雪莱诗Ozymandias的背景

,

各种声音都静了下来

,

只有浩瀚的沙漠伸向远方。作者用

boundless,bare,lone,far away

给读者以想像

的空间。叙事时间也从远古拉回到现在< /p>

,

甚至未来。此刻读者似有所悟

,

在天地之间人是多么得渺小

,

而时空

永存。

诗歌已经结 束

,

但文本的意义并未结束。

由于读者 有不同的人生体验和审美情趣

,

对作品的理解和阐释也会不

尽相同。

作者 反应批评理论的代表人物之一伊瑟尔提出了

“

隐含的读者

”,

是非真实的

,

是 作者在其作品中所要求的能

够体验文本或使文本产生意义的读者

[8]

。如果从

“

隐含的读者

”

的角度去考察这首诗的主题

,

我们就首先应该

考察作者的意图。雪莱是一个关心民众疾苦的积极浪漫主义诗人

,

他以诗为武器表达了他

的战斗精神。他的代表作《西风颂》就说明了这一点。同样< /p>

,

我们也可以说在这首诗中他想借古讽今

,

为受压

迫者疾呼

,

< br>古埃及国王已成为历史

,

但专制暴虐现今还存在。时间可 以改变一切

,

也将最终改变剥削制度。君

不见曾经辉煌一时的国王和他的王国

(mighty works),

如今无处寻觅

,

只有断壁残垣（

remains and wrecks

）。

五、结束语

借鉴叙事理论为分析叙事诗提供了新的方法和新的角度。

而读者反应批评理论使文本更具开放意义。

作者、

< br>文本和读者三者是有机统一的整体。作者的思想在文本中得以表现

,

读者对文本有不同的阅读体验。最成功

的阅读是这样的

:

在阅读中被创造出来的这两个自我

,

作者和读者

,

能够找到完全的和谐

一致

.

该文作者：黄

忠

原文转自：

/archiver/?

*Percy Bysshe Shelley was the husband of Mary Shelley (writer of Frankenstein) and a contemporary

and friend of Lord Byron. He is widely regarded as the finest poet of the Romantic period and possibly the

greatest English poet of all time. A philosopher and atheist , expelled from Oxford for the publication of a

pamphlet entitled

Claremont, the cast-off lover of Byron, and the melancholy that affected him during that time shows

through clearly in

The eponymous

BC. The poem has been interpreted in a number of different ways, but all center on the irony in

Ozymandias' declaration that the

Shelley wrote many other poems during this time, of which

known. Four years later, he died, drowned at sea, with the conviction that his work would never receive

popular acclaim.

Ozymandias

1I met a traveller from an antique land,

2Who said --

3Stand in the desert ... near them, on the sand,

4Half sunk a shattered visage lies, whose frown,

5And wrinkled lips, and sneer of cold command,

6Tell that its sculptor well those passions read

7Which yet survive, stamped on these lifeless things,

8The hand that mocked them, and the heart that fed;

9And on the pedestal these words appear:

10My name is Ozymandias, King of Kings,

11Look on my Works ye Mighty, and despair!

12Nothing beside remains. Round the decay

13Of that colossal Wreck, boundless and bare

14The lone and level sands stretch far away.

Notes

1] Shelley evidently wrote this sonnet at Marlow in friendly competition with Horace Smith, whose own

sonnet of the same name was published Feb. 1, 1818, also in The Examiner, no. 527, p. 73:

In Egypt's sandy silence, all alone,

Stands a gigantic Leg, which far off throws

The only shadow that the Desart knows: --

Nought but the Leg remaining to disclose

The site of this forgotten Babylon.

We wonder, -- and some Hunter may express

Wonder like ours, when thro' the wilderness

Where London stood, holding the Wolf in chace,

He meets some fragments huge, and stops to guess

What powerful but unrecorded race

Once dwelt in that annihilated place.

5] lip Bod. Shelley MS e.4; lips 1819

6] Lines 6-8 pose some difficulty, but

and

heart.

subject in

its own arrogance. Kelvin Everest and Geoffrey Matthews suggest that line 8 ends with an ellipsis:

the heart that fed [them]

governed by

9] these words appear: 1819; this legend clear Bodl. Shelley MS e.4.

10] Ozymandias: Osymandias, Greek name for the Egyptian king Rameses II (1304-1237 BC). Diodorus

Siculus, in his Library of History (trans. C. H. Oldfather, Loeb Classical Library, vol. 303 [Cambridge,

Mass.: Harvard University Press, 1961]: I, 47), records the inscription on the pedestal of his statue (at the

Ramesseum, on the other side of the Nile river from Luxor) as

anyone would know how great I am and where I lie, let him surpass one of my works.

12] Nothing beside remains: 1819; No thing remains beside. Bodl. Shelley MS. e.4.

Composition date: 26 December 1817 - 28 December 1817

Form: Sonnet

Rhyme: ababacdcedefef

参考资料：

/blog/cns

!285174C23D9AC89E!

回答者：

hermitliu

-

举人

四级

10-22 22:24

Ozymandias (2007-04-16 210050)

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

,

< br>奥兹曼斯迪亚斯

功业盖物< /p>

,

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。

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

parado x

。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

She lley

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

< br>

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。

4. Ozymandias

The author shows his strong love behavior and his consistent hatred for tyranny. In this poem he also

expresses his long for the nevenage of a once tyrannical King.

【穆旦译】奥西曼德斯

在把穆旦的译本抄在 这里：

奥西曼德斯

文

/

雪莱

我遇见一个来自古国的旅客，

他说：有两只断落的巨大石腿

站在沙漠中??附近还半埋着

一块破碎的石雕的脸；他那绉眉，

那瘪唇，那威严中的轻蔑和冷漠，

在表明雕刻家很懂得那迄今

还留在这岩石上的情欲和愿望，

虽然早死了刻绘的手，原型的心；

在那石座上，还有这样的铭记：

“我是奥西曼德斯，众王之王。

强悍者呵，谁能和我的业绩相比！”

这就是一切了，再也没有其他。

在这巨大的荒墟四周，无边无际，

只见一片荒凉而寂寥的平沙。

/wiki/Ozymandias

Ozymandias

From Wikipedia, the free encyclopedia

Jump to:

navigation

,

search

This article is about Shelley's poem. For other uses, see

Ozymandias (disambiguation)

.

OZYMANDIAS

I met a traveller 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 shatter'd visage lies, whose frown

And wrinkled lip and sneer of cold command

Tell that its sculptor well those passions read

Which yet survive, stamp'd on these lifeless things,

The hand that mock'd them and the heart that fed.

And on the pedestal these words appear:

Look on my works, ye Mighty, and despair!

Nothing beside remains: round the decay

Of that colossal wreck, boundless and bare,

The lone and level sands stretch far away.

[1]

< br>Ozymandias

(

IPA

:

/

ɑ

zi

?

?

m

ɑ

ndi

?

ɑ

s/< /p>

or

/

?< /p>

zi

?

?

m?< /p>

ndi

?

?

s/

)

[

citation needed

]

is

a

sonnet

by

Percy Bysshe Shelley

, published in

1818

. It is frequently

anthologized and is probably Shelley's most famous short

poem

. It was

written in competition with his friend

Horace Smith

, who wrote another

sonnet entitled

see below

).

In addition to the power of its themes and imagery, the poem is notable

for its virtuosic

diction

. The rhyme scheme of the sonnet is unusual

[2]

and creates a sinuous and interwoven effect.

Contents

[

hide

]

?

?

?

?

?

?

1

Analysis

2

Smith's poem

3

See also

4

Further reading

5

Notes

6

External links

[

edit

] Analysis

Written in December 1817 during a writing contest, and first published

in

Leigh Hunt

's

Examiner

of

January 11

,

1818

. Shelley pointed out that

the poem was selected for the book by his

not by himself, in the preface to 'Rosalind and Helen' (1819)

[3]

.

The central theme of Ozymandias is mankind's

hubris

. In fourteen short

lines,

Shelley

condenses

the

history

of

not

only

Ozymandias'

rise,

peak,

and fall, but also that of an entire civilization. Without directly

stating

it,

Shelley

shows

that

all

works

of

humankind

-

as

well

as

humans

themselves - are temporal. Whether you be a Pharaoh or peasant, you are

just as mortal as any other living thing.

Despite its enduring popularity, some Shelley scholars have treated

Harold

Bloom

's

Shelley's

Mythmaking

(1959),

doesn't

mention

it

at

all,

but

Bloom

intended only to write about Shelley's longer poems and did not address

many of his shorter works.

The '

Younger Memnon

'

statue

of Ramesses II in the British Museum thought to have inspired the

poem

Ozymandias

was another name of

Ramesses the Great

,

Pharaoh

of the

[4]

nineteenth dynasty

of ancient Egypt.

Ozymandias

represents a

transliteration into

Greek

of a part of Ramesses'

throne name

,

User-maat-re Setep-en-re

. The sonnet paraphrases the inscription on the

base of the

statue

, given by

Diodorus Siculus

as

King of Kings

am I,

Osymandias. If anyone would know how great I am and where I lie, let him

surpass one of my works.

[5]

Shelley's poem is often said to have been

inspired by the arrival in London of a colossal statue of Ramesses II,

acquired

for

the

British

Museum

by

the

Italian

adventurer

Giovanni

Belzoni

in

1816.

[6]

Rodenbeck,

however,

[7]

points

out

that

the

poem

was

written

and

published before the statue arrived in Britain, and thus that Shelley

could not have seen it. But its repute in Western Europe preceded its

actual arrival in Britain (Napoleon had previously made an unsuccessful

attempt

to

acquire

it

for

France,

for

example),

and

thus

it

may

have

been

its repute or news

of its

imminent

arrival rather than

seeing the statue

itself which provided the inspiration.

Among

the

earlier

senses

of

the

verb

mock

is

fashion

an

imitation

of

reality

(as

in

mock- up

[8]

but

by

Shelley's

day

the

current

sense

In

his

sonnet

Shelley

celebrates

the

anonymous

artist

and

his

achievement,

and

our

poet

himself

survives

the

ruins

of

the

oppressor

by

making

a

tight,

compact sonnet out of a second-hand story about ruins in a desert. The

lone and level sands

stretching far away suggest the desolation that

results

from

the

impulse

to

impose

oneself

on

the

landscape.

When

Shelley

says

beside

remains,

he

suggests

the

nothingness

of

space

around

the ruins and of the ruins themselves, and he puns on the ruins as

loneliness and desolation, disconnected not only in space

–

from other

physical things, but also in time

–

from the

busy and important

context

in which they must have once existed, as an interconnected part of an

ancient city.

This sonnet is often

incorrectly quoted or reproduced

[9]

. The most common

misquotation

–

upon

my

works,

ye

Mighty,

and

despair!

–

replaces

the correct

decasyllabic

(

iambic pentameter

) verse into an 11-syllable verse.

[

edit

] Smith's poem

In Egypt's sandy silence, all alone,

Stands a gigantic Leg, which far off throws

The only shadow that the Desert knows:

Nought but the Leg remaining to disclose

The site of this forgotten Babylon.

We wonder, and some Hunter may express

Wonder like ours, when thro' the wilderness

Where London stood, holding the Wolf in chace,

He meets some fragments huge, and stops to guess

What powerful but unrecorded race

Once dwelt in that annihilated place.

—

Horace Smith

.

[10]

Percy

Shelley

apparently

wrote

this

sonnet

in

competition

with

his

friend

Horace

Smith

, as

Smith

published

a sonnet a month

after Shelley's in

the

same

magazine.

It

takes

the

same

subject,

tells

the

same

story,

and

makes

the same moral point. It was originally published under the same title

as Shelley's verse; but in later collections Smith retitled it

Stupendous Leg of Granite, Discovered Standing by Itself in the Deserts

of Egypt, with the Inscription Inserted Below

[11]

Smith's verse lacks the enduring appeal of Shelley's, and is not nearly

so

fondly

remembered

or

so

often

quoted.

Shelley's

Ozymandias

is

a

fairly

archetypal example of what constitutes a classic poem in terms of the

modern

English

literature

syllabus.

On

the

other

hand,

Smith's

verse

may

appear excessively didactic or even heavy-handed, to some readers.

[

edit

] See also

?

Egypt in the European imagination

[

edit

] Further reading

?

?

?

Reiman, Donald H. and Sharon B. Powers.

Shelley's Poetry and Prose

. Norton, 1977.

ISBN 0-393-09164-3

.

Shelley, Percy Bysshe and Theo Gayer- Anderson (illust.)

Ozymandias

. Hoopoe Books,

1999.

ISBN 977-5325-82-X

Rodenbeck, John. ―Travelers from an Antique Land: Shelley's Inspiration for

?Ozymandias,‘‖ Alif: Journal of Comparative Poetics, no. 24 (―Archeology of Literature:

Tracing the Old in the New‖), 2004, pp. 121

-148.

[

edit

] Notes

1.

^

As anthologized in Palgrave, Francis, ed.

The Golden Treasury

, 1875, online at

Bartleby

. Palgrave gives the title as

2.

^

SparkNotes: Shelley's Poetry:

2008-02-26.

3.

^

Shelley, Percy Bysshe (1819).

ROSALIND AND HELEN, A Modern Eclogue; with

Other Poems

. London: C. & J. Oilier.

4.

^

Luxor Temple: Head of Ramses the Great

5.

^

RPO Editors.

Percy Bysshe Shelley : Ozymandias

University of Toronto

Department of English

. University of Toronto Libraries, University of Toronto Press.

Retrieved on 2006-09-18.

6.

^

Colossal bust of Ramesses II, the 'Younger Memnon'

, British Museum. Accessed

10-01-2008

7.

^

[1]

8.

^

OED

:

mock

, v.

1593 and 1606; both from Shakespeare]

9.

^

Reiman, Donald H; Powers, Sharon.B (1977).

Shelley's Poetry and Prose

. Norton.

ISBN

ISBN 0-393-09164-3

.

10.

^

Ozymandias - Smith

11.

^

Habing, B.

Ozymandias - Smith

. Retrieved on 2006-09-23.

[

edit

] External links

Wikisource

has original text related to this article:

Ozymandias

Representative Poetry Online: Percy Bysshe Shelley (1792-1822),

(text of poem with notes)

?

World Treasures (National Library of Australia)

(autograph fair copy of the text from

one of Shelley's notebooks; shows slight variants against modern editions)

?

Horace Smith's poem of the same name, and of the same themes

?

?

A popular Machinima adaption of the poem

by Machinima pioneers

Strange

Company

, praised as an adaptation by film critic

Roger Ebert

?

?

Retrieved from

/wiki/Ozymandias

Categories

:

Poetry

by

Percy

Bysshe

Shelley

|

1818

poems

|

Ancient

Egypt

in

fiction

|

British

poems

|

Sonnets

Hidden

categories:

All

articles

with

unsourced

statements

|

Articles

with

unsourced

statements

since November 2008

Percy Bysshe Shelley

From Wikipedia, the free encyclopedia

Jump to:

navigation

,

search

Percy Bysshe Shelley

Born

Died

Occupation

Literary movement

Influenced

[show]

August 4, 1792

Horsham

,

England

July 8, 1822 (aged 29)

Livorno

,

Italy

Poet

Romanticism

Percy Bysshe Shelley

(August 4, 1792

–

July 8, 1822; pronounced < /p>

/

?

p

?

?

s

?

?

b

??

< /p>

?

??

l

?

/

)

[1]

was one of the major

English

Romantic poets

and is

widely considered to be among the finest

lyric poets

in the

English

language

. He is perhaps most famous for such

anthology

pieces as

Ozymandias

,

Ode

to

the

West

Wind

,

To

a

Skylark

,

and

The

Masque

of

Anarchy

.

However, his major works are long visionary poems including

Alastor

,

Adona?s

,

The Revolt of Islam

,

Prometheus Unbound

and the

unfinished

The

Triumph of Life

.

Shelley's

unconventional

life

and

uncompromising

optimism

,

combined

with

his strong disapproving voice, made him an authoritative and

much-denigrated figure during his life and afterward. He became an idol

of the next two or three generations of poets, including the major

Victorian

and

Pre-Raphaelite

poets

Robert

Browning

,

Alfred

Lord

Tennyson

,

Dante

Gabriel

Rossetti

,

Algernon

Charles

Swinburne

,

as

well

as

Lord

Byron

,

William Butler Yeats

, and

Henry David Thoreau

, and poets in other

languages such as

Jan Kasprowicz

,

Jibanananda Das

and

Subramanya

Bharathy

.

He was admired by

Karl Marx

,

Henry Stephens Salt

, and

Bertrand Russell

.

He was famous for his association with

John Keats

and

Lord Byron

. The

novelist

Mary Shelley

was his second wife.

Contents

[

hide

]

?

1

Life

o

1.1

Education

o

1.2

Marriage

o

1.3

Byron

o

1.4

Second marriage

o

1.5

Italy

o

1.6

Death

?

?

?

2

Shelley in fiction

3

Vegetarianism

4

Family history

o

4.1

Ancestry

o

4.2

Family

o

4.3

Descendants

?

?

?

?

?

?

5

Legacy

6

Major works

7

See also

8

Notes

9

References

10

External links

[

edit

] Life

[

edit

] Education

A son of Sir

Timothy Shelley

, a Whig Member of Parliament, and his wife,

a

Sussex

landowner,

Shelley

grew

up

in

Horsham,

Sussex,

and

received

his

early

education

at

home,

tutored

by

Reverend

Evan

Edwards

of

Warnham.

In

1802, he entered the Syon House Academy of Brentford. In 1804, Shelley

entered

Eton

College

,

where

he

fared

poorly,

subjected

to

an

almost

daily

mob

torment

his

classmates

called

Surrounded,

the

young

Shelley would have his books torn from his hands and his clothes pulled

at

and

torn

until

he

cried

out

madly

in

his

high-pitched

soprano

of a voice.

[2]

On

April

10,

1810,

he

matriculated

at

University

College,

Oxford

.

Legend

has it that Shelley attended only one lecture while at Oxford, but

frequently read sixteen hours a day. By all accounts, he was unpopular

with both students

and dons.

[

citation needed

]

His first publication was

a Gothic

novel,

Zastrozzi

(1810), in which he vented his

atheistic

worldview

through the villain Zastrozzi. In the same year, Shelley, together with

his sister Elizabeth, published

Original Poetry by Victor and Cazire

.

While at Oxford, he issued a collection of verses (perhaps ostensibly

burlesque but quite subversive),

Posthumous Fragments of Margaret

Nicholson

, with

Thomas Jefferson Hogg

.

In 1811, Shelley published a pamphlet called

The Necessity of Atheism

.

This gained the attention of the university administration and he was

called to appear before the College's fellows. His refusal to repudiate

the

authorship

of

the

pamphlet

resulted

in

his

being

expelled

from

Oxford

on March 25, 1811, along with Hogg. The rediscovery in mid-2006 of

Shelley's long-lost 'Poetical Essay on the Existing State of Things', a

long, strident anti-monarchical poem printed in Oxford, gives a new

dimension to the expulsion, reinforcing Hogg's implication of political

motives ('an affair of party').

[3]

Shelley was given the choice to be

reinstated after his father intervened, on the condition that he would

have had to recant his avowed views. His refusal to do so led to a

falling-out with his father. His mother died at a young age just as he

did.

[

edit

] Marriage

Four months after being expelled, the 19-year-old Shelley travelled to

Scotland

with

the

16-year-old

schoolgirl

Harriet

Westbrook

to

get

married.

After their marriage on August 28, 1811, Shelley invited his college

friend Hogg to share their household. When Harriet objected, however,

Shelley brought her to

Keswick

in England's

Lake District

, intending to

write. Distracted by political events, he visited

Ireland

shortly

afterward

in

order

to

engage

in

radical

pamphleteering.

Here

he

wrote

his

Address

to

the

Irish People

and

was

seen

at

several

nationalist

rallies.

His activities earned him the unfavourable attention of the British

government.

Unhappy

in

his

nearly

three-year-old

marriage,

Shelley

often

left

his

wife

and child (

Ianthe Shelley

, 1813-76) alone, first to study Italian with

a

certain

Cornelia

Turner,

and

eventually

to

visit

William

Godwin's

home

and bookshop in London, where he met Godwin's daughter, Mary

Wollstonecraft

Godwin,

later

known

as

Mary

Shelley

.

Mary

was

the

daughter

of

Mary

Wollstonecraft

,

the

author

of

A

Vindication

of

the

Rights

of

Women

.

On July 28, 1814, Shelley abandoned his pregnant wife and child when he

ran away with Mary, also inviting her stepsister Jane (later Claire)

Clairmont

along

for

company.

The

three

sailed

to

Europe,

crossed

France

,

and

settled

in

Switzerland

,

an

account

of

which

was

subsequently

published

by

the

Shelleys.

After

six

weeks,

homesick

and

destitute,

the

three

young