A LEVEL: Eng.Literature, Miranda's Profile for 'The Tempest'

Miranda

Basic Overview of her Character

Miranda is the daughter of Prospero, the daughter of Milan and one of the inhabitants of the Island when the tempest is conjured up by Prospero. Miranda arrived at the island when she was still a young girl and so most of her memories would revolve around the island. This in turn makes her seem naive and innocent when in fact she is capable of thought and taking control. She appears to have a bad relationship with Caliban due to his attempt at raping her. She later falls in love with Ferdinand, disobeying Prospero in the process of meeting Ferdinand. With reference to Levi Strauss’s binary opposites, Miranda appears to be the exact opposite of the only other significant female mentioned in the play, Sycorax. Described as a ‘damn’d witch’, she appeared just as powerful as Prospero but is not mentioned largely the play. Sycorax’s position of power seems to be a source of disdain for Prospero, perhaps this is a representation of the patriarchal society during Shakespeare’s time. Miranda is a contrast to Sycorax’s character to emphasise the ideal woman who has grace and beauty.  

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Relationships with other characters:

Prospero: Is Miranda’s father and only blood relative. Both characters share a deep bond, with Prospero being the more authoritative of the two. Supported by his tone of voice and how he expects complete obedience (‘Obey, and be attentive’). Prospero has power over Miranda not only because of his magical ‘art’ and age, but also his power over her as a father. Daughters were considered the property of their fathers until they were married off to a suitable man. However, we can assume that Prospero does not view Miranda as just a property because he describes her as a ‘cherubim’ and uses vastly different words when describing his daughter. A contrast to the bleak image he paints about his brother, Antonio. 

Ferdinand: Ferdinand, serves as Miranda’s love interest, and the young couple are a symbol of a happy union. However, in the course of their relationship, it appears that Miranda is the one in control and the one who pushes the relationship forwards. Furthermore it is hinted that the relationship may have been staged and Prospero planned for the two characters to fall in love. Through out the play in the most significant scenes, Prospero always seems to be on the lookout for the two young people. Before Miranda’s encounter with Ferdinand, she has had little to no experience with those of the opposite sex (‘I do not know/ One of my sex’),  it causes the reader to question whether what she feels for Ferdinand is really true love or lust. 

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Themes

Hope: 

• Her marriage with Ferdinand is also a symbol of hope, because it marks a new beginning. 
• The gods, Ceres, Venus and Juno all bless the marriage. Favoured by the divine. - Masque scene 
• Her connotations from being a young girl,  as a muse.
• Miranda’s name stems from the latin mirandus meaning worthy of admiration. 

Womanhood: 

• Throughout the play, there are constant statements about her being a virgin.
• Caliban uses her as a tool to barter with Stephano. 
• Prospero tells Ferdinand not to touch her until the marriage is done.
• The ideal woman = The ideal island. - 
• In Act 4, Scene 1, Ferdinand and Prospero are discussing Miranda’s virginity, and throughout this interaction she plays little part, almost as if she’s become an accessory or part of the background. She is unimportant, perhaps this is a reference to the role of woman at the time. 
• Her willingness to care for others unless she has been put through wrong: ‘ Took pains to make thee speak, taught thee each hour’. 

Innocence and Purity: 

• Her naivety of the world is indicted by her innocent nature and her words. (Revealed in the quote: ‘brave new world’.)
• She has not had contact with any other men apart from her father and Caliban, and appears to trust easily: Caliban and his attempted assault.
• She hasn’t been corrupted physically and by human cruelty (excluding Caliban)

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Quotes:

• ‘Good wombs have borne bad sons.’ (Act 1. Scene 2, Miranda to Prospero)
• ‘Your tale, sir, would cure deafness’ (Act 1, Scene 2, Miranda to Prospero)
• ’Tis a villain, sir,’ (Act p1, Scene 2, Miranda to Prospero, about Caliban)
• ‘Abhorrèd slave,’ (Act 1, Scene 2, Miranda to Caliban)
• ‘A thing divine, for nothing natural’ (Act 1, Scene 2, Miranda to Prospero about Ferdinand)
• ‘ - O my father, / I have broke your best to say so’ (Act 3, Scene 1, Miranda to herself)
• ‘Do you love me?’ (Act 3, Scene 1, Miranda to Ferdinand)                                                                                                                                                                                            
• ‘The white cold virgin snow upon my heart / Abates the ardour of my liver’ (Act 4, Scene 1, Ferdinand - Prospero)
• ‘Sweet lord, you play me false’ (Act 5, Scene 1, Miranda to Ferdinand) 
• ‘How beauteous mankind is! O brave new world’ (Act 5, Scene 1, Miranda upon seeing the other men)

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Critics:

- Ann Thomson: 'Miranda has internalised the patriarchal assumption that a woman's main function is to provide a legitimate succession.'

- Lorei Leiniger 'Miranda is an allegory for 'softer' colonialism'

- David Sundelson: 'Prospero surrenders to Ferdinand the pleasure of possessing Miranda'

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