the details are included in attached three files, and it needs about 500 words totally.
Part 1--Shelley and "Ozymandias" create a short close reading of this poem, focusing on the question: What does the poem seem to be saying about power/tyranny (or perhaps who holds the real power)? You need not comment on every line of the poem, but should be engaging directly with the poem and its language and form. Part 2-- Keats and "On Seeing the Elgin Marbles" After reading "On Seeing the Elgin Marbles" and "Elgin Marbles" In Context + Keats's Death.pdf Reflect on the experience Keats and others had encountering something so beautiful, and choose something you've encountered (could be a place, piece of art, song, or any object really) that was so beautiful or Sublime as the romantics would say. For something to be sublime, it is so beautiful (or so terrifying) that it is hard to put into words. Share a picture or link (if it is audio/visual) of that object, like Keats's poem, reflect on what emotions it stirs in your and why. This should include a couple sentences of reflection about Keats's poem and the context reading, as well as your object and explanation. Additionally, share one phrase/or aspect of "On Seeing the Elgin Marbles" you found challenging or confusing. Part 3 Both poems (same poems from part 1 and 2 written by Shelly and Keats)were inspired or tied to an ancient artifact that is currently housed (and was housed then as well) in the British Museum. Shelly uses them to discuss the limits of power and the lastingness of art, while Keats uses the Parthenon Marbles (what they're called now) to consider art and nature's aesthetic beauty, as well as to reflect on his own mortality. Compare and contrast these poems' uses of the ancient past and these artifacts in their discussions of mortality, legacy, and power (other things). Part 4 Finally Respond to Shelley's claim that Poets (artists) are "the unacknowledged legislators of the world". Create a 3 song playlist that would support this claim. Ozymandias BY PERCY BYSSHE SHELLEY 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 shattered visage lies, whose frown, And wrinkled 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 beside remains. Round the decay Of that colossal Wreck, boundless and bare The lone and level sands stretch far away.” On Seeing the Elgin Marbles BY JOHN KEATS My spirit is too weak—mortality Weighs heavily on me like unwilling sleep, And each imagined pinnacle and steep Of godlike hardship tells me I must die Like a sick eagle looking at the sky. Yet ’tis a gentle luxury to weep That I have not the cloudy winds to keep Fresh for the opening of the morning’s eye. Such dim-conceived glories of the brain Bring round the heart an undescribable feud; So do these wonders a most dizzy pain, That mingles Grecian grandeur with the rude Wasting of old time—with a billowy main— A sun—a shadow of a magnitude. D:\Document Files\BABL\Concise B 3rd ed\Concise B 3rd ed Web\Keats Concise B 3rd ed Web.wpd John Keats, In Context 19 In Context The Elgin Marbles The sculpted works now known as the Elgin Marbles are among the most impressive artefacts of ancient Greek civilization. They were removed from the Acropolis in Athens by a British group under the direction of Thomas Bruce, seventh Earl of Elgin, in the early years of the nineteenth century. At the time Athens was under the control of the Ottoman Empire, which had granted Elgin the right to erect scaffolding, make drawings and moulds of friezes and other sculptures, and excavate as appropriate. It is not clear that Elgin was ever granted permission to permanently remove and transport to Britain a large number of sculptures, as eventually happened. In 1816 most of the works were sold to the British government, and they remain in the British Museum in London. The removal of the Elgin Marbles is still contentious (the Greek government continues to demand their return from Britain), but for Keats, Hazlitt, and other literary figures of the time, the aesthetic issues raised by the marbles were of more intense interest than the political ones. Greek sculpture of this sort was championed as an ideal expression of art imitating nature—in contrast to what were seen as the derivative principles of neoclassical painting and sculpture. Just as Leigh Hunt attacked the neoclassical poetic tradition of Alexander Pope and others and contrasted it with the newer tradition of poets “who go directly to Nature for inspiration,” so Hazlitt attacked Sir Joshua Reynolds (first president of the Royal Academy of Art) and other neoclassical artists, contrasting their approach to art with that exemplified by the Elgin Marbles. The Elgin Marbles continued to exert a powerful influence on British aesthetic sensibility throughout the nineteenth century. The Victorian painter G.F. Watts recommended that artists study the Elgin Marbles to improve their figure drawing, and photographer Julia Margaret Cameron had models sit for her in poses based on those of figures in some of the sculptures. 20 John Keats Julia Margaret Cameron, Teachings from the Elgin Marbles, 1867. The Elgin Marbles (detail). John Keats, In Context 21 from William Hazlitt, “Sir Joshua Reynolds’s Discourses” (Champion, 27 November 1814) … We shall state at once, and without further preface, the principal points in the Discourses which we deem either wrong in themselves, or liable to misconception and abuse. They are the following— 1. That genius or invention consists chiefly in borrowing the ideas of others, or in using other men’s minds. 2. That the great style in painting depends on leaving out the details of particular objects. 3. That the essence of portrait consists in giving the general character, rather than the individual likeness. 4. That the essence of history consists in abstracting from individuality as much as possible. 5. That beauty or ideal perfection consists in a central form. 6. That to imitate nature is a very inferior object in art. All of these positions appear to require a separate consideration, which we shall give them in the following articles on this subject. from William Hazlitt, “Report on the Select Committee of the House of Commons on the Elgin Marbles” (Examiner, 11 June 1816) The Elgin Marbles are the best answer to Sir Joshua Reynolds’s Discourses. Considered in thatpoint of view, they are invaluable: in any other, they are not worth so much as has been said. Nothing remains of them but their style; but that is everything, for it is the style of nature. Art is the imitation of nature; and the Elgin Marbles are in their essence and their perfection casts from nature—from fine nature, it is true, but from real, living, moving nature; from objects in nature, answering to an idea in the artist’s mind, not from an idea in the artist’s mind abstracted from all objects in nature. Already these marbles have produced a revolution in our artists’ minds … It is to be hoped, however, that these marbles with the name of Phidias1 thrown into the scale of common sense, may lift the fine arts out of the limbo of vanity and affectation into which they were conjured in this country about fifty years ago, and in which they have lain sprawling and fluttering, gasping for breath, wasting away, vapid and abortive ever since—the shadow of a shade. The benefit of high examples of Art is to prevent the mischievous effect of bad ones. A true theory of Art does not advance the student one step in practice, one hair’s-breadth nearer the goal of excellence: but it takes the fetters from off his feet, and loosens the bandages from his eyes. … from William Hazlitt, “On the Elgin Marbles” (The London Magazine, February 1822) … It is evident to any one who views these admirable remains of Antiquity (nay, it is acknowledged by our artists themselves, in despite of all the melancholy sophistry which they have been taught or have been teaching others for half a century) that the chief excellence of the figures depends on their having been copied from nature, and not from imagination. The communication of art with nature is here everywhere immediate, entire, palpable. The artist gives himself no fastidious airs of superiority over what he sees. He has not arrived at that stage of his progress described at much length in Sir 1 Phidias Fifth-century Athenian sculptor of the Elgin Marbles. 22 John Keats Joshua Reynolds’s Discourses, in which, having served out his apprenticeship to nature, he can set up for himself in opposition to her. According to the old Greek form of drawing up the indentures in this case, we apprehend they were to last for life. At least, we can compare these Marbles to nothing but human figures petrified; they are absolute facsimiles or casts taken from nature. The details are those of nature; the masses are those of nature; the forms are from nature; the action is from nature; the whole is from nature. … The learned, however, here make a distinction, and suppose that the truth of nature is, in the Elgin Marbles, combined with ideal forms. If by ideal forms they mean fine natural forms, we have nothing to object; but if they mean that the sculptors of the Theseus and the Ilissus1 got the forms out of their own heads, and then tacked the truth of nature to them, we can only say, “Let them look again, let them look again.” We consider the Elgin Marbles as a demonstration of the impossibility of separating art from nature, without a proportionable loss at every remove. The utter absence of all setness of appearance shows that they were done as studies from actual models. The separate parts of the human body may be given from scientific knowledge; their modifications or inflections can only be learnt by seeing them in action; and the truth of nature is incompatible with ideal form, if the latter is meant to exclude actually existing form. … That truth of nature and ideal, or fine, form are not always or generally united, we know; but how they can ever be united in art, without being first united in nature, is to us a mystery, and one that we as little believe as understand. … If then the Elgin Marbles are to be considered as authority in subjects of art, we conceive the following principles, which have not hitherto been generally received or acted upon in Great Britain, will be found