These imaginative metaphors epitomise BurkeвЂ™s theory of the sublime, as these destructive natural forces incite terror and awe. ShelleyвЂ™s forceful imagery in describing how вЂBlack rain and fire and hail will burstвЂ™ (28) during a storm, evokes a threatening image of chaos or the end of the world whilst вЂthe AtlanticвЂ™s level powers / Cleave themselves into chasmsвЂ™ (37-38), forming waves powerful enough to submerge вЂpalaces and towersвЂ™ (33).

However, as Ferber notes, вЂThough the annual cycle from autumn to autumn via the renewal of spring consoles us for our losses nature also destroys life on longer and larger scalesвЂ™, and so the focus in the next stanzas is shifted to the temperamental weather and sea. Moreover, the poemвЂ™s form вЂ“ which combines a reworking of the Italian terza rima using four tercets and a Shakespearean sonnet couplet, following the rhyming scheme of aba bcb cdc ded ee вЂ“ presents an interwoven, cyclical pattern, where the ending of one rhyme brings the next, reflecting on the theme, as Michael OвЂ™Neill observes, of вЂrebirth and regenerationвЂ™.

This dark imagery of Autumn bringing death by Winter, is then contrasted with вЂThine azure sisterвЂ™ (9), Spring, who revives the fallen seeds, bringing new life. In вЂOde to the West WindвЂ™, Shelley depicts how the wind drives seasonal change, with the persona addressing it as вЂthou breath of AutumnвЂ™s beingвЂ™ who blows the dead leaves from the trees вЂlike ghostsвЂ™ (3).

I will analyse how Percy ShelleyвЂ™s вЂOde to the West WindвЂ™ (1820) and William WordsworthвЂ™s вЂTintern AbbeyвЂ™ (1798) thus explore nature to express their admiration and desire to be at one with its power, as well as to address the social and cultural impacts of manвЂ™s creative progress. Besides this organic sense of nature, Marcel Isnard argues that вЂnature also means the principle or power that animates or even creates the objects of natureвЂ™, alluding to the idea of pantheism where God or a divine creative force is inherent within nature, or even the creative power of man himself. Moreover, natural forces and iconic landmarks were also associated with the вЂsublimeвЂ™, an aesthetic theory defined by Edmund Burke as вЂwhatever is in any sort terrible is productive of the strongest emotion which the mind is capable of feelingвЂ™ : fear and awe, which inspire imagination to the greatest degree. Poets sought to demonstrate this through, as Carl Thompson observes, their вЂappreciation of landscape, and especially of wild or what was often termed вЂњromanticвЂќ sceneryвЂ™ in their work. Nature was a predominant Romantic theme in the light of the Industrial Revolution, which not only posed a threat to its preservation, but also prompted a rise in local countryside tourism to escape the expanding urban areas. Originating in late eighteenth-century Europe, it challenged the Age of EnlightenmentвЂ™s scientific and rational, objective ideas, and instead promoted the power of individual imagination and subjective experience. Romanticism was an extensive artistic and intellectual movement, described by Isaiah Berlin as вЂthe greatest single shift in the consciousness of the West that has occurredвЂ™.

Romantic notion definition