Читать книгу Why Dylan Matters - Richard F. Thomas - Страница 9
ОглавлениеTHERE’S A MOMENT WHEN ALL OLD THINGS
BECOME NEW AGAIN
—BOB DYLAN
Bob Dylan’s Blonde on Blonde was one of two albums I packed in the trunk I sent from New Zealand to Ann Arbor, Michigan, in the early summer of 1974. The other was Songs of Leonard Cohen. I was twenty-three years old and had sold off the rest of my record collection to finance a two-month backpacking trip through Greece, before starting my doctoral studies at the University of Michigan. The trip to Greece was my first, but I had been fascinated by the Greeks and Romans since the age of nine, growing up in Auckland, New Zealand, half a world away from where their civilizations rose and fell. I arrived in Ann Arbor on August 18, 1974, days after Richard Nixon resigned from the presidency, ready to begin my professional life as a scholar and teacher of classical literature. My trunk finally arrived in October, and its familiar contents were a welcome sight. Along with the survivors of my record collection, that trunk contained the few classical texts I had accumulated as an undergraduate: the writings of Homer and Virgil, the epic poets of Greece and Rome, along with Sappho, Catullus, Horace, and Ovid, the brilliant lyric poets and love poets whose work captures what it means to live and love, to win and lose, to grieve and celebrate, and to grow old and die. For two thousand years, their poetry has fired the minds and imaginations of philosophers and poets, painters, sculptors and musicians, dreamers and lovers.
For the past forty years, as a classics professor, I have been living in the worlds of the Greek and Roman poets, reading them, writing about them, and teaching them to students in their original languages and in English translation. I have for even longer been living in the world of Bob Dylan’s songs, and in my mind Dylan long ago joined the company of those ancient poets. He is part of that classical stream whose spring starts out in Greece and Rome and flows on down through the years, remaining relevant today, and incapable of being contained by time or place. That’s why Dylan matters to me, and that’s what this book is about.
From the beginning of his musical career, Bob Dylan has been working with artistic principles, and attitudes toward composition, revision, and performance, that bear many similarities to those of the ancients. He has also been living and writing in a world that bears many striking similarities to that of the ancient Romans, whose republic was the model on which the Founding Fathers built our own system. I believe that Dylan early on came to recognize this similarity, and it has been reflected in the worlds he creates for us in his music ever since.
Cullen Murphy’s 2007 book, Are We Rome?, addresses this question, arguing that our time (Dylan’s time) looks quite a bit like for the most part that of the Romans at various moments in their more than thousand-year history. According to Cullen, the ties that bind the two cultures include the condition of being a superpower, tensions caused by ethnic differences, the persistent memory of civil wars long after the last battle was fought, a sense of the fragility of political structures and decline of the human condition, the relaxation of moral and religious bonds, and a pushback against the countercultures.
At the heart of it, Rome around the last century BC and the beginnings of the first century AD and America in the second half of the twentieth share a sense of modernity, by which I mean a few things. By then Rome had more or less established herself as the dominant power in the Mediterranean world. The absence of serious external enemies, along with the sheer size of her empire, led to competing struggles among those whose task it was to govern the state and extend and defend its vast borders. Starting in the middle of the century these competing forces clashed, and a series of civil wars led to the elimination—by death on the battlefield, murder, and assassination—of one figure after another, along with the defeat of the ideals or interests they represented. The names are well known: Pompey the Great, Julius Caesar, Brutus, Mark Antony, all killed in a succession of bloody civil wars that went on for eighteen years. By around 30 BC, Augustus Caesar as he would be renamed, the last man standing, delivered the final blow to the republic and stepped in as the first emperor of Rome.
This period of political uncertainty coincided with the emergence of a brilliant succession of poets and other writers, as happens at moments of political and national crisis or greatness: Athens in the fifth century BC, Elizabethan England, America and Great Britain between the two world wars—the rise of the so-called Moderns. Such moments give rise to a heightened sense of the past, along with uncertainties about the future. In each of these periods new art forms responded to what was happening, disrupting the old forms and traditions, busting them up, renewing what had gone before, moving into uncharted territory. The Roman poets in question will become familiar in the pages that follow: Catullus, Virgil, Horace, and Ovid. Others would have filled out their ranks, but their texts did not survive the centuries. Their art addressed the large issues of their day, the perilous state of their world, and the aftermath of civil war. Similarly, Dylan’s art would speak to the horrors of the wars of his day, the Second World War and the cold war that followed, historic episodes like the Cuban missile crisis, and the fear of nuclear warfare, eventually Vietnam, even Iraq. And in both cases, through music and poetry that would prove to be enduring, memorable, and meaningful to ages beyond their own, Dylan and the ancients explore the essential question of what it means to be human.
Dylan’s songs have been part of my song memory since my mid-teens, but it would be decades before they became more fully aligned in my mind with the Greek and Roman poets I was beginning to read back then. And it was chiefly in the twenty-first century that Dylan started to reference, borrow from, and “creatively reuse” their work in his own songs. I first began to make the connection after a trip to the coast of Normandy, where I had been invited in the spring of 2001 to give a lecture at the University of Caen on Virgil and other Roman poets. My host, Catharine Mason, a linguistics professor there, met me at the train station. She suggested that instead of touring the town, pretty much pummeled out of its historical state before the D-Day invasion of June 6, 1944, we might head for the beach. That sounded good to me, so I followed her to the parking lot. As we got into her car and she turned the key in the ignition, music came blasting from her car stereo. As we’ve all done, she had gotten out of the car earlier without thinking to turn down the volume, and the familiar bars of Dylan’s “Idiot Wind,” then and now one of my favorite songs, urgently interrupted our tentative conversation:
You hurt the ones that I love best and cover up the truth with lies
One day you’ll be in the ditch, flies buzzin’ around your eyes
Blood on your saddle
Our conversation quickly turned to Dylan, to that song and its importance. For Catharine, a single mother who had recently gone through a divorce, and an American expatriate bringing up two young sons in France, the breakup song had powerful personal resonance. She had gotten hooked on Dylan twenty-five years after I had, with his 1990 album Under the Red Sky, whose nursery rhyme and fairy-tale traditions became part of the rhythm of bringing up her two young sons. As we walked on what had been Sword Beach, landing point for the British Third Division on D-Day, she talked about her plans for a conference on the performance art of Dylan. Did I want to give a paper at her conference, and maybe even co-edit the proceedings into a volume, she asked? I said sure, not really knowing how I would find a way into the topic. But in the back of my mind, I was thinking about how the songs from Dylan’s 1997 album, Time Out of Mind, had lately begun somehow to remind me of the work of the Roman poets. Still, I had yet to share this insight with anyone.
It was not until many months after my trip to Caen, soon after September 11, 2001, the day that permanently changed the modern world, that what I would present at the Dylan conference became clear to me. Dylan’s album “Love and Theft” came out on that day, and I bought it at the Tower Records in Cambridge, Massachusetts, in a daze, in the hours after the towers in New York had been leveled. When I eventually listened to the album, I heard Virgil, loud and clear in the tenth verse of “Lonesome Day Blues”:
I’m gonna spare the defeated—I’m gonna speak to the crowd
I’m gonna spare the defeated, boys, I’m gonna speak to the crowd
I’m goin’ to teach peace to the conquered
I’m gonna tame the proud.
The idiom, rhymes, and music of these lines belonged to Dylan, but the thought and diction, rearranged by Dylan, came from Rome’s greatest poet, Virgil. In Dylan’s lyrics, I recognized these lines from Virgil’s Aeneid, spoken by Anchises, father of Aeneas, the mythical founder of Rome. Anchises, who had died on the journey from Troy to Sicily, instructs his son from the Underworld on just how Rome is to rule the world:
but yours will be the rulership of nations,
remember, Roman, these will be your arts:
to teach the ways of peace to those you conquer,
to spare defeated peoples, tame the proud.
—Virgil, Aeneid 6.851–53, tr. Mandelbaum
Suddenly, when I heard Virgil’s lines echoed in Dylan’s song, my paper topic was obvious. “Bob Dylan’s Performance Artistry” ended up taking place in Caen in March 2005, and I brought along my younger daughter, who was a college freshman at the time and a veteran of a few Dylan concerts. I was delighted, and surprised, that she’d chosen to spend her first college spring break with her father at a Bob Dylan conference. But that was the point. I’d taken her and her sister along to academic conferences before, where they would generally disappear into whatever city we happened to find ourselves. But at the Dylan conference in Normandy, things were different. My daughter attended every event, and even joined the Dylanologists for after-dinner Dylan trivia games. We were even treated to a Hendrix-style rendition of Dylan’s “All Along the Watchtower” by Catharine Mason’s teenage sons. I was astonished to see their enthusiasm, but perhaps I shouldn’t have been. When I see the younger generation of Bob fans, like my daughters, or Catharine Mason’s sons, or the students in my freshman seminar, engage with his work, it is a testament to the intergenerational nature of his work, and how his art endures.
In 2003, between my trips to Normandy, I decided to submit a proposal to the Freshman Seminar program at Harvard for a course on Dylan (the first of its kind, to my knowledge). The seminar was eventually approved by the faculty committee responsible for selecting these courses, though not without a fight. I later heard from a friend and member of the committee who had supported my proposal of pushback from some quarters. “What’s he going to do, sit there and listen to ‘Highway 61 Revisited’ with his students?” was the general attitude. Well, yes, it would be hard not to include that song in the course. My friend had countered that my proposal was no different, and no less appropriate, than putting in to teach the works of T. S. Eliot. This argument won the day, and the seminar has been warmly supported ever since. I teach it every four years, most recently in the fall of 2016.
Since 2003, the seminar has evolved and changed, as Dylan has continued to produce new work and break new boundaries. We trace the evolution of Dylan’s songs from their early folk, blues, and gospel roots and by way of the transition of his art from acoustic to electric in the studio and in performance, the latter being the arena that most inspires and motivates him. We move chronologically but also explore the way the themes of his song connect over time, are part of a larger system that connects song to song and album to album, down through the years. The themes comprehended by Dylan’s songbook are as boundless as those of the folk and literary cultures from which his art emerged, and these are the themes of the seminar: music and social justice, war and the human response to war, love and death, faith and religion, song as compensation for the realities of mortality. I place particular emphasis on trying to have the students see Dylan’s art as art and to attend to his songs not as autobiography, but as the product of a highly creative imagination that constantly manipulates and transforms linear time and the details of any actual life experience, much of which he has carefully concealed from the very beginning.
The first time I offered it in 2004, I had no idea what to expect. Would four or forty students apply for one of the twelve spots in the Dylan seminar? Would seventeen- and eighteen-year-olds actually be interested in the work of a musician who for many epitomizes only the 1960s, pretty far back in the rearview mirror for them? I had over the years seen a certain number of teens and twenty-somethings at Dylan concerts, so I was hopeful. As it turned out, there is plenty of interest and every four years the crop has been plentiful. The students turn up for any number of reasons. Some want to understand the obsessions of a father or grandfather, others want to deepen their appreciation of Dylan’s art or their own skills as songwriters. In the application, students are asked to say why they want to be in the seminar, and the responses show that Dylan’s appeal is as varied as the dimensions of his art:
“I want to take this seminar because I want to be a better writer. I want to analyze his lyrics and internalize the reason people empathize with his sentiment. Maybe I can’t, maybe it’s innate.”
“I’m both a singer and composer I am interested in the way Dylan marries lyrics and music.”
“I knew all the words to ‘Like a Rolling Stone’ by the time I was four years old. My dad had played Dylan to me practically from birth.”
“My favorite English teacher from high school loves Dylan.”
“While Dylan may not possess the crazy guitar chops of guys like Slash or Jimi Hendrix, his lyrical genius makes his music just as, if not more, powerful.”
“I want to gain an understanding of how music can interact with history and philosophy.”
After twelve years of teaching the course, I have experienced firsthand the intergenerational power of Dylan. His art transcends time, and the power of his songs appeals to young adults whose parents were not yet born when Dylan started putting his words and music together. Dylan is here to stay. He has become a classic, each new album shifting the boundaries of the art he took up all these years ago. And with his 2016 award of the Nobel Prize in Literature, the world has recognized his literary merit—vindication for those who have long recognized the fact. My seminar happened to meet on October 13, 2016, the day the Nobel Prize was announced, and it was one of the high points of my teaching career to experience the utter joy of my first-year students on that day, since they knew the judgment of the committee was righteous.
This book will end with the Nobel ceremony in Stockholm, but for now let’s visit a more recent stop there on Dylan’s long path. On April 1, 2017, Bob Dylan, still on the road at the age of seventy-five, started a twenty-eight-concert European tour with the first of two performances at the Stockholm waterfront. Earlier in the day, he had met privately with twelve of the eighteen members of the Swedish Academy to receive his diploma and gold medal for the 2016 Nobel Prize in Literature, which had first been announced five months before, “for having created new poetic expressions within the great American song tradition.” Sara Danius, academy member and its permanent secretary, reported the essentials of the private medal ceremony on her blog:
Spirits were high. Champagne was had. Quite a bit of time was spent looking closely at the gold medal, in particular the beautifully crafted back, an image of a young man sitting under a laurel tree who listens to the Muse. Taken from Virgil’s Aeneid, the inscription reads: Inventas vitam iuvat excoluisse per artes, loosely translated as “And they who bettered life on earth by their newly found mastery.”
Danius’s evasive “quite a bit of time was spent looking closely at the gold medal” fools nobody: everyone else in that room had seen the medal many times before. Dylan was clearly the one who must have been studying it most carefully. An artist who notices everything in the world around him, and one with a connection to Virgil’s work, as we’ll learn more about later in this book, Dylan would have been fascinated by the image on the reverse side of the medal, designed by Swedish engraver Erik Lindberg in 1902.
The man we see here is not just any young man. He would seem to represent the poet Virgil, one of the shepherd-singers of his poem Eclogue 1, “meditating the woodland Muse” as he sings in the shade of a tree. The singer on the medal is likewise looking up at the Muse as she plays the seven-stringed lyre, or cithara as the Greeks and Romans called it—the word that gives us guitar. Beside him is depicted an ancient box (capsa) with three papyrus rolls, the young man’s supply of writing materials. Dylan knew just what he was looking at, having integrated Homeric singing and lyre playing from the Odyssey into his 2012 song “Early Roman Kings”—“Take down my fiddle, tune up my strings”—which he would perform the next day in Stockholm. Like the image, the words engraved around the medal’s rim are also Virgil’s: Inventas vitam iuvat excoluisse per artes. In its larger context the line comes from a description of the privileged place that singers have deserved in Virgil’s version of paradise in Book 6 of his epic the Aeneid:
And Orpheus himself, the Thracian priest with his long robes,
keeps their rhythm strong with his lyre’s seven ringing strings,
plucking now with his fingers, now with his ivory plectrum.
And faithful poets whose songs were fit for Apollo
those who enriched our lives with the newfound arts they forged
and those we remember well for the good they did mankind.
—Virgil, Aeneid 6, tr. Fagles
In 1945, T. S. Eliot wrote an essay titled “What Is a Classic?” devoted to Virgil, and to why the Aeneid became a classic over time. In 1948, when Eliot received his Nobel Prize in Literature, he must have been pleased to see Virgil’s line of poetry, and the image, on the medal. What Eliot wrote of Virgil as classic in his essay could apply equally to his own work The Waste Land, the classic of modernist poetry, or to the work of Bob Dylan:
[Virgil] was, if any poet ever was, acutely aware of what he was trying to do; the one thing he couldn’t aim at, or know that he was doing, was to compose a classic: for it is only by hindsight, and in historical perspective, that a classic can be known as such.
This is a book about Bob Dylan, the genius of my lifetime in his artistic use of the English language, and of its song traditions—just as surely as Eliot was the poetic genius of the first half of the twentieth century. It is mildly ironic that Dylan has acquired this status. After all, the mention of Eliot in his 1965 song “Desolation Row”—a song he also sang on the Stockholm waterfront on the evening of the medal award—had an iconoclastic ring to it:
And Ezra Pound and T. S. Eliot
Fighting in the captain’s tower
While calypso singers laugh at them
And fishermen hold flowers
In that song, Dylan may seem to be on the side of the calypso singers and fishermen, situated like them
Between the windows of the sea
Where lovely mermaids flow
And nobody has to think too much
About Desolation Row
As readers have noted, not only does Dylan name Eliot and Pound; in Eliot-like fashion his verse allusively builds on the ending of Eliot’s first great poem The Love Song of J. Alfred Prufrock (124–31):
I have heard the mermaids singing, each to each.
I do not think that they will sing to me.
I have seen them riding seaward on the waves
Combing the white hair of the waves blown back
When the wind blows the water white and black.
We have lingered in the chambers of the sea
By sea-girls wreathed with seaweed red and brown
Till human voices wake us, and we drown.
Even though he seems in “Desolation Row” to distance himself from the two modernist poets, even as he alludes to one of them, like it or not, and like T. S. Eliot, Bob Dylan has also become an icon and a classic. Over that he has no control.
This is also a book about how Dylan’s genius has long been informed by the worlds of ancient Greece and Rome, and why the classics of those days matter to him and should matter to all of us interested in the humanities. We live in a world and an age in which the humanities—the study of the best that the human mind has risen to in art, music, writing, and performance—are being asked to justify their existence, are losing funding, or are in danger of losing funding. At the same time, those arts seem more vital than ever in terms of what they can teach us about how to live meaningful lives. The art of Bob Dylan, no less than any other works produced by the human mind in its most creative manifestation, can be put to work in serving and preserving the humanities.
In his final treatise, On Moral Duties, written in 44 BC, Marcus Tullius Cicero, the Roman statesman, orator, writer, and thinker, quoting from the Roman playwright Terence, wrote: “I am a human. I consider nothing connected to humanity to be alien to me.” For Cicero, thinking about justice and correct action in difficult times is a hallmark of humanistic thought, as is having empathy for the human condition. That was a mark of Cicero, and it is a mark of the focus on humanity that is at the core of Dylan’s art. Dylan’s art has long enriched the lives of those who listen to his music, through a genius that captures the essence of what it means to be human.
