Ferdinand is not the most pivotal character in the play, but he aids the progression of the play by adding depth to the character of Miranda. Also, he assists the development of the subplot of Prospero regaining his title as the Duke of Milan. He is only seen to be good character within the play, and is never seen as having any other intention than winning Mirandas love or being reunited with his father. The character of Ferdinand is a slightly simple one on the surface, as he falls instantly in love with Miranda, however, deeper inside his character there is a more complex being as he is devoted to the cause of winning Miranda, and also has to bear the pain of losing his father. Ferdinand can also be viewed as representing the male gender as a whole, as he is the first male other than her father that she meets.
Throughout the play we are shown that Ferdinands love for Miranda is strong and undeniable, Most sure, the goddess On whom these airs attend(I.ii.420-21). In the beginning we are shown this, because he willingly serves Prospero, and does not question his new master. This signifies the strong feelings he has for Miranda, because it means that he will do unpleasant tasks if it meas that he will ultimatley get to be with her, he shows this commitment to her by saying rather crack my sinews, break my back, Than you should such dishonour undergo(III.i.28-9). This shows that he has a deep attraction her, and will not let tasks such as piling up logs deter him from being with her.
The relationship between Ferdinand and Miranda supports Platos theory of soulmates. It does this, because as soon as they lay eyes upon each other, they fall in love instantly. Platos theory says that each persons soul makes up half of a whole sole, and when you meet the person with the other half of your soul, you feel an instant attraction to one another. This person is known as your soulmate, and is the one true partner for you. We know that the two of them fall instantly in love because when Miranda first sees Ferdinand she says I might call him a thing divine(I.ii.417-18) this is indicative of her feelings that he is extremely attractive toi her, and likes him very much. In addition to this, by calling him divine she is implying that he is a God-like being. Also, when Ferdinand lays eyes on Miranda for the first time he says sure the goddess(I.ii.420) this also shows that he finds her extremly beautiful, and is infatuated with her.
Towards the end of the play, Ferdinand and Miranda are seen playing chess. This is significant to their relationship because of the black and white involved in chess. Without either of the colours, the game would not work, and therefore it would be pointless. However, when you put them together, they work together, and when the chess pieces are moved, the black and the white intertwine. This could represent the souls of Miranda and Ferdinand, because with one the other is not whole. The game of chess at the end of the play is also significant because the object of chess is to capture the king, this is the symbolic significance of Prospero revealing Ferdinand and Miranda playing chess in the final scene. Prospero has caught the king, in this case, Alonso, and reprimanded him for his treachery. In doing so, Prospero has married Alonsos son to his own daughter without the kings knowledge, a scheme that assures Alonsos support because Alonso will have no interest in upsetting a dukedom to which his own son is heir. This is the final move in Prosperos plot, which began with the tempest. He has manoeuvred the different passengers of Alonsos ship around the island as if they were pawns in a game of chess. Caught up in their game, Miranda and Ferdinand also symbolize something ominous about Prosperos power. They do not even notice the others staring at them for a few lines. Sweet lord, you play me false; Miranda says, and Ferdinand assures her that he would not for the world (V.i.174176). The fact that Ferdinand and Miranda are suddenly revealed behind a curtain, playing chess and talking gently of love and faith, seem entirely removed from the world around them. Though he has promised to relinquish his magic, Prospero still seems to view his daughter as a nothing but a mere pawn in his game.
Ferdinand plays a significant part in getting Alonso, the King or Naples, to give Prospero his place as Duke of Milan back. Prospero uses Ferdinands betrothal to Miranda in order to persuade Alonso to give him his position back. Also, Ferdinands final words in the play cause Alonso to reinstate Prospero as Duke of Milan, of whom I have received a second life; and second father(V.i.194-95) this shows that Ferdinand has a particularly high opinion of Prospero, and does not realise that his father had a hand in the overthrowing of Prospero as Duke of Milan. Prospero had initially hoped that Ferdinand and Miranda would fall in love, and therefore aid the reconciliation between Prospero and Alonso. There is dramatic irony in this instance, due to the fact that Prospero was not required to scheme in order to bring his daughter and Ferdinand together, as they are united by their own accord.
Upon seeing Ferdinand for the first time, Miranda says that he is the third man that eer I saw(I.ii.444). We imagine that the other two men are her father, Prospero, and Caliban. In their first conversation with Caliban, however, Miranda and Prospero say very little that shows they consider him to be human. Miranda reminds Caliban that before she taught him language, he gabbled like A thing most brutish(I.ii.356-57) and Prospero says that he gave Caliban humane care(I.ii.347), implying that this was something Caliban ultimately did not deserve. Calibans exact nature continues to be slightly ambiguous, when reminded of, Calibans plot, Prospero refers to him as a devil, a born devil, on whose nature Nurture can never stick (IV.i.18889). Miranda and Prospero both have contradictory views of Calibans humanity. On the one hand, they think that their education of him has lifted him from his formerly animal status. On the other hand, they seem to see him as inherently brutish. His devilish nature can never be overcome by nurture, according to Prospero. Miranda expresses a similar sentiment thy vile race, Though thou didst learn, had that int which good natures Could not abide to be with (I.ii.36163). The inhuman part of Caliban drives out the human part that is imposed on him. Ferdinand and Caliban are essentially binary opposites within the play, with Ferdinand being represented as good, and loving towards Miranda, whereas Caliban is shown as being a fiend, as he attempted to rape Miranda. Caliban and Ferdinand are further mirrored because Caliban enters with a burden of wood,(II.ii) and Ferdinand enters bearing a log(III.i). Both Caliban and Ferdinand have an interest in untying Mirandas virgin knot(IV.i.15) Ferdinand plans to marry her, while Caliban has attempted to rape her. The romantic love of Ferdinand for Miranda greatly contrasts with Calibans desire to impregnate Miranda and people the island with Calibans.
Having closely examined the role and significance of Ferdinand in The Tempest I have found that he plays an important role, he is, however, not the main pivotal character. He has an interesting role in aiding Prosperos reclamation of his title as Duke of Milan, therefore he has an important role in that particular subplot. Ferdinand also has a deep connection with Miranda, and consequently gives the play a lighter feel through the use of a love story.
Word Count - 1243
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