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Tempest<-Shakespeare<-chapter 3<-contents<-position

    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” (L358–361). 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” (Act III, Scene i, L83–84). Her proposal comes shortly after Miranda has told herself to remember her “father’s precepts” (Act III, Scene i, L58) 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.

     Prospero’s dark, earthy slave, frequently referred to as a monster by the other characters, Caliban is the son of a witch-hag and the only real native of the island to appear in the play. He is an extremely complex figure, and he mirrors or parodies several other characters in the play. In his first speech to Prospero, Caliban insists that Prospero stole the island from him. Through this speech, Caliban suggests that his situation is much the same as Prospero’s, whose brother usurped his dukedom. On the other hand, Caliban’s desire for sovereignty of the island mirrors the lust for power that led Antonio to overthrow Prospero. Caliban’s conspiracy with Stefano and Trinculo to murder Prospero mirrors Antonio and Sebastian’s plot against Alonso, as well as Antonio and Alonso’s original conspiracy against Prospero.
    Caliban both mirrors and contrasts with Prospero’s other servant, Ariel. While Ariel is “an airy spirit,” Caliban is of the earth, his speeches turning to “springs, brine pits” (Act I, Scene ii, L341), “bogs, fens, flats” (Act II, Scene ii, L2), or crabapples and pignuts (Act II, Scene ii, L159–160). While Ariel maintains his dignity and his freedom by serving Prospero willingly, Caliban achieves a different kind of dignity by refusing, if only sporadically, to bow before Prospero’s intimidation.
    Surprisingly, Caliban also mirrors and contrasts with Ferdinand in certain ways. In Act II, scene ii Caliban enters “with a burden of wood,” and Ferdinand enters in Act III, Scene i “bearing a log.” Both Caliban and Ferdinand profess an interest in untying Miranda’s “virgin knot.” Ferdinand plans to marry her, while Caliban has attempted to rape her. The glorified, romantic, almost ethereal love of Ferdinand for Miranda starkly contrasts with Caliban’s desire to impregnate Miranda and people the island with Caliban.
    Finally, and most tragically, Caliban becomes a parody of himself. In his first speech to Prospero, he regretfully reminds the magician of how he showed him all the ins and outs of the island when Prospero first arrived. Only a few scenes later, however, we see Caliban drunk and fawning before a new magical being in his life: Stefano and his bottle of liquor. Soon, Caliban begs to show Stefano the island and even asks to lick his shoe. Caliban repeats the mistakes he claims to curse. In his final act of rebellion, he is once more entirely subdued by Prospero in the pettiest way—he is dunked in a stinking bog and ordered to clean up Prospero’s cell in preparation for dinner.
    Despite his savage demeanor and grotesque appearance, however, Caliban has a nobler, more sensitive side that the audience is only allowed to glimpse briefly, and which Prospero and Miranda do not acknowledge at all. His beautiful speeches about his island home provide some of the most affecting imagery in the play, reminding the audience that Caliban really did occupy the island before Prospero came, and that he may be right in thinking his enslavement to be monstrously unjust. Caliban’s swarthy appearance, his forced servitude, and his native status on the island have led many readers to interpret him as a symbol of the native cultures occupied and suppressed by European colonial societies, which are represented by the power of Prospero. Whether or not one accepts this allegory, Caliban remains one of the most intriguing and ambiguous minor characters in all of Shakespearean plays, a sensitive monster who allows himself to be transformed into a fool.

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