What does Your grandeur mean, Master of the Universe, in the face of all cowardice, this decay, and this misery?
” (Wiesel 66-67) These questions cloud Elie’s mind.
Elie’s memoir reveals the true emotions the inmates feel when faced with the horrors of the concentration camps. In the novel, the passionate emotion communicated is despair.
Elie’s experience tells us of this when he gives up on his religion, his family and the world in general, including himself.
” (Wiesel 34) The horrible conditions he lives through and witnesses traumatize him permanently and he can never forgive God for what He has allowed to happen: “As for me, I had ceased to pray. I was not denying His existence, but I doubted His absolute justice.
” (Wiesel 45) Elie goes from being a righteous Jew to no longer praying because he can’t believe the injustice that is being permitted and tolerated.Explain why it is useful to the German camp to keep healthy workers alive and productive, then kill them and replace them with fresh inmates after the original crew is too weary or ill to work. Describe the support system that fellow Jews share, particularly holidays, rituals, and prayers.Discuss the importance of the Kaddish and its meaning when applied to countless victims.Finally, God’s indifference makes Elie questions his existence altogether because he doesn’t believe that anyone, especially God, would let the cruel acts keep happening if they had the power to change it. ” (Wiesel 65) This thought was shared by all the prisoners when a boy was hung in front of everyone.These doubts continued to surface in Elie’s mind: “What are You, my God? How do You compare to this stricken mass gathered to affirm to You their faith, their anger, their defiance?Consider his father and mother, Moshe the Beadle, Idek, Dr.Mengele, overseers, SS guards, the Jewish doctor and Czechoslovakian dentist, and the Allied soldiers who set him free. Using Night as a model, compose extended definitions of repression, autobiography, realism, first-person narrative, literary foils, protagonist/antagonist, allusion, aphorism, polemics, irony, oral tradition, denouement, dialogue, symbol, rhetorical question, existentialism, documentary, surrealism, and parallelism. Contrast a child's eye view of World War II as opposed to a journal written by a Kapo, a resistance member, Meir Katz, Stein of Antwerp, Chlomo Wiesel, Madame Schächter, Moshe the Beadle, Rabbi Eliahou, Franek the violinist, the Jewish surgeon, the rapacious Polish dentist, or a member of the Red Army. Analyze the stratification of camp personnel into children, adult males, adult females, workers, musulmen, Kapos, guards, pipels, SS troops, and supervisors.How do early scenes of prayer and study of cabbala contrast with Elie's loss of reverence for God and his inability to fast? Apply the defiance and outrage of Yevgeny Yevtushenko's "Babi Yar" or Donald Davidson's "Lee in the Mountains" to that of Night. Relate to Elie Wiesel's fervent fight against moral apathy the words of Pastor Martin Niemoller concerning Nazi genocide: "In Germany they first came for the Communists and I didn't speak up because I wasn't a Communist. The aim of the literature I call testimony is to disturb." Why does Wiesel prefer the martyr's stance to the more decorative philosophy of "art for art's sake"?Why does he neglect to say Kaddish for Akiba Drumer? Account for the ghetto dwellers' lack of concern for rumors of violence and genocide aimed at Jews. Then they came for the Jews and I didn't speak up because I wasn't a Jew. How does his attitude toward "[putting] questions to God" cast him as a perpetual sufferer and doomsayer, a combination of the biblical Job and Jeremiah? Locate scenes in which the physical, emotional, and moral landscapes fall into contrasting patches of light and dark. Contrast the needs, fears, and frustrations of both combatants and noncombatants, particularly children, as you account for atrocities. Compare young Elie's coping skills to those of the main characters in Anne Frank's Diary of a Young Girl, Leon Uris' Exodus, Jeanne Wakatsuki Houston and James Houston's Farewell to Manzanar, Everett Alvarez' Chained Eagle, Esther Hautzig's The Endless Steppe, Theodora Kroeber's Ishi, Zlata Filipovich in Zlata's Diary, Toni Morrison's Beloved, Yoko Kawashima Watkins' So Far from the Bamboo Grove, John G.Neihardt's Black Elk Speaks, or Corrie ten Boom in The Hiding Place.