Elie Wiesel z'l
Free Essay: He sinks deeper and deeper into the evils of the Holocaust, first in the ghetto, then in the Nazi concentration camp. As Eliezer's. Get an answer for 'In Night, how has the relationship between Elie and his father changed during their time in the concentration camps?' and find homework. Father-son relationships: 3 examples of father/son relationships in the story. Elie and his father, Rabbi Eliahou and his son, Father and son Meir on the train.
The survivors must mourn with other survivors—"let's keep together. We shall be stronger"—if they are to escape the madness of the camps and the memory. God and Religion The community of faith to which Eliezer belongs is Hasidic. This is a sect of Judaism that came into being during the eighteenth century and its precepts have considerable bearing upon the events of the novel. Hasidism teaches belief in a personal relationship with God.
In such a system, awe of God combines with emotion toward God. One can protest, love, fear, and question God without compromising God or contradicting faith. One of Wiesel's favorite prayers may serve as a summary: But if, for reasons unknown to me, You are not willing, not yet, then redeem all the other nations, but do it soon!
Neither those who doubt or question God, as does Eliezer, nor those who never doubt, betray their faith.
Elie Wiesel, the Moral Force Who Made Sure We Will Never Forget Evil of Holocaust
Hasidism is antagonistic, "man questions God and God answers. But we don't understand His answers. He was questioning but he was growing tired of God's silence. A key figure in this system is Job, a biblical character whose faith in God was persecuted and tested in extremity.
Yet the comparison with that biblical figure undermines the tendency to conclude that Eliezer lost his faith. He lost many things but he did not lose, entirely, his faith in the morality of a social compact among men with God. This is what is important, maintaining human dignity by maintaining the empathy of society—not the question of whether or not to fast on some holy day.
But it takes the telling of the story of Night to realize this. Meanwhile, in the death camps, Eliezer confesses that "in the depths of my heart, I felt a great void" and "we forgot to say the Khaddish" for Akiba Drumer.Valdo and His Dad-- Father & Son Relationship Goals
Suddenly he sees another man a short distance away from him. He runs over to the man and exclaims, 'Thank God you're here! Surely you know the way out! Does it hint at a positive future? Consider the following passage: Lastly, consider that after all the suffering of the camp, Elie gets food poisoning at the end and almost dies; what were the health challenges of saving the camp survivors?
Do some research into the Holocaust and compare the experience of the Jews, Gypsies, Jehovah's Witness, homosexuals, and others who were imprisoned. Theodore Adomo once said, "it is barbaric to continue to write poetry after Auschwitz.
Read through some of the international treaties on human rights or consider the topic of human rights generally. What role should international bodies play in imposing the idea of human rights on other nations for example: When is it proper to intervene in another country's business?
Sanity and Insanity There are many examples of madness exhibited during the novel. Two in particular stand out as representing the greater insanity of the Holocaust.
The first is the hysterical Madame Schachter and the second is Idek's enthusiasm for work—being more than a simply mockery of the motto "Work is liberty! The first example recalls Moshe the Beadle's attempt to warn his fellow Jews of the impending doom.
They brushed him off while they were still apparently safe "You don't die of [the Yellow Star]…" said Chlomo. When they realized he was right, it was too late. Finding themselves on a hermetically sealed cattle wagon in the dead of night, they are trapped with their worst fears. Madame Schachter begins screaming out their fear: They physically lash her.
They pity her as merely mad because they cannot believe any real harm will come of their deportation. The Germans are human after all. Even Madame Schachter as madness is silenced when her screamed hallucinations become reality and the flames of the crematorium become visible from the cattle car window.
Kapo Idek "has bouts of madness now and then, when it's best to keep out of his way. One Sunday Idek moved "hundreds of prisoners so that he could lie with a girl! It struck me as so funny that I burst out laughing. He moves hundreds of hungry men just so that he might have sex. It goes beyond selfishness yet oddly represents the entire death camp process—all done for ideas held by a handful of men.
The general response to the Nazi challenge cannot be a loss of faith every character in the story that loses faith dies like Meir Katz but a reinvention of humanity. As Wiesel has said elsewhere, "in a world of absurdity, we must invent reason; we must create beauty out of nothingness. The shortened tale is told from a first person point of view.
There is no attempt to enter other minds and little attempt to explain what is on the narrator's mind. The sole purpose of the book is to relate briefly and succinctly what happened. The reader's conclusions are meant to be independent although they have been lead, quite consciously, toward an abhorrence of the moral vacuum presented in the camps.
Semantics The problem of capturing the unrepresentable, or sublime, into an art product has not been impossible since the Roman treatise on the topic by Longinus.
Using examples from the Old Testament particularly Genesis and Jobthe Iliad, and poetry, he displayed the successful methods for capturing nature in verse, ecstasy in poetry, the abyss in myth, and supreme beings in mere names. As a result, Occidental aesthetics views nothing as beyond the ability of the well-trained artist to present it in a packaged form.
Nevertheless, the moral chaos and utter hell that was the Holocaust surpassed any previously recorded human abyss. For some, even fifty years later, it has broken the aesthetic mold of Longinus; how is it possible to comprehend, let alone represent, this most awful of all events? Not easily, yet Wiesel's methods resemble those humans who preceded him in the effort to understand the horrible and sublime by representing their experience in one form or other.
It is through that artistic effort that comprehension comes. The means of representing the unrepresentable are the techniques of the sparse and staccato.
In this case, those techniques are used to keep the reader, as much as possible, in mind of how precious is the breath of air the death camp inmates survive on.
Words are used sparingly and, when possible, blank space is used instead. The terse sentences remind the reader of the necessity of conserving energy: Generally, scenes are made up of few words yet loom large; the storyteller relies on the imagination of the audience, rather than on his ability.
He places the dots and hints at the color, but the reader creates the image. The narrative replaces the useless pictures the GIs took when they liberated the camps. The struggle of representing the unrepresentable horror, as Wiesel discovered, is best accomplished in the same way that Longinus felt the writers of the Talmud did—with few words and plenty of space for digestion.
Allusion Night is full of scriptural allusions, or hints of reference to biblical passages. In fact, the very timelessness of the constant night is reminiscent of supernatural tales. Hasidic tales especially do not follow Occidental notions but develop their own time according to the message of the story. Two of the most memorable examples will suffice to demonstrate. Immediately after realizing that the group is not marching into the death pit, there is the incantation, "Never shall I forget that night, the first night in camp …" etc.
This passage is a pastiche of Psalm In French and Wiesel writes in French or Yiddishthe start of each line begins with Jamais meaning never.
Psalm praises God for his works and deeds while the "Never" passage commits just the opposite reality to memory. Another example of allusion is the execution of the three prisoners. One of these doomed prisoners is an innocent child, a pipel. This scene recalls the moment in the Christian Gospel when Christ is crucified.
In the Gospel according to Matthewhe is accompanied by two thieves. At the point of expiration, Christ asks God why he has been forsaken. At death, the sky darkens and the onlookers murmur that this was definitely the Son of God. In contradistinction, the death of the pipel bothers the onlookers in the opposite way. There is still a look for God but this time, "[w]here is he?
Here He is—He is hanging here on the gallows … " Anti-bildungsroman Traditionally, the bildungsroman in German literature is the story of a young, naive, man entering the world to seek adventure.
He finds his adventure but it provides him with an important lesson. The denouement finds him happy, wiser, and ready for a productive life.
The classic example is J. Wiesel's novella turns this tradition on its head. He presents an educated young man forced into a hell made by human hands. There he learns more wisdom than he asked for, even when he dreamed of learning the mystical tradition. What he learns about human behavior he would rather not apply. In the end, he sees himself in the mirror, for the first time in several years, as a corpse. The result is not that he will think about being a productive worker, but about healing humanity.
Historical Context The Eisenhower Years Eisnehower was re-elected in to continue his leadership of an America that had emerged literally overnight as the most awesome industrial military complex the world had ever seen. The Grand Coulee and Bonneville Dams had just been completed with the result that immediately in the European skies were full of American planes—planes that could be instantly replaced.
All this wartime manufacture was retooled for the domestic economy to produce record numbers of cars, jeeps, appliances, track housing, and a whole range of consumer items to be seen in glossy magazines like Life and Playboy.
Taking advantage of the opportunities offered by the military industrial strength were thousands of GI's who returned from war, went to school, and by the mids were settled in suburban housing developments. This led to new myths of domesticity.
Apathy and Ambivalence: Wiesel’s Relationship With His Father | Owlcation
Men to the right. He could have gone with his mother and children, but instead he decides to stay with his father who otherwise would have been alone. This consequential decision ties the two together for the remainder of the book. Over the course of this time in the concentration camps, Elie goes through rollercoasters of emotion regarding his father. At times Chlomo is his life line; the only reason Elie does not give up and die.
At other times Elie feels that his father is a burden. Elie feels at times that his father is pulling him down, not out of lack of affection, but that the concentration camp is such a place it required him to concern himself with his own survival only.
At times his father physically saves Elie from death; in turn Elie saves his father several times from the fate of death.
Wiesel is haunted by this experience. It is with great bravery that he entails this account so that he bears witness to the horrors of the Holocaust with the hope that no other son will ever have to experience a situation with his father with this kind of magnitude.
The story of a boy from Sighet who through the brutal experience of the Holocaust comes to value his father most of all. Wiesel details father-son relationships to show how natural, loving bonds deteriorate when individuals are faced with intolerable situations. It was also a moment of transition for him to speak in a specifically American voice to the American people. As luck — or as destiny - would have it, Wiesel was also about to receive the Congressional Medal of Honor, the highest civilian honor that Congress can bestow.
Fortuitously, it provided Wiesel with a presidential platform and a face-to-face public meeting with Reagan during the height of their controversy. In his autobiography Wiesel recounted the drama, relished the drama. In private, the President was polite, concerned; Wiesel insistent.
Chancellor Kohl, the president tells him, is even more insistent, it too late to cancel. Then afterwards, at the Roosevelt Room ceremony, Wiesel spoke his famous words: President, your place is not that place.
Your place is with the victims of the SS. Wiesel lost the battle. But Wiesel won the war. Grandchildren were writing candid memoirs about their perpetrator grandparents as the Holocaust loomed more prominently in the German national consciousness than ever before. And inWiesel served as the guide for the newly-elected President Obama, fresh from his speech in Cairo that was deemed by some to be too sympathetic to the Arab world.
Obama visited Buchenwald with Wiesel, the German chancellor and the German president. There was not even an echo of Bitburg. The world had changed and Wiesel had played a significant role in effecting that change. Wiesel entered other battles on behalf of memory. His critique as to its aesthetics and its trivialization of the Holocaust, while respected in some intellectual circles, was overwhelmed by the vast ratings that the four episodes in prime time drew and its impact on survivors, who suddenly were regarded with reverence.
He continued to rage against its falsification and trivialization as the Holocaust entered the mainstream of American culture and men and women of greater and lesser talent grappled with its representation. Yet Wiesel himself had made a choice in the s when he recast his Yiddish memoir When the World Was Silent into its more condensed and less angry memoir La Nuit Night. More than a decade ago Naomi Seidman created a considerable stir when she compared the two.
For representation to a different audience of readers some transformation and some mediation must take place. That transformation allowed many non-Jews to draw close to Wiesel and through him to confront the Holocaust.
Saving Soviet Jewry Wiesel is also recalled for his involvement with the movement to free Jews in the former Soviet Union. In the mid s he wrote a book entitled, The Jews of Silence. Like Isaiah, he preached hope. Soviet Jews, even a half century after the Communist revolution, still wanted to remain Jews, still saw themselves as part of the Jewish people and still dared to envision themselves as part of the Jewish future. He linked his struggle as a Holocaust survivor, who felt abandoned by Western Jewry, to the struggle of Soviet Jewry and offered complacent and comfortable Diaspora Jews the opportunity for redemption — the chance to participate in the drama of the liberation of a people enslaved, to succeed with the Soviet Jewish community as they had once failed to rescue Jews under Nazi domination.
Prominence had its prerogatives. In later years, he met with government officials and could make the case directly. He returned to the Soviet Union immediately after receiving word that he had been named the Nobel Peace Prize recipient forspeaking to Soviet Jews outside the synagogue on Simchat Torah. It was fitting that as a Nobel Peace Prize winner and early activist on behalf of Soviet Jewry, Wiesel spoke at the apex of the Soviet Jewry movement — the march on the National Mall in December on the eve of the Presidential summit.
Arm in arm with the leaders of the movement, American Jewish officialdom, the giants of the Refusenik movement and American political figures, Wiesel marched from the Lincoln Memorial to the site on the National Mall with hundreds of thousands of American Jews. We are not silent today. He clashed with President Carter over whether the definition of the Holocaust should include non-Jews and under his leadership the idea of the Memorial Museum, with an educational foundation and scholarly center, was born.
But plans for its realization floundered. Wiesel resigned as chairman before accepting the Nobel Peace Prize in December and his successors who had fought a bitter power struggle with Wiesel actually built the museum, without his input or assistance.
However, his role in elevating the Holocaust to national attention — worldwide attention — helped immeasurably to make the museum a reality.
So great was his stature that, despite that history, Wiesel spoke at the museum opening. In he went to Thailand just across from the border from Cambodia where a genocide was then in full swing. Wiesel travelled to Argentina to call attention to the plight of human rights campaigner Jacobo Timmerman and went to the Honduran jungle to meet with the Miskito Indians who lived on the Nicaraguan coast. He spoke out on behalf of the people of Tibet suffering under Chinese occupation, against conditions in Biafra and on behalf of the Ache in Paraguay.
In each of these efforts the message was similar.
Father Son Relationship in Night by Elie Wiesel | PROTAGONIST | DEUTERAGONIST | TRITAGONIST
As a survivor, he identified with the oppressed. As one who experienced indifference and silence, he called attention to the plight of the oppressed and pleas for action, any action on their behalf. Indifference and silence help the oppressor and not the oppressed.
Often he began by invoking the uniqueness of the Holocaust, which invites no comparisons, and only then spoke to circumstances that echoed his own experience. He came with no political platform or strategy. His task was to invoke moral outrage. In the former Yugoslavia, Wiesel twice attempted a quasi diplomatic role.