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Essay of ode to the west wind by p.b.shelley
Shelley's ode to the west wind as a romantic poem
Shelley's ode to the west wind as a romantic poem
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Ode to the West Wind Explication Percy Bysse Shelley’s Ode to the West Wind is a dramatization of man’s useless and “dead thoughts” (63) and Shelley’s desire from the Autumn wind to drive these “over the universe” (65) so that not only he but man can start anew. The thoughts are first compared to the leaves of trees but as the poem progresses the thoughts are paralleled with the clouds and finally the “sapless foliage of the ocean” (40). Shelley personifies himself with the seasons of the Earth and begs the West Wind to drive him away thus allowing him to lost and become the very seasons. In the end Shelley’s metamorphosis is realized and he becomes the very wind and the power with which he humanized throughout the poem. The first three stanzas invoke the West Wind as a driving force over the land, the sky, and the ocean and implore it to “hear” the poets call for it to perform its duty. (14, 28, 42) In the first stanza the wind is characterized as a “Destroyer and preserver” (14) which drive dead leaves and the “wingèd seeds” (7) to the closing season’s burial and the coming spring’s rebirth. Within the recurring second and third stanzas Shelley extends the leaf image to additional earthen objects thus creating an epic metaphor throughout the poem. Within the second stanza the clouds in the sky are compared to the “earth’s decaying leaves” (16) and the “Angels of rain and lightning” (18) are a fusion of both a guardian and a killer. The third stanza extends the power and presence of the West Wind allowing it to penetrate the depths of the Atlantic Ocean which causes the “sea-blooms” and “oozy woods” (39) to shed their “sapless foliage of the ocean” and to “despoil themselves.” (40, 42) This compares the sea-leaves to the earthbou... ... middle of paper ... ...h “Be thou me, impetuous one!” (62) Shelley further parallels himself as an earthen power with the phrase with his line “by the incantation of this verse.” (65) Shelley’s continuous metaphor throughout his work is still not complete. Shelley describes the Autumn wind does not just create but it also destroys and oddly is a preserver. It drives ghosts and the “Pestilence-stricken multitudes” (5), invokes “Angels of rain and lightning” (18) to fall from heaven, releases “Black rain, and fire, and hail” (28), and brings fear to the oceans. The last stanza dismisses Autumn for its successor season the “azure sister of the spring.” (9) Shelley anticipates that spring will “blow/ Her clarion”. (9-10) In the last two lines Shelley’s dream of becoming an earthen object is surpassed as he himself transforms into the Autumn wind “Be through my lips to unawaken’d earth” (68).
Shelley uses symbolic meaning to depict the destruction of a statue and the “sands that stretch far away” in relation to the effects of pride, a direct contrast from the words on the pedestal. The images of the deteriorating items gives the readers an understanding of time’s ultimate power beyond both life and pride. However, the cliché use of sands as a means of representing time still explains to readers that the passing of time is prevalent in the poem and related to the destroyed items presents the concept of a useless
For each seasonal section, there is a progression from beginning to end within the season. Each season is compiled in a progressive nature with poetry describing the beginning of a season coming before poetry for the end of the season. This is clear for spring, which starts with, “fallen snow [that] lingers on” and concludes with a poet lamenting that “spring should take its leave” (McCullough 14, 39). The imagery progresses from the end of winter, with snow still lingering around to when the signs of spring are disappearing. Although each poem alone does not show much in terms of the time of the year, when put into the context of other poems a timeline emerges from one season to the next. Each poem is linked to another poem when it comes to the entire anthology. By having each poem put into the context of another, a sense of organization emerges within each section. Every poem contributes to the meaning of a group of poems. The images used are meant to evoke a specific point in each season from the snow to the blossoms to the falling of the blossoms. Since each poem stands alone and has no true plot they lack the significance than if they were put into th...
This poetic device aided the reader to visualize not only how silent and dead the leaves were, but also to perceive the atmosphere of the poem. In the poem “Time Does Not Bring
The consistent pattern of metrical stresses in this stanza, along with the orderly rhyme scheme, and standard verse structure, reflect the mood of serenity, of humankind in harmony with Nature. It is a fine, hot day, `clear as fire', when the speaker comes to drink at the creek. Birdsong punctuates the still air, like the tinkling of broken glass. However, the term `frail' also suggests vulnerability in the presence of danger, and there are other intimations in this stanza of the drama that is about to unfold. Slithery sibilants, as in the words `glass', `grass' and `moss', hint at the existence of a Serpent in the Garden of Eden. As in a Greek tragedy, the intensity of expression in the poem invokes a proleptic tenseness, as yet unexplained.
Nature and civilization have always shared a strong bond and; as seen throughout history, when human interaction challenges this bond a tension between Mother Nature and humankind arises. One job of the poet is to reveal this tension through his or her poetry in an attempt to quell the quarreling. Percy Shelley was one such poet that viewed society as being fractured from nature and throughout his poetry one can find examples of this as well as of the benefits from society becoming synchronized with the world. Timothy Morton’s “Within You Without You”; a section within The Cambridge Companion to Shelley, attempts to summarize Shelley’s argument in his poetry that mankind and Mother Nature are in a state of disagreement and need to reconcile to be harmonious. Although Morton accurately analyses the majority of Shelly’s works, which leads to theories that can apply universally in his poetry, some of the statements Morton presents challenge what the poet wrote.
”To Autumn” is an ode written by John Keats on the 19th of September 1819. While walking near Winchester along a river, Keats became inspired to write the poem. The Rest of his other odes were completed in the spring of 1819. John died on the 23rd of February 1921 at the age of 25, just a year after the release of “To Autumn”. However, throughout his life he inspired many poets, but most notably Percy Shelly. In mourning, he wrote the elegy “Adonais” for Keats.”To Autumn “is his final poem and many have said it is his best. Keats use of imagery takes the reader on an adventure through the scenes and sounds of autumn. He achieves this by his use language, imagery, tone and structure. This is also what creates the mood and consequently allows him to challenge the notion that music is usually associated with spring. Thus, in this essay I will show how he challenges this belief, by looking at his use of imagery, tone and form. In addition I will look at what his influences were and the context in which he wrote the poem.
...fall of snow and the unremitting “sweep” of “easy wind” appear tragically indifferent to life, in turn stressing the value of Poirier’s assessment of the poem. Frost uses metaphor in a way that gives meaning to simple actions, perhaps exploring his own insecurities before nature by setting the poem amongst a tempest of “dark” sentiments. Like a metaphor for the workings of the human mind, the pull between the “promises” the traveller should keep and the lure of death remains palpably relevant to modern life. The multitudes of readings opened up through the ambiguity of metaphor allows for a setting of pronounced liminality; between life and death, “night and day, storm and heath, nature and culture, individual and group, freedom and responsibility,” Frost challenges his readers to delve deep into the subtlety of tone and come to a very personal conclusion.
The first stanza is crowded with sensual and concrete images of nature and its ripeness during the first stages of Autumn. Autumn is characterized as a “season of…mellow fruitfulness” (1). It is a season that “bend[s] with apples the mossed cottage-trees” (5), “fill[s] all fruit with ripeness to the core” (6), “swell[s] the gourd, and plump[s] the hazel shells” (7), and “set[s] budding more” (8). The verbs that Keats uses represent the bustling activity of Autumn and also reflect the profusion of growth. Autumn also acts as the subject of all the verbs, indicating its dynamic behavior. Furthermore, the multitude of these images depicting the ripening of nature contributes to the sense of abundance that characterizes the first stanza. The stanza also contains many short phrases, again calling up images of abundance. Keats, through his use of sensual imagery, draws readers into the real world where there will ultimately be decay and death. The sound devices in this stanza further develop the sensual imagery and...
Thus, the speaker of the poem is not only acknowledging the dual aspect of nature, but it is also acknowledging their own dual aspect. Further examples of this duality lie in England in 1819, when Shelley made reference to the Peterloo Massacre, an event that displays the destructive power of mankind over their own kind. Contrary to Hymn to Intellectual Beauty which displays the creative and inventive power of the human mind for constructive purposes. Turning back to the Ode to the West Wind, in the same last couplet the words: everywhere /ˈevrēˌ(h)wer/, destroyer /dəˈstroiər/ and preserver /prəˈzərvər/, they create the sound effect of harmony and musicality considering that they are three syllabic words that all rhyme in the last syllable [3:r]. It is the creativity of the poet to select the right words to convey their thoughts what makes this last couplet a strong conclusion for stanza one. Collins suggests that the Ode to the West Wind “is the voice of the poet attempting to make itself heard (8). In addition to the closing interjection demanding the wind to hear the speaker’s invocation: “hear, O hear!” (15), which seems like a plea to appeal the
“O wild West Wind, thou breath of Autumn 's being (Shelley citation). This is a metaphor comparing the wind to autumn’s breath and compares autumn to a living breathing creature, giving the wild wind qualities of life.
In section IV of Ode to the West Wind, Shelley uses three comparisons to nature to connect himself to the wind. “If I were a dead leaf thou mightest bear; If I were a swift cloud to fly with thee; A wave to pant beneath thy power”. Shelley here expresses how he wishes to join the West Wind; by having it carry him, when he is a leaf, to fly with it, as a cloud, and to move as a wave, under its great power. His spirit is with Nature, and by giving these example of what he wishes to do we can see just how deep that connection goes.
“Hail to thee, blithe Spirit! (Shelley Line 1)” Shelley takes a little object in nature, the skylark, and transforms it into a mysteriously beautiful thing that represents freedom and passion in Percy Bysshe Shelley’s “To A Skylark.” The poem, very unique, is used to express his emotions through the characteristics of the bird. The song of this skylark can be seen as a guide about being free from all burdens. Animals are sort of disconnected from certain emotion that effect humans such as sadness and pain. The speaker appears to a micro degree jealous of the liberty of the skylark that travels wherever it pleases. It doesn’t matter once or wherever, whether or not it's dusk (“the sunken sun”) or morning (“the silver sphere”) the speaker feels that the skylark is usually flying high above. Although one tend to not see it, or maybe hear it, “we feel it is there (Shelley Line 25).”
Percy Bysshe Shelley's "Ode to the West Wind" is a lyric poem. The poem addresses the west wind as the powerful force and the speaker asks the west wind to disseminate his words and thoughts throughout the world. The speaker narrates the vicissitude of nature and how the west wind changes the ground, the sky and the ocean. With rich imagination which is the reflection of Shelley's "defence of Poetry," the poet modifies the west wind, being both a destroyer and a preserver, as a symbol of revolution, an impetus of the rejuvenation in both human and natural world. Then, the speakers complains about the circumstances of his life, pleads to accompany with the west wind and states his prophecy about future.
Both Shelley, in "Ode to the West Wind," and Wordsworth, in "Intimations of Immortality," are very similar in their use of nature to describe the life and death of the human spirit. As they both describe nature these two poets use the comparison of how the Earth and all its life is the same as our own human life. I feel that Shelley uses the seasons as a way of portraying the human life during reincarnation. Wordsworth seems to concentrate more on the stages that a person goes through during life. Shelley compares himself to such things as clouds, leaves, and waves. He is writing the poem as if he were an object of the earth, and what it is like to once live and then die only to be reborn. On the other hand, Wordsworth takes images like meadows, fields, and birds and uses them to show what gives him life. Life being what ever a person needs to move on, and with out those objects can't have life. Wordsworth does not compare himself to these things like Shelley, but instead uses them as an example of how he feels about the stages of living. Starting from an infant to a young boy into a man, a man who knows death is coming and can do nothing about it because it's part of life.
In William Wordsworth’s poems, the role of nature plays a more reassuring and pivotal r ole within them. To Wordsworth’s poetry, interacting with nature represents the forces of the natural world. Throughout the three poems, Resolution and Independence, Tintern Abbey, and Michael, which will be discussed in this essay, nature is seen prominently as an everlasting- individual figure, which gives his audience as well as Wordsworth, himself, a sense of console. In all three poems, Wordsworth views nature and human beings as complementary elements of a sum of a whole, recognizing that humans are a sum of nature. Therefore, looking at the world as a soothing being of which he is a part of, Wordsworth looks at nature and sees the benevolence of the divinity aspects behind them.