Miranda makes a very clear decision to seek out Ferdinand and offer her assistance, all the while worrying that her father will discover them.
In this way, Caliban represents both wealth, labor, and survival for Prospero and his daughter. However, the conscious higher representations of social order and behavior: fair political rule, fidelity in marriage, chastity, intellect, honesty and conformity have won the day. At the outset, he is a man in struggle, an embittered man, a vengeful tyrannical man; not God, unless it is the cruel anthropomorphic God of the early Old Testament.
First, he has delved into and accepted all parts of himself.
Our revels now are ended. Indeed, she does not even seem to function or exist when she is out of sight and mind of Prospero. It is the peak of Shakespeare's creation. To be more specific, it is the growth, maturing and individuation of Prospero.
As a result, while The Tempest was originally listed as a comedy in the First Folio of Shakespeare's plays, subsequent editors have chosen to give it the more specific label of Shakespearean romance.
However, Miranda can be interpreted as an allegory for the softer side of colonialism, portraying the more "missionary" aspect of colonisation attempts, in that she tries to educate Caliban instead of treating him as a sub-human citizen like her father seems keen to.
Many texts were published reflecting this new way of seeing the country and situating Britain historically, building continuity with history and myth. His human and virtuous impulses won out over his animal and pernicious urges once all the parts were known and accepted.
Translated by Pamela Powesland, 2nd edition, Frederick A. Frank Benson researched the role by viewing monkeys and baboons at the zoo; on stage, he hung upside-down from a tree and gibbered.