Love for Nature is one of the requirements of all the Romantics and Shelley is no special case. Love for Nature is one of the key-notes of his poetry. His poetry abounds in Nature imagery. ‘On Love’ reflects vivid Nature imagery and glorification of Nature. He indicates fulfillment and satisfaction in his lyrics. Different lyrics e.g. ‘A Dream of the Unknown’, ‘Ode to the Westwind’, ‘The Cloud’, ‘To Skylark’, ‘To the Moon’, and so on are remarkable sonnets of Nature in which we discover a bounty of Nature.
Like Wordsworth, Shelley accepts that Nature practices a healing impact on man’s personality. He discovers solace and solace in Nature and feels its alleviating impact on his heart.
Shelley, in his poetry, appears as a pantheist as well. In fact, his attitude towards Nature is analogous to that of Wordsworth, who, greatly affected Shelly. In any case, as against Wordsworth, who joined the soul in Nature with God, Shelley, then again, connected it and distinguished it with affection, for he was an atheist and a doubter. He accepts that this soul ‘wields the world with never wearied affection’.
“Adonais” reflects the most striking examples of Shelley’s pantheism. At an occasion, he feels that Keats ‘is made unified with Nature’ for the force, moving in Nature. Nature’s soul is eternal. ‘The one remains, many change and pass’. He agrees that there is some brainpower controlling Nature. In fact, he intertwines the platonic logic of affection with pantheism. He discovers Nature alive, capable of having a craving for taking on a similar mindset as a human organism. Wordsworth equates it with God, Shelley with adoration.
Shelley adored the inconclusive and the changeful in Nature. He displays the changing and inconclusive dispositions of Nature e.g. mists, wind, lightening and so on. ‘Ode to the Westwind’ reflects this particular pattern of Shelley, wherein, he demonstrates the West Wind driving the dead leaves, scattering the living seeds, awakening the Mediterranean and making the sea-plants feel its drive. His poetry lacks pictorial definiteness and, regularly, his Nature portrayal is dressed in fog. As compared with Coleridge, Wordsworth and so forth he is the least pictorial. It is partly because of the abstract imagery and partly, owing to quick progression of comparisons which smear the picture. Yet, now and again, his image is without a doubt cement. The picture of the blue Mediterranean, calmed to rest by his crystalline streams and awakened by Westwind is virtually remarkable and substantial.
Notwithstanding his pantheistic attitude, Shelley considers each object of Nature as having an unique individuality of its own, as well, however he accepts that the soul of adoration unites the entire universe, including Nature, yet he treats all the natural protests as distinguishable elements. The sun, the moon, the stars, the rainbow – all have been treated as separate creatures. This capacity of individualizing the separate strengths for Nature is termed as Shelley’s myth making force which is best illustrated in “Ode to the Westwind”. He gives the West Wind, the ocean an autonomous life and personalities. He introduces the Mediterranean resting and then being awakened by the West Wind, much the same as a human body.
The ancient Greek gave human attributes to the natural items whom they represented. Shelley, as well, embodies them, yet he retains their actual characteristics. He represents the West wind ad the Mediterranean, yet both remains wind and ocean. They have not been blessed with human qualities. He has almost exploratory attitude towards the objects of Nature. Whatever he says is scientifically genuine. The Westwind virtually drives the dead leaves and scatters the seeds to be developed in this wind; the sea plants without a doubt feel the dangerous impacts of the solid Westwind. In like manner, mists do bring rain, dew-drops, snow, lightening, thunder and so forth. He watches the natural sensation with an experimental eye, however the depiction remains very imaginative. Read cute love quotes for her to romance.
Over and over, Shelley’s Nature portrayal has a touch of good faith having all the sufferings, torments, tragedies of the world. In “Ode to the Westwind”, he trusts generally advantageous and is certain that “If Winter comes, can spring be far behind?” His nature treatment is multidimensional; investigative, scholarly, intellectual, mythical and obviously human. He is a marvelous artist of Nature.