Prospero's Daughter

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Sounds simple? Not quite! For this spineless, indeed pathetic, inspector is forced to face the colonial attitudes of innocence by superior racial identity, and assumption of guilt of any woman violated sexually in word or deed. Indeed, the British authorities blatantly deny that the colonial residents may be just as equal in intelligence as any white person. As in so many other British-occupied territories, the prevailing government personnel and residents appear surprised when educated natives begin intelligently and potently rebelling. 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. John Barrymore (1937) (an abridged version of The Tempest on the 12 July episode of the short-lived NBC radio series Streamlined Shakespeare; this episode was re-broadcast on 31 August 1950 with the series' name changed to John Barrymore and Shakespeare) [8]

I think that the enjoyment you get out of this book really depends on what you're reading this book for. It's a great book about colonization, and what the natives go through when the English come in and take over their island. The story is well-written, and is generally enjoyable; however, if you're reading this as a modern retelling of The Tempest (as I was), or even for the "romance" you may be disappointed. Meanwhile, the Duke Antonio and King Alonso are wandering about with their servants, Sebastian and Gonzalo. There’s a bit of a mid-snooze assassination attempt, but Ariel wakes them up.

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In John Bellairs's novel The Face in the Frost (1969), one of the protagonists is a wizard named Prospero ("and not the one you're thinking of") .

In the anime series Mobile Suit Gundam: The Witch from Mercury, the main character's mother goes by the name Prospera Mercury. She has sent her daughter, Suletta Mercury, to a piloting school alongside a Gundam named Aerial.

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When Peter Gardner’s ruthless medical genius leads him to experiment on his unwitting patients—often at the expense of their lives—he flees England, seeking an environ where his experiments might continue without scrutiny. He arrives with his three-year-old-daughter, Virginia, in Chacachacare, an isolated island off the coast of Trinidad, in the early 1960s. Leininger also argues that Miranda's sexualisation is a weapon used against her by her father, stating that Prospero uses Caliban's attempted assault and Ferdinand's romantic overtures to marginalise her, simplifying her into a personification of chastity. In Leininger's analysis, Caliban is treated in a similar fashion, forced into the role of an uncivilised savage without heed for his individual needs and desires—much in the same way that Miranda is expected to marry Ferdinand and reject Caliban's advances simply because her father wishes it. [11] In the season 30 episode of The Simpsons titled " I'm Just a Girl Who Can't Say D'oh", Sideshow Mel leaves a play Marge is directing to play Prospero and is replaced by Professor Frink. 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.

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. Staunton. A New Variorum Edition of Shakespeare: The tempest. IX. Ed. Furness, Horace Howard. Philadelphia: J. B. Lippincott Company, 1892. 73–74. Print. At the end of the play, Prospero intends to drown his books and renounce magic. In the view of the audience, this may have been required to make the ending unambiguously happy, as magic was associated with diabolical works.

a b Shakespeare, William; Guthrie,Tyrone (1958). "The Tempest". In Alexander, Peter (ed.). The Comedies. New York: The Heritage Press. p. 4. Shakespeare himself was at the end of his career, and it is hardly possible not to see,...in Prospero's resignation of his magic a reflection of Shakespeare's own farewell to his art. Critics also argue that Miranda's feminine presence is essential to the central theme of the play. [8] Miranda's influence is what dulls the worst of her father's anger; Prospero cites her as being his reason for living after their initial banishment and he informs her that everything he does is "in care" of her. Michael Neill argues that Miranda's function on the Island is that of a Christ-figure—that she is the indicator of a given character's moral status within the social hierarchy of the island and that she also serves to protect the ethical code of the Island's inhabitants and visitors. Caliban, whom she rejects, is shown to be a monstrous figure, while Ferdinand—whom she embraces—is saved by her presence, her sympathy lightening the "baseness" of his given task. Critic Melissa Sanchez analyses Miranda in a similar light, discussing her as a representation of an "angelic—but passive—soul "caught in the conflict between enlightenment and base desire (represented by Prospero and Caliban). [9]