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1、OzymandiasBrief Introduction of the Poetl Percy Bysshe Shelley(1792 - 1822)l AnEnglish romantic poet.l He rebelled against English politics and conservative values.l His works reflected the radical ideas and revolutionary optimism of the era.OzymandiasOzymandias is the Greek name for is the Greek na
2、me for Ramses II of Egypt in 13th century Ramses II of Egypt in 13th century B.C.B.C.古埃及王雷米西斯二 他曾在位67年，多次与临国交战，以“武功”著称。在他统治期间兴建了不少大型建筑，主要为庙宇。他自己的陵墓位于尼罗河上古都底比斯，造型为一庞大的狮身人面像，是一座有名的建筑。Shelley evidently wrote this sonnet at Marlow in friendly competition with Horace Smith, whose own sonnet of the same n
3、ame was published Feb. 1, 1818, also in The Examiner.OzymandiasoI met a traveller from an antique land aoWho said: Two vast and trunkless legs of stone boStand in the desert.Near them, on the sand, aoHalf sunk, a shattered visage lies, whose frown, b oAnd wrinkled lip, and sneer of cold command, aoT
4、ell that its sculptor well those passions read c oWhich yet survive, stamped on these lifeless things, d oThe hand that mocked them, and the heart that fed： c oAnd on the pedestal, these words appear: e oMy name is Ozymandias, King of Kings: d oLook on my Works, ye Mighty, and despair! e oNothing be
5、side remains. Round the decay foOf that colossal Wreck, boundless and bare eoThe lone and level sands stretch far away. f The rhyme scheme is ABABACDCEDEFEF奥西曼提斯 王佐良译 客自海外归，曾见沙漠古国 有石像半毁，唯余巨腿 蹲立沙砾间。像头旁落， 半遭沙埋，但人面依然可畏， 那冷笑，那发号施令的高傲， 足见雕匠看透了主人的内心， 才把那石头刻得神情维肖， 而刻像的手和像主的心 早成灰烬。像座上大字在目： “吾乃万王之王是也， 盖世功业，敢
6、叫天公折服！” 此外无一物，但见废墟周围， 寂寞平沙空莽莽， 伸向荒凉的四方。 The poem can be divided into two parts:o Octave (the first 8 lines)describes the fragments of a sculpture the traveler sees on an ancient ruin. o Sestet (the next 6 lines)goes further to record the words on the pedestal and then describe the surrounding emptin
7、ess. Ozymandias is a sonnet, a fourteen-line poem metered in iambic pentameter. In this poem, there are four speakers. Who In this poem, there are four speakers. Who are they?are they?oI met a traveller from an antique land oWho said: Two vast and trunkless legs of stone oStand in the desert.Near th
8、em, on the sand, oHalf sunk, a shattered visage lies, whose frown,From this stanza, we can find From this stanza, we can find two speakers: two speakers: “ “the authorthe author”, ”, and and “ “the travelerthe traveler” ”. .pThe third speaker: the king (the visage shows his mood)p“those passions”: c
9、old, arrogant and conceited.pBy the sculpture the sculptor intends to mock the king (“the hand” is a synecdoche here, referring to the sculptor).And wrinkled lip, and sneer of cold command, Tell that its sculptor well those passions readWhich yet survive, stamped on these lifeless things, The hand t
10、hat 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 decayThe king can be known by us not because of his own powers, The king can be known by us not because
11、 of his own powers, but ironically because of the sculptors hand that made his but ironically because of the sculptors hand that made his sculpture.sculpture. This is a kind of situational irony.Deeper meaning: Deeper meaning: Possessions dont mean immortality. Possessions dont mean immortality. Onl
12、y art is eternal.Only art is eternal.AndherewecanfindtheforthspeakerthesculptorAndherewecanfindtheforthspeakerthesculptor(thewordsonthepedestalwerewrittenbyhim(thewordsonthepedestalwerewrittenbyhiminsteadoftheking)insteadoftheking)Of that colossal Wreck, boundless and bare The lone and level sands s
13、tretch far away. RhetoricalRhetorical skills of soundl l Alliteration Alliteration l l Long open vowels Long open vowels：sense of timelessness and eternity.sense of timelessness and eternity.Thedescriptionofthedesert“boundlessandbare”isanotherirony.Althoughthesculptureis“vastandcolossal”,afterbeingputintosuchalargespaceastheSaharadesert,itwouldbeseenasasmallthing.Themeso The transience of arrogance and power; o The permanence of real art. (Here art refers to both sculpture and this poem itself)Thank you!
