feat_summary_path: finished_summaries/cliffnotes/The Tempest/section_4_part_0.txt
feat_book_id: The Tempest.act 3.scene 1
feat_summary_id: scene 1
feat_summary: {"name": "Scene 1", "url": "https://web.archive.org/web/20201219151049/https://www.cliffsnotes.com/literature/t/the-tempest/summary-and-analysis/act-iii-scene-1", "summary": "Ferdinand enters carrying a log, which he claims would be an odious task except that he carries it to serve Miranda. His carrying of the logs is a punishment but one he willingly accepts because thoughts of Miranda make the work seem effortless. Miranda enters and, when Ferdinand will not rest, offers to take up his chore so that she might force him to rest, but Ferdinand refuses. Although she was instructed not to reveal her name, Miranda impulsively divulges it to Ferdinand. Ferdinand, for his part, has known other beautiful women, but he admits to having never known one as perfect as Miranda. Miranda confesses that she has known no other women, nor any other man, except for her father. Now, she would want no other man except for Ferdinand. At this, Miranda remembers that she has been instructed not to speak to their guest and momentarily falls silent. When Ferdinand avows that he would gladly serve her, Miranda asks if he loves her. At his affirmative reply, Miranda begins to weep. She tells Ferdinand that she is unworthy of him but will marry him if he wants her. He quickly agrees, and the couple finally touch, taking each other's hands, as they pledge their love. Prospero has been listening, unseen. He acknowledges Miranda and Ferdinand's natural match as being \"Of two most rare affections\" , but he has other plans that need his immediate attention, and so he turns to his books and other waiting business.", "analysis": "This scene leaves no doubt that Prospero is the absolute ruler of his small island. Ferdinand is set to the same task as Caliban, carrying logs. Although he is a prince, Ferdinand must bow to the same authority that Caliban, a slave, observes. Even Miranda is not exempt from Prospero's rule. She is not supposed to speak to Ferdinand. Moreover, she is not permitted to even give him her name, although she does. As part of Prospero's power, he must pretend to oppose the romance between Miranda and Ferdinand; however, the audience knows that Prospero is not opposed to such a union, and in fact, he had hoped that they would love one another. But Prospero must maintain the illusion that he is in absolute control, and so, he imposes rules to guarantee his authority. In part, Prospero is playing the role that any father must play when his daughter has a suitor. Protecting Miranda's worth is tied to protecting her virginity; thus, he watches the courtship, unseen. Miranda is an obedient daughter, as proved by her dismay when she forgets herself and reveals her name to Ferdinand. But she is also a young woman in love, and when her father is occupied, she immediately looks to release Ferdinand from his labors. Miranda has no experience with people. She has never seen another woman and does not know that she is beautiful. She has no experience with men, other than her father and Caliban. Because of her isolation, she has developed no artful skills at flirting, and when Ferdinand tells her that he loves her, Miranda weeps. Their love scene is sweet and tender, and without artifice. Prospero watches this exchange, not just to control its outcome, but to protect his only child. Miranda is more vulnerable than most young women, and she needs a strong father to protect her. As such a strong authority figure, Prospero is well suited to protect Miranda from any dangers that this new experience might present. But his watchful observances also recall the godlike control that he has exercised over every other individual being and every action that has occurred on the island. This loving scene serves as a bridge between two scenes of low comedy. Wedged just before and just after, this romantic interlude reminds Shakespeare's audience of the contrast between the pure and tender love of Ferdinand and Miranda and the debauchery of Caliban, Stefano, and Trinculo. Ferdinand's labors are willingly accepted, because Miranda's mere presence fills all his work with pleasure. This happy labor contrasts to the cursing that opened the previous scene, when Caliban also carried logs. Ferdinand and Miranda's love embodies an ideal love, one in keeping with the expectations of nature. There is gentle humor and genuine heartfelt feelings, and there are none of the artificial trappings of conventional courtship. Both Ferdinand and Miranda express their feelings honestly and with dignity. Their encounter adds something important that had been missing -- authentic nobility of manner. Their nature, or breeding, has led them to behave with deportment, as would be expected of the children of the aristocracy. Both young lovers behave in a responsible manner that was missing from their fathers' lives. Thus, Ferdinand and Miranda fulfill the promise of reconciliation, which is an important element of this play. The plotting and betrayal of the fathers is atoned for by their children. For this to work successfully, Alonso and Prospero's children must be elevated far above their fathers in both decorum and honor. Glossary hest  a behest; a bidding; an order. Miranda was commanded not to reveal her name. foil to keep from being successful; thwart; frustrate. wooden slavery being compelled to carry wood. hollowly here, insincerely. maid here, handmaiden, a woman or girl servant or attendant."}
text: ACT III. SCENE I.
  
  _Before PROSPERO'S cell._
  
    _Enter FERDINAND, bearing a log._
  
  _Fer._ 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                               5
  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,                     10
  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._
  
  _Mir._                  Alas, now, pray you,                        15
  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;                         20
  He's safe for these three hours.
  
  _Fer._                         O most dear mistress,
  The sun will set before I shall discharge
  What I must strive to do.
  
  _Mir._                  If you'll sit down,
  I'll bear your logs the while: pray, give me that;
  I'll carry it to the pile.
  
  _Fer._                   No, precious creature;                     25
  I had rather crack my sinews, break my back,
  Than you should such dishonour undergo,
  While I sit lazy by.
  
  _Mir._             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,                     30
  And yours it is against.
  
  _Pros._                Poor worm, thou art infected!
  This visitation shows it.
  
  _Mir._                  You look wearily.
  
  _Fer._ 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,--                        35
  What is your name?
  
  _Mir._           Miranda. --O my father,
  I have broke your hest to say so!
  
  _Fer._                          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                       40
  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 full soul, but some defect in her
  Did quarrel with the noblest grace she owed,                        45
  And put it to the foil: but you, O you,
  So perfect and so peerless, are created
  Of every creature's best!
  
  _Mir._             I do not know
  One of my sex; no woman's face remember,
  Save, from my glass, mine own; nor have I seen                      50
  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;                                 55
  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.
  
  _Fer._             I am, in my condition,
  A prince, Miranda; I do think, a king;                              60
  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,                        65
  To make me slave to it; and for your sake
  Am I this patient log-man.
  
  _Mir._                   Do you love me?
  
  _Fer._ O heaven, O earth, bear witness to this sound,
  And crown what I profess with kind event,
  If I speak true! if hollowly, invert                                70
  What best is boded me to mischief! I,
  Beyond all limit of what else i' the world,
  Do love, prize, honour you.
  
  _Mir._                    I am a fool
  To weep at what I am glad of.
  
  _Pros._                     Fair encounter
  Of two most rare affections! Heavens rain grace                     75
  On that which breeds between 'em!
  
  _Fer._                          Wherefore weep you?
  
  _Mir._ 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,                           80
  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,                          85
  Whether you will or no.
  
  _Fer._                My mistress, dearest;
  And I thus humble ever.
  
  _Mir._                My husband, then?
  
  _Fer._ Ay, with a heart as willing
  As bondage e'er of freedom: here's my hand.
  
  _Mir._ And mine, with my heart in't: and now farewell               90
  Till half an hour hence.
  
  _Fer._                 A thousand thousand!
  
      [_Exeunt Fer. and Mir. severally._
  
  _Pros._ 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                            95
  Much business appertaining.    [_Exit._
  
  
    Notes: III, 1.
  
    1: _and_] _but_ Pope.
    2: _sets_] Rowe. _set_ Ff.
    4, 5: _my ... odious_] _my mean task would be As heavy to me as
      'tis odious_ Pope.
    9: _remove_] _move_ Pope.
    14: _labours_] _labour_ Hanmer.
    15: _Most busy lest_] F1. _Most busy least_ F2 F3 F4. _Least busy_
      Pope. _Most busie-less_ Theobald._ Most busiest_ Holt White conj.
      _Most busy felt_ Staunton. _Most busy still_ Staunton conj.
      _Most busy-blest_ Collier MS. _Most busiliest_ Bullock conj.
    _Most busy lest, when I do_ (_doe_ F1 F2 F3) _it_] _Most busy when
      least I do it_ Brae conj. _Most busiest when idlest_ Spedding
      conj. _Most busy left when idlest_ Edd. conj. See note (XIII).
    at a distance, unseen] Rowe.
    17: _you are_] F1. _thou art_ F2 F3 F4.
    31: _it is_] _is it_ Steevens conj. (ed. 1, 2, and 3). om. Steevens
      (ed. 4) (Farmer conj.).
    34, 35: _I do beseech you,--Chiefly_] _I do beseech you Chiefly_ Ff.
    59: _I therein do_] _I do_ Pope. _Therein_ Steevens.
    62: _wooden_] _wodden_ F1.
    _than to_] _than I would_ Pope.
    72: _what else_] _aught else_ Malone conj. (withdrawn).
    80: _seeks_] _seekd_ F3 F4.
    88: _as_] F1. _so_ F2 F3 F4.
    91: _severally_] Capell.
    93: _withal_] Theobald. _with all_ Ff.
  
  
  
  
feat_summary_name: Scene 1
target: Ferdinand enters carrying a log, which he claims would be an odious task except that he carries it to serve Miranda. His carrying of the logs is a punishment but one he willingly accepts because thoughts of Miranda make the work seem effortless. Miranda enters and, when Ferdinand will not rest, offers to take up his chore so that she might force him to rest, but Ferdinand refuses. Although she was instructed not to reveal her name, Miranda impulsively divulges it to Ferdinand. Ferdinand, for his part, has known other beautiful women, but he admits to having never known one as perfect as Miranda. Miranda confesses that she has known no other women, nor any other man, except for her father. Now, she would want no other man except for Ferdinand. At this, Miranda remembers that she has been instructed not to speak to their guest and momentarily falls silent. When Ferdinand avows that he would gladly serve her, Miranda asks if he loves her. At his affirmative reply, Miranda begins to weep. She tells Ferdinand that she is unworthy of him but will marry him if he wants her. He quickly agrees, and the couple finally touch, taking each other's hands, as they pledge their love. Prospero has been listening, unseen. He acknowledges Miranda and Ferdinand's natural match as being "Of two most rare affections" , but he has other plans that need his immediate attention, and so he turns to his books and other waiting business.
feat_summary_analysis: This scene leaves no doubt that Prospero is the absolute ruler of his small island. Ferdinand is set to the same task as Caliban, carrying logs. Although he is a prince, Ferdinand must bow to the same authority that Caliban, a slave, observes. Even Miranda is not exempt from Prospero's rule. She is not supposed to speak to Ferdinand. Moreover, she is not permitted to even give him her name, although she does. As part of Prospero's power, he must pretend to oppose the romance between Miranda and Ferdinand; however, the audience knows that Prospero is not opposed to such a union, and in fact, he had hoped that they would love one another. But Prospero must maintain the illusion that he is in absolute control, and so, he imposes rules to guarantee his authority. In part, Prospero is playing the role that any father must play when his daughter has a suitor. Protecting Miranda's worth is tied to protecting her virginity; thus, he watches the courtship, unseen. Miranda is an obedient daughter, as proved by her dismay when she forgets herself and reveals her name to Ferdinand. But she is also a young woman in love, and when her father is occupied, she immediately looks to release Ferdinand from his labors. Miranda has no experience with people. She has never seen another woman and does not know that she is beautiful. She has no experience with men, other than her father and Caliban. Because of her isolation, she has developed no artful skills at flirting, and when Ferdinand tells her that he loves her, Miranda weeps. Their love scene is sweet and tender, and without artifice. Prospero watches this exchange, not just to control its outcome, but to protect his only child. Miranda is more vulnerable than most young women, and she needs a strong father to protect her. As such a strong authority figure, Prospero is well suited to protect Miranda from any dangers that this new experience might present. But his watchful observances also recall the godlike control that he has exercised over every other individual being and every action that has occurred on the island. This loving scene serves as a bridge between two scenes of low comedy. Wedged just before and just after, this romantic interlude reminds Shakespeare's audience of the contrast between the pure and tender love of Ferdinand and Miranda and the debauchery of Caliban, Stefano, and Trinculo. Ferdinand's labors are willingly accepted, because Miranda's mere presence fills all his work with pleasure. This happy labor contrasts to the cursing that opened the previous scene, when Caliban also carried logs. Ferdinand and Miranda's love embodies an ideal love, one in keeping with the expectations of nature. There is gentle humor and genuine heartfelt feelings, and there are none of the artificial trappings of conventional courtship. Both Ferdinand and Miranda express their feelings honestly and with dignity. Their encounter adds something important that had been missing -- authentic nobility of manner. Their nature, or breeding, has led them to behave with deportment, as would be expected of the children of the aristocracy. Both young lovers behave in a responsible manner that was missing from their fathers' lives. Thus, Ferdinand and Miranda fulfill the promise of reconciliation, which is an important element of this play. The plotting and betrayal of the fathers is atoned for by their children. For this to work successfully, Alonso and Prospero's children must be elevated far above their fathers in both decorum and honor. Glossary hest  a behest; a bidding; an order. Miranda was commanded not to reveal her name. foil to keep from being successful; thwart; frustrate. wooden slavery being compelled to carry wood. hollowly here, insincerely. maid here, handmaiden, a woman or girl servant or attendant.