The Statue Of Ozymandias By Mary Shelley

Percy Bysshe Shelley’s, “Ozymandias”, is one of his numerous poems that have been published and enjoyed by many of his readers. Throughout this poem’s figurative language is displayed in its various forms. There are flashes of personification, imagery, and irony that are shown all around the poem that Shelley has placed there. The tone of the poem is one that seems to be mistaken and misunderstood in a way that it seems to be overwhelmingly prideful to a point of arrogance but at the same time stays within the boundaries. In Shelley’s poem, Ozymandias, the author uses various types of figurative language and an emphasis on the use of tone to show his theme of pride.

This paper will focus on the Statue of Dionysos leaning on a female figure. Also known as the Hope Dionysos. The statue is displayed at the Metropolitan Museum of Modern Art and is located on the first floor Roman and Greek art chamber. Upon entering this sector, you will notice a grand statue that catches your eyes and captivates you as it welcomes you in gracefully. The exhibition is set up in the back center of the room, and is noticeable due to the largeness in scale and the enigmatic yet calming disposition the statue portrays. My first impression of the sculpture was how detailed and realistic the statue is. Since the statue was so defined you would be able to identify what he was wearing and how his body was shaped to how long his hair was during this time period. I was profoundly intrigued by how peaceful the statue of Dionysos embodied and found myself coming back to it and looking in awe. In curiosity, I would choose this statue for my assignment because I wanted to learn more about the history of the Hope Dionysos. In this essay I will be describing my formal analysis of the artwork, the subject matter behind it, the artist and the historical content of the statue of Dionysos.

Percy Bysshe Shelley wrote this poem "Ozymandias" to express to us that possessions do not mean immortality. He used very strong imagery and irony to get his point across throughout the poem. In drawing these vivid and ironic pictures in our minds, Shelley was trying to explain that no one lives forever, and nor do their possessions. Shelley expresses this poem’s moral through a vivid and ironic picture. A shattered stone statue with only the legs and head remaining, standing in the desert, the face is proud and arrogant, "Half sunk, a shattered visage lies, whose frown, And wrinkled lip, and sneer of cold command, Tell that its sculptor well those passions read"(lines, 4-6).

This essay aims to investigate two different time periods in the history of art. It will scrutinize the influence that the respective societal contexts had on the different artists, which in turn, caused them to arrange the formal elements in a specific way. I will be examining an Egyptian sculpture of the god Isis nursing Horus, her son, as well as the Vladimir Virgin icon, which dates from the Byzantine era. Experts vary on the precise ‘lifetime’ of the Ancient Egyptian civilization, but according to Mason (2007:10) it existed from 3100 BCE up to 30 BCE. The Byzantine era, which

What does a person think holds the most influence; the mistake itself or the actions that fallow after seeing the daylight of their mistakes? Will the mistakes be left to suffer in silence or will that person submit to their fatalities in a humble manner? In the short story “Transformation” by Mary Shelley, the main character Guido recalls his life story and admits all the horrible mistakes he made, despite his shame and embarrassment. He’s a young man who was desperately in love with Juliet; although he was an arrogant and selfish man who disregarded Juliet’s feelings. Even after he realized he had lost Juliet forever, a dwarf convinces him revenge is the adequate reaction. So, Guido trades his appearance and life for the Dwarf’s riches. Guido believes that in order to exact revenge on Juliet and her father he needs money; the catch is this exchange will only last for three days. When he sees the Dwarf inside his own body, he realizes his own faults and his selfless act in response re-paid his debt in the end. The moral lesson of “Transformation” by Mary Shelley is that making a mistake is not the biggest issue; what you do once you realize where you went wrong is what matters. The author developed this moral through conflict and characterization.

Shelley dwells little on the small details of Ozymandias' face, but by Ozymandias' frown, wrinkled lip, and sneer of cold command, delivered in less than two lines, immediately carry to the reader a vision of a cold, callous, yet strong and determined leader who is commanding his people building his great vast statue hoping his power would be immortal. These concrete items are vital to the description, but are not as strong as what can not be seen. Shelley gives a nod to the talent of the sculptor, from whom Ozymandias received a mirror image of his personality, placed in stone because of his thinking to survive

The first overarching theme of all of these poems is that man-made things eventually die. In “Ozymandias”, the statue of Ramses II gradually decays until he is forgotten. The king being lost in memory is shown in the very beginning before the statue is even mentioned when a traveller tells the story of Ozymandias, which adds another level of obscurity to the statue: “I met a traveller from an antique land / Who said” (lines 1 - 2). In other words, rather than seeing the statue for oneself, one hears about it from someone who heard about it from someone who has seen it. This conveys the impermanence of the king’s power, a man-made concept, as time erodes at the statue until the king is no longer remembered. “Stand” (3) is an example of the personification of the statue. This gives it life, showing that man-made things start out alive but are always approaching death, as even the “trunkless legs” (2), diction that conveys the already dilapidated state of the statue,

Monuments are created to commemorate a time, a place, an event and a person’s significance in their contribution to the identity of a community or culture. Monuments are expected to withstand the elements of nature; humankind’s version of history, and in all cases, a society’s sober second thought. However, standing not so proudly and surrounded by Hollis, Barrington, and South streets is the statue of Edward Cornwallis, the founder of Halifax and former Governor of Nova Scotia.

The marble statue of Diadoumenos is a copy of the original bronze statue displaying a young man tying a fillet around his head. The original was created in c.a. 430 B.C. by a man called Polykleitos of Argos. Polykleitos was a Greek sculptor who worked during the mid-fifth century B.C. . he was one of the most famous artists of the ancient world. Polykleitos' figures are carefully designed with special attention to bodily proportions and stance. The statue of Diadoumenos has its thorax and pelvis tilt in opposite directions, setting up rythmic contrasts in the torso that create an impression of organic vitality. The position of the feet, (poised between walking and standing), give a sense of potential movement.

There have been countless duels between two opposing sides in the history Roman artistry. This sculpture relief signifies the classic battle of good versus evil. Time and time again, benevolent heroes find themselves in a struggle to combat worthy yet malicious adversaries. The Roman sarcophagus, a two by five feet marble coffin, is certainly no exception. It represents another division to this timeless good-evil epic, its visual characteristics, emphasis on contrasts, and its extensive array of details give it an identity that is uniquely its own. It portrays a sense of legendary fantasy to the viewer, one pertaining to hostility, violence, and pure anger. The sculpture seems overly shallow due to

A poem about a statue that has far outlived its boastful inscribers, albeit shattered in pieces. This discrepancy is seen between the lines 10-12, “My name is Ozymandias, king of kings/ Look on my works, ye Mighty, and despair!/ Nothing beside remains. Round the decay…” Clearly, these people thought they were mighty and great, but instead, they are gone and all that remains are the shattered statues. When we die, we cannot take anything with us. It doesn’t matter how rich and important someone is in life; They are nothing but a memory when they are

The Sistine Chapel was painted by Michelangelo during the High Renaissance. Michelangelo depicted nine scenes from the Old Testament onto the Sistine Chapel ceiling. The Sistine Chapel was painted between 1508 and 1512 by Michelangelo. Michelangelo was originally a sculptor. Some common characteristics that can be found in the paintings are depth, blue backgrounds, anatomy, detail and more. Many characteristics from the Renaissance can be found in the Sistine Chapel, which proves that the Sistine Chapel is Renaissance art. My thesis is the use of these new techniques have not been seen in earlier art periods such as, depth, detail, bold colors, realism and more displays that the Sistine Chapel is Renaissance Art.

The king Ozymandias has a great amount of pride for what he has accomplished during his time as ruler. He had a sculptor erect a massive statue of him, which shows how highly he thought of himself. The pedestal of the statue stated "My name is Ozymandias king of kings: / Look upon my works, ye Mighty, and despair!" (Shelley, 136, 10-11).

In the poem Percy Bysshe Shelley “Ozymandias” there are several different sound devices portrayed. The author demonstrates use of rhyme and meter. In the beginning of the poem the author used rhyming words to give a description of the mans journey through the dessert, and informing that he found a statue. It states, " Two vast and trunk less legs of stone stand in the dessert." Although, the statue is destroyed and seems to be smashed, considering the 2 legs. Towards the end of the poem the author demonstrates irony, when it says," a colossal wreck, boundless and bare." It was once said to be mighty and powerful, but reveals there is nothing but sand on the desert. "Which yet survive, stamped on these lifeless things" references that the

By calling himself “king of kings”, he alludes to God and believes he is greater than all other men. He ruled his kingdom solely on the fear of those beneath him. The intimidating language on the pedestal and the statue made for him display that Ozymandias possessed almighty power. To end the poem, Shelley writes, “Round the decay of that colossal Wreck, boundless and bare The line and level sands stretch far away.” As time passed, the sand literally destroyed the symbol of what was once the greatest man alive.