"Ozymandias" is the title of two related sonnets published in 1818. The first was written by the English Romantic poet Percy Bysshe Shelley and was published in the 11 January 1818 issue of The Examiner of London; the poem was included the following year in Shelley's collection Rosalind and Helen, A Modern Eclogue. Shelley's most famous work, "Ozymandias" is anthologised. Shelley wrote the poem in friendly competition with his friend and fellow poet Horace Smith, who wrote a sonnet on the same topic with the same title. Smith's poem was published in The Examiner three weeks after Shelley's, on February 1, 1818. Both poems explore the fate of history and the ravages of time: the greatest men and the empires they forge are impermanent, their legacies fated to decay into oblivion. In antiquity, Ozymandias was a Greek name for the Egyptian pharaoh Ramesses II. Shelley began writing his poem in 1817, soon after the British Museum's announcement that they had acquired a large fragment of a statue of Ramesses II from the 13th century BCE.

The 7.25-short-ton fragment of the statue's head and torso had been removed in 1816 from the mortuary temple of Ramesses at Thebes by the Italian adventurer Giovanni Battista Belzoni. It had been expected to arrive in London in 1818, but did not arrive until 1821; the banker and political writer Horace Smith spent the Christmas season of 1817–1818 with Percy Bysshe Shelley and Mary Shelley. At this time, members of Shelley's literary circle would sometimes challenge each other to write competing sonnets on a common subject: Shelley, John Keats and Leigh Hunt wrote competing sonnets on the Nile around the same time. Shelley and Smith both chose a passage from the writings of the Greek historian Diodorus Siculus, which described a massive Egyptian statue and quoted its inscription: "King of Kings Ozymandias am I. If any want to know how great I am and where I lie, let him outdo me in my work." In the poem Diodorus becomes "a traveller from an antique land."The two poems were printed in Leigh Hunt's The Examiner, a weekly paper published by Leigh's brother John Hunt in London.

Hunt had been planning to publish a long excerpt from Shelley's new epic, The Revolt of Islam the same month. Shelley's poem was published on 11 January 1818 under the pen name Glirastes, it appeared on page 24 under Original Poetry. Shelley's poem was republished under the title "Sonnet. Ozymandias" in his 1819 collection Rosalind and Helen, A Modern Eclogue. Smith's poem was published, along with a note signed with the initials H. S. on 1 February 1818. It takes the same subject, tells the same story, makes a similar moral point, but one related more directly to modernity, ending by imagining a hunter of the future looking in wonder on the ruins of a forgotten London, it was published under the same title as Shelley's verse. Shelley's "Ozymandias" is a sonnet, written in iambic pentameter, but with an atypical rhyme scheme when compared to other English-language sonnets, without the characteristic octave-and-sestet structure. A central theme of the "Ozymandias" poems is the inevitable decline of rulers with their pretensions to greatness.

The name "Ozymandias" is a rendering in Greek of a part of Ramesses II's throne name, User-maat-re Setep-en-re. The poems paraphrase the inscription on the base of the statue, given by Diodorus Siculus in his Bibliotheca historica as: King of Kings am I, Ozymandias. If anyone would know how great I am and where I lie, let him surpass one of my works. Although the poems were written and published before the statue arrived in Britain, they may have been inspired by the impending arrival in London in 1821 of a colossal statue of Ramesses II, acquired for the British Museum by the Italian adventurer Giovanni Belzoni in 1816; the statue's repute in Western Europe preceded its actual arrival in Britain, Napoleon, who at the time of the two poems was imprisoned on St Helena, had made an unsuccessful attempt to acquire it for France. Hubris Ozymandias Ozymandias Rodenbeck, John. "Travelers from an Antique Land: Shelley's Inspiration for'Ozymandias'". Alif: Journal of Comparative Poetics, no. 24, 2004, pp. 121–148.

Johnstone Parr. "Shelley's'Ozymandias'". Keats-Shelley Journal, Vol. VI. Waith, Eugene M.. "Ozymandias: Shelley, Horace Smith, Denon". Keats-Shelley Journal, Vol. 44, pp. 22–28. Richmond, H. M.. "Ozymandias and the Travelers". Keats-Shelley Journal, Vol. 11, pp. 65–71. Bequette, M. K.. "Shelley and Smith: Two Sonnets on Ozymandias". Keats-Shelley Journal, Vol. 26, pp. 29–31. Freedman, William. "Postponement and Perspectives in Shelley's'Ozymandias'". Studies in Romanticism, Vol. 25, No. 1, pp. 63–73. Edgecombe, R. S.. "Displaced Christian Images in Shelley's'Ozymandias'". Keats Shelley Review, 14, 95–99. Sng, Zachary. "The Construction of Lyric Subjectivity in Shelley's'Ozymandias'". Studies in Romanticism, Vol. 37, No. 2, pp. 217–233. Audiorecording of "Ozymandias" by the BBC. Ozy

Charles-Antoine Bridan was a French sculptor. Bridan was born in Ravières, studied under Jean-Joseph Vinache, he attended the Académie royale de peinture et de sculpture where he won the Prix de Rome in 1754 for his work Massacre of the Innocents. His award allowed him to travel where he attended school at the French Academy in Rome, he remained in Italy until 1762, returned to the Académie in Paris. He completed a marble sculpture The Martyrdom of Saint Bartholomew in 1772. In December 30, 1780 Bridan was appointed professor of sculpture, he trained his son Pierre-Charles Bridan who became a sculptor. Exhibition catalog Sculptors of The Louvre. French neo-classical sculptures. 1760 - 1830, Musée du Louvre, May 23 to September 3, 1990. Stanislas Lami: Dictionary of sculptors of the French school in the eighteenth century. Volume 1

If One of These Bottles Should Happen to Fall is the 1999 debut solo album by Tris McCall, a music journalist and rock musician from Hudson County, New Jersey. If One of These Bottles Should Happen to Fall, released in 1999, was produced and mixed by Scott Miller, a California pop musician who led the groups Game Theory and The Loud Family, and, McCall's "musical hero" until Miller's death in 2013. According to McCall, "Some of the basics were tracked in New York, but most of the recording was done in his San Bruno, California living room, he was generous with his time, his insight, his guidance". McCall credited David Schreiber, who accompanied McCall on trips to the San Francisco Bay Area to make the record, as his "principal collaborator during these sessions."According to McCall, "While the tone of the album is lighthearted, a few of the heavier themes that would obsess me are apparent here: geography as destiny, the pathos of the politician, capitalist activity as a glorified gambling addiction, distaste for drugs and alcohol, long looks askance at the big city across the Hudson."While selecting songs from McCall's demos, Miller drew McCall toward the "conceptual unity" of a set of songs centering on the political and civic life of New Jersey.

Describing the prominence of New Jersey life and politics in McCall's songwriting, The New York Times wrote, "Mr. McCall's songs are the opposite of a Jersey joke. In his songs, New Jersey is the center of the world, without apology."McCall described his musical attitude as "the Jersey way. I'm trying to tap into the way that civic and public life makes me feel and the way it makes other people feel," resulting in what the New York Times described as CDs "informed at their core by a sense of intense Jersey-tude." According to The Brooklyn Rail, McCall's strength is social commentary: in contrast to Bruce Springsteen's "boardwalks and cheap little seaside bars," McCall offers "an alternative New Jersey mythology, more urban and ironic, than Springsteen's, but no less captivating." McCall opened the 1999 CD with "The New Jersey Department of Public Works," a song about "an imaginary but noble state agency." In the song, McCall set out to create "a gauzily-remembered fictional New Deal-type program, representing the kind of togetherness and industrial positivism that we imagine the 1930s and 1940s were like.

It's an imaginary echo of an imaginary government department, one that unified state residents through collective building projects. It's supposed to sound like a dimly-remembered ideal, a dream of political and social cohesion achieved through identification with the state."McCall stated that the first two songs served as a "double intro," with "The New Jersey Department of Public Works" and "Janie Abstract" representing "New Jersey as I might have dreamt it, followed by New Jersey as I see it." In contrast to the opening track, "Janie Abstract" depicted present-day "strip highways and commercial retrofitting of old retail establishments, class conflict, the haves and have-nots of modern technology, misrepresentation and aggressive development plans, postmodernity.""The View from New Jersey" depicts a woman downsized from her job and "forced to move from Manhattan to Hoboken," who "equates her rejection by the corporate machine and exile with personal failure." McCall's sincere narrator, in a sort of therapeutic counseling, seems to suggest that "New Jersey offers opportunities for self-reinvention... autonomy and self-governance," and before he's through, "she's glad she stayed....

It's a song that encourages listeners to bear the pain of estrangement from mainstream values."Many of McCall's songs contain references to New Jersey politicians. A glossary identifying the names of Hudson County politicians and local haunts was included with the If One of These Bottles CD. Music critic Joe Harrington, in his 2002 book Sonic Cool: The Life & Death of Rock'n' Roll, called If One of These Bottles "the best Elvis Costello album since Armed Forces", cited McCall as a "master of the same kind of intricate wordplay as Dylan and Costello." Harrington added that McCall's "self-deprecating manner" and his "jovial, thus more philosophically insightful" approach to songwriting and performance "upsets people's notions about what a'folk' singer constitutes," as did the early Bob Dylan. The Brooklyn Rail, which cited "social commentary" as McCall's forte, wrote that "The View from New Jersey" is not only the album's "most memorable" song, but "may be the greatest New Jersey rock song since Springsteen's'Thunder Road'.

But whereas the Boss's song was all about leaving New Jersey... McCall's song is about settling down." The reviewer added that McCall writes "touching, if sardonic, love songs", to the point that "Missing You" nearly "seems to be channeling Cole Porter". All tracks are written by Tris McCall. McCall played synthesizer. Other musicians appearing on the album included Jens Carstensen on drums, David Schreiber on guitar and bass guitar, Martin Nienstedt on bass guitar, Dan Madinabeitia on piano, Rachel Fishman and Regan Solmo on vocals. "if one of these bottles should happen to fall – jersey songs by tris mccall". If One of These Bottles Should Happen to Fall at AllMusic If One of These Bottles Should Happen to Fall at Discogs