In the beginning of Act IV, Prospero informs Ferdinand that he has successfully passed Prospero’s tests to see if he is worthy to marry Miranda. Prospero admits that his tests have been rather “austere” (severe or harsh) on Ferdinand, but that the “compensation” (the reward of getting Miranda as his wife) will more than make up for that severe treatment.
A line that has given scholars much room for quibbling or arguing occurs when Prospero tells the young Prince that, in giving him his daughter, he is “giving a third of mine own life” (3). In typical Renaissance literature, the comment is that the father is giving up half of his life when he gives away his daughter: even Shakespeare himself uses the idea that the daughter is half of the father’s life or soul in another play (Othello: Act I, Scene 1, Line 87). The most likely guess is that Prospero means his departed wife as being the other third. However, a few scholars have different theories. They assert that Prospero could not mean his wife since she has long been dead [however, since the soul is immortal, her physical death would not really be of relevance]. Anyway, critics have thus suggested that Prospero means either (1) his dukedom or (2) his books as being the other third. Yet such superficiality in Prospero is hardly likely. One early critic even suggested that a typo appears in the manuscript. The word third often appeared spelled as “thrid,” and so the critic guesses that Shakespeare meant thread: “the thread of my life.” Such a guess is possible, but not probable.
Prospero’s next line indicates the importance of Miranda to him: she is “that for which I live” (4). Prospero also refers to Miranda as a “rich gift” (8) and as a person who “will outstrip all praise” (10). She is far more valuable to him than either his books or his dukedom. Ferdinand agrees with Prospero’s assessment of her, and so Prospero tells him that he has “worthily purchased” – that is, he has won by his worthy efforts in passing the trials assigned to him – Miranda as his wife.
Prospero, however, also warns Ferdinand not to have sex with Miranda before the wedding: Ferdinand should not “break her virgin-knot” (meaning her virginity: line 15). If they do engage in sex, Fate or God or the powers (referred to as “the heavens” in line 18) will rain down upon them a sour flood of “disdain” and “discord” (20) instead of a “sweet” shower of grace (suggested by the word “aspersion” in line 18). In other words, their lives will be miserable. During the Middle Ages and Renaissance, a woman who engaged in pre-marital sex was considered dishonorable and ruined. Her shame also brought disgrace to her family. And most men did not wish to marry any woman who was not a virgin.
Prospero further adds that, if they have sex before the wedding, the heavens or fate will cover (“bestrew”) their wedding “bed with weeds” (21). The bed of a newly wedded couple was often covered with flowers, but Prospero is speaking metaphorically. He means that their offspring, their children, will be loathsome or hideous and hateful if they engage in such sexual activity. Ferdinand understands the metaphor perfectly, for he tells the magician that he wishes for a long, pleasant life and “fair issue” (24). Ferdinand means that he wants beautiful and noble children. And, so, Ferdinand will never allow his lust to displace his honor (line 28).
The conversation between Prospero and Ferdinand contains a couple of mythological allusions. Prospero refers to the coming of the wedding day as the path lit up by “Hymen’s lamps” (23). Hymen was the Classical Greek god of marriage. Prospero’s reference simply suggests that marriage is a blessed and holy event.
Ferdinand’s allusion is only slightly more complicated. The young lover realizes that he is not free from lust. Yet he asserts that, in order for their wedding day celebration to be honorable and sacred, he will not allow his honor to “melt” or disappear even at those times …
When I shall think or Phoebus’ steeds are foundered Or night kept chained below. (30-31)
Young lovers are often impatient. They may feel like the wedding night – when they can then sleep together – will never arrive. That night is thus chained or trapped from ever arriving. In mythology Phoebus is the sun god who drove a blazing chariot across the sky. Ferdinand’s allusion imagines the horses pulling the chariot of the sun god as being “foundered” or lame. The horses are moving too slowly in the mind of the eager lover. The day seems to last forever. Ferdinand thus assures Prospero that, although he fully understands the intensity of desire or lust, he can control his emotions.
Prospero is pleased with Ferdinand’s promise; and then the magician calls for Ariel (at line 33). He praises Ariel along with the other spirits for completing their last task (with the banquet table and the harpy) so well, but now Prospero needs for them to perform in another magical show. This one, however, will be a much happier one; for it will be a lovely spectacle or illusion – “some vanity of mine art” (41) – created as an entertainment to please the young lovers. Ariel promises to get the spectacle ready immediately and then exits.
After Ariel exits (at line 50), on stage Ferdinand and Miranda might be getting too physically close; for Prospero feels the necessity to once again tell Ferdinand not to submit to his passion and have pre-marital sex.
Look thou be true. Do not give dalliance Too much rein. The strongest oaths are straw To th’ fire i’th’ blood. (51-53)
Prospero most likely would say these words in a stern and loud voice, and the two lovers would immediately move apart from one another. The word dalliance here indicates a flirtatious action. Thus, Prospero is telling them not to flirt too much and not to get too close together physically. Ferdinand once again assures Prospero that he is in control of his emotions: the “white cold virgin snow upon my heart abates the ardour of my liver” (55-56). During the Renaissance some believed that the heart was the seat or source of love, but the liver was the seat or source of lesser emotions, such as lust. Ferdinand is thus declaring that snow – which is white and pure and thus symbolizes virginity as well as honor – puts out the fire of his passion or lust. The lust is there, but Ferdinand has it under control.