Like many of Percy Bysshe Shelley’s poems, “Ode to the West Wind” was inspired by a natural phenomenon, an autumn storm that prompted the poet to contemplate the links between the outer world of nature and the realm of the intellect. In five stanzas directly addressed to the powerful wind that Shelley paradoxically calls both “destroyer” and “preserver” (line 14), the poet explores the impact of the regenerative process that he sees occurring in the world around him and compares it to the impact of his own poetry, which he believes can have similar influence in regenerating mankind.
In each stanza, Shelley speaks to the West Wind as if it is an animate power. The first three stanzas form a logical unit; in them the poet looks at how the wind influences the natural terrain over which it moves. The opening lines describe the way the wind sweeps away the autumn leaves and carries off seeds of vegetation, which will lie dormant through winter until the spring comes to give them new life as plants. In the second stanza, the poet describes the clouds that whisk across the autumn sky, driven by the same fierce wind and twisted into shapes that remind him of Maenads, Greek maidens known for their wild behavior. Shelley calls the wind the harbinger of the dying year, a visible sign that a cycle of nature’s life is coming to a close. The poet uses the third stanza to describe the impact of the wind on the Mediterranean coast line and the Atlantic ocean; the wind, Shelley says, moves the waters and the undersea vegetation in much the same way it shifts the landscape.
In the final two stanzas, the speaker muses about the possibilities that his transformation by the wind would have on his ability as a poet. If he could be a leaf, a cloud, or a wave, he would be able to participate directly in the regenerative process he sees taking place in the natural world. His words—that is, his poetry—would become like these natural objects, which are scattered about the world and which serve as elements to help bring about new life. He wishes that, much like the seeds he has seen scattered about, his “leaves” (line 58), his “dead thoughts” (line 63)—his poems—could be carried across the world by the West Wind so that they could “quicken to a new birth” (line 64) at a later time, when others might take heed of their message. The final question with which the poet ends this poem is actually a note of hope: The “death” that occurs in winter is habitually followed by a “new life” every spring. The cycle of the seasons that he sees occurring around him gives Shelley hope that his works might share the fate of other objects in nature; they may be unheeded for a time, but one day they will have great impact on humankind.
Forms and Devices
The structure of “Ode to the West Wind” is exceptionally complex. Each of the five stanzas is itself a terza rima sonnet, consisting of fourteen lines divided into four triplets and a concluding couplet. Through the complex, interlocking rhyme scheme of terza rima, Shelley gives the poem a strong sense of rhythm. The form also gives emphasis to the concluding couplet in each stanza, thereby focusing the reader’s attention on the final line or lines. The effect Shelley achieves is important, for he wishes to emphasize, in the first three stanzas, the speaker’s plea that the West Wind heed his call, and in the final stanza he wants to highlight the significant rhetorical question with which the poem ends.
The primary literary trope in the poem is personification. Shelley repeatedly addresses the West Wind as if it were an animate, intelligent being; one might be reminded of the way elements of nature are represented in classical Greek or Latin literature, or in American Indian writings. Shelley wants readers to consider the Wind a living force that helps shape the landscape—literally, the physical landscape, and metaphorically, the landscape of human minds and attitudes.
Shelley uses three major...
(The entire section is 1,204 words.)