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Thesis and analysis of ozymandias by percy bysshe shelley
Percy shelley's ozymandias essay
The theme of ephemeral power in shelley's ozymandias
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Percy Shelley indited "Ozymandias" in competition with his friend, Horace Smith, who also composed a sonnet concerning the ruined statue. Shelley's was published in the "The Examiner by Hunt in January 1818"1. Although "Ozymandias" detached style differs from the exalted tone of most of Shelley's oeuvre, it pleased Desmond King-Hele enough for him to honour it with a comparison to Shakespeare's poetry: "Few of Shelley's sonnets can bear comparison with Shakespeare's, but in 'Ozymandias' he successfully challenges the master on his favourite ground, the ravages of time."2 In this essay I hope to illustrate how the "music" of "Ozymandias" is integral to conveying its meaning. I intend to provide a close reading of "Ozymandias", focusing chiefly on, but not limiting the analysis to, its "musical" qualities. I also plan to briefly examine the poem apropos to Cleanth Brooks' "Language of Paradox" and some criticism of Shelley by T.S. Eliot.
Shelley constructed his sonnet with a Petrarchan octet and sestet, and an original rhyme scheme (ABABACDCEDEFEF), which reflects the monument's ruination in its gradual shift in rhyme from the end of the octet to the beginning of the sestet. In "Ozymandias", a divergence exists between the poem's form and its content, as the cohesive sonnet, with its assured iambic pentameter, innovative rhyme scheme and extensive use of alliteration contrasts with the "colossal wreck", "Half sunk"(4) in the sand. Shelley's accentuation of the theme of decay through the cohesion of the poem is redolent of Cleanth Brooks', "The Language of Paradox", wherein "...even the apparently simple and straightforward is forced into paradoxes by the nature of [the poet's] instrument"3. The poem's disparity also extends to its...
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...ritical Companion to T.S. Eliot: A Literary Reference to His Life and Work; Critical Companion Series, Infobase Publishing (2007), p.407.
14: Beach, Christopher. The Cambridge Introduction to Twentieth-Century American Poetry, Cambridge University Press (2003), p.49.
15: O'Neill, Michael, "Introduction", in The Oxford Handbook of Percy Bysshe Shelley, ed. Michael O'Neill and Anthony Howe with assistance from Madeleine Callaghan, Oxford University Press (2013), p.3.
16: Shelley, Percy, "A Defence of Poetry", in The Complete Works of Percy Shelley, ed. Roger Ingpen and Walter E. Peck, Ernest Benn (London, 1926-30), Vol.7, p.134-135.
18: Stabler, Jane, "Shelley Criticism From Romanticism to Modernism", in The Oxford Handbook of Percy Bysshe Shelley, ed. Michael O'Neill and Anthony Howe with assistance from Madeleine Callaghan, Oxford University Press (2013), p.671.
... Works Cited Everett, Nicholas. From The Oxford Companion to Twentieth-century Poetry in English. Ed. Ian Hamilton.
Works Cited Shelley, Mary. Frankenstein. 1818. Ed. J. Paul Hunter. Norton Critical Edition. New York: Norton, 1996.
This paper seeks to address the literacy and stylistic issues presented in two texts. Specifically, an extract from Mary Shelley’s Frankenstein and Wilfred Owens’s Dulce ET Est. Decorum. Initially, the paper will outline the prevailing social and historical contexts associated with the two texts. The principal purpose of this work is to address the themes common to both texts. For this to be achieved, an initial investigation and critique of both authors use of language will also need to be looked at.
Allison, Barrows, Blake, et al. eds. The Norton Anthology Of Poetry . 3rd Shorter ed. New York: Norton, 1983. 211.
...t P. and Stanley B. Greenfield, Old English Poetry: Fifteen Essays, Providence, RI: Brown University Press, 1967
Shelley, Mary. Frankenstein: the original 1818 text. 2nd ed. Ed. D.L. Macdonald and Kathleen Scherf. Peterborough: Broadview, 1999.
In this piece of work I hope to compare successfully Wilfred Owens ‘Dulce Et Decorum Est’ with Mary Shelley’s ‘Frankenstein’. I will compare the similarities and differences between the two texts in themes, styles and linguistic features. When first reading both pieces of writing you wouldn’t assume there are many similarities between the two authors, as they were written one hundred years apart and came from completely opposite social and historical backgrounds.
Harris, Laurie Lanzen. “George Gordon (Noel) Byron, Lord Byron.” Nineteenth- Century Literature Criticism. Vol. 2. Detroit: Gale Research Company, 1982. Print.
Shelley, Mary Wollstonecraft. Frankenstein. The Mary Shelley Reader. Ed. Betty T. Bennet & Charles E. Robinson. New York: Oxford University Press, 1990.
...here are similar aspects to each writer's experience. Engaging the imagination, Ramond, Wordsworth and Shelley have experienced a kind of unity; conscious of the self as the soul they are simultaneously aware of 'freedoms of other men'. I suggested in the introduction that the imagination is a transition place wherein words often fail but the experience is intensified, even understood by the traveler. For all three writers the nature of the imagination has, amazingly, been communicable. Ramond and Wordsworth are able to come to an articulate conclusion about the effects imagination has on their perceptions of nature. Shelley, however, remains skeptical about the power of the imaginative process. Nonetheless, Shelley's experience is as real, as intense as that of Ramond and Wordsworth.
Shelley, Mary. Frankenstein or the Modern Prometheus. The 1818 Text. New York: Oxford UP, 1998.
Percy Bysshe Shelley died before seeing how influential and glorified his work would become. Shelley lived during the late 18th and early 19th century, during the industrial revolution. Seeing the evolving world, Shelley wrote for nothing more than to deliver urgent messages concerning humanity, humanity’s future, and who the powers at be should be. Shelley didn’t see the glory he deserved during his lifetime because his radical views of anti-tyranny were expressed in his poetry, driving them to underground distribution, but after his death he inspired countless other literary artists including including Oscar Wilde, W.B. Yeats, and Upton Sinclair and became regarded as a major romantic poet. Shelley exchanged his ideas with a group of visionary
Allen, Donald, ed. The New American Poetry 1945-1960. Berkely, CA.: U. of California P., 1999.
Bloom, Harold and Golding, William. Modern Critical Views on Mary Shelley. Edited with an introduction by Harold Bloom. Chelsea House Publishers, New York, 1985.
L. Johnson, "Review of the 1891 Edition of The Poetical Works of Matthew Arnold", Academy (1891) in Carl Dawson (ed.), Matthew Arnold: The Poetry: The Critical Heritage, (London 1973) 386-91.