William Shakespeare's use of the trope of courtly love in The Tempest is not what it seems. In The Tempest, a man skilled in the art of magic, Prospero, causes a shipwreck on his island. On this ship is his brother Antonio, who usurped Prospero's dukedom in Milan and sent him to sea. The king of Napes, Alonso, is also on 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 a flawless woman who is unattainable or difficult to access, the need for secrecy, and participants taken from the nobility. At first, one might think that courtly love is used to show how perfect the love between Miranda and Ferdinand is, but in reality, the sheer perfection of their love invites the reader to question its authenticity. This skepticism adds another layer to Prospero's character, as he may be the one in control of 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 Shouldn't Be Banned"? Get an Original Essay Aspects of Ferdinand and Miranda's relationship are clearly in line with the courtly love trope. When Ferdinand lays eyes on Miranda for the first time, he exclaims, "Certainly, the goddess / to whom these arias participate!" (I.ii.423-4) She is so beautiful, so flawless, that he does not believe he is human. She too is unattainable, as Prospero strives to add some difficulty to this love, so as to appreciate it more. Ferdinand is sent to undertake the work on the island while Miranda watches. Prospero even orders Miranda not to tell Ferdinand his name, a command which 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 concept of courtly love. It's too perfect to believe, and that's exactly what Shakespeare wants the reader to think. Although the relationship between Ferdinand and Miranda may seem like the truest love, it may be just 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 suggests several times that all of this may only be for Prospero's benefit, even though he states that he has "done nothing but care for" Miranda (I.ii.16). This is what he first says to Miranda to try to console her when she is distraught over the shipwreck. From the beginning, Prospero assures Miranda that he is doing all of this for her, presenting himself as a loving father. However, this intention shows that he has already planned Ferdinand and Miranda's wedding, which Miranda has no choice. She 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, which shows 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 any choices. Another example of Prospero's selfish planning occurs during the celebration.