In the time this play was set, a man’s daughter was seen as the man’s property, therefore the father was allowed to give his daughter to whom he thought was suitable. The daughter refusing her father’s instructions was seen as dishonourable and embarrassing for the father, for this shows a lack of power and control over his own daughter.
Their interaction with one another, and Miranda's hesitations to believe all her father says are two areas in this relationship to study. She is seemingly unaware of the family feud between Prospero and Antonio. She doesn't remember their banishment or how she and her father even got on the island. She was only three years old. (1.2.48)
In the 17th century, the issue with the gender roles being switched would be presumed as something different. I use ‘different’ because it could go both ways, it could be perceived as something good or bad to the audience. We see Prospero as a male because his controlling and obsessive nature leads you to male qualities. We do see these qualities in women, but not as much as you would in a male. Males tend to show those qualities more so, than vice versa. Also, if the main character Prospero was Shakespeare, then it would not have been able to be played by Shakespeare himself and it would not relate as much to his life, like the speculation seems to be.
Miranda "had been bred up in the island with her father and a monster only: she did not know, as others do, what sort of creatures were in a ship" (Coleridge 109). In fact, Miranda knew basically nothing about her past or her identity until the start of the play. Her father has, in a way, been deceiving her throughout her entire life. Even throughout the course of the play, Prospero is not completely open with his daughter. Instead, he puts her to sleep for a period of time so that she does not interfere with his plan. Through this deception her father was not trying to harm her in any way but rather to protect her from the vicious truth.
Baptista, from the play, is a contrast to the Ten Things father. He very much desires his daughter's to get married because he doesn't want to risk losing his family's good reputation. We can tell that it is normal for daughter's to be married by their father's and the father is not worried about sex, drugs or alcohol, so we can gather that
The role of motherhood in the movie is powerful than the play, which we can see in Act 4, Scene 1 when Prospero approves the love Miranda and Ferdinand declares, however points out a harsh warning to Ferdinand. In the movie, because of the female character, it is easier to make the connection of mother and daughter. By switching the gender in this movie, it lead women characters have a sexual power and empowerment, which was none in the play caused by the pressure made in the Elizabethan Era. Taymor, director of “The Tempest” adds; “I didn't really have a male actor that excited me in mind, and yet there had been a couple of phenomenal females—Helen Mirren being one of them—who [made me think]: 'My God, does this play change? What happens if you make that role into a female role?” (Roger) By casting Prospera, instead of Prospero changed the main themes such as power and sexual empowerment, also the voice of Shakespeare in Prospero, whom he is sometimes occurred as.
Although, he acts like she is an inanimate object that can be just given away. This could demonstrate Prospero and Miranda’s lack of relationship, as he doesn’t treat her like a father should treat his daughter. Nevertheless, when Prospero says, “If thou dost break her virgin-knot… No sweet aspersion shall the heavens let fall to make this contract grow,” it could promote the possibility of Prospero becoming the overprotective father is naturally is.
Prospero uses his status as the father of Miranda to enact his own self-righteous deeds. Furthermore, Prospero uses his position of power within the patriarchal system with leisure. Prospero hides behind a powerful woman and declares all deeds in the name of his daughter. In actuality, all Prospero's actions are to advance his quest. Prospero uses Miranda to regain favor with the king and become Duke of Milan, yet again. Finally, Prospero is a symbol of all that is wrong with the patriarchal system, which is used to legitimate the deeds of evil men. Prospero inflicts great harm upon the female gender, who must live under its immense societal oppressive
Prospero is also very careful with Miranda’s education. He is her teacher, "Here / Have I, thy schoolmaster, made thee more profit / Than other princes can that have more time / For vainer hours, and tutors not so careful" (I, ii, 171-4). Prospero’s magic is a perversion of his teacher-ly powers, as it lets him to put to sleep and wake Miranda whenever he wants to. Throughout the play, there are several
Miranda was the most important person in Prospero’s life, he loved and protected her throughout the play. When sharing with Miranda the tale of how they came to the island, Prospero tells her, “O, a cherubin, thou wast that did preserve me. Thou didst smile…” (I. ii. 182-183). He states that she made their exile easier by bringing him peace and comfort. The film adaptation captures
. .] .” Implied in this move is the fact of a father’s assumed control over the daughter’s choice of a marriage partner. Iago’s warning to the senator follows closely: “'Zounds, sir, you're robb'd; for shame, put on your gown; / Your heart is burst, you have lost half your soul.” This statement also implies that the father has authority over the daughter. Brabantio’s admonition to Roderigo implicitly expresses the same message:
Soon after we learn that Prospero controls Miranda, we discover that he magically controls the weather and that he also commands a spirit named Ariel to do tasks for him. When a ship carrying
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
This warning from Brabantio is the first look into the possessiveness over his daughter, Desdemona. Not uncommon for the era, Brabantio considers his daughter to be his property; her marriage to be under his control. Consequently, this is why his daughter’s betrayal in eloping with Othello is so devastating towards him.