There are two distinct kinds of treatment that may be given to time in the dramatic structure:

The first is employed to achieve vividness to achieve or intensity by compressing the action, i.e., by confining the action to event of short duration, or by accelerating the time within a speech or episode.

The second kind of treatment is to extend the plot time to tell a richer, more extensive story i.e. by skipping comparatively long intervals between episodes, or by looking back and showing action at some previous time, or by using a double time which includes both a long period and a short one. Bertram Jessup has indicated the importance of achieving magnitude in a work of art. In the play form which is limited in physical size, achieving a big work of art is, therefore chiefly a matter of increasing the intensity or extensity of the plot through concentrating or extending the time structure.

Learn more about modern drama.

In “Ode to the West Wind,” Shelley uses personification to describe the West Wind. However, the personification keeps changing throughout the poem.

1. In the beginning, the poet personifies the West Wind as a Supernatural being, who embodies both anger and mercy, life and death. The wind is like a force that cannot be seen yet everything is controlled by it.
2. Shelley considers the wind as “Preserver and Destroyer,” a term that evokes spiritual imaginations.
3. Next the poet personifies the wind with Death, as it turns the leaves into “ghosts” which are”pestilence-stricken.” In addition phrases like “decaying” and “sepulcher” also symbolise the spirit of death. Yet, the poet asks the West Wind to “lift” him up that symbolises its positive side as supernatural being.
4. In the final lines, the poet describes the west as having a “lyre“, depicting that the West Wind has poetic characteristics as well. It is aeolian harp that “plays” lyrics. So both the poet and the wind are the same.

Read about the Romantic Poetry.

Tempest end with a sense of closure as Alonso and Prospero settle their differences and celebrate the union of their heirs, Ferdinand and Miranda. This breeds a spirit of cohesion, co-operation and trust.

The marriage also points to a future of commitment and togetherness aimed at righting the wrongs of the past. Prospero renounces his magic and frees Ariel. He re-assumes the dukedom of Milan and so the island goes back to Caliban.

However, the use of the game of Chess and the claims of cheating by Miranda aimed at Ferdinand leaves a possibility of future betrayals and coup, as the game of Chess is won by killing the rival king.