كيف تحلل قصيدة إنجليزية ?

كيف تحلل قصيدة إنجليزية


أولا : نبدأ بعنوان القصيدة (The Title) فالكثير من القصائد نستطيع فهمها من العنوان ...


ثانياً : مضمون القصيدة (Theme) على سبيل المثال :
تتحدث عن (Love , Tragedy..etc.)
مع ذكر أمثلة من القصيدة تشير إلى ما ذكرت ..


ثالثاً : نغمة القصيدة(Tone) هل هي نغمة حزينة أو العكس ... رثاء ..مدح ..وهكذا .وهي تختلف عن نوع القصيدة
يوجد الكثير من أنواع القصائد مثل الرثاء -ملحمة كلمات أغنية تعتبر من القصائد......


رابعاً :استخراج الصور الجمالية أو التشبيهات ((Imagery وهي عبارة عن أنواع : (****phor) و (Simile) وكذلك التشخيص (Personification)... وذكر بيت القصيدة الذي يحمل هذا التشبيه ...وتفسير هذه الاستعارة..
التشبيهات عبارة عن 3 أقسام

simile وهو أن يكتب التشبيه باستخدام like or as أو استخدام الكلمتين معاً.
مثال Enas like rose
Personification هو عبارة عن تشخيص وذلك بأن نشبه الأجسام الساكنة بحركات الانسان مثال
القمر يبكي شبهنا القمر بالانسان الذي يبكي
البحر يجري شبهنا البحر بحركة الجري للانسان
****phor هو التشبيه الذي لا يحتوي على أداة تدل على التشبيه مثال
the eye of heaven' عيون الجنة هاد تشبيه بدون أدوات
خامسا: ذكر القافية (Rhyme) التي تكون في نهاية البيت الشعري ..
وهناك طريقة لاستخراج القافية ...
يعني ..نبدأ من القافية الأولى ونسميها (A)
وقافية البيت الذي يليها نسميها (B)
وهكذا كل ما تكررت القافية نكرر الحرف الخاص بالقافية التي تكررت.
وكلما وجدنا قافية جديدة تمثل حرف جديد...
A, B, C, D, E, F….etc
مثال :
Lay>>>A.........
Day>>>A.........
Some>>>B.........
Come>>>B.........
So, the Rhyme for this example,
A, A, B, B))


سادساً: لغة الإلقاء( Diction) اختيار الشاعر للكلمات .. وكيف يوصف هذا الإلقاء الشعري ,,, هل هو عامي أو رسمي .. هل الكلمات صعبة أم سهلة .. وهكذا ...
لازم نذكر five sense
see -feel-touch-hare-smel
مثال أن يقول :رأيت الحب هو تشخيص بالنظر
أو سمعت القلب (القلب لا يتكلم انما هو تشخيص بالسمع)وهو غير مهم ولكن فيه فائدة بالذكر

أخر شيء رايك عن القصيدة والمضمون وهو أهم شيء بالقصيدة

مما طالعت

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باللغة الانجليزية وبطريقة اخرى

نبدأ

With these words said, here are some tips by which to analyze a poem:
Select the poem carefully
In a poem analysis, you will generally be given a selection of two or three poems. You must pick one to analyze. Because of this great option, you will be able to select a poem that speaks to you (or at least one that you can attempt to analyze). Be careful. Many students jump to selecting short poetry as their preference for analysis. Sometimes the shorter poems are the most difficult and ambiguous poems. Often, longer poems are more like narratives (stories).
حدد القصيدة بعناية
في تحليل القصيدة ، سوف يكون بصفة عامة نظرا لاختيار اثنين أو ثلاثة من القصائد. يجب عليك أن تختار واحدة لتحليل. وبسبب هذا خيار كبير ، وسوف تتمكن من اختيار القصيدة التي يتحدث لك (أو واحدة على الأقل أنه يمكنك محاولة لتحليل). كن حذرا. العديد من الطلاب القفز إلى اختيار الشعر القصير في تفضيلها للتحليل. احيانا القصائد هي أقصر القصائد الأكثر صعوبة وغموضا. في كثير من الأحيان ، يعد القصائد هي أشبه السرد (قصص).

Research the poet
There will inevitably be research already performed on the poet you've selected. Reading about the poet's life, history, style as you begin your analysis. Often the poet's personal life is a direct impact on his or her work.
بحث الشاعر
سيكون هناك حتما بالفعل الأبحاث التي أجريت على الشاعر الذي اخترته. القراءة عن حياة الشاعر ، والتاريخ ، على غرار عندما تبدأ تحليلكم. في كثير من الأحيان في حياة الشاعر الشخصية هو تأثير مباشر على عمله أو عملها.


Research the poem
If you are analyzing a poem, it is probably quite well-known and already has much written about it. Research and read about the poem. Other literary criticism can aid you in your analysis. Be careful, however, not to copy, plagiarize, or ignore the original poem. You must come up with a new thought, a new analysis, for the poem. Simply copying someone else's ideas will not be sufficient.
البحث القصيدة
إذا كنت تحليل قصيدة ، فمن المحتمل جدا معروفة وسبق أن لديه الكثير كتب عن ذلك. البحوث وقرأت عن القصيدة. النقد الأدبي الأخرى يمكن أن تساعد لكم في التحليل. كن حذرا ، ولكن ليس لنسخ ، وتسرق ، أو تجاهل القصيدة الأصلي. يجب التوصل إلى فكر جديد ، وتحليل جديد للقصيدة. ببساطة نسخ شخص آخر الأفكار لن تكون كافية.


Create an outline
Organization, as always, is the key to all essay writing and analysis. Your outline should consist of an Introduction, a Thesis Statement, three pieces of analysis (evidence), and a conclusion bringing it all together. Put these basic sentences into an outline structure, which will make the writing of the paper (or presentation) much easier.
إنشاء مخطط تفصيلي
منظمة ، كما هو الحال دائما ، هو المفتاح لجميع كتابة المقالات والتحليلات. المخطط الخاص بك يجب أن تتألف من مقدمة ، وبيان الرسالة ، وثلاث قطع من تحليل (الأدلة) ، ويصل إلى نتيجة كل ذلك معا. وضع هذه الأحكام الأساسية في هيكل المخطط ، الأمر الذي سيجعل من كتابة ورقة (أو عرض) أسهل بكثير

Write the paper
Once you have researched your poet, poem, and organized your thoughts, you are ready to write the paper. Follow your outline and you will have no trouble completing this assignment.
كتابة ورقة
وبمجرد الانتهاء من البحث الخاص بك الشاعر ، القصيدة ، وتنظيم أفكارك ، وكنت على استعداد لكتابة هذه الورقة. اتبع المخطط التفصيلي وسيكون لديك أي مشكلة في إتمام هذه المهمة.


If your analysis of poetry is meant to be an oral presentation, follow the same steps. You will still need an outline, as presentations are no different than written papers in content. The only difference is presentation. Your outline will serve as your notes. It will be your guide as you speak to your teacher and class.
إذا كان التحليل من الشعر ومن المفترض ان يكون عرضا شفهيا ، اتبع نفس الخطوات. سوف لا تزال في حاجة الى المخطط ، وكذلك العروض التي لا تختلف عن أوراق مكتوبة في المحتوى. والفرق الوحيد هو العرض. المخطط التفصيلي سيكون بمثابة ملاحظاتك. سيكون لديك دليل على النحو كنت أتكلم لمعلمك والطبقة.

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The Rime of the Ancient Mariner By S.T. Coleridge summary and analysis and themes

Type of Work

.......The Rime of the Ancient Mariner is a narrative poem in which a seaman tells another man a strange and terrifying tale.
Date of Publication
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.......The poem was published in 1798 in Lyrical Ballads, then revised and published in 1817 in the version that is popular today. Coleridge received help from the poet William Wordsworth. The editors of Major British Writers, a literature anthology, explain Wordsworth's contribution:

Originally, Coleridge and Wordsworth intended to write this poem in collaboration. Wordsworth’s manner proved unsuited for the purpose, however, and after contributing half a dozen lines [Part II, Lines 13-16 and Lines 226-227] and suggesting the shooting of the albatross and “the reanimation of the dead bodies to work the ship,” Wordsworth withdrew, and Coleridge proceeded alone.—G.B. Harrison, general ed. Major British Writers. Shorter edition. New York: Harcourt, 1967, Page 592.

Sources
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.......When Coleridge wrote The Rime of the Ancient Mariner, accounts of the daring sea voyages of the British explorer Captain James Cook (1728-1779) had caught the public's fancy. Cook had made three exploratory voyages in the Pacific between 1768 and 1779, traveling as far north as the Bering Strait (between Alaska and Russia) and as far south as the ice fields of Antarctica. One of his crewmen, astronomer William Wales, later taught mathematics to Coleridge at Christ's Hospital School in London after Coleridge enrolled upon the death of his father in 1781. Australian Bernard Smith maintains that Coleridge likely used a journal kept by Wales as a source of information for The Rime of the Ancient Mariner, according to Bill Whelen, author of Captain Cook's Navigator and Coleridge's Poem: William Wales, Samuel Taylor Coleridge and 'The Rime of the Ancient Mariner' (Dunedin, New Zealand: University of Otago Press, 2009).
.......Other sources used by Coleridge include superstitions and folk tales. Setting
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.......The action takes place in the following locales several hundred years ago: (1) a street or byway in a locale with a hall in which a wedding reception is being held; (2) a sailing ship with 201 crew members, including the ancient mariner; (3) the Atlantic Ocean; (4) the South Pole; (4) the Pacific Ocean; (5) the mariner’s native country (undisclosed). The atmosphere is ghostly, preternatural, mysterious.
Characters
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Ancient Mariner: Old sailor who roams from country to country to tell a strange tale.
Wedding Guest: Man on the way to a wedding reception with two other men. The mariner singles out the wedding guest to hear his tale.
Two Hundred Crewmen: Ill-fated members of the ship carrying the mariner.
Pilot: Boatman who rescues the mariner. (A pilot is an official who guides ships into and out of a harbor.)
Pilot’s Boy: Pilot’s assistant.
Hermit: Holy man who absolves the mariner and hears his story.
Albatross: Large, web-footed sea bird with a hooked bill.  Most species of albatrosses wander the southern seas, from tropical regions down to Antarctica, drinking sea water and feeding on squid, cuttlefish, and other small sea creatures. Sometimes, they follow ships to feed on their garbage. Albatrosses have an astonishing ability to glide in the wind, sometimes for hours, but have difficulty staying aloft without a wind. In the latter case, they sit on the water to rest or sleep. When it is time to breed, they go ashore. An old superstition says killing an albatross brings bad luck, although sailors have been known to kill and eat them. The Rime of the Ancient Mariner has helped make this superstition common knowledge throughout the world among landlubbers as well as sailors. In modern parlance, a person or an event that brings bad luck is often referred to as an albatross.
Narration: Poem as a Frame Tale
.......A narrator begins the poem by telling the reader about an ancient mariner who stops a man on the street to recite a story. After getting the man’s attention, the mariner then tells his tale. Thus, The Rime of the Ancient Mariner is like a framed painting. The frame represents one narrator telling about the mariner; the painting represents the mariner narrating his story. The mariner sometimes quotes another person, such as the Pilot. However, the Pilot is not a narrator, since he is merely speaking dialogue and not telling a story.
Structure, Rhyme
.......Coleridge divides the poem into seven parts. Most of the stanzas in the poem have four lines; several have five or six lines. In the four-line stanzas, the second and fourth lines usually rhyme. In the five- and six-line stanzas, the second or third line usually rhymes with the final line. 
Meter
The meter alternates between iambic tetrameter (with four feet per line) and iambic trimeter (with three feet per line). Following is an example (the first four lines of Part II) of a stanza with this pattern:

.......1.................2...............3...............4
"The SUN..|..now ROSE..|..up ON..|..the RIGHT:............(tetrameter)
.....1..............2...............3
Out OF..|..the SEA..|..came HE,.....................................(trimeter)
......1..............2...............3...............4
Still HID..|..in MIST,..|..and ON..|..the LEFT...................(tetrameter)
.........1................2.............3
Went DOWN..|..in TO..|..the SEA...................................(trimeter)

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Summary of the Poem
By Michael J. Cummings...© 2005
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The Rime of the Ancient Mariner begins with a one-paragraph summary called an "Argument." The poem then begins.
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.......Three men are on their way to a wedding reception when an old sailor stops one of them to tell him a story. So eager is the old fellow to tell his tale that he raises on hand to prevent the wedding guest from moving on. The mariner then begins the story—“There was a ship” (line 10)—but is unable to continue because the wedding guest angrily orders the mariner to cease blocking his way. 
.......But after the old man lowers his hand, the guest cannot continue on, for he is hypnotized by the mariner’s “glittering eye” (line 3). Like a three-year-old child eager for a wonderful story, the guest sits on a rock and listens. 
.......The mariner says the ship sailed southward on the Atlantic Ocean with a fair wind. The sun rose from the sea, crossed the sky, and sank in the west in its daily ritual as all went well while the ship sailed onward day after day. Even though the wedding guest hears music from the nearby wedding celebration, he keeps his attention riveted on the old mariner and his tale.
.......Alas, a great storm came, the mariner says, driving the ship farther south as it passed through mist and snow to a land of ice, Antarctica. Everywhere the crewmen looked they saw ice. Then, out of the fog, a great sea bird appeared—an albatross. And, wonder of wonders, the ice around the ship cracked, and the ship picked up a wind and sailed north. The albatross, therefore, was a good omen. It came to the ship every day, answering the mariner's “hollo!” (line 74).It played. It ate of the crewmen’s food. During the evening religious services, called vespers, it perched on a mast or a rope.
.......Then one day, the mariner shot the bird with his crossbow. The rest of the crew condemned his cruel act, saying he had “killed the bird / That made the breeze to blow.” However, when the fog disappeared and the sun shone gloriously, they approved the act, saying he “had kill'd the bird / That brought the fog and mist” (99-100).And so, the crew became partners in his crime.
.......But not long afterward, the sails fell as the air grew still. Day after day, under a boiling sun, the ship hardly moved. It was “As idle as a painted ship / Upon a painted ocean” (lines 117-118). And the men thirsted—in the middle of an ocean with water everywhere. They saw slimy creatures crawling on the sea, and at night they beheld a fire dancing on the ropes and chains that control the masts—an ill omen. (Sailors at sea often saw this phenomenon, known as St. Elmo’s fire. It is electricity discharged from pointed objects, such as masts, during storms. The phenomenon can also be seen on land on trees or towers that rise to a point. Today, it can also be seen in the air on wings and propellers of aircraft.) Blaming the mariner for their woes, the crewmen hung the dead albatross around his neck.
.......As each man weakened with thirst and fatigue, the mariner beheld a sign in the sky—a mere speck that grew into a mist and took shape upon its approach. It appeared to be a ship. The men were heartened. But what kind of ship moves without a wind? When the sun was setting, the vessel drew near and revealed itself as a ghostly “skeleton of a ship” (line 177) with only two crew members. One was a specter woman—“Life-in-Death” (line 193)—with red lips, yellow hair, and white skin. The other was her mate, Death. They rolled dice for the crewmen, and Death won everyone except the ancient mariner. He was the prize of Life-in-Death.
.......All the crew—200 men—then dropped dead one by one, all except the mariner. Their souls flew by him, to heaven or hell, like arrows shot from a crossbow. The wedding guest interrupts the narrative at this point to express his fear of the mariner. After all, the old man could also be a departed soul, a ghost. But the mariner assures him that he is flesh and blood, then continues his tale.
.......Now he was alone on the ocean with only slimy sea creatures to keep him company. He tried to pray but failed. The lifeless crewmen, meanwhile, looked up at him with a never-changing gaze, fixed by death. For seven days and nights, he endured their gaze. During this time, at night in the moonlight, he watched the water snakes—“blue, glossy green, and velvet black” (line 280)—swim and coil. Their sleek beauty touched him, and he found himself blessing them. He also found that he was able to pray; in short, he was beginning to regret shooting the albatross. Suddenly, the albatross fell from his neck and sank into the sea. And then the mariner slipped into a gentle sleep, for which he thanked Mary, the holy Mother who is Queen of heaven. When he awakened, rain was falling and wind was roaring. Although the wind did not reach the ship, the ship began to move—and the dead crewmen rose to man the ship—steering, tugging the ropes. The body of his brother’s son helped him pull on a rope, though he spoke no words.
.......The wedding guest again interrupts to express his fear. But the mariner again calms him and resumes the story, as follows. At dawn, the ghostly crewmen let loose the ropes and made “sweet sounds” (line 353) mingled with the songs of birds. It was an angelic symphony. The ship sailed on. A spirit, it seemed, was moving the ship. Then the ship began to rock and bob—and suddenly lurched forward, causing the mariner to fall in a faint. When he came to, he heard two spirit voices. One asked whether this was the man who shot the albatross. The other, confirming that it was, said the mariner had done penance for his wrongdoing but still had more penance to do.
.......The ship began to sail northward at such a great speed that the mariner went into a trance. When the mariner woke up, the ship was sailing gently onward. All the dead crewmen were standing together, staring at the mariner. A wind—like a gale across a meadow in the spring—began to blow, tousling the mariner’s hair and cooling his cheek. The ship picked up speed and soon the mariner saw a lighthouse, a hill, and a church. It was his native land at long last.
.......The water in the harbor bay was calm, reflecting the light of the moon. On the ship, the corpses were no longer standing but lying “lifeless and flat” (line 489). Over each body was a seraph (an angel), giving off a heavenly light that could be seen on the shore. Soon a boat came rowing forth carrying a Pilot, the Pilot’s boy, and a Hermit singing hymns. The Hermit, who lived in woods near the sea and knelt on moss to pray, loved to talk with sailors from afar. When the boat drew close, the mariner heard them say that the ship looked strange. “It hath a fiendish look” (line 539), the Pilot said. Suddenly, the ship sank, rumbling down and leaving the mariner floating helplessly. But in a moment he was in the Pilot’s boat, which whirled round and round. When seeing the mariner’s face, the Pilot fell down in a fit and the Hermit prayed. The mariner took up oars and began rowing. At that, the boy laughed, observing that “the Devil knows how to row” (line 570).
.......After the boat reached land, the mariner begged the Hermit to hear his confession and absolve him of his sins. “What manner of man art thou?” (line 578) the Hermit said. And the mariner told him his tale. Since that the time, the mariner says, he has felt a compulsion to travel from land to land. It is his penance. Whenever he remembers his experience at sea—the terror of it all—he must stop someone to tell him his story in order to relieve his agony. He knows at a mere glance which man he must single out to listen to the tale.
.......The wedding celebration continues while the mariner hears a vesper bell calling him to prayer. It is far sweeter to him to pray to God, he says, than it would be to enjoy the pleasure of a wedding celebration. The mariner notes that a man prays best “who loveth best / All things both great and small” (lines 615-616)—that is, who loves all of the things that God created.
.......The mariner then walks on. So does the wedding guest, as if stunned. But he is a “sadder and wiser man.”
. Themes Sin and Redemption
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.......Man is a sinful creature, but redemption awaits him if he repents his wrongdoing and performs penance. This theme manifests itself as follows: After the ancient mariner commits a sin by killing the albatross, guilt hounds him in the form of strange natural and supernatural phenomena. During one terrifying experience, he has a change of heart and repents his wrongdoing. After confessing to the Hermit, he carries out a penance, which is to travel the world to tell his tale to strangers.
Respect for Nature
.......Human beings should respect all of God’s creation and all of His creatures, including the albatross and even sea snakes. In doing so, people indicate their respect for the Creator Himself. In his parting words to the wedding guest, the narrator says,

Farewell, farewell! but this I tell 
To thee, thou Wedding-Guest! 
He prayeth well, who loveth well 
Both man and bird and beast. (lines 611-614)

Terror .......The mariner undergoes terrifying experiences as he confronts supernatural wonders, in particular the female figure known as Life-in-Death. When the mariner sees her rolling dice with death, he says, 

We listen'd and look'd sideways up! 
Fear at my heart, as at a cup, 
My life-blood seem'd to sip! (lines 204-206) 

The mariner even frightens the wedding guest when he tells him that all the crewmen fell dead one by one. The wedding guest says,

"I fear thee, ancient Mariner!
I fear thy skinny hand!
And thou art long, and lank, and brown,
As is the ribbed sea-sand. (lines 225-228)

Coleridge plainly makes the point that beyond the boundaries of the known world are many strange and fearful sights that explorers will encounter. .
Main Symbols
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The Ancient Mariner as Adam: Adam committed the original sin that brought woe upon mankind. The original sin in this context is the killing of the albatross. The crewmen are inheritors of the mariner’s original sin, just as Christians are inheritors of Adam’s original sin. As the mariner says, "And I had done an hellish thing, And it would work 'em woe." 
The Ancient Mariner as Christian Sinner: When the ancient mariner kills the albatross (described in the poem as a holy thing “hailed in God’s name"), he is like the Christian who commits sins for which Christ died on the cross.
Ghost Ship as Wages of Sin: The ghostly skeleton ship carries Death and Life-in-Death. Death, of course, is a consequence of original sin. Life-in-Death is the loneliness, the separation from God, that a sinner encounters before dying.
Pilot: The boat Pilot rescues the mariner after the ship sinks, representing the saving grace of a merciful God. 
Hermit: The Hermit represents redemption. He hears the mariner's confession and pronounces a penance, requiring the mariner to tell his tale the world over to warn others of the consequences of sin.
Wedding Celebration: Everyday life that continues merrily without its participants' full knowledge and respect of the higher rules of the universe. As part of his penance, the mariner educates one of the wedding guests about the importance of abiding by the laws of God. The scene of a wedding celebration is, of course, an excellent place for the mariner to tell his story. After all, a marriage is a beginning, and new life will come from it. Will the newlyweds and their children abide by God's laws? Or will they thoughtlessly shoot albatrosses? Perhaps the wedding guest who walks on at the end of the poem will pass on his new insights to the bride, the groom, and others at the wedding feast. 
. .
. Climax
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.......The climax of the poem occurs when the mariner has a change of heart and the albatross falls from his neck.  Internal Rhyme
Besides end rhyme, Coleridge also frequently uses internal rhyme. Following are examples.

The guests are met, the feast is set (line 7) The ship drove fast, loud roared the blast  (line 49)
And through the drifts the snowy clifts (line 54)
The ice did split with a thunder-fit (line 69)
In mist or cloud, on mast or shroud (line 75)
The fair breeze blew, the white foam flew (line 103)

Inversion .......For poetic effect, Coleridge inverts the word order from time to time, as the following lines demonstrate.
Instead of the cross, the Albatross 
About my neck was hung. (lines 141-142)
The normal word order would be "was hung about my neck."
Through utter drought all dumb we stood!  (line 159)
The normal word order would be "we stood all dumb."
The naked hulk alongside came (line 195)
The normal word order would be "came alongside."
Enjambment
.......Coleridge occasionally uses enjambment, the practice of carrying the sense of one line of verse over to the next line without a pause. Here are examples:

And now the storm-blast came, and he
Was tyrannous and strong (lines 41-42)  We could not speak, no more than if
We had been choked with soot. (lines 137-138)
Instead of the cross, the Albatross
About my neck was hung. (lines 141-142)
'There passed a weary time. Each throat 
Was parch'd, and glazed each eye. (lines 143-144)

Figures of Speech
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The poem is rich in figures of speech. Here are examples: Alliteration

By thy long grey beard and glittering eye (line 3) He holds him with his skinny hand (line 9)
The Wedding-Guest here beat his breast,
For he heard the loud bassoon. (lines 31-32)
The merry minstrelsy (line 36)
The furrow followed free (line 104) 

Anaphora

The ice was here, the ice was there,
The ice was all around. (line 59-60) With throats unslaked, with black lips baked (line 157) 
Without a breeze, without a tide (line 169) 
Her lips were red, her looks were free,
Her locks were yellow as gold:
Her skin was as white as leprosy (lines 190-192)
They groan'd, they stirr'd, they all uprose, 

Irony

Water, water, every where,
And all the boards did shrink ;
Water, water, every where,
Nor any drop to drink. (lines 119-122)
Water is everywhere, but there is none to drink.

Metaphor

Each turned his face with a ghastly pang,
And cursed me with his eye. (lines 215-216)
Comparison of the appearance of the eye to a curse They coil'd and swam; and every track
Was a flash of golden fire. (lines 281-282)
Comparison of the wake left by the sea snakes to fire

Onomatopoeia

It crack'd and growl'd, and roar'd and howl'd (line 61)

Personification

The Sun came up upon the left,
Out of the sea came he !
And he shone bright, and on the right
Went down into the sea. (lines 25-28)
Comparison of the sun to a person

Simile

    [E]very soul, it passed me by,
Like the whizz of my crossbow! (lines 223-224)
Comparison of the passing of a soul to the sound of a shot arrow     [T]he sky and the sea, and the sea and the sky
Lay like a load on my weary eye (lines 251-252)
Comparison of the sky and sea to a weight on the eye
Her beams bemocked the sultry main,
Like April hoar-frost spread (lines 268-269)
Comparison of reflected sunbeams to frost
The bride hath paced into the hall,.................
Red as a rose is she (lines 33-34)
Comparison of the bride to a rose
The water, like a witch's oils,
Burnt green, and blue and white. (lines 129-130)
Comparison of water to witch's oils
Day after day, day after day,
We stuck, nor breath nor motion;
As idle as a painted ship
Upon a painted ocean. (lines 115-118)
Comparison of the motionless ship and ocean to paintings

Synecdoche

The western wave was all a-flame (line 171)
Wave refers to the ocean.

..Vocabulary Words From the Poem
betwixt (line 176): Between.
charnel-dungeon (line 436): A charnel is a place that contains corpses; a dungeon is a dark prison beneath a medieval castle. Hence, a charnel-dungeon is an underground place for the dead.
chuse (line 18): Choose.
clifts (line 55): Cliffs.
clomb (line 210): Climbed.
corse (line 349, 489, 492): Corpse; dead body.
death-fires (line 128): St. Elmo’s fire, which is electricity discharged from pointed objects, such as masts, during storms. The phenomenon can also be seen on land on trees or towers that rise to a point. Today, it can also be seen in the air on wings and propellers of aircraft.
eftsoons (line 12): Immediately; now; at once.
fathom (line 133): Depth measurement equaling 6 feet (1.8288 meters).
gossameres (line 184): Cobwebs.
gramercy (line 164): Expression of thanks or surprise
helmsman (line 336): Crewman who steers a ship.
Jargoning (line 363): Chattering; singing.
ken (line 57): Know.
kirk (line 467): Church.
line (Coleridge's comments at line 25): Equator, the imaginary circle around the earth that divides the Northern and Southern Hemispheres 
main (line 268): Sea. 
mast (line 30):Tall structure rising from a ship to support sails, ropes, booms, etc.
minstrelsy (line 36): Group of musicians.
nether (line 212): Bottom.
Pilot (line 502): Boatman who guides ships into and out of harbors.
rood (line 490): Old English word for cross, referring to the cross on which Christ was crucified; crucifix at the entrance of a chancel, the space around an altar that is reserved for clergymen or choir members.
seraph (line 491): Member of the highest-ranking order of angels, the Seraphim.
shrieve (line 513): Shrive, which means to hear the confession of a sinner.
shroud (line 75): Ropes or wires connected to a mast on both sides to keep in from swaying sideways
skiff (line 524): Small boat propelled with oars.
swound (line 62): Swoon; fainting spell.
tack'd (tacked, line 156): Changed course.
thorough (line 64): Through.
twain (line 196): Two.
tod (line 536): Bush of ivy or some other plant
wherefore (line 4): why.
wist (line 152): Past tense of wit, meaning know; hence, wist means knew.

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Ozymandias by Shelly summary and analysis and themes

Summary

The speaker recalls having met a traveler “from an antique land,” who told him a story about the ruins of a statue in the desert of his native country. Two vast legs of stone stand without a body, and near them a massive, crumbling stone head lies “half sunk” in the sand. The traveler told the speaker that the frown 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, yet 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, king of kings: / Look on my works, ye Mighty, and despair!” But around the decaying ruin of the statue, nothing remains, only the “lone and level sands,” which stretch out around it, far away.

Form

“Ozymandias” is a sonnet, a fourteen-line poem metered in iambic pentameter. The rhyme scheme is somewhat unusual for a sonnet of this era; it does not fit a conventional Petrarchan pattern, but instead interlinks the octave (a term for the first eight lines of a sonnet) with the sestet (a term for the last six lines), by gradually replacing old rhymes with new ones in the form ABABACDCEDEFEF.

Commentary

This sonnet from 1817 is probably Shelley’s most famous and most anthologized poem—which is somewhat strange, considering that it is in many ways an atypical poem for Shelley, and that it touches little upon the most important themes in his oeuvre at large (beauty, expression, love, imagination). Still, “Ozymandias” is a masterful sonnet. Essentially it is devoted to a single metaphor: the shattered, ruined statue in the desert wasteland, with its arrogant, passionate face and monomaniacal inscription (“Look on my works, ye Mighty, and despair!”). The once-great king’s proud boast has been ironically disproved; Ozymandias’s works have crumbled and disappeared, his civilization is gone, all has been turned to dust by the impersonal, indiscriminate, destructive power of history. The ruined statue is now merely a monument to one man’s hubris, and a powerful statement about the insignificance of human beings to the passage of time. Ozymandias is first and foremost a metaphor for the ephemeral nature of political power, and in that sense the poem is Shelley’s most outstanding political sonnet, trading the specific rage of a poem like “England in 1819” for the crushing impersonal metaphor of the statue. But Ozymandias symbolizes not only political power—the statue can be a metaphor for the pride and hubris of all of humanity, in any of its manifestations. It is significant that all that remains of Ozymandias is a work of art and a group of words; as Shakespeare does in the sonnets, Shelley demonstrates that art and language long outlast the other legacies of power.

Of course, it is Shelley’s brilliant poetic rendering of the story, and not the subject of the story itself, which makes the poem so memorable. 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 own eyes, so to speak, we hear about it from someone who heard about it from someone who has seen it. Thus the ancient king is rendered even less commanding; the distancing of the narrative serves to undermine his power over us just as completely as has the passage of time. Shelley’s description of the statue works to reconstruct, gradually, the figure of the “king of kings”: first we see merely the “shattered visage,” then the face itself, with its “frown / And wrinkled lip and sneer of cold command”; then we are introduced to the figure of the sculptor, and are able to imagine the living man sculpting the living king, whose face wore the expression of the passions now inferable; then we are introduced to the king’s people in the line, “the hand that mocked them and the heart that fed.” The kingdom is now imaginatively complete, and we are introduced to the extraordinary, prideful boast of the king: “Look on my works, ye Mighty, and despair!” With that, the poet demolishes our imaginary picture 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, boundless and bare, / The lone and level sands stretch far away.”

 الشرح الثاني

In the poem Ozymandias, Percy Bysshe Shelley brings out his talent in poetry writing in the way he uses vocabulary to impress the reader. It�s not the story of the poem that makes the poem memorable, but the way the poet brings it out.

The poem is about the remains of a statue of a once powerful pharaoh in Egypt named Ramsses II or Ozymandias. This king was very powerful and was very arrogant. He was too proud of himself and thought that nothing was more superior than he was. The poet describes one of the many statues of Ozymandias. This statue once stood in the middle of the Sahara Desert but now what remains is only a pair of huge legs standing on the sand with a ruined face half sunk in the sand near them. The poet describes the face of the statue as with a domineering expression like the expression Ozymandias had on his face when he was still alive. The message on the statue said:

"My name is Ozymandias, king of kings:

look on my works, ye Mighty, and despair!"

Which means you can never be powerful as I am. At last we come to know that even if this pharaoh was once very powerful he still dies like us normal humans do and nothing of him is left except a ruined statue in the middle of nowhere!

The poem consists of an octave and a sestet. In the octave the sense of power is felt while in the sestet we become aware that the works of mankind don�t last and that we all have to die � whether we�re a king of kings or a normal citizen. The poet uses words like �Two vast and trunkless legs of stone" to show us that before the statue got ruined it was quite a big statue. When describing the statue as �half sunk� and �shattered� in the sand we get a clear picture of two huge legs in the middle of a desert with its face near them in the sand. Shelley brings out the emotions on the statue�s face by describing the �frown� and �wrinkled lip� that can be seen although the statue is broken, the �sneer of cold command� makes you imagine someone which thinks that no one can be above him as in fact was Ramsses II. When the poet tells us that the emotions of the statue are still there, this implies that although nothing of the material things remain, you will still be remembered for the man you were � After Ozymandias died he was still remembered as a cold and arrogant person who thought was the best. In the poet�s opinion the sculptor who made this statue couldn�t describe Ramsses II any better � �well those passions read�. He finishes off his poem by saying that:

"Of that colossal wreck, boundless and bare

The lone and level sands stretch far away."

Which means that only a ruined statue in the middle of nowhere is left of a once very powerful king!

All these are examples of how Percy Shelley manages to make us imagine all that he wants us to. In my opinion, the great talent of this poet cannot be explained!

الشرح الثالث

The poem’s narrator presents the reader with a stunning vision of the tomb of Ozymandias, another name for Rameses II, King of Egypt during the 13th century B.C. Shelley emphasizes that to a modern viewer this tomb tells quite a different tale than that which Ozymandias had hoped it would. The king evidently commissioned a sculptor to create an enormous sphinx to represent his enduring power, but the traveler comes across only a broken heap of stones ravaged by time.

Enough of the original monument exists to allow Shelley a moment of triumph over the thwarted plans of the ruler. The face of Ozymandias is still recognizable, but it is “shattered,” and, though his “sneer of cold command” persists, it is obvious that he no longer commands anyone or anything. The vaunting words carved into the stone pedestal can still be read: “Look on my works, ye Mighty, and despair!” Yet he is to be pitied, if not disdained, rather than held in awe and fear: The broken-down tomb is set in a vast wasteland of sand, perhaps Shelley’s way of suggesting that all tyrants ultimately end up in the only kind of kingdom they deserve, a barren desert.

Shelley’s sonnet, however, would not be the great poem it surely is if it were only a bit of political satire. The irony of “Ozymandias” cuts much deeper as the reader realizes that the forces of mortality and mutability, described brilliantly in the concluding lines, will erode and destroy all our lives. There is a special justice in the way tyrants are subject to time, but all humans face death and decay. The poem remains primarily an ironic and compelling critique of Ozymandias and other rulers like him, but it is also a striking meditation on time-bound humanity: the traveler in the ancient land, the sculptor-artist who fashioned the tomb, and the reader of the poem, no less than Ozymandias, inhabit a world that is “boundless and bare.”

الشرح الرابع

Imagine this scenario: three English men sitting around a table at a drunken party. The men bet each other that each of them could come up with the best poem in the alotted time of fifteen minutes. The poem's topic was Egypt. The poem Ozymandias was the response of Percy Bysshe Shelley to the bet.

The first vital point to note is that the poem is an Italian sonnet in a traditional 14 line, 8-6, set-up with iambic pentameter. It encapsulates a great story about Ramses, the past king of Egypt. 

The poem was written around 1800 and the fact that it was written in an "antique land" (1) illustrates that the author was attempting to distance himself from Ramses, indicating the faded view of the past king Ozymandias.

Great opposition, irony and sarcasm appears when it is said, "My name is Ozymandias, king of kings: Look on my works, ye Mighty, and despair!" Nothing beside remains." This negative connotation shows that there once was a vast kingdom, but now that kingdom has disappeared. Neither property nor the king himself is immortal, the sonnet indicates. 

When it is said that the "lone and level sands stretch far away" (13-14), the reader realizes that perhaps the sand is more vast now than the empire is. 

Finally, when breaking down the word "Ozymandas" in the original greek, we realize that the kingdom no longer exists. Ozy comes from the Greek "ozium," which means to breath, or air. Mandias comes from the Greek "mandate," which means to rule.

Hence, Ozymandias is simply a "ruler of air" or a "ruler of nothing". It is then obvious that the King of Kings spoken of in the poem is actually nature itself. Nature never disappears and nature represents the immortality not represented by the Ramses or any other individual or possession

الشرح الخامس

Cohesion Analysis a. “Ozymandias”

In this poem, Shelley employs four exophoric references (I, Ozymandias, the pedestal, ye mighty). My readings are somewhat controversial, but it seems like in the first two cases, these appellations do not refer to anything in the poem, and serve to ground it in external reality. Ozymandias is a documented historical figure, and the use of that name throughout the poem seems to refer to the existing historical record in a specific way. The definite article can be read as endophoric, but it also seems to refer outside the text in a strong way: it seems to refer to our knowledge of the conventions of monumental statuary. We are supposed to know that the pedestal goes with the visage and legs. The archaic second person is very interesting here because it refers out of the pedestal where it is written, but it also refers out of the text to address itself to the powerful.

Shelley also uses fifteen endophoric personal and demonstrative references in this poem([personal: who—traveler, them—legs, whose—visage, its--visage, them—passions, my—Ozymandias] demonstrative: those--frown those—survive, these—visage/legs, that—hand, that—heart, these—quotation, that—quotation, visage, legs ). Most of these are pretty clear. To return to the definite article discussed above, if we want to read it endophorically, we can imagine it referring back to the visage and the legs; perhaps the best explanation is that can refer out in or in for its sense depending on the intelligence reading the text. Shelley includes a very important ellipsis in line eight(“the hand that mocked them and the heart that fed.[them]”) that contributes to the ambiguity which I will discuss in the section on verbs below. There are five conjunctive devices used in this poem; two enhancements (near, round) and three extensions( and, which, yet). Shelley creates chains of semantic near-equivalents in this poem( I will discuss this further in the word choice section), in addition to using repetition(sand—sand, and—and, repetition of the device of quotation) to create cohesion at the lexical level. His repetition of the device of quotation, where he begins by quoting a traveler, who in turn quotes the pedestal, will be important to the discussion of perspective below. 

Perspective Analysisa. “Ozymandias”

In this poem, Shelley employs a complex perspective. The first word in the poem is “I” which suggests a first-person perspective; however, the “I” only exists to set before the reader a quotation from another speaker, who, in his turn sets before the reader a quotation from a pedestal. This puts us at a double distance from Ozymandias. This plays into the general tone of the poem: the subject is a long dead king, and the story comes to us at secondhand about a pile of ruins in a desert. This deepens our sense of loss, desolation and futility. The story is hearsay, the statue is shattered, and we do “look on [Ozymandias’] works and despair” because they have come to stand for mutability not permanence. 

Type of Speech Analysis a. “Ozymandias”

This is a difficult poem to comment on because of a complex textual history. If we look to one edition, we find quotation marks enclosing all of the speech of the traveler; however, if we look at another, we find only the writing that appears on the pedestal set off in inverted commas. Due to the absence of a proper name to whom the quotation should be attributed in the poem, it is safe to say that we are looking at indirect discourse. This ties in with my remarks on perspective: there is a distancing effect that arises from the fact that there is information loss in history. Shelley seems to be intimating that history itself is indirect discourse, that it speaks to us without solid references, subject to information loss, and hearsay. 

Verb Analysis a. “Ozymandias”

“Ozymandias” uses fifteen verbs all of which are in the active voice. Six of these verbs are transitive (met, said, tell, read, survive, mocked). Five of these verbs are clearly intransitive (stand, lies, look, despair, stretch). There are two clear instances of linking verbs(appear,remains) and one example of the verb ‘to be.’ There is also one example of a verb which appears as intransitive due to an ellipsis (fed). Usually, ‘to feed’ is a transitive verb in English requiring a subject and an object; however, in this poem—probably for metrical reasons—Shelley elided the third person object pronoun from line eight. Line eight presents ambiguity because of the fact that ‘to survive’ can be either transitive or intransitive in English. The first time we read the poem, we may be led to believe, as I was, that it is used intransitively in line seven, but on a second reading, it should become clear that it is transitive, taking “the hand that mocked them and the heart that fed” as object. In addition, Shelley employs the imperative mood in lines eleven and twelve. This serves to intensify the irony to be discussed in the word choice section. 

Diction and Word Choice Analysis a. “Ozymandias”

The most important choice that Shelley made in this area was his translation of Diodorus Siculus’ rendering of the inscription mentioned in lines eleven and twelve(RPO, notes). This choice of translation makes possible the irony of the imperative statement. The original translation said: “"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." This is clearly very different from “My name is Ozymandias, King of Kings:/Look on my works, ye mighty, and despair.” In order for the irony to work, we need line twelve to appear exactly as it does: first, the mighty can either despair of ever matching Ozymandias, or can feel despair in the face of the ruins that are all that remain of his greatness second, the imperative force of the inscription is ironically juxtaposed with the Kink of kings’ impotence when faced with the desert sands.

In addition, throughout this poem Shelley creates strings of words that share semantic features. There seem to be three discernible strings: Largeness Words (vast-colossal)Breakage Words (trunkless-shattered-sunk-decay-wreck-bare) and Expression Words (frown-wrinkled lip-sneer). By the end of the poem, these three strings are joined in opposition to the sand, which is described as boundless and level. This seems to be an opposition between grand stateliness, ruination, misery on the one hand, and democratic anonymity on the other. 

Metaphor Analysis a. “Ozymandias”

There seems to be one major metaphor, the ruined monument, and a secondary metaphor, the sand. As I have already discussed these above, there is not much left to say except to point to the possibility of reading this entire poem as a metaphor of human experience. It may be read as a metaphor for mutability and impermanence, and the futility of seeking after traditional, stately glories and the approval of authority.

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