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【Abstract】：“Ode to the West wind” is one of the marvelous poetry of Percy Bysshe Shelly， which praised the spirit of west wind in order to encourage the British people to fight against the old system. The New Criticism explores the artistic structure of the work and sees a literary work as an organic entity， the unity of content and form， and places emphasis on the close reading of the text. This paper attempts to find the unique tension from the perspective of New Criticism by analyzing the imagery， rhyme， structure and figure of speech.
【Key words】： New Criticism; Tension; Imagery; figure of speech
1. Introduction
“Ode to the West Wind ”was the representative of all shelly’s works and a masterpiece of the romantic poetry. This poem is a natural poem in which the poet describes the irresistible power of the wind through what he sees and also what he imagines. And， he praised the spirit of the west wind in order to encourage the British people to fight against the old system， which expressed his optimism in eliminating tyranny and eventually achieving a bright future.
In literary theory， formalism refers to critical approaches that analyze， interpret， or evaluate the inherent features of a text. These features include not only grammar and syntax but also literary devices such as metre and tropes. The formalistic approach reduces the importance of a text’s historical， biographical， and cultural context. （qtd.on： http：//en.wikipedia.org/wiki/Formalism ）There were two schools of formalist literary criticism， Russian formalism， and soon after Anglo-American New Criticism.
The New Criticism was a formalist movement in literary theory that dominated American literary criticism in the middle decades of the 20th century. The movement derived its name from John Crowe Ransom's 1941 book The New Criticism. It emphasized close reading， particularly of poetry， to discover how a work of literature functioned as a self-contained， self-referential aesthetic object. It asks people to pay more attention to the intonation and tone of the words; the tension， irony and paradox implied the words should be noticed.
This article attempts to to use the New Criticism Approach to find the unique tension by analyzing the imagery， rhyme，structure and figure of speech.
2 Tension in “Ode to the West Wind”
2.1 The Tension between External Form and Internal Form
It is known that the external form of poem is its structure， rhyme. When combine it with internal meaning， it formed an organic one. Then， the tension can be found. In “Ode to the West Wind ”， the rhyme scheme is Terza Rima and couplet. Terza rima is a verse form of Italian origin consisting of tercets of 10 or 11 syllables with
the middle line rhyming with the first and third lines of the following tercet. A couplet is a pair of lines of meter in poetry which usually consists of two lines that rhyme and have the same meter. In the first twelve lines， Shelley uses terza rima and the rhyme is aba， bcb， cdc， ded. But in the last two lines， he uses couplet and the rhyme is ee. Using the pentameter， the heavy and light syllable changed alternately， in accordance with the momentum of an avalanche of the west wind. Secondly， it emphasized the image of the west wind--a destroyer. The first stanza summarized the function of the west wind： destroyer and preserver. It is considered “destroyer”， because it drives the last signs of life from the trees; Thirdly， it praised the might of the west wind by using rhyme scheme. The poetry’s internal rhyme and external meaning conflict with each other， both of them try to find the balance， which constitutes the tension. The rhyme scheme is aba，bcb， cac， ded， ee. The division between the two parts of the sonnet is counter-acted by the impetus of the rhythms， driving the poem forward from the thrust of the opening lines， across the interlinking rhymes of the verse form， to the solemn halt at or within the couplet. This form break the limit of the text itself， showing the west wind’s ferity， swift and proud. The foot rhyme appeared regularly， which not only connected to the verse but also to the traditional syllable structure. It enhanced the sense of beauty and the sense of music; On the other hand， it presents the wild force of the west wind.
Moreover， the alliteration as great effect on expressing the Poem’s meaning. For example， “Loose clouds like earth's decaying leaves are shed， Shook from the tangled boughs of Heaven and Ocean， Angels of rain and lightning： there are spread. ”
The use of /s/ sound and /l/ sound convey the sound onomatopoeia， describing the dynamic scene of the west wind’s blow. These images make the poem third dimension. Also， the sound/b/strengthen the powerful image of the west wind. For example： “Black rain， and fire， and hail will burst： oh， hear！ Beside a pumice isle in Baiae's bay.” The last one is the sound /f/， it shows the flexibility and the rapid speed of the west wind. For example： “If I were a dead leaf thou mightest bear; If I were a swift cloud to fly with thee; A wave to pant beneath thy power， and share. The impulse of thy strength， only less free” Meanwhile， the use of comma and period enhanced the rhyme value. Such as：“O wild West Wind， thou breath of Autumn's being.” Four stressed syllables are followed by a pause at the comma， Then perhaps ‘thou’ takes a half stress， followed by the stress on ‘breath’- after which there is a release of momentum along with the stresses on the first syllable of ‘Autumn’ and ‘being’. But to make sure sufficient energy is conserved to carry the rest of the stanza， ‘Thou’， at the opening of second line， receives another heavy stress， and a pause after. Then， it is allowed to take off with that halting and careering movement that is so hard to define， so easy to hear. The other stanzas vary in the amount of ‘thrust’ they need from the start to carry them through the twelve or thirteen lines before the invocation.
2.2 The Tension between Symbolic Images and Metaphorical Meaning
Allen Tate is one of the youngest New critics. He belongs to the Southern group of American critics. He is also a great poet .He says “Many poems that we ordinarily think of as good poetry - and some， besides， that we neglect -have certain common features that will allow us to invent， for their sharper apprehension， the name of a single quality. I shall call that quality tension. ” This is his definition of tension. As we all know， the imagery is the soul of the poetry. Therefore， the tension can be found through analyzing the denotation and connotation in imagery and symbol. In “Ode to the West Wind”， the inherent tension can be seen in the visible images and the exquisite structure.
One may examine the excellence in the usage of imagery through the way it progresses from the beginning till the end. The poem commences with the imagery of the earth， shifting its attention to the air， then moving towards the water， and finally ending at the fire. Thus， the west wind affects all the four elements of the universe： earth， air， fire and water.
The first stanza of the poem presents the action of the wind on the surface of the earth. There are many images， such as， dead leaves， dark wintry bed， cold grave， the dreaming earth， which symbolize the decay of the old things. But， at the beginning of the poetry it presents like this： “O wild West Wind， thou breath of Autumn's being. ” It seems a bit paradox. Because the poet address the west wind as the breath of Autumn’s being， which give life to Autumn. Then， he also said that “ Wild Spirit， which art moving everywhere; Destroyer and preserver; hear， oh hear！ ” The following are the explanation. According to etymology， the English word spirit comes from the Latin spiritus， meaning "breath"， but also "spirit， soul， courage， vigor"， ultimately from a Proto-Indo-European. Meanwhile， the word ‘breath’ means sway. Shelly combined these two words to reveal the function of the west wind---to protect the livings on the earth. In the first stanza， Shelley describes how the west wind destroys the dead and rotten things， weeps fallen leaves away， brings seeds into the field and waits for the coming of spring. It shows the power of west wind over the earth by describing its power over the leaves. It is considered destroyer， because it drives the last signs of life from the trees; it is considered preserver for scattering the seeds which will come to life in spring. Although the wind is both constructive and destructive， the poet tends to lay more emphasis upon its constructiveness， for what is destroyed is permanent： each of the winged seeds looks like a corpse within its grave， yet it is alive. In virtue of the unity of opposites between death and hope， destruction and creation， the tension of the images take shape in this text.
The second stanza presents the action of the wind in the sky. This stanza， with Shelley’s magical personification and imagination， presents readers more magnificent natural scenery that clouds， lightning， rain， strong wind and hail tangled together simultaneously. The “loose clouds” destroyed by the west wind are compared to the dead leaves shed from the “tangled boughs of heaven and ocean” which is the outcome of the powerful force of strong west wind on the sea. The shed leaves are personified to be “angles”of rain and lightning which symbolize messengers of new life. With magical imagination， Shelley employs simile to vividly describe the storm clouds to be “like the bright hair uplifted from the head of some fierce Maenad” and “locks of the approaching storm”. Even more， the poet， from sense of hearing， compare the rustling sound of the west wind to be “dirge of the dying year”， and in heavy sound of the last line， “black rain， and fire， and hail， will burst”， culminate the storm and fury west wind. But after careful reading， you may find that there are also some creative or rebirth but not only destruction. Here， the west wind breaks the old order to in search of the rebirth in the chaos.
The third stanza shows strong contrasting scenery between the calm and tranquil of Mediterranean and dynamic wild west wind. At the beginning， the Mediterranean is personified： “he lies beside Baiae’s bay ” enjoying in sound sleep his beautiful scenery of summer dream， in which old places and towers quivering with the slight motion of the water. The images “blue Mediterranean”， “crystalline stream”， “azure moss and flowers” are so fascinating that “the sense faints picturing them”. With the foil of the peaceful picture presented in the first few lines， the west wind comes up as a more dynamic turbulent image—“ whose path the Atlantic’s level powers cleave themselves into chasms”— that “tremble and despoil” the vegetation at the bottom of the sea which “sympathizes with that of the land in the change of seasons， and is consequently influenced by the winds which announce it”.（qtd. in （Reiman & Fraistat） 300） This stanza mainly talks about the might power of the west wind， the place will full of vitality wherever the west wind goes. For example： “All overgrown with azure moss and flowers So sweet， the sense faints picturing them！ ” It is well known that the creativity and the destroyer are contradictory， while in this poem Shelly united these two words organically： Destroy means creative， vice-visa. Therefore， the rich connotation and denotation of the west wind makes this poem’s tension highly revealed.
3 Figure of Speech
3.1 Simile
Simile which is always strikingly sharp is one dominant figure of speech in this poem. The examples are as follows：“Thou， from whose unseen presence the leaves dead Are driven， like ghosts from an enchanter fleeing...”
Shelly compared “the dead leaves” to “ghosts” ， and “the west wind” to “an enchanter”. This indicates that once the dead leaves were mild， but after coming across the west wind， they whirled around fast. It creates a vast scene in which the west wind is almighty and majestic.
“Like withered leaves to quicken a new birth！ And， by the incantation of this verse， Scatter， as from an unextinguished hearth” The speaker compares his thoughts in a simile to“ withered leaves”， which is a pun on the two meanings of “leaves” – things that drop off trees，but also the pages of a book. Since the speaker himself is a poet who describes his plea to the West Wind as “ the incantation of this verse” the pun is even more obvious.
3.2 Metaphor
Metaphor which makes language vivid and colorful is a basic figure of speech in poems. The examples are as follows： “ Thine azure sister of the Spring shall blow Her clarion o’er dreaming earth .” Shelly compared the sound of the spring wind to “ clarion”. This shows that the spring wind brings joy to people just like a melodious trumpet does. What’s more， the “ clarion” ， like a trumpet， is able to wake up the dreaming earth. “ The locks of the approaching storm. Thou dirge Of the dying year， to which this closing night Will be the dome of a vast sepulcher ， Vaulted with all thy congregated might of vapours from whose solid atmosphere Black rain， and fire， and hail will burst： oh， hear！ ” This extended metaphor compares the West Wind to a dirge the dying year to the dead man in a funeral， and the night sky to the dome of a sepulcher.
3.3 Personification
Personification is a figure of speech which can make context more vivid and dynamic. The examples are as follows：“ Who chariotest to their dark wintry bed The winged seeds， where they lie cold and low” “ Thou dirge Of the dying year， to which this closing night Will be the dome of a vast sepulchre .Vaulted with all thy congregated might Of vapours， from whose solid atmosphere”. Shelly described a very inanimate scene to stress his strong feelings. In this scene， the character is no longer an undynamic stream， but a dying person. 3.4 Hyperbole
Hyperbole is a figure of speech which exaggerates the truth by imagination in order to express its strong feelings. Here is an example： “ Of vapours， from whose solid atmosphere Black rain， and fire ， and hail will burst ： oh， hear！ ”（line 27-28） Shelly used “solid” and “black” to express that the rain is much too heavy. In this way， a magnificent scene will come into the mind of readers.
4 Conclusion
“Ode to the West Wind” is one of the most famous poems of all time. The poet using different rhyme， rhyme， figure speech and imagery to sing the west wind as a great and preserver. Meanwhile， this poem using some poetic elements， such as structure， metaphor， simile and hyperbole， as an important technique of expression to make the poem form a harmonious entirety both in its structure and meaning. The rich connotations and denotative meanings of words make the poem full of tension.
Works Cited：
[1]Helen E. Haworth. “Ode to the West Wind" and the Sonnet Form. Keats-Shelley Journal， Vol. 20 （1971）： 71-77.
[2]Luke Donahue. Romantic Survival and Shelley's “Ode to the West Wind.”
[3]European Romantic Review， Vol.25（2014）： 219-242.
[4]Wilfred L.Guerin， etal. A Handbook of critical Approaches to Literature. Beijing： Foreign Language Teaching and Research Press， 2004.
[5]http：//en.wikipedia.org/wiki/Formalism
[6]龔小晖. Shelley’s Imagery in poetry[D]， 上海：上海大学英语系，2005。
[7]徐广联. 论雪莱《西风颂》的复义性[J]. 《湘潭师范学院学报（社会科学版）》， 2009（1）： 90-92。
【Key words】： New Criticism; Tension; Imagery; figure of speech
1. Introduction
“Ode to the West Wind ”was the representative of all shelly’s works and a masterpiece of the romantic poetry. This poem is a natural poem in which the poet describes the irresistible power of the wind through what he sees and also what he imagines. And， he praised the spirit of the west wind in order to encourage the British people to fight against the old system， which expressed his optimism in eliminating tyranny and eventually achieving a bright future.
In literary theory， formalism refers to critical approaches that analyze， interpret， or evaluate the inherent features of a text. These features include not only grammar and syntax but also literary devices such as metre and tropes. The formalistic approach reduces the importance of a text’s historical， biographical， and cultural context. （qtd.on： http：//en.wikipedia.org/wiki/Formalism ）There were two schools of formalist literary criticism， Russian formalism， and soon after Anglo-American New Criticism.
The New Criticism was a formalist movement in literary theory that dominated American literary criticism in the middle decades of the 20th century. The movement derived its name from John Crowe Ransom's 1941 book The New Criticism. It emphasized close reading， particularly of poetry， to discover how a work of literature functioned as a self-contained， self-referential aesthetic object. It asks people to pay more attention to the intonation and tone of the words; the tension， irony and paradox implied the words should be noticed.
This article attempts to to use the New Criticism Approach to find the unique tension by analyzing the imagery， rhyme，structure and figure of speech.
2 Tension in “Ode to the West Wind”
2.1 The Tension between External Form and Internal Form
It is known that the external form of poem is its structure， rhyme. When combine it with internal meaning， it formed an organic one. Then， the tension can be found. In “Ode to the West Wind ”， the rhyme scheme is Terza Rima and couplet. Terza rima is a verse form of Italian origin consisting of tercets of 10 or 11 syllables with
the middle line rhyming with the first and third lines of the following tercet. A couplet is a pair of lines of meter in poetry which usually consists of two lines that rhyme and have the same meter. In the first twelve lines， Shelley uses terza rima and the rhyme is aba， bcb， cdc， ded. But in the last two lines， he uses couplet and the rhyme is ee. Using the pentameter， the heavy and light syllable changed alternately， in accordance with the momentum of an avalanche of the west wind. Secondly， it emphasized the image of the west wind--a destroyer. The first stanza summarized the function of the west wind： destroyer and preserver. It is considered “destroyer”， because it drives the last signs of life from the trees; Thirdly， it praised the might of the west wind by using rhyme scheme. The poetry’s internal rhyme and external meaning conflict with each other， both of them try to find the balance， which constitutes the tension. The rhyme scheme is aba，bcb， cac， ded， ee. The division between the two parts of the sonnet is counter-acted by the impetus of the rhythms， driving the poem forward from the thrust of the opening lines， across the interlinking rhymes of the verse form， to the solemn halt at or within the couplet. This form break the limit of the text itself， showing the west wind’s ferity， swift and proud. The foot rhyme appeared regularly， which not only connected to the verse but also to the traditional syllable structure. It enhanced the sense of beauty and the sense of music; On the other hand， it presents the wild force of the west wind.
Moreover， the alliteration as great effect on expressing the Poem’s meaning. For example， “Loose clouds like earth's decaying leaves are shed， Shook from the tangled boughs of Heaven and Ocean， Angels of rain and lightning： there are spread. ”
The use of /s/ sound and /l/ sound convey the sound onomatopoeia， describing the dynamic scene of the west wind’s blow. These images make the poem third dimension. Also， the sound/b/strengthen the powerful image of the west wind. For example： “Black rain， and fire， and hail will burst： oh， hear！ Beside a pumice isle in Baiae's bay.” The last one is the sound /f/， it shows the flexibility and the rapid speed of the west wind. For example： “If I were a dead leaf thou mightest bear; If I were a swift cloud to fly with thee; A wave to pant beneath thy power， and share. The impulse of thy strength， only less free” Meanwhile， the use of comma and period enhanced the rhyme value. Such as：“O wild West Wind， thou breath of Autumn's being.” Four stressed syllables are followed by a pause at the comma， Then perhaps ‘thou’ takes a half stress， followed by the stress on ‘breath’- after which there is a release of momentum along with the stresses on the first syllable of ‘Autumn’ and ‘being’. But to make sure sufficient energy is conserved to carry the rest of the stanza， ‘Thou’， at the opening of second line， receives another heavy stress， and a pause after. Then， it is allowed to take off with that halting and careering movement that is so hard to define， so easy to hear. The other stanzas vary in the amount of ‘thrust’ they need from the start to carry them through the twelve or thirteen lines before the invocation.
2.2 The Tension between Symbolic Images and Metaphorical Meaning
Allen Tate is one of the youngest New critics. He belongs to the Southern group of American critics. He is also a great poet .He says “Many poems that we ordinarily think of as good poetry - and some， besides， that we neglect -have certain common features that will allow us to invent， for their sharper apprehension， the name of a single quality. I shall call that quality tension. ” This is his definition of tension. As we all know， the imagery is the soul of the poetry. Therefore， the tension can be found through analyzing the denotation and connotation in imagery and symbol. In “Ode to the West Wind”， the inherent tension can be seen in the visible images and the exquisite structure.
One may examine the excellence in the usage of imagery through the way it progresses from the beginning till the end. The poem commences with the imagery of the earth， shifting its attention to the air， then moving towards the water， and finally ending at the fire. Thus， the west wind affects all the four elements of the universe： earth， air， fire and water.
The first stanza of the poem presents the action of the wind on the surface of the earth. There are many images， such as， dead leaves， dark wintry bed， cold grave， the dreaming earth， which symbolize the decay of the old things. But， at the beginning of the poetry it presents like this： “O wild West Wind， thou breath of Autumn's being. ” It seems a bit paradox. Because the poet address the west wind as the breath of Autumn’s being， which give life to Autumn. Then， he also said that “ Wild Spirit， which art moving everywhere; Destroyer and preserver; hear， oh hear！ ” The following are the explanation. According to etymology， the English word spirit comes from the Latin spiritus， meaning "breath"， but also "spirit， soul， courage， vigor"， ultimately from a Proto-Indo-European. Meanwhile， the word ‘breath’ means sway. Shelly combined these two words to reveal the function of the west wind---to protect the livings on the earth. In the first stanza， Shelley describes how the west wind destroys the dead and rotten things， weeps fallen leaves away， brings seeds into the field and waits for the coming of spring. It shows the power of west wind over the earth by describing its power over the leaves. It is considered destroyer， because it drives the last signs of life from the trees; it is considered preserver for scattering the seeds which will come to life in spring. Although the wind is both constructive and destructive， the poet tends to lay more emphasis upon its constructiveness， for what is destroyed is permanent： each of the winged seeds looks like a corpse within its grave， yet it is alive. In virtue of the unity of opposites between death and hope， destruction and creation， the tension of the images take shape in this text.
The second stanza presents the action of the wind in the sky. This stanza， with Shelley’s magical personification and imagination， presents readers more magnificent natural scenery that clouds， lightning， rain， strong wind and hail tangled together simultaneously. The “loose clouds” destroyed by the west wind are compared to the dead leaves shed from the “tangled boughs of heaven and ocean” which is the outcome of the powerful force of strong west wind on the sea. The shed leaves are personified to be “angles”of rain and lightning which symbolize messengers of new life. With magical imagination， Shelley employs simile to vividly describe the storm clouds to be “like the bright hair uplifted from the head of some fierce Maenad” and “locks of the approaching storm”. Even more， the poet， from sense of hearing， compare the rustling sound of the west wind to be “dirge of the dying year”， and in heavy sound of the last line， “black rain， and fire， and hail， will burst”， culminate the storm and fury west wind. But after careful reading， you may find that there are also some creative or rebirth but not only destruction. Here， the west wind breaks the old order to in search of the rebirth in the chaos.
The third stanza shows strong contrasting scenery between the calm and tranquil of Mediterranean and dynamic wild west wind. At the beginning， the Mediterranean is personified： “he lies beside Baiae’s bay ” enjoying in sound sleep his beautiful scenery of summer dream， in which old places and towers quivering with the slight motion of the water. The images “blue Mediterranean”， “crystalline stream”， “azure moss and flowers” are so fascinating that “the sense faints picturing them”. With the foil of the peaceful picture presented in the first few lines， the west wind comes up as a more dynamic turbulent image—“ whose path the Atlantic’s level powers cleave themselves into chasms”— that “tremble and despoil” the vegetation at the bottom of the sea which “sympathizes with that of the land in the change of seasons， and is consequently influenced by the winds which announce it”.（qtd. in （Reiman & Fraistat） 300） This stanza mainly talks about the might power of the west wind， the place will full of vitality wherever the west wind goes. For example： “All overgrown with azure moss and flowers So sweet， the sense faints picturing them！ ” It is well known that the creativity and the destroyer are contradictory， while in this poem Shelly united these two words organically： Destroy means creative， vice-visa. Therefore， the rich connotation and denotation of the west wind makes this poem’s tension highly revealed.
3 Figure of Speech
3.1 Simile
Simile which is always strikingly sharp is one dominant figure of speech in this poem. The examples are as follows：“Thou， from whose unseen presence the leaves dead Are driven， like ghosts from an enchanter fleeing...”
Shelly compared “the dead leaves” to “ghosts” ， and “the west wind” to “an enchanter”. This indicates that once the dead leaves were mild， but after coming across the west wind， they whirled around fast. It creates a vast scene in which the west wind is almighty and majestic.
“Like withered leaves to quicken a new birth！ And， by the incantation of this verse， Scatter， as from an unextinguished hearth” The speaker compares his thoughts in a simile to“ withered leaves”， which is a pun on the two meanings of “leaves” – things that drop off trees，but also the pages of a book. Since the speaker himself is a poet who describes his plea to the West Wind as “ the incantation of this verse” the pun is even more obvious.
3.2 Metaphor
Metaphor which makes language vivid and colorful is a basic figure of speech in poems. The examples are as follows： “ Thine azure sister of the Spring shall blow Her clarion o’er dreaming earth .” Shelly compared the sound of the spring wind to “ clarion”. This shows that the spring wind brings joy to people just like a melodious trumpet does. What’s more， the “ clarion” ， like a trumpet， is able to wake up the dreaming earth. “ The locks of the approaching storm. Thou dirge Of the dying year， to which this closing night Will be the dome of a vast sepulcher ， Vaulted with all thy congregated might of vapours from whose solid atmosphere Black rain， and fire， and hail will burst： oh， hear！ ” This extended metaphor compares the West Wind to a dirge the dying year to the dead man in a funeral， and the night sky to the dome of a sepulcher.
3.3 Personification
Personification is a figure of speech which can make context more vivid and dynamic. The examples are as follows：“ Who chariotest to their dark wintry bed The winged seeds， where they lie cold and low” “ Thou dirge Of the dying year， to which this closing night Will be the dome of a vast sepulchre .Vaulted with all thy congregated might Of vapours， from whose solid atmosphere”. Shelly described a very inanimate scene to stress his strong feelings. In this scene， the character is no longer an undynamic stream， but a dying person. 3.4 Hyperbole
Hyperbole is a figure of speech which exaggerates the truth by imagination in order to express its strong feelings. Here is an example： “ Of vapours， from whose solid atmosphere Black rain， and fire ， and hail will burst ： oh， hear！ ”（line 27-28） Shelly used “solid” and “black” to express that the rain is much too heavy. In this way， a magnificent scene will come into the mind of readers.
4 Conclusion
“Ode to the West Wind” is one of the most famous poems of all time. The poet using different rhyme， rhyme， figure speech and imagery to sing the west wind as a great and preserver. Meanwhile， this poem using some poetic elements， such as structure， metaphor， simile and hyperbole， as an important technique of expression to make the poem form a harmonious entirety both in its structure and meaning. The rich connotations and denotative meanings of words make the poem full of tension.
Works Cited：
[1]Helen E. Haworth. “Ode to the West Wind" and the Sonnet Form. Keats-Shelley Journal， Vol. 20 （1971）： 71-77.
[2]Luke Donahue. Romantic Survival and Shelley's “Ode to the West Wind.”
[3]European Romantic Review， Vol.25（2014）： 219-242.
[4]Wilfred L.Guerin， etal. A Handbook of critical Approaches to Literature. Beijing： Foreign Language Teaching and Research Press， 2004.
[5]http：//en.wikipedia.org/wiki/Formalism
[6]龔小晖. Shelley’s Imagery in poetry[D]， 上海：上海大学英语系，2005。
[7]徐广联. 论雪莱《西风颂》的复义性[J]. 《湘潭师范学院学报（社会科学版）》， 2009（1）： 90-92。