While Ferdinand’s formality is in some ways endearing, it is also in some ways disturbingly reminiscent of Prospero. Some of Ferdinand’s long speeches, especially the speech about Miranda’s virginity in Act IV, scene i, sound quite similar to the way Prospero speaks. Ferdinand is a sympathetic character, and his love for Miranda seems most genuine when he suddenly is able to break out of his verbose formality and show a strikingly simple interest in Miranda. The reader can see this when he asks Miranda, “What is your name?” (. 36 ). The reader notices it again in Act V, scene i when he jests with her over a game of chess, and when he tells his father, who asks whether Miranda is “the goddess that hath severed us, / And brought us together,” that “she is mortal” (. 190–191 ). Ferdinand agrees to marry Miranda in a scene in which he has been, like Caliban, hauling logs for Prospero. Unlike Caliban, however, Ferdinand has been carrying wood gladly, believing that he serves Miranda. The sweet humbleness implicit in this belief seems to shine through best at the times when Ferdinand lets go of his romantic language.
Gonzalo's description of his ideal society (–157, 160–165) thematically and verbally echoes Montaigne 's essay Of the Canibales , translated into English in a version published by John Florio in 1603. Montaigne praises the society of the Caribbean natives: "It is a nation ... that hath no kinde of traffike, no knowledge of Letters, no intelligence of numbers, no name of magistrate, nor of politike superioritie; no use of service, of riches, or of poverty; no contracts, no successions, no dividences, no occupation but idle; no respect of kinred, but common, no apparrell but natural, no manuring of lands, no use of wine, corne, or mettle. The very words that import lying, falsehood, treason, dissimulation, covetousnes, envie, detraction, and pardon, were never heard of amongst them."  In addition, much of Prospero's renunciative speech (–57) echoes a speech by Medea in Ovid 's poem Metamorphoses .