--- In FairfieldLife@yahoogroups.com, "feste37" <[EMAIL PROTECTED]> wrote:
>
> Excellent analysis. That this was an anti-war song had never 
> occurred to me before, but seems obvious now. 

A viewing of Scorcese's "No Direction Home" and a 
read of Dylan's autobiography might be in order. :-)

One can read almost anything one wants *into* his
songs, but that doesn't mean that *he* intended for
those things to be there. It was a love song then
and it's a love song now, no matter how creatively
one attempts to interpret it otherwise.

It's the oldest problem in creation -- how to tell
the difference between reality and what we project 
onto reality. 


> --- In FairfieldLife@yahoogroups.com, "Eustace" 
<[EMAIL PROTECTED]> wrote:
> 
> 
> > 
> > (From http://www.geocities.com/itaintme_babe/itaintme.html)
> > 
> > _/ _/ _/ _/ _/ _/ _/ _/ _/ _/ _/ _/ _/ _/ _/ _/ _/ _/ _/ _/ _/ 
> > 
> > LITERARY CRITICISM
> > 
> > IT AIN'T ME, BABE
> > 
> > by Bob Dylan
> > 
> > Go 'way from my window,                          
> >      Leave at your own chosen speed.             
> > I'm not the one you want, babe,                  
> >      I'm not the one you need.                   
> > You say you're lookin' for someone               
> >      Who's never weak but always strong,         
> > To protect you an' defend you                    
> >      Whether you are right or wrong,             
> >           Someone to open each and every door,   
> > 
> > But it ain't me, babe,                           
> >      No, no, no, it ain't me, babe,              
> >           It ain't me you're lookin' for, babe.  
> > 
> > Go lightly from the ledge, babe,                 
> >      Go lightly on the ground.                   
> > I'm not the one you want, babe,                  
> >      I will only let you down.                   
> > You say you're lookin' for someone               
> >      Who will promise never to part,             
> > Someone to close his eyes for you,               
> >      Someone to close his heart,                 
> >           Someone who will die for you an' more, 
> > 
> > But it ain't me, babe,                           
> >      No, no, no, it ain't me, babe,              
> >           It ain't me you're lookin' for, babe.  
> > 
> > Go melt back in the night,                       
> >      Everything inside is made of stone.         
> > There's nothing in here moving                   
> >      An' anyway I'm not alone.                   
> > You say you're looking for someone               
> >      Who'll pick you up each time you fall,      
> > To gather flowers constantly                     
> >      An' to come each time you call,             
> >           A lover for your life an' nothing more,
> > 
> > But it ain't me, babe,                           
> >      No, no, no, it ain't me, babe,              
> >           It ain't me you're lookin' for, babe.  
> > 
> > 
> > IT AIN'T THAT , BABE!
> > 
> > In July 1992, while driving back to Hartford with a friend after 
the
> > "Tribute to Woody Guthrie" concert in Central Park and listening 
to
> > Bob Dylan, my companion made some comment about the song "It 
Ain't Me,
> > Babe". It seems that somehow his remark and the lingering 
inspiration
> > from the concert set me thinking, because a few days later I 
suddenly
> > came to an startling insight into the meaning of the song's 
lyrics.
> > 
> > The song has been understood variously as a cynical love song or 
as
> > referring to Dylan's relationship with his audience; however, it 
is
> > actually a political song. It clearly refers to the war in 
Vietnam and
> > to the American flag, which the poet lets go from his window 
("Go 'way
> > from my window"), subsequently falls on the ledge ("Go lightly 
from
> > the ledge, babe"), and finally to the ground ("Go lightly on the
> > ground"); the verse "Leave at your own chosen speed" is a poetic
> > description of the swinging motion of the falling flag.
> > 
> > The lines "To protect you and defend you/Whether you are right of
> > wrong" refer to actual battle situations and to the then raging 
dirty
> > war; the same theme of the unjustness of the war we find again 
later:
> > "Someone to close his eyes for you, Someone to close his heart" 
(a
> > rather unusual request coming from a woman, to say the least). 
The
> > verses "Someone who will die for you and more" and "Who'll pick 
you up
> > each time you fall" should be construed literally and not
> > metaphorically. "To come each time you call" refers to calls to 
arms,
> > not to phone calls. The "promise never to part" implies court-
martial,
> > not divorce court. Only the "flowers" in the verse "To gather 
flowers
> > constantly" should be understood metaphorically, as referring to
> > military medals. Finally, the beginning of the third stanza:
> > "Everything inside is made of stone./There's nothing in here 
moving"
> > denotes the absence of patriotic sentiments in the heart of the 
poet,
> > something, however, shared by draft resisters and others with 
similar
> > antiwar sentiments ("And anyway I'm not alone").
> > 
> > When I realized that "It Ain't Me, Babe" was an antiwar and not 
a love
> > song, I first imagined that I had rediscovered by myself 
something
> > every young person in America in the sixties had known. But when 
I
> > asked friends, and then when I checked the Dylan bibliography, I
> > realized to my surprise that no one before had considered the 
most
> > obvious, once of course you think of it, interpretation: Anthony
> > Scaduto thinks that Dylan "tells Suze and all women that the 
search
> > for an illusory Hollywood-romantic love, ... has turned him into
> > stone" (Bob Dylan: An Intimate Biography, 1971, pp.110-111). 
Robert
> > Shelton, the influential columnist whose report on Bob Dylan in 
the
> > New York Times on Sept. 28, 1961 was a significant landmark in 
the
> > singer's early career, remarks that "... this song, a rejection 
of the
> > mythology of true love, could also represent Dylan's rejection 
of the
> > audience's demands" (No Direction Home, 1986, p. 222). The 
eminent
> > British music critic Wilfrid Mellers comments that "... he 
refuses to
> > allow the girl's self-regarding love engulf him ... disarms 
through
> > its lyricism" (No Direction Home, 1986, p. 222). And so on.
> > 
> > "It Ain't Me, Babe" first appeared in the album "Another Side of 
Bob
> > Dylan" in the summer of 1964, that is long before the antiwar 
movement
> > had gathered its full momentum. Now the song, already included 
among
> > Dylan's greatest hits, acquires added, historical as well as 
literary,
> > significance. And the fact that the artist managed to conceal 
its true
> > meaning so thinly and yet so effectively from so many for so 
long, is
> > still another testimony to his well-established but still talked 
about
> > creative genius: not too long ago, in a BBC program they were 
debating
> > whether Tennyson or Dylan is a better poet; being a poet-proper 
rather
> > then a poet-songwriter, Tennyson prevailed, but it was close.
> > 
> > Dylan, however, purposely gave a specific clue pointing to the 
correct
> > interpretation: the movement of his "babe" from the window, to 
the
> > ledge, and then to the ground. The vivid imagery of the outside 
of a
> > building and furthermore the specification that the object is 
falling
> > lightly, doesn't leave, in my opinion, much room for alternate
> > explanations.
> > 
> > Then Bob Dylan turned religious rather than political, and lots 
of the
> > Vietnam era radicals became yuppies... No, no, no, it ain't me 
who is
> > gonna stone anybody: after all, just three years before that 
memorable
> > concert I took an oath to the American flag (and, when 
questioned, I
> > answered that yes, I would fight for the United States against 
Greece
> > in the event of a war between the two countries...). But this
> > important political statement of the greatest troubadour of our
> > generation remains painfully relevant today; the same moral 
issues it
> > deals with were raised again by the conscientious objectors of 
the
> > Gulf War; and unfortunately they will continue to haunt us in the
> > foreseeable future.
> > 
> > EUSTACE M. FRILINGOS
> > New York, April 1999
> > 
> > © 1992, 1999 by Eustace M. Frilingos. Permission is hereby 
granted to
> > reproduce the above article verbatim and with due credit to the
> > author; any who do so are requested to inform the Webmaster . All
> > other rights reserved.
> >
>






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