The Tempest – Act 3 Scene 1 Ferdinand’s soliloquy gives the audience insight into his true thoughts and feelings. Here he juxtaposes the “baseness” of “labour” and the “delight” that a person can take from it. Rather than dwelling on the amount of work he has to do, Ferdinand focuses on the prize ahead of him: Miranda. Even though he has just met her, the idea of her eternal love motivates him, despite the “baseness” of his task. Miranda’s reaction is typical of her character. She is deeply sympathetic towards Ferdinand, begging him to “work not so hard”. Her feelings of pity are emphasized by her wish that the lighting had “burnt up” the logs that he has been ordered to stack. The setting of the sun represents the completion of a day's work, so it represents the opportunity to rest. However, it also represents change, newness and the coming of a new era. This foreshadows the great change in Prospero and Miranda’s situation. There is often a visual joke in productions at this moment where Miranda easily picks up a heavy log that Ferdinand had struggled with. Prospero’s comment highlights what the audience already know – that Miranda is clearly in love. SCENE I. Before PROSPERO'S Cell. Enter FERDINAND, bearing a log FERDINAND There be some sports are painful, and their labour Delight in them sets off: some kinds of baseness Are nobly undergone and most poor matters Point to rich ends. This my mean task Would be as heavy to me as odious, but The mistress which I serve quickens what's dead And makes my labours pleasures: O, she is Ten times more gentle than her father's crabbed, And he's composed of harshness. I must remove Some thousands of these logs and pile them up, Upon a sore injunction: my sweet mistress Weeps when she sees me work, and says, such baseness Had never like executor. I forget: But these sweet thoughts do even refresh my labours, Most busy lest, when I do it. Enter MIRANDA; and PROSPERO at a distance, unseen MIRANDA Alas, now, pray you, Work not so hard: I would the lightning had Burnt up those logs that you are enjoin'd to pile! Pray, set it down and rest you: when this burns, 'Twill weep for having wearied you. My father Is hard at study; pray now, rest yourself; He's safe for these three hours. FERDINAND O most dear mistress, The sun will set before I shall discharge What I must strive to do. MIRANDA If you'll sit down, I'll bear your logs the while: pray, give me that; I'll carry it to the pile. FERDINAND No, precious creature; I had rather crack my sinews, break my back, Than you should such dishonour undergo, While I sit lazy by. MIRANDA It would become me As well as it does you: and I should do it With much more ease; for my good will is to it, And yours it is against. PROSPERO Poor worm, thou art infected! This visitation shows it. This scene revolves around various images of servitude – the enforced servitude of Ferdinand to Prospero (and, by extension, Ariel and Caliban’s slavery) in comparison to the servitude of love. He refers to Miranda as “the mistress which I serve”, something which he clearly does gladly due to his romantic feelings towards her. These words emphasise to the audience that Ferdinand is the prince of Naples and the son of Alonso, the King of Naples – and therefore that the “baseness” of the labour he is undertaking is far below his social standing. This is an example of dramatic irony as the audience are aware that Prospero has followed Miranda onstage “unseen”. Yet again Prospero views the interactions of others without their knowledge, giving him a somewhat omnipresent quality, controlling the action of the play from behind the scenes. Ferdinand uses hyperbole here – suggesting that he would rather break his back than watch Miranda work. This illustrates the clear gender divide within Jacobean England, particularly regarding the noble classes. As a woman, Miranda is expected to be weak both physically and mentally, and therefore not be expected to undertake any physical labour. In contrast, ass man, Ferdinand would have been expected to be physically strong. Ferdinand’s simile highlights the transformative and restorative powers of love – despite being captive and forced to undertake hard, physical labour he states that he feels as if it were a “fresh morning” as Miranda is with him. A play on words- Miranda comes from the Latin “mirandus,” meaning “admirable, wonderful.” This excerpt offers an interesting insight into Ferdinand’s character and values. He uses negative terms such as “bondage”, “defect”, “quarrel”, etc., to emphasise his affection and commitment to Miranda. The comparison he draws with his negative appraisal of the other women serves as a highlight of Miranda’s superlative perfection. Miranda references the importance of her honour or virginity. This demonstrates the significance of virginity for woman in Jacobean England, who were expected to remain pure until their marriage. Structurally, this statement also reminds the audience of Caliban’s attempted rape of Miranda, and the devastating effect that such an act would have had upon her prospects. Miranda’s child-like innocence and unrefined responses mark the most emotionally intense points in the scene - she is shown as simple–unpretentious and honest. MIRANDA You look wearily. FERDINAND No, noble mistress;'tis fresh morning with me When you are by at night. I do beseech you-Chiefly that I might set it in my prayers-What is your name? MIRANDA Miranda.--O my father, I have broke your hest to say so! FERDINAND Admired Miranda! Indeed the top of admiration! worth What's dearest to the world! Full many a lady I have eyed with best regard and many a time The harmony of their tongues hath into bondage Brought my too diligent ear: for several virtues Have I liked several women; never any With so fun soul, but some defect in her Did quarrel with the noblest grace she owed And put it to the foil: but you, O you, So perfect and so peerless, are created Of every creature's best! MIRANDA I do not know One of my sex; no woman's face remember, Save, from my glass, mine own; nor have I seen More that I may call men than you, good friend, And my dear father: how features are abroad, I am skilless of; but, by my modesty, The jewel in my dower, I would not wish Any companion in the world but you, Nor can imagination form a shape, Besides yourself, to like of. But I prattle Something too wildly and my father's precepts I therein do forget. FERDINAND I am in my condition A prince, Miranda; I do think, a king; I would, not so!--and would no more endure This wooden slavery than to suffer The flesh-fly blow my mouth. Hear my soul speak: The very instant that I saw you, did My heart fly to your service; there resides, To make me slave to it; and for your sake Am I this patient log--man. MIRANDA Do you love me? FERDINAND O heaven, O earth, bear witness to this sound And crown what I profess with kind event If I speak true! if hollowly, invert What best is boded me to mischief! I It is important to note that, despite his deep feelings of love, Ferdinand does not yet know Miranda’s name. This helps to illiterate his reliance upon physical beauty and the Jacobean belief in physiognomy, along with the supreme importance of beauty for Jacobean women. He also references his “prayers”, showing him to be a godly man. Religion was paramount in Jacobean England, and therefore Ferdinand’s portrayal as a religious character would have shown him in an externally positive light. Unlike Ferdinand, who has eyed “many a lady”, Miranda has seen no other face apart from her own, her father’s and Caliban. This juxtaposition serves to draw attention to her innocence and naivety, as she is unaware of the ways of the world or of others. Despite her innocence, Miranda is sure that she would not wish to be with any other man than Ferdinand. The words “slavery” and “slave” accentuate the parallel between his own chosen servitude and that of the enforced servitude of Caliban. Prospero frequently refers to Caliban as a slave, and the audience view Caliban as a slave both to Prospero and to his own anger. Ferdinand, on the other hand, is a willing slave to his love for Miranda, making his “heart fly” in happiness. Miranda’s show of emotion is true to the gender stereotypes of Jacobean England. As we have seen throughout the play, Miranda is a deeply emotional and empathetic character, and as such she weeps due to her overwhelming feelings of happiness. As a man, (and therefore, by Jacobean standards, less emotional than Miranda), Ferdinand is perplexed by Miranda’s weeping. Miranda’s insistence that she will be his to command whether he “will nor no” demonstrates the depth of her feelings and desires. Miranda’s optimism about the future serves as a beacon of hope, highlighting to the audience that true love concours all other emotions. Miranda metaphorically gives Ferdinand her “heart” as a symbol of her love for him. This loving scene serves as a bridge between two scenes of low comedy and reminds the Jacobean audience of the disparity between the untainted and tender love of Ferdinand and Miranda and the wickedness of Caliban, Stefano, and Trinculo. Prospero’s words build a sense of anticipation for the Jacobean audience, who understand that his plans are not at an end. His books are also symbolic of his power and the power of words and ideas. Beyond all limit of what else i' the world Do love, prize, honour you. MIRANDA I am a fool To weep at what I am glad of. PROSPERO Fair encounter Of two most rare affections! Heavens rain grace On that which breeds between 'em! FERDINAND Wherefore weep you? MIRANDA At mine unworthiness that dare not offer 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 you will or no. FERDINAND My mistress, dearest; And I thus humble ever. MIRANDA My husband, then? FERDINAND Ay, with a heart as willing As bondage e'er of freedom: here's my hand. MIRANDA And mine, with my heart in't; and now farewell Till half an hour hence. FERDINAND A thousand thousand! Exeunt FERDINAND and MIRANDA severally PROSPERO So glad of this as they I cannot be, Who are surprised withal; but my rejoicing At nothing can be more. I'll to my book, For yet ere supper-time must I perform Much business appertaining. Exit With this aside, Prospero reveals his true feelings about the match. It is clear to the audience that Prospero at the very least desired this affection between the two lovers from the beginning and engineered their meeting (along with Ferdinand’s subsequent imprisonment) in order to deepen their feelings. Miranda seems to break free from her predictable character under the influence of Prospero’s magic, for in this speech to Ferdinand she insists upon marriage, as opposed to proposing it. Miranda can no longer hold inside what she thinks; she realizes the necessity of expressing what she truly desires in this speech. Additionally, at this moment, a stronger, charismatic Miranda replaces one that has been awfully naive and passive as she proclaims her sexual independence. Prospero is left alone on stage, having spent the scene hidden from Miranda and Ferdinand but seen by the audience. This makes his role as the "director" or "playwright" of their affair even more explicit, as he has engineered each situation in order to create the desired outline, namely the love of the young couple. He once again expresses his happiness at their romantic feelings, giving the audience insight into his own feelings rather than the false anger he presents to Miranda and Ferdinand.
