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was only concentrated on the wind and its forces so that the author of the poem was more or less forgotten. Pirie calls this "the suppression of personality" which finally vanishes at that part of the poem. It becomes more and more clear that what the author talks about now is himself. That this must be true, shows the frequency of the author's use of the first-person pronouns "I" (43–44, 48, 51, 54), "my" (48, 52), and "me" (53). These pronouns appear nine times in the fourth canto. Certainly the author wants to dramatise the atmosphere so that the reader recalls the situation of canto one to three. He achieves this by using the same pictures of the previous cantos in this one. Whereas these pictures, such as "leaf", "cloud", and "wave" have existed only together with the wind, they are now existing with the author. The author thinks about being one of them and says "If I were a . . ." (43 ff.). Shelley here identifies himself with the wind, although he knows that he cannot do that, because it is impossible for someone to put all the things he has learned from life aside and enter a "world of innocence". That
Shelley is deeply aware of his closedness in life and his identity shows his command in line 53. There he says "Oh, lift me up as a wave, a leaf, a cloud" (53). He knows that this is something impossible to achieve, but he does not stop praying for it. The only chance Shelley sees to make his prayer and wish for a new identity with the Wind come true is by pain or death, as death leads to rebirth. So, he wants to "fall upon the thorns of life" and "bleed" (54).
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movement" is continued and there is no break in the fluency of the poem; it is said that "he lay, / Lull'd by the coil of his crystalline streams, / Beside a pumice isle in Baiae's bay, / And saw in sleep old palaces and towers" (30–33). On the other hand, it is also possible that the lines of this canto refer to the "wind" again. Then the verb that belongs to the "wind" as subject is not "lay", but the previous line of this canto, that says Thou who didst waken ... And saw" (29, 33). But whoever—the "Mediterranean" or the "wind"—"saw" (33) the question remains whether the city one of them saw, is real and therefore a reflection on the water of a city that really exists on the coast; or the city is just an illusion. Pirie is not sure of that either. He says that it might be "a creative you interpretation of the billowing seaweed; or of the glimmering sky reflected on the heaving surface". Both possibilities seem to be logical. To explain the appearance of an underwater world, it might be easier to explain it by something that is realistic; and that might be that the wind is able to produce illusions on the water. With its pressure, the wind "would waken the appearance of a city". From what is known of the "wind" from the last two cantos, it became clear that the wind is something that plays the role of a
Creator. Whether the wind creates real things or illusions does not seem to be that important.
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looking forward to the spring and asks at the end of the last canto "If Winter comes, can Spring be far behind?" (70). This is of course a rhetorical question because spring does come after winter, but the "if" suggests that it might not come if the rebirth is strong and extensive enough, and if it is not, another renewal—spring—will come anyway. Thus the question has a deeper meaning and does not only mean the change of seasons, but is a reference to death and rebirth as well. It also indicates that after the struggles and problems in life, there would always be a solution. It shows us the optimistic view of the poet about life which he would like the world to know. It is an interpretation of his saying, If you are suffering now, there will be good times ahead. But the most powerful call to the Wind are the lines: "Drive my dead thoughts over the universe/like withered leaves to quicken a new birth!" Here
Shelley is imploring—or really chanting to—the Wind to blow away all of his useless thoughts so that he can be a vessel for the Wind and, as a result, awaken the Earth.
271:) actually contains visible Roman ruins underwater (that have been shifted due to earthquakes.) Obviously the moss and flowers are seaweed. It appears as if the third canto shows—in comparison with the previous cantos—a turning-point. Whereas Shelley had accepted death and changes in life in the first and second canto, he now turns to "wistful reminiscence an alternative possibility of transcendence". From line 26 to line 36 he gives an image of nature. But if we look closer at line 36, we realise that the sentence is not what it appears to be at first sight, because it obviously means, so sweet that one feels faint in describing them. This shows that the idyllic picture is not what it seems to be and that the harmony will certainly soon be destroyed. A few lines later, Shelley suddenly talks about "fear" (41). This again shows the influence of the west wind which announces the change of the season.
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and the greatest fear was that what was "tameless, and swift, and proud" (56) will stay "chain'd and bow'd" (55). The last canto differs from that. The poet in this canto uses plural forms, for example, "my leaves" (58, 64), "thy harmonies" (59), "my thoughts" (63), "ashes and sparks" (67) and "my lips" (68). By the use of the plural, the poet is able to show that there is some kind of peace and pride in his words. It even seems as if he has redefined himself because the uncertainty of the previous canto has been blown away. The "leaves" merge with those of an entire forest and "Will" become components in a whole tumult of mighty harmonies. The use of this "Will" (60) is certainly a reference to the future. Through the future meaning, the poem itself does not only sound as something that might have happened in the past, but it may even be a kind of "prophecy" (69) for what might come—the future.
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recalled again. The "clouds" (16) are "Shook from the tangled boughs of Heaven and Ocean" (17). This probably refers to the fact that the line between the sky and the stormy sea is indistinguishable and the whole space from the horizon to the zenith is covered with trailing storm clouds. The "clouds" can also be seen as "Angels of rain" (18). In a biblical way, they may be messengers that bring a message from heaven down to earth through rain and lightning. These two natural phenomena with their "fertilizing and illuminating power" bring a change.
233:"chariotest" (6) is the second person singular. The "corpse within its grave" (8) in the next line is in contrast to the "azure sister of the Spring" (9)—a reference to the east wind—whose "living hues and odours" (12) evoke a strong contrast to the colours of the fourth line of the poem that evoke death. In the last line of this canto the west wind is considered the "Destroyer" (14) because it drives the last signs of life from the trees, and the "Preserver" (14) for scattering the seeds which will come to life in the spring,
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more a request or a prayer as it had been in the fourth canto—it is a demand. The poet becomes the wind's instrument, his "lyre" (57). This is a symbol of the poet's own passivity towards the wind; he becomes his musician and the wind's breath becomes his breath. The poet's attitude—towards the wind has changed: in the first canto the wind has been an "enchanter" (3), now the wind has become an "incantation" (65).
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The odes of Pindar were exalted in tone and celebrated human accomplishments, whereas the
Horatian odes were personal and contemplative rather than public. Shelley combines the two elements in this poem. In the English tradition, the ode was more of a "vehicle for expressing the sublime, lofty thoughts of intellectual and spiritual concerns". This purpose is also reflected in Shelley's ode.
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230:. However, one must not think of this ode as an optimistic praise of the wind; it is clearly associated with autumn. The first few lines contain personification elements, such as "leaves dead" (2), the aspect of death being highlighted by the inversion which puts "dead" (2) at the end of the line. These leaves haunt as "ghosts" (3) that flee from something that panics them.
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becomes a different meaning. The wind is the "uncontrollable" (47) who is "tameless" (56). This canto also sounds like a kind of prayer or confession of the poet, yet does not address God. Shelley was a staunch atheist and one of the characteristics of
Romanticism is equating nature with divinity, with the West Wind taking on the role of God.
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hierophants of an unapprehended inspiration; the mirrors of the gigantic shadows which futurity casts upon the present; the words which express what they understand not; the trumpets which sing to battle, and feel not what they inspire; the influence which is moved not, but moves. Poets are the unacknowledged legislators of the world."
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leaves; this is a parallelism that gives evidence that we lifted "our attention from the finite world into the macrocosm". The "clouds" can also be compared with the leaves; but the clouds are more unstable and bigger than the leaves and they can be seen as messengers of rain and lightning as it was mentioned above.
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It is also necessary to mention that the first-person pronouns again appear in a great frequency; but the possessive pronoun "my" predominates. Unlike the frequent use of the "I" in the previous canto that made the canto sound self-conscious, this canto might now sound self-possessed. The canto is no
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Whereas the cantos one to three began with "O wild West Wind" and "Thou" (15, 29) and were clearly directed to the wind, there is a change in the fourth canto. The focus is no more on the "wind", but on the speaker who says "If I ..." (43–44). Until this part, the poem has appeared very anonymous and
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Line 21 begins with "Of some fierce Maenad" and again the west wind is part of the second canto of the poem; here he is two things at once: first he is "dirge/Of the dying year" (23–24) and second he is "a prophet of tumult whose prediction is decisive"; a prophet who does not only bring "black rain,
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And there is another contrast between the two last cantos: in the fourth canto the poet had articulated himself in singular: "a leaf" (43, 53), "a cloud" (44, 53), "A wave" (45, 53) and "One too like thee" (56). In this canto, the "sense of personality as vulnerably individualised led to self-doubt"
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Again and again the wind is very important in this last canto. At the beginning of the poem the wind was only capable of blowing the leaves from the trees. In the previous canto the poet identified himself with the leaves. In this canto the wind is now capable of using both of these things mentioned
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Shelley also changes his use of metaphors in this canto. In the first cantos the wind was a metaphor explained at full length. Now the metaphors are only weakly presented—"the thorns of life" (54). Shelley also leaves out the fourth element: the fire. In the previous cantos he wrote about the earth,
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The second canto discusses the wind's effect on the air. The sky's "clouds"(16) are "like earth's decaying leaves" (16). This is a reference to the second line of the first canto ("leaves dead", 2). The clouds also are numerous in number like the dead leaves. Through this reference the landscape is
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was considered a form of formal public invocation. It was usually a poem with a complex structure and was chanted or sung on important religious or state ceremonies. According to Harold Bloom, "Ode to the West Wind" reflects two types of ode traditions: odes written by Pindar and the
Horatian ode.
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At last, Shelley again calls the Wind in a kind of prayer and even wants him to be "his" Spirit: "My spirit! Be thou me, impetuous one!" (62). Like the leaves of the trees in a forest, his leaves will fall and decay and will perhaps soon flourish again when the spring comes. That may be why he is
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This poem is a highly controlled text about the role of the poet as the agent of political and moral change. This was a subject
Shelley wrote a great deal about, especially around 1819, with this strongest version of it articulated the last famous lines of his "Defence of Poetry": "Poets are the
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There is also a confrontation in this canto: Whereas in line 57 Shelley writes "me thy", there is "thou me" in line 62. These pronouns appear seven times in the fifth canto. This "signals a restored confidence, if not in the poet’s own abilities, at least in his capacity to communicate with the
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Shelley in this canto "expands his vision from the earthly scene with the leaves before him to take in the vaster commotion of the skies". This means that the wind is now no longer at the horizon and therefore far away, but he is exactly above us. The clouds now reflect the image of the swirling
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At the end of the canto the poet tells us that "a heavy weight of hours has chain'd and bow'd" (55). This may be a reference to the years that have passed and "chained and bowed" (55) the hope of the people who fought for freedom and were literally imprisoned. With this knowledge, the West Wind
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The poem begins with three sections describing the wind's effects upon earth, air, and ocean. In the last two sections, the poet speaks directly to the wind, asking for its power, to lift him up and make him its companion in its wanderings. The poem ends with an optimistic note which is that if
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This refers to the effect of west wind in the water. The question that comes up when reading the third canto at first is what the subject of the verb "saw" (33) could be. On the one hand there is the "blue
Mediterranean" (30). With the "Mediterranean" as subject of the canto, the "syntactical
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The poem can be divided in two parts: the first three cantos are about the qualities of the Wind and each ends with the invocation "Oh hear!" The last two cantos give a relation between the Wind and the speaker. Each canto of the poem has its own theme which connects to the central idea.
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Shelley also mentions that when the West Wind blows, it seems to be singing a funeral song about the year coming to an end and that the sky covered with a dome of clouds looks like a "sepulchre", i.e., a burial chamber or grave for the dying year or the year which is coming to an end.
83:) in 1819. The ensuing pain influenced Shelley. The poem allegorises the role of the poet as the voice of change and revolution. At the time of composing this poem, Shelley without doubt had the
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for spreading the word of change through the poet-prophet figure. Some also believe that the poem was written in response to the loss of his son, William (born to
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and fire, and hail" (28), but who "will burst" (28) it. The "locks of the approaching storm" (23) are the messengers of this bursting: the "clouds".
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Wagner, Stephen and Doucet Devin
Fischer. "The Pforzheimer Collection of Shelley and His Circle: The Collection and the Collector."
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Everything that had been said before was part of the elements—wind, earth, and water. Now the fourth element comes in: the fire.
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Edgecombe, Rodney
Stenning. "'Creative Unbundling': Henry IV Parts I and II and Shelley's 'Ode to the West Wind'".
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the air and the water. The reader now expects the fire—but it is not there. This leads to a break in the symmetry.
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Duffy, Edward. "Where Shelley Wrote and What He Wrote For: The Example of 'The Ode to the West Wind' ".
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Joukovsky, Nicholas A. "Contemporary Notices of Shelley: Addenda to 'The Unextinguished Hearth' ".
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that states a Knowledge editor's personal feelings or presents an original argument about a topic.
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Kapstein, I.J. "The Symbolism of the Wind and the Leaves in Shelley's 'Ode to the West Wind' ".
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Gonzalez Groba, Constante. "Structure and Development of Shelley's 'Ode to the West Wind' ".
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Anderson, Phillip B. "Shelley's 'Ode to the West Wind' and Hardy's 'The Darkling Thrush' ".
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Leyda, Seraphia D. "Windows of Meaning in 'Ode to the West Wind' ". Hall, Spencer (ed.).
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Wilcox, Stewart C. "Imagery, Ideas, and Design in Shelley's 'Ode to the West Wind' ".
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Fogle, Richard Harter. "The Imaginal Design of Shelley's 'Ode to the West Wind' ".
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Friederich, R.H. "The Apocalyptic Mode and Shelley's 'Ode to the West Wind'."
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Yan, Chen. "Research on the Translation of 'Ode to the West Wind' in China".
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Forman, Harry Buxton. "How Shelley Approached the 'Ode to the West Wind' ".
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371:"Shelley's Poems by Percy Bysshe Shelley CliffsNotes - Study Guide and Help"
226:"wild West Wind" (line 1). The form of the apostrophe makes the wind also a
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Wilcox, Stewart C. "The Prosodic Structure of 'Ode to the West Wind'."
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Jost, François. "Anatomy of an Ode: Shelley and the Sonnet Tradition".
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Chayes, Irene H. "Rhetoric as Drama: An Approach to the Romantic Ode."
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Audiorecording of "Ode to the West Wind" on Keats-Shelley website.
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of August 1819 in mind. His other poems written at the same time—"
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Audiorecording of "Ode to the West Wind" by LibriVox, selection .
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Haworth, Helen E. "'Ode to the West Wind' and the Sonnet Form".
425:, 79 (March 1964): 71–74. In Reiman, D., and Powers, S. (Eds.),
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Ode to the West Wind Analysis, Percy Shelley's Praise of Nature
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The Unextinguished Hearth: Shelley and His Contemporary Critics
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Wolfstein, The Murderer; or, The Secrets of a Robber's Cave
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personal reflection, personal essay, or argumentative essay
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Shelley's Poetry and Prose: Authoritative Texts, Criticism
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Parsons, Coleman O. "Shelley's Prayer to the West Wind."
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Carl H. Pforzheimer Collection of Shelley and His Circle
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Pancoast, Henry S. "Shelley's 'Ode to the West Wind' ".
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Percy Bysshe Shelley's fair draft of lines 1–42, 1819,
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SparkNotes Editors. "SparkNote on Shelley’s Poetry".
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Publications of the Arkansas Philological Association
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SparkNotes Editors. "SparkNote on Shelley’s Poetry".
501:, Vol. 51, No. 4 (December 1936), pp. 1069–79.
561:, Volume CXCV, (18 February 1950), pp. 77–78.
147:winter days are here then spring is not very far.
131:"Ode to the West Wind" consists of five sections (
487:, Vol. 34, No. 3 (Summer, 1982), pp. 223–46.
455:Bulletin and Review of the Keats-Shelley Memorial
349:. New York: Chelsea House Books. pp. 49–65.
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575:. Athens, GA: University of Georgia Press, 1970.
73:, A Lyrical Drama in Four Acts, With Other Poems
747:Poetical Essay on the Existing State of Things
450:, Vol. 15, No. 3 (Sep. 1948), pp. 219–26.
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818:Posthumous Fragments of Margaret Nicholson
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554:. Durham, NC, Duke University Press, 1938.
531:, Vol. 11, (Winter, 1962), pp. 31–37.
466:, vol. 36, no. 3, (1984), pp. 161–70.
568:, Vol. 47, No. 4 (Oct. 1950), pp. 634–49.
429:. NY: W.W. Norton, 1977. pp. 620–25.
201:Learn how and when to remove this message
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347:Bloom's Major Poets:Percy Bysshe Shelley
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506:Approaches to Teaching Shelley's Poetry
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1075:Wolfstein; or, The Mysterious Bandit
971:Rosalind and Helen, A Modern Eclogue
810:Original Poetry by Victor and Cazire
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68:in London as part of the collection
1091:Zastrozzi, The Master of Discipline
494:, Vol. 56, (2007), pp. 173–95.
457:, Rome (London, 1913), I, No. 2, 6.
267:'s bay (at the northern end of the
27:Prometheus Unbound with Other Poems
25:1820 publication in the collection
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955:Alastor, or The Spirit of Solitude
480:, Vol. 20, (1971), pp. 71–77.
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539:. 2002. (accessed July 11, 2011).
400:. 2002. (accessed July 11, 2011).
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222:The first stanza begins with the
1263:The Life of Percy Bysshe Shelley
794:" (published posthumously, 1840)
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40:, C. and J. Collier, London
16:1820 ode by Percy Bysshe Shelley
603:Reading of Ode to the West Wind
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107:In ancient Greek tradition, an
1381:Poetry by Percy Bysshe Shelley
1192:Sir Percy Shelley, 3rd Baronet
1169:The Man Who Wrote Frankenstein
908:One Word is Too Often Profaned
784:A Philosophical View of Reform
514:CliffsNotes on Shelley's Poems
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1343:The Haunting of Villa Diodati
761:A Vindication of Natural Diet
754:A Letter to Lord Ellenborough
508:. New York: MLA, 1990. 79–82.
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56:in 1819 in Cascine wood near
1117:Keats–Shelley Memorial House
1040:History of a Six Weeks' Tour
769:History of a Six Weeks' Tour
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915:Music, When Soft Voices Die
859:Hymn to Intellectual Beauty
60:, Italy. It was originally
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580:Journal of Jixi University
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151:Interpretation of the poem
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593:Ode to the West Wind text
779:" (1817, published 1832)
740:The Necessity of Atheism
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1270:Shelley's Vegetarianism
1360:Shelley Memorial Award
512:MacEachen, Dougald B.
485:Comparative Literature
436:, 23.3 (1984): 351–77.
434:Studies in Romanticism
345:Bloom, Harold (2001).
181:by rewriting it in an
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1295:Bride of Frankenstein
1277:Shelley: A Life Story
1226:Thomas Jefferson Hogg
1019:The Masque of Anarchy
529:Keats-Shelley Journal
492:Keats-Shelley Journal
478:Keats-Shelley Journal
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89:The Masque of Anarchy
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1396:Poems about the wind
1327:Rowing with the Wind
1246:Edward John Trelawny
1099:Zastrozzi, A Romance
887:Ode to the West Wind
654:Percy Bysshe Shelley
566:Studies in Philology
550:White, Newman Ivey.
547:, 5.1 (1996): 52–57.
443:, 11 (1997): 133–39.
441:Keats-Shelley Review
418:, 8.1 (1982): 10–14.
54:Percy Bysshe Shelley
46:Ode to the West Wind
1391:Poems in terza rima
1345:" (2020 TV episode)
1241:Thomas Love Peacock
1163:authorship question
1030:Collaborations with
1011:The Triumph of Life
963:The Revolt of Islam
792:A Defence of Poetry
598:Italian translation
524:, (1920), XXXV, 97.
473:, 3 (1981): 247–52.
1204:Sir Bysshe Shelley
1153:Authorship debates
1003:The Witch of Atlas
995:Julian and Maddalo
802:Poetry collections
677:Prometheus Unbound
183:encyclopedic style
170:is written like a
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71:Prometheus Unbound
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559:Notes and Queries
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826:Posthumous Poems
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379:. Retrieved
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237:Second Canto
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18:
1338:(2017 film)
1330:(1988 film)
1322:(1988 film)
1314:(1986 film)
1306:(1984 play)
1298:(1935 film)
1255:Biographies
1067:Adaptations
837:Short poems
732:Non-fiction
292:Fifth Canto
258:Third Canto
218:First Canto
64:in 1820 by
1386:1819 poems
1375:Categories
1287:Portrayals
1231:John Keats
1210:Lord Byron
1048:Proserpine
939:Long poems
873:Ozymandias
866:Mont Blanc
852:Mutability
721:St. Irvyne
463:Renascence
329:References
320:Conclusion
137:terza rima
947:Queen Mab
901:The Cloud
713:Zastrozzi
669:The Cenci
191:June 2022
116:Structure
62:published
1200:(father)
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917:" (1824)
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861:" (1817)
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847:" (1812)
756:" (1812)
749:" (1811)
742:" (1811)
297:before.
58:Florence
48:" is an
1353:Related
987:AdonaĂŻs
922:A Dirge
705:Fiction
582:, 2008.
545:Biblion
409:Sources
381:29 July
304:Wind".
177:Please
95:, and "
1311:Gothic
1188:(wife)
1179:People
1110:Places
1102:(1986)
1094:(1977)
1086:(1850)
1078:(1822)
1059:(1820)
1051:(1820)
1043:(1817)
1022:(1832)
1014:(1824)
1006:(1824)
998:(1824)
990:(1821)
982:(1821)
974:(1819)
966:(1818)
958:(1816)
950:(1813)
829:(1824)
821:(1810)
813:(1810)
772:(1817)
764:(1813)
724:(1811)
716:(1810)
688:(1822)
685:Hellas
680:(1820)
672:(1819)
471:Senara
353:
133:cantos
1194:(son)
1056:Midas
661:Plays
265:Baiae
103:Genre
77:trope
499:PMLA
423:PMLA
383:2011
351:ISBN
522:MLN
448:ELH
109:ode
91:",
50:ode
1377::
337:^
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646:e
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632:v
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198:(
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189:(
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44:"
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