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540:, Miranda does not make an appearance in the majority of such analyses. As the play's only female character, Miranda functions mostly as a representation of women instead of a representation of a colonised group. Lorie Leininger, discussed in the previous section, argues that Miranda is part of a group subjugated by colonialism due to her gender, but as far as direct connections to European colonisation overseas, Miranda does not connect directly to the majority of postcolonial analyses.
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through her marriage to the Prince of Naples, Ferdinand. Furthermore, while
Miranda is very much subservient to Prospero's power, some critics argue that her obedience is a conscious choice. Miranda proves herself willing to challenge Prospero's power, first by calling into question his treatment of
359:
as well as obedient to her father and is described as "perfect and peerless, created of every creature's best". She is, furthermore, the only female character within a cast of strong male figures, and much of her interaction on stage is dominated by the male figures around her. Miranda's behaviour is
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than her father does, and is eager to make his stay on the island as comfortable as possible. Her attitude towards the discovered peoples as well as the newly discovered castaway sharply contrasts her father's inclination to conquer and destroy, painting her not only as a compassionate figure but as
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In Act I, Scene II, the lines spoken by
Miranda to Caliban rebuking him for his ill-treatment of Prospero are frequently reassigned to Prospero. Editors and critics of the play felt that the speech was probably wrongly attributed to her either as a printing error or because actors preferred that no
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second scene begins with
Miranda, begging her father to spare the lives of the men at sea. She's fully aware of the powers Prospero possesses and begs him to cease the storm. In an act of bravery she challenges her father's wisdom, arguing that: "Had I been any god of power, I would / Have sunk the
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Miranda's first interaction with
Ferdinand was a revelation for her view on men besides Prospero. Having another person in her life shifted her attention away from Prospero, as she became aware of what she wanted out her life. This moment separates her past life to the life Miranda expects for the
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When
Prospero's servant appears, Miranda is placed into a magically induced sleep. She awakes when she is summoned and it is quickly shown that the two have a contentious relationship, most probably due to Caliban's failed attempt to rape her, she refers to him as "a villain, sir, I do not love to
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of the play. Miranda's influence is what dulls the worst of her father's anger; Prospero cites her as being his reason for living after their initial banishment and he informs her that everything he does is "in care" of her. Michael Neill argues that
Miranda's function on the Island is that of a
472:. In Leininger's analysis, Caliban is treated in a similar fashion, forced into the role of an uncivilised savage without heed for his individual needs and desires—much in the same way that Miranda is expected to marry Ferdinand and reject Caliban's advances simply because her father wishes it.
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of the island and that she also serves to protect the ethical code of the Island's inhabitants and visitors. Caliban, whom she rejects, is shown to be a monstrous figure, while
Ferdinand—whom she embraces—is saved by her presence, her sympathy lightening the "baseness" of his given task. Critic
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as she did not grow up within a conventional society. This leads
Miranda to view the world without preconceived ideas. Prospero is the main guardian in her life, but she developed personality traits such as kind-heartedness that are, as many describe, distinct in comparison to Prospero’s. In
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Critic
Jessica Slights creates claims that although many declare that Miranda only reflects the image of an obedient and subservient woman; she argues Miranda's character is independent. Miranda's upbringing shapes her character and the view of the world around her. She is not confined to
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Moments later she encounters
Ferdinand for the first time and the two immediately fall in love. Miranda is amazed by the sight of him, questioning whether or not he is a spirit. While Prospero is pleased by the immediate connection the two display, he purposefully takes up an attitude of
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However, some critics argue that those same "feminine" traits enable her to be a strong female presence with important effects on the play's outcome. Throughout the course of the play, Miranda acts as a foil to Prospero's more violent instincts and serves as a
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Critics also argue that the language used by Miranda in this speech is out of character for her, given her lack of knowledge of the world that makes Caliban's behaviour so shocking, as well as the fact that her style of speaking strongly resembles Prospero's
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Miranda's next appearance is in the third act. She and Ferdinand take a few moments together to get acquainted and are quickly married. She insists on doing the work that her father has assigned him, and freely admits her
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Melissa Sanchez analyses Miranda in a similar light, discussing her as a representation of an "angelic—but passive—soul "caught in the conflict between enlightenment and base desire (represented by Prospero and Caliban).
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However, others feel that Miranda's speech here is correctly attributed. As the play progresses, Caliban refers to Miranda as his "mistress", saying that it was Miranda who explained to him what the moon and stars are.
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Furthermore, some critics do acknowledge that while the language in this particular speech is stronger than expected for Miranda, it is far weaker than Prospero's form of address would be given the situation.
569:. Furthermore, the use of anger and strong language removes the image of youth and innocence Shakespeare cultivates of Miranda and does not seem to be in keeping with her behaviour for the rest of the play.
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During the encounter Miranda once again stands up to her father, arguing against his harsh treatment of Ferdinand and defending his honour when Prospero refers to him as nothing more than another Caliban.
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411:. Miranda makes a very clear decision to seek out Ferdinand and offer her assistance, all the while worrying that her father will discover them. She is also the one to abandon traditional concepts of
793:." Trans. Array The Women's Part: Feminist Criticism of Shakespeare. Carolyn Ruth Swift Lenz, Gayle Greene and Carol Thomas Neely. Chicago: University of Illinois Press, 1980. Print.
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However, Miranda can be interpreted as an allegory for the softer side of colonialism, portraying the more "missionary" aspect of colonisation attempts, in that she tries to educate
296:. The celebration is interrupted by Prospero's sudden remembrance of Caliban's plot against him, after which Miranda displays a strong concern for her father's well-being.
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Cartelli, Thomas. "After "The Tempest:" Shakespeare, Postcoloniality, and Michelle Cliff's New, New World Miranda." Contemporary Literature. 36.1 (1995): 82–102. Print.
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to him before swearing her love for him. The scene ends with their marriage, Miranda swearing she will be his servant if Ferdinand will not take her as his wife.
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Rev. Dr. Krauth. A New Variorum Edition of Shakespeare: The tempest. IX. Ed. Furness, Horace Howard. Philadelphia: J. B. Lippincott Company, 1892. 73–74. Print.
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typically seen as completely dictated by Prospero, from her interactions with Caliban to her ultimate decision to marry Ferdinand. The traits that make her the
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925:
Staunton. A New Variorum Edition of Shakespeare: The tempest. IX. Ed. Furness, Horace Howard. Philadelphia: J. B. Lippincott Company, 1892. 73–74. Print.
315:. Miranda is teasing Ferdinand for cheating but admits that even if he is dishonest, she's more than happy to believe it for the love she bears for him.
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Her last appearance is in the play's final scene. After Prospero reveals himself to the assembled crowd he reveals the happy couple engaged in a game of
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towards the shipwrecked prince, forbidding a relationship between the two in order that Ferdinand will place a higher value on his daughter's affection.
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Dickson. A New Variorum Edition of Shakespeare: The tempest. IX. Ed. Furness, Horace Howard. Philadelphia: J. B. Lippincott Company, 1892. 73–74. Print.
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Her decision to pursue a relationship with Ferdinand is also interpreted by critics as an indication that her marriage to him is more than a simple
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693:. Act I, Scene II. 354–365. In later editions, Miranda's lines here are often reassigned to Prospero. Please see section 4.1 for more information.
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776:." Trans. Array The Women's Part: Feminist Criticism of Shakespeare. Carolyn Ruth Swift Lenz, Gayle Greene and Carol Thomas Neely. Chicago:
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modesty by ardently stating her love for Ferdinand, proclaiming that "I am your wife, if you will marry me; / If not, I'll die your maid".
811:
Slights, Jessica. "Rape and Romanticization of Shakespeare's Miranda." SEL: Studies in English Literature 1500–1900. 42.2 (2001): 357–379.
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Slights, Jessica. "Rape and Romanticization of Shakespeare's Miranda." SEL: Studies in English Literature 1500–1900. 42.2 (2001): 357–379.
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is a weapon used against her by her father, stating that Prospero uses Caliban's attempted assault and Ferdinand's romantic overtures to
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of racism shown in the treatment of Caliban. She states that Prospero's treatment of Miranda is in essence the same as his treatment of
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souls within her." As the scene progresses it is revealed to her that she is, in fact, the high ranking daughter of the Duke of Milan.
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instead of treating him as a sub-human citizen like her father seems keen to. She also displays far more sympathy to the shipwrecked
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to the Island along with her father at age three, and in the subsequent twelve years has lived with her father and their slave,
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future. This was an opportunity that let her too not only to express her sexuality, but to also reclaim her independence.
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to move the play's plot further. She is also a central figure in her father's revenge, enabling Prospero to gain political
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When she is finally introduced to the assembled crowd she reacts with wonder, proclaiming the play's most famous lines:
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attitude towards women. Leininger equates that the sexist attitudes displayed towards Miranda are equitable to the
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and unaware of the evils of the world that surrounds her, learning of her father's fate only as the play begins.
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As the moment with Caliban progresses, Miranda rebukes Caliban for the hatred he expresses towards her father:
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in that Prospero's use of Miranda as an unwitting player in his political revenge is expressive of the play's
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Sanchez, Melissa E. "Seduction and Service in The Tempest." Studies in Philology. 105.1 (2008): 50–82. Print.
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This article is about the character from the Shakespearean play The Tempest. For other uses, see
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940:, Publications of the Astronomical Society of the Pacific, Vol. 61, No. 360, p. 129, June 1949
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Theobald. A New Variorum Edition of Shakespeare: The tempest. IX. Ed. Furness, Horace Howard.
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Her lines spoken at the end of Act V, Scene I are the inspiration for the title of the novel
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627:, is frequently seen to be a modernised Miranda. Miranda is featured in the 2019 novella
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Critic Lorie Leininger argues that Miranda fits into the colonialist interpretation of
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sailors and then defying his commandment to have nothing to do with Prince Ferdinand.
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sea within the earth or ere / It should the good ship so have swallow'd and / The
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Leninger, Lorrie Jerrell. "The Miranda Trap: Sexism and Racism in Shakespeare's
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Leninger, Lorrie Jerrell. "The Miranda Trap: Sexism and Racism in Shakespeare's
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825:: Shakespeare, Postcoloniality, and Michelle Cliff's New, New World Miranda".
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Neill, Michael. ""Noises,/Sounds and sweet airs": The Burden of Shakespeare's
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427:—that she is the indicator of a given character's moral status within the
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A True Reportory of the Wracke and Redemption of Sir Thomas Gates, Knight
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Critics also argue that Miranda's feminine presence is essential to the
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There is some speculation that Miranda, along with her husband,
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351:. Miranda is typically viewed as having believed herself to be
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Wedding of Princess Elizabeth and Frederick V of the Palatinate
453:, describing his attitude towards both as indicative of their
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was originally performed for the court of Elizabeth's father,
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interprets Miranda as a living representation of female
148:. She is the only female character to appear on stage.
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Took pains to make thee speak, taught thee each hour
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With words that made them known. But thy vile race,
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596:named after characters from Shakespeare and Pope.
498:The bigger bulk it shows. Hence, bashful cunning,
481:addition, she challenged the rules of traditional
561:character would remain silent too long on stage.
492:What I shall die to want. But this is trifling,
238:One thing or other: when thou didst not, savage,
468:her, simplifying her into a personification of
258:Could not abide to be with; therefore wast thou
507:If not, I’ll die your maid. To be your fellow
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536:as a reaction to European colonialism in the
355:towards her father. She is loving, kind, and
292:put on by her father in celebration of their
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326:How beauteous mankind is! O brave new world,
254:Though thou didst learn, had that in't which
510:You may deny me, but I’ll be your servant,
457:within the social hierarchy of the Island.
1309:Mobile Suit Gundam: The Witch from Mercury
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592:is named after her, in keeping with other
495:And all the more it seeks to hide itself,
489:What I desire to give; and much less take
288:Later on, she and her new husband enjoy a
232:Which any print of goodness wilt not take,
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501:And prompt me, plain and holy innocence!
324:How many goodly creatures are there here!
552:one sympathetic to the colonial plight.
234:Being capable of all ill! I pitied thee,
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400:Miranda, watching the storm (1888), by
1674:Fictional Italian people in literature
1664:Literary characters introduced in 1611
907:"The Tempest", Act II, Scene II. 149."
702:"The Tempest". Act V, Scene I. 203–206
504:I am your wife, if you will marry me;
264:Who hadst deserved more than a prison.
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460:Leininger also argues that Miranda's
303:Miranda and Ferdinand, observing the
167:, as her only company. She is openly
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1328:Scene from Shakespeare's The Tempest
240:Know thine own meaning, but wouldst
155:, another of the main characters of
260:Deservedly confined into this rock,
633:, which imagines the events after
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821:Cartelli, Thomas (1995). "After
1669:Female Shakespearean characters
1485:Noises, Sounds & Sweet Airs
802:The Tempest (Act III. i. 83–84)
183:, may be intended to represent
1362:Return to the Forbidden Planet
1:
1689:Frederick V of the Palatinate
937:The Fifth Satellite of Uranus
837:University of Wisconsin Press
778:University of Illinois Press
754:. 59.1 (2008): 36–59. Print.
532:is frequently analysed from
485:when she pursued Ferdinand.
340:Feminine Virtue Personified
151:Miranda is the daughter of
1705:
735:. Act III, Scene I. 83–84.
714:. Act III, Scene I. 47–48.
667:Greenwood Publishing Group
330:That has such people in't.
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1684:Characters in The Tempest
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681:. Act I, Scene II. 10–13.
655:Understanding The Tempest
59:
49:
1336:Ferdinand Lured by Ariel
1075:Decades of the New World
887:J. B. Lippincott Company
250:, I endow'd thy purposes
199:, in celebration of the
121:Alonso, King of Naples (
32:Miranda (disambiguation)
27:Character in The Tempest
1623:What's past is prologue
1331:(c, 1736-1738, Hogarth)
1301:Shakespeare's Shitstorm
1194:Three Shakespeare Songs
828:Contemporary Literature
513:Whether you will or no.
89:In-universe information
67:John William Waterhouse
1579:The Book of Watermarks
1529:The Sea and the Mirror
1277:The Journey to Melonia
1235:Don't Pay the Ferryman
624:No Telephone to Heaven
588:, one of the moons of
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1355:Beach Blanket Tempest
889:, 1892. 73–74. Print.
751:Shakespeare Quarterly
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18:Miranda (Shakespeare)
1679:Fictional princesses
1522:Caliban upon Setebos
1501:The Enchanted Island
187:and her new spouse,
136:principal characters
1544:A Midsummer Tempest
987:William Shakespeare
653:Nostbakken, Faith.
556:Controversial lines
534:postcolonial angles
223:look on." (I, ii).
189:Elector Frederick V
140:William Shakespeare
83:William Shakespeare
71:Miranda—The Tempest
39:Fictional character
1197:(Vaughan Williams)
1112:Commedia dell'arte
600:In popular culture
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402:Frederick Goodall
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1469:Die Geisterinsel
1464:(1798 Reichardt)
1461:Die Geisterinsel
1453:Die Geisterinsel
1402:The Mock Tempest
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1261:Forbidden Planet
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207:Role in the play
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107:Prince Ferdinand
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1221:(Tchaikovsky)
1220:
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1199:
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1120:
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1091:Metamorphoses
1087:
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631:
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611:
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595:
594:Uranian moons
591:
587:
580:
578:
574:
570:
568:
562:
555:
553:
550:
546:
541:
539:
535:
531:
530:
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519:
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508:
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486:
484:
479:
473:
471:
467:
463:
462:sexualisation
458:
456:
452:
448:
447:undercurrents
444:
440:
439:
433:
430:
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425:Christ-figure
421:
420:central theme
416:
414:
410:
403:
398:
394:
392:
387:
383:
377:
375:
374:vulnerability
371:
367:
363:
358:
357:compassionate
354:
350:
346:
339:
334:
331:
328:
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316:
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306:
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297:
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284:
278:
274:
272:
265:
262:
249:
246:A thing most
243:
227:
224:
220:
218:
213:
212:The Tempest's
206:
204:
202:
198:
194:
190:
186:
182:
174:
172:
170:
169:compassionate
166:
162:
158:
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137:
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124:
123:father-in-law
118:
112:
108:
103:
99:
96:
92:
87:
84:
81:
77:
72:
69:(1849–1917),
68:
63:
58:
54:
53:
48:
43:
37:
33:
19:
1639:
1602:Ariel's Song
1577:
1558:
1550:
1542:
1534:
1524:" (Browning)
1500:
1492:
1488:(1991 Nyman)
1483:
1475:
1468:
1460:
1451:
1448:(1756 Smith)
1444:
1424:
1416:
1408:
1400:
1393:
1385:
1367:
1360:
1353:
1334:
1326:
1307:
1299:
1291:
1283:
1275:
1267:
1259:
1251:
1224:
1216:
1208:
1200:
1192:
1116:
1105:
1097:Of Cannibals
1095:
1090:
1082:
1081:Montaigne's
1073:
1066:
1011:
990:
945:
936:
930:
921:
912:
903:
894:
883:Philadelphia
877:
832:
826:
822:
816:
807:
798:
790:
785:
773:
768:
759:
749:
745:
740:
732:
728:
719:
711:
707:
698:
690:
686:
678:
674:
654:
649:
634:
628:
622:
612:
605:
603:
584:
581:In astronomy
575:
571:
563:
559:
542:
527:
525:
516:
512:
509:
506:
503:
500:
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494:
491:
488:
474:
459:
436:
434:
417:
406:
378:
344:
343:
329:
321:
317:
310:
287:
279:
275:
267:
263:
256:good natures
229:
225:
221:
211:
210:
192:
178:
156:
150:
143:
131:
130:
122:
116:
110:
101:
70:
50:
36:
1641:The Tempest
1571:Video Games
1504:(2011 Sams)
1496:(Adès 2004)
1493:The Tempest
1445:The Tempest
1410:Une TempĂŞte
1387:The Tempest
1312:(2022-2023)
1293:The Tempest
1225:The Tempest
1218:The Tempest
1210:The Tempest
1202:The Tempest
1179:Adaptations
1118:Sea Venture
992:The Tempest
823:The Tempest
746:The Tempest
733:The Tempest
712:The Tempest
691:The Tempest
679:The Tempest
635:The Tempest
615:protagonist
529:The Tempest
522:Colonialism
466:marginalise
455:subjugation
438:The Tempest
413:Elizabethan
391:shipwrecked
353:subordinate
345:The Tempest
193:The Tempest
157:The Tempest
145:The Tempest
52:The Tempest
1658:Categories
1616:Sea change
1547:(Anderson)
1512:Poetry and
1253:Yellow Sky
1229:(Nordheim)
1213:(Sibelius)
1205:(Sullivan)
1106:Naufragium
1104:Erasmus's
1000:Characters
839:: 82–102.
641:References
567:mannerisms
366:femininity
217:fraughting
197:King James
159:. She was
79:Created by
1633:Sculpture
1531:" (Auden)
1477:Der Sturm
1227:(ballet)
1032:Ferdinand
853:0010-7484
621:'s novel
483:courtship
370:innocence
322:O wonder!
271:animosity
181:Ferdinand
115:Antonio (
55:character
1563:(Atwood)
1560:Hag-Seed
1555:(Rogers)
1539:(Warner)
1390:(Dryden)
1347:Musicals
1320:Painting
1237:" (1982)
1042:Stephano
1007:Prospero
869:38584750
659:Westport
470:chastity
386:prestige
368:are her
362:pinnacle
335:Analysis
294:nuptials
161:banished
153:Prospero
98:Prospero
1594:Phrases
1369:Amaluna
1269:Tempest
1089:Ovid's
1060:Sources
1037:Gonzalo
1027:Sycorax
1022:Caliban
1012:Miranda
861:1208955
791:Tempest
774:Tempest
657:. 1st.
545:Caliban
451:Caliban
283:naivety
248:brutish
175:Origins
165:Caliban
132:Miranda
111:husband
73:. 1916.
45:Miranda
1644:(1966)
1582:(1999)
1552:Island
1536:Indigo
1429:(2008)
1421:(1973)
1304:(2020)
1296:(1998)
1288:(1991)
1280:(1989)
1272:(1982)
1264:(1956)
1256:(1948)
1245:Screen
1083:Essays
867:
859:
851:
590:Uranus
526:While
443:sexist
349:virtue
305:masque
290:masque
242:gabble
102:father
94:Family
1437:Opera
1379:Plays
1186:Music
1128:Films
1017:Ariel
857:JSTOR
835:(1).
313:chess
191:, as
117:uncle
1170:2010
1165:1992
1160:1980
1155:1979
1150:1963
1145:1960
1140:1911
1135:1908
865:OCLC
849:ISSN
389:the
372:and
244:like
989:'s
841:doi
748:."
617:of
364:of
142:'s
138:of
1660::
885::
863:.
855:.
847:.
833:36
831:.
665::
663:CT
661:,
637:.
610:.
203:.
119:)
113:)
104:)
1625:"
1621:"
1618:"
1614:"
1611:"
1607:"
1604:"
1600:"
1527:"
1520:"
1233:"
1100:)
1094:(
979:e
972:t
965:v
871:.
843::
307:.
125:)
109:(
100:(
34:.
20:)
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