The Tempest
by William Shakespeare
William Shakespeare was twenty-one years old when the English founded their first North American colony at Roanoke in 1585. He moved to London, most likely in 158...
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Biography Essay"He was not of an age, but for all time." So wrote Ben Jonson in his dedicatory verses to the memory of William Shakespeare in 1623, and so we continue to affirm today. No other writer,...
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The English playwright, poet, and actor William Shakespeare (1564-1616) is generally acknowledged to be the greatest of English writers and one of the most extraordinary creators in human history.The ...
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Considered by critics, scholars, and the theater-going public the most important dramatist in the history of English literature, William Shakespeare occupies a unique position in the pantheon of great...
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"He was not of an age, but for all time." So wrote Ben Jonson in his dedicatory verses to the memory of William Shakespeare in 1623, and so we continue to affirm today. No other writer, in English or ...
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William Shakespeare's reputation is based primarily on his plays. With the partial exception of the Sonnets (1609), quarried since the early nineteenth century for autobiographical secrets allegedly ...
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Barbara Fuchs, Stanford University
It is an axiom of contemporary criticism that The Tempest is a play about the European colonial experience in America. While this perspective has generated ...
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In the following essay, Orgel considers the absence of Prospero's wife in The Tempest in relation to the play's interconnected themes of marriage, legitimacy, power, control, and renunci...
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In the following essay, Grant surveys the moral purpose of The Tempest as both a theodicy and a disputation on the political structure of society.
Ad hoc enim homines congregantur, ut simul bene vi...
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In the following essay, Fox-Good examines the subversive nature of music in The Tempest, and contends that music is employed by characters, such as Caliban and Ariel, who have been relegated to the m...
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In the following essay, Iselin explores the relationship between music, myth, and politics in The Tempest, comparing classical and Renaissance views regarding the power and value of music and statecra...
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In the following essay, Coletti describes how music informs the emotional, atmospheric, philosophical, and structural design of The Tempest.
The vital center of The Tempest is its music. Pervading ...
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In the following essay, Lindley calls attention to the abrupt and dissonant endings of the two masques in The Tempest, and suggests that these discordant endings reflect Shakespeare's ambivalen...
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John G. Demaray, Rutgers University
A profound and continuing wonder stirred in characters by visionary dreams, reveries and magical spectacles is at the deepest core of The Tempest. This deep ex...
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Jacquelyn Fox-Good, Illinois Institute of Technology
Most recent criticism of The Tempest has insisted upon the play's "worldliness," its status as a production of an imp...
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In the following essay, Gesner argues that William Shakespeare's The Tempest is primarily a pastoral play, and that in composing the work Shakespeare used the Greek pastoralist Longus's ...
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Jonathan Hart, University of Alberta
Since the Romantics the criticism of Shakespeare's The Tempest has been allegorical. Perhaps taking their cue from Coleridge, who said that the app...
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In the following essay, Black suggests that The Tempest may be read as a “revenge comedy” that features a protagonist who has the power to retaliate for wrongs done to him yet chooses no...
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In the following essay, reconstructed from a 1947 lecture, Auden highlights the principal elements of The Tempest, including its mythopoeic quality, major themes, and representation of music.
The T...
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In the following essay, Brockbank examines the ways in which Shakespeare fashioned allegory from his textual and generic sources—exploration narratives, pastorals, and masques—for The Te...
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In the following essay, Phillips evaluates three principal figures of The Tempest—Caliban, Ariel, and Prospero—in terms of the Renaissance conception of the tripartite soul, divided into...
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In the following essay, Vaughan surveys four centuries of stage representation of Caliban—ranging from depictions of the character as a beast to an exploited indigene.
Since Caliban's...
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In the following review of director George C. Wolfe's production of The Tempest, Brustein observes that spectacular technical and set design elements were unmatched by poorly realized individua...
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In the following essay, Cavecchi analyzes Peter Greenaway's illusionistic and postmodern film adaptation of The Tempest, entitled Prospero's Books.
In his film, Greenaway develops and...
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In the following excerpted review, Smallwood calls Jude Kelly's 1999 production of The Tempest at the West Yorkshire Playhouse “deeply disappointing” save for Sir Ian McKellen�...
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In the following review of the 2001 staging of The Tempest at the Almeida Theatre, Bates concentrates on the thematic material of reality, illusion, and disillusion that director Jonathan Kent put to ...
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In the following excerpted review of the 2000-2001 staging of The Tempest at Stratford, Jackson describes the unique design of James MacDonald's production, finding the director's overal...
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In the following excerpted review of The Tempest staged at the Restored Shakespearean Globe, Hornby decries the lack of adequate direction by Lenka Udovicki, but lauds Vanessa Redgrave's star p...
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In the following essay, Zimbardo asserts that The Tempest principally represents the opposition between order and chaos, and the limitations of artistically created order.
When one is travelling th...
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In the following essay, Henze presents an allegorical interpretation of The Tempest—with Caliban, Ariel, and Prospero embodying the flesh, spirit, and soul, respectively—that articulates...
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In the following essay, Semon probes Shakespeare's thematic reconciliation of fantasy and experiential reality in The Tempest.
Helen Gardner, in her excellent essay on As You Like It, makes ...
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In the following excerpt, Platt explores Shakespeare's depiction of the epistemological and aesthetic dynamics of wonder, particularly in regard to the relationship between the marvelous and th...
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In the following essay, Cox offers a Christian interpretation of The Tempest based upon moral elements in the play, while considering contrasting twentieth-century idealist and materialist readings of...
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In the following excerpt, Stephens presents an overview of The Tempest and surveys such subjects as setting, historical context, theme, and character. The critic describes the work as fundamentally &#...
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In the following essay, Cantor probes Shakespeare's depiction of Prospero as the contemplative hero of The Tempest, a figure who displaces the drama's conspiratorial, comic, and romantic...
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In the following excerpt, Vaughan and Vaughan analyze the main characters of The Tempest—Prospero, Miranda, Caliban, and Ariel—and briefly summarize the remaining, minor characters.
L...
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In the following excerpt, Hall argues that The Tempest may be read as Shakespeare's version of a Mystery Play, and surveys its characters in terms of their biblical counterparts.
“Who...
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In the following excerpt, Hamilton studies the relationship between Prospero and his daughter Miranda in The Tempest, considering the play “a fable of fatherly wish-fulfillment and ideal nurtur...
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In the following review of director Conall Morrison's 2000 production of The Tempest at the Abbey Theater in Dublin, Fricker laments the lack of “magic” in this staging and reflec...
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In the following review of Lenka Udovicki's 2000 production of The Tempest at the Globe Theatre, Wolf finds Vanessa Redgrave's Prospero disappointing, but praises a solid comic supportin...
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In the following review of the 2003 Royal Shakespeare Company staging of The Tempest, Larque commends the production and admires the strong performances by Kananu Kirimi as Ariel and Geff Francis as C...
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In the following review, Rosenthal characterizes the dramaturgy of Michael Grandage's 2003 staging of The Tempest at the Old Vic in London as “disappointingly conventional and ponderous,...
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In the following essay, Mebane concentrates on the theme of magic in The Tempest as it relates to Renaissance conceptions of human nature. The critic stresses Prospero's status as a benevolent ...
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In the following excerpt, Daniell surveys critical approaches to The Tempest from the second half of the twentieth century.
Watching Shakespeare's Tempest [in the seventeenth century, one] w...
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In the following essay, Leggatt analyzes The Tempest, suggesting that its principal concern is with the inversion and possible dissolution of various forms of power: individual, social, sexual, and li...
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In the following essay, Pask describes The Tempest as an inversion of the pastoral tradition that displays politicized motifs of colonialist, aristocratic, and sexual domination.
1
At the beginning...
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In the following essay, Berger argues against sentimental approaches to The Tempest and the character of Prospero, maintaining that the magician's resignation of his occult powers at the play&#...
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In the following essay, Wiltenburg argues that in The Tempest "Shakespeare has imitated, with important differences, the main pattern of Virgil's poem in its beginning, middle, and end; ...
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In the following excerpt, originally the first part of a two-part essay, Kott argues that Shakespeare's reworking of classical mythology and Renaissance concepts of the New World, Utopia, and t...
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In the following excerpt, Frey provides a survey of the travel literature on the New World that informs the back-ground to The Tempest, arguing that this serves to enhance an understanding of the play...
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In the following essay, Sundelson provides a psychoanalytic reading of the relationships between fathers and children in The Tempest, focusing in particular on what he terms Prospero 's "...
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In the essay below, Gooder argues against an optimistic reading of the character of Prospero, maintaining that while the protagonist of The Tempest does indeed represent the zenith of human achievemen...
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Finding fault with previous psychological criticism of The Tempest, Orgel analyzes the theme of power in Prospero's role as father, magician, and ruler.
This essay is not a reading of The Te...
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In the following essay, Knights discusses the paradoxical elements in the structure and technique of The Tempest, focusing in particular on the unities of time and place, the use of the masque form, t...
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In the following essay, Miko focuses on the themes of art, nature, illusion, and magic in The Tempest, characterizing the conclusion of the play as "experimental, tentative among its wonderful ...
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In the following essay, Adams provides an account of the sources, structure, themes, and characterization of The Tempest.
Three facts about … [The Tempest]—all true, all of questionab...
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In the following essay, Nuttall provides an analysis of allegorical elements in The Tempest, arguing that the suggestiveness of the play is "metaphysical in tendency," since it conceives...
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In the following essay, Young examines The Tempest as an example of pastoral literature, focusing in particular on the play's theatricality, its emphasis on magic, its dreamlike atmosphere, and...
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In the following essay, Wickham examines the cultural and political background to the use of the masque and anti-masque genres in The Tempest.
Many critics, sensing instinctively that some connecti...
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In the essay below, Gillies argues that in the fourth act of The Tempest Shakespeare remoulded contemporary material regarding the Virginia Colony in North America into an Ovidian inspired masque
I...
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In the following essay, Pitcher examines Shakespeare's reconstitution of episodes from Vergil's Aeneid in The Tempest, maintaining that in this drama the playwright displays the fruits o...
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In the excerpt below, Foakes traces the flow of the dramatic action in The Tempest, maintaining that Prospero's return to his rightful place in Milan is the central motivation of the play. Addi...
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In the excerpt below, originally presented in 1990 at the Seventeenth Alabama Symposium in English and American Literature, Halpern examines cross-cultural elements in The Tempest and the way in which...
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In the following essay, McGuire emphasizes the essentially theatrical nature of The Tempest, and suggests possible interpretations of the text—especially of Antonio's silence at the end&...
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In the following essay, Crockett argues that although Caliban initially appears to be emblematic of human corruption, midway through the play he begins to demonstrate a capacity for self reformation, ...
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In the excerpt below, the Vaughans discuss Caliban's physical features, his dramatic function, and the ambiguity of his characterization.
Caliban, a salvage and deformed slave.
The Tempe...
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In the following excerpt, Hamlin explores the relationship between Shakespeare's characterization of Caliban and Renaissance voyagers' narratives that depict Native Americans as fully hu...
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In the excerpt below, Garber reads The Tempest as Shakespeare's most complete dramatic treatment of the dream world as a representation of human imagination and creativity. As in his previous p...
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In the following essay, Arthos examines the metaphysical and spiritual principles implicit in the dramatic action of The Tempest. He looks closely at aspects of the play that compare life to a dream i...
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In the excerpt below, Wheeler focuses on Prospero's aggressive dominance of others and on Caliban's passive dream of sensual opulence. From a psychoanalytic perspective, the critic calls...
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In the following essay, Payne takes a pluralistic approach to The Tempest, discussing its political dimensions with reference to its depiction of Prospero's magic. In the critic's judgme...
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In the essay below, Paris compares Shakespeare to the character of Prospero, and finds that “[like Prospero at the end of The Tempest, Shakespeare at the end of his career seems to have resolve...
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In the essay below, Lupton contends that Caliban is best understood as a creature who represents neither the universal nor the particular, but that he is “[at once monstrous and human, brutely ...
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In the essay below, Beauregard charges that Prospero's epilogue provides convincing evidence that Shakespeare was a Roman Catholic.
Shakespeare's religious affiliation has never been ...
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In the essay below, Johnson examines early-modern selfhood, sexual identity, and authorship in their relation to The Tempest, contending that “The Tempest demonstrates that sexuality and author...
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In the following essay, Wilson contrasts colonial New World interpretations of The Tempest with the view that the play centers on European concerns.
A recent pairing by the Royal Shakespeare Compan...
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In the following essay, Pierce attempts to reconcile contradictory interpretations of The Tempest by reexamining the meaning of the play.
Some years ago I wrote an article1 on Shakespeare's ...
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In the essay below, Simonds argues that in The Tempest Shakespeare promoted his views regarding the political reform of the monarchy.
In a recent paper critical of the logical discrepancies between...
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In the following essay, Simonds examines the significance of alchemy in The Tempest, arguing that through alchemy Prospero transforms and reforms the world.
In a previous essay I have discussed Sha...
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In the following excerpt, Lewis compares and contrasts Prospero with Antonio.
The essential question about the Antonio and Sebastian of The Tempest is why they are the direct antitheses of their sa...
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In the essay below, Burnett argues that Shakespeare's depiction of the monstrous reflects Elizabethan culture.
On the seventeenth of July, 1583, the town chronicler of Shrewsbury recorded in...
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In the following essay, reconstructed from a 1947 lecture, Auden highlights the principal elements of The Tempest, including its mythopoeic quality, major themes, and representation of music.
The T...
Read more
In the following excerpted review of The Tempest staged at the Restored Shakespearean Globe, Hornby decries the lack of adequate direction by Lenka Udovicki, but lauds Vanessa Redgrave's star p...
Read more
In the following essay, Zimbardo asserts that The Tempest principally represents the opposition between order and chaos, and the limitations of artistically created order.
When one is travelling th...
Read more
In the following essay, Henze presents an allegorical interpretation of The Tempest—with Caliban, Ariel, and Prospero embodying the flesh, spirit, and soul, respectively—that articulates...
Read more
In the following essay, Semon probes Shakespeare's thematic reconciliation of fantasy and experiential reality in The Tempest.
Helen Gardner, in her excellent essay on As You Like It, makes ...
Read more
In the following excerpt, Platt explores Shakespeare's depiction of the epistemological and aesthetic dynamics of wonder, particularly in regard to the relationship between the marvelous and th...
Read more
In the following essay, Cox offers a Christian interpretation of The Tempest based upon moral elements in the play, while considering contrasting twentieth-century idealist and materialist readings of...
Read more
In the following essay, Brockbank examines the ways in which Shakespeare fashioned allegory from his textual and generic sources—exploration narratives, pastorals, and masques—for The Te...
Read more
In the following essay, Phillips evaluates three principal figures of The Tempest—Caliban, Ariel, and Prospero—in terms of the Renaissance conception of the tripartite soul, divided into...
Read more
In the following essay, Vaughan surveys four centuries of stage representation of Caliban—ranging from depictions of the character as a beast to an exploited indigene.
Since Caliban's...
Read more
In the following review of director George C. Wolfe's production of The Tempest, Brustein observes that spectacular technical and set design elements were unmatched by poorly realized individua...
Read more
In the following essay, Cavecchi analyzes Peter Greenaway's illusionistic and postmodern film adaptation of The Tempest, entitled Prospero's Books.
In his film, Greenaway develops and...
Read more
In the following excerpted review, Smallwood calls Jude Kelly's 1999 production of The Tempest at the West Yorkshire Playhouse “deeply disappointing” save for Sir Ian McKellen�...
Read more
In the following review of the 2001 staging of The Tempest at the Almeida Theatre, Bates concentrates on the thematic material of reality, illusion, and disillusion that director Jonathan Kent put to ...
Read more
In the following excerpted review of the 2000-2001 staging of The Tempest at Stratford, Jackson describes the unique design of James MacDonald's production, finding the director's overal...
Read more
In the following excerpt, Stephens presents an overview of The Tempest and surveys such subjects as setting, historical context, theme, and character. The critic describes the work as fundamentally &#...
Read more
In the following essay, Mebane concentrates on the theme of magic in The Tempest as it relates to Renaissance conceptions of human nature. The critic stresses Prospero's status as a benevolent ...
Read more
In the following excerpt, Daniell surveys critical approaches to The Tempest from the second half of the twentieth century.
Watching Shakespeare's Tempest [in the seventeenth century, one] w...
Read more
In the following essay, Leggatt analyzes The Tempest, suggesting that its principal concern is with the inversion and possible dissolution of various forms of power: individual, social, sexual, and li...
Read more
In the following essay, Pask describes The Tempest as an inversion of the pastoral tradition that displays politicized motifs of colonialist, aristocratic, and sexual domination.
1
At the beginning...
Read more
In the following essay, Cantor probes Shakespeare's depiction of Prospero as the contemplative hero of The Tempest, a figure who displaces the drama's conspiratorial, comic, and romantic...
Read more
In the following excerpt, Vaughan and Vaughan analyze the main characters of The Tempest—Prospero, Miranda, Caliban, and Ariel—and briefly summarize the remaining, minor characters.
L...
Read more
In the following excerpt, Hall argues that The Tempest may be read as Shakespeare's version of a Mystery Play, and surveys its characters in terms of their biblical counterparts.
“Who...
Read more
In the following excerpt, Hamilton studies the relationship between Prospero and his daughter Miranda in The Tempest, considering the play “a fable of fatherly wish-fulfillment and ideal nurtur...
Read more
In the following review of director Conall Morrison's 2000 production of The Tempest at the Abbey Theater in Dublin, Fricker laments the lack of “magic” in this staging and reflec...
Read more
In the following review of Lenka Udovicki's 2000 production of The Tempest at the Globe Theatre, Wolf finds Vanessa Redgrave's Prospero disappointing, but praises a solid comic supportin...
Read more
In the following review of the 2003 Royal Shakespeare Company staging of The Tempest, Larque commends the production and admires the strong performances by Kananu Kirimi as Ariel and Geff Francis as C...
Read more
In the following review, Rosenthal characterizes the dramaturgy of Michael Grandage's 2003 staging of The Tempest at the Old Vic in London as “disappointingly conventional and ponderous,...
Read more
In the following essay, McGovern suggests that the title of The Tempest evokes not only the sense of a violent storm and emotional turmoil but also the sense of time or season. In the critic's ...
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In the essay below, Robinson maintains that Shakespeare shows all the characters, but most especially Prospero, struggling against the urgent pressure of time to carry out their schemes within the bri...
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Arthur Kirsch, University of Virginia
It has long been recognized that Shakespeare borrowed from Montaigne. Gonzalo's Utopian vision in The Ternpest (II.i.142-76)1 is indebted to a pas...
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In "The Tempest," Shakespeare uses irony in order to humor the audience. The ignorance of the characters, combined with the virtual omniscience of the audience, embellishes the play with inherent humo...
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Explore the role and presentation of Caliban and Ariel
Caliban and Ariel are two contrasting characters, not only by their personalities but by the way they are referred to and are treated by others....
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Shakespeare's The Tempest is set in a place where magic and mystical illusions occur all the time, and the magic of Prospero is an important and recurring theme throughout the play. Music and lang...
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During Shakespeare's times many books existed which were a characteristic renaissance union between moral and political implications. These had the prime concern of convincing the public that explorat...
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The Tempest, by William Shakespeare, unleashes the story of Prospero and his magic. The Tempest has been released as both a play and a silver-screen production. The film tells the story of Pros...
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Explore the ways in which Shakespeare unfolds the action and themes of the play in Act 1
Shakespeare unfolds the action in Act 1 of his play, "The Tempest" by using a tempestuous storm as its prelude...
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When one interacts with strangers, feelings of superiority and inferiority are bound to occur. In Shakespeare's time period, most of the Europeans' perspectives were disrespectful, arrogant, and full...
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Within a society, an imbalance of power tends to exist that results in a division of the population into two separate masses: One group becomes known as the oppressor, while the other is thought of as...
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Shakespeare did a great amount of adapting and modernization for his time. The expectations and beliefs of the times needed to be met. He wrote many of his works from the basis of others, and what ...
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"The Tempest", one of William Shakespeare's later plays, was written probably during the later part of 1610 or in 1611. It is one of his last compositions, and it differs significantly from many of hi...
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Government plays an important role in The Tempest. It is because of the importance of government that Prospero has been trapped on this island and it is because of government that the story continues...
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The imagination was used to create an alternative fictitious world in Shakespeare's play `The Tempest'. The imaginative journeys unraveled the mysteries of this imagined world but what really matters ...
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William Shakespeare, in his play The Tempest, uses social order, with particular reference to 17th century gender stereotypes to explain the nature of the main character, Prospero. Prospero is master ...
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"It is good to have an end to journey toward, but it is the journey that matters in the end." Ursula K. LeGuin. Through the texts The Tempest, The Ivory Trail, To His Coy Mistress and Where do the Chi...
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The events in William Shakespeare's The Tempest are, indeed, an experiment by its main character Prospero, the true Duke of Milan who lives on a deserted island with his daughter, Miranda, after being...
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Any journey requires an individual to move involuntarily or voluntarily from where one is to a new "destination." The destination could take various forms; a place, an emotional or mental state. The v...
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Inner ... physical ... imaginative. They're all journeys, they're all the same, a journey is a journey. So what's the difference"
When looking at imaginative journeys, they need to be seen as movemen...
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Shakespeare: A Tempestuous Critic of Society
by Colin Swanson
Honore de Balzac, a great French journalist, writer, and one of the founders of realism, once said, "Nature makes only dumb animals. We ...
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'the journey not the arrival matters'
An outer look of a journey shows a movement, travel from one place to another, though journeys can be much than this. In an attempt to escape the worlds realis...
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In his play, The Tempest, Shakespeare conveys themes through
different character pairs. Each pairing is a guise for a different theme in
the play's plot. For instance, Ariel and Caliban are though...
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I think that Act 1, Scene 1 is a very effective introduction to the play, steeping with magic and illusion.
The Tempest has a remarkable introduction, opening the play with a tremendous amount of s...
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Essay on Imaginary Journeys
The imaginary journey is a journey that acts as an agent of transformation, which changes our views and beliefs and allows us to imagine beyond reality. Through the close ...
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Caliban, `a savage and deformed slave' in the words of Shakespeare, is known to be a monster in the play. He is more likely Prospero's (duke of Milan, stuck on an island) servant "that Caliban whom no...
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Not many men care about their siblings. A few men would even betray them if they had to. Some would do anything so they could have power. Shakespeare's play, The Tempest, uses sibling rivalry, hunger ...
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"Imagination can initiate a journey but it is a constant in the path the journey takes"
"Imagination can initiate a journey but it is a constant in the path the journey takes"
The imagination can ac...
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The Tempest Book Notes is a free study guide on The Tempest by William Shakespeare. Browse the summary below:
Author Biography / Context of the Work
One-Page Plot Summary
Ch...
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Teaching The Tempest
All teaching products sold separately.
The Tempest Lesson Plans contain 129 pages of teaching material, including:
Shakespeare's plays are thought-provoking and complex texts that explore the human themes of romance, deceit, tragedy, and comedy, and revenge. These activity guides are designed by teachers for t...
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This series features classic Shakespeare retold with graphic color illustrations. Educators using the Dale-Chall vocabulary system adapted each title. Each 64 page book retains key phrases and quot...
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A foundation of materials for teaching a work of literature, LitPlan Teacher Packs⢠from Teacher's Pet Publications have everything you need for a complete unit of study. Download, print, and ...
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A foundation of materials for teaching a work of literature, LitPlan Teacher Packs from Teacher's Pet Publications have everything you need for a complete unit of study. Download, print, and teach....
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Here's a whole manual full of puzzles, games, and worksheets related to the novel! It includes: 1 unit word list and clues, 4 unit fill in the blank worksheets, 4 unit multiple choice worksheets, 4...
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Here's a whole manual full of puzzles, games, and worksheets related to the novel! It includes: 1 unit word list and clues, 4 unit fill in the blank worksheets, 4 unit multiple choice worksheets, 4...
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Thirty-five reproducible activities per guide reinforce basic reading and comprehension skills while teaching higher-order critical thinking. Also included are teaching suggestions, background note...
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Typhoon Lekima slammed into Vietnam's central coast Wednesday night, killing two people, destroying hundreds of houses and unleashing floods in one of the country's poorest regions.The storm made l...
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William Hutt, widely regarded as one of Canada's finest classical actors and a company member at the Stratford Festival for almost four decades, has died at the age of 87.Hutt died Wednesday of leu...
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Question 1 of 10:"Throne of Blood", a classic Japanese film about a murderous Samurai, is based on which play?a) Macbeth (1)b) Richard III (0)c) Hamlet (0)d) Othello (0)Question 2 of 10:Who recentl...
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10: Johnny 5We include the cloying, wacky-voiced star of the Short Circuit films only because he was so massive in the late 80s. Which says it all, really.9: The Robot MariaThe first metal celebrit...
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Manila (dpa) - Relief goods on Monday trickled into an eastern
Philippine province devastated by mudslides, which were estimated to
have killed more than 1,000 people, offic...
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Senate Democrats moved Tuesday to cut off funding for Vice President Dick Cheney's office in a continuing battle over whether he must comply with national security disclosure rules.A Senate appropr...
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The White House scored a win Thursday on Capitol Hill after a moderate Senate Democrat broke with his party to restore funding for Vice President Dick Cheney's office.The 15-14 vote in the Senate A...
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Helicopter and boat crews rescued hundreds of trapped people on Saturday after storms whipped through Britain, flooding towns and villages and sending thousands to emergency shelters.Many areas of ...
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Television bounty hunter Duane "Dog" Chapman, who had his reality show taken off the air after getting caught using a racial slur, will not be extradited to Mexico to face a pending appeal of kidna...
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The Tempest
William Shakespeare
William Shakespeare
William Shakespeare
Conquering Islands: Contextualizing The Tempest
Irony In The Tempest(Anything Better?)
The Tempest
The Tempest Student Guide
Typhoon slams into Vietnam's coast
