Ozymandias by Shelley: Hubris, fall and the timelessness of art
I met a traveller from an antique land
Who said: Two vast and trunkless legs of stone
Stand in the desart. 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.
And on the pedestal these words appear:
‘My name is Ozymandias, king of kings;
Look on my works, ye Mighty, and despair!’
Nothing beside remains. Round the decay
Of that colossal wreck, boundless and bare
The lone and level sands stretch far away.
Percy Bysshe Shelley
Introduction
Shelley’s poem was first published in 1818. Historical accounts, including those from Mary Shelley, reveal that her husband composed the poem swiftly and in a friendly competition with another poet, Horace Smith (1779–1849). They agreed to craft sonnets on the same theme and chose the phrase “Ozymandias, King of Kings” as their inspiration. The poet-entrepreneur Leigh Hunt published both sonnets in his magazine, The Examiner, with Shelley’s appearing on January 11, 1818, and Smith’s two weeks later. When we read Horace Smith’s sonnet, it emphasizes Shelley’s exceptional ability to evoke and sustain a sense of wonder, setting his genius in even sharper relief.
‘Ozymandias’ serves as an epithet for the renowned Egyptian ruler Ramesses II. This title is a Greek transliteration of a portion of Ramesses’ throne name, ‘User-maat-re Setep-en-re.’ Additionally, ‘Ozymandias’ is prominently featured in the inscription on the statue’s pedestal, as documented by Diodorus Siculus. Shelley’s preference for ‘Ozymandias’ over ‘Ramesses II’ likely stems from its connection to Greek culture, highlighting the interplay of influences between two of the most significant civilizations in the Western world: Greek and Egyptian.
The inscription, the writing, on the statue’s pedestal ignites our wonder at the collision of immense forces that led to our contemplation of the ruined monument. Without the presence of writing, there would still be an air of mystery — how did the statue arrive here? What caused its destruction? Does it represent a specific individual? As we compared the solitary ruin with similar archaeological discoveries in the real world, speculation and reason would infiltrate our musings. The existence of writing permits daydreaming, the creation of a romantic narrative, and the epic of Ozymandias, whether it’s for Shelley’s “traveler from an antique land” who deciphers the inscription, the “I” who hears and shares the tale, or the subsequent generations of Shelley’s readers. In fact this poem was so timeless that the title was used for a Breaking Bad episode and also the main villain from the Watchmen comics and movie
Narration :
In “Ozymandias,” The poem begins with the narrator describing an encounter with “a traveler from an antique land.” This choice of an unnamed, third-party narrator adds an element of mystery and universality to the poem. The traveler becomes a vessel through which the story of Ozymandias is conveyed, and as a result, the narrative becomes more relatable to a broader audience. The choice of an anonymous traveler as the narrator provides a unique lens through which the reader experiences the poem’s themes of human pride, the transitory nature of power, and the relentless march of time. . The narration adds depth, universality, and thought-provoking layers to the poem, making it a classic work of art that continues to resonate with audiences and encourage contemplation on the human condition. This indirect observation allows for a sense of distance, as if the story has been passed down through generations, emphasizing the idea that Ozymandias’s glory has long faded into the past.
Shelley’s poem has transformed Ozymandias into a symbol of self-deceptive pride, the aspiration to leave a favorable mark on posterity, and the unwillingness to accept time’s erosion of human accomplishments. However, “Ozymandias” wouldn’t have captivated its readers for two centuries if it were solely about hubris and retribution. Shelley’s Ozymandias may have been boastful, but the colossal remnants of his statue assure us that the achievements he boasts of were real — there once stood a city, perhaps even an entire civilization at this very spot, even though the ravages of time and the elements have since wiped them out.
Form
1. Structure of the Petrarchan Sonnet:
Percy Bysshe Shelley’s “Ozymandias” is a sonnet that adheres to a specific form, known as the Petrarchan or Italian sonnet. This form consists of 14 lines and is traditionally characterized by a specific rhyme scheme and thematic structure. Here’s an exploration of the form of “Ozymandias”:
2. Octave and Sestet:
The Petrarchan sonnet is divided into two parts. The first part, known as the octave, typically consists of the first eight lines, while the second part, the sestet, encompasses the remaining six lines. “Ozymandias” adheres to this structure.
In the octave of “Ozymandias,” the poet presents the traveler’s description of the shattered statue and the inscription on the pedestal. Here, the traveler’s account sets the scene and establishes the central theme of the poem: the transient nature of human achievements. The sestet then provides a shift in perspective or offers a resolution to the problem or theme introduced in the octave.
3. Rhyme Scheme:
The Petrarchan sonnet follows a specific rhyme scheme. In the octave, the rhyme scheme is typically ABBAABBA, and in the sestet, it can vary. “Ozymandias” loosely adheres to this rhyme scheme in its first and second parts, with the octave (the first eight lines)featuring the ABABACDC pattern, while the sestet (the final six lines) follows a EDEFEF rhyme scheme.
This rhyme scheme is typical of Petrarchan sonnets and helps structure the poem, dividing it into two parts. The change in rhyme scheme between the octave and sestet often indicates a thematic shift or “volta” in the poem, which is a common feature in Petrarchan sonnets.
Here’s the poem as read by none other than Bryan Cranston: Ozymandias — As Read by Bryan Cranston: Kinetic Typography [Breaking Bad] — YouTube
Timelessness:
In “Ozymandias,” Shelley masterfully captures the paradox of time through art. While Ozymandias’s empire has crumbled and vanished into the sands of time, the poem itself remains an enduring testament to the timeless quality of art. This enduring nature allows “Ozymandias” to remain a source of reflection, contemplation, and inspiration for generations, reminding us that art has the power to transcend the limitations of time and make a lasting impact on the human experience.
1. Preservation of the Past
Art is a means of preserving the past. In “Ozymandias,” the poem itself becomes a medium through which the traveler’s account of the ruined statue is passed down through generations. The traveler’s story, inscribed in poetic form, immortalizes the image of the shattered statue and the message it bears. This preservation of a long-forgotten ruler’s arrogance and a lost empire’s grandeur demonstrates the capacity of art to transcend time.
2. Permanence Amidst Impermanence
The poem’s juxtaposition of the ephemeral nature of Ozymandias’s empire with the lasting power of the artwork serves as a stark contrast. While the “lone and level sands stretch far away,” the words of the poem endure. The image of the shattered statue and the words inscribed on the pedestal remain eternally unchanged. This contrast emphasizes the timelessness of art as a vehicle for human expression and a lasting record of human history.
3. Universality and Human Experience
The themes explored in “Ozymandias” are universal and resonate with people of all generations. The notions of power, pride, and the transitory nature of human accomplishments are themes that continue to be relevant. These timeless themes ensure that the poem remains relatable to readers throughout the ages, allowing it to maintain its significance and relevance.
Conclusion:
The poem invites our amazement, extending beyond moral or ethical satisfaction derived from a tyrant’s downfall. If Ozymandias’s accomplishments matched the grandeur of his monumental statue, they must have been awe-inspiring. If the end of his civilization corresponds to the shattering of his statue, it must have been abrupt and catastrophic. Alternatively, an immense span of time must have passed since the mighty king’s reign, as the desert gradually encroached and consumed his vaunted “works.” In any case, the forces of nature dwarf those of humanity. Nonetheless, a trace of humanity has endured nature’s destructive forces.
