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Shelley’s conclusion highlights the myth of permanence. Everything, even the most imposing buildings and monuments, will eventually fall. Ramses II may have ordered the construction of the most glorious works of his time, but the desert ultimately reclaimed them. Note, after the famous couplet there is a short, terse, unequivocal sentence, ‘Nothing beside remains.’ The juxtaposition is striking, an anti-climax, the technique of bathos.

Shelley also uses the pharaoh’s story as a moral lesson: while power and wealth are significant in the moment, after death, everything declines. While it is true that Ramses is still remembered — he is studied today by Egyptologists — but not with the respect or awe the pharoah would have wanted. In this poem the tone is contempt and wry humour.

Yet the poem holds a space open for art: the statue itself “yet survives,” as a final remnant of Ramses’s kingdom. The pharaoh’s “works” have been reduced to the low and level sands of the desert, but the sculptor’s work – the statue itself – still “tell[s]” a story, still communicates its message. The words inscribed on the pedestal also remain, suggesting the longevity of textual art as well – like Shelley’s poem itself.

The “colossal wreck” here can be taken literally: the ruins of the tomb spread out before the traveller. However, it can also be interpreted as the wreck of civilization. The kingdom Ramses proclaimed was so great, the monument to his power, has been reduced to almost nothing. What remains after mankind’s machinations meet their end is the nature dominates and endures.

“Lone and level sands” suggests a metaphorical levelling: no matter how rich/powerful/famous you are in life, in death we are all equal and have nothing.

Note the alliterative ‘l’ sounds and the long, almost onomatopoeic vowels, suggesting vastness and flatness. The line is reminiscent of Tennyson’s Mort d'Arthur where the moon on the lake is described; “… and lo! the level lake, And the long glories of the winter moon.” The setting is different, one hot desert and the other cool water, but the flat, featureless calm is emphasised in both. Nature dominates; humans are negligible.

The famous ending of the original Planet of the Apes movie has parallels with the end of “Ozymandias.” Here, again, is an abandoned statue symbolizing the destruction of a seemingly invincible empire – America’s.

Ozymandias may also be an allegory about individual selfishness. The king constructed a statue to declare his own greatness, effectively as the ruler of the world; however, nothing around his statue remains. He seems to have lived only for his own glory and his own benefit; yet this “colossal wreck” seems to imply that striking such an attitude and living in such fashion will, in the end, leave one miserable and lonely, without support or friendship. One’s social and psychological landscape will be “boundless and bare."

Shelley uses sand as a tool to distance the reader from Ozymandias. The presence of sand is linked to the persistence of time. “…in a landscape of sand, the dust to which both Ozymandias’ “works” and nature itself have been reduced through the workings of time” (Janowitz 478). The description of the sand is eerie, as if the traveller is moving through the grains, paddling through an ocean of the dead.

  • Janowitz, Anne. “Shelley’s Monument to Ozymandias.” Philological Quarterly 63.4 (1984): 477. ProQuest. Web. 27 Oct. 2014.

An interesting historical fact is that time of writing Percy Byssche Shelley was angry at King George for losing control of America. The poem was written in part as a warning to the King of what his legacy would be if he continued to fail.

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Rap Genius breaks down David Foster Wallace breaking down rap. The master of annotation coauthored this 1990 essay with Mark Costello.

(Text via the Missouri Review.)

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Work vs. Laziness. You need to work at a marriage if you want it to last, much as you need to work at parenthood. Both are commitments.

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Take more drugs in order to feel better? Expand your mind and consciousness in general?

Whether the Dormouse is supposed to be saying this is a matter of debate. Lewis Carroll’s Dormouse never says it–see note above.

These lines feature in a famous scene in Fear and Loathing in Las Vegas, in which Dr. Gonzo asks Duke to help him commit suicide at the end of the song:

https://www.youtube.com/watch?v=1RBwoUbvxx0

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Like the previous line, this is a conflation of multiple details from the Alice books. It’s the Queen of Hearts, from Alice’s Adventures in Wonderland, who constantly orders beheadings:

The Queen had only one way of settling all difficulties, great or small. ‘Off with his head!’ she said, without even looking round. (Chapter 8)

The Red Queen appears only in the sequel, Through the Looking-Glass, and never says this line.

“White Rabbit” isn’t alone in mixing the two characters together. The Disney and Tim Burton Alice adaptations do the same:

Here the Carroll reference highlights the connection between drugs and going “out of your mind.” It could also suggest authority (the queen) has gone crazy (lost her head). Finally, like some drugs, the Red Queen is associated with distortions of time and motion–she runs fast and never gets anywhere.

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A reference to the White Knight in Lewis Carroll’s Through the Looking-Glass. A kindly eccentric and friend to Alice, he is often interpreted as a portrait of Carroll himself.

Carroll’s White Knight never talks backward; this detail is original to the song. However, he does sing a nonsensical ballad, and backwardness (mirror reversal) is a theme of the book in general. For example, when Alice stumbles on the poem “Jabberwocky,” the text is written backwards.

The white knight talking backwards could also suggest the drug-taker’s intoxicated state of mind.

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