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| Ode To The West Wind Percy Bysshe Shelley I O wild West Wind, thou breath of Autumn's being, Thou, from whose unseen presence the leaves dead Are driven, like ghosts from an enchanter fleeing, Yellow, and black, and pale, and hectic red, Pestilence-stricken multitudes: 0 thou, Who chariotest to their dark wintry bed The wingèd seeds, where they lie cold and low, Each like a corpse within its grave,until Thine azure sister of the Spring shall blow Her clarion o'er the dreaming earth, and fill (Driving sweet buds like flocks to feed in air) With living hues and odours plain and hill: Wild Spirit, which art moving everywhere; Destroyer and Preserver; hear, O hear! II Thou on whose stream, 'mid the steep sky's commotion, Loose clouds like Earth's decaying leaves are shed, Shook from the tangled boughs of Heaven and Ocean, Angels of rain and lightning: there are spread On the blue surface of thine airy surge, Like the bright hair uplifted from the head Of some fierce Maenad, even from the dim verge Of the horizon to the zenith's height, The locks of the approaching storm. Thou dirge Of the dying year, to which this closing night Will be the dome of a vast sepulchre Vaulted with all thy congregated might Of vapours, from whose solid atmosphere Black rain, and fire, and hail will burst: O hear! III Thou who didst waken from his summer dreams The blue Mediterranean, where he lay, Lulled by the coil of his crystalline streams, Beside a pumice isle in Baiae's bay, And saw in sleep old palaces and towers Quivering within the wave's intenser day, All overgrown with azure moss and flowers So sweet, the sense faints picturing them! Thou For whose path the Atlantic's level powers Cleave themselves into chasms, while far below The sea-blooms and the oozy woods which wear The sapless foliage of the ocean, know Thy voice, and suddenly grow grey with fear, And tremble and despoil themselves: O hear! IV 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, and share The impulse of thy strength, only less free Than thou, O Uncontrollable! If even I were as in my boyhood, and could be The comrade of thy wanderings over Heaven, As then, when to outstrip thy skiey speed Scarce seemed a vision; I would ne'er have striven As thus with thee in prayer in my sore need. Oh! lift me as a wave, a leaf, a cloud! I fall upon the thorns of life! I bleed! A heavy weight of hours has chained and bowed One too like thee: tameless, and swift, and proud. V Make me thy lyre, even as the forest is: What if my leaves are falling like its own! The tumult of thy mighty harmonies Will take from both a deep, autumnal tone, Sweet though in sadness. Be thou, Spirit fierce, My spirit! Be thou me, impetuous one! Drive my dead thoughts over the universe Like withered leaves to quicken a new birth! And, by the incantation of this verse, Scatter, as from an unextinguished hearth Ashes and sparks, my words among mankind! Be through my lips to unawakened Earth The trumpet of a prophecy! O Wind, If Winter comes, can Spring be far behind? |
Ode To The West Wind
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 nickpan Re:Ode To The West Wind | Percy Bysshe Shelley, a English Romantic Poet whose passionate search for personal love and social justice was gradually channeled from overt actions into poems that rank with the greatest in the English language |
nickpan Re:Ode To The West Wind | Percy Bysshe Shelley Percy Bysshe Shelley (1792-1822), English poet, considered by many to be among the greatest, and one of the most influential leaders of the romantic movement. Throughout his life, Shelley lived by a radically nonconformist moral code. His beliefs concerning love, marriage, revolution, and politics caused him to be considered a dangerous immoralist by some. He was born on August 4, 1792, at Field Place, near Horsham, Sussex, educated at Eton College and, until his expulsion at the end of one year, the University of Oxford. With another student, Thomas Jefferson Hogg, Shelley had written and circulated a pamphlet, The Necessity of Atheism (1811), of which the university authorities disapproved. He had also published a pamphlet of burlesque verse, Posthumous Fragments of Margaret Nicholson (1810). Shortly after his expulsion, the 19-year-old Shelley married his first wife, Harriet Westbrook, and moved to the Lake District of England to study and write. Two years later, he published his first long serious work, Queen Mab: A Philosophical Poem (1813). The poem was one result of Shelley's friendship with the British philosopher William Godwin, expressing Godwin's freethinking Socialist philosophy. Another result of their friendship was Shelley's relationship with Godwin's daughter, Mary Wollstonecraft. In 1814, after separating from his wife, Shelley briefly toured Europe with Mary. Returning to England, he produced the verse allegory Alastor, or The Spirit of Solitude (1816), which anticipated his later important work. During another brief visit to the Continent in the summer of 1816, Shelley and Mary met the British poet Lord Byron. At this time, Shelley wrote two short poems, “Hymn to Intellectual Beauty” and “Mont Blanc.” In December 1816, three weeks after the body of his wife, an apparent suicide, was recovered from a lake in a London park, Shelley and Mary were married. In 1817, Shelley produced Laon and Cythna, a long narrative poem that tells a symbolic tale of revolution. It was later reissued as The Revolt of Islam (1818). At this time, he also wrote revolutionary political tracts signed “The Hermit of Marlow.” Then, early in 1818, he and his new wife left England for the last time. During the remaining four years of his life, Shelley produced all his major works. Traveling and living in various Italian cities, the Shelleys were friendly with the British poet Leigh Hunt and his family as well as with Byron. Shortly before his 30th birthday, Shelley was drowned (July 8, 1822) in a storm while attempting to sail from Livorno to Le Spezia, Italy. Ten days later, his body was washed ashore. Many critics regard Shelley as one of the greatest of all English poets. They point especially to his lyrics, including the familiar short odes “To a Skylark” (1820), “To the West Wind” (1819), and “The Cloud” (1820). Also greatly admired are the shorter love lyrics, including “I arise from dreams of thee” and “To Constantia singing”; the sonnet “Ozymandias” (1818); and “Adonais” (1821), an elegy for the British poet John Keats, written in formal Spenserian stanzas. The effortless lyricism of these works is also evident in Shelley's verse dramas, The Cenci (1819) and Prometheus Unbound (1820); these remain, however, profound but unproduceable closet dramas. His prose, including a translation (1818) of The Symposium by Plato and the unfinished critical work A Defence of Poetry (written 1821; published 1840), is equally skillful. Other critics, particularly antiromanticists who object to the prettiness and sentimentality of much of his work, maintain that Shelley was not as influential as the other British romantic poets Byron, Keats, or William Wordsworth |
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