In one scene taken from the fresh Night. Elie Wiesel conveys a powerful experience based on his first reaching at Auschwitz. The beginning of this scene starts off with duologue and this technique is besides used much throughout the remainder of the scene. The usage of this literary technique allows the reader to go submersed within the minute Wiesel is depicting. The reader experiences the minute merely as Wiesel himself might hold experienced it at the clip which creates a more cliff-hanging feeling in the scene. Each sentence of duologue allows the reader to be “in” the minute because we are garnering pieces of the narrative merely as the character is. The reader has become the character in their head and this allows the state of affairss and emotions that the existent character experiences to impact the reader on a much deeper and personal degree.

The writer does non utilize a great trade of descriptive imagination either. We are shown more of the characters inner struggle instead than a elaborate word picture of the puting itself. This farther reinforces the fact that the reader is in a sense traveling through these struggles with the character. It is much more effectual to convey the horrors of the concentration cantonment through the emotions of the character instead than really give a descriptive scene. For illustration. when Wiesel writes. “Not far from us. fires were jumping up from a ditch. . . I saw it with my ain eyes. . . those kids in the fires. ” ( P30 )

You would believe that the writer would depict more in deepness. the horror being witnessed. but alternatively he uses the character’s reaction to this scene to portray the incubus. “I pinched my face. Was I still alive? Was I awake? I could non believe it. How could it be possible for them to fire people. kids and for the universe to maintain silent? No. none of this could be true. It was a incubus. ” ( P30 ) We experience the character’s feelings as if they were our ain. because the writer has already established a base from the duologue that connects us more profoundly to the narrative.

The interior struggle of the character toward the terminal of the scene though. when he seems certain he is traveling to be burned in the crematorium. holds the greatest preponderance of any other portion of the scene. The character is waiting for his decease. and as he draws nearer to his death his inner ideas are broken up by the systematic beat of his concluding stairss. The writer is utilizing the repeat of his stairss to construct suspense. At each measure. bed upon bed of tenseness is added. The reader leans farther to the border of their place if you will. keeping their breath as the minute of truth draws nearer and nearer until a mere two stairss off from certain decease. the character is pulled out of injuries manner and directed to the concentration cantonment barracks. Yes. the at hand danger of decease has passed. but the reader has now come to recognize the hopelessness of being confined in what William Styron referred to in his essay “Hell reconsidered. ” as fundamentally hell on Earth. otherwise known as Auschwitz.

At the decision of the scene Wiesel uses correspondence of the sentence construction. “Never shall I. . . . ” and so continues on to name all of the atrociousnesss that still haunt the character to this twenty-four hours. Each line stated is like another blow to the characters and the reader’s emotions. Again. the danger of certain decease had passed. and we know that he survived the incubus. but now all of these things are everlastingly etched inside the characters being. “Never shall I bury the small faces of the kids. whose organic structures I saw turned into garlands of fume. . . Never shall I bury those fires which consumed my religion everlastingly. . . Never shall I bury those minutes which murdered my God and my psyche and turned my dreams to dust. ” ( P32 )

He physically may hold survived. but has his psyche? The author’s effectual usage of duologue. correspondence. and a elaborate description of the characters inner struggle allows the reader to go so affiliated to the character themselves. that this stoping point of the scene leaves us with such an arrant sense of what the character really experienced. that the power of the scene rather literally leaves one speechless. Through the usage of all of these things the writer clearly delivers a most compelling and powerful scene.