Miranda (The Tempest) - Wikipedia
Character analysis: Ariel and Prospero in The Tempest . Though Prospero professes care for his daughter, his relationship with her can be. Copies 23 - 31 Shakespeare's The Tempest, and the character of Sycorax, have been considered the In her collection of poems and fables, Because of India (), her family relationships (Prospero's wife, Miranda's mother) that deprive. Ariel's relationship with Prospero is greater than master and servant—Ariel takes care of the details that would otherwise worry Prospero. In turn, Ariel is.
The magician denies Ariel's request for freedom at this time, but promises that on the condition he follows the rest of his commands, he will grant his wish in two days.
For the rest of the play, Ariel is Prospero's eyes and ears—spying on the shipwrecked sailors in invisible form, but only Prospero can see Ariel.
In the second act Ariel briefly appears to stop a conspiracy to kill Alonso, King of Naples, whose brother and heir to the dukedomSebastian, plots to kill him in his sleep. Ariel sings in the ear of Gonzalo, a councillor to Alonso, to wake him and foils the plot.
Ariel also appears in Act Three to foil Caliban's plot to turn the sailors against Prospero and murder him. Later in the same act, he appears with a clap of thunder and rebukes those who were involved in the plot to banish Prospero to the island, displaying his fearful power to the men. He is later called on to gather the spirits of the island before Miranda and Ferdinand, and to bring Trinculo, Stephano, and Caliban before Prospero for judgement.
In the final act, Ariel releases the prisoners of Prospero and awakens what is left of the crew of the ship from a deep slumber. Thanks to Ariel's work, Ferdinand and Miranda have fallen in love.
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Prospero is so impressed by Ariel's matchmaking that he says that he would set Ariel free for that one act. Thus, having fulfilled Prospero's tasks, and Prospero himself now being free to leave the island, Ariel is set free. Sources[ edit ] The source from which Shakespeare got the idea for Ariel is not known, though there have been many candidates proposed by scholars. Sprites or demons such as Ariel were viewed during the Renaissance from either religious or scientific points of view: Some scholars compare Ariel to demons of the air described in Renaissance demonologywhile others claim that he is an archetype of a more neutral category of sprites.
These spirits often disturb the air, stir up tempests and thunders. They do not retain one form, but take on various forms Jewish demonology, for example, had a figure by the name of Ariel who was described as the spirit of the waters.
Another spirit, Urielis also comparable. In Isaiah 29, an Ariel is mentioned as another name for Jerusalem. In the Geneva Bible, which Shakespeare and others of the time would have known, the entry carries an interesting footnote describing this Ariel as the "Lyon of God. Other scholars propose that the ca.
The character, named Shrimp, is also an air demon controlled by a magician. A few scenes of the play feature this demon performing tasks nearly identical to those Shakespeare's Ariel performed. Since it is very likely Shakespeare was familiar with the play, it is possible that Ariel is based on Shrimp, but evidence remains inconclusive.
Shakespeare, however, refuses to make Ariel a will-less character, infusing him with desires and near-human feelings uncharacteristic of most sprites of this type. Scholars have tried to discover just what sort of "quainte device" would have been used by the King's Men in portraying this scene. Ariel's actor would have been unable to hide the food himself, having harpy wings over his arms which cumbered movement. The actor would not even have been able to sweep the food into a receptacle behind the table, since the theatre had seating on three sides.Act 1, Scene 2 - The Tempest - Royal Shakespeare Company
What was needed was some sort of device to act on the signal of Ariel slapping his wings on the table. This device was probably a false table top which could be tripped by a boy underneath while the harpy's wings covered the food.
When the wings lifted, the food would be gone, apparently by magic. Later in act three, when Ariel appears and disappears with thunder, another trick was probably used, involving some sort of basket on wires, covered in cloud designs, which the Globe theatre then had. Ariel may have descended from the air in this device as a harpy, spoken his lines, and ascended in the same device. Ariel may have descended on the back of an eagle, rather than clouds, or with no device at all—wires being attached to his harpy wings.
Scholars have wondered whether Shakespeare originally intended the actor for Ariel to cover Ceres' role, and give it away in this line. The need for a dual role may have been caused by a shortage of boys capable of playing female parts boys usually played all female roles in Shakespeare's day as there are many female roles in The Tempest.
This changing of parts requires a change in costume, which explains a lot of Ariel's delay in scene four in carrying out Prospero's orders.
Time is allowed for the character to change from Ariel to Ceres and back. 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 chess. 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. When she is finally introduced to the assembled crowd she reacts with wonder, proclaiming the play's most famous lines: How many goodly creatures are there here!
How beauteous mankind is! O brave new world, That has such people in't. As is mentioned in the main article, Miranda is typically viewed as having completely internalised the patriarchal order of things, believing herself to be subordinate towards her father.
She is loving, kind, and compassionate as well as obedient to her father and is described as "perfect and peerless, created of every creature's best". Miranda's behaviour is typically seen as completely dictated by Prospero, from her interactions with Caliban to her ultimate decision to marry Ferdinand. The traits that make the pinnacle of femininity are the same traits that disenfranchise her: However, various 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 sounding board to move the play's plot further.
She is also a central figure in her father's revenge, enabling Prospero to gain political prestige 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, watching the storm 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 political match. Miranda makes a very clear decision to seek out Ferdinand and offer her assistance, all the while worrying that her father will discover them.
Michael Neill argues that Miranda's function on the Island is that of a Christ-figure —that she is the indicator of a given character's moral status within the social hierarchy 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 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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She states that Prospero's treatment of Miranda is in essence the same as his treatment of Calibandescribing his attitude towards both as indicative of their subjugation within the social hierarchy of the Island.
Leininger also argues that Miranda's sexualisation is a weapon used against her by her father, stating that Prospero uses Caliban's attempted assault and Ferdinand's romantic overtures to marginalise her, simplifying her into a personification of chastity. 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.
As the play's only female character, Miranda functions mostly as a representation of women instead of a representation of an oppressed colonial 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 the British colonial process go, Miranda does not connect directly to the majority of theories.