Scene Study prepares you to perform key scenes for your theater class or audition. We've got all the information you need for a great performance.

Excerpt from Act 3, Scene 1 Dialogue: Ferdinand, Miranda, Prospero

 

FERDINAND

I had rather crack my sinews, break my back,
Than you should such dishonor undergo
While I sit lazy by.

MIRANDA

    It would become me
As well as it does you, and I should do it
With much more ease, for my good will is to it
And yours it is against...

Read the full dialogue.

 

 

Understanding the Given Circumstances

  • The scene takes place on Miranda’s father Prospero’s island, near his cell, where Ferdinand performs the laborious task of carrying logs. This is part of Prospero’s test of Ferdinand’s love and character.
  • Ferdinand is a prince who believes he has lost his father in the shipwreck. His willingness to perform hard labor shows his devotion to Miranda, whom he has just met but quickly fallen in love with.
  • Miranda, having lived in isolation with her father, has never interacted with young men other than Ferdinand.
  • Prospero remains hidden for much of the scene, secretly observing the interaction between Miranda and Ferdinand to determine whether Ferdinand is worthy of his daughter. Prospero’s asides signal his satisfaction with their growing bond.

 

Blocking and Movement

In theater, blocking is the process of planning the actors’ physical movements and positions. Be sure to show respect and establish trust when working with scene partners. As you prepare to block this scene, ask yourself the following questions:

  • Where should Ferdinand begin the scene? How does Ferdinand’s physical labor influence his movements?
  • How does Miranda’s entrance affect Ferdinand? How close should Miranda stand when she enters? Think about Miranda’s initial feelings for him. How do her feelings affect how she first approaches Ferdinand?
  • How does the distance between Ferdinand and Miranda change, and how do they move throughout the scene to reflect the shifting conversation? How can this physical proximity reflect their growing emotional connection?
  • How might Ferdinand’s posture and movements shift when he confesses his feelings? 
  • At what point do Ferdinand and Miranda make physical contact?
  • How should Prospero’s hidden observation be staged?
  • When Miranda proposes marriage, how might both characters physically react?
  • How do Ferdinand and Miranda exit “severally”?

 

Character Relationships

Thoroughly exploring each character’s background and relationship with other characters in the scene can be one of the most crucial aspects of developing a performance.

When approaching this scene for performance, ask yourself the following questions:

  • What motivates Ferdinand’s actions toward Miranda? How does his willingness to endure physical labor reflect his feelings? 
  • How does Miranda view Ferdinand? How do her words and actions reveal her feelings?
  • What is the nature of Ferdinand and Miranda’s developing relationship? How quickly do they trust each other? What is the impression that they give off based on their dialogue?
  • How does Prospero influence their relationship? How might his silent presence in this scene affect its tone?
  • Ferdinand is a prince performing manual labor, while Miranda offers to share his burden. How does this reversal of expected roles of their time impact their connection?
  • What role does trust play? How can the performance of Ferdinand and Miranda highlight the tension between fear of rejection and hope for acceptance?
  • How does Miranda’s isolated life on the island affect her understanding of love?

 

Full Act 3, Scene 1 Dialogue: Ferdinand, Miranda, Prospero

Enter FERDINAND bearing a log

FERDINAND

There be some sports are painful, and their labor
Delight in them sets off. Some kinds of baseness
Are nobly undergone. And most poor matters
Point to rich ends. This my mean task
Would be as heavy to me as odious, but
The mistress which I serve quickens what’s dead
And makes my labors pleasures. Oh, she is
Ten times more gentle than her father’s crabbed,
And he’s composed of harshness. I must remove
Some thousands of these logs and pile them up,
Upon a sore injunction. My sweet mistress
Weeps when she sees me work, and says such baseness
Had never like executor. I forget,
But these sweet thoughts do even refresh my labors,
Most busiest when I do it.

Enter MIRANDA, and PROSPERO unseen

MIRANDA

     Alas now, pray you,
Work not so hard. I would the lightning had
Burnt up those logs that you are enjoined to pile!
Pray, set it down and rest you. When this burns,
’Twill weep for having wearied you. My father
Is hard at study. Pray now, rest yourself.
He’s safe for these three hours.

FERDINAND

      O most dear mistress,
The sun will set before I shall discharge
What I must strive to do.

MIRANDA

    If you’ll sit down,
I’ll bear your logs the while. Pray, give me that.
I’ll carry it to the pile.

FERDINAND

    No, precious creature.
I had rather crack my sinews, break my back,
Than you should such dishonor undergo
While I sit lazy by.

MIRANDA

    It would become me
As well as it does you, and I should do it
With much more ease, for my good will is to it
And yours it is against.

PROSPERO

(aside)    Poor worm, thou art infected!
This visitation shows it.

MIRANDA

    You look wearily.

FERDINAND

No, noble mistress. ’Tis fresh morning with me
When you are by at night. I do beseech you—
Chiefly that I might set it in my prayers—
What is your name?

MIRANDA

    Miranda.—O my father,
I have broke your hest to say so!

FERDINAND

     Admired Miranda!
Indeed the top of admiration, worth
What’s dearest to th’ world! Full many a lady
I have eyed with best regard and many a time

Th’ harmony of their tongues hath into bondage
Brought my too diligent ear. For several virtues
Have I liked several women. Never any
With so full soul but some defect in her
Did quarrel with the noblest grace she owed
And put it to the foil. But you, O you,
So perfect and so peerless, are created
Of every creature’s best.

MIRANDA

     I do not know
One of my sex, no woman’s face remember—
Save, from my glass, mine own. Nor have I seen
More that I may call men than you, good friend,
And my dear father. How features are abroad
I am skill-less of, but, by my modesty,
The jewel in my dower, I would not wish
Any companion in the world but you,
Nor can imagination form a shape
Besides yourself to like of. But I prattle
Something too wildly, and my father’s precepts
I therein do forget.

FERDINAND

    I am in my condition
A prince, Miranda—I do think, a king;
I would, not so!—and would no more endure
This wooden slavery than to suffer
The flesh-fly blow my mouth. Hear my soul speak.
The very instant that I saw you did
My heart fly to your service, there resides
To make me slave to it, and for your sake
Am I this patient log-man.

MIRANDA

     Do you love me?

FERDINAND

O heaven, O earth, bear witness to this sound
And crown what I profess with kind event

If I speak true! If hollowly, invert
What best is boded me to mischief! I
Beyond all limit of what else i’ th’ world
Do love, prize, honor you.

MIRANDA

     I am a fool
To weep at what I am glad of.

PROSPERO

(aside)     Fair encounter
Of two most rare affections! Heavens rain grace
On that which breeds between ’em!

FERDINAND

Wherefore weep you?

MIRANDA

At mine unworthiness, that dare not offer
What I desire to give, and much less take
What I shall die to want. But this is trifling,
And all the more it seeks to hide itself
The bigger bulk it shows. Hence, bashful cunning,
And prompt me, plain and holy innocence!
I am your wife if you will marry me.
If not, I’ll die your maid. To be your fellow
You may deny me, but I’ll be your servant
Whether you will or no.

FERDINAND

My mistress, dearest, and I thus humble ever.

MIRANDA

My husband, then?

FERDINAND

Ay, with a heart as willing
As bondage e’er of freedom. Here’s my hand.

MIRANDA

And mine, with my heart in ’t. And now farewell
Till half an hour hence.

FERDINAND

A thousand thousand!

Exeunt FERDINAND and MIRANDA severally

PROSPERO

So glad of this as they I cannot be,
Who are surprised withal. But my rejoicing
At nothing can be more. I’ll to my book,
For yet ere supper-time must I perform
Much business appertaining.

Exit

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