From The Works of William Shakespeare. Vol. 16. Ed. Evangeline Maria O'Connor. J.D. Morris and Co.
We might have deemed it impossible to go beyond Viola, Perdita, and Ophelia as pictures of feminine beauty; to exceed the one in tender delicacy, the other in ideal grace, and the last in simplicity, if Shakespeare had not done this; and he alone could have done it. Had he never created a Miranda, we should never have been made to feel how completely the purely natural
and the purely ideal can blend into each other.
The character of Miranda resolves itself into the very elements of womanhood. She is beautiful, modest, and tender, and she is these only; they comprise her whole being, external and internal. She is so perfectly unsophisticated, so delicately refined, that she is all but ethereal. Let us imagine any other woman placed beside Miranda — even one of Shakespeare's own loveliest and sweetest creations — there is not one of them that
could sustain the comparison for a moment; not one that would not appear somewhat coarse or artificial when brought into immediate contact with this pure child of nature, this "Eve of an enchanted Paradise."
What, then, has Shakespeare done? — "O wondrous skill and sweet wit of the man!" — he has removed Miranda far from all comparison with her own sex; he
has placed her between the demi-demon of earth and the delicate spirit of air. The next step is into the ideal and supernatural; and the only being who approaches Miranda, with whom she can be contrasted, is Ariel.
Beside the subtle essence of this ethereal sprite, this creature of elemental light and air, that "ran upon the winds, rode the curl'd clouds, and in the colors of the rainbow lived," Miranda herself appears a palpable reality, a woman, "breathing thoughtful breath," a woman, walking the earth in her mortal loveliness, with a heart as frail-strung, as passion-touched, as ever fluttered in a female bosom.
I have said that Miranda possesses merely the elementary attributes of womanhood, but each of these stands in her with a distinct and peculiar grace. She resembles nothing upon earth; but do we therefore
compare her, in our own minds, with any of those fabled beings with which the fancy of ancient poets peopled the forest depths, the fountain or the ocean — oread or dryad fleet, sea-maid, or naiad of the stream? We can-
not think of them together. Miranda is a consistent, natural human being. Our impression of her nymph-like beauty, her peerless grace, and purity of soul, has a distinct and individual character. Not only is she
exquisitely lovely, being what she is, but we are made to feel that she could not possibly be otherwise than as she is portrayed. She has never beheld one of her own sex; she has never caught from society one imitated or artificial grace. The impulses which have come to her,
in her enchanted solitude, are of heaven and nature, not of the world and its vanities. She has sprung up into beauty beneath the eye of her father, the princely magician; her companions have been the rocks and woods,
the many-shaped, many-tinted clouds, and the silent stars; her playmates the ocean billows, that stooped their foamy crests, and ran rippling to kiss her feet. Ariel and his attendant sprites hovered over her head,
ministered duteous to her every wish, and presented before her pageants of beauty and grandeur. The very air, made vocal by her father's art, floated in music around her.
If we can presuppose such a situation with
all its circumstances, do we not behold in the character of Miranda not only the credible, but the natural, the necessary results of such a situation? She retains her woman's heart, for that is unalterable and inalienable,
as a part of her being; but her deportment, her looks, her language, her thoughts — all these, from the supernatural and poetical circumstances around her, assume a cast of the pure ideal; and to us, who are in the secret of her human and pitying nature, nothing can be more
charming and consistent than the effect which she produces upon others, who never having beheld anything resembling her, approach her as "a wonder" as something celestial: —
"What is this maid?
Is she the goddess who hath severed us.
And brought us thus together?"
Contrasted with the impression of her refined and dignified beauty, and its effect on all beholders, is Miranda's own soft simplicity, her virgin innocence, her total ignorance of the conventional forms and language
of society. It is most natural that in a being thus constituted, the first tears should spring from compassion, "suffering with those that she saw suffer"; . . . and that her first sigh should be offered to a love at
once fearless and submissive, delicate and fond. She has no taught scruples of honour like Juliet; no coy concealments like Viola; no assumed dignity standing in its own defence. Her bashfulness is less a quantity than an instinct; it is like the self-folding of a flower, spontaneous and unconscious. I suppose there is nothing of the kind in poetry equal to the scene between Ferdinand and Miranda. In Ferdinand, who is a noble
creature, we have all the chivalrous magnanimity with
which man, in a high state of civilization, disguises his real superiority, and does humble homage to the being of whose destiny he disposes; while Miranda, the mere child of nature, is struck with wonder at her own new
emotions. Only conscious of her own weakness as a woman, and ignorant of those usages of society which teach us to dissemble the real passion, and assume (and sometimes abuse) an unreal and transient power, she is
equally ready to place her life, her love, her service beneath his feet.
Mrs. Jameson: Characteristics of Women.