Miranda is described as a woman ‘of passion and imagination’ in this Victorian book on Shakespeare’s heroines. Encyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree.... Who is Rikki-Tikki-Tavi? More that I may call men than you, good friend, The form of this scene tells us something very different, however, subtly revealing that the differences between Ferdinand and Miranda are really as illusory as one of Prospero’s spirits. Miranda And mine, with my heart in’t. Allusions to Miranda’s unspoilt female body do not mar the overall joyful tone of this sweet little scene. In spite of Miranda’s use of plain and direct language, she only speaks in blank verse – a form she uses for the entire play. Am I this patient log-man. Having grown up on an island with only her father and Caliban for company, she is overwhelmed when she finally sees other humans and she responds rapturously: The different styles of language that Ferdinand and Miranda use within this scene create a gentle tension between sophistication and innocence. Embedded within the conditional ‘if’ is a powerful acknowledgement that Miranda’s virginity is a necessary aspect of a dynastic match. I’ll bear your logs the while. This refreshingly direct – even forward – declaration gives Ferdinand no chance to do the proposing himself. My heart fly to your service, there resides, Ferdinand’s alliteration here seems over-rehearsed, and his admission that he has admired several women before perhaps gives us the reason for this sense of polish. Yet, as this scene reveals, her character is not without a certain complexity and bite. 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. Lilla Grindlay has a PhD in Renaissance Literature and is currently working on a forthcoming book on representations of the Virgin Mary in post-Reformation England. Like her subconscious absorption of Ferdinand’s courtly lexis, Miranda’s awareness of her virginity’s worth underlines an innate connection to a more sophisticated wider world. Ferdinand overtly references this when they first meet, and he asks her, ‘If you be maid, or no?’ (1.2.428). His polished use of this elevated lexis also displays his noble status, as it employs a poetic style which was popular in the court in Shakespeare’s time. Miranda is beginning to absorb Ferdinand’s courtly style of speech; the touching metaphor of her heart within her hand is not unlike Ferdinand’s earlier descriptions of his heart flying to her service. Folger Prompt Temp.10. Used by permission of the Folger Shakespeare Library under a Creative Commons Attribution-ShareAlike 4.0 International License. Used by permission of the Folger Shakespeare Library under a Creative Commons Attribution-ShareAlike 4.0 International License. Later Prospero conjures a magical masque for Prospero and Miranda. (3.1.53–55). She also teaches English at Sutton Valence School and is an A level examiner. ‘Unsex Me Here’: Lady Macbeth’s ‘Hell Broth’, The Duchess of Malfi and Renaissance women, An introduction to the poetry of Aemilia Lanyer, Character analysis: Isabella and Angelo in, Manhood and the ‘milk of human kindness’ in, Daughters in Shakespeare: dreams, duty and defiance, Shakespeare and gender: the ‘woman’s part’, Women playing Shakespeare: The first female Desdemona and beyond, Benedick and Beatrice: the 'merry war' of courtship, Subversive theatre in Renaissance England, Setting Shakespeare's music – and the music of Shakespeare settings, Character analysis: Benvolio, Mercutio and Tybalt in, Photograph of Jonathan Kent's production of, Photograph of Rudolph Walker as Caliban in Jonathan Miller's 1988 production of, Photograph of Ian McKellen as Prospero at the opening ceremony of the 2012 Paralympic Games, Galleries, Reading Rooms, shop and catering opening times vary.