Prospero - Wikipedia
Not only has he engineered their meeting – and Ferdinand's rather bogus them , under the watchful gaze of Shakespeare's most over-protective father. The Tempest is remarkable for its absent women; Prospero's adored. Ferdinand is the prince of Naples and the son of Alonso, the King of Naples, in Shakespeare's Ferdinand is separated from his father and friends (purposely) by Ariel, the airy servant of Prospero. Ariel leads Ferdinand to When Ferdinand meets Miranda, he falls in love at first sight and confesses his love. "To whom I am. first time?' and find homework help for other The Tempest questions at eNotes. When Miranda meets Ferdinand for the first time, it's love at first sight. But then again she's never clapped eyes on any man other than her father, Prospero.
Later on we find Ferdinand entering with a log, declaring that his labour is a pleasure since he serves Miranda. Miranda comes to cheer him up and to tell him that her father is hard at work in his study and will be for the next three hours.
She does not know, however, that her father is wearing his cloak of invisibility and is standing close behind her. She asks Ferdinand to rest, while she does a turn, at his work.
Miranda (The Tempest) - Wikipedia
Of course, he will not hear of this. Ferdinand asks her name so that he may mention it in his prayers. Miranda instantly tells him her name and then she realizes that she has disobeyed an express command Of her father.
Under Ferdinand's compliments, Miranda asks, "Do you love me? Miranda bursts into tears, and when he asks why, she says that she is unworthy. Ferdinand has the most fire and energy, though he should not have been the first to desert the ship in the magic storm.
Ferdinand and Miranda
He has the best character altogether, showing much affection for his father, and a manly, straightforward way of going to work generally. Florizel is grace and charm personified, and has the most bewitching tongue; but he is too pliant, too taken up with one idea, to be quite so satisfactory.
It was a part of Prospero's plan that the people on board the ship should be scattered in certain groups on shore and that Ferdinand should be separated from the rest; and Ariel carries out his master's directions. When Prospero afterward asks him whether the men are all safe, he replies: In troops I have dispers'd them 'bout the isle.
The king's son have I landed by himself, Whom I left cooling of the air with sighs In an odd angle of the isle, and sitting.
His arms in this sad knot. Shakespeare's Comedy of The Tempest. American Book Company, As is mentioned in the main article, Miranda is typically viewed as having completely internalised the patriarchal order of things, believing herself to be subordinate towards her father.
She is loving, kind, and compassionate as well as obedient to her father and is described as "perfect and peerless, created of every creature's best". Miranda's behaviour is typically seen as completely dictated by Prospero, from her interactions with Caliban to her ultimate decision to marry Ferdinand.
The traits that make the pinnacle of femininity are the same traits that disenfranchise her: However, various critics argue that those same "feminine" traits enable her to be a strong female presence with important effects on the play's outcome. Throughout the course of the play, Miranda acts as a foil to Prospero's more violent instincts and serves as a sounding board to move the play's plot further.
She is also a central figure in her father's revenge, enabling Prospero to gain political prestige through her marriage to the Prince of Naples, Ferdinand.
Furthermore, while Miranda is very much subservient to Prospero's power, some critics argue that her obedience is a conscious choice.
Miranda, watching the storm Her decision to pursue a relationship with Ferdinand is also interpreted by critics as an indication that her marriage to him is more than a simple political match. Miranda makes a very clear decision to seek out Ferdinand and offer her assistance, all the while worrying that her father will discover them.
Michael Neill argues that Miranda's function on the Island is that of a Christ-figure —that she is the indicator of a given character's moral status within the social hierarchy of the island and that she also serves to protect the ethical code of the Island's inhabitants and visitors.
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- Rethink the relationship behind Ferdinand and Miranda in William Shakespeare's 'Tempest'.
Caliban, whom she rejects, is shown to be a monstrous figure, while Ferdinand—whom she embraces—is saved by her presence, her sympathy lightening the "baseness" of his given task.
Critic Melissa Sanchez analyses Miranda in a similar light, discussing her as a representation of an "angelic—but passive—soul" caught in the conflict between enlightenment and base desire represented by Prospero and Caliban. She states that Prospero's treatment of Miranda is in essence the same as his treatment of Calibandescribing his attitude towards both as indicative of their subjugation within the social hierarchy of the Island.
Leininger also argues that Miranda's sexualisation is a weapon used against her by her father, stating that Prospero uses Caliban's attempted assault and Ferdinand's romantic overtures to marginalise her, simplifying her into a personification of chastity. In Leininger's analysis, Caliban is treated in a similar fashion, forced into the role of an uncivilised savage without heed for his individual needs and desires—much in the same way that Miranda is expected to marry Ferdinand and reject Caliban's advances simply because her father wishes it.