William Shakespeare's use of the trope of courtly love in The Tempest is not what it seems. In The Tempest, a man trained in the art of magic, Prospero, causes a shipwreck on his island. On this ship is his brother Antonio, who has usurped Prospero's duchy of Milan and sent it to sea. The king of Napes, Alonso, is also on board this ship and his son, Ferdinand, falls in love with Prospero's daughter, Miranda. The trope of courtly love is seen most clearly in the affection between Miranda and Ferdinand. This trope emerged in medieval European literature and some of its characteristics include an impeccable, inaccessible or difficult to access woman, a need for secrecy, and participants from the nobility. At first one might think that courtly love is being used to show how fairy tale perfect Miranda and Ferdinand's love is, but in reality the utter perfection of their love calls the reader to question its authenticity. This skepticism adds yet another layer to Prospero's character, as he could be the one controlling love, and speaks to the condition of women in Shakespeare's time. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay Aspects of Ferdinand and Miranda's relationship clearly align with the trope of courtly love. When Ferdinand first lays eyes on Miranda, he exclaims, “Of course, the goddess/To whom these tunes are addressed!” (I.ii.423-4) She is so beautiful, so perfect, that he does not believe he is human. It is also unattainable, as Prospero strives to add some difficulty to this love, so that they will appreciate it more. Ferdinand is sent to undertake work on the island while Miranda watches. Prospero even orders Miranda not to tell Ferdinand her name, an order she disobeys (III.i.36-7). This adds a level of secrecy to their relationship. Ferdinand and Miranda think they now have a secret between them, but Prospero is actually there, invisible, watching over them (III.i.14). Both characters are also members of the nobility. Ferdinand is the son of the King of Naples and Miranda is the daughter of the former Duke of Milan. Their relationship adheres so closely, so perfectly to the trope of courtly love. It's too perfect to believe, and that's exactly what Shakespeare wants the reader to believe. Although the relationship between Ferdinand and Miranda may seem like the truest of loves, it may simply be another of Prospero's spells. With Ferdinand and Miranda together, Prospero regains his dignity and noble stature. He also takes revenge on his usurping brother. The premise of this courtly love seems all too convenient. The play repeatedly hints that this arrangement may well be for Prospero's benefit, even though he claims that he has "done nothing but take care of" Miranda (I.ii.16). This is what he first says to Miranda to try to console her when she is upset by the shipwreck. Early on, Prospero assures Miranda that he does all this for her, presenting himself as a loving father. However, this intention shows that he has already planned Ferdinand and Miranda's marriage, that Miranda has no choice. He may claim that his efforts are all for her, but Prospero inadvertently reveals that her work is all for him. Prospero casts a spell on Miranda, putting her to sleep, showing that he has no problem using his magic on her. He even goes so far as to tell her: “I know you can’t choose” (I.ii.186). The lack of specificity in this sentence makes the reader wonder if Miranda has a choice. A.