西风颂波西.比希.雪莱

OdetotheWestWindPersyByssheShellyBySongXiaoqingEnglishDepartmentinHetaoUniversityPersyByssheShelly雪莱雪莱（1792—1822），19世纪英国著名浪漫主义诗人。出生在一个古老而保守的贵族家庭。少年时在皇家的伊顿公学就读。1810年入牛津大学学习，开始追求民主自由。1811年，诗人因为写作哲学论文推理上帝的不存在，宣传无神论，被学校开除；也因此得罪父亲，离家独居。1812年，诗人又偕同新婚的妻子赴爱尔兰参加那儿人们反抗英国统治的斗争，遭到英国统治阶级的忌恨。1814年，诗人与妻子离婚，与玛丽小姐结合。英国当局趁机对诗人大加诽谤中伤，诗人愤然离开祖国，旅居意大利。1822年7月8日，诗人出海航行遭遇暴风雨，溺水而亡。诗人一生创作了大量优秀的抒情诗及政治诗，《致云雀》、《西风颂》、《自由颂》、《解放了的普罗米修斯》、《暴政的假面游行》等诗都一直为人们传唱不衰。OdetotheWestWind《西风颂》《西风颂》雪莱“三大颂”诗歌中的一首，写于1819年。这时诗人正旅居意大利，处于创作的高峰期。这首诗可以说是诗人“骄傲、轻捷而不驯的灵魂”的自白，是时代精神的写照。诗人凭借自己的诗才，借助自然的精灵让自己的生命与鼓荡的西风相呼相应，用气势恢宏的篇章唱出了生命的旋律和心灵的狂舞。写作背景一个秋日的午后，诗人雪莱在意大利佛罗伦萨近郊的树林里漫步。突然狂风大作，乌云翻滚。到了傍晚，暴风雨夹带着冰雹雷电倾盆而下，荡涤着大地，震撼着人间。大自然威武雄壮的交响乐，触发了诗人的灵感，他奋笔疾书，谱写了不朽的抒情短诗《西风颂》。这是1819年的事情。Partone第一部分

1OwildWestWind,thoubreathofAutumn'sbeing,啊，西风，狂野的你，秋天赖以生存的呼吸

2Thou,fromwhoseunseenpresencetheleavesdead用你无形无迹的存在，驱赶落叶

3Aredriven,likeghostsfromanenchanterfleeing,就像鬼魂从魔法师那里逃离

4Yellow,andblack,andpale,andhectic(unnatural,ill)red,黄色的，黑色的，灰色的，间着点点重病的潮红

5Pestilence-strickenmultitudes:Othou,无数落叶横飞，就像瘟疫击倒的群氓。啊，你驾着战车

6Whochariotest(carwithtwowheels)totheirdarkwintrybed把有翅的种子，送到他们暗淡的冬日巢柯

7Thewingedseeds,wheretheyliecoldandlow,在那里，他们阴冷地，卑微地沉睡

Partone8Eachlikeacorpsewithinitsgrave,until每一个都像坟墓中的僵尸，直到

9ThineazuresisteroftheSpringshallblow你穿蓝衣的妹妹--春天，在沉睡的大地上

10Herclarion(trumpet)o'erthedreamingearth,andfill吹响号角

11(Drivingsweetbudslikeflockstofeedinair)（她会在空气中放牧甜蜜的蓓蕾）

12Withlivinghuesandodoursplainandhill:让一切平原和山川，充满馥郁和斑斓

13WildSpirit,whichartmovingeverywhere;狂野的精灵，无处不会见到你的踪影；

14Destroyerandpreserver;hear,ohhear!你破坏，也保留。听啊，听！ParttwoII第二部分

15Thouonwhosestream,midthesteepsky'scommotion,在你的激流中，峻隘的天空也陷入骚动

16Loosecloudslikeearth'sdecayingleavesareshed,浮云也像落叶一样的凋零

17ShookfromthetangledboughsofHeavenandOcean,留下光秃秃的枝桠，纠葛着海洋和天空

18Angelsofrainandlightning:therearespread雨和电的天使啊，在他们

19Onthebluesurfaceofthineaërysurge,清朗的蓝色波涛之上

20Likethebrighthairupliftedfromthehead就像愤怒的女祭司直立的白发

21OfsomefierceMaenad,evenfromthedimverge从暗淡的地平线直到22Ofthehorizontothezenith'sheight,天空的顶点

23Thelocksoftheapproachingstorm.Thoudirge都是你们，风暴的缕缕长发

24Ofthedyingyear,towhichthisclosingnight你是流年的挽歌，把这渐浓的夜色

25Willbethedomeofavastsepulchre,当作一个巨大坟墓的圆顶

26Vaultedwithallthycongregatedmight用他积聚的，全部水气的力量，

27Ofvapours,fromwhosesolidatmosphere撑起苍穹，从它充实的呼吸中

28Blackrain,andfire,andhailwillburst:ohhear!黑雨，火，冰雹都将爆发，啊，快听！

PartthreeIII第三部分

29Thouwhodidstwakenfromhissummerdreams你从夏日的梦呓中

30TheblueMediterranean,wherehelay,唤醒蓝色的地中海，

31Lull'dbythecoilofhiscrystàllinestreams,她正被自己缠绵的海流，带入梦乡

32BesideapumiceisleinBaiae'sbay,在拜亚的港口，轻巧的小岛旁边

33Andsawinsleepoldpalacesandtowers沉睡着旧日的高塔和宫殿

34Quiveringwithinthewave'sintenserday,让海浪摇撼他们的倒影

35Allovergrownwithazuremossandflowers到处都覆盖着蓝色苔藓和花卉

36Sosweet,thesensefaintspicturingthem!Thou甜美得令人心醉

37ForwhosepaththeAtlantic'slevelpowers噢，为了给你让出道路

38Cleavethemselvesintochasms,whilefarbelow整个大西洋的水豁然开裂，甚至在遥远的海底

39Thesea-bloomsandtheoozywoodswhichwear海石花和潮湿的树木丛生的

40Thesaplessfoliageoftheocean,know大洋底面无生气的丛林，也知道你的声音

41Thyvoice,andsuddenlygrowgraywithfear,它们突然因为恐惧而悸动

42Andtrembleanddespoilthemselves:ohhear!战栗着消逝，听啊！PartfourIV第四部分

43IfIwereadeadleafthoumightestbear;如果我是一片你可以带走的落叶

44IfIwereaswiftcloudtoflywiththee;如果我是一片你可以引领的浮云

45Awavetopantbeneaththypower,andshare如果我是一个在你的威力下喘息的浪头，

46Theimpulseofthystrength,onlylessfree分享你雄健的脉搏，只不过

47Thanthou,Ouncontrollable!Ifeven没有你那样的自由，你这不可控制的家伙！

48Iwereasinmyboyhood,andcouldbe如果我还是一个孩子，

49ThecomradeofthywanderingsoverHeaven,可以和你结伴在九天漫游

Partfour50Asthen,whentooutstripthyskieyspeed那时，超越你天界的神速也不算是神奇

51Scarceseem'davision;Iwouldne'erhavestriven我就不会像现在这样

52Asthuswiththeeinprayerinmysoreneed.痛切得向你祈求

53Oh,liftmeasawave,aleaf,acloud!啊，带走我！像带走每一个浪涛，每一片树叶，每一道浮云

54Ifalluponthethornsoflife!Ibleed!我扑向这生命的荆棘，为之流血。

55Aheavyweightofhourshaschain'dandbow'd时势的艰难压制捆绑着的这个人

56Onetoolikethee:tameless,andswift,andproud.也象你一样：狂放，迅捷，而骄傲！

PartfiveV第五部分

57Makemethylyre,evenastheforestis:让我做你的竖琴吧，就像每一片森林

58Whatifmyleavesarefallinglikeitsown!就算是我的每一片叶子都会凋落又有什么呢？

59Thetumultofthymightyharmonies你骚动着的强盛的和谐，会给我们

60Willtakefrombothadeep,autumnaltone,调出一个深沉的，秋天的音韵

61Sweetthoughinsadness.Bethou,Spiritfierce,尽管哀伤，却依然甜蜜，啊，凶暴的精灵，愿我如你,

62Myspirit!Bethoume,impetuousone!也愿你如我吧，热烈的人！

63Drivemydeadthoughtsovertheuniverse把我死去的思想带给宇宙就像带走每一片落叶

Partfive64Likewither'dleavestoquickenanewbirth!就象调去的叶子会召唤新的萌发！

65And,bytheincantationofthisverse,让这些诗句作为咒语吧,

66Scatter,asfromanunextinguish'dhearth就象从一个不灭的炉膛，散布灰烬和火星一样

67Ashesandsparks,mywordsamongmankind!也把我的诗句，撒向人间

68Bethroughmylipstounawaken'dearth从我的双唇，宣告唤醒世界的声音

69Thetrumpetofaprophecy!OWind,那是预言的号角！啊，风啊

70IfWintercomes,canSpringbefarbehind?如果冬天已经来了，春天还会远吗？TheanalysisofthepoemIn'OdetotheWestWind,'PercyByssheShelleytriestoshowhisdesirefortranscendence(excellence),byexplainingthathisthoughtsandideas,likethe'wingedseeds'aretrapped.TheWestWindactsasaforceforchangeandforwardmovementinthehumanandnaturalworld.

ConclusionPoemslikethisonereallyhaveaprophecyforallofusandthisprophecyhelpsustothinkabouttheterm‘poetry’itself.TheOdeshowsusthatrebirthissomethingthatcanbefulfilledthroughspiritualgrowing.Thelastfewlinesofthepoemunderline(emphasize)thisthoughtandbringthetopicofregeneration(beingregeneratedorreformedspiritually重生)anddeclinetotheheartinaveryexplicitway.

Theanalysisofthepoem这是雪莱在歌唱西风，同时在激励和鞭策自己。雪莱是一个热情的浪漫主义诗人，同时又是一个勇敢的革命战士，他以诗歌作武器，积极投身革命运动，经受过失败和挫折，但始终保持着高昂的战斗精神。他早年就赴爱尔兰参加民族解放斗争，回到英国后继续抨击暴政，鼓吹革命，同情和支持工人运动。因而受到资产阶级反动政府的迫害，不得不愤然离开自己的祖国。analysis这是雪莱在歌唱西风，同时在激励和鞭策自己。雪莱是一个热情的浪漫主义诗人，同时又是一个勇敢的革命战士，他以诗歌作武器，积极投身革命运动，经受过失败和挫折，但始终保持着高昂的战斗精神。他早年就赴爱尔兰参加民族解放斗争，回到英国后继续抨击暴政，鼓吹革命，同情和支持工人运动。因而受到资产阶级反动政府的迫害，不得不愤然离开自己的祖国。

analysis《西风颂》是秋天的歌，是时代的声音。19世纪初叶，科学社会主义还没有诞生，欧洲各国的工人运动还处在自发阶段，封建贵族和资产阶级的反动势力还很强大，“神圣同盟”的魔影正在到处游荡着。大地还没有苏醒，寒冬还在后头。所以，《西风颂》不免带有“婉转而忧愁”的调子。但作为社会主义思想的先驱，雪莱对革命前途和人类命运始终保持着乐观主义的坚定信念，他坚信正义必定战胜邪恶，光明必定代替黑暗。analysis从总的倾向来看，《西风颂》的旋律又是“猛烈、刚强”的。诗人以“天才的预言家”的姿态向全世界大声宣告：

如果冬天来了，春天还会远吗?《西风颂》是欧洲诗歌史上的艺术珍品。全诗共五节，由五首十四行诗组成。从形式上看，五个小节格律完整，可以独立成篇。从内容来看，它们又熔为一体，贯穿着一个中心思想。

analysis第一节描写西风扫除林中残叶，吹送生命的种籽。第二节描写西风搅动天上的浓云密雾，呼唤着暴雨雷电的到来。第三节描写西风掀起大海的汹涌波涛，摧毁海底花树。三节诗三个意境，诗人幻想的翅膀飞翔在树林、天空和大海之间，飞翔在现实和理想之间，形象鲜明，想象丰富，但中心思想只有一个，就是歌唱西风扫除腐朽、鼓舞新生的强大威力。Analysis从第四节开始，由写景转向抒情，由描写西风的气势转向直抒诗人的胸臆，抒发诗人对西风的热爱和向往，达到情景交融的境界，而中心思想仍然是歌唱西风。因此，结构严谨，层次清晰，主题集中，是《西风颂》一个突出的艺术特点。analysis其次，《西风颂》采用的是象征手法，整首诗从头至尾环绕着秋天的西风作文章，无论是写景还是抒情，都没有脱离这个特定的描写对象，没有使用过一句政治术语和革命口号。然而读了这首短诗以后，我们却深深感受到，雪莱在歌唱西风，又不完全是歌唱西风，诗人实质上是通过歌唱西风来歌唱革命。诗中的西风、残叶、种籽、流云、暴雨雷电、大海波涛、海底花树等等，都不过是象征性的东西，它们包含着深刻的寓意，大自然风云激荡的动人景色，乃是人间蓬勃发展的革命斗争的象征性反映。analysis诗中的西风、残叶、种籽、流云、暴雨雷电、大海波涛、海底花树等等，都不过是象征性的东西，它们包含着深刻的寓意，大自然风云激荡的动人景色，乃是人间蓬勃发展的革命斗争的象征性反映。从这个意义上说，《西风颂》不是风景诗，而是政治抒情诗，它虽然没有一句直接描写革命，但整首诗都是在反映革命。尤其是结尾脍炙人口的诗句，既概括了自然现象，也深刻地揭示了人类社会的历史规律，指出了革命斗争经过艰难曲折走向胜利的光明前景，寓意深远，余味无穷，一百多年来成了人们广泛传诵的名言警句。

Shelleyseeswinternotjustasthelastseasonofvegetationbutasthelastphaseoflife.Shelleyobservesthechangingoftheweatherfromautumntowinteranditseffectsontheenvironment.Shelleyistryingtoshowthataman’sideascanspreadandliveonbeyondhislifetimebyhavingthewindcarryhis'deadthoughts'whichthroughdestruction,willleadtoarebirthintheimagination,andinthenaturalworld.Shelleybeginshispoembyaddressingthe'WildWestWind'.Hethenintroducesthethemeofdeathandcomparesthedeadleavesto'ghosts'.Theimageryof'Pestilence-strickenmultitudes'makesthereaderawarethatShelleyisaddressingmorethanapileofleaves.Hisclaustrophobic(morbidfearofbeinginclosedmood)moodisshownwhenhetalksaboutthe'wintrybed'and'Thewingedseeds,wheretheyliecoldandlow/Eachlikeacorpsewithinitsgrave,until/ThineazuresisteroftheSpringshallblow'.Inthefirstline,Shelleyusedthephrase'wingedseeds'whichpresentsi

The'closingnight'isusedalsotomeanthefinalnight.The'pumice'showsdestructionandcreationbecausewhenthevolcanoeruptsitdestroys.Thisactsasanintroductionandaforeshadowofwhatistocomelater.'alsohelpsthereaderpreparefortheclimaxwhichShelleyintended.Itseemsthatitisonlyinhisdeaththatthe'WildSpirit'couldbelifted'asawave,aleaf,acloud'toblowfreeinthe'WildWestWind'.The'pumice'isprobablyShelley'sbestexampleofrebirth.Astherisingactioncontinues,Shelleytalksaboutthe'Mediterranean'andits'summerdreams'.Again,heusessoftsoundingwordstocalmthereaderintothesamedream-likestateoftheMediterranean.Hethenwriteslikeamourningsong'Ofthedyingyear,towhichthisclosingnight/Willbethedomeofavastsepulchre/Vaultedwithalltheycongregatedmight'.Percyseeshis‘dome’asavolcanoandwhenthe'dome'does'burst,'itwillactasa'DestroyerandPreserver'andcreator.In'OdetotheWestWind,'Shelleyusesthewindtorepresentdrivingchangeandacarrierforhisideasfirststanza

Thefirststanzabeginswiththealliteration‘wildWestWind’.Thismakesthe‘wind’“soundinvigorating”.Thereadergetstheimpressionthatthewindissomethingthatlives,becauseheis‘wild’–itisatthatpointapersonificationofthe‘wind’.Evenafterreadingtheheadlineandthealliteration,onemighthavethefeelingthatthe‘Ode’mightsomehowbepositive.Butitisnot,asthebeginningofthepoemdestroysthefeelingthatassociatedthewindwiththespring.Thefirstfewlinesconsistofalotofsinisterelements,suchas‘deadleaves’.Theinversionof‘leavesdead’(l.2)inthefirststanzaunderlinesthefatalitybyputtingtheword‘dead’(l.2)attheendofthelinesothatitrhymeswiththenextlines.Thesentencegoesonandmakesthese‘dead’(l.2)leavesliveagainas‘ghosts’(l.3)thatfleefromsomethingthatpanicsthem.Thesentencedoesnotendatthatpointbutgoesonwithapolysyndeton.Thecolourfulcontextmakesiteasierforthereadertovisualisewhatisgoingon–evenifitisinanuncomfortablemanner.‘Yellow’canbeseenas“theuglyhueof‘pestilence-stricken’skin;and‘hecticred’,thoughevokingthepaseofthepoemitself,couldalsohighlightthepaceofdeathbroughttomultitudes.”Thereisalsoacontradictioninthecolour‘black’(l.4)andtheadjective‘pale’(l.4).Intheword‘chariotest’(l.6)the‘est’isaddedtotheverbstem‘chariot’,probablytoindicatethesecondpersonsingular,afterthesubject‘thou’(l.5).The‘corpsewithinitsgrave’(l.8)inthenextlineisincontrasttothe‘azuresisteroftheSpring’(l.9)–areferencetotheeastwind-whose‘livinghuesandodoursplain’(l.12)evokeastrongcontrasttothecoloursofthefourthlineofthepoemthatevokedeath.Thelastlineofthisstanza(‘DestroyerandPreserver’,l.14)referstothewestwind.Thewestwindisconsideredthe‘Destroyer’(l.14)becauseitdrivesthelastsingsoflifefromthetrees.Heisalsoconsideredthe‘Preserver’(l.14)forscatteringtheseedswhichwillcometolifeinthespring.

secondstanzaThesecondstanzaofthepoemismuchmorefluidthanthefirstone.Thesky’s‘clouds’(l.16)are‘likeearth’sdecayingleaves’(l.16).Theyareareferencetothesecondlineofthefirststanza(‘leavesdead’,l.2).Throughthisreferencethelandscapeisrecalledagain.The‘clouds’(l.16)are‘ShookfromthetangledboughsofHeavenandOcean’(l.17).Thisprobablyreferstothefactthatthelinebetweentheskyandthestormyseaisindistinguishableandthewholespacefromthehorizontothezenithbeingiscoveredwithtrialingstormclouds.The‘clouds’canalsobeseenas‘Angelsofrain’(l.18).Inabiblicalway,theymaybemessengersthatbringamessagefromheavendowntoearththroughrainandlightning.Thesetwonaturalphenomenonswiththeir“fertilizingandilluminatingpower”bringachange.Line21beginswith‘OfsomefierceMaenad...’(l.21)andagainthewestwindispartofthesecondstanzaofthepoem;hereheistwothingsatonce:firstheis‘dirge/Ofthedyingyear’(l.23f)andsecondheis“aprophetoftumultwhosepredictionisdecisive”;aprophetwhodoesnotonlybring‘blackrain,andfire,andhail’(l.28),butwho‘willburst’(l.28)it.The‘locksoftheapproachingstorm’(l.23)arethemessengersofthisbursting:the‘clouds’.Shelleyinthisstanza“expandshisvisionfromtheearthlyscenewiththeleavesbeforehimtotakeinthevastercommotionoftheskies”.Thismeansthatthewindisnownolongeratthehorizonandthereforefaraway,butheisexactlyaboveus.Thecloudsnowreflecttheimageoftheswirlingleaves;thisisaparallelismthatgivesevidencethatwelifted“ourattentionfromthefiniteworldintothemacrocosm”.The‘clouds’canalsobecomparedwiththeleaves;butthecloudsaremoreunstableandbiggerthantheleavesandtheycanbeseenasmessengersofrainandlightningasitwasmentionedabove.

thirdstanzaThequestionthatcomesupwhenreadingthethirdstanzaatfirstiswhatthesubjectoftheverb‘saw’(l.33)couldbe.Ontheonehandthereisthe‘blueMediterranean’(l.30).Withthe‘Mediterranean’assubjectofthestanza,the“syntacticalmovement”iscontinuedandthereisnobreakinthefluencyofthepoem;itissaidthat‘helay,/Lull’dbythecoilofthiscrystallinestreams,/BesideapumiceisleinBaiae’sbay,/Andsawinsleepoldpalacesandtowers’(l.30-33).Ontheotherhanditisalsopossiblethatthelinesofthisstanzarefertothe‘wind’again.Thentheverbthatbelongstothe‘wind’assubjectisnot‘lay’,butthepreviouslineofthisstanza,thatsays‘Thouwhodidstwaken...Andsaw’(l.29,33).Butwhoever–the‘Mediterranean’orthe‘wind’-‘saw’(l.33)thequestionremainswhetherthecityoneofthemsaw,isrealandthereforeareflectiononthewaterofacitythatreallyexistsonthecoast;orthecityisjustanillusion.Pirieisnotsureofthateither.Hesaysthatitmightbe“acreativeinterpretationofthebillowingseaweed;oroftheglimmeringskyreflectedontheheavingsurface”.

Bothpossibilitiesseemtobelogical.Toexplaintheappearanceofanunderwaterworld,itmightbeeasiertoexplainitbysomethingthatisrealistic;andthatmightbethatthewindisabletoproduceillusionsonthewater.Withitspressure,thewind“wouldwakentheappearanceofacity”.Fromwhatisknownofthe‘wind’fromthelasttwostanzas,itbecameclearthatthe‘wind’issomethingthatplaystheroleofaCreator.Whetherthewindcreatesrealthingsorillusionsdoesnotseemtobethatimportant.Itappearsasifthethirdstanzashows-incomparisonwiththepreviousstanzas–aturning-point.WhereasShelleyhadaccepteddeathandchangesinlifeinthefirstandsecondstanza,henowturnsto“wistfulreminiscence[,recalls]analternativepossibilityoftranscendence”.Fromline26toline36hegivesanimageofnatureLine36beginswiththesentence‘Sosweet,thesensefaintspicturingthem’.Andindeed,thepictureShelleygivesushereseemstobe‘sweet’(l.36).‘Thesea-blooms’(l.39)areprobablytheplantsatthebottomoftheoceanandgiveapeacefulpictureofwhatisunderwater.Butifwelookcloseratline36,werealisethatthesentenceisnotwhatitappearstobeatfirstsight,becauseitobviouslymeans‘sosweetthatonefeelsfaintindescribingthem’.Thisshowsthattheidyllicpictureisnotwhatitseemstobeandthattheharmonywillcertainlysoonbedestroyed.Afewlineslater,Shelleysuddenlytalksabout‘fear’(l.41).Thisagainshowstheinfluenceofthewestwindwhichannouncesthechangeoftheseason.

fourthstanzaWhereasthestanzasonetothreebeganwith‘OwildWestWind’(l.1)and‘Thou...’(l.15,29)andwereclearlydirectedtothewind,thereisachangeinthefourthstanza.Thefocusisnomoreonthe‘wind’,butonthespeakerwhosays‘IfI...’(l.43f).Untilthispart,thepoemhasappearedveryanonymousandwasonlyconcentratedonthe‘wind’anditsforcessothattheauthorofthepoemwasmoreorlessforgotten.Piriecallsthis“thesuppressionofpersonality”whichfinallyvanishesatthatpartofthepoem.Itbecomesmoreandmoreclearthatwhattheauthortalksaboutnowishimself.Thatthismustbetrue,showsthefrequencyoftheauthor’suseofthefirst-personpronouns‘I’(l.43,44,48,51,54),‘my’(l.48,52)and‘me’(l.53).Thesepronounsappearninetimesinthefourthstanza.Certainlytheauthorwantstodramatisetheatmospheresothatthereaderrecallsthesituationofstanzaonetothree.Heachievesthisbyusingthesamepicturesofthepreviousstanzasinthisone.Whereasthesepictures,suchas‘leaf’,‘cloud’and‘wave’haveexistedonlytogetherwiththe‘wind’,theyarenowexistingwiththeauthor.Theauthorthinksaboutbeingoneofthemandsays‘IfIwerea...’(l.43ff).Shelleyhereidentifieshimselfwiththewind,althoughheknowsthathecannotdothat,becauseitisimpossibleforsomeonetoputallthethingshehaslearntfromlifeasideandentera“worldofinnocence”.

ThatShelleyisdeeplyawareofhisclosednessinlifeandhisidentityshowshiscommandinline53.Therehesays‘Oh,liftmeupasawave,aleaf,acloud’(l.53).Heknowsthatthisissomethingimpossibletoachieve,buthedoesnotstopprayingforit.TheonlychanceShelleyseestomakehisprayerandwishforanewidentitywiththeWindcometrueisbypainordeath,asdeathleadstorebirth.So,hewantsto‘falluponthethornsoflife’and‘bleed’(l.54).Attheendofthestanzathepoettellsusthat‘aheavyweightofhourshaschain’dandbow’d’(l.55).Thismaybeareferencetotheyearsthathavepassedand‘chainedandbowed’(l.55)thehopeofthepeoplewhofoughtforfreedomandwereliterallyimprisoned.Withthisknowledge,theWestWindbecomesadifferentmeaning.Thewindisthe‘uncontrollable’(l.47)whois‘tameless’(l.56).Onemorethingthatoneshouldmentionisthatthisstanzasoundslikeakindofprayerorconfessionofthepoet.ThisconfessiondoesnotaddressGodandthereforesoundsveryimpersonal.Shelleyalsochangeshisuseofmetaphorsinthisstanza.Inthefirststanzasthewindwasametaphorexplainedatfulllength.Nowthemetaphorsareonlyweaklypresented–‘thethornsoflife’(l.54).Shelleyalsoleavesoutthefourthelement:thefire.Inthepreviousstanzashewroteabouttheearth,theairandthewater.Thereadernowexpectsthefire–butitisnotthere.Thisleadstoabreakinthesymmetryofthepoembecausethereaderdoesnotmeetthefireuntilthefifthstanza.fifthstanzaAgainthewindisveryimportantinthislaststanza.Thewindwithhis‘mightyharmonies’(l.59)becomesanartistoraCreatorofsounds.Atthebeginningofthepoemthe‘wind’wasonlycapableofblowingtheleavesfromthetrees.Inthepreviousstanzathepoetidentifiedhimselfwiththeleaves.Inthisstanzathe‘wind’isnowcapableofusingbothofthesethingsmentionedbefore.Everythingthathadbeensaidbefore,waspartoftheelements–wind,earthandwater.Nowthefourthelementcomesin:thefire.Thereisalsoaconfrontationinthisstanza:whereasinline57Shelleywrites‘methy’,thereis‘thoume’inline62.This“signalsarestoredconfidence,ifnotinthepoet’sownabilities,atleastinhiscapacitytocommunicatewith[...]theWind”.Itisalsonecessarytomentionthatthefirst-personpronounsagainappearinagreatfrequency;butthepossessivepronoun‘my’predominates.Unlikethefrequentuseofthe‘I’inthepreviousstanzathatmadethestanzasoundself-conscious,thisstanzamightnowsoundself-possessed.Thestanzaisnomorearequestoraprayerasithadbeeninthefourthstanza–itisademand.Thepoetbecomesthewind’sinstrument–his‘lyre’(l.57).Thisisasymbolofthepoet’sownpassivitytowardsthewind;hebecomeshismusicianandthewind’sbreathbecomeshisbreath.Thepoet’sattitudetowardsthewindhaschanged:inthefirststanzathewindhasbeenan‘enchanter’(l.3),nowthewindhasbecomean‘incantation’(l.65).Andthereisanothercontrastbetweenthetwolaststanzas:inthefourthstanzathepoethadarticulatedhimselfinsingular:‘aleaf’(l.43,53),‘acloud’(l.44,53),‘Awave’(l.45,53)and‘Onetoolikethee’(l.56).Inthisstanza,the“senseofpersonalityasvulnerablyindividualisedledtoself-doubt”andthegreatestfearwasthatwhatwas‘tameless,andswift,andproud’(l.56)willstay‘chain’dandbow’d’(l.55).Thelaststanzadiffersfrom