Wiesel's primary purpose for teaching Night is to show the horrors of the Holocaust so that the world will never forget and make the same mistake again. In chapter one of the novel, Wiesel repeatedly shows how the citizens of Sighet ignored signs of the Nazi occupation. He explains how they downplayed what was happening to them when they were forced to wear the star and officers were quartered in their homes. He wants the world to remember how easily it is for atrocities to occur when people do nothing. When remembering his first night in camp, Wiesel writes, "Never shall I forget that night, the first night in camp, that turned my life into one long night seven times sealed. Never shall I forget that smoke. Never shall I forget the small faces of the children whose bodies I saw transformed into smoke under a silent sky...Never shall I forget those things, even were I condemned to live as long as God Himself. Never." The repetition of "Never shall I forget" pleads with the reader to remember as well as emphasizes the horrors. Remember the horrors of the Holocaust and never repeat them.
<span>An example of a sentence that uses both the words 'drawbacks' and 'counterpoint' might be one relating to music, for example 'a drawback can be heard within the melody due to a miscommunication in the counterpoint'.
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In "The Negro Artist and the Racial Mountain," Hughes talks about the importance of identity and race in art. He argues that a true artist cannot be one in a way that is separate from his own identity. This is particularly true in the United States, where your racial background determines every aspect of who you are, what opportunities you have access to, and how people treat you.
This is illustrated in "Arrangement in Black and White." In this story, we see an African American artist who is admired by a white woman. The woman considers herself to be liberal and accepting of others. However, she is unable to look past her own racism and bias, despite her claim of being modern and understanding. This supports Hughes idea of the artist being unable to be an artist independently from his racial identity.
Literature and the Holocaust have a complicated relationship. This isn't to say, of course, that the pairing isn't a fruitful one—the Holocaust has influenced, if not defined, nearly every Jewish writer since, from Saul Bellow to Jonathan Safran Foer, and many non-Jews besides, like W.G. Sebald and Jorge Semprun. Still, literature qua art—innately concerned with representation and appropriation—seemingly stands opposed to the immutability of the Holocaust and our oversized obligations to its memory. Good literature makes artistic demands, flexes and contorts narratives, resists limpid morality, compromises reality's details. Regarding the Holocaust, this seems unconscionable, even blasphemous. The horrors of Auschwitz and Buchenwald need no artistic amplification.
The original meaning (and still the formal meaning) of 'queer' is actually 'strange' or 'weird'. The excerpt is probably from a few decades ago or was written/spoken within a formal context. The new, more common meaning of 'queer' was born from old beliefs of a prejudiced society, where homossexual people were considered to be 'weird', therefore it's a pejorative term, and it's generally not received well by the homessexual community. As the word 'gay', which originally means 'glad', but with time had its meaning changed first colloquially, then gramatically ('glad' does not imply a pejorative connotation, however).
So the meaning of the stanza wouldn't change it the words mentioned were used intead.
