Just under fifteen years old, Miranda is a gentle and compassionate, but also relatively passive, heroine. From her very first lines she displays a meek and emotional nature. “O, I have suffered / With those that I saw suffer!” she says of the shipwreck (I.ii.5–6), and hearing Prospero’s tale of their narrow escape from Milan, she says “I, not rememb’ring how I cried out then, / Will cry it o’er again” (I.ii.133–134). Miranda does not choose her own husband. Instead, while she sleeps, Prospero sends Ariel to fetch Ferdinand, and arranges things so that the two will come to love one another. After Prospero has given the lovers his blessing, he and Ferdinand talk with surprising frankness about her virginity and the pleasures of the marriage bed while she stands quietly by. Prospero tells Ferdinand to be sure not to “break her virgin-knot” before the wedding night (IV.i.15), and Ferdinand replies with no small anticipation that lust shall never take away “the edge of that day’s celebration” (IV.i.29). In the play’s final scene, Miranda is presented, with Ferdinand, almost as a prop or piece of the scenery as Prospero draws aside a curtain to reveal the pair playing chess.
But while Miranda is passive in many ways, she has at least two moments of surprising forthrightness and strength that complicate the reader’s impressions of her as a naïve young girl. The first such moment is in Act I, scene ii, in which she and Prospero converse with Caliban. Prospero alludes to the fact that Caliban once tried to rape Miranda. When Caliban rudely agrees that he intended to violate her, Miranda responds with impressive vehemence, clearly appalled at Caliban’s light attitude toward his attempted rape. She goes on to scold him for being ungrateful for her attempts to educate him: “When thou didst not, savage, / Know thine own meaning, but wouldst gabble like / A thing most brutish, I endowed thy purposes / With words that made them known” (358–361). These lines are so surprising coming from the mouth of Miranda that many editors have amended the text and given it to Prospero. This reattribution seems to give Miranda too little credit. In Act III, scene i comes the second surprising moment—Miranda’s marriage proposal to Ferdinand: “I am your wife, if you will marry me; / If not, I’ll die your maid” (III.i.83–84). Her proposal comes shortly after Miranda has told herself to remember her “father’s precepts” (III.i.58) forbidding conversation with Ferdinand. As the reader can see in her speech to Caliban in Act I, scene ii, Miranda is willing to speak up for herself about her sexuality.
Gonzalo also mentions that he thinks that the Boatswain is the type of person who looks like he would die by a hanging and not by drowning.He could be suggesting that the boat would not capsize,because otherwise the boatswain would die.
11 out of 16 people found this helpful
"My Lord Sebastian,
The truth you speak doth lack some gentleness,
And time to speak it in.You rub the sore
When you should bring the plaster"
In these words,Gonzalo is criticizing what Sebastian has told Alonso.In these lines,Alonso's heart is the sore,made by the loss of his son.Gonzalo says that Sebastian is "rubbing the sore" meaning that Sebastian isn't helping Alonso overcome his loss.The "plaster" is the kind,compassionate and encouraging words spoken by Gonzalo and time needed to mend Alonso's bleeding heart.... Read more→
105 out of 129 people found this helpful
The minor character's story runs parallel to the main plot.The minor characters are used by Shakespeare to create humour and lighten the seriousness of the main plot.While Antonio and Sebastian were very serious and sober in plotting Alonso's and Gonzalo's death.The minor characters plan to kill Prospero when they are drunk.
20 out of 33 people found this helpful