Ozymandius

Commanding metrical compositions that continue to be talked about and analyzed to this day. all(prenominal) sonnet was published by Leigh Hunt early in 1818 in consecutive issues of his monthly Journal, The Examiner (Rumens, 2010). Even though the sonnet indite by Smith has taken a back seat to Shelley in scholarly study, both poems explore the opulence of ancient history and the ineluctable consequences of time. Inspired by recent discoveries in the Near East, Shelley and Smith were prompt by the words of historian Odorous Sculls who claimed the inscription on the statue of Renames II read, King of Kings Commanding am l.If any want to know how majuscule I am and where I lie, let him outdo me in my shit (Mimics, 2010). The motivation for these separatist poems was to create a piece of artwork that would stretch forth the inevitable passing of time. Unlike the crumbling boasting monuments of Ancient Egypt whose intent was to commemoration their rule, their own literary words would be a piece of poetical art that would forever be remembered in European literature. While the differences outgo the similarities betwixt these woo poems, there is a uniting theme denotative by both Shelley and Smith.Each author uses the equivalent subject, tells the same story and makes the same moral point of the arrogance of human authority and the inevitable freeze off of all leaders. Every great leader wants to be amortized and remembered. Time is the continual enemy of this great wish of mortal men. It never stops, takes pause or shows tire as it breaks down the most triumphant of mortal monuments. some(prenominal) poems use the expression of time to unite the idea that all spot is fleeting as exampled by the only mains of the statues leg.The variations in diction between Shelley and Smith allows for a vast difference of perspective. Smith, an author of historical novels and pecuniary advisor to Shelley, lacked an overall flare that is seen in Shelley poem. Howe ver, his words reinforce the reek of loss and emptiness of the desert and that forgotten Babylon (Smith, 1818). Smith chooses a future perspective of someone stopping upon the ruins and wondering what greatness once resided in the Egyptian desert. His words are less imaginative and the tone of the poem comes across more loom than wrathful as compared to Shelley.There is no strain on the arrogance and harsh rule of Commanding. On the other hand, Shelley chooses to exemplify the remains of Commanding from the narrators perspective. The passage, Tell that its sculptor well those passions read, shows that the strict style of rule, as envisioned on the visage, was accurately portrayed to the traveler (Shelley, 1818). Shelley is able to strip focus away from Commanding own aspiration of be amortized and draw attention to the truth of his unsympathetic reign as depicted wrought the hands of the artisan.Shelley literary style and viewpoint makes clear his spurn for ancient rule and monarchies (Solo Interactive Learning). Shelley and Smith were both inspired by the political developments of their own day and opinions were heightened by the 1821 acquisition of a statue of Rammers II by the British Museum in London. In their own personal style, each poet conveyed the same paradox Commanding, the self-proclaimed King of Kings, commissioned a statue of himself to guarantee his immortality, unless all thats left is a broken statue (Durbin, 012).