Ferdinand And Miranda Relationship Essay

This can be seen through a comparison of parallel protagonists Palamon and Ferdinand, as well as parallel antagonists Arcite and Caliban. Their many similarities reveal an insight to each author’s view of love and how it is gained. Palamon and Ferdinand are men of the heart who do not have the girl initially, nor do they claim her. Instead, they wish the best for her and are willing to work for and serve her, regardless of the outcome. In contrast, Arcite and Caliban are men of the physical who take the woman they love by force and physically serve her in order to fulfill their prideful desires, completely disregarding the wishes of their beloved. Strikingly, all four of these men are of noble birth, and all four willingly lower themselves from a position of power to a position of service in order to gain a woman’s love; however, only the men who also serve her selflessly succeed in winning her love. Both men of the heart end up “getting the girl” in the metaphorical sense, although it takes time and they must be patient. In contrast, the men who have the girl initially –Arcite and Caliban – begin by taking her by force and have her in the literal sense, but lose her in the end. All of these elements show that Chaucer and Shakespeare believe the selfless and humble approach to be the most effective way to gain

In William Shakespeare’s play “Romeo and Juliet”, Shakespeare presents characters in difficult situations in Romeo and Juliet through various language techniques and structure. Romeo and Juliet were star-crossed lovers. Both Romeo and Juliet were from feuding families that would not approve of their marriage. In the play they are presented with many difficult circumstances. The play was set in the Elizabethan era; there was a significant change in religion, family and politics. Attitudes and key scenes highlight the theme of love in difficult circumstances and prepare the audience for Romeo and Juliet’s suicides at the end of the play. In this essay I will be exploring the ways Shakespeare presents characters in difficult situations.

Tempest end with Miranda and Ferdinand's marriage plan? In this paper I will argue that

 In the plays female sexuality is not expressed variously through courtship, pregnancy, childbearing, and remarriage, as it is in the period.  Instead it is narrowly defined and contained by the conventions of Petrarchan love and cuckoldry.  The first idealizes women as a catalyst to male virtue, insisting on their absolute purity.  The second fears and mistrusts them for their

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

Throughout history great writers have brought women’s struggle under male dominance to light. Shakespeare’s Othello and Glaspell’s Trifles bring great female characters to the stage that share similarities. Both Glaspell and Shakespeare follow the same theme, while using both foreshadowing and irony to illustrate that Desdemona, Emilia, Bianca, Mrs. Wright, Mrs. Peters, and Mrs. Hale live under similar oppressive conditions.

Romeo and Juliet, one of William’s Shakespeare most famous classic works, is a heart-wrenching tale which is composed of passionate love and anger. It is a timeless piece of literature that has lasted to this century. The beautiful story is set in the remote town of Verona. This play recounts a tale of two star-crossed lovers, forbidden to pursue their inescapable love due to the long history of a violent family feud. Passion is strongly represented in Romeo and Juliet’s undying romance. As the story continues, passionate and uncontrolled anger is clearly expressed, fuelled by the noxious hatred of the family’s feud, intensifying as the plot progresses.

The word love can mean many things. Love can be an object, emotion, and a life. However, love could lead to a loss of power, prosperity, and status. In the literary work “Romeo and Juliet” written by William Shakespeare, the readers are introduced to a tragic love story. In this play, readers are also shown the different perspectives of love and the many downfalls it could lead to. The central theme of this work is the recklessness of love. The theme is significant because it is shown throughout the whole story and it’s a strong force that takes place of all the other emotions and values. In this play, Shakespeare uses characters to present different aspects of love. In addition, Nurse, Mercutio, and Romeo completely show what actual love is and what it is like to lose it due to their experiences.

Shakespeare utilizes hyperbole when Ferdinand proclaims how "by immortal providence" he met Miranda; the extreme exaggeration implies the importance of this relationship. This relationship, or future marriage, weighs so heavily in the play because of its ability to bring harmony back to Prospero by uniting Milan and Naples. The iambic pentameter of the line also places stress on the last word "mine," again emphasizing the gravity of this budding

Miranda's utopia is a very naive one. All her life she has been isolated on the island seeing no-one but her father and Caliban, and therefore upon seeing other beings is amazed and overcome by her new discovery. Her role in the play, along with Ferdinand is to unite enemies (Prospero & Alonso), and this links in to Ferdinand's utopia which represents true love (as it has passed Prospero's tests). Ferdinand therefore finds a utopia on the island, because in marrying Miranda his life changes, for the better. In meeting Miranda he also therefore plays a major role in Miranda's "utopia".

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]”

The play, placed at eminent place to the libertine, whose pursuit of sexual conquests seemed to reinforce the views of women as little more than sexual diversions for men. Despite Behn’s political investment in this upper-class concept of manhood, critics and scholars have ‘argued that her plays simply just offer celebrations of libertine masculinity.’ (Staves, 2004: 81)

What this actually meant in the culture’s sexual economy is perhaps more accurately suggested by meta-theatrical references in plays’ prologues and epilogues. The actress playing Flirt in Wycheley’s The Gentleman Dancing

    Some critics of Shakespeare’s play, Measure for Measure, judge Isabella as "a narrow minded but passionate girl afflicted with an irrational terror of sex" (Barton, 546), "a young, immature woman" demonstrating "moral absurdity and cruelty" (Nicholls, 478), whose actions are scarcely defensible. A classmate of mine asked, "Why doesn't Isabella just sleep with Angelo? What's the big deal?" These statements reveal that these people have no understanding or sympathy for Isabella’s position: socially, morally or physically.