Presentation on Percy B. Shelley
About
this poet
Percy Bysshe Shelley was born August
4, 1792, at Field Place, near Horsham, Sussex, England. The eldest son of
Timothy and Elizabeth Shelley, with one brother and four sisters, he stood in
line to inherit not only his grandfather’s considerable estate but also a seat in
Parliament. He attended Eton College for six years beginning in 1804, and then
went on to Oxford University. He began writing poetry while at Eton, but his
first publication was a Gothic novel, Zastrozzi (1810), in which he voiced his
own heretical and atheistic opinions through the villain Zastrozzi. That same
year, Shelley and another student, Thomas Jefferson Hogg, published a pamphlet
of burlesque verse, “Posthumous Fragments of Margaret Nicholson," and with
his sister Elizabeth, Shelley published Original Poetry; by Victor and Cazire.
In 1811, Shelley continued this prolific outpouring with more publications,
including another pamphlet that he wrote and circulated with Hogg titled “The
Necessity of Atheism," which got him expelled from Oxford after less than
a year’s enrollment. Shelley could have
been reinstated if his father had intervened, but this would have required his
disavowing the pamphlet and declaring himself Christian. Shelley refused, which
led to a complete break between Shelley and his father. This left him in dire
financial straits for the next two years, until he came of age.
That same year, at age nineteen,
Shelley eloped to Scotland with sixteen-year-old Harriet Westbrook. Once
married, Shelley 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. The poem emerged from Shelley’s friendship with the British
philosopher William Godwin, and it expressed Godwin’s freethinking Socialist
philosophy. Shelley also became enamored of Godwin and Mary Wollstonecraft’s
daughter, Mary, and in 1814 they eloped to Europe. After six weeks, out of
money, they returned to England. In November 1814 Harriet Shelley bore a son,
and in February 1815 Mary Godwin gave birth prematurely to a child who died two
weeks later. The following January, Mary bore another son, named William after
her father. In May the couple went to Lake Geneva, where Shelley spent a great
deal of time with George Gordon, Lord Byron, sailing on Lake Geneva and
discussing poetry and other topics, including ghosts and spirits, into the
night. During one of these ghostly “seances," Byron proposed that each
person present should write a ghost story. Mary’s contribution to the contest
became the novel Frankenstein. That same year, Shelley produced the verse
allegory Alastor, or The Spirit of Solitude. In December 1816 Harriet Shelley
apparently committed suicide. Three weeks after her body was recovered from a
lake in a London park, Shelley and Mary Godwin officially were married. Shelley
lost custody of his two children by Harriet because of his adherence to the
notion of free love.
In 1817, Shelley produced Laon and
Cythna, a long narrative poem that, because it contained references to incest as
well as attacks on religion, was withdrawn after only a few copies were
published. It was later edited and 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, including Prometheus Unbound (1820). 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.
On July 8, 1822, shortly before his
thirtieth birthday, Shelley was drowned in a storm while attempting to sail
from Leghorn to La Spezia ,
Italy, in his schooner, the Don Juan.
Ode to the West Wind
About the poem:
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It shows
a structural complexity.
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The
author recovers Middle English and Late Middle English forms in order to give a
poetical effect.
Lexical fields in Ode
to the West Wind
a) Autumn and Winter vs b)Spring
c) Sickness and death; sleep
vs. d) life and
rebirth; wakefulness
e) Imagines related to the four
elements of nature
f) Sound images
g) Kinetic images
h) References to religion and myth
i) Language productions
I
O Wild West Wind, thou breath of Autumn's being
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Thou from whose unseen presence the leaves dead
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Are driven like ghosts from an enchanter fleeing,
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Yellow,
and black, and pale, and hectic red,
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Pestilence-stricken multitudes! O thou
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Who chariotest to their dark wintry bed
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The wingèd seeds,
where they lie cold and low,
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Each like a corpse within its grave, until
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Thine azure
sister of the Spring
shall blow
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Her clarion o'er
the dreaming earth,
and fill
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(Driving sweet buds
like flocks to feed in air)
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With living hues and odours plain
and hill;
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Wild Spirit, which art moving everywhere;
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Destroyer and preserver; hear, O
hear!
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II
Thou on whose stream, 'mid the steep sky's commotion, |
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Loose clouds
like earth's decaying leaves are shed,
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Shook from the tangled boughs of heaven and ocean,
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Angels
of rain and lightning! there are
spread
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On the blue surface of thine airy surge,
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Like the bright hair uplifted from the head
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Of some fierce Mænad,
even from the dim verge
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Of the horizon
to the zenith's height,
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The locks of the approaching storm. Thou dirge
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Of the dying
year, to which this closing night
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Will be the dome of
a vast sepulchre,
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Vaulted with all thy congregated might
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Of vapours, from
whose solid atmosphere
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Black rain, and
fire, and hail, will burst: O hear!
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III
Thou who didst waken from his summer dreams |
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The blue Mediterranean,
where he lay,
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Lull'd by the coil of his
crystàlline streams,
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Beside a pumice
isle in Baiæ's bay,
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And saw in sleep
old palaces and towers
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Quivering within the wave's intenser day,
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All overgrown with azure
moss, and flowers
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So
sweet, the sense faints picturing them! Thou
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For whose path the Atlantic's
level powers
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Cleave themselves into chasms, while far below
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The sea-blooms
and the oozy woods
which wear
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The sapless foliage of the ocean, know
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Thy voice, and suddenly grow gray with
fear,
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And tremble and despoil themselves: O hear!
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IV
If I were a dead leaf thou mightest bear; |
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If I were a swift cloud to fly with thee;
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A wave to
pant beneath thy power, and share
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The impulse of thy strength, only less free
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Than thou, O uncontrollable! if even
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I were as in my boyhood, and could be
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The comrade of thy wanderings over heaven
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As then, when to outstrip thy skiey speed
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Scarce seem'd a vision—I would ne'er have striven
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As thus with thee in prayer in my sore need.
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O! lift me as a
wave, a leaf, a cloud!
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I fall upon the thorns of life! I bleed!
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A heavy weight of hours has chain'd and bow'd
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One too like thee—tameless, and swift, and proud.
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V
Make me thy lyre, even as the forest is: |
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What if my leaves
are falling like its own?
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The tumult of thy mighty harmonies
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Will take from both a deep autumnal tone,
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Sweet though in sadness. Be thou, Spirit fierce,
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My spirit! Be thou me, impetuous one!
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Drive my dead thoughts over the universe,
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Like wither'd
leaves, to quicken a
new birth
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And, by the incantation of this verse,
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Scatter, as from an unextinguish'd hearth
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Ashes and sparks, my words
among mankind!
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Be through my lips to unawaken'd earth
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The trumpet of a prophecy*! O Wind,
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If Winter comes,
can Spring be
far behind?
*Also connected to religion and myth.
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About each canto:
1st canto
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It
is an invocation to the West Wind. In this case, the power of the Wind is
presented through its influence upon the element earth.
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There
is a complementary opposition between Autumn/Winter and Spring/Summer. Both
need to exist so that a natural balance is kept. That the Wind is presented as
a “destroyer and preserver” illustrates this clearly.
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This
opposition is kept throughout the poem. It is also replicated by oppositions
such as sleep vs. wakefulness or death vs. life/rebirth.
2nd canto
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Another
invocation to the West Wind, this time by referring to the element of air.
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A
sense of claustrophobia is introduced here: imagines of sealed places, like a
sepulchre or a vault, accompany those of death.
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Alliteration
imitating the sound of the wind can be easily perceived in this canto,
especially in its first verses. Note that both the /s/ and the /z/ are present.
3rd canto
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Third
and last canto devoted to invocating the Wind. Here, the element that responds
to the Wind’s will is water.
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Although
some human creations had been mentioned before, they acted strictly as
metaphors, so no human presence was evocated strongly. It is in this canto that
the human figure irrupts: the “palaces and towers” on Baiae’s bay have a
tangible and historical reference in the Roman ruins that remain in this
Mediterranean natural landscape.
4th canto
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Turning
point: the poet starts speaking in the first person, he’s talking about himself.
Previous lexical fields grow scarcer in favour of a confessional tone.
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However,
he still praises the wind by summarizing the first three cantos in the first
stanza.
·
Nostalgia
for his early years: “If even I were… seem’d a vision”, meaning “If I could be
now the way I was as a child, I wouldn’t have the need to invoke you [the
Wind]”. His invocation is explained. He’s not a leaf nor young “as then, when
to outstrip thy skiey speed / Scarce seem'd a vision”. Contrast between
childhood and young age.
·
“Oh,
lift me as a wave, a leaf, a cloud!”: he wishes to be any of those things and
be moved by the wind; for his words to be spread by the wind.
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Couplet:
he wishes that he was still young. Age is weighing on him unpleasantly. He
expresses the effects of the passing of time.
5th canto
·
First
person again: focus on the speaker.
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“Music”
words (lyre, tumult, harmonies, tone): the wind makes music as it blows through
the trees in the forest.
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Leaves
on the trees can be thought of as leaves on books, which are the pages.
·
“New
birth” refers to spring (nature), but also to human consciousness, imagination,
liberty, or morality.
·
“Missing”
element (fire) can be spotted in this canto: he may be the wind as well as the
fire that needs to be grown.
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expressions
related to fire: ashes, sparks, unextinguish’d hearth (also means passion).
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“Incantation”:
use of words as a magic spell.
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The
wind is a metaphor for his own art: the “dead thoughts” are his poetry.
·
“If
Winter comes, can Spring be far behind?”: winter as death, spring as rebirth.
·
"Unawaken'd earth" refers to
the minds, to the people.
The Poem's Form
Ode to the West Wind is, of course, an ode, which is a type of lyric poem
that addresses a subject. An ode can be written about any topic. John Keats,
another Romantic poet, was very famous for writing this sort of poems. 'Ode to
the West Wind' is Shelley's most notable contribution to the ode form.
This poem consists of
five cantos, each divided into five stanzas of 14 lines. These stanzas are, at
the same time, divided into four tercets and a couplet. A tercet is a group of
three lines, and a couplet is a couple of lines.
It is written in a
modified form of terza rima, which is Dante Alighieri’s famous rhyme scheme;
this device was very much employed in his Divine
Comedy.
The way the 14-line blocks in this ode rhymes is A-B-A, the next tercet B-C-B, where the B word is from the second rhyme of the first tercet, the following ones C-D-C, D-E-D, and the final cuplet E-E. In this way, Shelley is propelling the poem along by interlocking the tercets and the couplet, so that it is always linked to the next tercet rhyme scheme, but with the poem moving forward at the same time.
The way the 14-line blocks in this ode rhymes is A-B-A, the next tercet B-C-B, where the B word is from the second rhyme of the first tercet, the following ones C-D-C, D-E-D, and the final cuplet E-E. In this way, Shelley is propelling the poem along by interlocking the tercets and the couplet, so that it is always linked to the next tercet rhyme scheme, but with the poem moving forward at the same time.
This ode is written
in iambic pentameter. 'Iambic' means that each line starts with an unstressed
syllable, which is followed by a stressed syllable. To make it a pentameter,
this pattern has to be repeated five more times, so as to form five sets of
iambs.
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