The Character of Miranda in The Tempest
The character of Miranda in "The Tempest" is extremely compelling for two reasons. First and foremost it is important to note that the Miranda is the only female character who appears in the entire play. This is the only Shakespeare play where a character has this kind of outstanding distinction. This is not just a fluke on the part of Shakespeare, for it is very important that the character of Miranda appear by herself. The reader is not able to compare her beauty and virtue to any other female in the world of "The Tempest", and this serves both to show her value as a character and the fact that no other living women has the virtue of Miranda. While Miranda may not have many outstanding lines or solioquys, she makes up for this in sheer presence alone. Miranda's character encompasses all the elements of perfectionism and goodness which is lacking in all the other respective characters. All of the other characters in "The Tempest" are reflected by Miranda, and even if she did not speak one line she would still serve this important purpose.
Secondly, Miranda also serves as the ultimate fantasy for any male who (like Ferdinand) is a bachelor. She is extremely beautiful, she is intelligent, and she has never been touched (or even seen) by another male. Shakespeare makes Miranda even more desirable by including the fact that she has never seen or even talked to another man (with the obvoius exception of Prospero). Miranda personifies the ultimate source of good in the play, and provides the ultimate foil for the evil character of Caliban. When Ferdinand is forced to chop wood by Prospero, Miranda offers to do it for him. Finding a woman this humble in the world of Shakespeare is almost impossible. One does not have to look farther than her last line in the play to realize her purpose in the plot. Miranda states "O wonder! / How many goodly creatures there are here! / How beauteous mankind is! O brave new world / That has such people in't" (Tempest,5.1,185-7) Through this passage and many of her others Miranda shows a positive attitude which is almost uncanny when compared to the other characters.
During the middle ages, most buildings and structures were constructed for a specific purpose, for example, houses, churches, statues, etc., but a castle’s main purpose, on the other hand, was very dependent on the occupier. Castles have been used throughout history as a military base, stronghold, household, and as a seat of government, and have been built over many generations and time periods. They have also been found all throughout the world. How have these monuments changed over time and how does the architecture of these castles compare to others of during the middle ages?
As modern day pilgrims to the ancient city of Canterbury can attest, the walls of this epicentre of British history remain quite formidable despite their age and contemporary importance. While many centres around the English southeast were constructed with large circuit defences, such as Rochester and Winchester, the extent to which Canterbury’s defensive circuits have survived and adapted is remarkable. My presentation on the medieval walls and gates of the city hopefully charts the complicated and storied development of these magnificent shields of masonry from their origin to the modern period. The simplistic attribution of “Medieval” to Canterbury’s walls is, in many ways, a misnomer. The Walls we see today not only integrate but develop upon a millenia of structures and thus to accredit them as merely medieval is to do them an injustice. And so to begin we must first examine these structures right from the Roman period in order to understand their form and significance today.
William Shakespeare, in his play The Tempest, uses social order, with particular reference to 17th century gender stereotypes to explain the nature of the main character, Prospero. Prospero is master of the three other main characters, with whom he shares very different relationships. Miranda, his daughter, represents the stereotypical "submissive female" of Elizabethan times who didn't resist; she accedes to everything Prospero says. As a result, Prospero exerts a sort of passive control in relation to Miranda, easily exercising power over her. Caliban, on the other hand, represents the complete opposite of Miranda, fitting an unbridled male role that represents deviation from power. Because of Caliban's digression, Prospero commands him with sheer anger and contempt, an aggressive form of control. Fitting between the roles of Caliban and Miranda is Ariel, Prospero's servant. Ariel, a spirit who is never assigned a gender, represents the middle ground between male and female and is thus treated by Prospero with a mixture of aggressiveness and passiveness. This assertive control results in a paternalistic relationship between Prospero and Ariel. Despite these differing relationships, Prospero utilizes each and every character to reach his ultimate goal: the advancement of his political position in Milan.
...ce for moral disciplines. The final disagreement is the interpretation of God. Christians perceive God as a trinity of Father, Son, and Holy Ghost. But Jew perceive God as a singular divine being with no need for counterparts.
Judaism and Christianity are two of the most commonly known religions in the world. The latter is practiced by more than 2.2 billion people—by far the largest practiced faith. The former is practiced by a far smaller population—about 14 million. Despite the significant difference in the amount of people belonging to either religion, they share a history, and compare in far more ways than people realize. However, Judaism and Christianity are also far more different than people realize, as well.
Since Shakespeare’s play was written in the early 17th century, before woman took complete creditability, the character Miranda is presented as a woman who is ignorant of the cruelty in the world, a traditional 17th century woman. In other words, ignorance is bliss for her as she needs her father (Prospero), a man, to protect her from when Caliban, a slave, tries to forcefully possess her; “thou didst seek to violate/ The honor of my child” (626). As men consider women to be temptresses, the character Miranda has not even had sexual relations with her lover, Ferdinand; “thou dost break her virgin-knot before all ...
Although it is thought that medieval times were barbaric they too enjoyed many comforts we still do today. There is much more to the castle then its’ size or the stone arches inside which are still used in many homes today. Castles today are still flocked to by millions of people every year. Sometimes you even see copies of castles right here in the U.S.A but they are not quite the same. Although they were originally built to protect the King, Castles became more and more popular among other nobles as well. Each family castle had their own special design and touch but most castles of medieval times had a lot of the same basic elements in their interior.
The similarities between Christianity and Judaism are numerous. For example, both Jews and Christians believe in monotheism, the faith in one god. Furthermore, both religions worship the same God, although they name Him differently. The Christian name for God is Jehovah, while the Jews’ is Yahweh. This is because Christianity was derived from Judaism.
Living in the medieval time period was not as glamorous as it is often portrayed; peasants and serfs led hard lives, however, kings, lords, and knights lived lavishly and at the expense of those under them. In this paper you will read about all of these lifestyles, as well as the castles in which these lords and kings lived in. Mainly castle designs, fortifications, and siege tactics will be revealed to you; yet there are several sections, dealing with the lifestyles of the above mentioned, leading up to that.
The theme of the play is also change. At the end of the play when
The first difference between the play and the movie “The Tempest” is; the protagonist Prospero, the Duke of Milan, is played by a female character named Prospera in the movie filmed in 2010, directed by Julie Taymor. He is a complex character in the play however the personality that Shakespeare created was slightly changed in the movie. The key point of this gender difference is to highlight the role of women’s empowerment over the last two hundred years. Taymor’s movie is making a statement on how Prospera’s power is limited for the island, she is still able to empower throughout the text sexually,...
Despite the fact that Miranda is an assistant to her father in order to accomplish the restoration of Milan, she resists and subordinates her imperativeness in opposition to the patriarchal supremacy. According to Prospero, he purposely hands over his daughter Miranda to Ferdinand as a gift, which is typical behavior of patriarchal supremacy. However Miranda does not allow herself to have Ferdinand that is certainly against her father intended to choose him as a husband. Even though she is both a reason and a purpose of Prospero's colonial plan, but that is not a problem for her in order to keep her position over male ruling society. Miranda is definitely representative feminine characters in The Tempest, says the following:
The Tempest portrays women as beings that accept the ideal role that they are expected to take on by the request of the men. The way Miranda is portrayed; as a goddess, maid, or virgin, is what she makes herself to be. The play does not give women the voice that they deserve, it makes them out to be prized possessions for men to brag about and share. From a feminist prospective, The Tempest portrays an Elizabethan society that doesn’t give women a voice, but rather ways on how to be the ideal woman for men to possess.
In the 1600s, married women were expected to do anything for their husbands. Husbands were urged to be good heads of their families and to treat their wives with kindness and consideration. The woman were considered to be the 'weaker vessel ' and thought to be spiritually weaker than men and in need of masculine guidance. During this time, women were treated as inferior being who were meant to look after the house and were to children . Women were treated with little dignity. In “The Tempest,” William Shakespeare was able to show the oppression of women throughout the play. Scenes with Prospero and Miranda have shown significant hidden evidence to prove that the colonial era was a time of female oppression. Shakespeare uses Prospero as an
Treatment of women has evolved much since Elizabethan England. As a preface to the dissection of The Tempest – in particular, the character of Miranda, Shakespeare’s role for women as a whole must be addressed. According to Carolyn Ruth Swift Lenz’s introduction of Woman’s Part, “patriarchal order takes different forms and is portrayed with varying degrees of emphasis throughout the Shakespearean canon” (5). In the midst of this patriarchy, where do women stand? What social assumptions guided the pen of the great English poet and playwright as he wrote The Tempest? Lenz discusses that “In the comedies women are most often nurturing and powerful; as their values educate the men, mutuality between the sexes may be achieved” (6). However, “in tragedy…their roles are at once more varied, more constricted, and more precarious…they are condemned for acting, accused of being deceitful even when they are not” (6). Why the canyon between the two? How does Shakespeare reconcile women in what The Norton Shakespeare terms a romance play?