that the female protagonist challenged the gendered expectations of a mid-1960s pop audience, as an "everywoman" with ego and a clear agenda. "Norwegian Wood (This Bird Has Flown)" Lennon said he wrote "Norwegian Wood" about an extramarital affair and that he worded the narrative to hide the truth from his wife, Cynthia. The lyrics sketch a failed meeting between the singer and a mysterious girl, where she goes to bed and he sleeps in the bath; in retaliation at the girl's aloofness, the singer decides to burn down her pine-panelled home. Arranged in 12/8 time, and in the English folk style, the song has a Mixolydian melody that results in a drone effect in the acoustic guitars, complementing the sitar part, though switches to parallel scale of E Dorian during its middle eight. The narrative draws heavily on Dylan's style through its use of ambiguity. In author Jonathan Gould's description, the song is an "emotional black comedy", while Decker recognises it as a continuation of the "interrogation of sexual ambiguities" and "muddled sense of power" displayed in "Drive My Car". "You Won't See Me" Written by McCartney, "You Won't See Me" reflects the difficulties he was experiencing in his relationship with actress Jane Asher due to her refusal to put her acting career second to his needs. Gould identifies the song as the third consecutive track in which the narrative conveys miscommunication. McCartney described its music as "very Motown-flavored", with a "feel" inspired by Motown bassist James Jamerson. The verses use the same chord sequence as the Four Tops' hit "It's the Same Old Song", which was titled by its writers, the Holland–Dozier–Holland team, in acknowledgement that they had already used the same pattern in their composition "I Can't Help Myself". "Nowhere Man" Lennon recalled that "Nowhere Man" came to him fully formed one night at his home in Surrey, after he had struggled to write anything for several hours. The song reflects the existential concerns raised by his experiences with LSD, and, like "I'm a Loser" and "Help!", his self-loathing during a time he later called his "fat Elvis period". It was the first Beatles song to completely avoid boy–girl relationships, and through Lennon conveying his feelings of inadequacy in the third person, the first example of a literary character in the Beatles' work. Riley views the message as a precursor to the "I'd love to turn you on"