In essence, the blathering of the speaker’s acquaintance belittles a message of a once known grandeur land. In context, the narrative framing holds the almost verbose tidings at ransom, and not only questions the true splendor of power, but excorticates all importance by any means. Using an extremely rooted praxis, nature, Shelley shows the nearly banal ‘test of time theory’ on one of the most renowned rulers in history.

Ozymandias, men among men, ‘king of kings,’ is left for ruin in the Egyptian sands. This is an antipode foreshadowing; this shows the ultimate eventuality of power, and demeans the hopes of all who covet such ideals. Not only do Shelley’s literary devices show for the downfall of power, but the defacing of the empowered. A visage, a deteriorated countenance, is shown as the core substructure of this poem. While the sculptor, the enslaved, poured their sweat and blood on the marble stone that which stood, the ruler flourished in self nourishment of good health and inflated ego; he was proud. To reflect upon now, he is nothing more than a commonplace conversation piece.

For I, this shows a copious lack of self-effacing temperament that is shown in a deep and enigmatic place of the human psyche. Most will not acknow a disposition to power, yet majority are not in adiaphory; it is human, it is nature. In this frame of reference, we can almost fortify a solid explanation on the terms of natural power. As displayed in this poem, the speaker shows the passiveness of olden reign. Nature is put in blame of this, because nature is all powerful, or so does Shelley convey in this poem. As to I, humans procuring power is part of nature, thereagainst, the valure of power is equated to nature, due to the sameness of origin.