His passions are right on the surface. Just as the ancients recorded their deepest vulnerabilities and fears through open prayer while simultaneously adoring their deity; Shelley also uses the same technique throughout the poem. Some choose to follow him. Stanza 2 Yellow, and black, and pale, and hectic red, Pestilence-stricken multitudes: O thou, Who chariotest to their dark wintry bed This stanza describes the dead Autumn leaves. Shelley sometimes succeeds by sheer accumulation of language. It's a little jarring, and the poet hopes it to be so we'll pay more attention. Shelley also leaves out the fourth element: the fire.
Here, the speaker finally comes to his request. Here Shelley compares the East Wind to a shepherd who drives its flocks of seeds to bloom in fresh air. The speaker continues to praise the wind, and to beseech it to hear him. His dual reactions of escape and rebellion shaped the essential spirit of his poetry. Shelley then begins to use human like characteristics to relate nature to our stories and experiences. The Wind is just as powerful as Time and could be the most formidable defense death by granting immortality and lifting his fruits to another season.
In the second stanza of the poem Shelley makes some additional observations. To keep going in a long work in terza rima is a terribly difficult work, and nowhere one senses the difficulty of composition! The west wind also sweeps along storm clouds. We've got dead things, ghosts, fleeing and things like that - dead leaves. In a biblical way, they may be messengers that bring a message from heaven down to earth through rain and lightning. You expect it to rhyme perfectly and then it doesn't.
Immense poet, and so young! The last canto differs from that. The fact that it was written near Florence, Dante's city, may explain why Shelley used terza nina, the stanza of Dante's Divine Comedy, but rare in English poetry, in the ode. The place Shelley is referring to, Baiae's bay, is actually a real place. The speaker has used spiritual and biblical references throughout the poem to personify the wind as a god, but here he makes it a little more specific. By the use of the plural, the poet is able to show that there is some kind of peace and pride in his words.
Yes the elements work tirelessly and pant but they are not brutalized or enslaved by the Wind. He also calls the leaves 'pestilence-stricken multitudes,' which is also really cool. In the final stanza, again we're focused on the speaker: 'Make me thy lyre, even as the forest is: What if my leaves are falling like its own? Thus imagery contributes to the dynamic emotiveness of a force which is moving everywhere. The whole poem is based on personification. Hello Everyone and Welcome to this,Ode to The West Wind Summary By Percy Bysshe Shelley Presented to you by Beaming Notes. As the same winter and spring cannot sail on the same boat because winter is the symbol of death and decay and spring is for rebirth and revival.
He is prone to be swept away by words, to be mastered by them, rather than to be a master of them. He refers to an innocent time in boyhood and wishes he could had been a friend of the wind wandering over heaven instead of through the limited experiences of humanity. Then, finally we get to fire, which we've been waiting for this whole time. As he's closing the stanza, he says that the wind moves the clouds so that 'black rain, and fire, and hail will burst. He appeals to the West Wind to make him his lyre upon which the West Wind could play its songs full of life. Drive my dead thoughts over the universe Like withered leaves to quicken a new birth! In turn, he would have the power to spread his verse throughout the world, reawakening it.
This means that the wind is now no longer at the horizon and therefore far away, but he is exactly above us. When the tyrants fight back, the people should let their anger show itself until the tyrants fall back in shame. Be thou, Spirit fierce, My spirit! The speaker openly expresses his desire towards the Westwind. We are incapable of enjoying anything without remembering our own pain. There is power in calmness.
He desperately hopes that he might leave behind his dying body and enter into a new life after his death. It's basically a type of lyric poem that addresses a subject. He is asking this spirit to hear his pleas. The authors uses actions words such as commotion, uplifted, shook and burst to describe the powerful relationship between the Wind and natural processes. The tumult of thy mighty harmonies Will take from both a deep, autumnal tone, Sweet though in sadness. Shelley personifies the leaves that are 'pestilence-stricken multitudes yellow, black and pale'.
Hectic red is such a cool description. This poem is deep, moving, and full of romanesque nostalia, and yes, the rhyme scheme is as Dante, so challenging, and invites poets to get out their pens and work, even if we never quite arrive to produce this ease and simplicity in which Shelly, and chiefly Dante, my favorite of favorites , wrote. Different from the other four, but consistent with the rest of the poem, the fifth longer line of each stanza is written in iambic hexameter. Until this part, the poem has appeared very anonymous and was only concentrated on the wind and its forces so that the author of the poem was more or less forgotten. The poem ends with an optimistic note which is that if winter days are here then spring is not very far.
The Wind is so powerful that although this function requires a tremendous amount of energy, the Wind is lull'd. He acknowledges the Wind as a formidable ally and demonstrates why its powers are suited for his humble plea. Soon after this he eloped with a 16-year-old woman, Harriet Westbrook, of whom he soon tired. As preserver the wind 'chariotest' the light seeds to the place where they would blossom forth. As the same the speaker portrays as an instrument so he wants the west wind to touch him by its wind so that the speaker will play the music whenever the wind touches him. He can hear the song clearly. Adonis is the stand-in for Keats, for he too died at a young age after being mauled by a boar.