The location of the explicit, yet pleading “Christ,” in the middle of Western Wind creates a focal point of conflicting interests. Though the interjection has a blasphemous connotation, the speaker in the poem also applies to it a frustrated, hopeless tone. He petitions the lord in a whiney, frustrated tone for the connection he desires most in life: love. Using Christ as a mediator, the speaker establishes a direct path between the tangible, human world, and the holy, desirable world of God. Through this medium, the speaker creates an alliance between the first half of the poem, where “wind” and “rain,” elements of nature reside, and the second half of the poem, where “bed” and “arms,” phenomena of the distinctly manmade world, coexist.
The poet's decision to include a pause after Christ, suggests that the interjection is said in frustration and exasperation, rather than calculated reserve. The quizzical tone of the second line in the poem echoes the tone one uses in prayer, therefore marking the speaker as human at heart, questioning naturally and incessantly. His introduction of Christ into the following line underlines his mortality and status as mere human being, anchored on earth, yearning for the return of his love. He openly displays his weakness to Christ, in that he raunchily juxtaposes the Lord's name and a highly suggestive sexual remark. This brazenness also underscores his absolute desperation to have his love return to him. In this way, Christ serves as a method through which the speaker may express his burning desire for love and the completion he feels it will bring to his life, while at the same time appearing loyal and pious in his decision to call upon Christ in his time of need.
