male figures, and much of her interaction on stage is dominated by the male figures around her. Miranda's behaviour is typically seen as completely dictated by Prospero, from her interactions with Caliban to her ultimate decision to marry Ferdinand. The traits that make her the pinnacle of femininity are her innocence and vulnerability, and these traits allow her to be readily manipulated first by her father then Ferdinand. However, some critics argue that those same "feminine" traits enable her to be a strong female presence with important effects on the play's outcome. Throughout the course of the play, Miranda acts as a foil to Prospero's more violent instincts and serves as a sounding board to move the play's plot further. She is also a central figure in her father's revenge, enabling Prospero to gain political prestige through her marriage to the Prince of Naples, Ferdinand. Furthermore, while Miranda is very much subservient to Prospero's power, some critics argue that her obedience is a conscious choice. Miranda proves herself willing to challenge Prospero's power, first by calling into question his treatment of the shipwrecked sailors and then defying his commandment to have nothing to do with Prince Ferdinand. Her decision to pursue a relationship with Ferdinand is also interpreted by critics as an indication that her marriage to him is more than a simple political match. Miranda makes a very clear decision to seek out Ferdinand and offer her assistance, all the while worrying that her father will discover them. She is also the one to abandon traditional concepts of Elizabethan modesty by ardently stating her love for Ferdinand, proclaiming that "I am your wife, if you will marry me; / If not, I'll die your maid". Critics also argue that Miranda's feminine presence is essential to the central theme of the play. Miranda's influence is what dulls the worst of her father's anger; Prospero cites her as being his reason for living after their initial banishment and he informs her that everything he does is "in care" of her. Michael Neill argues that Miranda's function on the Island is that of a Christ-figure—that she is the indicator of a given character's moral status within the social hierarchy of the island and that she also serves to protect the ethical code of the Island's inhabitants and visitors. Caliban, whom she rejects, is shown to be a monstrous figure, while Ferdinand—whom she