embraces—is saved by her presence, her sympathy lightening the "baseness" of his given task. Critic Melissa Sanchez analyses Miranda in a similar light, discussing her as a representation of an "angelic—but passive—soul "caught in the conflict between enlightenment and base desire (represented by Prospero and Caliban). Critic Lorie Leininger argues that Miranda fits into the colonialist interpretation of The Tempest in that Prospero's use of Miranda as an unwitting player in his political revenge is expressive of the play's sexist attitude towards women. Leininger equates that the sexist attitudes displayed towards Miranda are equitable to the undercurrents of racism shown in the treatment of Caliban. She states that Prospero's treatment of Miranda is in essence the same as his treatment of Caliban, describing his attitude towards both as indicative of their subjugation within the social hierarchy of the Island. Leininger also argues that Miranda's sexualisation is a weapon used against her by her father, stating that Prospero uses Caliban's attempted assault and Ferdinand's romantic overtures to marginalise her, simplifying her into a personification of chastity. In Leininger's analysis, Caliban is treated in a similar fashion, forced into the role of an uncivilised savage without heed for his individual needs and desires—much in the same way that Miranda is expected to marry Ferdinand and reject Caliban's advances simply because her father wishes it. Critic Jessica Slights creates claims that although many declare that Miranda only reflects the image of an obedient and subservient woman; she argues Miranda's character is independent. Miranda's upbringing shapes her character and the view of the world around her. She is not confined to social constructs as she did not grow up within a conventional society. This leads Miranda to view the world without preconceived ideas. Prospero is the main guardian in her life, but she developed personality traits such as kind-heartedness that are, as many describe, distinct in comparison to Prospero’s. In addition, she challenged the rules of traditional courtship when she pursued Ferdinand. What I desire to give; and much less take What I shall die to want. But this is trifling, And all the more it seeks to hide itself, The bigger bulk it shows. Hence, bashful cunning, And prompt me, plain and holy innocence! I am your wife, if you will marry me; If not, I’ll die your maid. To be your fellow You may deny me, but I’ll be your servant, Whether