night-critical essays

 Shakespeare's Second Period: Exploring Much Ado About Nothing, Twelfth Night, As You Like It, The Merchant of Venice, Romeo and Juliet and the Histories  Introduction to Shakespeare's Malvolio  Introduction to Shakespeare's Feste  Spiritual Grace: An Examination of Viola from Twelfth Night  The Comic Relief of Sir Toby Belch and Sir Andrew Aguecheek  Twelfth Night, Or What You Will  Romance and Gender Positions in Twelfth Night  The BBC Twelfth Night: Relationships Revealed   An Improbable Fiction : Shakespeare's Twelfth Night in Sources and Performance _____ Related Resources  How to Pronounce the Names in Twelfth Night  Shakespeare's Language  Shakespeare's Metaphors and Similes  Shakespeare's Reputation in Elizabethan England  Shakespeare's Impact on Other Writers  Why Study Shakespeare?  Quotations About William Shakespeare  Shakespeare's Boss  Play Chronology  Shakespeare Characters A to Z  A Shakespeare Glossary  Pronouncing Shakespearean Names  Shakespeare's Metaphors and Similes  How many plays did Shakespeare write?  Bloody will be thy end: Shakespeare Farewells  Top 10 Shakespeare Plays.
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In a symposium published in Judaism (March 26, 1967), Wiesel declared, “In the beginning there was the Holocaust. We must therefore start over again.” Most commentators would agree with Graham Walker’s description, in his book Elie Wiesel: A Challenge to Theology (1987), of the Holocaust as an event of “ontological status which has disrupted both human history and the life story of God.” Night is one of only a few books whose authors attempt to understand the Holocaust. Wiesel’s international status as the winner of the 1986 Nobel Peace Prize, as a formidable literary figure, and as one of the leading voices speaking for the Holocaust survivors as well as the victims makes this work all the more compelling. His decision to focus on the Holocaust’s significance for altering the human understanding of man’s relationship to God indicates that Wiesel’s views, as expressed in Night and in virtually every work of his since, reflect the central difficulties involved in the painful theological revisions that have occurred in both Jewish and Christian realms since 1945. It is important to realize, however, that Night is not an example of the “death of God theology.” At the Brandeis-Bardin Institute (January 22, 1978), Wiesel claimed that “the Covenant was broken. I had to tell God of my anger. I still do so.” God is not dead for Wiesel; in fact, it is the recognition of a God that permits the monologue recorded in Night. Wiesel can protest vehemently to God about the state of the creation precisely because God the Creator exists. Paradoxically, Wiesel also employs silence within this monologue. While Wiesel believes that to remain silent about the Holocaust is to betray its victims, he also knows that presuming to talk about the experience of the Holocaust is a betrayal of another kind. His words are thus chosen with extreme care, but also with a great regard for the silence.
James Schiffer's introduction is all-embracing, thorough and learned; and the essays are often ground-breaking, like Ivo Kamps'. It is an honor for me to be included in this collection with my quasi-materialist essay on Rings and vows in TN. Renaissance engagement rings did not differ from marriage rings, which often had a helmet or family crest on them. Diamonds didn't occur in rings until, roughly, DeBeers' monopoly. In my essay I remark that there's only one American in Shakespeare: Malvoli James Schiffer's introduction is all-embracing, thorough and learned; and the essays are often ground-breaking, like Ivo Kamps'. It is an honor for me to be included in this collection with my quasi-materialist essay on Rings and vows in TN. Renaissance engagement rings did not differ from marriage rings, which often had a helmet or family crest on them. Diamonds didn't occur in rings until, roughly, DeBeers' monopoly. In my essay I remark that there's only one American in Shakespeare: Malvolio. (One could also make a fair argument for Othello's American motivations.) For wanting to marry the boss's daughter, or in fact the boss herself, he is treated as mad--put in a dark cage, questioned on theology (instead of questions on the meaning of the rolling stone gathers no moss --see One Flew Over the Cuckoo's Nest) by the psychiatrist preachers of the day, etc. The Clown/Preacher/Psychologist questions Malvolio on Pythagoras's idea of the Transmigration of the Soul(!--tougher than mere proverbs). Malvolio says he no way, as a Christian, approves this (Hindu?) belief. The Clown-Psychologist says M must stay in the dark crazyhouse until he agrees with Pythagoras, and fear to kill a woodcock lest thou dispossess te soul of ty grandam. Malvolio's American idea to marry his boss-lady waited two centuries and a revolution to be accepted. And now this American cavalier-ness with social.
     In the Holocaust memoir Night, Elie Wiesel communicates the horrors of his journey from Sighet as an innocent, passionate child to his time spent at the Auschwitz concentration camps facing a harsh reality. Through the use of diction and syntax, Wiesel emphasizes the deterioration of the Jewish prisoners’ emotional and physical conditions.      Within the first five chapters, Wiesel utilizes terminology to present the Jewish background of Sighet, as well as his own passion towards worship. For example, Wiesel has a strong determination to “ find in Sighet a master to teach [Wiesel] the Zohar, the Kabbalistic works, the secrets of Jewish mysticism.” (5) This terminology is used by Wiesel to show his strong dedication as a Cabbala student. Later on in the first five chapters, Wiesel employs despair-filled diction in a way that shows his growing mental exhaustion: “My head was spinning: You are too skinny You are too weak You are too skinny.” (72) Through this hopeless diction, we can infer that the camps are already taking a toll on both his physical and emotional health. However, during his 42-mile trek in chapters six through nine, Wiesel and the Jews are pushed to the breaking point: “The idea of dying, of ceasing to be, began to fascinate me.” (86) Wiesel’s choice of morbid diction regarding this experience exhibits the level of endurance the Jewish prisoners needed in order to survive the breaking down of their stamina and perseverance. Throughout his memoir, Wiesel’s transformation of diction from devout terminology to desperation portrays the gradual shift of the prisoners’ conditions from strong and content to weak and hopeless.      Wiesel also uses rhetorical questions and juxtaposition to illustrate the worsening of the prisoners’ emotional and physical conditions through rhetorical questions. While in Buna, Elie and the other prisoners are sent into.