Brooke Gomes

English 1010-418-Sp15
Professor Miner
March 10, 2015

The Times They Are A-Changing

Bob Dylans anthem for change amidst the civil rights movement and the general climate of
American society passionately expresses the antipathy of the progressive youth of the era. It was
1964, and widespread civil unrest paralleled the sentiment of Dylans musical protest. Race riots
raged in US cities, Nelson Mandela was sentenced to life in jail for his role in the anti-apartheid
movement in South Africa, the Cold War was a looming threat, and American youth were becoming
increasingly disenfranchised. Dylan was incensed by the weight of the old paradigm whose
persistence in imposing the attitudes of yesteryear was a constant source of intergenerational
tension. His method, however, incites more of the same. The art of argumentation cannot
effectively convince an opponent if it unwittingly alienates the very subject of its purpose and lacks
substantial logic to support its claim. This examination will follow the use of pathos, ethos, and
logos for the benefit of the reader to better understand the use of rhetorical methods in protest
songs. Although more than 50 years have passed since its release, The Times They Are AChangings relevance to current affairs affirms the tendency of society to experience growing pains
in the face of radical change.
The Times They Are A-Changing, one of Dylans most enduring pieces, is emotionally charged yet
flawed by the naivete of youth. The tone is rich with pathos and imbued with metaphor about the

changing tides that will engulf the contingency of antagonists should they refuse to accept and adapt
to the transitory course of time. Each stanza concludes with a warning, instigating fear in the
listener who dares to deny Dylans cautionary claims. In one example, Dylan pleads to our nations
leaders demands that they not obstruct progress by figuratively standing in doorways and blocking
halls. He politely asks them to please heed the call and then admonishes their stagnation by
emphasizing the growing dysphoria that was sweeping through society with the menacing, theres a
battle outside and its ragin. Itll soon shake your windows and rattle your walls. (Dylan) This
intimidation is meant to ignite the fervor of Dylans peers while sending a message to the oppressors
to expect the collective battlefront at their doorstep. Throughout the song, he is addressing two
diametrically opposed audiences and artfully stirs different emotional responses in each. He uses his
distinctive, raw singing voice to create both a rallying cry and a warning, depending on the
perspective of the listener. Dylan appears to be suffering from cultural bias based on his
admonishment of the old paradigm. The crux of Dylans ire is predicated on two fallacious beliefs;
the presupposition that two ideological groups cannot converge for a common purpose and that the
ways of those who have come before become suddenly obsolete as the new generation steps into
mature societal roles. Possibly the greatest reason that The Times They Are A-Changing became
anthemic is the nature of the genre; to affect change by forming an effective emotional appeal.
Bob Dylans first album, titled The Freewheelin Bob Dylan, began his reputation as a figurehead for the
protest movement with the song, Blowin in the Wind. This status helps to cement his appeal to
ethos by assuming that the listener is familiar with Dylan as an authority on social change and a
representative of dissenting voices. The cautionary tale-like quality of the song is specifically tailored
towards the attitudes and values of American society at that time. Furthermore, he employs the
tone of his voice to deliver the unspoken message, Hey! Listen to me, I know what Im talking

about. His confident air of authority is the most overt ethical appeal that lays the foundation of his
entire argument.
The entire song is imbued with metaphor about the changing tides that will engulf the contingency
of antagonists should they refuse to accept and adapt to the transitory course of time. The listenter
is cautioned that, You better start swimmin or youll sink like a stone, for the times they are achanging. This is a logical fallacy born of deductive reasoning. Dylans further attempts at forming
a logical appeal are mostly based on contrast and causality. This either/or attitude only serves to
weaken his position to the discerning listener who is not affected by the rigidity of black and white
assertions. Thus, logos is his weakest rhetorical mode.
The song closes with the neutral proclamation that all things are subject to obscurity with the
passage of time. Although this is the general message of the song, Dylan spent much of his lyrical
real estate on finger pointing. Perhaps he could have borrowed the gentle tone of one of his earliest
influences, Pete Seeger, and his adaptation of Turn! Turn! Turn! which thoughtfully expressed the
transient nature of existence. Sometimes the fire of indignation is needed, but it must be
accompanied by insurmountable logic. After enduring 5 decades spanning the civil rights and antiwar movements to the many social movements of today, the message retains its relevancy, albeit
with the zeal of a young man whose self-awareness has only recently emerged out of adolescence
into adulthood. Although lacking in hard logic, the most thought-provoking factor of this poetic
protest song is that the times are always changing, regardless of our differences or similarities.

Works Cited
Dylan, Bob. "The Times They Are A-Changing." The Times They Are A-Changing. By Bob Dylan. New York
City, 1964. LP.