Miranda And Ferdinand Essay

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)

Within Hamilton, Lin-Manuel Miranda brings history back into the present through his musical. Originally performed at The Public Theater in 2015, the musical was quickly a popular hit and made its way to Broadway. Now performed at the Richard Rodgers Theatre, Hamilton has won 11 Tony awards and multiple honors. Director Thomas Kail and lead producer Jeffrey Seller made many of the final decisions of the production, and through them Miranda’s time and investments, the musical became a success. Now, the musical functions as a public history as it revives the importance of the past, as well as redefines the ways history is made and learned through the integration of rap and hip-hop style in musical theatre.

     Throughout her life, which began at age three on the island, to the time in which she met the only other human contact, Ferdinand, at age fifteen, she learned many things from her father about life and all its complexities. Living on this island, Miranda is a product of " nurture" rather than that of "nature."

From the 14th century into the 17th century of European history, a cultural revolution took place. The renaissance came to Europe and pushed out old middle age ideals and brought in new humanistic ones. The renaissance brought new cultural ideas, new ways of learning, new art, and new standards of how to rule a Kingdom. Kingdoms were coming and going fast at this time, rulers were slipping under the pressures of expanding rule and it seemed that a new kingdoms were continuously being conquered. The guidelines set up in Machiavelli’s The Prince, help to define what makes up a good and bad leader in terms of the new Renaissance ideals.

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

What seest thou else/ In the dark backward and abysm of time?" (1:2, p. 4).  He vacates Miranda's memory by causing her to doubt what she thinks she remembers; then he proceeds to give her new, slanted memories.  Prospero deliberately causes Miranda doubt herself, for how could anyone be confident with a "dark and backward abysm" for a mind?  Because Miranda has seen only one human being in the last twelve years (her father), Prospero has been able to construct Miranda's complete perception of reality by controlling her beliefs, her knowledge, and consequently her ignorance.  He says to her, "...Here/ Have I, thy schoolmaster, made thee more profit/ Than other princess' can, that have more time/ For vainer hours, and tutors not so careful."  She replies with her characteristic gratitude, "Heaven thanks you for 't!" (1:2, p.8).  Miranda never questions what Prospero teaches her, and even if she did, her circumstances on the island would not allow her to come to know the truth.  Prospero understands this advantage but takes care to retain his daughter's loyalty, for Miranda is his world, just as he is hers.  Miranda is purely a product of her father and as her creator, so he enjoys inherent power.  She becomes whatever he wants her to 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

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

It has been thought for many years that the Americas were a vastly unpopulated land until Columbus came. However new evidence disputes this previously thought notion. Archeologist, who have been studying the remains of Native American culture, have found evidence suggesting that the Indians were in the Americas for much longer and in greater numbers than what was believed. This new evidence shows us the impact the Europeans had on the New World and gives us insight into what the Americas were like before the Europeans and what they may have been had the Europeans never settled here.

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

“It is lawful to call it a new world, because none of these countries were known to our ancestors, and to all who hear about them they will be entirely new.” Amerigo Vespucci was a Florentine navigator and explorer who played a prominent role in exploring the new world.

Machiavelli reflected, “How one lives is so far distant from how one ought to live, that he who neglects what is done for what ought to be done, sooner affects his ruin than his preservation” (Machiavelli). Machiavelli indicated that the Ferdinand of Aragon was a great leader who

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

The love between Ferdinand and Miranda is as superficial as a crush between two 12-year-olds. Sure, it is fierce and feels deep at the time, but true love needs time to blossom. This relationship is purely sexual. Even Alonso questions the deepness of their love by saying: “What is this maid with whom thou wast at play? Your eld 'st acquaintance cannot be three hours”.(5.2.183-184) Miranda’s reaction upon meeting Ferdinand is just too exaggerated to be deep, true love at first sight: “I might call him a thing divine, for nothing natural I ever saw so noble.”(1.2.417-418) She would be stunned by any man she would meet at this point: Miranda has not seen any other men in her life, apart from her father and the savage Caliban. Also, in normal circumstances, two people falling for each other at first sight is highly unlikely, which further proves my point on it being just two people who want to have sex with each other. Moreover, as Miranda is the only woman on the island, Ferdinand might

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".