![]() Instead, Duckett gives us Miranda’s point of view. Miranda in Milan is a direct sequel to The Tempest, staying faithful to the events in Shakespeare’s play but assuming that (written and staged as it is, largely from Prospero’s perspective) it may be the account of a somewhat unreliable narrator. ![]() ![]() ![]() But while we see the magician conjure ghosts and minor deities to serve him, enchant people with magical sleep and paralysis, and master the very elements of the isle, the play wraps up with the same brotherly reunions, marriage engagements, and heartfelt speeches as any of the Bard’s other comedic productions.Īuthor Katharine Duckett must have been just as intrigued by this curious juxtaposition as I am, because her debut novella Miranda in Milan explores precisely what happens after Prospero and his daughter Miranda return to Italy. And Prospero’s plan indeed unfolds, Monte Cristo-like, exactly as he wills it. The play’s initial premise hardly seems like it belongs in a comedy at all-an ousted duke raises his daughter alone on a magical isle, binding spirits to his will and planning his vengeance for a dozen years before wrecking the king of Italy’s flagship with a sorcerous storm. Out of all of Shakespeare’s comedies, The Tempest has always stuck out to me as particularly odd. ![]()
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