3/4/2023 0 Comments Who was ozymandiasThe title of the poem informs the reader that the subject is the 13th-century B.C. Here we have a speaker learning from a traveler about a giant, ruined statue that lay broken and eroded in the desert. Although it is neither a Petrarchan sonnet nor a Shakespearean sonnet, the rhyming scheme and style resemble a Petrarchan sonnet more, particularly with its 8-6 structure rather than 4-4-4-2. "Ozymandias" is a fourteen-line, iambic pentameter sonnet. There also was a pedestal at the statue, where the traveler read that the statue was of “Ozymandias, King of Kings.” Although the pedestal told “mighty” onlookers that they should look out at the King’s works and thus despair at his greatness, the whole area was just covered with flat sand. The sculptor interpreted his subject well. The face was sunk in the sand, frowning and sneering. Photo credits: 1) Natasha Jovanovic/ 2) Merlin74/ first-person poetic persona states that he met a traveler who had been to “an antique land.” The traveler told him that he had seen a vast but ruined statue, where only the legs remained standing. We have only now, and we must appreciate that. We would do well to remember the lesson imparted by this statue: we are not powerful, glorious, mighty we are simply people, and we should be humble. We do not despair in the face of Ozymandias’s power, bowed by it the true meaning of this pharaoh’s monument is that civilisations will not endure, we will not endure – we too will be buried by the endless sands of time. Ultimately, we will become ‘lifeless things’. The statue does not stand as a monument to Ozymandias’s greatness it is a monument to man’s arrogance and ignorance in thinking that after death, we live on eternally in this world. His life, his works, are inconsequential, lost to time. It does not speak of the pharaoh’s might it speaks of his ultimate unimportance. Yet this statue is in ruins, decayed, a ‘colossal wreck’, ‘half sunk’ and lost in the ‘lone and level sands’ that ‘stretch far away’. This tells us of the pharaoh’s hubris, his supreme confidence that all who come after him will know of his power, his glory, his might, and be awed – he is boasting with complete surety that his legend will endure. The lone and level sands stretch far away.’Ī traveller has told the narrator that in an ‘antique land’ (Egypt) he has seen a statue whose head is severed from its body, and in its expression can be seen a frown, a sneer, a cold attitude. Of that colossal Wreck, boundless and bare Look on my Works, ye Mighty, and despair! The hand that mocked them, and the heart that fed Which yet survive, stamped on these lifeless things, Tell that its sculptor well those passions read Half sunk a shattered visage lies, whose frown,Īnd wrinkled lip, and sneer of cold command, Who said-‘Two vast and trunkless legs of stone It was the news of the statue’s arrival in London that galvanised Smith and Shelley to set pen to paper, and Shelley wrote the now famous poem ‘Ozymandias’, published in 1818: Once, the Younger Memnon was a full figure, 57 feet tall, with a body and legs, but now only the head remains (and in itself it weighs some seven tons). With its pair, the statue stood guard at the entrance to the Ramesseum and depicted Ramesses II. It had been excavated from the Ramesseum, the mortuary temple of Ramesses II located at Thebes, Egypt. In 1817, the British Museum in London added to its collection a granite statue known as the Younger Memnon. Known as Ramesses the Great, he was a popular pharaoh who ruled from 1279-13 BC, during the Nineteenth Dynasty. Ozymandias, in Greek, means Ramesses, and the king in question was Ramesses II. If any want to know how great I am and where I lie, let him outdo me in my work. In 1817, the writers Horace Smith and Percy Bysshe Shelley challenged each other to write a sonnet inspired by a passage by a Greek historian about a colossal statue of Ancient Egypt:
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