The speaker invokes the “wild West Wind” of autumn, which
scatters the dead leaves and spreads seeds so that they may be nurtured
by the spring, and asks that the wind, a “destroyer and preserver,”
hear him. The speaker calls the wind the “dirge / Of the dying year,”
and describes how it stirs up violent storms, and again implores
it to hear him. The speaker says that the wind stirs the Mediterranean
from “his summer dreams,” and cleaves the Atlantic into choppy chasms,
making the “sapless foliage” of the ocean tremble, and asks for
a third time that it hear him.
The speaker says that if he were a dead leaf that the
wind could bear, or a cloud it could carry, or a wave it could push,
or even if he were, as a boy, “the comrade” of the wind’s “wandering
over heaven,” then he would never have needed to pray to the wind
and invoke its powers. He pleads with the wind to lift him “as a
wave, a leaf, a cloud!”—for though he is like the wind at heart,
untamable and proud—he is now chained and bowed with the weight
of his hours upon the earth.
The speaker asks the wind to “make me thy lyre,” to be
his own Spirit, and to drive his thoughts across the universe, “like
withered leaves, to quicken a new birth.” He asks the wind, by the
incantation of this verse, to scatter his words among mankind, to
be the “trumpet of a prophecy.” Speaking both in regard to the season and
in regard to the effect upon mankind that he hopes his words to
have, the speaker asks: “If winter comes, can spring be far behind?”
Form
Each of the seven parts of “Ode to the West Wind” contains
five stanzas—four three-line stanzas and a two-line couplet, all
metered in iambic pentameter. The rhyme scheme in each part follows
a pattern known as terza rima, the three-line rhyme
scheme employed by Dante in his Divine Comedy. In
the three-line terza rima stanza, the first and
third lines rhyme, and the middle line does not; then the end sound
of that middle line is employed as the rhyme for the first and third
lines in the next stanza. The final couplet rhymes with the middle
line of the last three-line stanza. Thus each of the seven parts
of “Ode to the West Wind” follows this scheme: ABA BCB CDC DED EE.
Commentary
The wispy, fluid terza rima of “Ode to
the West Wind” finds Shelley taking a long thematic leap beyond
the scope of “Hymn to Intellectual Beauty,” and incorporating his
own art into his meditation on beauty and the natural world. Shelley
invokes the wind magically, describing its power and its role as
both “destroyer and preserver,” and asks the wind to sweep him out
of his torpor “as a wave, a leaf, a cloud!” In the fifth section, the
poet then takes a remarkable turn, transforming the wind into a
metaphor for his own art, the expressive capacity that drives “dead
thoughts” like “withered leaves” over the universe, to “quicken
a new birth”—that is, to quicken the coming of the spring. Here
the spring season is a metaphor for a “spring” of human consciousness,
imagination, liberty, or morality—all the things Shelley hoped his
art could help to bring about in the human mind. Shelley asks the
wind to be his spirit, and in the same movement he makes it his
metaphorical spirit, his poetic faculty, which will play him like
a musical instrument, the way the wind strums the leaves of the
trees. The thematic implication is significant: whereas the older
generation of Romantic poets viewed nature as a source of truth
and authentic experience, the younger generation largely viewed
nature as a source of beauty and aesthetic experience. In this poem,
Shelley explicitly links nature with art by finding powerful natural
metaphors with which to express his ideas about the power, import,
quality, and ultimate effect of aesthetic expression.
