Classic and Contemporary Poetry: Explained

In "Ozymandias II," Howard Nemerov presents a contemporary take on the classic theme of decay and the persistence of time. By referencing the iconic poem "Ozymandias" by Percy Bysshe Shelley, Nemerov juxtaposes the grandeur and ultimate downfall of ancient empires with a more modern, everyday symbol of endurance: a beat-up old car. Through this comparison, Nemerov explores themes of decay, resilience, and the evolving nature of monuments.

The poem begins with a casual, conversational tone: "I met a guy I used to know, who said." This opening sets the stage for a narrative that is grounded in the mundane, contrasting with the lofty tone of Shelley's original. The speaker's acquaintance proceeds to describe a '57 Karnak, humorously dubbed the "Coop de Veal," a play on the French term "coup de ville," emphasizing the car's diminished and somewhat ridiculous status.

The description of the car is vivid and unflattering: "pointy rubber boobs for bumpers," "half its chromium teeth / Knocked down its throat," and "rust like a fungus spreading on the fenders." These images paint a picture of a once-prized possession now fallen into disrepair, much like the shattered visage of Ozymandias in Shelley's poem. The car, now likely owned by a marginalized individual, symbolizes the passage of time and the decline of material objects.

Despite its dilapidated state, the car's continued functionality is emphasized: "Well, what I mean, that fucking car still runs." This line shifts the tone from mere description to a kind of begrudging admiration for the car's persistence. The mention of "moths in the upholstery" further underscores the car's age and the wear it has endured, yet it "gets around," maintaining its presence on the streets.

The poem culminates in a reflection on the nature of American resilience: "well, Jeezus what a country, / Where even the monuments keep on the move." This closing line ties the narrative back to the theme of monuments and legacy, comparing the enduring, albeit battered, car to the static ruins of Ozymandias. Unlike the ancient monuments that crumble and remain fixed in their decay, the car represents a dynamic, living form of resilience, continually adapting and surviving despite its flaws.

Nemerov's choice to depict a car as a modern monument serves to democratize the concept of legacy. While Shelley's poem contemplates the hubris and inevitable decline of great rulers, Nemerov's poem finds value in the persistence of ordinary objects and people. The "monuments" in this contemporary context are not grand statues or edifices but the everyday items that continue to serve their purpose against the odds.

"Ozymandias II" by Howard Nemerov reinterprets the theme of impermanence and endurance through a modern lens. By contrasting the decayed grandeur of ancient empires with a beat-up but still-running car, Nemerov highlights the resilience inherent in everyday life. The poem invites readers to reconsider what constitutes a monument and to find beauty and significance in the persistence of the ordinary. Through its conversational tone and vivid imagery, "Ozymandias II" offers a poignant reflection on the passage of time and the enduring spirit of resilience.

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