The Tempest, his final play, we see an extended examination of the role of art in one’s life. Prosper, the magician and conjurer, suddenly finds himself between two situations: celebrating his daughter’s love and fearing for his life. From the uses of poetic elements such as imagery, symbolism, and a shift in tone Shakespeare is able to convey the complex feeling of Prosper in this situation.
Prospered celebration of his daughter’s love and future marriage depicts legalization that there’s a plot that’s going to kill him that illuminates Shakespearean notion that happy thing’s don’t last. In the beginning Prosper seems to be very preoccupied with the virginity of his daughter, Miranda. The reason for this is Prospered power is inextricably bound up with Marinara’s virginity. This is where the bargaining chip is placed; if Miranda throws her virginity away then the chance of Prosper regaining his state and position is gone as well.
For this reason, Prosper rises to keep Miranda notified of her importance, and warns Ferdinand to think before his actions, for the consequences could be dire. Prosperous great concern foreshadows the importance of this theme in the betrothal masque. After the discussion he has with Ferdinand and Miranda about their future consequences, Prosper introduces the masque, which moves the exploration of marriage to the somewhat more comfortable realms of society and family.
The masque consists of the mythological gods Junco, the symbol of marriage and family life, and Ceres, is now to be the symbol of growth in nature, rebirth, and all other aspects pertaining to marriage. Together, the goddesses are the promise of celestial harmony, recreating order and establishing a peace before a new couple. Venus, with her emphasis on abandon and sexual love is deliberately excluded, since the focus of the masque is on honorable marriage. In this case marriage is renounced as the foundation of society and a natural order of things all leading to a new beginning.
However, at the conclusion of masque, Shakespeare employs shift in tone to show owe Prosper feels as he addresses Ferdinand and tells him that “We are such stuff I As dreams are made on” (V. I. 146-58). Prosper realizes that his works of magic are all in vain, as they are made of “baseless fabric” and will not last. He at last realizes that his mind has aged and his powers are fragile and faltering. It is a sobering moment for Prosper, to admit his “weakness” and “infirmity”; and this marks the beginning of his surrender of his magic. He is vulnerable in the real world and for once is in fear for his life.
