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Horrors of the Holocaust
Horrors of the Holocaust
Horrors of the Holocaust
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Poets express their concerns about human suffering, the cruel nature of Nazis and the living conditions of War camps through the use of poetic devices in order to create a response in the readers. Through poetic devices used by Lily Brett and Trish McCallister, they make the reader sympathise with the victims of World War Two, specifically the Jews, and they create hatred towards the Nazis and their actions towards these victims. The poems Sport and Arbeit Macht Frei both written by Lily Brett convey the poor living conditions that many Jews had to endure in during their time in camps. In the poem Sport, Brett used imagery to convey how torturous and demeaning these exercises were to the Jews, by discussing the ‘ragged pack of eager gymnasts’ …show more content…
as they acted as entertainment for the Nazis. The imagery reinforces the sarcastic tone of the poem as the Jews were threatened to participate in the menial exercise. In Brett’s other poem, Arbeit Macht Frei, she conveys the idea of the ‘broken barracks’ which reiterates the idea that the barracks somehow represent the Jews, malfunctioning and useless, because of mistreatment. Furthermore, the imagery conveyed through these poems creates a sympathetic and shocked response in the readers as they can intensely visualise the depressing and rundown living conditions of the camps. In the poem Sport Brett discusses the ‘eager gymnasts’ and uses the metaphor to convey the sarcastic tone, which reinforces how dominant and powerful the Nazis were. The poem, Arbeit Macht Frei accentuates the poor living conditions and a day in the life of the ‘boisterous band’ and what they were put through, this metaphor conveys a sense of irony as the Jews walked to start their day of work. In the poem Sport, Brett conveys confronting and powerful ideas through short, sharp lines and similes. These similes created convey how rundown the Jews were as the ‘hop like frogs’ through their orders commanded by the despicable Nazis. In Brett’s poem, Arbeit Macht Frei she conveys how even though they were dead they were still being dehumanised and disrespected, as the dead Jews were ‘propped like deformed dolls’, this simile conveys how many Jews died during the night because of the living conditions and made the reader feel disgusted in the Nazis. The poor living conditions that the Jews had to endure were conveyed through poetic techniques which expressed their sympathy for the Jews and hatred for the Nazis to the readers. Furthermore, the poems Overload and Children II, both created by Lily Brett, convey the appalling and wicked actions of the Nazis during World War Two.
In the poem, Overload written by Lily Brett made the readers question the morality of the Nazis, as the poem conveyed the utter disrespect for the victims, as they were ‘burning for five hours’. This imagery helps convey the idea that the Nazis treated the Jews, or their corpses, with respect or dignity they deserved, which led the readers to feel socked and hopeless. Lily Brett’s other poem, Children II, presented the idea that the Nazis didn’t care who died, and they found it easier to kill the children, which questions the psychological side of the Nazis, as it should be harder to kill children because of their innocence. Additionally in the poem Overload, the onomatopoeia helps emphasise the Nazis malicious actions against the Jews, as the ‘hissing, spitting, glistening’ bodies were burned. The ‘hissing, spitting, glistening’ assists the readers to comprehend what the fire and bodies would have looked and sounded like. Furthermore, in the poem Children II, Brett uses the poetic technique onomatopoeia to communicate the children’s dreadful deaths, as the Nazis were ‘snapping their backs’ and ‘flung into the air’. Onomatopoeia helps express the tragic acts of killing the innocent and vulnerable children, which leaves the reader to resent the cold-blooded Nazis, as the readers believe it is harder to murder children than …show more content…
adults, which is why they are appalled to greatly from this technique. In Overload, as the Brett conveys the image of Jews being seen as objects not people and the ‘best burning arrangement’, which suggests ironically that it was convenient for the Nazis as they ridded of the burdened bodies. In Children II, which discusses the murder of young vulnerable children, and how ‘the lucky ones walked with their mother to the gas’, which is ironic because none of these children were lucky as they were still walking to their premature death. The poetic device, irony, leaves the reader feeling disgusted and sickened by the Nazis actions. Through all of these poetic devices they clearly help to convey the poets ideas that the Nazis were pure evil as they tortured so many in the camps. Additionally, the poems Another Selection by Lily Brett and The Dream by Trish McCallister convey the idea of suffering of the victims of the Holocaust and their families.
The poem Another Selection expresses the idea of countless malnourished Jews, the personification of the ‘mourning’ snow covered in black ash conveyed how there are similarities between the ‘rows and rows’ of Jews. The black ash represent misery that has come over the Jews whom were once happy, this personification helps the reader to relate to the Jews in this situation. In The Dream, McCallister creates a flashback sequence throughout the poem, which enables the reader to comprehend the feelings of the victims, before, after and during World War Two. From her mother’s point of view, she describes fear as her ‘constant companion’, which suggests the idea of strong motherly instincts, the personification of ‘fear’ conveys the idea that there is so much fear that it creates the shape of a human, and it is always at her side. This helps the reader to feel sympathetic and compassionate towards her mother. Furthermore, Another Selection Lily Brett uses imagery of the ‘rows and rows’ of Jewish victims which suggests the sheer amount of victims of the Holocaust, which affects the readers in which they feel saddened by the idea of the enormous size of victims. McCallister’s poem The Dream includes many imagery ideas throughout the poem, yet at the end there is simple imagery as she ‘wakes up with the sun’, which
suggests the idea that the nightmare has ended, the nightmare representing the Holocaust, which means she doesn’t have to think anymore about the torturous camps, she can continue with her life, with her daughter. In Another Selection when the Jews are being tested for who lives and who dies, their ‘thin nipples’ are being ‘whipped’. The onomatopoeia helps give the readers a vivid idea of what the Jews would have felt like to be standing in line and having someone else deciding their fate. Additionally in The Dream by McCallister, from her point of view as the children are anxious for their piece of cake the are ‘banging’ on the table, which conveys the idea that they the only thing they care about is getting a piece of cake, not whether or not they will survive the day or night. This device of onomatopoeia helps convey to the readers that the impact of the Holocaust is still impacting families, and how the next generation, after the Holocaust are so lucky that they are able to celebrate with a party, and not being put into a gas chamber, never coming back out. With the use of these poetic techniques, the idea that the Holocaust in World War two affected and traumatised those there, and their families generations after the war, which is conveyed through the poem. The poets used many poetic devices to convey their key concerns to their readers, through their literature. The poets, Trish McCallister and Lily Brett conveyed the living conditions, through imagery, metaphors and similes, expressed their concerns about the Nazis morality through onomatopoeia, imagery and irony, and suggested that the Holocaust not only affected the survivor and victims but the generations that followed, through devices like personification, imagery and irony. Many of these poems leaves the reader feeling disgusted, sympathetic, saddened and angry, and some made the readers think more about the Holocaust not just the historical side but the true impact on people specifically.
Poetry has been used for centuries as a means to explore emotions and complex ideas through language, though individuals express similar ideas in wholly different forms. One such idea that has been explored through poetry in numerous ways is that of war and the associated loss, grief, and suffering. Two noted Australian poets shown to have accomplished this are Kenneth Slessor with his work ‘Beach Burial’ and John Schumann’s ‘I Was Only Nineteen’. Both of these works examine the complexities of conflict, but with somewhat different attitudes.
Along with rhetorical appeals, Wiesel also uses many rhetorical devices such as parallelism and anaphora. Wiesel depicts parallelism when he says, “to fight fascism, to fight dictatorship, to fight Hitler” (Wiesel lines 103-104). The parallelism and anaphora, in the quote, provide emphasis on the discrimination and abuse that has taken place around the world. Repeating the same initial phrase shows the significance of the words Wiesel is speaking. Wiesel mentions the victims of this extreme tragedy when he states,” for the children in the world, for the homeless for the victims of injustice, the victims of destiny and society.” (Wiesel lines 17-19). This use of anaphora and parallelism emphasize the amount of people the Holocaust has affected and impacted. The parallelism being used adds value to his opinions and balances the list of people Wiesel is making in his speech.
The poem “Woodchucks” by Maxine Kumin, is about the narrator’s attempt to eradicate woodchucks from a garden. The figurative message of the poem is how a person can change from good to evil effortlessly. The metaphor of the Holocaust is intertwined in the poem and helps enhance the figurative message. The uniform format and the implication of Kumin’s word choices creates a framework that allows the reader to draw out deeper meanings that the literary devices create. Maxine Kumin’s use of an undeviating format, word choice, and allusion to the Holocaust reinforces the purpose of her poem.
His outside actions of touching the wall and looking at all the names are causing him to react internally. He is remembering the past and is attempting to suppress the emotions that are rising within him. The first two lines of the poem set the mood of fear and gloom which is constant throughout the remainder of the poem. The word choice of "black" to describe the speaker's face can convey several messages (502). The most obvious meaning ... ...
The Holocaust was a tragic event in history which instilled fear and sorrow in so many. This time can be seen as one without order, because the law at the time said the actions taken were just (epigraph translation). A poet was able, however, to take such a chaotic time in history in the poem The Book of Yolek, and create a more personal attachment (for the reader) to the topic. The poet Anthony Hecht has taken the Holocaust (more specifically the moving of Jewish orphans to a concentration camp) and made it simple and nostalgic, taking a more calm approach to the subject ("5th August 1942: Warsaw Orphans Leave for Treblinka"). By using the form of a Sestina (very precise form difficult to properly do), along with the images, rhetorical use of grammar, and the tone portrayed throughout the piece, Anthony Hecht demonstrates a peaceful outlook can be given to the most chaotic moments in human life (Strand et al. 20). However, he also demonstrates the need for emotional attachment when referring to an occurrence (in history) of the past.
...f this poem. Rhyming and rhythm bring out the musical quality of language. Music is more happy and spirited. So, if rhyming and rhythm were placed in her poem, it would make it sound delightful and happy which wouldn’t sound right taken that she is talking about escaping the holocaust. Every device that Wislawa Szymborska used has its own purposes. Some were used and some weren’t. The devices that she didn’t use also conveyed the message that this poem isn’t about delight and happiness; it’s about something more serious.
"Nominated for a 1998 National Book Award for Young People's Literature, No Pretty Pictures: A Child of War is Anita Lobel's gripping memoir of surviving the Holocaust. A Caldecott-winning illustrator of such delightful picture books as On Market Street, it is difficult to believe Lobel endured the horrific childhood she did. From age 5 to age 10, Lobel spent what are supposed to be carefree years hiding from the Nazis, protecting her younger brother, being captured and marched from camp to camp, and surviving completely dehumanizing conditions. A terrifying story by any measure, Lobel's memoir is all the more haunting as told from the first-person, child's-eye view. Her girlhood voice tells it like it is, without irony or even complete understanding, but with matter-of-fact honesty and astonishing attention to detail. She carves vivid, enduring images into readers' minds. On hiding in the attic of the ghetto: "We were always told to be very quiet. The whispers of the trapped grown-ups sounded like the noise of insects rubbing their legs together." On being discovered while hiding in a convent: "They lined us up facing the wall. I looked at the dark red bricks in front of me and waited for the shots. When the shouting continued and the shots didn't come, I noticed my breath hanging in thin puffs in the air." On trying not to draw the attention of the Nazis: "I wanted to shrink away. To fold into a small invisible thing that had no detectable smell. No breath. No flesh. No sound."
The poem “The action in the ghetto of Rohatyn, March 1942” by Alexander Kimel is an amazing literary work which makes the reader understand the time period of the Holocaust providing vivid details. Kimel lived in an “unclean” area called the ghetto, where people were kept away from German civilians. The poet describes and questions himself using repetition and rhetorical questions. He uses literary devices such as repetition, comparisons, similes and metaphors to illustrate the traumatizing atmosphere he was living in March 1942.
World War I and II brought the worst of times for some people; loved ones were lost, families were separated, homes were destroyed, and innocent lives were taken during this time. There are many ways to deal with these hardships; Jewish poet, Avrom Sutzkever, used his hard times as inspiration for his writing and as a way to deal with the war and survive it (INSERT CITATION). This part of history also resulted in other great works of art as a way to deal with what the war brought, during and after the war was over. Avrom Sutzkever wrote his poem “Frozen Jews,” using such dark and depressing imagery, connotation, and diction because of his historical and biographical background.
In Art Spiegelman’s Maus, the audience is led through a very emotional story of a Holocaust survivor’s life and the present day consequences that the event has placed on his relationship with the author, who is his son, and his wife. Throughout this novel, the audience constantly is reminded of how horrific the Holocaust was to the Jewish people. Nevertheless, the novel finds very effective ways to insert forms of humor in the inner story and outer story of Maus. Although the Holocaust has a heart wrenching effect on the novel as a whole, the effective use of humor allows for the story to become slightly less severe and a more tolerable read.
Suffering becomes a way of life for Magda, Stella and Rosa, as they struggle to survive during the Holocaust. During these trying times, some cling to ideals and dreams, while others find unusual vessels of hope – like the shawl – to perdure in their austere living conditions. Although the shawl becomes a source of conflict between Magda, Stella and Rosa in this narrative, it also serves as a pivotal force and a motivational factor. In Ozick’s “The Shawl”, a small wrap allows its owners to triumph over the adversities of a concentration camp, the “magic shawl” comforts, nourishes, protects and prolongs life.
Simply thinking of the Holocaust creates emotions of pity and anger. Cohen and Wiesel both draw those emotions and many more through their words in their literary pieces. In both portrayals, anger is directed toward the Nazis. In the concentration camps, Wiesel shows that German officers beat prisoners for no reason like Idek who "was seized with one of his fits of frenzy […] leapt on me like a wild animal, hitting me […] until I was covered with blood. […] Suddenly he calmed down. As if nothing had happened, he sent me back to work" (Wiesel 50). Likewise, indifference towards the German officers is transmitted towards the audience in Cohen's poem when she mentions, "how do I tell you about losing family and friends in a matter of minutes by moving thumbs in white gloves, belong to a Nazi a so-called human being?"(stanza 4). Additionally, both Cohen and Wiesel make the reader feel pity for them and all those who had to live under the inhumane circumstances of the concentration camps and those who did not make it out alive. In Night, a gruesome picture is drawn as the author says, "Babies! Yes, I saw it- saw it with my own eyes... those children in the flames"(Wiesel 30). Cohen aims to make his audience feel pity but also guilty by making a parallel comparison: "How do I tell you about human-created hunger, hopeless, no-end-in-sight, when, perhaps, you just had a good meal and feel full and warm inside?" (stanza 2).
The idea that the audience picks up is the sickening horror that could only be shown through imagery or an actual image. The fourth stanza describes the effects of the bomb on the girl in gruesome detail and plenty of language features. “Later she will walk the dust, a scarlet girl with her whole stripped skin at her heel, stuck like an old shoe sole or mermaid’s tail”. Simile is used once more to give a shocking image of peeling red skin, being dragged across dust and ash. Assonance is use for “old” and “sole”, and “mermaid’s tail” to really focus on the image being transmitted across to the reader. Specific diction was use to select word like “scarlet” to really give a vivid sight that we could all imagine. This perfectly contradicts what was in the first section, where a pleasant sight could make a 180 and turn south really quick. This flows nicely from the relevance of the first section, where Fell actually shows us what the government and the military could really be hiding from
Strangeways, Al. "'The Boot in the Face': The Problem of the Holocaust in the Poetry of