Ozymandias所有中英文分析
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Ozymandias
Percy Bysshe Shelly
I met a traveler from an antique land,
Who said----“Two vast and trunkless legs of
stone
Stand in the desert. „ Near them,
on the sand,
Half sunk, a shattered
visage lies, whose frown,
And wrinked
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!
Nothing
besides remains. Round the decay
Of that
colossal Wreck, boundless and bare
The
lone and level sands stretch faraway.”
奥兹曼迪亚斯
我遇见一位来自古国的旅人
他说：有两条巨大的石腿
半掩于沙漠之间
近旁的沙土中，有一张破碎的石脸
抿着嘴，蹙着眉，面孔依旧威严
想那雕刻者，必定深谙其人情感
那神态还留在石头上
而私人已逝，化作尘烟
看那石座上刻着字句：
“我是万王之王,奥兹曼斯迪亚斯
功业盖物,强者折服”
此外，荡然无物
废墟四周，唯余黄沙莽莽
寂寞荒凉，伸展四方。
（杨绛译）
PS：英国文学讲到浪漫主义时期了，讲到John Keats的诗歌了。
这意味着让我头疼的诗歌部分终于要告一段落了，天知道我有多么
厌恶英诗，我实在不知道它们好在哪里。我没有耐心去赏析它们，
在我的眼里，它们全被术语化，留给我的只有stanza,verse,foot,
lyric rhyme.虽然每次老师要做诗歌分析欣赏的时候我都能讲出点
东西来，但是我真的对英诗很不感冒。
这首诗是Percy
Shelley的，我想了两个星期了，还是没有找
到老师所说的这里面的paradox。我可以看出这首诗想说的是什么，
也可以找出irony，但是真的不知道哪一句是paradox。想了两个星
期，我都要怀疑老师是不是耍我们的了。真是让人沮丧。
最喜欢那句“I
am the king of kings”了，显示出了无限的
傲气与目空一切的自信。虽然Shelley想用石碑上的话和现今比照来
说明国王的傲慢与自大，想显示其愚蠢，因为最后他所建立的功业
全都归于尘土。Shelley想说自负的人类想要不朽都是可笑的，谁都
无法抗拒时间和历史，只有艺术才是不朽的。但是我还是很欣赏国王
奥兹曼迪亚斯的狂妄。
Analysis on Ozymandias
As we read the poem, a
picture of desolation and ruins forms itself in
our mind
s, an image depicting a decaying state
in the midst of the barren waste of the
desert.
Ozymandias is the Greek
name for Ramses II, the powerful ruler of Egypt
duri
ng the thirteenth century BC He ruled for
over 60 years and brought great pro
sperity to
the people of Egypt. He was also extremely vain
with respect to his
deeds.
The face of
the statue embodies a frown, wrinkled lip, and a
“sneer of cold c
ommand”, Shelley sees these
emotions as characterizing people in power as
“its sculptor well those passions read”. The
sculptor correctly interpreted the c
haracter
of the king, the one in power, as he made the
statue. Through the sc
ulptor, Shelley airs two
qualities of vanity and greatness. He had done
great w
orks and ruled a long time. However, he
thought too highly of himself. Power a
nd
renown don’t last forever. He called himself the
“king of kings” but like all ot
her kings, he
was popular for a while and then forgotten when
the new king ca
me round.
As the “two
vast and trunkless legs of stonestand in the
desert”, they suppo
rt nothing, which is all
that remains of the “king of kings” and his works.
This is
further emphasized as “ Nothing beside
remains. Round the decayof that col
ossal
wreck” there exists nothing but “the long and
level stands” The oxymoro
n of “colossal wreck”
again establishes the once great power of the king
to ha
ve dissipated with his death. The statue
like the king had been great and impo
sing,
colossal, but in time, the king’s power and memory
were buried along wit
h him and the statue
decayed to the level of wreck. The “shattered
visage” ap
pears “ half sunk”, again
symbolizing the memory of the once mighty king to
b
e forgotten and put aside. The decayed statue
shows the futility of Ozymandia
s’ feelings.
His works didn’t incite anyone to do greater deeds
than he had don
e. Instead everything was left
to decay. All that survives are those passions
et
ched on the face of lifeless stone, so we
can understand that time will obliterat
e all
memory of the great ruler and his works just as
the desert will do to the st
atue.
The author smoothly and subtly switches the mood
in his poem. In the first
part of it, strong
descriptive words such as “sneer”, and “cold
command” are
present. They are not pleasant,
those reading the poem can clearly sense the
power and arrogance. In the latter part of it,
words like “barren”, “decay”
and “lone” evoke
only feelings of nothingness, waste，
and the
sad effect of time.
奥西曼提斯
客自海外来，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
心，
才把那石头刻得神情唯肖， 而刻像的手和像主的心 早成灰烬。像座大字在
目： “吾乃万王之主也，
盖世功业，敢叫天公折服！” 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。
王佐良译
OZYMANDIAS
by Percy Bysshe Shelley
I met a
traveller from an antique land
Who said:
m on the sand, Half sunk, a shattered visage
lies, whose frown And wrinkled li
p 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
th
em and the heart that fed. And on the
pedestal these words appear: `My nam
e is
Ozymandias, King of Kings: Look on my works, ye
mighty, and despair!' N
othing beside remains.
Round the decay Of that colossal wreck, boundless
an
d bare, The lone and level sands stretch far
away
“Ozymandias” is a
sonnet, a fourteen-line poem metered in iambic
pentamet
er: x x x x
x
I met a traveller from an antique land
x x x x
x Who said:
s legs of stone
The rhyme scheme is ABABACDCEDEFEF.
The
speaker recalls having met a traveller “from an
antique land,” who told hi
m a story about the
ruins of a statue in the desert of his native
country. Two va
st legs of stone stand
without a body, and near them a massive, crumbling
sto
ne head lies “half sunk” in the sand. The
traveller told the speaker that the fro
wn and
“sneer of cold command” on the statue‟
s face
indicate that the sculptor understood well the
passions of the statue‟
s subject, a man who
sneered with contempt for those weaker than
himself, y
et fed his people because of
something in his heart (“The hand that mocked
them and the heart that fed”).
On the pedestal
of the statue appear the words: “My name is
Ozymandias, kin
g of kings: Look on my works,
ye Mighty, and despair!” But around the
decayi
ng ruin of the statue, nothing remains,
only the “lone and level sands,” which s
tretch
out around it, far away.
Framing the sonnet
as a story told to the speaker by “a traveller
from an
antique land” enables Shelley to add
another level of obscurity to Ozymandias
‟
s
position with regard to the reader—rather than
seeing the statue with our ow
n eyes, so to
speak, we hear about it from someone who heard
about it from s
omeone who has seen it. Thus
the ancient king is rendered even less
commanding; the distancing of the narrative
serves to undermine his power o
ver us just as
completely as has the passage of time.
Shelley‟
s description of the statue works to
reconstruct, gradually, the figure of the
“kin
g of kings”: first we see merely the
“shattered visage,” (note how it is
ed
stronger word than merely “frown And
w
rinkled lip and sneer of cold command”, the
harsh alliterative Cs of
mand
tor, and are
able to imagine the living man sculpting the
living king, whose fac
e wore the expression of
the passions now inferable; then we are introduced
t
o the king‟
s people in the line, “the
hand that mocked them and the heart that fed.”
Ther
e is an intriguing balance and paradox in
this line between the
mockery and the
feeding. The kingdom is now imaginatively
complete, and we
are introduced to the
extraordinary, prideful boast of the king: “Look
on my wo
rks, ye Mighty, and despair!” With
that, the poet demolishes our imaginary
pict
ure of the king, and interposes centuries
of ruin between it and us: “ „Look on
my
works, ye Mighty, and despair!
‟ Nothing
beside remains. Round the decay Of that colossal
wreck, boundl
ess and bare, The lone and level
sands stretch
far away.” Again, the hard consonants of
owels of
nding the poem and
disappearing into eternity.
But Ozymandias
symbolizes not only political power—the statue can
be a met
aphor for the pride of all of
humanity, in any of its manifestations. It is
significa
nt that all that remains of
Ozymandias is a work of art and a group of words;
S
helley demonstrates that art and language
long outlast the other legacies of p
ower.
Ozymandias
“Ozymandias” describes the ruins of an ancient
statue Theme : all is vanity
Irony : the
inconsistency of what is said with the reality
(appearance vs. realit
y) 3 kinds of irony:
dramatic, verbal, situational
Find examples
in the poem of g Egypt and the Sahara desert
The
me
the arrogance and transience of
power
the permanence of real art and
emotional truth the relationship between
artist
and subject Structure: Italian sonnet
rhyme:interlinks the octave with the sestet,
by gradually replacing old rhymes
with new
ones in the form ABABACDCEDEFEF.
sound:metered in iambic pentameter the poem can
be divided into two parts
Octave(the first 8
lines)—describes the fragments of a sculpture the
traveler s
ees on an ancient ruin
Sestet(the next 6 lines)--goes further to
record the words on the pedestal and
then
describe the surrounding emptiness. Technique--
Irony
The use of irony in this poem
Ozymadias said(
orks, ye mighty, and
despair!
ains.) — not, as Ozymandias intended,
because t
hey can never hope to equal his
achievements, but because they will share hi
s
fate of inevitable oblivion in the sands of time.
Besides, there is no any “mig
hty” around his
statue now.
survival of the pharaoh not
because of his own powers, but by the
sculp
tor’s hand that made his sculpture.
description of the desert—“boundless and bare”
Although the sculpture
is “vast and colossal,”
after being put into such a large space as the
Sahara d
esert, it would be seen as a small
thing by compare.
The issue of Art
The
attitude toward Art expressed in this poem:
The decay of the sculpture shows that
Ozymandias obviously loses his power
and is
ignored. Artist and subject: Ozymandias’ passion
survived by the sculp
tor’s hand. Octet
The speaker meets a traveler from an “antique
land” who describes the ruins f
ound in the
desert wrinkled lip and sneer of cold command
Tell that its sculptor well those passions
read--the frown and
mmand
sions of the
statue's subject, a man who sneered with contempt
for those wea
ker than himself, yet fed his
people because of something in his heart(
nd
that mocked them and the heart that
fed
survive—a transitive verb—line 6-8 mean
that those passions (arrogance and
sneer) have
survived
(outlived) both the
sculptor (whose hand mocked those passions by
stamping
them so well on the statue) and the
pharaoh (whose heart fed those passions
in the
first place). mocked—with double meaning:
＊to
createfashion an imitation of reality; to imitate
＊
to ridicule (In Shelley's day, the latter
meaning was predominant; but in the sp
ecific
context of
crafted them
Sestet Message
on the pedestal Irony
The message lives on,
but the king is dead
The message is meant to
intimidate, but are we intimidated by the dead
king?
Is Ozymandias still the king of kings?
How would we define the works of Ozymandias?
Destroyed Decaying
Final Comments (12-14)
The sand seems to be infinite while the
“colossal wreck” appears to be garbag
e sitting
in the desert