OLYMANDIAS 1 LATE'N 1817 PERCY SHELEY AND fiS FREND HORACE STH DECIDED TO HAVE A SONNET COMPETITION - THAT'S RICHT FOLKS: A SONNET COMPETITION: FOR THE SUBLECT OF THER SONNETS, SHELY AND STITH CHOSE A PARTIALLY-DESTROYED STATUE OF RANSES i (*OZYMANDMAS") THAT WAS MAKNG 118 WAY TO LONDON FROM ECYPT, FNALLY ARAIVING THERE SOMETIME EARLY IN THE YEAR TBIB N THE 79'S. NAPOLEON BONAPARTE HAD TRED TO GET HS RANDS CN THE STATUE, BUT WAS UNABLE TO REMOVE iT FROM EGYPT. THAT'S PARTLY BECAUSE iT WACKS ALMOST 75 TONS. SHELLEY, UME NAPOLEON, WAS FASCWATED BY THS GIANT STATUE. HERES A RCTURE OF i. SHELEY PUBUSHED HS POEN iN JANUARY OF TBIB THE EXAPMVER A PERIODICAL RUN BY HIS OTHER FREND LEH HUNT (PRONOUNCED "LEE SMATH PUBUSHED Ki POEM (ESS THAN A MONTH LATER, WITH A TITLE ALMOST AS LONG A'S THE POEM ITSELF: "ON A STUPENDOUS LEC OF GRANITE, CUSCOVERED STANDING BY ITSELF IN THE DESERTS OF ECYPT, WITH THE WSCRPTION INSERTED BELOW." YOU CAN TAKE A LOOK AT SMITHS POEM HERE WILE SHEUEY RAS A REPUTATION FOR RADICAL AND EXPERIMENTAL POETRY, “OZVMANDIASY 18 A PRETTY "TAME POEM COMPARED TO MANY OF His OTHER WORKS: iT WAUTEN WA WEL-HNOWN AND WIDELY-USED FORM ~ A FOURTEEN-UNE SONNET ~ AND DOESN'T SAY ANYTHING 100 OFFENSWE UME "WE SHOULD All BE ATHESTS" (SHEUEY WAS EXPELED FROM OXFORD FOR WAITING A PANPHIET ADVOCATING JUST TH). WHY SHOULD i CARE? WHY READ THIS POEM? AS A SONNET. IT HAS ONLY FOURTEEN UNES, BUT IN THS LIMITED SPACE, SHELLEY EXPLORES A NUMBER OF ISSUES WITH ENDURING RELEVANCE “OZYMANDIAS® EXPLORES THE QUESTION OF WHAT HAPPENS TO TYRANT HNGS, AND TO DESPOTIC WORLD LEADERS MORE GENERALLY. AS WE AL RNOW, NOTHING LASTS FOREVER: THAT MEANS EVEN THE VERY WORST POUTICAL LEADERS - NO MATTER HOW MUCH THEY DOAST ~ ADE AT SOME PONT. fF SHELEY WERE WRITING THIS POEM NOK, HE MIGHT TARE AS HS SUBJECT THE FAMOUS STATUE OF SADA HUSSEN THAT WAS PULLED DOMW AFTER THE DICTATOR WAS QVERTHROWN. UKE THE FALLEN STATUE IN BAGHDAD, THE BROREN-DOWN STATUE OF ‘OZYMANDWAS IN SHELEY'S POEM POINTS TO THE SHORT-LVED NATURE OF POUTICAL RECIYES AND TYRANNICAL POWER. BUT, SHELEY DOESNT JUST COME DUT AND SAY "NOTHING LASTS FOREVER® AND “THERE 1S ALWAYS HOPE" HE WAMTES A SONNET WITH A REALLY COOL RAYNE SCHEME JUST TRY READING THE POEM QUT LOUD, AND YOU'L SEE WHAT WE MEAN THE SPEAKER DESCABES A MEETING WITH SOMEONE WHO HAS TRAVELED TO A PLACE WHERE ANCIENT CIMUZATIONS ONCE EXISTED. WE HNO FROM TE TITLE THAT HES TALKING ABOUT EGYPT. THE TRAVELER TOLD THE SPEAKER A STORY ABOUT AN Ol, FRAGMENTED STATUE IN THE MIDDLE OF THE DESERT. THE STATUE S BROKEN APART, BUT YOU CAN STi MARE OUT THE FACE OF A PERSON. THE FACE LOOKS STERN AND POWERFUL URE A AULER. THE SCULPTOR DID A COD JOB AT EXPRESSING THE RLLER'S PEASONAUTY. THE RULER WAS A WICKED CLY, BUT HE TOOK CARE OF HS PEOPLE ‘ON THE PEDESTAL NEAR THE FACE THE TRAVELER READS AN WNSCRIPTIN iN WHICH THE RULER QZYMANDIAS TELS ANYONE WHO NIGKT HAPPEN 0 PASS BY, BASICALLY, "LOOK AROUND AND SEE HOW AWESOME 1 AM BUT THERE S NO OTHER EDENCE OF HS AWESOMENESS WN THE iCRUTY OF His GANT, BROWEN STATUE. THERE S JUST A LOT OF SAND, AS FAR AS THE EYE CAN SEE THE TRAVELER ENDS KS STORY.UNES 12 MET A TRAVELER FROM AN ANTIQUE LAND WHO SAD. «THE POEM BECNS IMMEDIATELY FITH AN ENCOUNTER BETWEEN THE SPEARER AND A TRAVELER THAT COMES FROM AN "ANTIQUE LAND." «WERE NOT SURE ABOUT THIS TRAVELER. HE COULD BE Al NATIVE OF THIS “ANTIQUE” LAND, OR JUST A TOURIST RETURNING FROM His LATEST TRE. + WEDON'T RNOW WHERE TH ENCOUNTER 1S TAWING PLACE 1 17 CN THE HIGHWAY? ON A ROAD SOMEMHERE? iN LONDON? MAYBE if WE HEEP READING WELL FIND OUT. "ANTIQUES MEANS SOMETHING REALLY OLD, URE THAT COUCH AT YOUR CRANDMOTHER'S OR THE BUNNY EARS CN TOP OF YOUR TELEVISION. THE TRAVELER COULD BE COMING FROM A PLACE THAT 1S ANCIENT, ALMOST A i HE WERE TIME-TRAVEUNG. OR HE COULD AUST BE COTMNG FROM A PLACE THAT HAS AN OLDER FISTORY, URE GREECE, ROME, OR ANCIENT EGYPT LUNES 4 TWO WAST AND TRUNKLESS LEGS OF STONE STAND iN THE DESERT. NEAR THEN ON THE SAND, ALF SUNK, A SHATTERD WSAGE UES. «HERE THE TRAVEER BEGINS fis SPEECH. HE TELS THE SPEARER ABOUT fl PAIR OF STONE LEGS THAT ARE SOMEHOW STL STANDING IN THE MIDLE OF THE DESERT. + THOSE LESS ARE HUCE CAST") AND “TRUNKLESS." “TRUNKLESS® MEANS “WITHOUT A TORSO," SO iS A PAIR OF LEGS WITH NO BODY. "VISAGE" MEANS FACE: A FACE INPUES A READ, SO WE ARE BENG TOLD THAT THE READ BELONGNG 10 TH SCULPTURE is PARTIALLY BURED WN THE SAND, NEAR THE LECS. 11S ALSO, URE THE WHOLE STATUE, “SHATTER.” + THEIMAGE DESCRIBED i$ VERY STRANGE: A FIR OF LEGS, WITH AHEAD NEARBY. WHAT HAPPENED TO THE REST OF THE STATUE? WAR? AATURAL DISASTER? NAPOLEON? UNS 6-6 HOSE FROKN ‘AND WRINKLED UP AND SNEER OF COLD COMMAND TAL THAT ITS SCULPTOR WELL THOSE PASSIONS READ «THE TRAVELER NOW GIES A FULLER DESCRPTION OF THE "SHATTER'D VISAGE" LYING IN THE SAND. + AST TURNS OUT, THE “VISACE* (OR FACE) ISN'T COMPLETELY "SHATTERD* BECAUSE ONE CAN STi SEE A “FROWN.” A "HRNKLED Li" AND A*SNEER" + WESTIL DONT RNOW WHOM TH STATUE REPRESENTS, BUT WE DO RNOW THAT HE WAS UPSET ABOUT SOMETHING BECAUSE HES FROWNNG AND SNEERING. MAYBE HE THINKS THAT THE SNEERING MAKES KM LOOK POWERFUL iT CONVEYS THE "COLD COMMAND® OF AN ABSOLUTE RULER. HE CAN DO WHAT HE WANTS WITHOUT THINKING OF OTHER PEOPIE HECK, HE PROBABLY COMMANDED THE SCULPTOR 10 NAKE THE STATUE. + FAFTER BRERLY DESCRBING THE "VISAGE (3), THE INES SHIFT OUR ATTENTION AWAY FROM THE STATUE TO THE GUY WHO MADE THE STATUE, THE "SCULPTOR"LUNES 7-8 "READ" HERE MEANS "UNDERSTOOD" OR "COPED" WEL THE SCULPTOR WAS PRETTY CODD BECAUSE HE WAS ABLE 7O UNDERSTAND AND AEPRODUCE EXACTLY ~ 10 "READ" - THE FACIAL FEATURES AND "PASSIONS" OF OUR ANGRY MAN. THE SCULPTOR MIGHT EVEN GRASP THINGS ABOUT THE RULER THAT THE RULER KM'SEF DOESN'T UNDERSTAND, THE POEH SUGCESTS THAT ARTISTS HAVE THE ABIUTY TO PERCEVE THE TRUE NATURE OF OTHER PEOPLE WN THE PRESENT AND NOT JUST IN THE PAST, WITH THE BENERT OF HANDS "TEL" 18 A COOL WORD. THE STATUE DOESN'T UTERALLY SPEAR, BUT THE FROWN AND SNEER ARE SO PERFECTLY RENDERED THAT THEY GOVE THE IMPRESSION THAT THEY ARE SPEAKING, TELING US HOW GREAT THE SCULPTOR WAS. WHICH YET SURVIVE STANPD ON THESE LELESS THINGS THE HAND THAT MOCH'D THEM AND THE HEART THAT ED THE POEH NOW TELS US MORE ABOUT THE "PASSIONS® OF THE FACE DERCTED ON THE STATUE WERDLY, THE "PASSIONS" STL SURVIVE BECAUSE THEY ARE “STAMPD ON THESE UFHESS THINGS." THE "UFELESS THINGS" ARE THE FRACNENTS OF THE STATUE N THE DESERT. “STAMPD* DOESN'T REFER TO AN INK-STAMP, BUT RATHER TO THE ARTISTIC PROCESS BY WHICH THE SCULPTOR INSCRIBED THE “AORN” ‘AND *SNEER® ON HIS STATUES FACE. THE WORD COULD ALSO MAKE YOU THINK OF THE RUUER'S POWER. HAD KE WANTED 10, HE COULD HAVE STANPED OUT ANY OF fi SUBIECTS WHO OFFENDED Hi. "MOCK" HAS THO MEANINGS IN THIS PASSAGE. MEANS BOTH "MADE FUN OF* AND "COPED,* OR “IMITATED.” *WAND" iS A STANDHN FOR THE SCULPTOR. SO THE SCULPTOR BOTH BEUTTLED AND COPED TH MAN'S PASSIONS. “THE HEART THAT FE 8A TRICKY PHRASE: IT REFERS TO THE REART THAT “FED* OR NOURISHED THE PASSIONS OF THE MAN THAT THE STATUE REPRESENTS. BUT it YOU THINK THESE LNES ARE UNCIEAR, YOU'RE RICH. EVEN SCHOLARS HAVE TROUBLE RCUAING OUT WHAT THEY NEAN THE PASSIONS NOT ONLY “SURVIVE THEY HAVE ALSO OUTLVED BOTH THE SCULPTOR (“THE HAND THAT MOCK'D") AND THE HEART OF THE MAN DEPCTED BY THE STATUE OTE THE CONTRAST BETWEIN UE AND DEATH. THE FRAGMENTS OF THE STATUE ARE CALLED “UFELESS THINGS." THE SCULPTOR 1S DEAD, AND 9018 THE STATUES SUBJECT. THE "PASSIONS* THOUGH, STL “SURVIVE LUNES S11 AND ON THE PEDESTAL THESE WORDS APFEAR: "MY NAME 1S OZYMANDIAS, ING OF HIS: (OOH ON MY WORKS, YE MGHTY, AND DESPA THE TRAVEER TALS US ABOUT AN INSCRIPTION AT THE FOOT OF STATUE WHICH BNALLY REVEALS 10 US WHOM THIS STATUE AEPRESENTS. ATS “OZYMANDIAS. THE FCURE NAMED IN THE TITLE “OZYMANDWAS® WAS ONE OF SEVERAL GREEK NAMES FOR RAMSES i OF ECYPT. FOR MORE, SEE “WHAT'S UP WITH THE TITLE" THE INSCRIPTION SUGCESTS THAT OZYMANDIAS 18 ARROCANT, OR AT LEAST THAT HE HAS GRAND IDEAS ABOUT KAS OWN POWER: HE CALLS HIMSELF THE "HIN OF KINGS."+ OZVMVANDIAS ALSO BRACS ABOUT HS "WORKS." MAYBE HES REFERRING 10 THE FAMOUS TEMPLES HE CONSTRUCTED AT ABU SINBEL OR THEBES. HE COUUD ALSO BE CALUNG ATTENTION TO THE NUMEROUS COLOSSAL STATUES OF fi, SUCH AS THE ONE DESCRIBED IN TH POE. + OZVMANDVAS'S SPEECH 1S AMBIGUOUS HERE. ON THE ONE HAND HE TELS THE "MIGHTY" TO “DESPAIR® BECAUSE THER ACTEVEMENTS Will NEVER EQUAL HS "WORKS." ON THE OTHER HAND, HE MICKT BE TLNG THE "NICHTY" TO "DESPAIR® AS fl HND OF WARNING. SAYING SOMETHING URE "DON'T GET YOUR HOPES UP CUYS BECAUSE YOUR STATUES, WORKS, POUTICAL REGMES, ETC. il EVENTUALLY BE DESTROYED OR FADE AWAY, WITH NOTHNG TO RECALL THEM BUT A DIAPOATED STATUE HAL-BURED IN THE SAND." Teh NOTHING BESIDE REMAN: ROUND THE DECAY OF THAT COLOSSAL WRECK, BOUNDLESS AND BARE THE LONE AND LEVEL SANDS STRETCH FAR AWAY. + AFTER THE TRAVELER RECITES THE INSCRIPTION, HE RESUMES fi DESCRIPTION OF THE STATUE AND THE SURROUNDING AREAL + WEARE REMINDED AGAIN THAT "NOTHING REMAINS BESIDES THE HEAD, LECS, AND PEDESTAL: AS iF WE ION'T KNOW THE STATUE RAS BEEN DESTROYED. THE TRAVELER TELS US AGAIN THAT IT 18 fl “COLOSSAL WRECK «THE VERY SIZE OF THE STATUE - "COLOSSAL" - EMPHASES THE SCOPE OF OZYMANDIAS'S AMBITIONS AS WELL IT'S ALMOST AS i BECAUSE HE THINKS HES THE "KING OF WINGS" (io), HE ALSO RAS TO BUILD REALLY BiG STATUE. TO COMPUENENT THE *DECAY® OF THE STATUE, THE TRAVELER DESCRIBES A DESOLATE AND BARREN DESERT THAT SEEMS 10 60 ON FOREVER: THE "SANDS STRETCH FAR AWAY." + THESTATUE'S THE ONLY THNG IN THIS BARREN, FLAT DESERT. THERE WAS PROBABLY ONCE A TEMPLE OR SOMETHING NEARBY, BUT IT'S TONG GONE THE "SANDS" ARE “LONE™ WHICH MEANS WHATEVER ESE USED TO BE "BESIDE" THE STATUE HAS BEEN DESTROYED OR BURED. + SEVERAL WORDS IN THESE UNES START MiTH THE SAME LETTER: FOR EXAMPLE “BESIDES "BOUNDLESS." AND "BARE "REMVANS" AND ROUND: "IONE* AND *LEVE *SANDS® AND "STRETCH USING MULTIPLE WORDS WITH THE SAME WVTIL LETTER iS CALLED ALTERATION. FOR MORE, SEE "SOUND cilECh" STATUES AND SCULPTING SYMBOL ANALYSIS BECAUSE THE POEM 18 NSPRED BY Al STATUE OF RANSES ii, WE SHOUIDN'T BE SURPRISED TO FND SO MANY REFERENCES TO THIS STATUE AND 10, SCULPTING MORE CENERALLY. THE “COLOSSAL” SZE OF THE STATUE iS A SYMBOL OF RAMSES'S LOFTY SEI-PROMOTION ROYAL AMBITION. BUT STATUES AND SCULPTURE ARENT Al. BAD i THiS POEM: THEY ARE ALSO A VENCLE FOR THE POET TO EXPIORE QUESTIONS ABOUT THE LONGEVITY OF ART, AND ITS ABLITY TO CAPTURE *PASSIONS* (G) NA “UFELESS* (7) MEDIUM UAE STONES (OR PANTINC OR EVEN POETRY), «LUNE 2 THE TRAVELER DESCRIBES TWO “LEGS OF STONE* WITH NO TORSO, OUR FAST INDICATION THAT THE STATUE 1S PARTLY DESTROYED. + UNE: THE READ OF THE STATUE i *SHATTER')" AND PARTIALLY BURIED IN THE SAND. "VISAGE" i$ A STANDHN FOR THE STATUES HEAD. THE USE OF ONE PART OF ANY OBJECT OR ENTITY TO QESCRBE THE WHOLE IS CALLED SYNECDOCHE)+ LNE--7: THE SCULPTOR WAS PRETTY GOOD AT REPRESENTING RANSES'S "PASSIONS" IN THE STATUE, WHICH ARE “STAMPD" OR ENGRAVED iN STONE. EVEN THOUGH THE STONES ARE “DFELESS," THEY PARADOXICALLY CWE UFE TO THE "PASSIONS* THAT STi SURVIVE" THERE ARE THREE WORDS IN THESE TWO LNES THAT START WITH "S': THE USE OF MULTILE WORDS STARTING WITH THE SAME LETTER 18 CALED ALUTERATION. + LNE®: THE "HAND THAT MOCK" 18 ANOTHER REFERENCE TO THE SCULPTOR AND THE WORK OF IMITATION HE PERFORMS. "HAND" is ANOTHER EXAMPLE OF SYNECDOCHE, IN WHICH A PART (THE HAND) STANDS iN FOR THE WHOLE (THE SCULPTOR). LUNES: DESCRIBES THE BASE OF THE STATUE AND THE BOAST ENGRAVED ON IT + LNETE THE INSCRIPTION REFERS TO *WORKS.* WHICH NIGHT BE A AETERENCE TO OTHER STATUES, WORKS OF ART, OR MONUMENTS COMMISSIONED BY QZVMANDIAS. THS INE IS AMBIGUOUS: QZYMANDWAS COULD BE TELUNG THE MIGHTY TO DESPAIR BECAUSE THER WORKS Will NEVER BE AS COOD AS HS OR HE COULD BE THLNG THEN TO DESPAIR BECAUSE THER WORHS Pll All EVENTUALLY CRUMBLE AUST URE HS. OZYMANDWAS ClEARLY DOESN'T INTEND THS SECOND NEANNG, BUT 1'S THERE WHETHER HE WANTS iT OR NOT. THAT'S CCAUED DRAMATIC IRONY. + UNE THE POEM AGAIN REMINDS US THAT THERE ISA HUGE STATUE IN THE DESERT THAT S NOW A “COLOSSAL WRECK DESTRUCTION SYMBOL ANALYSIS THE STATUE THAT INSPRED THE POEM WAS PARTIALLY DESTROYED, AND THE POEM FREQUENTLY REMINDS US THAT THE STATUE iS IN RUNS. THE DWAPOATED STATE OF THE STATUE SYMBOUZES NOT ONLY THE EROSIVE PROCESSES OF TIME BUT ALSO THE TRANSIENCE OF POLITICAL LEADERS AND AEGIS. UNE 2: THE "EGS" OF THE STATUE DON'T HAVE A TORSO ("TRUNALESS") + LNEl: THE STATUES HEAD i$ "SHATTER" AND PARTLY BURIED IN THE SAND, + LET: THE INSCRIPTION IMPLORES THE VEWER TO "LOOK ON OZYMANDVAS' "WORKS." ONE OF THOSE "WORKS" 18 THE STATUE DESCRIBED IN THE POEM, AND I'S ONLY A RAR OF LEGS AND A “SHATTER1® HEAD. © LINE T21: THE STATUE 18 DESCRIBED AS IN Al STATE OF “DECAY" AND AS A "COLOSSAL WRECK." UNE Tl: WERE ASSUMING THIS STATUE WASN'T ALWAYS IN THE MIDDLE OF NOMHERE - THERE MUST RAVE BEEN SOME KD OF TEMPLE OR PYRAMID NEARBY. NOT ANYMORE: THE AREA AROUND THE STATUE S "BARE" AND THE DESEAT 18 “LONE” OR ENPTY. THE TRAVELER CALS OUR ATTENTION TO THE BARRENNESS OF THE DESERT THROUGH THE EXTENSWE USE OF AUTERATION (BEGINING MULTIAE WORDS WTH THE SAME LETTER): “BOUNDLESS AND BARE “LONE AND LEVEL" *SANDS STRETCH.* LiKE SYMBOL ANALYSIS THERE 18 LOT OF DEATH i THiS POEM: THE FCURE REPRESENTED INTHE STATUE 1S DEAD, ALONG WITH THE CIVWZATION TO WRICH HE BELONGED THE STATUE 18 DESTROYED, AND SO iT TOO 18, N SOME SENSE, DEAD. AND YET AMIDST ALL THE DEATH, THERE ARE SEVERAL IMAES OF UFE THAT GIVE THE POEM A SENSE OF BALANCE, HOWEVER SUCAT. + LNES 12 MOST OF THE POEM DESCRIBES A STATUE, BUT THESE FAST TWO UNES DESCRIBE AN ENCOUNTER BETWEEN THIO LWING PEOPLE, THE SPEAKER AND A “TRAVELER FROM AN ANTIQUE LAND."© LNEG-7: THE DESCRIPTION OF THE "SCULPTOR" MAKING A STATUE INTRODUCES ANOTHER UNG FIGURE INTO THE POEM. AS DOES THE AEFERENCE TO THE "PASSIONS" OF QZYMANDWAS. FURTHERMORE, EVEN THOUCH THE SCULPTURE iS "AFELESS." THE PASSIONS STI “SURVIVE PASSIONS AND FEELINGS SYMBOL ANALYSIS WHILE MOST OF THE POEM DESCRIBES fl STATUE, THE TRAVELER MAKES A POWNT OF THING US THAT O2YMANDAS'S "PASSIONS" STAL SURVIVE: TREY ARE "STAMPD" ON THE STATUE, GING ALL THOSE WHO ViEW THE STATUE A SENSE OF WHAT OZYMANDIAS'S DISPOSYTION WAS UAE, OR AT LEAST WHAT IT WAS LiKE WHE THE STATUE WAS MADE. + LINES 6-5 THE POE DESCRIBES THE FEATURES ON THE FACE OF THE STATUE AND, BY EXTENSION, THE FEATURES OF QZYMANDWAS. HE NUST HAVE BEEN ANGRY ABOUT SOMETHING BECAUSE Ki FACE RAS A "SNEER" fl *EROWN." AND A *WRNKLED UP UNE G: WE ARE TOLD THAT THE SCULPTOR *WEL THOSE PASSIONS READ." THAT HE WAS SOMEHOW ABLE TO CAPTURE THEN FAIRLY WELL IN His STATUE LINE 8 THE “HEART iS THE ORGAN MOST OFTEN UNKED 70 FEEUNGS AND PASSIONS: IT “FED" THE PASSIONS QEMCTED IN THE STATUE. BECAUSE THE HEART DION'T UTERALLY *FEED* THE PASSIONS, "FED" HERE 1S A METAPHOR ANALYSIS: FORM AND VETER SONNET IN PENTAMETER “QIVMANDIAS® TAKES THE FORM OF A SONNET IN AMBIC PENTAMETER. SONNET 1 A FOURTEEN-INE POEM, WHOSE DEAL FORM i OFTEN ATTRIBUTED TO THE CREAT iTALAN POET PETRARCH. THE PETRARCHAN SONNET S STRUCTURED AS AN OCTAVE (B LNES) AND A SESTET (G UNES), THE OCTAVE OFTEN PROPOSES fl PROBLEN OR CONCERN THAT THE SESTET RESOLVES OR OTHERWISE ENGACES. THE NINTH UNE THE RAST INE OF THE SESTET ~ MARKS A SIFT IN THE DRECTION OF THE POEM AND 1S FREQUENTLY CALLED THE “TURN OR, FOR YOU iTAUAN SCHOLARS, THE VOUTA WILE THE RHYME SCHEME OF THE OCTAVE 18 ABBA ABBA, THE RAYNE SCHEME OF THE SESTET 1S MORE FERIBLE: TWO OF THE MOST COMMON ARE COCDCD AND COECDE. THE OTHER NAJOR SONNET FORM 18 THE SHAKESPEAREAN OR ENGUSH SONNET: iT TOO HAS FOURTEEN UNES, BUT iS STRUCTURED AS A SERIES OF THREE QUATRAINS (OF FOUR UNES EACH) AND A CONCLUDING COUPLET (CONSSSTING OF TWO CONSECUTIVE RHYTHNG LNES). THE SHAKESPEAREAN SONNET 1S WN IMBC PENTAMETER AND FOLLOMS THE RHYME SCHEME ABRB COCD EFEF G6. SHELLEY'S SONNET 8 A STRANGE MIXTURE OF THESE TWO FORNS. (18 PETRARCHAN IN THAT THE POEM 1S STRUCTURED AS fl GROUP OF BGHT LINES (OCTAVE) AND AA GROUP OF SX LNES (THE SESTET). THE RAYNE SCHEME iS WVTALLY SHARESPEAREAN, AS THE FRST FOUR INES RAYME ABAB. BUT THEN THE POEM GETS STRANCE: AT UNES 5-B THE RHYME SCHEME 1S ACDC. RATHER THAN THE EXPECTED COCO. FOR UNES 9412, THE RHYME ‘SCHEME i EDEE, RATHER THAN EFEE. FNAL, STEAD OF A CONCLUDING COUPLET WE CET ANOTHER EF GROUP. THE ENTIRE RAYE SCHEME CAN BE SCHEMATIZED AS FOLIONS: ABABACDCEDEFE. THE POEM iS WRITTEN IN PENTAMETER, MEANING THERE ARE FIVE (ENTA-) GROUPS OF TWO SYLLABLES IN EACH LUNE. WHLE YOU'VE PROBABLY HEARD OF IANBIC PENTAMETER, SHELEY'S POEM MAKES iT REALLY HARD TO USE THAT DESIGNATION. VAMBIC PENTAMETER MEANS THAT EACH UNE CONTAINS FIVE FEET OR CROUPS, EACH OF WHICH CONTAINS AN UNSTRESSED SYLLABLE FOLONED BY A STRESSED SYULABIE, AS | THS UNE:HAL-SUNK AL SHATT-ER'D IS-ACE LES WHOSE BYFRDAW (4) NAA OF THE NES N THE POEH, HOWEVER, REFUSE TO CONFORM TO THIS PATTERN. TARE INE 2 FOR EXAMPLE: WO-THNG BESIDE REMAINS ROUND THE DE-CAY THE UNE BEGINS WITH A STRESSED SYUABLE FOLLOWED BY AN UNSTRESSED SYLLABLE: This i$ CALED A TROCHEE, AND I'S THE REVERSE OF AN JAN. AFTER THE INTIAL TROCHEE, WE GET TWO iAMNBS, BUT THEN WE CO BACK TO A TROCHEE WTH “ROUND THE” FNAL ENDING WITH AN VAM: THERES NO WANE FOR THIS JUMPNG AROUND! THS REFUSAL TO CONFORM TO ANY SPECIRC METER 1S EWDENT THROUGHOUT THE POEM, AND NNARES IT DIFRCUCT TO CLASSY WITH A SHE FORMULA UKE iAMBIC PENTANETER. ANALYSIS: SPEAKER THERE ARE SEVERAL DIFFERENT VOICES IN THiS POEM THAT PUT SOME DISTANCE BETWEEN US AND OZYMANDIAS. RST THERE i$ THE SPEAKER OF THE POEM, YOU HNOW THE GUY WHO MEETS THE TRAVELER FROM AN “ANTIQUE LAND.” i'S ALMOST AS iF THE SPEAHER HAS JUST STOPPED FOR THENIGHT AT AA OTE, OR STEPPED INTO AN UNEAMUAR BAR, AND RAPPENS TO BUNP INTO Ai WEL-TRAVELED CUY. THE SPEAKER DOESN'T HANG ‘AROUND VERY LONG BEFORE HANDING THE MICROPHONE OVER TO THE TRAVELER WHOSE VOICE OCCURES THE REMAINDER OF THE POEM. QNE CAN INAQINE fl NOME BASED ON THIS STORYINE: THE SPLAKER MEETS A STRANGE GUY WHO THEN NARRATES HS EXPERIENCES, WHICH MAKE UP THE BEST OF THE ft WE DON'T HNOW A WHOLE LOT ABOUT THIS TRAVELER: RE COULD BE A NATIVE OF THE “ANTIQUE LAND" (D, A TOURST WHO HAS VSTED iT, OR EVEN AA GUY WHO JUST STEPPED OUT OF A TIME MACHINE. HE SEEMS UKE ONE OF THOSE CUYS YOU'D MEET WN A YOUTH HOSTEL WHO HAS ALL NDS OF COOL STORES BUT WO REAL PACE TO CALL HONE OTHER THAN THE ROAD: HES A TRAVELER" AFTER ALL AND RE CLEARLY ROWS HOW TO GVEA REALLY DRAMATIC DESCRIPTION - JUST NOTE THE BLEAK PCTURE THAT i PAINTED OF THE “LONE AND LEVEL SANDS* STRETCHING "FAR AWAY" (1) TO SEE WHAT WE MEAN. MOST OF THE POEN CONSISTS OF THE TRAVELER'S DESCRIPTION OF THE STATUE LYING IN THE DESERT, EXCEPT FOR THE TWO UNES iN THE MIDDLE WHERE HE THUS US WHAT THE INSCRIPTION ON THE STATUE SAYS: AND WHLE THE TRAVELER SPEARS THESE UNES, THEY REALLY BENG 10 COZYMANDIAS, MARNE HM, N A SENSE, THE THAD SPEAKER IN THIS POLYPHONIC (OR MANY-VOICED) POE. ANALYSIS: SETTING WHERE IT AL GOES DOHN THiS POEM HAS SEVERAL SETTINGS. 7T BEGNS WITH fl STRANGE ENCOUNTER BETWEEN THE SPEAAER AND AA TRAVELER FROM AN "ANTIQUE LAND! (0. WE RAVE NO iDEA WHERE THIS RENDEZVOUS TAKES PLACE, WHICH I$ VERY WERD iT COULD BE WN THE SPEAKER'S HEAD. IV A DREAM, ON THE STREET, OR IN THE DESERT: iT SORT OF RESEMBLES SOMETHING THAT MIGHT OCCUR iN A YOUTH HOSTEL OR A TAVERN WN LONDON. THE RAST APPEARANCE OF ARAGORN IN THE FLUIOWISHIP OF THE ANG NIGHT BE A COD COMPARISON. SHORTLY AFTER THiS INITIAL MEETING WE ARE WISHED AWAY TO THE SANDS OF EGYPT, OR A BARREN DESERT THAT CLOSELY RESEMBLES iT. AND THIS DESERT ISN'T JUST BARREN: TS REALLY BARREN. OTHER THAN THE LEGS, PEDESTAL AND READ OF THE STATUE, THERES ONLY SAND. NO TRACE REMAINS OF THE CIMUZATION OR CULTURE THAT SPAWNED THE STATUE. iTS A LOT URE SOMETHING YOU'D SEEN PLANET EARTHENPTINESS Al AROUND, A FEW SAND-STORNS HERE, AND THAT'S ABOUT IT. iT REMINDS US OF MOVIES WHERE PEOPLE ARE STRANDED IN THE DESERT AND EVENTUALLY FIND A UTTIE OASIS OR THE OCCASIONAL TREE EXCEPT THAT HERE WE FIND A PARTIALY DESTROYED STATUE INSTEAD OF AUTTEE POND. ANALYSIS: SOUND CHECK “OZYMANDVAS" SOUNDS ALOT URE THE CONCLUSION OF A SHAKESPEAREAN TRAGEDY: THE RAAL LNES OF THE POEM ARE ESPECIALLY REMINISCENT OF ‘SOMETHING YOU MIGHT HEAR AS THE CURTAW 1S ABOUT TO FALL AT THE END OF THE PLAY, OR AS THE CREDITS ARE ABOUT 70 ROLL AT THE END OF A SAD MOE THE WAY IN WFCH THE POE EMPHASIZES DESTRUCTION AND BARRENNESS MAKES IT READ UME SOMETHING YOU'D HEAR AT COZYMANDWAS'S FUNERAL THE LAST UNES IN PARTICLUAR CALL ATTENTION 10 THE POEN'S THEMES IN A REALLY CATCHY WAY (NOTE fll THOSE NNEMORABIE,AIITERATIVE PHRASES), MAWING THE POEM SEEM VERY MUCH LIME THOSE LAST WORDS YOU HEAR AS YOU'RE ABOUT 10 LEAVE THE THEATER ANALYSIS: WHAT'S UP WITH THE TITLE? “OZYMANDIAS" (8 IN ANCENT GREEK WANE FOR RANSES wi OF ECYPT. (TS ACTUALLY A GREER VERSION OF THE ECYPTIAN PHRASE “USER-AAT- A" ONE OF RAMSES'S ECYPTIAN NAMES. WHY NOT JUST CALL THE POEM “USER-MAAT-RE” YOU MIGHT ASH? WELL THS 1S SHELEY, WHO KAD STUDIED ANCIENT GREEK: TS THEREFORE NO SURPRISE THAT HE CHOOSES TO USE THE GREEK NAME “OZYMANDIAS.” RATHER THAN THE €CYPTIAN NAME RANSES i WAS ONE OF ECYPT'S GREATEST PHARAOHS. AND MANY OF THE MOST FAMOUS TOURIST SITES WV EGYPT. NCLUDWNC THE TEMPLE OF ABU SIMBEL AND THE RAMESSEUN IN THEBES, WERE BUILT OR PLANNED DURING FS NCREDBLY LONG TENURE CHE LVED UNTIL HE WAS 90). HE I HNO NOT ONLY FOR fs BUWDING PROGRAM, BUT ALSO FOR SEVERAL AMBITIOUS FORECN THUTARY CAMPAIGNS AND FOR HiS DIPLOMACY, ESPECIALLY WiTH THE HTTITES, ANOTHER IMPORTANT ANCIENT PEOPLE. LONG, COMPUCATED SENTENCES SHELLEY LOVED TO WRITE REALLY LONG SENTENCES, AND THIS POEM i$ NO EXCEPTION. THE SECOND COMPLETE SENTENCE, WHICH BEGINS IN LNE 3,18 ‘A GOOD EXAMPLE THE SENTENCE HAS A LOT OF SEPARATE CLAUSES THAT RESEMBLE COMPUCATED LATIN SENTENCES FROM TWO THOUSAND YEARS ‘AGO. THE MAN CLAUSE I THE STATEMENT THAT A “SHATTER VSACE* UES IN THE SAND NEAR THE LECS: THE REST OF THE SENTENCE - YOU NOW ALL THAT STUFF ABOUT THE "FROWN" AND “SNEER OF COLD COMMAND" AND HOM THE SCULPTOR WAS SO COOD THAT THE PASSIONS HAVE CQUTUVED BOTH RAMSES AND THE ARTIST ~ 18 ALL EXTRANEOUS FORMATION THAT NERELY ADDS TO OR SUPPLEMENTS THE FAST ASSERTION. TH ONC, CENTRAL SENTENCE CiVES THE POEM AN EPC FEEL. EVEN WITHIN THE CONRNES OF A DECIDEDLY UN-ERC POETC FORN, THE FOURTEEN-LNE ‘SONNET, SHELLEY ALAYS HAD CRAND AMBITIONS BRAIN SNACKS: TASTY TIDBITS OF RNOWUEDCE NAPOLEON TRED TO STEAL THE STATUE THAT INSPRED "OZYMANDIAS® AND LEFT A HOLE N iTS RCHT SIDE (SOURCE) SHELEY WAS PART OF A LARGER GROUP OF FRIENDS THAT FREQUENTLY ENGAGED IN SONNET-WRITING CONTESTS. THE MEMBERS INCLUDED LEH HUNT AND JOFN HEATS. (SOURCE) SHELEY USED THE PSEUDONYN (FAKE NAME) "GURASTES® WHEN HE FUBLSHED "OZYANDIAS" IN THE EXAMINER (SOURCE SHELLEY'S BODY 1S BURED IN ROME BUT fiS HEART 1S BURIED IN ENGLAND. (SOURCETHE GRAPHIC NOVEL AND MOVIE WATCHMEN FEATURES A SUPERHERO NAED OZYIANDNAS DESPITE A VERY SHARY START, RAMESSES ti (RECNED C1279 - 1212 BC) USED DIPLOMACY, A MASSIVE BUILDING PROGRAM AND ENDLESS PROPACANDA TO BECOME THE GREATEST PHARAOH OF THE NEW KINGDOM, ANCIENT ECYPT'S GOLDEN ACE. BORN A COMMONER, KS FAMIY'S MUTARY SHilS BROUGHT RAMESSES TO THE THRONE AT THE AE OF JUST 16. HE IMMEDIATELY FACED SERIOUS CHALLENGES, THE ECYPTIAN EMPRE WAS UNDER THREAT FROM THE HITTITES, WHO LVED IN WHAT 1S NOW TURKEY. THEY WERE FAR MORE ADVANCED THAN THE EGYPTIANS FIND WERE ALREADY PUSHNG AGAINST THE NORTHERN BORDER OF EGYPT'S EMPIRE TESTING THE NEW KING AN INEXPERIENCED, YOUNG NG PRESENTED THEM WITH THE PERFECT OPPORTUNITY TO EXTEND THER OWN EMPIRE WITHIN f FEW YEARS, THEY HAD INVADED AND CAPTURED THE STRATEGICALLY IMPORTANT TRADING TOWN OF HADESH, RANESSES RAISED AN ARMY AND SPED OFF TO FCKT THE WTTTES. HE WAS A YOUNG MAN, FGHLY CONRDENT, BUT ALSO IMPULSWE. THiS WOULD CAUSE HM SOME SEROUS PROBLEMS FALUNG INTO A TRAP THE EGYPTIAN ADVANCE PARTY CAMPED OUTSIDE KADESH AND WANTED FOR THE OTHERS TO CATCH UP. HE WAS NOT EXPECTING BATE ANY TIME ‘SOON AND THE CAPTURE OF TWO SPES CONRAED THAT THE HITITES WERE STML SOME DISTANCE FROM THE EGYPTIAN CAMP. RANESSES BELEVED THEN AND DON'T BOTHER SENDING OUT ANY SCOUTS OF fis OWN. THS WAS A MASSIVE MISTAKE THE SRES WERE HITTITE AGENTS SENT TO LUL THE ECYPTIANS INTO A TRAP. THE WTTTES WERE ACTUALY CAMPED JUST ACROSS THE RVER, READY TO ATTACR. AT THE VERY LAST MUTE, RAMESSES (ISCOVERED THEA PLAN AND iMMEDATELY SENT FOR AGNFORCENENTS. SAVED BY THE CAVALRY BUT IT WAS TOO LATE. THE FITITES ATTACHED, THE EGYPTIANS SOON CRUMBLED AND THE BATTLE LOOKED Al BUT LOST. LUCKY, THE AGNFORCEMENTS WHICH RAMESSES HAD ORDERED ARRIVED JUST IN TIME THEY SURPRISED THE HITTITES AND LEFT THE ECYPTIANS HOLDNG THE BATTIERED, ANESSES HAD BEEN FORTUNATE, BUT HAD NOT ACHEVED THE DEOSWE VICTORY HE WANTED. HE RNEM THE WITTTES WOULD RETURN TO ATTACK TOWNS UKE RADESH, BRING ON THE SPN DESPITE THS, RAMESSES BEGAN A HUCE CAMPAIGN THAT CLAIMED THAT RE HAD WON THE BATTLE SNCLE-HANDED. ACROSS EGYPT, TEMAE WAlS WERE CARVED WITH THIS OFRCIL VERSION OF THE BATTLE iT WAS SPA-DOCTORING ON fl GRAND SCALEALTHOUGH RS PEOPE THOUGHT KA HERO, RAESSES ANEW PERFECTLY WEL THAT HE COULON'T DEFEAT THE FTTIES. HE HAD TO CUT A DEAL LONG NEGOTIATIONS (ED TO A PEACE TREATY WITH THE HTTITES, WHICH WAS CEMENTED WHEN RAMESSES MARRIED A HITTITE PRINCESS AND BROUGHT HER HOME TO HIS NEW CAPITAL, PER RAESSES GETTING THE BUILDERS IN WOW AT PEACE, RAMESSES COULD CONCENTRATE ON fiS THO GREAT LOVES - HHS CHEF QUEEN, NEFERTARY AND HIMSELF. HE CONSTRUCTED THE ANESSEUM, TEMPLE, PURPOSE-BUILT TO MANUFACTURE TALES OF 8 GREATNESS. AT ITS HEART WAS THE HOUSE OF UF, A MASSWE LIBRARY DEDICATED TO CLORFYING THE PHARAOH. I CONTAINED SOME 10,000 PAPYRUS SCROLLS THAT CREATED AN OFFICIAL MAGE OF RAMESSES THAT WAS {ARCER THAN UE HE ALSO BEGAN ft BUILDING PROGRAM FAR GREATER THAN ANYTHING EVER SEEN BEFORE AN ENTIRE VILAGE, DBR EL MEDINEH, HOUSED CRAFTSMEN WHOSE SOLE PURPOSE WAS TO BUD TWO MACNRCENT TOMBS. THESE WERE CARVED OUT OF MOUNTAINS IN SOUTHERN ECYPT AND WERE CONSTRUCTED FOR RAMESSES AND NEFERTAR. BUT THE BUMDNG (iD NOT END THERE. ALMOST EVERY TEM IN ECYPT WAS REDECORATED OR REBUILT. AT KARNAR, THE MOST HOLY OF TEMPLES, ALD OF 184 COLUMNS WERE CARVED, EACH G9 FEET TALL AND SHAPED UKE PAPYRUS TRES. FATHER OF THE NATION? ANESSES ALSO HNEW THAT AE NEEDED HERS AND OVER HS LONG UFE, RE BOASTED THAT HE HAD FATHERED BO SONS AND AROUND 60 IMNUGHTERS. BUT FS LONG UFE MEANT THAT MANY OF HS CHLDREN DED BEFORE tM AND HE RAD TO TRAN 12 SONS TO BE CROWN PRICE WHEN RAMESSES FANALY DD DE, HE WAS 93 YEARS OUD, AN INCREDBLE ACE WA LAND WHERE MOST DIED BEFORE THEY WERE 40, ECYPT WAS PARALYZED WTH CRE. NEARLY ALL OF HS SUBJECTS HAD BEEN BORN WN iS RGN AND THOUCHT THE WORLD WOULD END WITHOUT Hi. NA WAY THEY WERE RChT. AANESSES i iD BECOME THE LESENDARY FCURE HE SO DESPERATELY WANTED TO BE, BUT THiS WAS NOT ENOUGH, NEW ENEMIES WERE ATTACKNG THE EMPIRE AND i COULD NOT LAST. LESS THAN TSO YEARS AFTER RAMESSES DED, HS ENPRE Fl, HS DESCENDANTS LOST THER POWER AND THE ‘NEW KINGDOM CAME TO AN END, COZYMANDIAS THEME OF TRANSIENCE “OYMANDIAS® 18 OBSESSED WITH TRANSENCE: THE VERY FACT THAT THE STATUE S A "COLOSSAL WRECK" (13) SAYS LOUDLY AND CLEARLY THAT SOME THINGS JUST DON'T LAST FOREVER. BUT THE POEM ISN'T JUST ABOUT HOW REALLY BiG STATUES EVENTUALLY SUCCUMB 10 THE RAVAGES OF TIME: THE STATUE S A SYMBOL OF O2YMANDIAS'S AMBITION, PRIDE, AND ABSOLUTE POWER, AND THUS THE POEM ALSO IMPLES THAT KNNCDOMS ‘AND POUTICAL RECINES Will EVENTUALLY CRUMBLE. LEAVING NO TRACE OF THER EXISTENCE EXCEPT, PEANAS, PATHETIC STATUES THAT NO LONCIR EVEN HAVE TORSOS. QUESTIONS ABOUT TRANSIENCEDO A POLTICAL REGIES NECESSARILY PASS AWAY? ARE THERE SOME THAT JUST WON'T CO AWAY? HOW DOES THE POEM VIEW THE PERMANENCE OF ART? DO ARTISTIC "WORKS® NECESSARY "DECAY" UME THE STATUE OF OZYMANDIAS? 18 THE POE'S VIEW OF TRANSIANCE AND IMPERMANENCE HOPEFUL OR DESPARING? ARE THERE ANY SNS THAT THE POEM LAMENTS THE DESTRUCTION OF THE STATUE AND THE LOSS OF THE CMNLZATION THAT PRODUCED 1” CHEA ON TH TRY ON AN OPNION OR TWO, START A DEBATE, OR PLAY THE DEVS ADVOCATE VEN THOUGH THE POEM 18 OBSESSED WITH TRANSIENCE AND IMPERMANENCE, ALSO SUGCESTS THAT A WORK OF ART, HOWEVER FRACMENTARY, LEAVES A RECORD OF WHAT HAS PASSED AWAY. COTVMANDIRS THEME OF PRIDE |W THE INSCRIPTION ON THE PEDESTAL OZYNANDIAS CALLS RIMSELF THE "QING OF KINCS® MLE ALSO IMPLYING THAT HS "WORKS" ~ WORKS OF ART UWE THE STATUE, PYRAIDS, THAT SORT OF THANG ~ ARE THE BEST AROUND (Io) QZYMANDWAS THANKS PRETTY HHLY OF HISELE AND OF WHAT HES ACHIEVED, BOTH POUTICALLY AND ARTISTCALY. THE FACT THAT HE COMMISSIONS THs "COLOSSAL* STATUE WITH "VAST LEGS" PONTS TO iS SENSE OF PRIDE, WHE THE STATUES FRAGMENTARY STATE INDICATES THE EMPTINESS (AT LEAST IN THE LONG TERM) OF OZYMANOIAS'S BOAST. QUESTIONS ABOUT PRIDE |THE STATUE N THE POEM SOUNDS UWE A REALLY COOL WORK OF ART: ISN'T iT TO BE EXPECTED THAT OZYMANDVAS WOULD TAKE PRIDE ‘SUCH AN ARTISTIC WONDER? 2S THERE ANY INDICATION THAT THE SCULPTOR TAAES PRIDE fis WORK? 3. TFOZYMANDIAS WAS PHARAH DURING A PARTICULARLY PROSPEROUS PEROD OF ECYPTIAN HISTORY, i TAT ALL POSSIBLE THAT HE REALLY WAS THE "KING OF RNCS*(IO)? COULD RE RAVE BEN BETTER THAN ANY OTHER RNC AROUND? 4, OES THE POEM SUGCEST THAT PRIDE IN ITSELF IS BAD? OR iS iT JUST BAD WHEN INDULGED WN BY fl TYRANT UE QZYMANDWAS? CHEN ON THS TRY ON AN OPINION OR TWO, START A DEBATE, OR PAY THE DEV’S ADVOCATE COZYMANDWAS'S PROUD STATEMENT THAT HES THE "HG OF KINGS" ALCNS fit WITH A NUMBER OF POWER-HUNGRY VANS, (HE THE BIBUCAL SATAN, OR EVEN SAURON FROM LORD OF THE ANS COTVMANDIRS THEME OF ART AND CULTURE “OZYMANDIAS" WAS NSPRED BY A STATUE, AND I'S NO SURPRISE THAT ART iS ONE OF THIS POEMS THEMES. THE TRAVELER MAKES fl POINT OF TELUNG US THAT THE STATUE WAS MADE BY A REALLY SHILED SCULPTOR, AND THE POEM AS A WHOLE EXPLORES THE QUESTION OF ART'S TONGEWTY. THE STATUE 18 IN PART A STAND-IN OR SUBSTITUTE FOR AL MINDS OF ART (PANTING, POETRY, ETC) AND THE POEM ASS US TO THINK NOT JUST ABOUT SCULPTURE, BUT ABOUT THE FATE OF OTHER ARTS AS WEL. QUESTIONS ABOUT ART AND CULTURE1 AFEVBN A DURABIE STATUE URE THE ONE DESCRIBED IN THE POEM EVENTUALLY CRUMBLES, WHAT HAPPENS TO OTHER WNDS OF ART THAT USE FUMSIER MATERIALS ~ LE POETRY AND PAINTING? THE TRAVEER REFERS TO THE DESTROYED STATUE AS fl HEAP OF “UFELESS THINGS" (7) 18 THE STATUE "AFRESS" BECAUSE I'S IN PECES, BECAUSE IT 18 *TRUNKIESS* AND HEADLESS AND 18 THUS NO LONGER A COMPLETE BODY? QR 1S iT “UFEESS® BECAUSE IT's MADE OF SOMETHING INORGANC (STONE)? 3. THE SCULPTOR iS Si) TO HAVE ACCURATELY RENDERED THE PASSIONS OF QZYMANDIAS'S FACE IS THE ONLY WAY TO JUDGE A WORK OF ‘ART BY HOW “REAL” iT LOOKS, BY HOW MUCH IT RESEMBUES THAT WHICH IT REPRESENTS? 4. WHAT BND OF CONNECTION EXSTS BETWEEN A WORK OF ART AND THE CVUZATION OR CULTURE THAT PRODUCED iT? CAN ART TEL US ANYTHING ABOUT THE CULTURE THAT PRODUCED iT? CHEA ON TH TRY ON AN OPINION OR TWO, START A DEBATE, OR PAY THE DEVS ADVOCATE THE SCULPTOR 1S SiLAR TO THE READER OF THE POEM BECAUSE BOTH ENCAGE I THE PROCESSES OF READING AND MTERPRETATION COZYMANDIAS THEME OF MANY AND THE NATURAL WORLD “QIVMANDIAS" DESCRIBES A STATUE, AND STATUES ARE NADE FROM ROCKS AND STONES FOUND iN NATURE. WHE THE POEM EXPLORES THE WAY IN WICH ART NECESSARY MVOLVES SOME KND OF ENGACENENT WTH THE NATURAL WORLD, i ALSO THNKS ABOUT HOW NATURE MIGHT FGKT BACK. THE STATUES HEAD i HALF-BURED IN THE SAND, AFTER ALL. AND WE ARE LEFT WONDERING WHAT ROLE THE EROSIVE FORCE OF DUST ‘STORMS, WIND, AND RAN PLAYED IN ATS DESTRUCTION. (QUESTIONS ABOUT MN AND THE NATURAL WORLD DOES ALL ART NECESSARY USE MATERIALS FROM NATURE, LE ROCKS, STONES, AND RAPER? 0 BESIDES CETTING TS RAW MATERALS (PAPER, ROCKS, STONES) FROM NATURE. IN WHAT OTHER WAYS DOES ART INTERACT WITH THE NATURAL WORLD? 3. DO YOU FEEL THAT NATURE 1S PUNISHING OZYMANDIAS FOR fi PRIDE BY DESTROYING fis STATUE? WitY OR WHY NOT? CHEA ON TH TRY ON AN OPINION OR TWO, START A DEBATE, OR PAY THE DEV’S ADVOCATE “OIVMANDIAS" SUCCESTS THAT THE RELATIONSHIP BETWEEN ART AND NATURE 1S Al DOUBLEEDCED SWORD: MILE THE NATURAL WORID FURNISHES THE ARTIST WITH RAW MATERIALS, 1 ALSO HAS THE POWER TO RECLAIM THOSE MATERMS BY LATER DESTROYNG THE WORK OF ART.