Shelley has used the mixture of an octet and Shakespearian rhyme scheme. Image: , on deviantart Creative Commons. Read it again several times, prompting students to fill in the details of the images, as if they were watching a rerun of a television show in their heads. The story is a characteristically Shelleyan one about tyranny and how time makes a mockery of the boastfulness of even the most powerful kings. How many flashbacks would be included? It was not God, because these people had worshipped him, after their own weird fashion.
But he was certainly impressive. The expression of wonder starts from the first line and runs throughout the poem. One of his artists was Denon, whose book may have helped inspire Shelley, and whose time was spent hectically galloping from monument to monument to record what he could before the army moved on. Near them on the sand, Half-sunk, a shatter'd visage lies, whose frown And wrinkled lip and sneer of cold command Tell that its sculptor well those passions read Which yet survive, stamp'd on these lifeless things, The hand that mocked them and the heart that fed; And on the pedestal these words appear: 'My name is Ozymandias, king of kings: Look on my works, ye Mighty, and despair! Near them are the remains of a stone face — evidently part of a statue — and the face bears a superior, grim expression. Nothing does: all things must pass. Shelley's poem imagines a meeting between the narrator and a 'traveller' who describes a ruined statue he - or she - saw in the middle of a desert somewhere.
Afterward, have them share their comic strips with the larger group. This seems to be what he had done, from an imagination peopled with sneering tyrants ever since he was a boy. Round the decay Of that colossal wreck, boundless and bare The lone and level sands stretch far away. The face 'visage' lies on the sand, 'half-sunk' and 'shattered', making it hard to recognise. Shelley would probably have been mildly miffed by its success; he was much more keen to fire up the public with his longer works. Irony The statue is of course ruined - the legs remain but the body has fallen. .
Ozymandias by Percy Bysshe Shelley I met a traveller from an antique land Who said: Two vast and trunkless legs of stone Stand in the desert. Despair, decay, and colossal all invoke the same concept together as being elements below the king. Near them on the sand, Half sunk, a shatter'd visage lies, whose frown And wrinkled lip and sneer of cold command Tell that its sculptor well those passions read Which yet survive, stamp'd on these lifeless things, The hand that mock'd them and the heart that fed. What is the relationship between Ozymandias and the sculptor who immortalizes him? Does poem this inform our weltanschauung? Such dim-conceived glories of the brain Bring round the heart an indescribable feud; So do these wonders a most dizzy pain, That mingles Grecian grandeur with the rude Wasting of old Time—with a billowy main— A sun—a shadow of a magnitude. In a few simple and elegant lines, base ambition and materialism is exposed as futile vanity. Language Ozymandias calls himself 'king of kings' - a phrase taken from Biblical language - which smacks somewhat of arrogant pride.
Round the decay Of that colossal wreck, boundless and bare The lone and level sands stretch far away. For Shelley, as for many of his contemporaries, there were good ruins and bad ones. The poet has used images involving a sense of sights such as two vast and trunk-less legs, shattered face, wrinkled lip and desert. According to the inscription, which has survived, the king Ozymandias set up the statue to draw attention to his 'works' - but his own face has not survived, let alone the empire he may have once ruled. The stretching of the 'lone and level sands' in every direction cover any buildings or rich farmland that may have flourished here.
In this sonnet, the first part sets up the frame narrative and then describes the statue and the second part ironically relates the king's words and adds the final description of the desert setting. It isn't clear whether Shelley would have seen statues himself and whether he was inspired by a real piece of sculpture. Ruins of this sort were everywhere in Shelley. What effect does a framing device like this have on your reading of the poem? If anyone would know how great I am and where I lie, let him surpass one of my works. Near them, on the sand, Half sunk, a shattered visage lies, whose frown, And wrinkled lip, and sneer of cold command, Tell that its sculptor well those passions read Which yet survive, stamped on these lifeless things, The hand that mocked them and the heart that fed.
Why might Shelley have used reported speech to describe the monument instead of relying on the his own direct address to the reader? In Ascari, Maurizio; Corrado, Adriana. Read the passage from Ozymandias. Which theme does this passage support? The statue, even after its ruination, displays harsh expressions to show that the king was not benevolent during his regime. Round the decay Of that colossal Wreck, boundless and bare The lone and level sands stretch far away. Given its status as a great poem, a few words by way of analysis might help to elucidate some of its features and effects, as well as its meaning — what exactly is Shelley saying about great empires and civilisations? It is, by general consent, a great poem. Both 'boundless and bare' and 'the lone and level sands' use alliteration to remain memorable - as does the sneer of 'cold command'.
The revolution is coming and it wants another poster boy, but Zuko is not willing to lend his face to the cause. Both poets remove the city of Thebes, the site of the statue, from their poems for artistic purposes. A fair copy draft c. The four-syllable pronunciation is used by Shelley to fit the poem's meter. Ozymandias mummy in profile Hubris writ large, this work begs to be read by moguls and titans across time. Have them depict the events described in the poem in chronological order, using key pieces of text along with their illustrations. The works that were to be the despair of other pharaohs have completely disappeared.
The fine beginning is followed by a condensed and vigorous account of what the traveler saw in addition to the two huge legs standing in the desert: a shattered visage, a pedestal, and on it a boastful inscription. No other writer of antiquity mentioned him. However, what stays in the minds of the readers is the impacts of the transience of life and permanence of art. If he had, he might have been disappointed. The final caesura repeats this effective trick, following 'Nothing beside remains. Three years, a water tribe raid, and an unexpected meeting with a gang of over-enthusiastic idealistic children puts Zuko back in the spotlight.
It fell to Giovanni Belzoni, a former circus strongman, weightlifter and engineer, to find a way to lever the colossal hulk out of the sand The British, as they drove the French out of Egypt, also picked up their antiquarian loot. Oldfather: , accessed 12 April 2014. Near them on the sand lies a damaged stone head. Afterward, ask, if you were to make a television episode out of this poem who would be the star? It shows the keen observation of the traveler on the one hand, and the artistic skills of a sculptor on the other. The poems were written and published before the statue arrived in Britain, but the reports of the statue's imminent arrival may have inspired the poem.