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AStylisticAnalysisofOdetotheWestWindClass3,Name:XXX,StudentNumber:XXXXXXXXXXAbstract:OdetotheWestWindisthemostfamouslyricpoetryofShelley,awell-knownEnglishromanticpoet.Inthispoem,Shelleyappliedmanyfiguresofspeech,combinedscenery-depictingandemotion-expressing.Thelivelyrhythm,effusiveemotionandprofoundmeaningunifiedtheformandthecontent.Thispapertriestoanalyzeinthefollowingthreeaspects----Firstly,atphoneticlevel,toillustratethatthispoemrenderatmosphereandexpressideologicalpurposebyacoustics,mainlyinrhymeandpause.Secondly,atlexicallevel,thispoemappliedsimile,metaphorandpersonificationtomakeunrealimagesmorespecificandvivid,makeflatwordsfullofstronginfection.Last,atsyntacticlevel,fromthestructuralanalysisoftheinversion,repetitionandrhetoricalquestioninthispoem,weknowclearerabouttherelationshipbetweenformsandcontents.KeyWords:Phoneticlevel;lexicallevel;syntacticlevel;forms;contents1Introduction“Usingproperwordsinproperplaces,andthisistherealdefinitionofstyle.”FromthedefinitionofstylethatSwiftgave.Wecanmakeacomprehensionthatthelanguageexpressionwayofaliteraryworkisthemostremarkablestyle.AstheoldChinesesayinggoes,“thestyleistheman”.Byreadingthewordsandphrasesofawork,itisnowonderthatwecanguessthecreatingtimeandauthorofthework.Forinstance,thewritingstyleofElizabethanAgeisfullofpassionandromanticcolor,andintegratedandunifiedinstructure.ThestyleofHemingwayisclear,conciseandsimpleinsentencestructure.Butwecannottreatdifferentthingsasthesame;wedon’texcludethepossibilitythatauthorsindifferenttimesmayhavesimilarwritingstyle.Actually,sincethestylisticscameintobeing,thereisnounifieddefinitionofstyle.Manyexpertsandscholarstriedtogiveadefinitionofstylefromtheirownresearchfields.Simplyspeaking,therearetworesearchobjectsofstyle—oneistheideologicalcontentsofliteraryworks;theotherislinguisticfeatureofstyle.Thatistosay,itmainlyreferstoformsandcontents.Contentsarethethoughtsandviewofauthor.Formsincludegrammar,vocabulary,rhetoricdevicesandsoon,i.e.linguisticphenomenon.Expertsarguedabouttherelationshipbetweenformsandcontentsallthetime.Generallyspeaking,earlystylistsemphasizedtheresearchoflanguageformsratherthancontents,suchas,both“wayofwriting”and“modeofexpression”showtheseparationofformsandcontents.Butlater,peoplearemoreandmorelikelyemphasizetheimpartibilitybetweenthem.Then,what’stherelationshipbetweenliteraryworksandstylistics?Likealiteraryworkcananalyzeindifferentangles,theanalyticalmethodsofstylisticsaredifferent.Thevarietyofproblemanalysiscomesfromtheinfluenceofthelinguisticsandliterarycriticism.Untilnow,literaturetextisthemostcommonmaterialsofproblemanalysis.Stylisticanalysisdependsmainlyontextitself.Moststylisticanalysisisnotonlyforthepurposeofsimplyanalyzingthecharacteristicsoftextitself,buttoshowthefunctiononexplainingtexts,orcombineliteratureeffectswithlanguagecauses.Fromallabove,wecandrawaconclusionthatstylisticsmainlyreferstotheanalysisoftextandtheapplicationoflanguage,thatis,stylisticanalysismeansthecombinationofthoughtsandlanguagefeaturesoftheauthors.ThispapertriestoanalyzeShelley’sOdetotheWestWindinphonetic,lexicalandsyntacticLevel.2ThePhoneticLevelComparedwithotherliteraryforms,poetrypaysmoreattentiontothemusicality.Differentfromotherauthorsthatuselanguagestoexpressinformation,poetsnotonlyexpressmeaningwithwords,butalsoconveysound.Themusicalityofpoetryissoimportantthatmusicalitybecomesoneoftheindispensableconditionsofdefinitionofpoetry.Themusicofpoetryisthatpoetscombinerhythm,rhymeandwords,inthepurposeoffoilingtheatmosphereofpoetry,enhancingtheemotionalrenderingofpoetryandgivingreaderstheenjoymentofbeauty.Andthemusicalityofpoetryismainlyshowedinrhymeandmeter.Whileanalyzingpoetry,voiceisalwaysanimportantstandard.Shelley’sOdetotheWestWind,tidyinmeters,stronginrhythm,showsoutthecharmofmusic.Thus,achievethepurposeofrenderingatmosphereandexpressmindbyacoustics.2.1RhymeThelinesofthewholepoemmainlyconformtotheiambicpentameterwhichisthemostcommonrhymeinthispoem.Thiskindofrhymeiscadencedandfullofmusicality.Exceptrhymes,thispoemusemanyalliterations,likeinthefirstlineofthefirststanzainChapterone,“OWildWestWind”,inthesecondstanza,“wintry”,inthethirdstanza,“where,winged,within”allalliterateinsemivowel.Thiskindofrhymesoundslikewestwinesweepingfromyourears,expressestheobjectsvividandvisual.2.2PauseEverylanguagesandstyleshavepauses.However,pausesinpoetryaremoreobviousandsystemicthanprose.Englishpausesarerelatedtolinesofpoetryandrhythms.Differentpauseformshavedifferentliterarystyles.InEnglish,thereareatleastfoursilentpauseforms.Poetusedmanyintermediatestops,meanspauseinthemiddleoftheline.Forexample,atthebeginning:OWildWestWind,thoubreathifAutumn’sbeingThou,fromwhoseunseenpresencetheleavesdeadAredriven,likeghostsfromanenchanterfleeingThecommainthelinemeanstheintermediatestop.Thispauseslowdowntherhythmofthepoemandhighlightthetremendouspowerofthewestwind.3TheLexicalLevelShelleyuserhetoricaldevicestomakeunrealimagesmorespecific,vivid,andmakeflatwordsfullofstronginfection.Here,therhetoricaldevicesmainlyrefertosimile,metaphorandpersonificatio