Love in ‘The Tempest’ and ‘Translations’

The love of Miranda and Ferdinand is controlled by Prospero, which gives it a sense of repression. Miranda has never seen a young man before (argument that it is her only option, no choice. Indeed when she sees men in the courtly party, she admires them too - quote III. 1. 83-84 & V. 1. 181-183), whilst Ferdinand has been involved in many relationships previously. However, he says,

"Full many a lady

I have eyed with best regard...

But you, O you,

So perfect and so peerless, are created

Of every creature's best"

They identify the royalty in each other. They can also be seen as a symbol of unity, as they join Prospero and Antonio, causing them to recognise the value in amicability.

In 'The Tempest', language creates a freedom of expression between the lovers. However, Prospero feels it necessary to be in control to love someone. He must be manipulative. 'The Tempest' demonstrates that relationships do not rely on power but in the bond of mutuality made possible by language. However, in 'Translations', language is the very restriction felt by Yolland and Maire. Their love is constrained due to language. 'Translations' shows that often speaking the same language is not a guarantee of love, as is highlighted by the phrase, "but will that help you to interpret between privacies?" ANALYSE TWO TEXTS - MAIRE AND YOLLAND DRIFTING APART DUE TO LANGUAGE AND FERDINAND AND MIRANDA COMING TOGETHER DUE TO LANGUAGE. Language cannot express the love that they feel for one another, so they turn to cosmic means, calling the basic elements. Ferdinand also swears by the heaven and the earth, but his call for the heaven and earth to bare witness is much less of a despairing last hope, and much more of a desire to express his love through the beauty of language. THE IDEA OF WORKING FOR LOVE - CONFRONTATION BETWEEN THE PUBLIC SELF AD THE PRIVATE SELF - PHYSICAL WORK OF FERDINAND (who refuses to let Miranda help him) AND CHALLENGES THAT FACE MAIRE AND YOLLAND (where both must sacrifice or contradict their roots for their love). Yolland and Maire's love where each is drawn to the others' identity, wanting it as their own, drawn together by issues that will ultimately divide them, versus Ferdinand and Miranda whose love is not antagonistic.

The love between employer and employee can also be seen in both 'The Tempest' and 'Translations'. Ariel is a trusted spirit, and greatly loved by his master, Prospero. Prospero's nicknames for Ariel are all recognitions of his servant's qualities, namely "my bird", "my chick", "my delicate Ariel", "my industrious servant", "my brave spirit", "my dainty Ariel", "my tricksy spirit", and "my diligence". However, all of these names stress the same opening word - "My", which identifies Prospero as a commanding authority. When Ariel has moods of reluctance, and reminds Prospero that their relationship is based on a bargain ("Remember I have done thee worthy service...Thou did promise to bate me a full year"), Prospero feels the need to re-establish his superior position, as he replies,

"If thou more murmur'st, I will rend an oak,

And peg thee in his knotty entrails, till

Thou hast howled away twelve winters"

Ariel, although unable to feel human feelings and emotions, is intrigued to know whether his master loves him, and he eventually asks him, "Do you love me master? No?" Indeed Prospero loves Ariel more than any other character in the play.

The relationship between Lancey and Owen in 'Translations' is very different. Lancey and Owen seem on friendly terms at first glance, but at the end of the play, Owen is instructed harshly by Lancey, saying, "Do your job. Translate." A similarity can be seen between the reinforcement of a hierarchy by Lancey and by Prospero, but Lancey does not love Owen. Owen is simply a means to an end, a relationship purely built on the grounds of business.