Bob Dylan And The DylavincI Code Part XI

• Bob Dylan And The Dylavinci Code Part 1
• Bob Dylan And The DylavincI Code (Part II)
• Bob Dylan And The DylavincI Code (Part III)
• Bob Dylan And The DylavincI Code (Part IV)
• Bob Dylan And The DylavincI Code (Part V)
• Bob  Dylan And The Dylavinci Code (Part VI)
• Bob Dylan And The DylavincI Code (Part VII)
• Bob Dylan And the Dylanvinci Code Part VIII
• Bob Dylan And The DylavincI Code (Part IX)
• Bob Dylan And The DylavincI Code (Part X)

by Larry Fyffe

The “Dylavinci Code” uncovered in many of the song lyrics of Bob Dylan can be deciphered to reveal that indeed therein lies a stretched out “murder ballad”.

In the lyrics below, the time-travelling singer/songwriter/shape-shifting narrator speaks in the third person through the teeth of the supposedly ‘crucified’ Jesus Christ

Described be His embattled quest for the remains of Mary Magdalene, a journey that ends up at the site of the Great Sphinx in Egypt:

There's a lone soldier on the cross
Smoke pouring out of a boxcar door
You didn't know it, you didn't think it could be done
In the final end, he won the war
After losing every battle
(Bob Dylan: Idiot Wind)

Talking to the ‘nondead’ mummified Holy Ghost Magdaline as she lies in her sepulchre room within the Sphinx, Christ explains to Mary that he now remembers placing her there, and confesses the reason why He murdered her:

Idiot wind, blowing through the flowers on your tomb
Blowing through the curtains in your room
Idiot wind, blowing every time you move your teeth
Your're an idiot, babe
It's a wonder that you still know how to breathe
(Bob Dylan: Idiot Wind)

It’s very clear the “Saviour” is extremely angry at Mary for convincing Him to marry her, and then getting pregnant; she almost got away with singlehandedly undermining the little fib  that He, the ‘Son of God’, died on the cross in order to save all mankind.

Nevertheless, the “risen” Christ confesses that He’s so sorry for what He’s done:

You never know the hurt I suffered
Nor the pain I rise above
And I'll never know the same about you
Your holiness, or your kind of love
And it makes me so sorry
(Bob Dylan: Idiot Wind)

Now’s a good time to explain what ‘burlesque’ is all about, not that I would ever dabble in such satire.

The song ‘Key West’ by Bob Dylan can be classified as “high” burlesque (in the style of a ‘mock epic’) with the narrator thereof considered as the Trojan war hero Aeneas afoot in the Plutonian Underworld.

In another song “Seeing The Real You At Last”, the narrator considered as the Greek war hero Odyesseus strapped to the mast of his ship in order to get pass the call of the Sirens.

The song “Talking Bear Mountain Massacre Picnic Blues” can be classified as ‘low’ burlesque (in the style of a ‘travesty’); the narrator ticket-buyer overplays the outcome of a boat mishap.

https://www.facebook.com/watch/?v=1125323817854973

In another song “Talking World War III Blues”, the narrator survivor underplays the effects of a nuclear war.

 

But, as I’ve said, I would never stoop to such a vulgar form of writing.

 

 

 

 

 

 

 

 

 

The “Dylavinci Code” uncovered in many of the song lyrics of Bob Dylan can be deciphered to reveal that indeed therein lies a sretched out “murder ballad”.

 

 

In the lyrics below, the time-travelling singer/songwriter/shape-shifting narratotor speaks in the third person through the teeth of the supposedly ‘crucified’ Jesus Christ

 

 

Described be His embattled quest for the remains of Mary Magdalene, a journey that ends up at the site of the Great Sphinx in Egypt:

 

 

 

 

There’s a lone soldier on the cross

Smoke pouring out of a boxcar door

You didn’t know it, you didn’t think it could be done

In the final end, he won the war

After losing every battle

(Bob Dylan: Idiot Wind)

 

 

 

 

Talking to the ‘nondead’ mummified Holy Ghost Magdaline as she lies in her sepulchre room within the Sphinx, Christ explains to Mary that he now remembers placing her there, and confesses the reason why He murdered her:

 

 

 

 

Idiot wind, blowing through the flowers on your tomb

Blowing through the curtains in your room

Idiot wind, blowing every time you move your teeth

Your’re an idiot, babe

It’s a wonder that you still know how to breathe

(Bob Dylan: Idiot Wind)

 

 

 

It’s very clear the “Saviour” is extremely angry at Mary for convincing Him to marry her, and then getting pregnant; she almost got away with singlehandedly undermining the little fib  that He, the ‘Son of God’, died on the cross in order to save all mankind.

 

Nevertheless, the “risen” Christ confesses that He’s so sorry for what He’s done:

 

 

 

 

You never know the hurt I suffered

Nor the pain I rise above

And I’ll never know the same about you

Your holiness, or your kind of love

And it makes me so sorry

(Bob Dylan: Idiot Wind)

 

 

 

 

 

Now’s a good time to explain what ‘burlesque’ is all about, not that I would ever dabble in such satire.

 

 

The song ‘Key West’ by Bob Dylan can be classified as “high” burlesque (in the style of a ‘mock epic’) with the narrator thereof considered as the Trojan war hero Aeneas afoot in the Plutonian Underworld.

 

 

In another song “Seeing The Real You At Last”, the narrator considered as the Greek war hero Odyesseus strapped to the mast of his ship in order to get pass the call of the Sirens.

 

 

The song “Talking Bear Mountain Massacre Picnic Blues” can be classified as ‘low’ burlesque (in the style of a ‘travesty’); the narrator ticket-buyer overplays the outcome of a boat mishap.

 

 

In another song “Talking World War III Blues”, the narrator survivor underplays the effects of a nuclear war.

 

 

But, as I’ve said, I would never stoop to such a vulgar form of writing.