Loneliness to Insanity and Madness in A Rose for Emily and The Yellow W

From Loneliness to Insanity in A Rose for Emily and The Yellow Wall-Paper      Ã‚   In The Second Sex, Simone de Beauvoir states that within a patriarchal society "woman does not enjoy the dignity of being a person; she herself forms a part of the patrimony of a man: first of her father, then of her husband" (82-3). Both Emily Grierson in William Faulkner's "A Rose for Emily" and the narrator of Charlotte Perkins Gilman's "The Yellow Wall-Paper" are forced into solitude simply because they are women. Emily's father rejects all of her prospective mates; the husband of Gilman's narrator isolates her from stimulation of any kind. Eventually, Emily is a recluse trapped in a deprecated home, and the narrator in Gilman's story is a delusional woman confined to her bed. A study of the characterization and setting of "A Rose for Emily" and "The Yellow Wall-Paper" demonstrates how the oppressive nature of patriarchy drives the women in both stories insane.    The "patrimony of a man" destroys Emily as her father smothers her with his over-protectiveness. He prevents her from courting anyone as "none of the young men were quite good enough for Miss Emily and such" (82). When her father dies, Emily refuses to acknowledge his death; "[W]ith nothing left, she . . . [had] to cling to that which had robbed her" (83). When she finally begins a relationship after his death, she unfortunately falls for Homer Baron who "liked m... ...Jellife. Tokyo: Kenkyusha, 1956.    ---. Faulkner in the University. Ed. Frederick L. Gwynn and Joseph L. Blotner. Charlottesville: U of Virginia P, 1959.    ---. "A Rose for Emily." Literature: Reading, Reacting, Writing. Ed. Laurie G. Kirszner and Stephen R. Mandell. 3rd ed. Orlando: Harcourt, 1997. 80-87.    Gilman, Charlotte Perkins. "Why I Wrote 'The Yellow Wall-Paper.'" The Forerunner. October 1913. Online. An American Literature Survey Site. 14 November 1998. Available HTTP: www.cwrl.utexas.edu/~daniel/amlit/index.html    ---. "The Yellow Wall-Paper." Literature: Reading, Reacting, Writing. Ed. Laurie G. Kirszner and Stephen R. Mandell. 3rd ed. Orlando: Harcourt, 1997. 160-73.

Describe Place

Kelas Reguler Pagi dan Sore Mata Kuliah : Bahasa Inggris I Dosen : Restu Arini, S. Pd. Prodi : Semua Prodi Hari/Tanggal : Senin, 19 Nopember 2012 (Reg Sore) Selasa, 20 Nopember 2012 (Reg Pagi) Sifat : Take-Home Test Read the instruction carefully You are going to make video on your oral performance for Mid Test Project. The videos are based on the four topics we have discussed in classroom meeting (see the explanation in the box). The video can be made by using any recording media such as hand phone, handy cam, camera, etc which then should be compiled in one CD.You have got about 3 to 10 minutes to present each topic. Label your CD with your name, student number, and major. You are to submit the CD on the exam date. Read the explanation below of how you make t his project: Topic 1 : Introducing Yourself You must introduce yourself by mentioning the following things in your video; Introduce Your Name/Surname; describe Your Education Background; describe Your Competency; Describe Your Prospective Career; Describe Your Hobby, Your family, things you are doing and etc. You are allowed to add more information in order to make your vide o more interesting.Please go to these links to get better idea about how to deal with this topic: http://www. youtube. com/watch? v=CZCfTX oRzg&feature=autoplay&list=PLA7C7BF7961EB4606&playnext=2 http://www. youtube. com/watch? v=jiUdDxGlxvI http://www. youtube. com/watch? v=etIpPH5CEdA&feature=related Topic 2 : Description of People Read a biography book about famous people/group of people of any kind of professions (the person you are chosen might be an athlete, a musician, a comedian, a politician or even activists). The book can be written in English or in Bahasa Indonesia.An article taken from internet is not acceptable. Having finished reading the book you must make a description about him/her/them, in the following ways: ? The physical appearance ? The quality of the person using P-M-I Chart (see tool #1) Plus = you are about telling the quality of the person from the positive or good side. Minus = you are to discuss the person’s bad points. Interesting = you are to reveal the things or personality which made this person interesting, in other word his/her charisma or charm. Use the P-M-I Chart as a guideline to make your summary on the biography book you read.In the video, you do not have to show me the P-M-I Chart. You will be scored based on certain requirement (see Scoring Rubric #1) Please go to these links to get better idea about how to deal with this topic: http://www. youtube. com/watch? v=vVeojbg_JgI Arini. MidProject. English1. 2012 1 http://www. youtube. com/watch? v=tMMmJqh4qek http://www. youtube. com/watch? v=sqt_IbqJOLg http://www. youtube. com/watch? v=GrqEANtMqYo Topic 3 : Description of Object Choose an object of the following category: Furniture /Kitchen tools / Electronic Stuff s/ Vehicles / Office Equipments/Music InstrumentsMake a description on the object you choose. Give as detail information as possible. Go to these link to have clear idea about this topic: http://www. youtube. com/watch? v=H1mAtWACONM http://www. youtube. com/watch? v=kiyNYWGL-yg Topic 4 : Description of Place Choose two places to describe. The first is your hometown or place where you were born or place where you grew up. The second will be the place you are eager to visit. Here you may describe a specific place related to your dream or ambition. For example; you have a plan to continue study after finishing your bachelor degree.MidProject. English1. 2012 2 Scoring Rubric #1 (for description of people) 4 (standard of excellence) ? Develop detailed and convincing observation for each of three categories Identifies own conclusion and provides convincing and detailed rationale for choice ? Information is accurate, detailed, well, organized and presented with clarity 3 ( Exceed ? Develops convincing observation for each of the three categories acceptable ? Identifies own conclusion and provides detailed rationale for choice standard) ? Information is accurate and organized 2 ( meets ? Develop basic observation for each of the three categories acceptable ? Identifies own conclusion and provide rationale for choice standard) ? Information is accurate 1 ( needs improved ?Observation are incomplete and /or incorrect to meet acceptable ? Identifies own conclusion but does not explain rationale standard) ? Information is inaccurate, vague or missing Scoring Rubric #2 (for description of object and places) 4 (standard of excellence) ? Identifies multiple convincing and insightful examples of what a specific trait looks like/sound like/feels like ? Uses precise and detailed vocabulary to support description of examples 3 ( Exceed acceptable standard) ? Identifies multiple convincing examples of what a specific trait looks like/sound like/feels like Uses detailed vocabulary to support description of examples 2 ( meets acceptable standard) ? Identifies appropriate examples of what a specific trait looks like/sound like/feels like ? Uses appropriate vocabulary to support description of examples 1 ( needs improved to meet acceptable standard) ? Identifies examples of what a specific trait looks like/sound like/feels like that are erroneous or inappropriate ? Uses vocabulary that is vague and /or is incorrect Good Luck Arini. MidProject. English1. 2012 3

A Short Summary of the Persian Wars

The term Greco-Persian Wars is thought to be less biased against the Persians than the more common name Persian Wars, but most of our information about the wars comes from the winners, the Greek side—the conflict apparently was not important enough, or too painful for the Persians to record. For the Greeks, however, it was critical. As British classicist Peter Green has characterized it, it was a David and Goliath struggle with David holding out for political and intellectual liberty against the monolithic theocratic Persian war machine. It wasnt just Greeks against Persians, nor were all the Greeks always on the Greek side. Summary Locations:  Various. Especially Greece, Thrace, Macedonia,  Asia MinorDates:  c. 492–449/8 BCEWinner:  GreeceLoser:  Persia (under kings  Darius  and  Xerxes) Earlier than the (mostly failed) attempts by the Persian kings Darius and Xerxes to control Greece, the Achaemenid empire was enormous, and Persian King Cambyses had extended the Persian Empire around the Mediterranean coast by absorbing Greek colonies. Some Greek poleis (Thessaly, Boeotia, Thebes, and Macedonia) had joined Persia, as did other non-Greeks, including Phoenicia and Egypt. There was opposition: many Greek poleis under the leadership of Sparta on land, and under the dominance of Athens at sea, opposed the Persian forces. Before their invasion of Greece, Persians had been facing revolts within their own territory. During the Persian Wars, revolts within Persian territories continued. When Egypt revolted, the Greeks helped them. When Were the Greco-Persian Wars? The Persian Wars are traditionally dated 492–449/448 BCE. However, conflict started between the Greek poleis in Ionia and the Persian Empire before 499 BCE. There were two mainland invasions of Greece, in 490 (under King Darius) and 480–479 BCE (under King Xerxes). The Persian Wars ended with the Peace of Callias of 449, but by this time, and as a result of actions taken in Persian War battles, Athens had developed her own empire. Conflict mounted between the Athenians and the allies of Sparta. This conflict would lead to the Peloponnesian War during which the Persians opened their deep pockets to the Spartans. Medize Thucydides (3.61–67) says the Plataeans were the only Boeotians  who did not medize. To medize was to submit to the Persian king as overlord. The Greeks referred to the Persian forces collectively as Medes, not distinguishing Medes from Persians. Likewise, we today dont distinguish among the Greeks (Hellenes), but the Hellenes were not a united force before the Persian invasions. Individual poleis could make their own political decisions. Panhellenism (united Greeks) became important during the Persian Wars. Next, when the barbarian invaded Hellas, they say that they were the only Boeotians who did not Medize; and this is where they most glorify themselves and abuse us. We say that if they did not Medize, it was because the Athenians did not do so either; just as afterwards when the Athenians attacked the Hellenes they, the Plataeans, were again the only Boeotians who Atticized. ~Thucydides Individual Battles During the Persian Wars The Persian War was fought in a series of battles between the earliest at Naxos (502 BCE), when Naxos repelled the Persians to the final battle at Prosopitis, where Greek forces were besieged by the Persians, in 456 BCE. Arguably, the most significant battles of the War included Sardis, which was burned by the Greeks in 498 BCE; Marathon in 490 BCE, the first Persian invasion of Greece; Thermopylae (480), the second invasion after which the Persians took Athens; Salamis, when the combined Greek navy decisively beat the Persians in 480; and Plataea, where the Greeks effectively ended the second Persian invasion in 479. In 478, the Delian League was formed of several Greek city-states united to combine efforts under the leadership of Athens. Considered the start of the Athenian empire, the Delian League conducted several battles aimed at the expulsion of the Persians from Asian settlements, over a period of twenty years.   The main battles of the Persian Wars were: Conflict Origins: 1st Naxos, SardisIonian Revolt: Ephesus, LadeFirst Invasion: 2nd Naxos, Eretria, MarathonSecond Invasion: Thermopylae, Artemisium, Salamis, Plataea, MycaleGreek Counterattack: Mycale, Ionia, Sestos, Cyprus, ByzantiumDelian League: Eion, Doriskos, Eurymedon, Prosopitis End of the War The final battle of the war had led to the death of the Athenian leader Cimon and the defeat of the Persian forces in the area, but it didnt give decisive power in the Aegean to one side or the other. The Persians and Athenians were both tired and after Persian overtures, Pericles sent Callias to the Persian capital of Susa for negotiations. According to Diodorus, the terms gave the Greek poleis in Ionia their autonomy and the Athenians agreed not to campaign against the Persian king. The treaty is known as the Peace of Callias. Historical Sources Herodotus is the principal source on the Persian Wars, from Croesus of Lydias conquest of the Ionian poleis to the fall off Sestus (479 BCE).Thucydides provides some of the later material. There are also later historical writers, including Ephorus in the 4th century BCE, whose work is lost except for fragments, but was used byDiodorus Siculus, in the 1st century CE. Supplementing these are Justin (under Augustus) in his Epitome of Pompeius Trogus,Plutarch (2nd century CE) Biographies andPausanias (2nd century CE) Geography. In addition to historical sources, there is Aeschylus play The Persians. Key Figures Greek Miltiades (defeated the Persians at Marathon, 490)Themistocles (highly skilled Greek military leader during the Persian Wars)Eurybiades (Spartan leader in command of the Greek navy)Leonidas (king of Sparta, who died with his men at Thermopylae in 480)Pausanias (Spartan leader at Plataea)Cimon (Athenian leader after the wars supporting Sparta)Pericles (Athenian leader responsible for rebuilding Athens) Persian Darius I (fourth Persian king of the Achmaenids, ruled 522 to 486 BCE)Mardonius (military commander who died at the Battle of Plataea)Datis (Median admiral at Naxos and Eretria, and leader of the assault force at Marathon)Artaphernes (Persian satrap at Sardis, responsible for suppressing the Ionian revolt)Xerxes (ruler of the Persian empire, 486–465)Artabazus (Persian general in the second Persian invasion)Megabyzus (Persian general in the second Persian invasion) There were later battles between Romans and Persians, and even another war that might be thought of as Greco-Persian, the Byzantine-Sassanid War, in the 6th and early 7th century CE. Sources and Further Reading Aeschylus. The Persians: Seven against Thebes. Suppliants. Prometheus Bound. Ed. Sommerstein, Alan H. Cambridge: Harvard University Press, 2009.Green, Peter. The Greco-Persian Wars. Berkeley CA: University of California Press, 1996. Herodotus. The Landmark Herodotus: The Histories. Ed. Strassler, Robert B.; trans. Purvis, Andrea L. New York: Pantheon Books, 2007.Lenfant, Dominique. Greek Historians of Persia. A Companion to Greek and Roman Historiography. Ed. Marincola, John. Vol. 1. Malden MA: Blackwell Publishing, 2007. 200–09. Rung, Edward. Athens and the Achaemenid Persian Empire in 508/7 Bc: Prologue to the Conflict. Mediterranean Journal of Social Sciences 6 (2015): 257–62. Wardman, A. E. Herodotus on the Cause of the Greco-Persian Wars: (Herodotus, I, 5). The American Journal of Philology 82.2 (1961): 133–50.

Direct Commands in Spanish The Imperative Mood

The imperative form of verbs, used for giving commands, is one of the more unusual in Spanish. As a distinctive conjugation, it exists only with tà º and vosotros, in the familiar second person. Different conjugations are sometimes used in the affirmative (do something) and negative (dont). Because direct commands sometimes can sound rude or impolite, native speakers often avoid the imperative in favor of other verb constructions. Easy to Learn The imperative form of verbs is fairly easy to learn. For regular verbs, the familiar affirmative imperative (the one that goes with tà º and vosotros) is formed by dropping the final letter (the r) of the infinitive, except for verbs ending in -ir, in which case, the ending is changed to -e. In the plural, the final letter of the infinitive is changed to a d. For formal and negative commands, the subjunctive conjugation is used. The imperative form is equivalent to the use of the unconjugated verb in English without a subject. For example, if youre telling someone in English to look, the command is look. The Spanish equivalent can be mira, mire, mirad or miren, depending on whom you are speaking to. Direct Commands for -ar  Verbs Using hablar (to speak) as an example, the conjugations include: Singular familiar: habla tà º, no hables tà º speak, dont speakSingular formal: hable Ud., no hable Ud. speak, dont speakPlural familiar: hablad vosotros, no hablà ©is vosotros speak, dont speakPlural formal: hablen Uds., no hablen Uds. speak, dont speak Use the imperative form only for the familiar affirmative commands. In other cases, use the present subjunctive conjugation. The same is true for -er and -ir verbs. Direct Commands for -er Verbs Using comer (to eat) as an example, the conjugations include: Singular familiar: come tà º, no comas tà º eat, dont eatSingular formal: coma Ud., no coma Ud. eat, dont eatPlural familiar: comed vosotros, no comà ¡is vosotros eat, dont eatPlural formal: coman Uds., no coman Uds. eat, dont eat Direct Commands for -ir Verbs Using escribir (to write) as an example, the conjugations include: Singular familiar: escribe  tà º, no escribas tà º write, dont writeSingular formal: escriba Ud., no escriba Ud. write, dont writePlural familiar: escribid vosotros, no escribà ¡is vosotros write, dont writePlural formal: escriban Uds., no escriban Uds. write, dont write The pronouns are included in the above charts for clarity. The familiar pronouns (tà º and vosotros) are usually omitted in actual use unless needed for clarity or emphasis, while the formal pronouns (usted and ustedes) are more often used. Tips for Using the Imperative Mood Use of the imperative is fairly straightforward, but learning a few guidelines will help you to use it correctly. The singular affirmative familiar imperative (used with tà º) is usually regular. The irregular verbs are these eight, along with verbs derived from them: Decir, di to sayHacer, haz to make or doIr, ve to goPoner, pon to putSalir, sal to leaveSer, sà © to beTener, ten to haveVenir, ven to come All verbs are regular in the plural affirmative familiar imperative. The vosotros commands are rarely used in Latin America. Normally, the ustedes form is used when speaking even with children or relatives. Object pronouns and reflexive pronouns are attached to the affirmative commands and precede negative commands, for example: Dime. Tell me.No me digas. Dont tell me.Escrà ­beme. Write to me.No me escribas. Dont write to me. When a pronoun is attached, add an accent to the verb to maintain the correct pronunciation. If there is a direct and indirect object, the indirect object comes first, as in: Dà ©melo. Give it to me.No me lo dà ©. Dont give it to me. In written instructions, use either the familiar or formal forms, depending on the tone you want to convey as well as your audience. The familiar form generally comes across as friendlier, as in: Haz clic aquà ­. Click here.Haga clic aquà ­. Click here. You can also use the impersonal command. Some writers put commands between exclamation points to help indicate that they are commands. When you use it this way, the exclamation marks dont necessarily translate to written English, as in,  ¡Escucha! (Listen.)

The of Leadership in shaping organizational culture Essay

The Role of Leadership in Shaping Organizational Culture Armen Avetisyan Walden University Abstract In this paper I have tried to analyze the role of leadership in shaping of organizational culture. Also I have briefly touched the definition of culture, historical overview of leadership theory development’s issue and what impact have traits approaches, skills approach, style approach and also ethical approach on creating of organizational culture for healthy organization. The Role of Leadership in Shaping Organizational Culture The Importance of Organizational Culture Creating of organizational culture is crucial for organizations and leaders. The success of organization depends on an appropriate†¦show more content†¦Ã¢â‚¬ ¢ The ideal world is one of elegant machines and processes working in perfect precision and harmony without human intervention. †¢ Engineers are safety oriented and overdesign for safety. †¢ Engineers prefer linear, simple cause-and-effect, quantitative thinking. Assumptions of the Executive Culture Financial Focus †¢ Executives focus on financial survival and growth to ensure returns to shareholders and to society. †¢ Financial survival is equivalent to perpetual war with ones connpetitors. Self-image: The Embattled Lone Hero †¢The economic environment is perpetually competitive and potentially hostile, so the CEO is isolated and alone, yet appears omniscient, in total control, and feels indispensable. †¢ Executives cannot get reliable data from subordinates so they must trust their own judgment. Hierarchical and Individual Focus †¢ Organization and management are intrinsically hierarchical: the hierarchy is the measure of status and success and the primary means of maintaining control. †¢The organization must be a team, but accountability has to be individual. †¢The willingness to experiment and take risks extends only to those things that permit the executive to stay in control. Task and Control Focus †¢ Because the organization is very large, it becomes depersonalized and abstract and, therefore, has to be run by rules, routines (systems), and rituals (machine bureaucracy). †¢The inherent value of relationships andShow MoreRelatedThe Role of Leadership in Shaping Organizational Culture2310 Words   |  10 PagesThe Role of Leadership in Shaping Organizational Culture Douglas E. Kronk Walden University Abstract Leadership’s role in shaping a healthy organizational climate has many facets. Both leadership and organizational culture are difficult concepts to define, as many researchers have chosen to define each in various ways. 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Traditional Art vs Digital Art free essay sample

Traditional art VS Digital art Fri, May 15, 2009 News Because we live in a century dominated by technology innovation, art itself has been offered new creative horizons. But these new advantages have not been considered so beneficial for the art by some conservative art lovers, who believe that if the art is not created using traditional tools (pen, oils, watercolor, etc. ) that art cannot be considered true art (true in the meaning of recognizing it’s real values). Even if the painting, the design or the sketch is created using   traditional tools, just a pencil and paper, or a drawing tablet, both reflect in the same way the artist’s creative effort and talent.? What is really offending nowadays, due to this technology, is that many people pretend to have â€Å"become artists† just because he/she can easily combine some Photoshop brushes. The main question that stands is: how much of that person’s talent is reflected in that resulting piece of art? That depends very much on the person behind the technology. We will write a custom essay sample on Traditional Art vs Digital Art or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page If the person who wants to create ART using the computer is an ARTIST, the resulting piece of digital stuff is ART, without the artist, drawing and manipulating programs can’t do a thing.? Sometimes it’ very hard to discern between the real artists and the ones who are just playing with the tools provided by digital programs. There are also some artists, who pretend their art is totally innovative, abstract or exceeds the limits of imagination by disposing mixtures of abstract elements and finally call it ART. The limits of deciding are actually fragile, because everything that is considered to be ART is decided to be valuable, innovative or absolutely worthless, by   subjective points of view, and a design that is considered to be total crap for one might look absolutely amazing in some others’ opinion. That’s true concerning all kinds of tastes. ?To that, many artists are still attached to those sensitive feelings that traditional art gives, that intimacy between yourself and the blank paper, that process of transforming the paper in front of your eyes, touching it, etting dirty or wrapping it when everything goes wrong. These are feelings that cannot be experienced in front of a monitor.? But although modern art is made of true and false artists, talented and crooks, innovative or copy cats, we cannot ignore the BENEFITS that digital technology has brought.? Digital art is also considered the art of the future, because it provides infinite opportunities for the artist to expand his imagination and show us the   crazy and amazing things he can do just by using a mouse, a drawing tablet and his skills. These things can be considered wrong and â€Å"evil† only by those artists who have been painting all their life in the traditional old style and cannot accept or cannot adapt to new techniques.? Digital art can be considered innovating also for the classical process approach:   programs like Adobe Photoshop, Illustrator, After Effect, not to speak about the 3d ones, 3D Studio Max and Maya offers the artist many electronic brushes, pen tools, endless colors and combination, which make their life and the process of creation much easier and pleasant. Amazing   illustrations   and images that seemed impossible to create in the past, are possible with the help of new technologies. The progress that digital artist are achieving nowadays   in the fantasy/sci-fi field is mind blowing. Even though, there are also charcoal nudes or portraits who carry along profound aesthetic emotions for the viewer.? People may say that when an artist creates a   digital piece of art, that piece of art can be printed or sold in various forms in an infinite number of identical copies, and in the same time, that element which is so important for visual art lovers is lost: the uniqueness. But let’s keep in mind that copies of many famous traditional paintings have been manually created by the painters themselves, in order to satisfy as many collectors as possible.? Probably in the future, digital art will be considered traditional as well. But today, it’s the artists’ decision to choose the ways of expression f or their talent. http://blog. tshirt-factory. com/? p=678

Paradise Lost By Milton Essays - Christian Poetry, Epic Poets

Paradise Lost By Milton Paradise Lost Milton writes Paradise Lost in the tradition of a classic epic poem. All epic poems contain some common features. Milton follows this outline with great precision and style. His poem uses the guidelines of an epic poem and elaborates upon them to make his poem one of the most popular epics written. In his poem, Milton uses the key points of an epic poem when he traditionally invokes a muse to speak through him, includes great deeds of valor, long speeches, and a list of the protagonists Milton follows the tradition of epic poetry when he asks a muse to speak through him. It is clear that for Milton it is the poet's submission to the voice of his muse, to divine inspiration, which ultimately distinguishes the soaring creation of Paradise Lost from an insulting speculation of what happens in the Garden of Eden. Milton does not, however, present the hymn of a heavenly muse as his only defense against presuming too much. Through the book, he remains sensitive to the relationship between himself as poet and his center of attention. While he insists on the honest intentions of what he undertakes, he never neglects to expose the satanic aspect of his poetic posture. In this way Milton differs a slightly from a traditional epic. Instead of speaking through Milton, the muse is more of a second person that inspires Milton. Never the less, Paradise Lost still follows the outline of a customary epic poem. Another part of a traditional epic poem is that the hero must perform great deeds of valor to defeat the villain. Milton wants his readers to be forced to face the problem of Satan seeming invincible. Satan is, after all, an angel. He is a mighty angel that is removed from Heaven. In order for us to see the power of God, it is necessary that Satan also be powerful. It is important that Satan, a parody of God, is viewed as an eloquent, bold being; one that possesses superhuman strength, extraordinary martial prowess, and fortitude so that he can be a foil to show how great God is. In order for God to vanquish and control this awesome being, his characteristics must exceed the characteristics of Satan. Therefore, it emphasizes the great valor God possesses to successfully defeat Satan in their battle. One of the last characteristics that this poem demonstrates that are typical of an epic poem is the long list of the protagonists that the plot involves accompanied by long speeches by the main characters. Milton dedicates a large portion of the first book of the series to a catalogue of the fallen angels. The numbers of angels that are listed are used to give the reader the notion of being overwhelmed by the mass number of villains. He also provides extended formal speeches by the main characters. It is on the basis of the eloquence and power of those speeches that much of the personality of the characters is shown. This listing of villains and long, profound speeches verifies that this poem fits every description of an epic poem. When Milton writes Paradise Lost he uses a general outline that will categorize his poem as an epic poem. He elaborates on the general characteristics of an epic poem including the relationship between the muse and him. They are shown as two separate people with the muse as the higher being. Obviously, in spite of some adjustments and alterations, Milton undeniably uses classical epic traits. Milton builds his epic out of views of the past and uses every feature of epic poetry that can possibly be used.