Volumnia and Prospero are among the many single parents in Shakespeare. Both are simultaneously empowered and confined by their children’s actions and both are seemingly unaware of their own responsibility for the faults of their children.
Miranda and Prospero in The Tempest
Miranda’s part in Prospero’s revenge plot against his brother is a pivotal one. Without her, it could never come to fruition. Unfortunately, it is the naiveté that comes from her non-existent interaction with the outside world that is the biggest hurdle he must overcome.
A major component of Prospero’s plan is the marriage of Miranda to Alonso’s son, Ferdinand. Once they are married and the rest of Prospero’s plan succeeds not only will he regain Milan but his bloodline will continue on to the throne of Naples. Prospero’s grandson will be king one day.
His plan gets off to a great start when Ferdinand and Miranda are instantly attracted to each other, but her sexual naiveté threatens to destroy the entire plan, if Ferdinand and Miranda sleep together before they’re married all will be for naught. Prospero is forced to step in and warn Ferdinand against just such an action in Act 4, Scene 1.
Miranda’s innocence forces Prospero to constantly guard Miranda’s virginity, first against Caliban and later her future husband Ferdinand.
What Prospero doesn’t seem to realize is that much of Miranda’s lack of knowledge is his own fault. He never even tells her the full story of how they came to be on the island until the beginning of the play’s events. Partially this is necessary for exposition’s sake, but there’s no reason Shakespeare couldn’t have had them reveal it some other way.
In Act 5, Scene 1, Prospero openly mocks Miranda’s wonderment at all the recent events on the island despite the fact that as the only other non-native person on the island, her ignorance is a result of his failure to educate her.
Volumnia and Martius (Coriolanus) in Coriolanus
Volumnia seems to have an unhealthy desire to live vicariously through her son Martius. She makes an uncomfortable sexual reference to him while describing to his wife Virgilia the way she would feel about his battlefield prowess were he her husband: “I should freelier rejoice in that absence wherein he won honour than in the embracements of his bed where he would show most love.”
Volumnia’s priorities are clear from the very first time she appears in the play. Martius’ love means far less to her than the glory of his deeds on the battlefield and the way they reflect on her personally. When she imagines her son’s martial deeds she goes so far as to imitate his voice, calling out “Come on, you cowards! you were got in fear, though you were born in Rome” as though she herself stood on the battlefield. Martius provides an outlet for the combat fantasies that she possesses but cannot, as a woman, act on.
Her desire for his glory is far greater than her concern for his safety. In Act 2, Scene 2, when she learns he has been wounded in battle, her reaction is one of joy. She goes on to proudly recount each of his wounds as if they were her own.
When Martius is offered the chance to join the Roman Senate, Volumnia jumps at the opportunity to enhance her vicarious power. After he spends time with the common people, Volumnia spends much of Act 3, Scene 2 trying to convince him to change his ways, to ignore his hatred for the common people in order to secure more political power. His stubbornness and refusal to go against his beliefs ultimately proves his undoing but Volumnia never seems to realize that Martius’ preference for action over words is a result of the pressures she’s placed upon him to excel on the field of battle for his entire life.
Similarities Between Prospero and Volumnia
Both Prospero and Volumnia manipulate their children in pursuit of political power. Prospero does so to regain what he feels is rightly his while Volumnia manipulates Martius in order to transcend the limitations placed upon her because of her sex. The machinations of both meet with success, but that success is hampered by the faults both parents have unknowingly instilled in their children.
The End Result for Prospero and Volumnia
The major difference between the two is that while Miranda ends up happily married to Ferdinand and all ends well in The Tempest, Martius ends up dead and the conclusion of Coriolanus is far more depressing.
Prospero and Volumnia both manipulate their children. The machinations of Prospero eventually work out while those of Volumnia ultimately lead to her son's downfall. Both are realistic and compelling portrayals of the relationship between a single parent and their child within the world of Shakespeare.
Benjamin Sell - I am a former retail manager turned Oregon State University Student. I finished my Associate's Degree in 2006 and will graduate with a ...
