In the third act the play returns to the character of Ferdinand, whom Prospero through his magic is forcing into hard labor. Ferdinand is moving hundreds of heavy logs, and aristocrats during the Renaissance considered such lowly or base work to be a task fit only for the lowest of commoners or for slaves. As a prince, Ferdinand also thinks such work is beneath him. However, because he is directly serving Miranda (whom Prospero has ordered to watch over the prince), Ferdinand feels that the heavy task is light and easy. Ferdinand is in love with Miranda; and love is a magic unto itself that turns the heavy into the light, the dead (spirit or emotions) into life (line 6), and hard labor into a pleasurable task (line 7).
Miranda weeps to see Ferdinand being forced to work so hard, and she begs him to stop and rest. Miranda feels that nature itself feels sad that Ferdinand is forced to work so hard, and she uses personification to express this idea:
… When this burns
‘Twill weep for having wearied you. (18-19)
Miranda is referring directly to the logs, which will be cut up into firewood. Miranda is, of course, projecting her own emotions onto the logs. She, too, is completely in love with Ferdinand; and she even offers to carry the logs for him while he rests (line 23). Naturally, Ferdinand refuses this suggestion although he is touched by her offer.
Prospero is standing a short distance away from the lovers, and he overhears their conversation. The magician realizes that his daughter is in the power of love’s spell:
Poor worm, thou art infected.
This visitation shows it. (31-32)
Prospero’s metaphor contains a double meaning. A worm was both (1) a small creature that people during the Renaissance believed to carry disease and
(2) a term of affection and tenderness. The word infected thus means both (1) suffering from a real virus or disease and (2) becoming lovesick. And the word visitation thus indicates (1) a charitable visit to the sick and also (2) the visitation of lovesickness upon Miranda. Although Prospero likens love to a sickness, he is glad of the lovesickness affecting his daughter.
Ferdinand and Miranda continue their conversation, and their words soon turn into declarations of their love. Ferdinand tells Miranda that although he had liked several women in the past, he could not help noticing some faults or defects in their characters that prevented him from loving any of them (lines 42-46). He finds Miranda, on the other hand, to be perfect. Miranda, in contrast, has never really known any other men or the possible virtues or defects that they might possess. However, despite her ignorance of men, Miranda swears that by her “modesty, the jewel in my dower, I would not wish any companion in the world but you” (53-55). By the word modesty Miranda is referring to her maidenhood or virginity, and the word dower refers to dowry (the money or property that the parents of the bride would give to the groom). Miranda is thus declaring that the best gift that she can offer to Ferdinand is her innocence if he is to accept her in marriage.
In another aside (words reflecting the character’s thoughts and are unheard by other characters on the stage), Prospero exclaims, “Fair encounter of two most rare affections” (74-75). The word, fair, means beautiful or glorious. Prospero is pleased that his daughter and Ferdinand, who also has a fine and noble character (affection), are so much in love with one another.
Miranda and Ferdinand declare to one another that they will become husband and wife and then they leave the stage. Prospero ends the scene with a brief soliloquy of five lines (93-97). Although Prospero’s level of happiness or joy does not match that of the lovers themselves, he does rejoice or takes delight in their happiness. However, he has more to accomplish (in regards to his brother and the King of Naples); and if all goes as he intends, he will have even more reason for rejoicing.