Ultimately, the adaptation of scene II of the first act into a painting allows the representation of the play to become more concrete and understandable. The format in Fuseli's painting mirrors the interaction of the characters in the work. In Act I, Scene II, Prospero and Miranda confront Caliban. It is in this scene that Prospero invites his “poisonous slave,” Caliban, to “come out into the open” (Shakespeare lines 319-320). The position of the characters in the painting reflects their attitude and dialogue in the scene. Fuseli presents Caliban in front of Prospero with a fearful expression and his fist raised as if in defense. Facing Caliban, Prospero is illustrated pointing his hand at Caliban (P. Simon and Henry Fuseli). The position they are in establishes the same relationship that Prospero and Caliban have with each other in the play. Prospero's position in the center of the painting also represents the fact that he is the center of attention. As a result, the painting carefully introduces Prospero as a figure who “controls the narrative and the other characters,” such as Miranda, Ariel, and Caliban (Thompson). While there are no specifics on Miranda's location in the text, Fuseli captures the essence of her character through her location in the painting behind Prospero. Shakespeare provides Miranda