The Tempest
The Tempest In William Shakespeare’s, The Tempest, his final play, we see an extended examination of the role of art in one’s life. Prospero, 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 Prospero in this situation. Prospero’s celebration of his daughter’s love and future marriage depicts realization that there's a plot that's going to kill him that illuminates Shakespeare’s notion that happy thing's don't last. In the beginning Prospero seems to be very preoccupied with the virginity of his daughter, Miranda. The reason for this is Prospero’s power is inextricably bound up with Miranda’s virginity. This is where the bargaining chip is placed; if Miranda throws her virginity away then the chance of Prospero regaining his state and position is gone as well. For this reason, Prospero tries to keep Miranda notified of her importance, and warns Ferdinand to think before his actions, for the consequences could be dire. Prospero's 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, Prospero 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 Juno, the symbol of marriage and family life, and Ceres, is known 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