32 UNIVERSITY OF COLORADO STUDIES 



that Ferdinand is drown'd?" Sebastian replies: "He's gone." Gonzalo alone 

 had faith in the future of Ferdinand. 



In scene 5 Ferdinand's speech on love and labor shows his real depth of thought 

 and feeling. His pride is not vain superciliousness, or he wovild be enraged by the 

 crabbed injunctions of the father. The noble humility with which he waives his 

 rank and performs labors so deeply oflFensive to him suggests that in true love alone 

 can be found the basis of the unreasoning reasonableness by which man relinquishes 

 his rights and becomes what scientists call a moral being: "for your sake am I this 

 patient log-man." This feeling conserved and irradiated oflFers a basis for the poetic 

 ethics; but Ferdinand's love is not to be confused with a barbarous attachment, a 

 selfish bargain, or a conventional contract. His profession of attachment, though 

 ardent, shows that he is spiritual as well as sensual: "I love, prize, honour you." 

 The scene calls for no comment, it is sufficiently elevated and spiritual to guarantee 

 constancy under fairly favorable conditions. 



In the eighth scene Ferdinand is accepted as a son by Prospero. He takes the 

 injunctions of Prospero well: "The strongest suggestion our worser genius can, shall 

 never melt mine honour into lust." This perception and frank discussion of the 

 conflicting spirits of honor and sensuality show the clear head and character of Ferdi- 

 nand. Like other lovers, he is not marked by brilliant actions or original speeches. 

 Bassanio's splendid, generous character is shown by the love he commands in all 

 who know him. And so Ferdinand is to be accepted as a fitting hero for what he is 

 to Prospero and Miranda, rather than for what he does or says. 



In the ninth scene he appears as the happy lover, resting from his labors. His 

 final speech in its frank, vigorous but respectful manliness sums up one's impressions 

 of the hero of The Tempest. 



"Sir, she is mortal: 

 But by immortal Providence she's mine; 

 I chose her when I could not ask my father 

 For his advice, nor thought I had one. She 

 Is daughter to this famous Duke of Milan, 

 Of whom so often I have heard renown, 

 But never saw before: of whom I have 

 Received a second life: and second father 

 This lady makes him to me." 



To the romantic reader Alonso's reply redeems all his faults; with simple dignity 

 he answers this imp)etuous eloquence: 



"I am hers; 

 But oh how oddly will it sound that I 

 Must ask my child forgiveness." 



