Top 20 Songs

1. Rascal Flatts. (2006). “My Wish”.  Me and My Gang.  Offering two different ways to decipher the song, Rascal Flatts was able to deliver a sweet love song, but also a song for the average person.  The delivery both, vocally and instrumentally, was low key, which highlighted the song’s pervasive meaning.  “This is my wish . . . may all your dreams stay big” depicts and sums up the dual message of the song, not only should we believe in someone, but we should believe in ourselves.
2. The Script.  (2008). “The Man who can’t be Moved.”  The Script.  Instrumentally, this song offers two different melodies, both of the same tone, but very difference in delivery.  The differences of the melodies create a bittersweet tone which underlies the lyrics.  The message, both literally and figuratively are both perfectly portrayed through the title and lyric “I’m the man who can’t be moved,” suggesting he cannot be physically moved, and emotionally can not “move on when I’m still in love with you.”       
3. John Mayer.  (2006). “Waiting on the Word to Change”.  Continuum.  The delivery both instrumentally and vocally is very simple.  The simplicity helps with the portrayal of the applicable meaning of the song.  The lyrics, which present multiple faults in the world, hold some relevance to everyone in some aspect.  The melody, although toned down, is powerful in delivery.  The vocals are also more powerful because of the lyrics. 
4. Train.  (2001). “Drops of Jupiter”.  Drops of Jupiter.  The ambiguity of the lyrics provides its listeners with a form of engagement that transcends other songs.  Utilizing an extended metaphor “now she’s back in the atmosphere,” Train is able to deliver a message of finding one’s own individuality; “you were looking for yourself out there.”  The vocals, which slowly build up, serve to fill the simplistic lyrics with meaning deeper than that which could have been achieved.     
5. Mars, Bruno.  (2010). “Somewhere in Brooklyn”.  Doo- Wops and Hooligans.  Although shallow meaningfully, lyrically vocally, and instrumentally, the delivery of the song is well done.  The instruments of the song not only are simple to reflect the speaker’s mellow tone, but they create an atmosphere congruent to the atmosphere of the song.  Lyrically, the song flows well together aided by the unreliable rhyme scheme.  And vocally, Bruno Mar’s delicate tone combines with the instruments in order for the straightforward meaning to appear to have depth to it. 
6. Swift, Taylor.  (2006). “Mary’s Song”.  Taylor Swift.  Providing a complete narration, the song offers a story applicable to many people, although the situation may differ.  Shifting from past, to present, to future, the lyrics of the song show this transition.  The vocals never fall and never shift in order to keep the steady rhythm established by the instruments.  The instruments shift only slightly in order to portray a change in thoughts.  The meaning of the song is perceived obviously at first, but “after all this time,” changes to reveal the persistence of love over time.      
7. Coldplay.  (2011). “Paradise”.  Mylo Xyloto.  Although much of the song is repetition, the lyrics articulate the meaning.  People are urged to remember that “the sun must set to rise,” and that “paradise” is everywhere if you look hard enough for it.  The vocals and lyrics mesh to produce an enjambment of noises.  This flow established by the mixture sets the mood of the song, a bittersweet harmony.    
8. Thomas, Rob.  (2010). “Mockingbird”.  Cradlesong.  Creating an allusive metaphor of a “mockingbird” Rob Thomas creates a dynamic love song.  The song could be interpreted in two ways, “maybe we aint’ meant for this love. . . I will lead you through the broken promise land” hinting that the love could continue forward or end.  The rhythm of the instruments sways the listeners to the former.  The vocals, although a bit dismal in tone, match the pace of the instruments, also hinting at a happy ending.
9. Snow Patrol.  (2006). “Chasing Cars”.  Eyes Open.  Taken literally or figuratively, the song reflects an endless of time.  Repetitively asking “would you lie with me and just forget the world” the lyrics provoke a sense of discomfort in the heads of the listeners, as not only they ponder the outcome, but they ponder what they would do.  The vocals produce a soft pitch and the instruments take cues from the vocals, rising and falling in exact accordance.  This produces a solid harmony that combine to aid to the sense of timelessness.       
10. Underwood, Carrie.  (2005)  “Inside your Heaven”.  Some Hearts.  Vocally and instrumentally, the rhythm rises and falls as the song progresses.  The chorus, which offers insight to the purpose of living within someone, contains the loudest, most powerful vocal and instrumental range.  The remaining verses are generally softer in range.  The meaning of the song is flexible to any situation, but it is the yearning to be close to someone you love so that you may help them when “the storm blows you away.”  
11. OneRepublic.  (2009). “Secrets”.  Waking Up.  Utilizing more than you average band instruments, OneRepublic chooses to use more classic instruments.  The classical instruments bring a different tone to the music and highlight the deep vocals.  The instruments and vocals aid the chorus in that the instruments provide a soft background to the powerful vocals so the delivery is potent.  “I’m gonna give all my secrets away” sums up the applicable meaning, the speaker is looking for a world where people aren’t “insincere.”    
12. Iglesias, Enrique.  (2001). “Hero”.  Escape.  Offering a series of questions for which no answer exists, Enrique Iglesias engages his listeners.  The downplayed instruments and quiet soft vocals allow for the message of the song to shine through.  The song not only demonstrates an ambiguous love song, but delivers a message of trust.  The song’s dual message can be interpreted by anyone depending on how deep they listen.       
13. Mraz, Jason. (2008). “I’m Yours”.  We Sing.  We Dance.  We Steal Things.  The transitioning point of view allows for two different meanings to be deciphered.  “This is our fate, I’m yours” reveals that the song is a love song.  However, utilizing a metaphor, “I drew a new face” suggests that one should change themselves if they don’t like what they see “in the mirror.”  The soft picking at a stringed instrument keeps the mood of the song light and ambiguous so both meanings can be pulled out of it.  The vocals follow the same rhythm as the instruments and help with the delivery of the dual message. 
14. Maroon 5.  (2002). “This Love”.  Songs about Jane.  Ambiguously shifting the personal point of view, the listeners are never quite sure if the relationship is ended because although “this love has taken its toll on me”  “I’ll fix these broken things.”  Maintaining the ambiguity, the vocals rise and fall in accordance with the instruments.  The purpose of the instruments is to provide a entertaining backdrop, while at the same time shift the mood with the arrival of the chorus.
15. Hot Chelle Rae.  (2010). “Bleed”.  Lovesick Electric.  Although short in length, the song has great depth to its meaning.  It is proclaimed through an extended metaphor that “I bleed my heart out for you.”  The symbol of the heart makes it obvious that the song is a love song, and the fact that it is bleeding out reveals that he would die for the girl.  The pitch of the vocals adds masculinity to the song not always present in Hot Chelle Rae songs.  The understated instruments allow for the vocals to penetrate the lyrics and add a meaning greater than first perceived.
16. The Fray.  (2012). “Heartbeat”.  Scars and Stories.  The upbeat pop instrumentals give a steady, happy mood though the lyrics suggest otherwise.  Telling a tale of a love, and “[loving] them all the same” the lyrics, upon first glance, appear to be positive.  However, combined with the understated vocals, the tone is negative revealing to the audience the personal connection the speaker has to the song.  The connection, it is suggested, let the speaker confused about his feelings, although loving someone to the fullest is the right thing to do; it’s not easy and creates a dissonance of thoughts.   
17. McCartney, Jesse.  (2004). “Beautiful Soul”.  Beautiful Soul.  Discussing the importance of having a beautiful interior rather than a beautiful exterior, the speaker offers situations and their reciprocals for what he wants and doesn’t want in a girl.  The guitar in the song rises and falls with the chorus and, uniquely, tones down during the chorus.  The vocals are kept softer in order for the pervasive meaning to become the focal point of the song.
18. Plain White T’s.  (2007). “1234”.  The Reminder.  Incorporating numbers into the lyrics, but using them as words, the Plain White T’s write a love song with an alternative beat.  The vocals are prominent and powerful during the chorus in order to emphasize this unique use of numbers, but the pitch is softer in the verses.  The overall meaning of the song if very shallow as it is simply a love song.
19. Powter, Daniel.  (2005). “Bad Day”.  Daniel Powter.  Providing an explanation for situations in which all things good seem to be lost, Daniel Powter provides and alternative to wallowing in your sorrow.  Nonchalantly brushing it off, he urges one, amongst other things, to “sing a sad song just to turn it around.”  Utilizing powerful vocals, the range of which is immense, he backs it up with a limited range of instrumentals in order to complement himself.   
20. Caillat, Colbie.  (2007). “Realize”.  Coco.  Utilizing soft vocals which directly correlate to the soft instrumentals, the meaning becomes obviously clear.  As the song shifts from verses to chorus, the vocals pick up and become more powerful with a vast range however the instruments never shift drastically.  The shifting of the vocals is in correspondence with the shifting of the lyrics.  The lyrics shift from very ambiguous to directly pinpointing the situation; we’d never have to wonder/ if we missed out on each other.”  The song, although it requires deep introspection, urges its listeners to never miss out on a chance in life, lest you will spend the rest of you life wondering.   

"Home"- Fiction

I groggily wake up again after a sudden jolt.  The first thoughts to pervade my mind are who am I?  Where am I?  I can’t see?!  Can’t breath?!  Can’t. . .  Then a soft reassuring voice comes back to me.  “Breath.  Just focus on the little things, the things you know for sure.  Breathe in.  And out.  And concentrate.  In and out.”  In and out.  In and out.  In and out.  I am Mary Elizabeth Smith.  I am sixteen years old.  I live in . . . or lived in?  And all at once the panic resumes as I try to decide where I live . . . or had lived? 

The squeaking of rusted iron gates open slowly, and they clang back together as they are forcefully released.  I try to twist my head to see who my visitor is, but find I can’t move it more than an inch to my right or my left.  I can hear him . . . or her . . . jumbling what appears to be a mess of metal together, mixing something that smells like food better suited for a pig.  Soon after, the man comes into my vision.  He has tufts of what appear to be dust sparsely scattered on his otherwise ageing head.  His skin appears to be glistening, as if he was just dowsed in water, but grimy coloring suggests otherwise.  He sneeringly smiles revealing rows of rotting teeth, each decorated with their own pattern.  And then he looks down at my body and begins to release the straps holding my head, arms, and legs.

My every muscle, every fiber feels as if it’s vibrating.  I have never felt this weak in my life, at least not the life I have memory of.  The life I have memory of is this cold, damp room.  This cold damp slab of stone.  The cold chains that hold me in place.  The cold people that visit.  And the cold that haunts my body and mind.  From somewhere far away a raspy voice wiggles its way into my ears and sends shivers down my spine.

“Sit up my dear so that you can eat.  We wouldn’t want you to starve now would we?”  Automatically I push my tired body away from the stone and swing my legs over the edge.  My body sways but I feel a firm rough hand steady my back.  As if I have been trained, I open my mouth when the spoon is presented to me.  A scalding, chunky liquid burns its way down my throat and I gag.  A hand clamps over my mouth forcing me to swallow the liquid and as I feel it plummet down to my stomach I choke and grab the water offered to me to try and erase the vile taste. He sneers at me and emits a haunting chuckle as he presents the next spoonful of the slop.  The next one slides down my throat, same as the first, burning all the way, leaving blistering scars.  I keep opening my mouth and he keeps pouring the food down as I gag and try not to breath in the heavy scent of something rotten.  He scrapes the bowl, trying to get every last bit of the stuff, each spoonful nastier than the first, only this time the food has become lukewarm.  It no longer burns my throat, but I can now taste the slop, and as it runs down my throat a new wave of nausea rolls over me.   Spoonful after spoonful, swallow after swallow, the gooey substance clogs its way down my throat, solidifying and landing with a thud in my stomach, which, even though it’s full, never ceases emitting moans.     

After my feeding I am tied back down and the man leaves, with a promise to return.  Following his exit I release a string of the most despicable curses I can think of.  I lay there, hoping for some response, anything, I just want someone to talk.  And when none comes, and after I finish crying and my throat is raw, I slip into a fitful sleep and dream.

You’re trapped and everywhere you turn there is another image of you, staring at you.  From every wall, every angle, every corner you smile back at yourself.  You turn the corner hoping to escape you only to end up back in your deadly stare.  You are trapped in a twisted fun house, searching for the exit and hoping you don’t find one.  Because do you know what waits for you at the exit?  You.  And that is when the rattling of the bars wakes me from my slumber signaling another new day, another new day in which I wait desperately for my escape.

Muffled talking.  Hurried whispering.  Then nothing.  Musty and damp.  They have covered my head.  Covered it with a sack.  As black as night.    The clamps fall away from me.  I am lifted into the air.  Strong muscular arms hold me.  I am carried out.  out of my cell.  For the first time.  And I can’t see my freedom.   Can’t even catch my first glimpse.  I don’t care.  This is it.  I know this is it.  I am going to be free.  I know he is taking me to freedom.  This man is a friend.  I know he must be.  We are running now.  Skirting around corners.  He falls.  Then stands back up.  No matter what.  Not matter how many falls. He always gets up.  We make it out.  I can feel the sunlight.  It kisses my skin.   And then, blissfully, nothing.

The first thing I notice when I wake up is the smell.  It’s not the smell of my old home, but rather a fresh, sweet smell.  And then I notice the green.  The floor on which I lay, the structures which grow out of the floor.  And then I see him, sitting next to me, watching me.

In a shaky voice I speak my first civilized words in this new life.  “Are you my rescuer?”

“Yes.”

“Thank you.  But. . .” my heart starts to pound as I realize I am in a strange place, with a strange man.  And everything here is different.  There are no walls, no protection from those creatures that I was told want to kill me.  And it’s too bright here, uncomfortably so.  And the air moves here.  It blows my hair and stings my skin, I feel as if it must be bewitched.  I can’t stay here, not even if I am free, because I am not safe here.  “But I have to go back.”

“You can’t go back there.”

“Like ever?”

“Yes, like ever.  Welcome to paradise.”

“Paradise?! Seems more like. . .”

“Well its not!”  his anger scares me even more than my keeper’s silence used to.

“It’s not what??”

“Nothing.”  he says before quickly glancing down at his hands folded neatly in his lap.

“Are you referring to the fact that this isn’t paradise, or that this is hell?”

“Is there a difference?”  He asks with a smile, as if this is some joke that I am missing.  I think about what he has just said, and then realize I don’t know!  I don’t understand anything.  All I do know is my cell was the only home I can remember, but I must have lived somewhere else before.  “Maybe I lived here?”

It’s not until he answers in the affirmative that I realized I was speaking aloud.  “Really?”

“Yes, you grew up here.  We. . .you used to run through the fields, and collect flowers.  You would weave them into a wreath and wear them on your head.  You called yourself princess of the forest.  It was really. . .”

“It was what?”

“Nothing.  I forget.”

“We.  You said we.  Did we know each other?”

“I didn’t say we.”

“Yes you did.  You almost said ‘we used to run through the fields.’”

“Mary, do you remember anything of this, of home?”

“No. . .Wait yes.  I remember the sun.  The way it used to kiss my skin and make me feel warm.  I used to love sitting out here, under the sun, and soaking up the warmth.”

“So you don’t remember anything else?”

“No, I’m sorry.  I want to, but I can’t.”

“Mary I . . . you . . . we’re married.”  A million thoughts run through my head at once, and yet the same one keeps resurfacing.  Married?  I can’t be married, I’m sixteen years old! 

“No.  We are not married.  I don’t who you are or what you want but you will take me back home!”

“Sure, we can go home.  Let’s just first. . .”

“No, I don’t want to go with you!  I want you to bring me back to my new home.  I’m safe there, I know I will be safe there.”

“They had you chained up!?”

“It was for my protection!  Don’t you understand!?  It’s dangerous out here, I need to go back.  Take me there.”

“I can’t Mare.  They were going to kill you there, or worse.”

“Worse!?  Nothing could be worse than being in this strange place with you.  Take me home or I will run away.”

“Mary, taking you back there will kill me, it will kill me!  I just can’t do it.  I just got you back.  Please Mare; you must understand why I can’t take you back.”  Tears fall down his face and land on my lap, and then I see that they are my tears too.

“I’m sorry.  I don’t who you are, or what we are, or even who I am.  But I am sorry.  And, if we are married, and you love me, then you’ll know why you have to take me back.  Please?  Just take me back.  Please.”

“Okay.  Because I love you, I will take you.  Let’s get you home.” 

Tone Analysis

                Though both “Rock n’ Roll Band” and “Have a Cigar” illustrate the climb to fame in the music industry, “Rock n’ Roll Band” utilizes a nostalgic tone and humbled characterization in order to articulate the gratifying “sensation” fame has brought while “Have a Cigar” incorporates a cynical tone and deliberate ambiguity in order to illuminate the “monster” the prospect of fame has manifested.

                Boston regresses back to the time of the beginning of the band in order to provide an accurate account of the events and emotions.  Beginning at the start of the climb he remembers how the band used to sleep “in our cars” portraying character and tone.  The band’s disposition is further revealed when they “never worry ‘bout the things we were missing” aiding and revealing the humbled nature fame has brought to the band.  Utilizing simple words such as “just” and deliberately placing them, the speaker is able to create a nostalgic tone inviting the listeners to delve back into the band’s past.  “You’re going to be a sensation” suggest that the bands future looks bright, however the listeners know the band was “outta- sight.”  “Rock n’ Roll Band” by Boston expresses through a nostalgic tone the humbled feelings fame has brought the band.

                Through a personal recount the band Boston is able to express the positives of fame but the band Pink Floyd takes on the persona of their agent in order to express the negatives of fame.  Beginning with a mocking tone as the agent proclaims “you’re never gonna die” the band’s feelings of fame have surfaced.  The mocking tone soon progresses into a cynical tone as they fall into the “monster” of fame and are forced to play the “game.”  This cynical tone is further expressed through the carefully placed ambiguous words.  The agent congratulates the band on their “sell-out,” which on the surface seems like an achievement to be proud of.  However, the deliberate placement of the words does not directly point to an achievement, but a failure.  The words “sell- out” could be referring to the fact that the band sold themselves to the music industry, a choice, through the mocking cynical tone, they wished they had considered more.

                In “Rock n’ Roll Band” character and tone work together to depict the positives fame has brought to the band and also to convey their grateful feelings for having this opportunity.  In contrast the song “Have a Cigar” contains tone and ambiguity that also work off each other, but they depict the negatives of fame and the regret they carry for having this opportunity thrust upon them.  The similar subjects of the song, the climb to fame, are both clarified in different lights depending on the tone that each was influenced by.     

"Funny the Way It Is" Dave Matthews Song Analysis

               Shifting from particular claims to general claims in “Funny the Way It is,” Dave Matthews utilizes paradoxical symbolism, straightforward irony, and discreet characterization in order to articulate that life is neither “right or wrong” but simply in existence. 

                Characterization is not an obvious component utilized by Matthews; it is, however, alluded to throughout the song.  The speaker is very detached only addressing that he is present at all when he is watching “the water passing under me.”  This brief acknowledgment of presence is the only cue about the physical position about the speaker, however, cautiously, their mental disposition is revealed.  The speaker claims on multiple accounts how “funny the way it is” referring to the way events unfold.  The use of the word “funny” suggests that the speaker feels as is the situation was neither expected nor unexpected, it just happened.  These ideas of coincidences are echoed throughout the song.  

                Matthews couples characterization with irony to strengthen previous declarations and also generate new ones.  The irony of the kid who “walks 10 miles to school” while the other is “dropping out” confirms the speaker’s beliefs on the irregularities of life having no affect on each other.  Examples similar to the previous one are mixed with ironic examples of a completely different purpose.  “On a soldiers last breath his baby’s being born” portrays the speaker’s beliefs that all in life is reciprocal.  Reinforcing this declaration through “somebody’s” broken heart becoming “your favorite song” the speaker suggests that one’s misfortunes may turn out in your favor.  The dual use of irony mixes in order to aid the singer, and also to provide a backing for the author’s use of paradoxical symbolism.

                The writer merges paradox and symbolism to strengthen his message.  Hearing laughter “while the children play at war” is a symbol for the innocence of the children.  The natural instinct of children is to laugh while at play, however, laughing while playing war could be looked at as irony because war is not something to laugh about.  However, because of the symbol of innocence created, laughing while playing war is a perfectly appropriate response because the children are innocent and don’t understand the gravity of the situation.  Matthews symbolizes a very specific scenario, but he also creates a symbol of the “world” which has become “small.”  The shrinking of the world that used to be filled with “mountains and oceans and winter and rivers and stars” is not physically possible.  However, what the speaker is trying to portray is that the world used to be filled with natural objects, but then man came and changed it.  Paradoxically creating a small world, the speaker further emphasizes how life has no conscience, it is simple moving on with those creating it.

                Paradoxical symbolism, straightforward irony, and discreet characterization are all combined in Dave Matthews’ “Funny the Way It Is” to aid him in the portrayal of his message that life is sometimes “funny” in the way that it works out.  Life is neither here nor there; it doesn’t change to acknowledge situations, coincidences happen all the time; life is neither “right or wrong” but instead continuously moving onward in an unknown direction.

Song Analysis 1: "Wheels of a Dream"

Shifting between commenting on the absolutes and the possibilities in “Wheels of a Dream,” Lynn Ahrens employs a symbolic metaphor, ever present narration, and dynamic characterization in order to express that one can “ride” on their dreams into reality; dreams can come true.

In order to show the dynamic relationships of her characters, Ahrens alternates between speakers.  This multiple person point of view allows for dual characterization.  Through dialogue “when he is old enough” it is revealed that the boy is young, but will have a future.  Characterization is also done directly when the speakers address each other.  The proposal to “go down south/ and see your people” exposes that the characters used to live in the south.  “We’ll travel on from there/ California or who knows where” not only confirms that the subjects have left their birth place, but are very adventurous and don’t let anything stand in their way.  Coupling direct and indirect characterization together “let’s a man like me . . ./ build a life with you” and “the freedom he’ll live to know” the listeners are able to comprehend the relationship the couple has with society, and the relationship their son will have because of the brighter future they dream to create.

Characterization is paired with narration.  Narration is used not in the literal way, rather an imaginative way.  Spread throughout is the prospect of the future, a future in which “we’ll see justice.”  The hope of justice is played out as the scene progresses until eventually men “will stand up/ and give us our due” portraying not only desires, but a process that is intended to take some time.  This futuristic, hypothetical narration is again present in the speculating of their son “and the freedom he’ll live to know.”  The narration is done in a unique subtle way so as to incorporate the thoughts and feelings of the speakers, not just the actions.  Narration and characterization combine with a symbolic metaphor to aid Ahrens in the portrayal of dreams.    

Throughout the song the image of a wheel is present.  This wheel is meant to symbolize life.  “Will ride/ on the wheels of a dream” confirms the symbol but also offers insight to the listener.  Life is continuous, much like the “turning” of wheels; they are a cycle.  The writer proclaims that “times are starting to roll” supporting this idea of the wheel of life and also providing an image of a new life beginning.  Ahrens repeatedly utilizes the phrase “on the wheels of a dream” but by integrating different pronouns preceding this phrase such as “he” and “we” she establishes that there is more than one “dream” present.  The metaphor of a wheel being one’s life supports the idea that dream can come true.

Ahrens utilizes a metaphor, narration, and characterization to aid in her explanation of dreams becoming a reality.  Through her song listeners are taken on a journey and experience the lives, dreams, and futures possessed by multiple characters.  Dreaming to change their lives and create a better future, these characters intend to do so by riding “on the wheels of a dream.”    

   

"Wheels of a Dream" By Lynn Ahrens

[COALHOUSE]
I see his face.
I hear his heartbeat.
I look in those eyes.
How wise they seem.
Well, when he is old enough
I will show him America
And he will ride
on the wheels of a dream.
[COALHOUSE]
We'll go down South
[SARAH]
Go down South,
[COALHOUSE]
And see your people
[SARAH]
See my folks.
[COALHOUSE]
Won't they take to him
[SARAH]
They'll take to him
[COALHOUSE]
Like cats to cream!
[SARAH]
Mmm...
[COALHOUSE]
Then we'll travel on from there.
[SARAH]
California or who knows where!
[BOTH]
And we will ride
On the wheels of a dream.
[COALHOUSE]
Yes, the wheels are turning for us, girl.
And the times are starting to roll.
Any man can get where he wants to
If he's got some fire in his soul.
We'll see justice, Sarah,
And plenty of men
Who will stand up
And give us our due.
Oh, Sarah, it's more that promises.
Sarah, it must be true.
A country that let's a man like me
Own a car, raise a child, build a life with you...
[COALHOUSE]
With you...
[SARAH]
With you...
[BOTH]
Beyond that road,
Beyond this lifetime
That care full of hope
Will always gleam!
With the promise of happiness
And the freedom he'll live to know.
He'll travel with head held high,
Just as far as his heart can go
And he will ride-
Our son will ride-
On the wheels of a dream

"Little Green" Song Analysis

Weaving in a subtle lesson on responsibility in “Little Green,” Joni Mitchell employs  natural personification, multi- faceted characterization, and peaceful imagery in order to convey that even though “sometimes there’ll  be sorrow,” life consists of many trials and triumphs.

Mitchell encompasses all she was trying to portray through her use of peaceful imagery.  The “crocuses” that one can “bring to school tomorrow” provide an image of spring which is often associated with a time of peace and tranquility.  The imagery presented does not only produce a symbol of peace, but an aura of peace.  The allusion to a “gypsy dancer” provides an atmosphere of peace because gypsy dancers are normally reared as people who are in tune with themselves and the world.  The symbols of peace and the atmosphere of peace created by Mitchell help also to establish the idea that not every day in life is filled with sorrows.

Joni Mitchell indirectly and directly characterizes the subjects of her song.  Alluding to the presence of a father figure throughout the second stanza, she reveals that “he went to California,” not only to tell the listeners that he left, but to show them his attitude which one can conclude is that of a selfish person.  Confirming those beliefs, the figure is directly characterized when it is made apparent that “he’s a non- conformer,” verifying his disposition.  Mitchell combines this characterization of a father figure with one of a mother figure.  The indirect characterization of the woman is able to portray her conflicted thoughts.  “You’re sorry, but you not ashamed” reveals that the woman has many mixed emotions hinting at her sorrowful but hopeful outlook.  This dual use of characterization is combined with personification in order to aid Mitchell in conveying her idea.

Personification is achieved through attributing human qualities to the seasons.  “The spring is born” allows for the listeners to understand that although spring is not actually being born, through “Little Green” a fresh, new time is beginning.  Partnering the personification of the spring with the winters who “cannot fade her” Mitchell is skillfully able to hint at the passing of time.  Personification is used again through the “Northern Lights” who possess the ability to “perform.”  This performance alludes to a pleasant comfortable atmosphere contrasting but proving the fluctuations of life.

Through personification, characterization, and imagery, Joni Mitchell is able to portray to the listeners that life is filled with many ups and downs.  This idea that “there’ll be sorrow” not only is true in Joni’s situation, but throughout life, filling every aspect of everyday.