Instead, despair and be afraid of it. Now, the leader is gone, and so is his empire. The reader also does not know where the speaker first met this sojourner. From the second line on the reader is painted a vivid picture with words such as vast and trunkless.
What makes the whole so successful is the way the poet has seamlessly woven all three together, the final image of the distant, endless sands contrasting powerfully with the now hollow words of Ozymandias.
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!
This broken, weathered statue lies in a desert, a desolate place that goes on for miles and miles.
The pause here mimics the traveller's intake of breath before telling his story, dramatising the moment as well as creating distance between the description of the statue and the poet's retelling, almost as if recalling from memory. The title indicates which land the traveler has visited: The Greeks called Ramses II, a powerful Egyptian pharaoh, Ozymandias, so it is easy for the reader to recognize the antique land as Egypt, one of the oldest civilizations in the world.
So did the sonnet form appeal because he wanted to invert the notion of love for someone? Ozymandias stands the test of time and is relevant for this and every other age. Even now her statues can be found throughout the former British Empire, sitting in pride of place in many of the cities around the world.
Norton, 8 Callaghan, Madeleine.
Monarchs and dictators and tyrants are all subject to change sooner or later - and Shelley's language reflects his dislike for such rulers. Shelley's choice of a sonnet within which to work his words is fascinating, for the sonnet is a tight, packed field of regularity.