<P> Again the wind is very important in this last canto . At the beginning of the poem the wind was only capable of blowing the leaves from the trees . In the previous canto the poet identified himself with the leaves . In this canto the wind is now capable of using both of these things mentioned before . </P> <P> Everything that had been said before was part of the elements--wind, earth, and water . Now the fourth element comes in: the fire . </P> <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>

Write the theme of ode to the west wind