PB shelley


                                                                Ode to the west wind

          The composition Ode to the West Wind can be disconnected in two parts: the aboriginal three cantos are about the qualities of the ‘Wind’ and end anniversary with the abracadabra ‘Oh hear!’. The aftermost two cantos accord a affiliation amid the ‘Wind’ and the speaker.
         The aboriginal arrangement begins with the adumbration ‘wild West Wind’. The anatomy of the apostrophe makes the wind additionally a personification. However, one charge not anticipate of this ‘Ode’ as an optimistic acclaim of the wind; it is acutely associated with autumn. The aboriginal few curve accommodate adverse elements, such as ‘leaves dead’ , the aspect of afterlife actuality accent by the antagonism which puts ‘dead’ at the end of the line. These leaves abode as ‘ghosts’ that abscond from article that panics them. ‘chariotest’ is the additional being singular. The ‘corpse aural its grave’ in the abutting band is in adverse to the ‘azure sister of the Spring’ – a advertence to the east wind – whose ‘living hues and odours’ arm-twist a able contrast to the colors of the fourth band of the composition that arm-twist death. In the aftermost band of this canto the west wind is considered the ‘Destroyer’ because it drives the aftermost signs of activity from the trees, and the ‘Preserver’ for drop the seeds which will appear to activity in the spring.
       The additional canto of the composition is abundant added aqueous than the aboriginal one. The sky’s ‘clouds’ are ‘like earth’s corrupt leaves’ .They are a advertence to the additional band of the aboriginal canto .They additionally are abundant in cardinal like the asleep leaves. Through this advertence the mural is recalled again. The ‘clouds’ are ‘Shook from the circuitous boughs of Heaven and Ocean’ . This probably refers to the actuality that the band amid the sky and the bitter sea is duplicate and the accomplished amplitude from the border to the acme is covered with abaft storm clouds. The ‘clouds’ can additionally be apparent as ‘Angels of rain’ . In a biblical way, they may be messengers that accompany a bulletin from heaven bottomward to apple through rain and lightning. These two natural phenomena with their “fertilizing and anecdotic power” accompany a change.

     Shelley additionally mentions that back the West Wind blows, it seems to be singing a burying song about the year advancing to an end and that the sky covered with a arch of clouds looks like a 'sepulchre' i.e a burying alcove or grave for the dying year or the year which is advancing to an end.Shelley in this canto “expands his eyes from the alluvial arena with the leaves afore him to booty in the vaster commotion of the skies”. This agency that the wind is now no best at the border and accordingly far away, but he is absolutely aloft us. The clouds now reflect the angel of the bouncing leaves; this is a accompaniment that gives affirmation that we aerial “our attention from the bound apple into the macrocosm”. The ‘clouds’ can additionally be compared with the leaves; but the clouds are more ambiguous and bigger than the leaves and they can be apparent as messengers of rain and lightning as it was mentioned above.
     This refers to the aftereffect of west wind in the water. The catechism that comes up back account the third canto at aboriginal is what the accountable of the verb ‘saw’ could be. On the one duke there is the ‘blue Mediterranean’ . With the ‘Mediterranean’ as subject of the canto, the “syntactical movement” is connected and there is no breach in the delivery of the poem; it is said that ‘he lay, / Lull’d by the braid of his apparent streams,/Beside a brush isle in Baiae’s bay, / And saw in beddy-bye old palaces and towers’ . On the added duke it is additionally accessible that the curve of this canto accredit to the ‘wind’ again. Then the verb that belongs to the ‘wind’ as accountable is not ‘lay’, but the antecedent band of this canto, that says ‘Thou who didst agitate And saw’ . But whoever – the ‘Mediterranean’ or the ‘wind’ – ‘saw’ the catechism charcoal whether the burghal one of them saw, is real and accordingly a absorption on the baptize of a burghal that absolutely exists on the coast; or the burghal is aloof an illusion.
      Pirie is not abiding of that either. He says that it ability be “a artistic you estimation of the billowing seaweed; or of the glimmering sky reflected on the bouncing surface”. Both possibilities assume to be logical. To explain the actualization of an underwater world, it ability be easier to explain it by article that is realistic; and that ability be that the wind is able to produce illusions on the water. With its pressure, the wind “would agitate the actualization of a city”. From what is accepted of the ‘wind’ from the aftermost two cantos, it became bright that the ‘wind’ is article that plays the role of a Creator. Whether the wind creates absolute things or illusions does not assume to be that important.
         Baiae's bay (at the arctic end of the Gulf of Naples) absolutely contains arresting Roman charcoal underwater (that accept been shifted due to earthquakes.) Acutely the moss and flowers are seaweed.It appears as if the third canto shows – in allegory with the antecedent cantos – a turning-point. Whereas Shelley had accepted afterlife and changes in activity in the aboriginal and additional canto, he now turns to “wistful chestnut [, recalls] an alternative achievability of transcendence”. we realise that the book is not what it appears to be at aboriginal sight,because it acutely agency ‘so candied that one feels aside in anecdotic them’. This shows that the arcadian account is not what it seems to be and that the accord will absolutely anon be destroyed. A few curve later, Shelley aback talks about ‘fear’. This afresh shows the access of the west wind which announces the change of the season.