<P> There is also a confrontation in this canto: Whereas in line 57 Shelley writes "me thy", there is "thou me" in line 62 . This "signals a restored confidence, if not in the poet's own abilities, at least in his capacity to communicate with (...) the Wind". </P> <P> It is also necessary to mention that the first - person pronouns again appear in a great frequency; but the possessive pronoun "my" predominates . Unlike the frequent use of the "I" in the previous canto that made the canto sound self - conscious, this canto might now sound self - possessed . The canto is no more a request or a prayer as it had been in the fourth canto--it is a demand . The poet becomes the wind's instrument, his "lyre" (57). This is a symbol of the poet's own passivity towards the wind; he becomes his musician and the wind's breath becomes his breath . The poet's attitude--towards the wind has changed: in the first canto the wind has been an "enchanter" (3), now the wind has become an "incantation" (65). </P> <P> And there is another contrast between the two last cantos: in the fourth canto the poet had articulated himself in singular: "a leaf" (43, 53), "a cloud" (44, 53), "A wave" (45, 53) and "One too like thee" (56). In this canto, the "sense of personality as vulnerably individualised led to self - doubt" and the greatest fear was that what was "tameless, and swift, and proud" (56) will stay "chain'd and bow'd" (55). The last canto differs from that . The poet in this canto uses plural forms, for example, "my leaves" (58, 64), "thy harmonies" (59), "my thoughts" (63), "ashes and sparks" (67) and "my lips" (68). By the use of the plural, the poet is able to show that there is some kind of peace and pride in his words . It even seems as if he has redefined himself because the uncertainty of the previous canto has been blown away . The "leaves" merge with those of an entire forest and "Will" become components in a whole tumult of mighty harmonies . The use of this "Will" (60) is certainly a reference to the future . Through the future meaning, the poem itself does not only sound as something that might have happened in the past, but it may even be a kind of "prophecy" (69) for what might come--the future . </P> <P> At last, Shelley again calls the Wind in a kind of prayer and even wants him to be "his" Spirit: "My spirit! Be thou me, impetuous one!" (62). Like the leaves of the trees in a forest, his leaves will fall and decay and will perhaps soon flourish again when the spring comes . That may be why he is looking forward to the spring and asks at the end of the last canto "If Winter comes, can Spring be far behind?" (70). This is of course a rhetorical question because spring does come after winter, but the "if" suggests that it might not come if the rebirth is strong and extensive enough, and if it is not, another renewal--spring--will come anyway . Thus the question has a deeper meaning and does not only mean the change of seasons, but is a reference to death and rebirth as well . It also indicates that after the struggles and problems in life, there would always be a solution . It shows us the optimistic view of the poet about life which he would like the world to know . It is an interpretation of his saying, If you are suffering now, there will be good times ahead . But the most powerful call to the Wind are the lines: "Drive my dead thoughts over the universe / like withered leaves to quicken a new birth!" Here Shelley is imploring--or really chanting to--the Wind to blow away all of his useless thoughts so that he can be a vessel for the Wind and, as a result, awaken the Earth . </P>

Ode to the west wind poem by shelley