Ode to Wine-Neruda "Ode to Wine" Pablo Neruda was a Chilean poet whose influential works helped to garner him a Nobel Prize for Literature in 1971. Pablo Neruda's "Ode to Wine," from Full Woman, Fleshy Apple, Hot Moon, uses allusions, imagery, and the theme of love and admiration to compare his love of wine, and the pleasure he derives from it, to the sensuality and sexuality of a woman. Neruda structures "Ode to

The last stanza is the protagonist's projection of what he thinks the future will hold. He imagines himself relating this day with a sigh to another, and letting them know that when he came to the fork in the road he took the road less traveled, and that made all the difference. We must remember two things the author said, first it is the story of his friend, Edward Thomas, and

The remainder of the poem assumes a more regularly rhythmic form, although the meter is not strict. Some of the remaining lines and stanzas follow an iambic hexameter, such as stanza three. However, many of the lines are in anapestic hexameter, or contain combinations of various meters. The poet inserts dactylic and anapestic feet along with iambic and also trochaic ones for intensity and variation, much as one would

Road not Taken, Robert Frost uses the setting, mood, and characterization to help illuminate the theme of choice symbolized by the road not taken. The poem uses various literary devices to describe choice. The poem is set in the woods, where two roads diverge. The setting is symbolic. The roads represent choice. The poem has a contemplative mood. Each of the choices is appealing The traveler knows that choosing one road means choosing not to follow

Last Duchess Jealousy, Rage, and Possession in Browning's "My Last Duchess" Robert Browning's "My Last Duchess" emphasizes Victorian ideals of women and allows readers to understand how they were objectified. In this macabre poem, Browning uses the themes of jealousy, rage, and possessiveness to describe what motivated the Duke to behave as he did. In the poem, the unnamed narrator has transformed his wife into an object on numerous occasions and

With a dull, dead throb of syllables that virtually reaches out and grabs the auditor, Owens writes: "If you could hear, at every jolt, the blood / Come gargling from the froth-corrupted lungs, / Obscene as cancer, bitter as the cud/of vile, incurable sores on innocent tongues, / My friend, you would not tell with / such high zest / to children ardent for some desperate glory, / the