John Updike aP Analysis - 1508 Words

Patrick Hanks Aamp;P- In John Updikes Aamp;P, choices and consequences are portrayed as a fundamental and recurring theme throughout the story. Many can understand the idea of repercussions for specific decisions and actions, which makes this story very relatable to most audiences. The story encompasses numerous ideologies paramount to human development and philosophy. Dismantling the story can help depict underlain meanings and asses the ambiguous nature of humanity. The construct of Aamp;P portrays Sammy’s journey through the societal establishment of rules and order, ultimately exposing the chain reaction repercussion of making difficult choices. Though many characters make choices throughout the story, Sammy is obliged to make†¦show more content†¦The interaction between Lengel and Queenie intensifies as she formulates excuses toward Lengel regarding his reprimand â€Å"My mother asked me to pick up a jar of herring snacks† (194). This very moment in the story, Sammy abruptly f ormulates a deeper perception of Queenie, â€Å"All of a sudden, I slid right down her voice into her living room† (193). His dream-state imagery of her life, and the sharp contrast to his own, helps him create a more constructed identity for Queenie. His dreamlike state of comparison with Queenie establishes for Sammy a logic in his rationale for yearning to truly form a deeper relationship with and be recognized by Queenie. The intense interaction between Lengel and Queenie escalates into a small argument, resulting in Queenies embarrassment â€Å"Queenies blush is no sunburn now† (194). Lengel decides to end their interaction by restating policy, and communicating with Sammy that it is time to ring up their purchases. The opportunity for Sammy to act on his feelings has now arrived, the intense conversation, coupled with the numerous external cues regarding Queenie, has bombarded his thought process, and he has aggregated ever clear his intention to draw closer to her, and ultimately derives the motivation for the next two words he speaks, â€Å"I quit† (195). Sammy hopes that these brazen words will capture the attention and kinship of the girls, to form his ever so desired connection, â€Å"hoping they’ll stop and watch me, their unsuspectedShow MoreRelatedAnalysis Of A P By John Updike731 Words   |  3 PagesIn â€Å"AP†, John Updike uses compelling diction, language, and description to enhance the perspective of Sammy within the story and his final decision to quit his job. The use of imagery within the supermarket develops the environment Sammy worked in to a greater extent and painted diverse pictures of the customers. The derogatory descriptions of Lengel and some customers was also significant in terms of revealing Sammy’s emotions about his job at AP. The nature of the situation with the girls andRead MoreA P John Updike Analysis856 Words   |  4 PagesIn John Updike’s â€Å"A P†, he expresses the life of a young boy names Sammy, who works in a small food mart named A P. It’s a coming of age story that deals with puberty taking over the better of Sammy and trying to come out the hero when in reality he comes out looking like a fool. There is also one other detail that cause inner and outer conflicts with Sammy that lead to life lessons and the realization that not everyone is happy where they’re at i n life, but if you work hard enough, anythingRead MoreAnalysis Of A P By John Updike1324 Words   |  6 PagesNovember 2015 2015 Unavoidable Conflict Sammy is a local cashier in a grocery store called AP who resents the local town and disagrees with the local populous. A strong willed teenager who is more than aware of himself tries to get a firm footing in the town. When this backfires Sammy becomes drastic and hastily makes a decision to try to fix all of the issues. To capture this idea in AP by John Updike, it illustrates the struggles of a young teenage male, where his beliefs are against that ofRead MoreAnalysis Of A P By John Updike845 Words   |  4 Pagesâ€Å"The sheep pushing against the carts down the aisle - the girls were walking against the traffic - were pretty hilarious† (Updike AP). The title of this story is AP, written by John Updike. The main characters shown in this story are Sammy, The Three Girls, Lengel, and Stokesie. Here’s a brief summary, â€Å"Three girls walk into AP wearing bikinis. Sammy’s constantly looks at â€Å"Queenie†, the group leader. Stokesie joins in as Sammy watches the girls go aisle after aisle. As the girls reach to theRead MoreAnalysis Of A P By John Updike1560 Words   |  7 PagesJalen Johnson Ms. Mahaffey Eng 102 10/15/17 Feminism in AP In the story â€Å"AP† by John Updike he tries to portray the conventional lifestyle and tendency of his community. The story â€Å"AP† proves how feminism was a large part of the conservative lifestyle and is still present today. AP helps you visualize how sexism could be happening right under our noses. The story is told through the main character Sammy, who is an ordinary teenager in the small town. Sammy makes a courageous effort to fight feminismRead MoreAnalysis of AP by John Updike533 Words   |  2 Pagesâ€Å"AP† (supermarket) is a short story written by the hardworking and highly productive John Updike and narrated in first person by a 19-year-old protagonist and cashier named Sammy. It was published in 1961 and is about Sammy’s change of character and coming of age. Updike uses the various shifts in tone, great attention to detail, and a great deal of symbolism to portray the significant change. The opening sentence â€Å" In walks three girls in nothing but bathing suits† (par.1) sets up the colloquialRead MoreAnalysis Of A P By John Updike895 Words   |  4 Pagesâ€Å"In walks these three girls in nothing but bathing suits† (Updike 1). With the previous quote, would one believe that the storyline is set in a grocery store? In John Updike’s â€Å"AP,† Sammy is the main character. The entire narrative happens through his eyes. Having three out of the ordinary girls walk into the A P mystified Sammy as well as the other men in the store. The tale follows the girls around while they shop and until they leave. It carefully describes what aisles the girls pass throughRead MoreAnalysis Of John Updike s A P 1804 Words   |  8 Pagesit’s seemingly infallibility. Most young people feel invincible, but really it is their naivety and inability to understand the harsh concept of reality that enables this behavior. While a common theme in l iterature, John Updike gives the tale of youth a consumerist spin in â€Å"AP†. Updike tells the story of Sammy the cashier, who see’s himself as superior to those around him and believes he will turn out nothing like the adults he’s surrounded with. He seems to get his chance to be great when some beautifulRead MoreAnalysis Of John Updike s A P1293 Words   |  6 PagesJohn Updike is viewed by his readers as a progressive voice in his work that promotes feminist issues. He makes these issues stand out more evidently, rather than hidden, in order for the reader to realize how women are viewed in society. From reading Updike’s AP, the story sends the message to readers of genders working together to strive for equality. If readers do not carefully and actively read AP they may miss key messages about the power men hold over women, not just in society but in literatureRead MoreAnalysis Of John Updike s A P2577 Words   |  11 Pagescome together and dec lare allegiance to a similar core of beliefs. And, when they do, they ask a particular set of question about a literary work. Each different way of analyzing a literary work elicits a different set of questions. AP, a short story by John Updike, would best be analyzed by using the school of New Criticism and analyzing the journey Sammy, the narrator, experiences throughout the story. The school of New Criticism believes that the work’s overall meaning depends solely on the text

The Progression to Proving a Heliocentric System - 615 Words

For centuries the world believed in a system formulated by influential astronomer Ptolemy. In the Ptolemaic system the Earth is at the center of all celestial bodies. This theory was widely accepted especially by the Church who held much prominence in Europe. The Catholic Church believed that God formed the earth therefore it should sit at the center of the universe. It wasnt until the 16th century, when a man name Nicolas Copernicus presented a theory which contradicted all that was known in the world of astronomy. Copernicus presented a heliocentric system, in which he placed the sun at the center of the universe, motionless, with the Earth and other planets rotating around it in circular paths modified by epicycles. Thomas S. Kuhn, in his book, The Copernican Revolution, states that â€Å"Copernicus, the author of the theory that ultimately deprived the heavens of special power, belonged to the minority group of Renaissance astronomers who did not caste horoscopes† (pg. 94) . The Copernican system initially began as a system of minorities, however, as time continued it began to see prominence. Both Johannes Keppler and Galilei Galileo, through their observations and theories began to prove a heliocentric system. Through the utilization of his telescope, Galileo helped prove Copernicus’ heliocentricism. Using his telescope Galileo saw four moons around Jupiter and the phases of Venus which helped support a heliocentric solar system. Copernicus predicted that all phasesShow MoreRelatedEssay about The Influence of Religion on Scientific Advancement1737 Words   |  7 Pagesscientific progression has been aided by religious ideology. By examining both the negative and positive roles religion has played in history, modern times, and the overall area of morality, one can determine the true extent to which faith hinders scientific advancement. The Catholic Inquisitions exemplify one area in which religion has impeded scientific advancement, particularly in reference to the trials of Galileo Galilei. During the 15th century, Galileo began proposing a heliocentric universeRead MoreThe Big Bang Theory, The Theory of Evolution, and the Bible Essay2843 Words   |  12 PagesConclusion 12 Bibliography 13 â€Æ' Introduction Often dubbed the â€Å"Origins Debate,† the debate over the existence of the universe and its beginnings has been one that has existed for many centuries. From facets of life such as a heliocentric universe versus a geocentric universe, to Man’s existence being a matter of creation or evolution, the religion/Bible versus science debate has plagued civilizations on Earth for hundreds years dating back to the days of Anaximander and Empedocles

The Media Governance and the Public Sphere Sample for Students

Question: Discuss about the Media Governance and the Public Sphere. Answer: Introduction: The international environment as well as economy is changing rapidly due to globalization, competition and technology. Singapore, like many other nations, is reinventing itself in this era of globalization. It formulated and implemented policies for integrating and utilizing the multicultural ethnicity and multidimensional creativity of the people. The new age arts, technology and business have become the competitive advantage for Singapore. These lay the foundation for developing a creative economy (Cunningham 2013). Creative cluster is the main contributor for making a creative economy. It is defined as the industries that are based on individual skills and talents and exploitation of intellectual property. The three main creative industries are arts and culture, Media and Design. The contribution of the creative cluster is between 2.8% to 3.2% of GDP in Singapore. It has employee strength of approximately 72,000 in 8000 enterprises (Kong 2012). Review of creative cluster The objective of Singapore is to develop a sustainable and effervescent creative cluster to promote the growth of the nation as a creative economy. It generates value directly, along with that, it helps in innovation and diversification of businesses. According to Prof. Richard Florida, the main aspect of creativity is that, it is multidimensional. It is of various types: technological i.e. invention; economic i.e. entrepreneurship and artistic and cultural. These are different in nature but at the same time interconnected. The integration of arts, business and technology leads to development of new scopes for creative economy. Since the growth rate of creative clusters is higher compared to the overall economy, it can be said that the individual intellectual properties are the driving forces behind this growth rate. However, it is much less compared to other developed countries such as, UK, U.S.A. and Australia. The reasons for lagging behind can be addressed through the SWOT analys is (Cunningham 2013). The objectives of the strategies are to create awareness of the economic potential of such industries and define and measure the impact of these, research on the main issues and challenges arriving with the growth, foster collaboration among the private and public sectors to promote the growth of the creative sector, promote and implement policies (Kong 2012). The problems of the scope for creative clusters are as follows (Oswin 2012): The limited size of the domestic market forces the creative cluster of Singapore to adopt a global approach. The creative industries often face financing issue. The lack of industry specific knowledge of the financial companies and venture capitalists, lack of business know-how of the creative sector, high numbers of self employed and small businesses in the creative sector, and the possibility of intangible or long term returns often create problems for getting the adequate financing for the businesses. Singapore needs to shake off the image of overregulated city, because creativity flourishes in a place where there is more tolerance level for diverse ideas and more freedom to perform experimentation. Singapore government invested more than $1 billion in infrastructure for arts. However, the software technology and industry needs adequate investment too. It should spend money to create an international creative hub to promote the creative sector of the country. The threats of this industry can be derived from the SWOT analysis too. The international competition in this sector is on the rise, especially in the last decade. All other developing countries are investing money on their creative clusters to attain full economic value and the sector is growing giving hard competition to Singapore. The creative hubs of New York, London and San Francisco are much more developed and competitive than the hub of Singapore. Hence, the local talents in the industry are moving to those developed hubs. Singapore is facing the creative brain drain due to underdeveloped creative cluster. To develop the creative industries of Singapore, Creative Industries Working Group (CIWG) recommended that a national approach should be followed. It should involve all the entities of the country such as, ministries, statutory boards, educational institutes, businesses, technology companies, public and private investors and financial institutions. However, Ministry of Trade and Industry (MIT) should lead the developmental programs (Navera 2013). Policy review of Renaissance City CIWG has put forward some industry specific recommendations (Comunian and Ooi, 2016): Renaissance City 2.0 making Singapore a highly creative, innovative and multitalented international city of arts and culture; Design Singapore an international business and cultural hub for designing products, contents and services where design consciousness and creativity are the primary focus; Media 21 An international media city, which has a prosperous media system based in Singapore with global extensions To follow these recommendations, certain measures should be taken: Embedding the arts, design and media at all education levels: To bring out the creative talents of the people, learning tools of arts, design and media should be introduced at all education levels. Moreover, there should be more passionate and learned teachers to guide the people in the creative direction. Establishment of flagship university program for art, design and media: A flagship program at the National University of Singapore should be introduced in collaboration with leading global institutions to train the students in creative aspects. Establishment of a media laboratory: Singapore should plan for the establishment of a media laboratory with international partners to nurture the talents of the researchers for conducting research on innovating services and applications (Wong 2012). The Renaissance City 2.0 report throws some light on the economic performance of the arts and culture of Singapore, and the challenges faced by this sector. In 2000, the arts and cultural activities added around $470 million in the GDP from $43 million in 1986 (Department of Statistics). It has a multiplier effect of 1.66 which is significantly higher than 1.4 of the banking industry and 1.35 of petrochemical industry. Moreover, it is the artistic center of the creative cluster, and hence, it is directly linked with the economic activities and achievements of the overall sector. Furthermore, this sector promotes the attractiveness of Singapore to the international talents. It is very important to draw global attention in order to achieve recognition in the international market. Hence, Singapore must put effort to make it more attractive through the enhancement of arts and culture (Woon 2012). Critique: The Singapore Tourism Board (STB), National Library Board (NLB) and National Arts Council (NAC) are responsible for the development of arts and culture sector. The STB has taken it in the tourism angle while the other two has taken it in the nonprofit angle. This difference has become outdated and is not reflective of the complexities of the interdependence of profitable and nonprofit arts. However, when the nonprofit arts comprises of a public good, it works closely with the commercial counterparts. Thus, all these sectors must work together to bring out the economic potential of the arts and culture (Lim 2014). The problems of this policy are: Lack of investments in software results in inadequacy of bringing out the full potential of the economy. To enhance the creative talents, there has to be enough investments in the softwares to develop the international creative hubs. Small domestic market often discourages the improvement of the arts and cultural sector due to less demand. Local organizations must also contribute to expand the ways for this sector. High cost of business is a key issue in Singapore. The cost of rentals or lease is very high which discourages the organizations to promote arts and culture. Hence, incentives are required to make Singapore viable for potential businesses. Low levels of private sector partnership and sponsorship in Singapore is another problem for promoting arts and cultural events. The levels of partnerships and sponsors for such events must be increased. There are scopes for this policy to prosper. Singapore can promote the brand Singapore and can utilize the cultural tourism, fusion entertainment and its closeness to the huge Asian market and the cultural resources of South East Asia to achieve success of the Renaissance City developmental policy. Hence, maximization of the existing and new arts infrastructure potential through the development of softwares and integration of business and people can lead to a successful formation of the Renaissance City (Spieser et al. 2014). Review of design Singapore strategy Singapore must enhance itself as a center for contemporary designs to increase its competitiveness in the global market. A taskforce comprising of Nanyang Academy of Fine Arts, International Enterprise Singapore, NHB, MTI, NAC and Economic Development Board have been given the responsibility of promoting the designing excellence of Singapore to the world. The key recommendations are: Integrating design in the enterprises; establishing National Design Agency; and nurturing a flourishing design community (Wood and Dovey 2015). The strengths and opportunities of this agenda consist of many factors such as; the sophisticated market and English speaking population. Along with those, the integration of attractive designs and public services, such as beautification of public attractions; innovating and redesigning of the global products using technological expertise and industrial and research infrastructure, efforts towards making Singapore a design hub; and introducing New Asia branding in an unique and exportable style in the sectors of food, beverages, hospitality, retail and entertainment service sectors can push the creative sector forward (Chuluunbaatar, Luh, and Kung 2014). The challenges are: The organizations more often do not consider the designing excellence as a sustainable planning advantage for unique products. The design capabilities are mostly imported rather than utilizing the local talents. The elements of design industry are in place but the efforts for consolidating are fragmented. Hence, the local talents are not used to develop the designing excellence of the nation to meet the competitive needs. The design activities are not fully realized in the country, hence, the full value of products and services, designed in Singapore, is not captured. There is lack of multidisciplinary design education which leads to a shortage of professionals who can place the designs more strategically to integrate the business, technological, sociological and aesthetic concerns. The awareness of the people regarding using a good and effective design and its impact on every aspect of life is very low. More persuasive design culture is not that much evident in Singapore. The vision for design Singapore is to make it a global hub for designing products, services and contents by applying the design consciousness of people. The policies have some positive outcomes such as; it has become one of the leading centers for contemporary designs in Asia. It is now attracting local and global talents to work here, promoting innovative design companies, and being a provider of creative design education. It has also helped to create a brand Singapore in the global market by attaching the label designed in Singapore. Moreover, the local companies have become more competitive and have gained advantages from the design excellence and there is a pervasive design culture in the country by raising the awareness level for effective designing (Howlett 2014). Review of policies for media city and collaborative strategy Key drivers of growth of media industry are increasing demand for knowledge from both regional and international market, information and demand for entertainment (Ramos, Suzanna and Gerard 2014). Singapore media industry is prospective to contribute in the growth of the economy. However, this industry faces shortage in finance, scarcity of required talent, rising regional competition, limited domestic market for media, drawing out of resources such as talent and investment by regional media industry. Media 21 envisages Singapore as a global media city. Media 21 has developed some key strategies such as development of State-of-art media city, positioning Singapore as Media exchange, export content made in Singapore, augmentation of media talent pool and fostering a supportive regulatory environment and culture. Policy of developing media cities have been taken with the aim of marketing the production of Singapore based media industry in the global platform and to pool talent from international media industries. The objective of the strategy is to develop a cluster around the media hub, where supportive industries would be building up to support media industry of Singapore. As discussed by Pernice and Raffaele (2016), impact of globalization helps to develop an urban area unto modern cities through cluster of different other industries having forward and backward linkages. Therefore, creative industry has significant impact on the development of metropolitan cities and on economic growth. It is recommended that government has to take initiative to adopt collaborative strategy for the development of cluster of creative industry. However, government and private companies both need to take initiative to support this industry. Government support may help to mitigate finance crisis faced by this industry (Oi and Kay Kok Chung 2015). As recommended by media 21, promoting applied research in the digital media can be effective policy. As discussed by Cho et al. (2016), investment in research and development is the effective way to bring innovation in this industry. Digitalization of this sector is supportive to bring competitive advantage in Singapore media industry. Technological advancement makes the media industry more creative (Comunian, Roberta, and Can-Seng Ooi 2016). Hence, the initiative of setting up MITs media lab is potent for this industry. Second strategy was to position Singapore as a Media exchange. This recommendation can enable the country to exploit media copyright and acquisition. Recommendations for tax break in this respect are effectual for this industry. Chang, Sharon, and Renuka Mahadevan (2014) cited that tax break encourages external media sector or financial companies to invest in this country or develop a media hub in Singapore. Establishment of Media Loan Fund with private companies is competent decision as the funds are available at competitive rate, which might be helpful in capitalize the Singapore media industry. Although Tan and Jeffery (2014) advocated for government funding, private sector participation in the finance market can make the availability of loan more competitive. Third recommendation of attracting venture capital is thus rational initiative. However, media business should not rely totally on venture capitalist. Funds can be collected from different sources with minimum cost. The fourth recommendation is to encourage companies to obtain copy rights and intellectual property rights registration in Singapore. Copyrights are essential to protect the ownership of creativity and talent recognition (Kong 2012). Talent evolution can be functional in establishing media sector of Singapore in the international market. Recommendation for promoting media marketing can be possible arranging trade shows, establishing partnership with international companies (Freeman et al. 2016). Although this strategy is pragmatic, arranging and hosting trade shows requires support from investors. Last strategy is to export media content, which is Singapore based. This policy is effective in developing strong art base and culture in the economy (Lee and Terence 2014). Appreciation of creativity of Singapore art in the international market enhances the opportunity of growth of the industry. Conclusion It can be concluded that all these strategies and recommendations can be implemented and effective. However, proper infrastructure is required to establish and place Singapore media and cultural industry in the international market. Collaboration of both government and private companies is required for successful implementation of the recommended policies. Finance is required for infrastructure development and to educational programme for knowledge formation in this creative sector. Investment in research and development is required to bring innovation in this industry. Cluster of creative industries around the recommended media hub is expected to facilitate media industry. References: Chang, Sharon, and Renuka Mahadevan. "Fad, fetish or fixture: contingent valuation of performing and visual arts festivals in Singapore."International journal of cultural policy20, no. 3 (2014): 318-340. Cho, Im Sik, Quyen Duong, and Ivan Nasution. "Role of research in community arts: Developing an evaluation framework in Singapore."Community Development47, no. 5 (2016): 683-699. Chuluunbaatar, Enkhbold, Ding-Bang Luh, and Shiann-Far Kung. "The role of cluster and social capital in cultural and creative industries development."Procedia-Social and Behavioral Sciences109 (2014): 552-557. Comunian, Roberta, and Can-Seng Ooi. "Global aspirations and local talent: the development of creative higher education in Singapore."International Journal of Cultural Policy22, no. 1 (2016): 58-79. Cunningham, Stuart.Hidden innovation: Policy, industry and the creative sector. University of Queensland Press (Australia), 2013. Freeman, Bradley C., Andrew J. Duffy, and Xiaoge Xu. "Machiavelli Meets Michelangelo: Newspaper Coverage of the Arts in Singapore."SAGE Open6, no. 2 (2016): 2158244016645147. Howlett, Michael. "From the oldto the newpolicy design: design thinking beyond markets and collaborative governance."Policy Sciences47, no. 3 (2014): 187-207. Kong, L., (2012) Ambitions of a Global City: Arts, Culture and Creative Economy in Post-Crisis Singapore, International Journal of Cultural Policy, 18, no.3: 279-294. Kong, Lily. "Ambitions of a global city: arts, culture and creative economy in Post-Crisis Singapore."International Journal of Cultural Policy18, no. 3 (2012): 279-294. Lee, Terence. "Inculcatingcreativity: culture as public pedagogy in Singapore."Discourse: Studies in the Cultural Politics of Education35, no. 5 (2014): 718-732. Lim, Lorraine. "Negotiation and Adaptation: Singapore Theater as Civil Society." InCultural Policies in East Asia, pp. 104-119. Palgrave Macmillan UK, 2014. Navera, Gene Segarra. "The Singapore arts landscape: Influences, tensions, confluences, and possibilities for the learning context." InContextualized Practices in Arts Education, pp. 3-20. Springer Singapore, 2013. Oi, Kay Kok Chung. "Art Education as Exhibition: Reconceptualizing Cultural History in Singapore through an Art Response to Ah Ku and Karayuki-san Prostitution."Journal of Cultural Research in Art Education (Online)32 (2015): 207. Oswin, Natalie. "The queer time of creative urbanism: family, futurity, and global city Singapore."Environment and Planning A44, no. 7 (2012): 1624-1640. Pernice, Raffaele. "Arts, Culture and the Making of Global Cities: Creating New Urban Landscapes in Asia."The Town Planning Review87, no. 3 (2016): 366. Ramos, Suzanna J., and Gerard J. Puccio. "Cross-cultural studies of implicit theories of creativity: A comparative analysis between the United States and the main ethnic groups in Singapore."Creativity Research Journal26, no. 2 (2014): 223-228. Spieser, Kevin, Kyle Treleaven, Rick Zhang, Emilio Frazzoli, Daniel Morton, and Marco Pavone. "Toward a systematic approach to the design and evaluation of automated mobility-on-demand systems: A case study in Singapore." InRoad Vehicle Automation, pp. 229-245. Springer International Publishing, 2014. Tan, Jeffery. "Cultural Policy in Singapore Government Funding and the Management of Artistic Dissent." 14, no. 1 (2014): 21-39. Wong, Audrey. "Artists' Advocacy in Singapore: A Changing Drama."Asia Pacific Journal of Arts and Cultural Management9, no. 1 (2012). Wood, Stephen, and Kim Dovey. "Creative multiplicities: Urban morphologies of creative clustering."Journal of Urban Design20, no. 1 (2015): 52-74. Woon, Tien Wei. "Arts in a knowledge-based economy: activist strategies in Singapore's Renaissance." (2012).

Paradise Lost Connections Still Used Today Essays -

Paradise Lost: Connections Still Used Today "Put that down... NOW!" As many of us have grown older, familiar phrases return to us that were instilled during our childhood. These ideas taught us how to grow and learn within the world. Just As our Parents taught us these words, God taught Satan and everyone under him ideas for their further growth and enrichment. "Paradise Lost" contains connections which are still used today. "Paradise Lost's" initial connections begin with the awesome power of God. Another connection states Satan being the root of all evil. The final connection refers to the forgiveness of God. Paradise Lost's ideas and connections have been in use since this epic poem has been written. The initial idea of "Paradise Lost" states that God is all powerful. God's supreme power is shown throughout "Paradise Lost": "Him [Satan] the Almighty Power Hurled headlong flaming from the etherneal[sp.] sky" by God is only one example of God's supreme power. Satan even admits to God's almighty power - "I now of force believe almighty, since no less than such could have o'erpowered such force as ours." - after losing an entire battle force of Angels to him. God being all powerful is evident within the Catholic and many other faiths as they pray for his power to extend unto themselves. The power of God helps to stir within all, Catholics especially, a feeling of strength. This strength comes from knowing God shares his power among each of us. His power is shared amongst us because we do not doubt him or tempt him, as Satan did. As Satan witnessed firsthand, many people dare not risk angering God to his fullest extent. Another idea of "Paradise Lost" states that Satan is the root of all the evil in the world. John Milton shows this idea in several places within the story. For example, "The infernal Serpent; whose guile, stirred up with envy and revenge, deceived The mother of mankind..." enlightens us on what started this war by Satan - greed. "While he sought evil to others" displays the evil rooted within Satan. Even today, we follow these ideas about Satan being the root of all evil. This evil force in most cases is Satan. Satan has been despised since the dawn of time and has always been looked down upon by the higher communities for his type of evil force he emits. The final idea of "Paradise Lost" is that the God refers to himself as being forgiving. God did not simply kill Satan, his "mind and spirit remains invincible". Where God's awesome power is shown to have wiped Satan out, his forgiving nature helped Satan survive. This is the heart of many religions or faiths today, that God forgives us all. The fact that God forgives our sins and helps us to continue by not killing us as was his choice with Satan, proves this. Satan's sins also reinforces our Christian ideas that God will forgive us, no matter what crime we commit against him (or others). God is truly a forgiving being. "Paradise Lost" has provided insight and ideas that have been followed and continued for hundreds of years. The basic ideas of God have been placed as examples for this poem. We learn to be kind to God, yet not fall within Satan's clutches ... yet God will forgive us if the evil catches up with us. This can only done by one almighty power, God.