with towards the end of the song, in stanzas seven and eight. The penultimate stanza starts with “the foes will rise, with their sleep still in their eyes” and ends with “they’ll pinch themselves and squeal, and know that it’s for real”, which indicates that not all authority figures want things to change since it might mean bad business. Furthermore, the last stanza starts with “Then they’ll raise their hands, sayin’ we’ll meet all your demands!” which implies that the opposition to the Civil Rights Movement will eventually have to bow down; in order for a country to change, the ones who exercise the power must give up their resistance. The following allusion “we’ll C-Essay Jacob Forsberg Supervisor: Åke Bergvall 11 shout from the bow”, is a play on the idiom “we’ll shot across the bow”, which according to Martin Gary, means “a warning shot, either real or metaphorical” that originated from old Sailor slang. As used in Dylan’s song it refers to a warning shout rather than a shot directed at the authority figures. However, the strongest criticism comes in the form of a biblical simile (seen in the use of the word “like”) to achieve a stronger rhetorical effect: “And like pharaoh’s tribe, they’ll be drownded3 in the tide” is a reference to the wave that drowned Pharaoh’s army during the exodus of God’s people from Egypt (Varesi 35). The line that follows, “And like Goliath, they’ll be conquered”, refers to another classic story from the Bible in which David kills Goliath, a giant Philistine warrior (1 Samuel 17). Already during the period of slavery the African-Americans had used these biblical stories to describe their own underdog battle for freedom. In “When The Ship Comes In”, it symbolizes the continued battle for the oppressed, who will defeat their oppressors. The allusions are used to strengthen the theme of social change, and as a warning to those who stand in the way. To conclude, “When The Ship Comes In” is a song about change: it gives the reader hope that revolution is in the air, even if the changes will not happen all at once. The song is very powerful in its portrayal of the political climate of its time, and can also be seen as both current and timeless due to its usage of figurative language. Even though this example contains the most embedded criticism of social rights and authority figures of my examples from The Times They Are A-Changin’, it is clear that the song criticizes the opposition of the Civil Rights Movement, and supports the movement’s foundation and ideas. Of the three songs looked at, it is the most subtle in its use of figurative language even as it ties in with the album’s main theme. The other album, Highway 61 Revisited (1965), has been celebrated as one of the most career-defining albums written by an artist, although that happened long after its release. In 1965, Dylan met with audience displeasure by switching to electric music. The switch was his own initiative: “Nobody told me to go electric. I didn’t ask anybody. I asked not a soul, believe me, I didn’t ask anybody” (as quoted in Shelton 116). Two songs will be included in my analysis, the longest one, “Desolation Row”, but as in the earlier album my other example will be the title song, “Highway 61 Revisited”, the album’s seventh track. “Highway 61 Revisited” is a third person narrative filled with biblical references as well as many examples of figurative language. It has a long cast of characters, such as salesmen, hoboes, a promoter who will do anything to make a buck, as well as gamblers (each verse has 3 Dylan is funny when he creates his own words. C-Essay Jacob Forsberg Supervisor: Åke Bergvall 12 a separate main character), but the setting always goes back to Highway 61, a road in the American Midwest that actually exists in Dylan’s home state of Minnesota (Rogovoy). The song contain religious dilemmas and criticize race relations, but Highway 61 can also be seen as a metaphor for the progress of history, or even life itself. My analysis will be divided into the different themes of social rights and popular culture, and how they are expressed. Firstly, I will look at stanzas with an implied critique of society expressed through allusions. In the first stanza there is a conversation between God and Abraham, an allusion to Genesis 22 where God tests Abraham by telling him to kill his son Isaac. In the biblical version, Abraham grieves over the loss of his son but is willing to comply due to his faith, whereas in Dylan’s version he answers with street-jive (Polizzotti 119). The rewrite starts with: “God said to Abraham, kill me a son”, Abe says: “man you must be puttin’ me on”. The lyrics portray Abraham and Isaac’s situation as a contemporary happening between two fed- up hipsters: “man you must be puttin’ me on” is a fairly disrespectful answer to “kill me a son” (Rogovoy). The story of Abraham and Isaac is one of the most morally challenging in the Bible, and in Dylan’s version God answers that the killing should be done out on Highway 61. This indicates that Highway 61 is a place without moral guidelines, a metaphor for life itself since standards of moral are constantly changing. Another literary allusion that challenges moral and criticizes society is present in the fourth stanza: “Now the fifth daughter on the twelfth night”, which is a reference to Shakespeare’s Twelfth Night (1602), according to Ricks (107). The lyrics carries on with a discussion between the “first father” and “the fifth daughter”, who says that her skin is “too white”. The color white could be used as a metaphor for wholeness, purity, innocence or completion. But due to the nature of the song, “too white” also refers to her being “too privileged” in comparison to the African-Americans during the 50’s and early 60’s. Also, “the fifth daughter” is the one getting told what to do: she is ordered by the first father to “step into the light”. This could be considered as critique of patriarchy, and the fact that woman in the 60’s were tired of getting told what to do.4 At the end of the stanza, they too end up “out on Highway 61”. More criticism of the bad treatment of the Afro-Americans is presented in second stanza, which refers to “Georgia Sam”, an alias used by one of Dylan’s favorite blues artists Blind Willie McTell, a poor black blues musician growing up in the Deep South at a time when Afro-Americans had limited rights.5 Since the 4 http://edition.cnn.com/2014/08/07/living/sixties-women-5-things/ just to list a few of all the things unequal in the 60’s….. 5 The proper change of civil rights did not start until 1955, when Rosa Parks refused to get up of her seat in the “bus part for white people”. C-Essay Jacob Forsberg Supervisor: Åke Bergvall 15 Furthermore, the stand on social issues continues in stanza three where the poet criticizes politicians and the media. It begins with: “The moon is almost hidden”, “the stars are beginning to hide”. The moon and the stars is the night’s light, and if they disappear, then the night becomes even darker than usual. The poetry takes an obscurer turn with the line “the fortunetelling lady, has even taken all of her things inside”, a reference to, and criticism of, people of power. Usually politicians and the media try to predict the future or speak of how it will be, but here there is a lot to be said but no one is speaking out. They are working around the question rather than adressing it. To this Dylan adds two biblical references that speak of moral choices. The first allusion is to Cain and Abel, sons of Adam and Eve, where Abel represents righteousness whereas Cain embodies sin. When God prefers Abel’s sacrifice over Cain’s, Cain goes mad. Inviting his brother to the fields, he murders him with a rock. When God asks about his brother, he only responds “Am I my brother’s keeper?” (Genesis 4: 9). [I deleted sentences that break the line of argument.] A second biblical reference to “the Good Samaritan” (Luke 10: 25-37) is present in the last part of the stanza, which according to Cambridge Idioms Dictionary means “someone who helps people in trouble.” Here we find critique towards people of power and the political climate in the 60’s: “the Good Samaritan is dressing” and “he’s getting ready for the show” are metaphors which hints that the political speeches are nothing but a show. Both biblical references imply that there is both good and evil in this world, saints and sinners, which strengthens the claim that the song can be seen as criticism of both people of power as well as the moral dilemmas present in a timeless society. In short, good and bad run through the song, and eventually, as in every single verse, it all leads back to “Desolation Row.” Stanza number eight follows up on the same ethical theme. It starts with “The superhuman crew” that “come up and round up anyone that knows more than you do”, which I interpret as an allusion to the fascist use of Friedrich Nietzsche’s concept of the “übermensch”: Then they bring them to the factory Where the heart-attack machine Is strapped across their shoulders And then the kerosene Is brought down … By insurance men who go. C-Essay Jacob Forsberg Supervisor: Åke Bergvall 16 The lines can be interpreted as critique towards the Nazi regime and how the world allowed it to happen. Zyklon B caused heart-attacks (Bowlby), and then kerosene, a highly flammable liquid, is added, the grisly details becoming a metonymy for the cold and ruthless execution methods in the gas chambers. All of these horrible events were financed by powerful men and politicians, referred to by the metonymy “insurance men”. “Desolation Row” thus contains a lot of embedded criticism towards men of power and how the world could let awful things happen. There is further criticism of humanity in “Desolation Row”. For instance, the sixth stanza begins by presenting another allusion, “Dr. Filth”. According to Ricks, “Dr. Filth” is a reference to Marlowe’s Doctor Faustus (published in 1604), who’s main character sells his soul to the devil (10). While some parts of the stanza is gibberish, including characters that do not have anything to do with the other persons or figurative language present, Dr. Filth’s nurse is “in charge of the cyanide hole” and has “a card that read have mercy on his soul”. A nurse murdering whilst showing mercy is a hypocrite, which means there are pretenders at Desolation Row, exactly as in the real world. The criticism of society is present in the ninth stanza as well, where “Nero’s Neptune” refers to the emperor of Rome, made infamous due to his political murders and playing his fiddle as Rome burned (History.com “Nero”). The poet uses the brutality of a historical figure to criticize modern society. Even though today’s political leaders are not as ruthless it is still hinted that some are in it only for status and personal profit. “Desolation Row” is thus an abstract description of the world we live in, with its different characters alluding to or representing contemporary issues to be criticized. The poetry is at the same time playful and dazzlingly captivating even when it paints modern society as a “Desolation Row. The song also questions gender roles. The second stanza refers to “Cinderella” who “seems so easy”, an allusion combined with an inconsistent metaphor. The stanza portrays Cinderella as a modern, not altogether likable woman. The line “The only sound that’s left … Is Cinderella sweeping up” is the stanza’s only reference to the original story, in which she had been used as a servant by a stepmother who made her life anything but “easy”. The song instead goes on to state that Cinderella “puts her hands in her back pockets, Bette Davis- style”. Bette Davis is still referred to as “The First Lady of American Screen”, having been insanely famous and having had a great effect on America’s as well as Europe’s popular culture. She was well-known for her gift of playing unlikeable characters, and she was not afraid to act bad off-screen either (Nastasi). The metaphor implies that Cinderella has the C-Essay Jacob Forsberg Supervisor: Åke Bergvall 17 same elegance as a timeless Hollywood star, whilst remaining spiky and a bit unsympathetic. The next line pairs her up with Romeo from Shakespeare’s Romeo & Juliet (1594), who “is moaning”, something he does to Juliet outside her window in the original play. The following line states that Romeo is in the wrong place, which is logical since the two characters of the stanza originates from two separate stories. This stanza portrays Cinderella as strong and independent woman whereas Romeo is a whiny lover who has run out of luck. In short, in Desolation Row stories get mixed up and everything seems possible. Several of the song’s stanzas, such as number four, five, seven, and ten, are more abstract and confusing in their use of figurative language. These stanzas are filled with allusions without any obvious criticism of something specific, and seem there to comment on, or sometimes blunt the edge of other, seemingly clearer stanzas. There are allusions to everything from the Bible to Shakespeare. For instance, the fourth stanza starts with “Ophelia”, a reference to Shakespeare’s play Hamlet (1602). In the original play Ophelia commits suicide by drowning herself. In “Desolation Row” she is instead “‘neath the window”, which seems like another reference to Romeo and Juliet, thus becoming an oblique reference to the gender discussion of stanza two. This gender angle appears to be confirmed by the next four lines which allude to Joan Baez, the folk-singer who Dylan had a short relationship with. We also find an allusion at the end of the stanza to “Noah’s great rainbow,” which again can be seen as a comment on another stanza, this time the earlier biblical allusions in stanza three. The reference here is to the rainbow created by God after the flood had cleansed all the world from evil, a sign of the covenant that God made with the human population: the earth will never be destroyed again, and after the storm and rain comes a rainbow to shine on its whole vastness (Genesis 9:11-15). The flood and its aftermath further demonstrate that the title of the song is a metaphor for life itself, something that cannot be fully controlled. The same interpretative difficulty is present in stanza seven, which by the line “in the perfect image of a priest” alludes to the original “Phantom”, the charismatic but insane and cold blooded murderer in Gaston Leroux’s The Phantom of the Opera (1909). My interpretation of his presence in “Desolation Row” is that the allusion points to the function of genius and insanity, a combination Dylan embodies in the song. In addition, “the image of a priest” is a direct quote from Jack Kerouac’s Desolation Angels, another indication that the song’s title is inspired by that novel (Warner 47). Dylan, like Kerouac, believes in “the modern prose”. As John Wrighton argues, the language of “Desolation Row” speaks of the C-Essay Jacob Forsberg Supervisor: Åke Bergvall 20 Works Cited Bastin, Bruce. Red River Blues: The Blues Tradition in the Southeast. Urbana and Chicago: University of Illinois Press, 1986. Print. Bowlby, Chris. “Fritz Haber: Jewish Chemist Whose Work Led to Zyklon B.” BBC News. 12 Apr. 2011. Web. 7 Jan. 2016. Cambridge Idioms Dictionary, 2nd ed. Cambridge University Press 2006. “Cuban Missile Crisis.” History.com. A&E Television Networks. Web. 23 Nov. 2015 De Graaf, Kees. “Bob Dylan’s With God on Our Side” Keesdegraaf.com. 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