Characters: Miranda
She is the daughter of Prospero, the usurped duke of Milan. Miranda, who is approximately fifteen years old, makes her first appearance in the play at I.ii.1-13, where she vividly reveals to us Prospero's powers as a magician while at the same time showing her compassion and empathy by begging her father to stop the tempest that he has created:
If by your art, my dearest father, you have
Put the wild waters in this roar, allay them.
The sky, it seems, would pour down stinking pitch,
But that the sea, mounting to th' welkin's cheek,
Dashes the fire out. O! I have suffered
With those that I saw suffer: a brave vessel
Who had, no doubt, some noble creature in her
Dash'd all to pieces! O! the cry did knock
Against my very heart.
After reassuring her that all on board the ship are safe, Prospero acquaints his daughter with the story of her past—information which he has concealed from her until now, when he deems that both she and circumstances are ready. Miranda's name is derived from the word "admire," or wonder; and, in fact, she listens with wonder and rapt attention to her father's description of his former life as duke of Milan and of their arrival on the island, calling it a tale which "would cure deafness" (I.ii.106).
Miranda's capacity for wonder is a result of her innocence. She has lived on the island for twelve years with no one else around her but Prospero, the spirit Ariel, and Caliban (who tried to rape her, and who is regarded by her as more of a beast than a man). All that she remembers of her former life are the women who tended her (I.ii.47); and in keeping with the fanciful atmosphere of the play, this memory comes to her "rather like a dream than an assurance" (I.ii.45).
Prospero has been his daughter's only teacher. Remarking that her education with him has been more thorough and profitable than that of other girls who "have more time / For vainer hours, and tutors not so careful" (I.ii.172-74), he prepares her for her introduction to the world, explaining to her that among the people who have washed ashore are his enemies, Alonso and Antonio.
Nothing, however, prepares Miranda for her first view of Alonso's son, Ferdinand. She shows her inexperience by mistaking him for a spirit; and in response to her father's reassurance that he is a man, she remarks: "I might call him / A thing divine; for nothing natural / I ever saw so noble" (I.ii.418-20). She promptly falls in love with Ferdinand, despite her father's pretended disapproval. When Prospero tests Ferdinand's affections by calling him a spy and sentencing him to servitude, Miranda rushes to the youth's defense, asserting that "There's nothing ill can dwell in such a temple" (I.ii.458).
Miranda's next appearance is in III.i, where she expresses her compassion for Ferdinand as he wearily collects wood for her father, and where the two of them vow to marry each other.
Prospero drops his pretense of disapproval in IV.i, honoring the couple with a magical betrothal masque. In keeping with his role as Miranda's teacher, Prospero has the masquers remind the inexperienced Miranda about the importance of prenuptial chastity (IV.i.91-101).
Miranda appears once more in V.i. where she is presented for the first time to her future father-in-law, the newly repentant Alonso. Her reaction to Alonso and his courtiers again demonstrates her capacity for innocent wonder when she exclaims, in an often-quoted passage, "How many goodly creatures are there here! / How beauteous mankind is! O brave new world / That has such people in't!" (V.i.182-84).
Critics have remarked that since Miranda and Ferdinand were not involved in their fathers' conflict, their engagement represents a better future for Prospero and Alonso by marking an end to the discord between them.
Expert Q&A
In The Tempest, what sight causes Miranda to suffer?
Miranda suffers upon witnessing the shipwreck caused by the tempest, believing those aboard have drowned. Her empathy leads her to feel deeply for the "poor souls" she imagines have perished. She voices her distress to her father, Prospero, who reassures her that no harm has come to them, as he orchestrated the storm for her benefit. This scene highlights Miranda's compassion and foreshadows the play's themes of empathy and mercy.
In The Tempest, does Miranda fall in love with Ferdinand?
Yes, Miranda falls in love with Ferdinand in "The Tempest." She is immediately drawn to him due to his attractiveness and her sympathy for his situation. Unlike other characters, Ferdinand is handsome and noble, making him a suitable romantic interest. Their mutual affection is genuine, despite Prospero's manipulations to create challenges for them, which he believes will strengthen their love. Ultimately, their relationship is authentic and reminiscent of earlier romantic comedies.
Does Miranda remember her life before coming to the island in The Tempest?
Miranda has a vague recollection of her life before arriving on the island in "The Tempest." She remembers being cared for by several women, who were her royal attendants, but she does not recall her privileged life or details about her family. Miranda was only three when she and her father, Prospero, were exiled, so her memories are fragmented, and she does not remember how they arrived on the island.
What are Miranda's feelings towards Ferdinand's imprisonment in acts 1 and 2 of The Tempest?
In Acts 1 and 2 of The Tempest, Miranda quickly falls in love with Ferdinand, being impressed by his demeanor and words. She expresses frustration with her father, Prospero, for imprisoning Ferdinand, fearing this might be her only chance for love. Despite her father's actions, Miranda reassures Ferdinand, suggesting that her father's behavior is atypical and hoping there is a deeper reason behind it.
Does Miranda's appeal in The Tempest lie in her innocence, gentleness, and unselfish love for Ferdinand?
Miranda's appeal in "The Tempest" lies in her innocence, gentleness, and unselfish love for Ferdinand, as evidenced by his immediate infatuation upon meeting her. Despite being a prince used to courtly ladies, Ferdinand is enchanted by Miranda's natural and unpretentious demeanor. In Act 3, Scene 1, Ferdinand refers to her as a "gentle creature," highlighting her innocence and gentle nature, which deepens his admiration and love for her.
Miranda and Ferdinand's Relationship and Development in The Tempest
In The Tempest, the relationship between Miranda and Ferdinand serves as a central element, highlighting themes of love, manipulation, and restoration. Their love at first sight is orchestrated by Prospero, who uses magic to ensure their union for political gain, aiming to regain his dukedom through their marriage. Despite Prospero's control, their genuine affection contrasts with the tumultuous relationships around them, symbolizing hope and humanity. This relationship also facilitates Miranda's personal growth and reflects the play's resolution of conflict and restoration of order.
Write Miranda's diary entry in The Tempest for the days surrounding the shipwreck.
After learning about her past and the shipwreck, Miranda would likely feel a mix of curiosity and sadness. She'd express sorrow upon discovering how she and her father, Prospero, were exiled from Milan. Her diary entry would capture her emotional response to this revelation and her father's history as Duke. Miranda might also question why Prospero chose this moment to reveal their past and what his intentions were with the tempest he summoned.
How does Miranda's view of the courtiers differ from her father's in The Tempest?
Miranda views the courtiers with amazement and delight, seeing them as beautiful and noble due to her innocence and lack of exposure to other humans. In contrast, Prospero, who has experienced betrayal and attempted murder by some of these same courtiers, views them with skepticism and awareness of their potential for corruption. This difference highlights Miranda's naivety and Prospero's seasoned understanding of human nature.
Miranda's Character and Development in The Tempest
Miranda, in Shakespeare's The Tempest, is a character defined by her innocence and compassion. Witnessing the shipwreck, she is distressed, urging her father, Prospero, to end the storm he conjured. Raised in isolation, Miranda falls quickly in love with Ferdinand, symbolizing her desire to connect with others. Her character remains mostly passive, following the wishes of her father and Ferdinand, yet she shows moments of strength and bravery. By the play's end, she is set to marry Ferdinand, marking her transition into a new world.
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