Act 1 Scene 2

His speech grows more passionate as he remembers the treachery of his brother: the syntax becomes irregular and elisions are frequent...

• 't' advance', 'chang'd 'em', 'new form'd 'em'

Prospero returns to the past, which is now present and active in the tenses of his verbs

• 'thinks me now incapable'
• 'hearkens my brother's suit'

Immediately the whole scene is lightened: Prospero's impassioned tones, narrating a solemn and tear jerking account


Prospero establishes the time of day at about two in the afternoon

• The time at which any Elizabethan or Jacobean theatrical performance would be expected to start
• Prospero states it must be accomplished ''twixt six and now' - Shakespeare has chosen to observe 'the unity of time' and wants to make sure the audience knows it

Ariel

• Such disobedience is usual (according to the Elizabethan authorities on witch craft) for the spirits who have been somehow forced into the service of a magician: their efforts are always involuntary and are always impatient about being held captive

Comparisons between Caliban and Ariel

• the one light as air and quick as thought, the other heavy, slow, and earth-bound

Miranda who has so far spoken for herself, surprises us now with the strength of her attack

• Abhorred slave, Which any print of goodness wilt not take

Up until this point the play has been looking back, but now the forward movement begins when Ferdinand is brought onto the stage


Brings a gentleness into the play

• 'At first sight / They have changed eyes' a sure sign (in Elizabethan romantic convention) of a genuine passion
• A promise of marriage is offered with the promise 'I'll make thee / The Queen of Naples' but romantic convention now insists on a trial of truth and constancy for Ferdinand's sincerity