Alonso is the King of Naples. He helped Antonio to get rid of Prospero and take his brother’s place as Duke of Milan. He has two children, a daughter called Claribel and a son, Ferdinand. His fleet of ships is returning to Naples from Tunis but they are caught in a huge storm. Travelling with him is his son, his brother and other nobles. They are all washed up on the island after the storm, although Alonso thinks Ferdinand has drowned. When Alonso finally meets Prospero, he apologises and makes him Duke of Milan again. When he is reunited with Ferdinand and finds out about his engagement to Prospero’s daughter Miranda, he is delighted. While The Tempest is frequently analysed from postcolonial angles as a reaction to European colonialism in the early modern era, Miranda does not make an appearance in the majority of such analyses. As the play's only female character, Miranda functions mostly as a representation of women instead of a representation of a colonised group. Lorie Leininger, discussed in the previous section, argues that Miranda is part of a group subjugated by colonialism due to her gender, but as far as direct connections to European colonisation overseas, Miranda does not connect directly to the majority of postcolonial analyses. [14] The daughter of Prospero, Miranda was brought to the island at an early age and has never seen any men other than her father and Caliban, though she dimly remembers being cared for by female servants as an infant. Because she has been sealed off from the world for so long, Miranda’s perceptions of other people tend to be naïve and non-judgmental. She is compassionate, generous, and loyal to her father. Prospero Burns publisher summary". Archived from the original on 13 October 2015 . Retrieved 17 October 2015.

In the comic book series The League of Extraordinary Gentlemen by Alan Moore and Kevin O'Neill, Prospero appears as a founding member of the first such grouping in 1610, alongside his familiars Caliban and Ariel. a b c Jacobs, M W (30 March 2015). "Shakespeare's Parting Words". HuffPost . Retrieved 16 June 2017.

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The Tempest interprets Miranda as a living representation of female virtue. Miranda is typically viewed as having believed 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". [5] She is, furthermore, the only female character within a cast of strong male figures, and much of her interaction on stage is dominated by the male figures around her. 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 her the pinnacle of femininity are her innocence and vulnerability, and these traits allow her to be readily manipulated first by her father then Ferdinand. This title got my attention right away because of its link with Shakespeare. It's supposed to be a modern retelling of The Tempest, and I was interested in seeing what Nunez would do with that story. Unfortunately, I don't think it's a successful retelling.

Prospero's Daughter is about an orphan named Carlos who lives in the Caribbean. Peter, who has escaped England with his small daughter to avoid a scandal, steals Carlos's home and forces Carlos and another native woman to work as his servants. When the time comes for Peter to give his daughter, Virginia, lessons, Carlos feels sorry for the girl, since she isn't able to learn them fast enough for her father and is yelled at constantly. Carlos, whose parents taught him to read, secretly teaches Virginia how to read at night so that she can impress her father. Eventually, they end up falling in love, and when Carlos tells Peter of his intentions to marry Virginia, Peter accuses Carlos of rape and launches an investigation, in the hopes of getting Carlos arrested. n Elizabeth Nunez's Prospero's Daughter, the exploits of its key characters (Dr. Peter Gardner, Carlos, Virginia, and Ariana) are intrinsically linked to key characters (Prospero, Caliban, Miranda, and Ariel respectively) and themes inspired by Shakespeare's The Tempest. Both works occur on an island, both explore the principles of freedom, forgiveness and rebirth but Nunez modernizes the classic tale by adding contemporary flavors of racism, classism, colorism and domination - legacies of European colonial rule. Miranda (moon), one of the moons of Uranus is named after her, in keeping with other Uranian moons named after characters from Shakespeare and Pope. [20] In popular culture [ edit ]

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I didn't particularly like Nunez's choices on which plot points in the Tempest to change to her fitting in the story. Some of which irked me such as Carlos teaching Virginia to read when it was Miranda that taught Caliban. It might not bother some people but it did bother me from a feminist point of view. Miranda is one of the principal characters of William Shakespeare's The Tempest. She is the only female character to appear on stage. Her lines spoken at the end of Act V, Scene I are the inspiration for the title of the novel Brave New World. Leninger, Lorrie Jerrell. "The Miranda Trap: Sexism and Racism in Shakespeare's Tempest." Trans. Array The Women's Part: Feminist Criticism of Shakespeare. Carolyn Ruth Swift Lenz, Gayle Greene and Carol Thomas Neely. Chicago: University of Illinois Press, 1980. Print.