Ocypete, Aello and Celeno.
TMP 3 3 83 Bravely the figure of this Harpy hast thou
ADO 2 1 254 p rather than hold three words' conference with this harpy.
PER 4 3 46 Thou art like the harpy,
In Greek mythology, the harpies were the personification of winds and storms. They had the head and trunk of a woman and the tail, wings and talons of a bird of prey. Shakespeare uses their appearance to describe their attitude:
Thou art like the harpy,
Which, to betray, dost, with thine angel's face,
Seize in thine eagle's talons.
(4 3 46-8)
The harpies were three: Ocypete, Aello and Celeno. This figure finds an echo in "three words' conference with this harpy" (ADO 2 1 254)
In The Tempest, Prospero has Ariel perform the role of a harpy:
Bravely the figure of this harpy hast thou
Performed, my Ariel, a grace it had devouring.
(3 3 83-4)
John DOEBLER in his Shakespeare's Speaking Pictures: Studies in Iconic Imagery, 1974, (p. 14) thinks that:
In The Tempest the existential process of conversion is caused by the combining of the sudden promise of a tantalizing banquet offered to starving men and the equally sudden frustration provided by the harpy as an emblem of greed.
The number of associations a Renaissance audience might have had with this stage image depends on many variable factors. That the harpy proverbially stood for greed was probably almost universally known. Molière was relying on a commonplace when he called his miser Harpagon, and today we still call a greedy person a harpy.