Ozymandias Explained

Lines 1 – 2

In "Ozymandias," the reader is receiving the information of the poem second-hand. The speaker
describes what someone else told him. The speaker is merely a go-between relating information
from the "traveller from an antique land" to the reader. Shelley does this to increase the distance
between the mighty figure that once was Ozymandias and the present. Not only does the poem
describe the rubble that once was his kingdom, but the speaker is not even looking directly at the
rubble. The emotional result is greatly reduced, as when a student reads about an historical event or
a piece of art rather than visiting it himself. The poem begins with the speaker saying that he met a
"traveller from an antique land," which brings to mind a country like Greece or Egypt. This traveller
told the speaker that, in the middle of a desert, there are pieces of an ancient statue. First, the
traveller describes two huge disembodied legs.

Lines 3-5

The legs are said to be standing in the sand of the desert. Near the legs, partially buried in the sand is
the statue's broken face. These two body parts—the legs and the face—are at opposite ends of the
body, so the resulting image is one that is very chaotic, inhuman, and unintimidating. On the broken
face, the traveller could see the expression. It was one with a frown, wrinkled lip, and a "sneer of
cold command."

Lines 6-8

The sculptor was very precise in his craftsmanship, creating a very complex and realistic facial
expression. The overall effect of these features is harsh. The traveller himself comments that the
sculptor clearly understood the driving passion and ambition of his subject. In fact, the traveller
suggests that the passions "yet survive, stamped on these lifeless things." Mindful of the lifelessness
of the broken pieces of statue, the traveller can still sense the passion that the sculptor strove to
preserve in the face. The traveller also notes the "hand that mocked them [the ruler's people], and
the heart that fed." This refers to the power of the king's hand to gesture and give commands, all of
which reinforced his position of authority over his people. His hand mocked his people; he kept
them well below him so that they could not threaten him. Yet at the same time, the ruler was
human. He had a heart that made sure his people were fed. Ozymandias used his power to an extent
to care for the needs of his people, whether in an attempt to be a good steward of his subjects or to
ensure that his rule would continue by maintaining the favour of his people.

Lines 9-11

The last thing the traveler describes about the statue is the pedestal on which it once stood. The
pedestal contains the words that Ozymandias wanted to communicate to his own generation and
those that would come after him; the words reflect his pride and arrogance. It reads, "My name is
Ozymandias, king of kings: / Look on my works, ye Mighty, and despair!"

Lines 12-14

These words are intensely ironic and provide the springboard into most of the thematic material of
the poem. After all, as the traveler describes, all around the pedestal is nothingness. A "colossal
wreck" of an old statue surrounded by endless sand is all that remains. The landscape is vast and
barren.
 Features of Form and Style

Sonnet form

"Ozymandias" was the result of a sonnet competition with Smith. Shelley succeeded in containing his
expression within the confines of the sonnet; the poem is fourteen lines of iambic pentameter,
which are very traditional elements. Shelley breaks from tradition in his rhyme scheme, however.
Rather than adhere to the English or Petrarchan rhyme schemes, Shelley does something different in
"Ozymandias." The rhyme scheme is ABABACDCEDEFEF. What is interesting about this rhyme
scheme is that it reinforces the subject and theme of the poem. Many skilled poets create verse that
is so well-crafted that every element seems to strengthen the work, and Shelley is no exception.
Here, the rhyme scheme actually evolves from start to finish. There is not a rhyme scheme
separating an octave and a sestet; there is not a change at the end to finish with a neat couplet. The
rhyme scheme of "Ozymandias" gradually changes over time, just as the subject matter
(Ozymandias's statue) does. The last two lines have little in common with the first two, just as the
rubble of Ozymandias's statue has little in common with the original structure. In both cases, the
form is entirely different; only the subject is the same.

Metaphor

"Ozymandias" is at heart a metaphor. The statue represents the kings and kingdoms of the past,
subject to the ravages of time, nature, and their own failings. The description of the statue and its
inscription reveals tremendous pride and lost power. The statue, once magnificent, lies in ruins in
the middle of a desert. It is a metaphor for all kingdoms, which eventually pass out of time to make
room for another kingdom, ruler, or ideology. Shelley demonstrates that nothing lasts forever, even
a ruler as powerful and fearsome as Ozymandias.

Irony

The inscription and placement of the statue brings a strong sense of irony to the poem. Although in
its heyday, the statue's warning to look at Ozymandias's works and despair would have struck fear
and reverence into the hearts of on lookers, the setting in the poem is quite different. The
inscription reads, "Look on my works, ye Mighty, and despair!" Now, the works are gone and nothing
remains but a landscape of endless sand. There are no buildings, monuments, military regiments, or
palaces. The "works" seem to be wind and sand—hardly a cause for despair and terror.
Ozymandias's pride appears foolish in this setting, and he seems to invite the mocking that he once
doled out to his people. It is also ironic that the works that have survived all these years are not
Ozymandias's works at all, but the artist's.