Essay on The Tempest

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)

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

The main character, Amelia represents a case of PTSD and depression resulting from the passing of her husband. In the simplest of words, Amelia feels as though Samuel is responsible for the devastating death of her husband. The resentment felt by Amelia towards Samuel becomes clear as she dreams of slaughtering her child and herself while watching through the window of her house. When she completes this task in her dream and the smile on her face appears, an appropriate understanding of her true feelings develops, and while it is understandable, it is also very hard to believe. As a mother she does not understand how she could possibly feel as much anger as she does for a human in which she created, nevertheless, she does, which guides her into the downward spiral of her depression. Not only does her bitterness make way for terrible actions, it also absorbs her sanity from her on

Miranda’s father gave her the chance to fulfill her immortal being at a young age. Fuller used this example because she wanted to give evidence as to prove the amount of potential women possess and to show that a woman can do well on her own. Fuller goes on to write, “A dignified sense of self-dependence was given as all her portion, and she found it a sure anchor. Herself securely anchored, her relations with others were established with equal security”(21,WINC). By Fuller stating this she is revealing that if a woman is given the chance to live as a human without restrictions then they can very well create a life with good fortune.

In Tempest, Ariel is an angel-like heavenly creature. It is a gentle spirit, and can change appearance instantly. It also can become invisible. It thinks rationally and works courageously, according to Prospero’s orders and loves to live independently with nature. For example, Ariel makes Alonso and Gonzalo go to sleep and keeps Antonio and Sebastian awake as a part of Prospero’s plan . On the contrary, Caliban is instinctive and unwise but brawny to live in the rough island atmosphere. He loves music. He is vicious but simple. Hence Caliban is recognized as a villain. Miranda says,

Prospero wanted a lot of power to control Miranda and her life for her own benefit. Prospero loses that control as he loses that power. For example, when Miranda questions Prospero why he causes the Tempest, he replies, "obey and be attentive" and it is clear that she respects him back as she says, "my dearest father. " Prospero's power and control over Miranda is something that really stands out. Prospero clearly hides the truth and their past from Miranda which essentially gives him power because that is what made her so gullible and naive-“Twelve year since, Miranda, twelve year since,/Thy father was the Duke of Milan and/A prince of power…”

Harmonious Dissonance In The Tempest, William Shakespeare uses the Prospero and Caliban’s servant/master relationship and the motif of magic and power to portray that destruction and confliction will result when there is an external or internal imbalance between the disordered Dionysian intoxication and the disciplined Apollonian order. Caliban, who resentfully serves Prospero, represents the impulsive Dionysian servant whom the Apollonian master counteracts. Caliban is out of control, even stating that he wishes to have “violated the honor” of Miranda due to his hate of Prospero. The growing resentment for Prospero within Caliban leads him to plot Prospero’s demise with his newfound party of intoxicated drunkards, Stephano and Trinculo, whom Caliban ironically reveres as nobles.

Miranda is a single woman in her thirties living in New York City: population eight million. On the other hand, you have me; I am a mere eighteen years old, in a relationship, and grew up in a city with population 10,000. Despite these dramatic life differences between Miranda and I, she is the one that I feel that I relate most of the five Sex and the City characters. One of the reasons I can relate to Miranda is because she is known, on the show, as a career-driven woman. Although I do not have a career at this point in my life, I work hard every day to ensure I find a successful career one day. I have always been a hard worker focused on my next goal, and Miranda is certainly a hard worker. What led me to relate to Miranda the most was not just her character in general, but one specific issue she had in an episode. In episode two of season four of Sex and the City titled “The Real Me,” Miranda struggled to understand why a man she had met at the gym called her sexy. This is something I can relate

When the affair between Miranda and Dev begin, Miranda falls in love with the way that Dev makes her feel older than she is, or like a grown woman. Miranda is a recent college graduate and is still finding her place in the world, making her easily influenced by the people

Caliban is a one of the main characters in William Shakespeare’s play The Tempest. Being the sole habitant on the island of Prospero throughout a majority of the play, Caliban is illustrated as a human with monster-like characteristics. Caliban can be also be compared to the demigods of Greek Mythology since Caliban and the demigods are both complex, yet parallel, characters. Numerous times throughout The Tempest, Shakespeare uses the magic behind the island to show Caliban’s powers; likewise, demigod has godlike powers. Similar to demigods, Caliban is a half-human son with assumed powers, demands revenge by manipulating or persuasion, and both have emotional and physical vulnerabilities related to their human side. Rebellion is another feature these two share to an extent.

The Tempest was a play like no other we have read. The Tempest was an allusion to the New World as well as to the shipwreck happening in the start of the play. "In The Tempest, Caliban represents the deprived colonial subject, and Prospero, the usurping European colonizer." Prospero was the colonizer of the island, while Caliban was seen as the one who wanted to colonize the island. The two are against each other throughout the play as Caliban wants what Prospero already has, claiming it was his first. We see them go back and forth with one another until the end. I agree with the statement in that Caliban wants the role that Prospero already obtains.

She proves herself to be a successful and talented leader of "Runway," but her employers still try to replace her, excusing themselves of their sexism by claiming that she is getting old and less up to date with the latest styles. It is apparent that she is actually being replaced because of the common sexist misconception that women get weaker and less able to do their job when they grow older, unlike a man who gets considered stronger and wiser. Miranda in response to this misconception has to hide behind a façade, a persona of power and confidence in order to compensate for the misconceptions held against her and in order to keep her career and the respect of her position. Though, in actuality it is shown that Miranda is not as strong as she may seem because towards the end of the movie, Miranda, unmade up and dressed down in a robe, reveals that she is getting a divorce. She exposes the toll her job places on her life and gives a glimpse to the stress and sacrifice she has made in her own personal life by creating a persona in order to combat the fallacy of sexism. This persona is the root cause of her villainous traits; it is through this persona that she demands so much of her employees and through this ambition and self preservation that she is willing to betray people like Nigel. If she had security and the trust that management naturally gives to men, she would not behave in these villainous ways and not have to fight and hurt others to keep her

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".

    For a moment, Miranda really wondered if she was her mother. Miranda's mom was always the first to give away stuff. Miranda thought she was the wueen of food drives and clothing drives and blood drives and giving teddy bears to foster kids. That's what Miranda loved about her. Even if Miranda knew she would never be half as generous as her mom is. Or was I guess.