 Caliban, whom she rejects, is shown to be a monstrous figure, while Ferdinand—whom she 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.