In William Shakespeare's final play, The Tempest, the playwright interweaves love and magic, creating one of the play's major themes. Prospero, the protagonist, uses magic to plan the events of this comedy. The first magical act is the storm and subsequent shipwreck in Act I, scene i. The victims wash up on the shores of Prospero and Miranda's island. Among the survivors, Ferdinand, Prince of Naples, wanders alone aimlessly around the island until Ariel, a magical spirit, guides him to Miranda. As expected, they fall in love at first sight; From that moment on, their relationship seemed 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: the first, that their love is real, or the second, that their love is simply the result of Prospero's magic. Based on the elements of the scenario, we can conclude 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 Should Not Be Banned”? Get an original essay Since the beginning of Ferdinand and Miranda's relationship, every aspect of their love is too perfect. Ariel's music, "with its sweet air" (I.ii.448), leads Ferdinand to Miranda. The magical spirit songs strengthen the aura of love and seal their relationship with a feeling of perfection. Miranda's first words to Ferdinand allow him to recognize her language as his own: "My language! Heaven!" (I.ii.488). Their common language allows them to easily communicate their emotions. “At first sight/They changed their eyes” (I.ii.503-504) offering themselves to each other as slaves. Prospero's magic makes their love an easy and seemingly too perfect task. As an obstacle, he believes he should “see that” (I.ii.517) their rapidly progressing adolescent love. However, Ferdinand, performing laborious and menial tasks, enjoys every moment, given his undying devotion to Miranda. Together, the vibe, language, and dedication justify unconditionally perfect love, usually not based in reality. “True” love usually has more depth and was developed through conflict and resolution. In its very perfection, Ferdinand and Miranda's love seems motivated solely by Prospero's magic. 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) sighed” (I.ii.509-10). “Neither have I seen / More men than I can call than you, good friend, / and my dear father” (III.ii.59-61), Miranda asserts to Ferdinand. She lived a sheltered life, knowing “neither of (her) sex; no woman's face” (III.i.57-8) and knowing only two men: his good father and Caliban. Caliban is immoral and represents the “animal nature” from which Prospero has protected her until now. She has never experienced love or desire, making her more likely to act on sudden impulses. Ferdinand, on the other hand, “loved many women, never any/With a soul as amusing (as Miranda’s)” (III.i.51). However, he has a similar mindset to Miranda. He speaks of his “drowned father” (I.ii.459), whom he believes died in the storm. Both Miranda and Ferdinand are equally naive, which contributes a lot to their relationship. For Miranda, Ferdinand is a “divine thing” (I.ii.747). Miranda is Ferdinand's escape from the loss of his father. She replaces her sorrow with happiness. Prospero uses his magic.