In William Shakespeare's final play, The Tempest, the playwright intertwines love and magic, creating one of the play's main themes. Prospero, the protagonist, uses magic to plan the events of this play. The first act of magic is the storm and subsequent shipwreck in Act I, scene i. Victims wash up on Prospero's shore and Miranda's island. Of the survivors, Ferdinand, Prince of Naples, wanders the island alone aimlessly until Ariel, a magical spirit, guides him to Miranda. As expected, they fall in love at first sight; from then on their relationship is seemingly perfect. However, Miranda's inexperience, combined with Ferdinand's fragile state of mind, raises questions about their infatuation. The audience can assume one of two things: first, that their love is real, or second, that their love is simply the result of Prospero's magic. Based on the evidence contained in the screenplay it can be concluded that the love between Ferdinand and Miranda is not an act of fate, but rather the result of Prospero's magic. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay From the beginning of Ferdinand and Miranda's relationship, all aspects of their love are too perfect. Ariel's music, "with its sweet air" (I.ii.448), leads Ferdinand to Miranda. The songs of the magical spirit enhance the aura of love and seal their relationship with a sense of perfection. Miranda's first words to Ferdinand allow him to recognize her tongue as his own: "My tongue! Heavens!" (I.ii.488). Their common language allows them to easily communicate their emotions. “At first sight / They have changed their gaze,” (I.ii.503-504) offering themselves as slaves to each other. Prospero's magic makes their love an easy and seemingly too perfect task. As an obstacle, he believes it should "make restless" (I.ii.517) their rapidly progressing adolescent love. However, Ferdinand, performing menial and laborious tasks, enjoys every moment, given his undying devotion to Miranda. Together, mood, language and dedication justify an unconditionally perfect love, typically not based on reality. “True” love usually has more depth that has been developed through conflict and resolution. In its perfection, Ferdinand and Miranda's love seems guided exclusively by Prospero's magic. Both the suddenness of their love and their naivety further suggest a magical basis for their love. Ferdinand is the third man Miranda has ever seen, "the first/ For whom (she) has sighed" (I.ii.509-10). “Nor have I seen / More men that I can call than thee, good friend, / and my dear father” (III.ii.59-61), Miranda states to Ferdinand. She lived a sheltered life, knowing "One of her sex; no woman's face" (III.i.57-8) and knowing only two men: her good father and Caliban. Caliban is immoral and represents the "animal nature" that Prospero has protected her from until now. She has never experienced love or lust that made her more susceptible to acting on sudden impulses. Ferdinand, on the other hand, has "liked several women, never none / With such a fun soul (like Miranda's)" (III.i.51). However, she has a similar state of mind as Miranda. He speaks of his "drowned father" (I.ii.459), who he believes died in the storm. Both Miranda and Ferdinand are equally naive and contribute a lot to their relationship. For Miranda, Ferdinand is a "divine thing" (I.ii.747). Miranda represents Ferdinand's escape from mourning his father. She replaces her pain with happiness. Prospero uses his magic to orchestrate their love; allowing them to try things.