The hiding place vs. Night Essay Example For Students

The hiding place vs. Night Essay Many outsiders strive but fail to truly comprehend the haunting incident of World War IIs Holocaust. None but survivors and witnesses succeed to sense and live the timeless pain of the event which repossesses the core of human psyche. Elie Wiesel and Corrie Ten Boom are two of these survivors who, through their personal accounts, allow the reader to glimpse empathy within the soul and the heart. Elie Wiesel (1928- ), a journalist and Professor of Humanities at Boston University, is an author of 21 books. The first of his collection, entitled Night, is a terrifying account of Wiesels boyhood experience as a WWII Jewish prisoner of Hitlers dominant and secretive Nazi party. At age 16 he was taken from his home in Sighet, Romania and became one of millions of Jews sent to German concentration camps. We will write a custom essay on The hiding place vs. Night specifically for you for only $16.38 $13.9/page Order now At the Auschwitz and Buchenwald, Wiesel witnessed the death of his parents and sister. In 1945, the latter of the camps was overtaken by an American resistance group and the remaining prisoners freed, including the drastically changed man in Wiesel. The once innocent, God-fearing teenager had become a lonely, scarred, doubting individual. Corrie Ten Boom (1892-1983), a religious author and inspirational evangelist, traveled and spread Christianity throughout sixty-one countries, even into her eighties. Her autobiography, The Hiding Place, is an account of her inner strength found through God in the midst of the physical and emotional turmoil of German concentration camps. During World War II, the Ten Boom family took action against the Nazi movement and began an underground hiding system, saving over 700 Jewish lives. (Contemporary Authors, 470) They were discovered and sent from their Haarlem, Holland home to Scheveningen, a Nazi prison. Ten Boom, in her 50s, was placed on trial for leading the underground system and sent to a German work camp. There she witnessed her father and sisters death as well as the birth of her inner strength and hope for the future. Upon release from Ravensbruck, Ten Boom began caring for victims of the war and Holocaust and used her powerful speaking ability to share the trials and triumphs of her life. Together, these two powerful authors relive the horror and pain of the Holocaust to educate the unaware world. They teach of the past, warn of the future, and live for the day. Wiesel and Ten Boom voice their strong belief in God before the war and the ebb and flow of that belief in response to each newly faced affliction. These strong survivors pose as teachers and role models by revealing strengths, weaknesses and survival techniques. Wiesel and Ten Boom survive against the odds, but not without physical and emotional scars. The unsung hero and heroin pair experience tremendous suffering, but confront that affliction with distinct contrary responses. The theme and style of Wiesel and Ten Boom reveal individual personal beliefs and strength levels in reaction to their concentration camp experience during WWIIs Holocaust. Theme is the window which Wiesel and Ten Boom open through words and thoughts to reveal the true purpose of their tales. Although both authors experience the grime of concentration camp and grief of family loss, their responses to this suffering are distinct. This distinctness is not unexpected, for as ones strengths and beliefs are personal, as is the effect of events effecting those strengths and beliefs. Wiesel and Ten Boom state the purpose of their self-exposed stories clearly, and their purposes differ just as clearly. Wiesel stresses the importance of applying lessons of the past to the present for the sake of the worlds future. He writes to create a feeling of such horror and catharsis within the reader to prevent the evil of the Holocaust or any type of unjust persecution to ever occur again. He opens the readers eyes with vividly horrible images of human suffering and creates no barrier in which to contain the honesty and corruption of the experience as a whole. Wiesel is determined to persuade victims, persecutors and bystanders alike of the need for a conscience fully aware of the true evil unleashed and innocence denatured by the inhumane persecution of Jews during the Holocaust. The most important theme portrayed in Night is defined later by Wiesel himself: The executioner killed for nothing, the victim died for nothing During the Middle Ages, the Jews, when they chose death, were convinced that by their sacrifice they were glorifying and sanctifying Gods name. At Auschwitz, the sacrifices were without point, without faith, without divine inspiration (Douglas) Wiesel feels that the genocide of WWII came and went and proves no point to the world, gives neither strength nor hope to the individual, and is basically pointless. After the inhumane persecution, his God is not praised by a greater audience, Hitler and his Nazi party does not gain more power, Jews are not respected by others, and the world as a whole is not given reassurance of a better future. To Wiesel, the Holocaust represents nothing but evil, guilt, and the decay of human morality. (Popular World Fiction, II-35) As does Wiesel, Ten Boom preaches of the importance of learning from past mistakes and not recycling a detrimental experience. However, the evangelist in Ten Boom preaches beyond historical remembrance into the depths of spiritual growth. She strongly believes that the world and its creatures are fated by God and that every experience witnessed by an individual is predestined with the purpose of teaching a life lesson. She survives with the hope and reassurance of Gods power, and lives to spread that belief. The most important theme portrayed in The Hiding Place is that there is no pit so deep that He (God) is not deeper still. .u7fbaab06186e4bfb8da19fde45d64f5a , .u7fbaab06186e4bfb8da19fde45d64f5a .postImageUrl , .u7fbaab06186e4bfb8da19fde45d64f5a .centered-text-area { min-height: 80px; position: relative; } .u7fbaab06186e4bfb8da19fde45d64f5a , .u7fbaab06186e4bfb8da19fde45d64f5a:hover , .u7fbaab06186e4bfb8da19fde45d64f5a:visited , .u7fbaab06186e4bfb8da19fde45d64f5a:active { border:0!important; } .u7fbaab06186e4bfb8da19fde45d64f5a .clearfix:after { content: ""; display: table; clear: both; } .u7fbaab06186e4bfb8da19fde45d64f5a { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u7fbaab06186e4bfb8da19fde45d64f5a:active , .u7fbaab06186e4bfb8da19fde45d64f5a:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u7fbaab06186e4bfb8da19fde45d64f5a .centered-text-area { width: 100%; position: relative ; } .u7fbaab06186e4bfb8da19fde45d64f5a .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u7fbaab06186e4bfb8da19fde45d64f5a .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u7fbaab06186e4bfb8da19fde45d64f5a .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u7fbaab06186e4bfb8da19fde45d64f5a:hover .ctaButton { background-color: #34495E!important; } .u7fbaab06186e4bfb8da19fde45d64f5a .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u7fbaab06186e4bfb8da19fde45d64f5a .u7fbaab06186e4bfb8da19fde45d64f5a-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u7fbaab06186e4bfb8da19fde45d64f5a:after { content: ""; display: block; clear: both; } READ: The Atmosphere Essay (Ten Boom, 217) Ten Boom believes that God is forever on the lowest rung of the human ladder, below even the farthest fallen people, so that they can build a foundation on Him and His love. She expresses that the hand of God is always in reach to represent a concrete hope for Jews in a hopeless situation such as the Holocaust. Ten Booms purpose is to learn and teach others to be joyful in times of great suffering. (Praise Outreach) This is a rare attitude of Holocaust victims, but throughout pain and sorrow Ten Boom presents clear reasons to possess joy. She believes that her own suffering is parallel to Jesus persecution. I had read a thousand times the story of Jesus arrest how soldiers had slapped Him, laughed at Him, flogged Him. Now such happenings had faces and voices. (Ten Boom, 195) She is able to persevere and even die to help others and stand for what she believes in, as Jesus did. Ten Boom supposes that her experience at the German death camps was a test given by God to measure her spiritual strength. God never gives an unpassable test, and never gives one person anything more than he can handle. Ten Boom thinks of the Holocaust as a learning experience, not only for herself, but for the many Jewish victims in reach of her helping hands and words. She has the chance to teach other women of hope through the glory of God, and is joyful because this is her newfound destiny. Although Ten Boom never defines herself as this, her destiny is to serve God as a Righteous among the Nations, or a non-Jew who risks his life to save Jews during the Holocaust. (Encyclopedia of the Holocaust, 1281) She serves him by risking her own life, and uses her religion to become a channel of Gods love in a world torn by fear. (Ten Boom, biographical insert) Ten Boom stresses the importance of hope, and practices her preaching by giving hope to fellow prisoners through God and the Bible. The themes of Night and The Hiding Place differ in the authors responses to their personal strength against the pain of the Holocaust. Wiesel confronts the issue of the events lack of positive results, where Ten Boom focuses on the message of Gods strength through human suffering. The style of the two novels overflow with facing tone and attitude and create a literary barrier between Wiesel and Ten Boom. Where Ten Boom finds a positive inkling of hope within a German death camp, Wiesel drowns out every crack of hopeful light with the darkness of a negative attitude. The authors styles are distinct to their own morality. In Night, Wiesels style is sober and passionate as he describes each testimony with intense diction, vivid pictures and concrete intellect. He tears open his heart to pour upon the reader his true agony during the moments which murdered my God and my soul and turned my dreams to dust. (Wiesel, 32) He defines his religious beliefs with a nakedly self-exposed honesty (Alter, 526) and hides nothing. Wiesels writing is flooded with suffering but anchored in defiance. (Sidel) The flood contains truth which penetrates dams of neglect and overflows into the hearts and minds of innocent and guilty alike. Wiesels defiance pierces through the flood of truth to create an anchor of challenge to all minds as well as his own. His style remains passionate, but as persecution takes its toll Wiesels tone shifts from confident to despairing, pessimistic and almost bitter. His tone can trace his loss of faith in God and in himself. Wiesel sides with a man who honestly states: Ive got more faith in Hitler than in anyone else. Hes the only one whos kept his promises, all his promises, to the Jewish people. (Douglas) Wiesel feels so moved by his fear of death and loneliness as well as his anger towards Gods indifference to suffering Jews that he trusts his enemy more than his allies. His pessimism prevails and leads to emotional and spiritual deterioration. During the months of Wiesels imprisonment at Auschwitz and Buchenwald, his positive attitude toward himself and his situation becomes lost among feelings of anger, fear and hopelessness. At first, Wiesel believes that his optimism (is) unshakable (Douglas) and this persecution against the Jewish population treatment is merely a test of strength given by God. He thinks his treatment and separation from his family are somehow deserved, and feels religious guilt. However, as the innocent suffer, Wiesel begins to doubt his belief and his God. He rises above traditional Judaism to challenge God by questioning His ways and starting a personal revolt against this once trustworthy power. These men here, whom You have betrayed, whom You have allowed to be tortured, butchered, gassed, burned, what do they do? They pray before You! They praise Your name! What does Your greatness meanin the face of all this weakness? (Wiesel, 64) Wiesel questions Gods failure to intercede for the sake of His children, His failure to care about the destruction occurring. He fails to understand why God can or will not intensify the Jews now meager strength with His endless power. Words of vengeance and passion fill Wiesels once humble, trusting prayers. After a while, Wiesel ceases to pray at all as the death of his innocence, his human self-respect and his God (Alter, 526) crush all remaining hope of progression. Wiesel becomes dragged along by a blind destiny as indifference takes over his mind and body leaving him with no more reason to struggle. (Wiesel, 83) He was no longer afraid of physical death, for the murder of his spirit had already taken place. As Wiesel apathetically and reluctantly lives on, his pain lies in the discovery that neither love, filial pity, nor his tense Talmudic training can stand up against extremes of starvation and fear. (Alvarez, 527) He fights himself, his God, and the beast of the Holocaust, and he is defeated. In The Hiding Place, Ten Booms writing involves a deep yet innocent style. .uc5997776937a03c4bb716719f3a04836 , .uc5997776937a03c4bb716719f3a04836 .postImageUrl , .uc5997776937a03c4bb716719f3a04836 .centered-text-area { min-height: 80px; position: relative; } .uc5997776937a03c4bb716719f3a04836 , .uc5997776937a03c4bb716719f3a04836:hover , .uc5997776937a03c4bb716719f3a04836:visited , .uc5997776937a03c4bb716719f3a04836:active { border:0!important; } .uc5997776937a03c4bb716719f3a04836 .clearfix:after { content: ""; display: table; clear: both; } .uc5997776937a03c4bb716719f3a04836 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .uc5997776937a03c4bb716719f3a04836:active , .uc5997776937a03c4bb716719f3a04836:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uc5997776937a03c4bb716719f3a04836 .centered-text-area { width: 100%; position: relative ; } .uc5997776937a03c4bb716719f3a04836 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uc5997776937a03c4bb716719f3a04836 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uc5997776937a03c4bb716719f3a04836 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .uc5997776937a03c4bb716719f3a04836:hover .ctaButton { background-color: #34495E!important; } .uc5997776937a03c4bb716719f3a04836 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uc5997776937a03c4bb716719f3a04836 .uc5997776937a03c4bb716719f3a04836-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uc5997776937a03c4bb716719f3a04836:after { content: ""; display: block; clear: both; } READ: Catholic Church And Contraception Essay With each testimony, she explains her life with an awareness imbedded beyond worldly existence in order to voice a personal and heartfelt message of hope. Ten Booms honesty flows artfully through diction to reveal her true passion of God and the Bible. The blacker the night around us grew, the brighter and truer and more beautiful burned the word of God. (Ten Boom, 194) She uses this analogy of fire in the night to represent Gods word and love warming the hands and hearts of desperate prisoners trapped in the dark. Ten Boom voices her deep messages in a style laden with vitality and passion, possessing an urge to share a testimony. The vitality of Ten Booms style is balanced by the motivated optimism of her tone. Through the suffering of the Holocausts victims, she remains focused of her purpose to share hope as a tramp for the Lord. (Contemporary Authors, 470) She maintains a strong-willed writing style throughout her novel. Ten Booms attitude during her imprisonment at Scheveningen and Ravensbruck is based on a rare quality: silent strength. This strength keeps her alive and fighting for her God despite numerous afflictions. She signifies that life in Ravensbruck took place on two separate levels, mutually impossible. One, the observable, external life, grew every day more horrible. The other, the life we lived with God, grew daily better, truth upon truth, glory upon glory. (Ten Boom, 195) Although the physical conditions of the German death camps get increasingly more unbearable, Ten Boom is able to rise above the suffering and express joy because of the spiritual belief that God is her protector and He will inevitably conquer all evil. It is because of this mental strength that Ten Boom is one of the few celebrating through the suffering because she is not poor, but rich.. .(within) the care of He who was God even of Ravensbruck. (Ten Boom, 192) As her attitude became stronger and she prayed for safety and miracles, they were given to her. Ten Boom is able to retain a forbidden object, her Bible, throughout her whole sentence. Even after she leaves Buchenwald, she learns that her release is a clerical error, and one week after her release her age group is gassed. (Ten Boom, 241) These consequences can not occur to one prisoner without the aid of some higher power. After Ten Boom herself attains a positive attitude, she is able to help other, more destitute prisoners learn of the glory of God. With her sister Betsie and the forbidden Bible, she becomes the center of an ever-widening circle of help and hope. (Ten Boom, 194) As prisoners desperately hold out their hearts to anything worth believing in, Ten Boom strengthens the souls of those hearts with the word of God within her and gives many a new hope and life focus. Through Gods peace and love she is even able to somehow forgive the guards for their wrong doing. Ten Boom also realizes the parallel of her destiny and persecution to that of God, and reassures herself that this plan of her life was foreseen, that she should follow his pattern of victory in the face of defeat. (Ten Boom, 150) She does just that, and changes many lives for the better in doing so. Through their style, Wiesels despair and Ten Booms hope reveal the effect of differing beliefs and attitudes on a similar situation, and how persecution exposes the true strength of an individual. Wiesel and Ten Boom pose as the two extreme results of a similar situation. With the torturous experience of WWIIs Holocaust behind them, the authors reveal their true fears and strengths in response to personal suffering through the theme and style of their writing. On the road to survival, everything goes, leaving only the most primitive terrors and desires. (Alvarez, 527) Ten Boom proves to maintain a static attitude by rooting her strength from God and keeping in mind that it was not my wholeness, but Christs that make the difference. (Ten Boom, 214) Wiesel represents the dynamic, lonely man swallowed by the evil of the Holocaust and left to live in a nocturnal silence which deprived me, for all eternity, of the desire to live. (Wiesel, 32) Works Cited Alter, Robert. Elie Wiesel: Between Hangman and Victim (E. P. Dutton Co., Inc., 1962); excerpted and reprinted in Contemporary Literary Criticism, Vol. 3, ed. Carolyn Riley (Detroit: Gale Research Inc., 1975), p. 526. Alvarez, A. The Literature of the Holocaust (Random House, 1968); excerpted and reprinted in Contemporary Literary Criticism, Vol. 3, ed. Carolyn Riley (Detroit: Gale Research Inc. , 1975), p. 527. Appendix II. Popular World Fiction. Vol. 3. Washington, D.C. : Beacham Publishing, 1987. II-35. Christians Who Helped Us To Get Started (Praise Outreach). May. 1996. http://www.wolsi.com/~kitb/influ. html. (5 Dec. 1996). Contemporary Authors. Vol. 111, ed. Hal May. Detroit: Gale Research Inc. , 1984. p. 470. Douglas, Robert E. , Jr. Elie Wiesels Relationship with God. 3 Aug. 1995. http://www.stsci.edu/~rdouglas/publications/suff/suff.html. Encyclopedia of the Holocaust. Vol. 3, ed. Israel Gutman. New York: Macmillan, 1990. p. 1281. Sidel, Scott. All Rivers Run to the Sea: A Review of the Memoirs of Elie Wiesel. 1995. http://www.netrail. net/~sidel/reviews/wiesel.html. (5 Dec. 1996). Ten Boom, Corrie. The Hiding Place. United States: Bantam Books, 1971. Wiesel, Elie. Night. United States: Bantam Books, 1960.

Imagery In Macbeth Essays - Characters In Macbeth, Free Essays

Imagery In Macbeth Essays - Characters In Macbeth, Free Essays Imagery In Macbeth Imagery in Macbeth Essay submitted by Unknown In his plays, Shakespeare uses many forms of imagery. Many forms of his imagery are used in his play 'Macbeth,' including the forms of clothing and darkness. Each detail in his imagery, it seems to me, contains an important symbol of the play, and symbols that we must understand if we are to understand either the passage it is in, or the play as a whole. In 'Macbeth' I think that the imagery of clothing is used to suggest that throughout the play, Macbeth is seeking to hide his disgraceful self from his eyes and from others. I think that Shakespeare wants to keep alive the ironical contrast between the wretched creature that Macbeth really is and the disguises he assumes to conceal the fact. Secondly, I think that in the play honours are thought of as garments to be worn; likewise, Macbeth is constantly represented symbolically as the wearer of robes not belonging to him. He is wearing an undeserved dignity. A crucial point in describing the purpose of clothing in 'Macbeth' is the fact that these are not his garments. Therefore, Macbeth is uncomfortable in them because he is continually conscious of the fact that they do not belong to him. In the following passage, the idea constantly recurs that Macbeth's new honours sit ill upon him, like a loose and badly fitting garment, belonging to someone else: New honours come upon him, Like our strange garments, cleave not to their mould, But with the aid of use. (1.3.144) The second, most important chain of imagery used to add to the atmosphere is that of the imagery of darkness. In a Shakespearean tragedy a special tone, or atmosphere must be created to show the darkness and blackness in a tragedy. In Macbeth, Shakespeare uses the design of the witches, the guilt in Macbeth's soul, and the darkness of the night to establish the atmosphere. All of the remarkable scenes take place at night or in some dark spot; for instance, the vision of the dagger, the murder of Duncan, the murder of Banquo, and Lady Macbeth's sleep-walking, all occur at night. Darkness is the time when the traveller hastens to reach safety in his inn, when Banquo rides homeward to meet his assassins; furthermore, it is the time when the wolf howls, the owl screams, and when murder steals forth to his work. In 'Macbeth' I think the darkness symbolizes many things. First, and most importantly, it stands for the evil and death in the play. The darkness could partially blind out all of the horrible things that occur in the night. For, only in darkness can such evil deeds be done. Secondly, the darkness shows one of Lady Macbeth's weaknesses: her fear of the dark. In the play, phrases of fear escape from her lips even in sleep. She believes darkness to be the place of torment. In the whole drama, the sun seems to shine only twice. First, in the beautiful but ironical passage when Duncan sees the swallows flirting round the castle of death. Next, when at the close the avenging army gathers to rid the earth of its shame. Therefore; I can conclude that darkness is used to establish the evil parts of the play; whereas, daylight is used to establish victory or goodness in a play.