The Annotated Edition
A WORD WITH THE WIND by Algernon Charles Swinburne
A poet stands by the sea, pleading with the wind to shift — moving away from the harsh north-easter that has left the waves in a cold, listless calm, towards the powerful south-wester that will bring the ocean back to life.
- Themes
- beauty, freedom, nature
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
Lord of days and nights that hear thy word of wintry warning, / Wind, whose feet are set on ways that none may tread,
Editor's note
Swinburne begins by depicting the wind as a god — a powerful being that rules over day and night. It moves along paths that humans cannot trace, emphasizing its nature as a supernatural, untamed force. The speaker is appealing to this force rather than trying to control it.
Not the dawn, ere yet the imprisoning night has half released her, / More desires the sun's full face of cheer, than we,
Editor's note
The speaker likens his own yearning to how dawn craves the sun before it completely escapes the night. The portrayal of night as a prison holding back the dawn reflects how the wrong wind is keeping the sea trapped in dullness. The use of 'we' implies that the speaker isn't alone—maybe other sailors or sea enthusiasts feel this longing too.
All thy ways are good, O wind, and all the world should fester, / Were thy fourfold godhead quenched, or stilled thy strife:
Editor's note
The speaker acknowledges that every wind has its significance — the 'fourfold godhead' pertains to the four cardinal winds from classical tradition. Without any wind, the world would decay. However, this concession is a courteous prelude: the speaker is about to make the case that they currently need the south-wester wind.
Yet the field not made for ploughing save of keels nor harrowing / Save of storm-winds lies unbrightened by thy breath:
Editor's note
The sea is likened to a field that can only be 'ploughed' by the keels of ships and 'harrowed' by storms—using farming metaphors to illustrate how it requires tumultuous forces to awaken. At this moment, it appears lifeless and dim, lacking the right winds.
Sharp and strange from inland sounds thy bitter note of battle, / Blown between grim skies and waters sullen-souled,
Editor's note
The north-easter blows in from the land, and its sound is likened to a 'bitter note of battle'—sharp and aggressive, yet ultimately exasperating because it holds the sea back instead of pushing it onward. The sea takes on a 'sullen-souled' quality, much like someone sulking under an oppressive authority.
Change thy note, and give the waves their will, and all the measure, / Full and perfect, of the music of their might,
Editor's note
Here’s the main request of the poem, put simply: change course and allow the waves to regain their full force. Swinburne portrays the sea's energy as a form of music—using words like 'measure,' 'might,' and 'thunderous notes'—with the appropriate wind acting as the conductor that can release it.
Sweet are even the mild low notes of wind and sea, but sweeter / Sounds the song whose choral wrath of raging rhyme
Editor's note
Swinburne recognizes that calm seas possess a certain gentle beauty, but he asserts that the tempestuous, passionate version is far more impressive. The language of music amplifies this point — 'choral wrath,' 'raging rhyme,' 'imperious metre' — transforming the storm into a magnificent orchestral performance.
Sweet the lisp and lulling whisper and luxurious laughter, / Soft as love or sleep, of waves whereon the sun
Editor's note
A brief, intentionally gentle moment: calm waves evoke feelings of love and sleep, soothing and enjoyable. However, the next lines shift this tone — the sun 'dreams' on those tranquil waters, unaware that a storm and darkness are on the horizon. Here, comfort is portrayed as a form of ignorance.
Yet shall darkness bring the awakening sea a lordlier lover, / Clothed with strength more amorous and more strenuous will,
Editor's note
The storm-wind is portrayed as a 'lordlier lover' compared to the gentle sun — more passionate and more demanding. The relationship between the sea and the storm carries an explicit eroticism: it will 'kindle' and 'recover a sense of love too keen to lie still.' In this passage, Swinburne consistently depicts the sea as feminine and the wind as masculine.
Let thy strong south-western music sound, and bid the billows / Brighten, proud and glad to feel thy scourge and kiss
Editor's note
The south-wester affects the waves in contrasting ways, referred to as both a 'scourge' (like a whip) and a 'kiss'—a blend of pain and pleasure. The waves are 'bowed like aspens or willows,' yet they always spring back, remaining 'resurgent still,' highlighting the sea's resilience against the storm's power.
All to-day the slow sleek ripples hardly bear up shoreward, / Charged with sighs more light than laughter, faint and fair,
Editor's note
A return to the present moment: the sea is almost still, its ripples resembling those of a quiet woodland lake—a rather unflattering comparison for the ocean. The waves feel 'listless,' and the air seems 'slumber-stricken.' This marks the poem's low point, highlighting the stillness that the speaker desperately wishes to disrupt.
Be the sunshine bared or veiled, the sky superb or shrouded, / Still the waters, lax and languid, chafed and foiled,
Editor's note
Whether the sky is clear or cloudy, the sea stays still — 'lax and languid,' frustrated yet unable to move without the right wind. The image of waves resting 'like serpents coiled' is vivid: there's potential energy there, wound up and waiting, but it can't be unleashed without the south-wester.
Thee they look for, blind and baffled, wan with wrath and weary, / Blown for ever back by winds that rock the bird:
Editor's note
The waves are depicted as creatures desperately seeking the south-wester, feeling exhausted and frustrated. The description of winds that 'rock the bird'—tossing seabirds around—illustrates how the unfavorable winds take control of the scene, leaving everything in a state of thwarted waiting.
Let thy clarion sound from westward, let the south bear token / How the glories of thy godhead sound and shine:
Editor's note
The speaker's plea reaches a fever pitch. The wind is envisioned as a trumpet call, a royal announcement. The land-wind's wide wings will be shattered, the sea soothed, and the entire world taken under the south-wester's command.
Half the world abhors thee beating back the sea, and blackening / Heaven with fierce and woful change of fluctuant form:
Editor's note
Swinburne acknowledges that the south-wester isn't adored by everyone — half the world dreads its darkness and violence. Yet, the other half rejoices when it calms down after a storm, relieving the tension. This balance gives the wind a sense of true power rather than just a romantic allure.
Sweeter fields and brighter woods and lordlier hills than waken / Here at sunrise never hailed the sun and thee:
Editor's note
The closing stanza shifts focus to the land, celebrating the local scenery as some of the best in the world. The speaker calls on the wind to come and bless this place — to spread comfort 'as far as the foam that laughs and leaps along the sea.' The poem concludes with a sense of joyful liberation, the laughter of foam taking the place of the earlier sighs of dull ripples.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The South-Wester
- The south-wester isn't just a compass direction; it symbolizes a passionate, life-giving energy—the kind that awakens everything and helps them become their true selves. It's the hero of the poem, the very force that both the speaker and the sea are eagerly anticipating.
- The North-Easter
- The north-easter symbolizes constraint, frustration, and misdirected power. It isn't evil; Swinburne acknowledges its own strength. However, it pushes against life instead of flowing with it, leaving the sea in a gloomy, stagnant state.
- The Calm Sea
- The calm ocean represents potential energy that is trapped and wasted. The imagery of 'serpents coiled' indicates that this stillness isn't peace; it's suppression—a powerful force waiting to be unleashed but unable to act.
- Music and Song
- Swinburne often uses musical language to depict the wind and sea — talking about notes, metre, choral wrath, and chime. This portrays nature as a cosmic performance, with the right wind acting as the conductor capable of bringing the entire orchestra to life.
- The Lover
- The storm-wind is referred to as a 'lordlier lover' compared to the gentle sun. This sensual metaphor permeates the poem's middle section, depicting the sea's connection with the south-wester as both passionate and physical — the storm doesn't merely move the sea, it brings it to life.
- Foam
- Foam emerges at the end of the poem as a symbol of pure joyful release — it 'laughs and leaps.' After all the sighing ripples and coiled stillness, foam indicates that the right wind has finally taken effect.
§06Historical context
Historical context
§07FAQ
Questions readers ask
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