Shelley uses enjambment, which involves a string of words stretching across the boundary of the end of one line into the beginning of the next, to have his lines enact the stretching of time or sand that his words describe.
This use of enjambment occurs first in line two, when describing the statue’s legs that still stand despite the passage of time: the fact that the content of the line stretches to the next mirrors the way that the legs themselves have also endured through time.
Shelley’s enjambment of line 6 stretches the phrase about Ozymandias’s "passions" being preserved in his stature all the way into line 7; this stretching of the flow of the text across two lines again seems to mirror the way that the sculpture has allowed Ozymandias's passions to similarly survive.
The poem also uses enjambment to end the poem, in lines 12 and 13. Once again this use of enjambment seems to support the idea of vastness and the passage of time. These lines describe not the survival of a human structure, such as the statue, through time, but rather the "boundless" desert that has swallowed up all remnants of Ozymandias's empire other than the stature.
It's also worth noting that lines 12 and 13 are the only two consecutive enjambed lines in the poem—which suggests that the endurance of the desert is even more powerful than the endurance of any human artifact, and will in the end wear all traces of humanity away.
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