“Both Sides Now” was first released on Joni Mitchell’s album Clouds (1969) and later rerecorded on her album Both Sides Now (2000). The versions contain the same lyrics with different instrumentation. In both, the melancholy and introspective tone of the music reflects the thoughtfulness of the lyrics. The title of the song alludes to the central themes of experience and perspective throughout the lyrics. Mitchell structure the song in three parts with a chorus (analyzed last) in between each: clouds, love, and life.
Her first reflection is on clouds:
Rows and flows of angel hair
And ice cream castles in the air
And feather canyons everywhere
I’ve looked at clouds that way
Mitchell is reflecting on the way she used to view clouds as beautiful and magical. She uses figurative language in order to translate her romanticized experiences of watching clouds. Also, she uses the cliche of “castles in the air” to highlight the magical and positive view of clouds. Then, Mitchell portrays how her perspective has changed:
But now they only block the sun
They rain and snow on everyone
So many things I would have done
But clouds got in my way
Where she used to see romantic limitlessness of clouds, Mitchell now sees clouds’ ability to block things. In the last two lines, she cites clouds as an obstacle.
Next, Mitchell shifts to love:
Moons and Junes and Ferris wheels
The dizzy dancing way you feel
As every fairy tale comes real
I’ve looked at love that way
She portrays love through moments of happiness, reflecting the idea of romanticized fairy tale love. With time, her perspective has changed:
But now it’s just another show
You leave ’em laughing when you go
And if you care, don’t let them know
Don’t give yourself away
The fairy tale has been shattered. She uses “show” and “leave them laughing” to show how love is performative. Telling someone how you feel will only result in your own pain, Mitchell warns, urging us to not give all our love.
From her new view of love, Mitchell sees both sides of life:
Tears and fears and feeling proud
To say “I love you” right out loud
Dreams and schemes and circus crowds
I’ve looked at life that way
Before, she defined life by love and dreams. Emotions (sadness, fear, pride) in life came from expressing and declaring the idealistic version of love. Aspirations and plans were supposed to be the guide to her life. Here, Mitchell uses diction to call back to previous ideas. “Schemes” has a cynical connotation which hints at the covert motivations people have. Also, she calls back to the idea of performative love by using “circus crowds” to represent the “audience” we perform for.
She describes the other side of life:
But now old friends are acting strange
They shake their heads, they say I’ve changed
Well, something’s lost, but something’s gained
In living every day
Finally, Mitchell brings all of her new perspectives together. As her outlook has changed, so have her relationships. Her repetition of “they” highlights how this change in perspective has distanced her from her past. She concludes by explaining how truly living comes with losses; however, from those losses, we find something new, making life a dynamic give-and-take.
The chorus between each verse follows the same structure while describing clouds, love, and life:
I’ve looked at ____ from both sides now
(Reference to word)
It’s ___ illusions I recall
I really don’t know ___ at all
These choruses holds the central idea of the song. She chooses the word recall to highlight that what she remembers is the illusions, not reality. In this way, she emphasizes how we experience and remember life by romanticizing. At the same time, as she sees both sides, Mitchell recognizes the realities of the things we romanticize. In this way, she develops the central ideas of the song: naivety and lived experience. Although she recognizes the realities, Mitchell still remembers the illusions, showing how wisdom does not replace the innocence we once had. Naivety and knowledge are not mutually exclusive. Instead, they act as a balance: innocence prevents reality from controlling us; experience stops us from getting lost in the world of romanticization. Mitchell models this on all levels through clouds (something tangible), love (something abstract), and life (something universal).
