A Comparison of Ignorance in The Tempest and Sonnet 93 Essay

Yet her compassion, as real as it is, also has a certain element of shallowness, or at least inexperience about it. She has lived the majority of her life in isolation, on an island known with her only companionship being that of her father. Growing up on this deserted island, Miranda learns to live and abide by the example set by Prospero. He is her only contact with the humanity and therefore he is her only friend and teacher. She knows no other woman and therefore had no female figure to aid the process of raising her. She is naïve and unaware of life's experiences, having been shielded from the rest of the world.      

She is not happy here, where she cannot be herself. She even sneaks out of the house to escape the dinner party that was intended for her anniversary. It would seem that the only time she is happy is when she is working on her comic books that share a title with the novel. On page ninety-two of Mandel’s work, it is mentioned that “Miranda spends most of her time working on the Station Eleven Project.” Just like how she runs from the dinner party, this is her way of escaping this life she does not belong in. This life that does not belong to her. These comics give her purpose. She’s loyal to Station Eleven more than she is to Arthur. She spends much more time on the comics than with her husband, even though she wishes it would be

Miranda has been a great developing character in this part. Miranda meets Arthur Leander and later on marries him. However, they end up divorcing after a couple months. This part of the novel foreshadows from the beginning of novel, “thrice married” (Mandel 2). This event will also foreshadow events to come as this infused the relationship between Arthur and Elizabeth after this divorce. Furthermore, during this part of the novel, we learn the personality of Miranda

Miranda meets a man named Dev at an expensive make-up counter where she becomes enamored with his charm and appearance and from then on continues a relationship with him. Similarly, Miranda’s perspective of her new love is widely altered by her co-worker Laxmi, who usually has stories of heartbreak surrounding her cousin's adulterous husband. Soon Laxmi ends up inviting her poor cousin up to New York for a consoling spa day, but forgets about who will have the responsibility of watching her nephew. So Miranda ends up doing it out of niceness, where she is immediately met with the behavior of a rude elementary school boy named Rohin. 7 year old Rohin goads her into making him coffee, drawing pictures with him, letting him follow her around her apartment, go through her stuff, and just invade her general privacy. Eventually, she is convinced to try on a set of party clothes she had bought with the intention of of wearing in the presence of her lover and a fancy setting. Rohin exclaims and tells her she is “sexy”, something her lover had said just a week earlier. The word choice spurs Miranda to ask the young boy if he knows what he has just said to her, and he tells her he believes that thinking someone is sexy is the equivalent of loving someone you do not know. This makes her realize the impact that his

But Prospero (through Ariel) has done more than simply arrange for Miranda and Ferdinand to meet. He has cast a glamour on Ferdinand ("our garments . . . drenched in the sea, hold . . . their freshness" (II.1 60-61)), which leads Miranda to "call him a thing divine" (I.2 418). Miranda herself has been groomed by Prospero to be what men desire (pure, virtuous, beautiful), even men as unmanlike as Caliban. The question of whether or not Gonzalo, in his benevolence, thought to pack along with the books and food and the clothes that fit yet more clothes, for Miranda when grown, raises the question of whether or not a glamour might have been cast on her as well. (It is safe to say that Ferdinand's mistaking a child who has been raised immersed in magic a goddess is not as far off base as it may at first seem.) Ferdinand and Miranda experience a "love at first sight"; their affections are based solely off physical attraction. If a glamour has been cast upon Miranda, then the girl Ferdinand is falling for does not exist outside of Prospero's allowing her to exist (i.e., outside of the spell which has been cast upon her). If one has not

As a Renaissance woman protagonist, she acts within an completely male world: "I do not know/ One of my sex; no woman's face remember" (3.1.48-49).  While no other women appear in the play, references are made to other women, but the count here is still minimal and sums up to three.  Miranda speaks of the lack of female companionship around her because of her location, but simultaneously the audience sees that the references to women that do occur within the play often have a sinister purpose for appearing within the lines.  The other women mentioned in the play seem to provide a sort of dark cloak over the proceedings of the play, even if they are completely absent.  Regardless, Miranda, as the only physical woman in the play the audience actually sees and hears, is described by Prospero with kind words, and few, if any, negative imagery revolves around the appearance of the innocent Miranda.  For example, Prospero informs Miranda that this "Art" is prompted by his concern for her; "I have done nothing but in care of thee" (1.2.16).  Prospero also tells Miranda that his mistreatment and harshness toward Caliban stems from the fact that Caliban attempted to rape Miranda and Prospero wants to protect her from any harm that could come about from Caliban.(1.2.347-51).  Prospero also indicates that Miranda, to him, is "a third of mine own life,/ Or that for which I live" (4.1.3-4); therefore after she is

Aime Cesaire’s A Tempest is a ‘new world’ response to Shakespeare’s The Tempest. In Cesaire’s adaptation, the characters and plot are generally the same. However, there are a few small deviations from Shakespeare’s The Tempest that make a significant impact on the play as a whole, and lead the play to illustrate important social issues occurring in the time of the adaptation.

Rebecca Stead incorporates the veil metaphor into the story when Miranda has a moment of realization towards Julia. On pages 143 and 144, Miranda’s veil is lifted and the truth about Julia’s personality is exposed. Originally, Julia is thought of as a rude and selfish girl, but Miranda’s view about her soon changed. While the two girls listened to a school music assembly, Miranda observed Julia and the way she watched Annemarie, Julia’s best friend. Miranda noticed that Julia did not watch the stage, but she looked at Annemarie. This simple action helped Miranda realize that Julia cared deeply for Annemarie, who Julia argued with not too long ago. Miranda saw that “Julia’s look was my look. My looking at Sal,” on page 144. In this quote, Miranda sees the way she looks at Sal, her best friend, in Julia’s eyes. In this

   A production of The Tempest should emphasize the idealized methods in which Prospero uses magic to solve the problem of revenge which is so prevalent throughout his tragedies, perhaps the production might be a direct allegory for the magic of the theatre itself.   In this conception of the play, the scattering and bringing together of the characters in the script is significant in that theatre also could be said to bring people together and allow them to share in an experience of emotion, magic, and finally, of resolution. In this way the production could be used as a vehicle for conveying the idealistic virtues of forgiveness, compassion, and of course knowledge. In his book, A

The role of language in Shakespeare’s play “The Tempest” is quite significant. To Miranda and Prospero the use of language is a means to knowing oneself. Caliban does not view language in the same light. Prospero taught Caliban to speak, but instead of creating the feeling of empowerment from language, Caliban reacts in insurrectionary manner. Language reminds him how different he is from Miranda and Prospero, and also how they have changed him. It also reminds him of how he was when he wasn’t a slave. He resents Prospero for “Civilising” him, because in doing so he took away his freedom.

The similarities and differences between Aime' Cesaire's ATempest and William Shakespeare's The Tempest gives the reader an idea that it is a political response. From the way that both of the titles of these works of literature differ, an idea of concept is offered. They share a similar story line yet, after some one has read A Tempest : a different perspective is gained. A Tempest is actually considered a post colonial period piece of writing and one can acquire and prove this by the forms in which Aime' Cesaire portrays the characters and switches around their personalities and their traits,the time periods and the acquisition of language, and the ways power is used reveals that it is indeed a political response from a post

The protagonist has not lived before a similar situation since it is the first time that falls in love. This first experience represents a discovery. This child does not understand the feelings discovered and the state in which he is. “(…) I myself did not understand (…) I thought little of the future. I did not know whether I would ever speak to her or not or, if I spoke to her, how I could tell her of my confused adoration” (par. 5). The protagonist

Although the King’s son, Ferdinand loses his luxury life and has to face the test of survival, his determination and valor enables him to live a time of jubilation. Living in Naples, Ferdinand struggled to find his true love, but shortly after he arrives on the island, a spirit named Ariel uses his mellifluous voice to guide Ferdinand towards Prospero’s daughter, Miranda. With one glance, Ferdinand falls for Miranda, who he claims as, the “perfect and… peerless” (III, i, 47) lady he’s been waiting for. In addition to love, Ferdinand is also living every adolescent’s dream; being away from their parents. Without his father next to him on the island, Ferdinand gets to make his own decisions and lives his life without his father’s ruling; obtaining the feeling of independence and discovering what he is capable of doing on his own. Ferdinand finds pleasure with the feeling of freedom, wanting to “live here [forever]”

Gonzalo states: "We are people of our own minds and no one else's," by this Gonzalo is telling everyone that no one can control what someone sees or does. This is true unless one is using magic to alter the minds and reality of anyone under the influence of magic. In the Tempest, by William Shakespeare, Prospero uses magic to alter the reality and delude the minds of characters. Love or guilt is a form of magic that naturally occurs in one's life. Prospero creates another magic that is placed in the audience's mind when he asks them to become the master magicians.

    This essay will focus on the similarities and differences of the plays The Tempest and King Lear in general, as well as looking at comparisons of Prospero and Lear in somewhat more detail.