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 first three stanzas: it begins as you might expect an ode to begin with the speaker personifying the wind, addressing it directly. Rather, the speaker seems to see the fall leaves as a symbol of the dead, the sick, and the dying. John Keats is really famous for writing odes; he's another Romantic poet. This is stressed through the caesura after this part of the first verse. Thus, the wind is described as a being like a god, with angels for hair.
The first and the third line of each triplet are rhymed, and the final word of the second, unrhymed, line sets the rhyme for the following stanza. But the powerful vegetation that appear to level with the Atlantic are still at the mercy of the waves produced by the Wind's force. When the wind touches the trees they start to speak with each other perhaps that sound gives fear but it will nice hear. Here we can kind of see it taking place. Summary: The third canto explores the effect of the west wind on two natural bodies of the earth, the Mediterranean Sea, and the Atlantic Ocean.
He ends with some optimism: 'O Wind, If Winter comes, can Spring be far behind? Here, the speaker finally comes to his request. I fall upon the thorns of life! Even as a child at Eton, he reacted by revolting against authority and withdrawing himself. The poet chafes against the human bounds of human existence that tie him down, weak and helpless, when his spirit, like that of the West wind, desires to accomplish the great task of the regeneration of humanity by destroying away all that is decayed and evil in life. We might think about water. The wind is blowing the leaves along, but it's also performing a function. It's an ode written in a bunch of 14-line chunks sonnet-type with a terza rima interlocking rhyme pattern. He longs to be at the mercy of the wind, whatever may come of it.
Explanation of Ode to the West Wind — Stanza Five In the fifth canto the poet expresses the desire to mingle with his fierce source of inspiration. So it has to be not something but someone with whom one, here the lyrical I, can speak and something that gets human consciousness by direct address Viswas 90. The Spring is seen blowing her clarion over the dreaming earth. Like a mystic conjuring up a spirit and then fleeing its production, this is how fast the leaves are floating away from the source of their life after contact with the Wind. The poet ends this canto on a note which adds a hint of optimism to the poem.
It is often a subjective reflection of the impression of the poet. We've heard about the clouds, which are the sky stuff. He realizes the limitations of humans and wants pristine freedom. 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. He wants to be like the dead leaves which fall to the ground when the wind blows. Shelley seems to use obtuse phrasing to frighten the reader and to show the long breath of the wind.
Asking for time to stop and death to never come is too bold and a seemingly impossible request. He is prone to be swept away by words, to be mastered by them, rather than to be a master of them. Certainly, first-person pronouns and adjectives are frequent here but they are more positively linked to the second person pronouns and adjectives of the larger forces to which the poem addresses itself. Canto 5 Stanza 1 Make me thy lyre, even as the forest is: What if my leaves are falling like its own! A way is found of dedicating such terminology to more communal values. Thus he feels comfortable being vulnerable to the Wind even though it is wild.
But whether he grasped a complete transcendence for himself while he was alive remains to be answered. It possesses great powers and for this very reason Shelley can pray to it for what he feels he is deeply in need of. Throughout the poem he continually is describing what the wind can do and what he wishes the wind could do for him. So these interjections reflect the excitement of the lyrical I. Thus opposing moods and different conventions in language are colliding with each other as single vocative that invokes the stimulating force 'moving everywhere' which can blast out the promise of life from even the most deadly context. He things about what it would be like to be a wave at the mercy of the power of the wind.
Percy and Harriet had two children, daughter Elizabeth Lanthe born in 1813-1876 and son Charles born in 1814. Shelley elevates the Wind by treating the Wind as if it's a divine figure so that the underlying message and theme is more pronounced. But it also creates more new land. Shelley continues praise and admire the omnipresent Wind in its many forms. Skype does not exist, so he has to figure out another way to long-distance motivate people.