Past, Present, and Future Theme Analysis

"Listen," he said, digging his fingers into my arm. "I'm going to teach you the art of distinguishing between day and night. Always look at a window, and failing that look into the eyes of a man. If you see a face, any face, then you can be sure that night has succeeded day. For, believe me, night has a face." […]

Every evening since then I had made a point of standing near a window to witness the arrival of night. And every evening I saw a face outside. It was not always the same face […] I knew nothing about them except that they were dead.

In the concentration camp I had cried out in sorrow and anger against God and also against man, who seemed to have inherited only the cruelty of his creator. I was anxious to re-evaluate my revolt in an atmosphere of detachment, to view it in terms of the present.

So many questions obsessed me. Where is God to be found? In suffering or in rebellion? When is a man most truly a man? When he submits or when he refuses? […] Philosophy, I hoped, would give me an answer. It would free me from my memories, my doubts, my feeling of guilt.

"You want my future?" I asked. "What will you do with it?"

He smiled again, but in a cold, distant manner as one who possesses a power over men. "I'll make it into an outcry," he said, and there was a strange light in his dark eyes. "An outcry first of despair and then of hope. And finally a shout of triumph."

Gad's stories were utterly fascinating. I saw in him a prince of Jewish history, a legendary messenger sent by fate to awaken my imagination, to tell the people whose past was now their religion: Come, come; the future is waiting for you with open arms. From now on you will no longer be humiliated, persecuted, or even pitied. You will not be strangers encamped in an age and a place that are not yours. Come, brothers, come!

We don't like to be bearers of death; heretofore we've chosen to be victims rather than executioners. The commandment Thou shalt not kill was given from the summit of one of the mountains here in Palestine, and we were the only ones to obey it. But that's all over; we must be like everybody else. Murder will be not our profession but our duty. In the days and weeks and months to come you will have only one purpose: to kill those who have made us killers. We shall kill in order that once more we may be men[.]

I remembered how the grizzled master had explained the sixth commandment to me. Why has a man no right to commit murder? Because in so doing he takes upon himself the function of God. And this must not be done too easily. Well, I said to myself, if in order to change the course of our history we have to become God, we shall become Him. How easy that is we shall see. No, it was not easy.

When Elisha trains to become a terrorist, he doesn’t just discover new ideas about what it means to live in Zion (the Holy Land). He also discovers new interpretations of the religious teachings on which he was raised. Here he explains how his childhood mentor, a rabbi known as the grizzled master, taught him to understand the sixth of the Ten Commandments, the one which prohibits killing. The grizzled master explains that life and death are in God’s hands, so killing someone means wrongly playing the role of God. As Elisha becomes indoctrinated into the Movement’s ideas, however, he looks at the sixth commandment in a new way—accepting that in order to secure a peaceful future, the Jewish people have a responsibility to “become God,” even if that includes killing. If they don’t do this, he reasons, they will continue to be at the mercy of history and may eventually cease to exist as a people. Dawn as a whole is the story of Elisha learning just how difficult it is to live out such an idea.

"Poor boy!" she repeated. […] Ilana disappeared, and Catherine was there instead. I wondered why Catherine had come, but her apparition did not particularly surprise me. […] She liked to speak of love to little boys, and since men going to their death are little boys she liked to speak to them of love. For this reason her presence in the magical room—magical because it transcended the differences […] between the present and the past—was not surprising.

Suddenly I became aware that the room was stuffy, so stuffy that I was almost stifled. No wonder. The room was small, far too small to receive so many visitors at one time. Ever since midnight the visitors had been pouring in. Among them were people I had known, people I had hated, admired, forgotten. As I let my eyes wander about the room I realized that all of those who had contributed to my formation, to the formation of my permanent identity, were there. Some of them were familiar, but I could not pin a label upon them; they were names without faces or faces without names. And yet I knew that at some point my life had crossed theirs.

"But it's all quite simple," he exclaimed. "We are here to be present at the execution. We want to see you carry it out. We want to see you turn into a murderer. That's natural enough, isn't it?" […]

I was beginning to understand. An act so absolute as that of killing involves not only the killer but, as well, those who have formed him. In murdering a man I was making them murderers.

There are not a thousand ways of being a killer; either a man is one or he isn't. He can't say I'll kill only ten or only twenty-six men; I'll kill for only five minutes or a single day. He who has killed one man alone is a killer for life. He may choose another occupation, hide himself under another identity but the executioner or at least the executioner's mask will be always with him. There lies the problem: in the influence of the backdrop of the play upon the actor. War had made me an executioner, and an executioner I would remain even after the backdrop had changed, when I was acting in another play upon a different stage.

Yerachmiel and I decided to try. Of course we were aware of the danger: No one can force God's hand with impunity. Men older wiser, and more mature than ourselves had tried in vain to wrest the Messiah from the chains of the future; failing in their purpose they had lost their faith, their reason, and even their lives. […] We purified our souls and bodies, fasting by day and praying by night. […]

"We too," I said, "my comrades in the Movement and I, are trying to force God's hand. You who are dead should help us, not hinder…”

But Yerachmiel [was] silent. And somewhere in the universe of time the Messiah was silent as well.

Without hate, everything that my comrades and I were doing would be done in vain. Without hate we could not hope to obtain victory. Why do I try to hate you, John Dawson? Because my people have never known how to hate. Their tragedy, throughout the centuries, has stemmed from their inability to hate those who have humiliated and from time to time exterminated them. Now our only chance lies in hating you, in learning the necessity and the art of hate. Otherwise, John Dawson, our future will only be an extension of the past, and the Messiah will wait indefinitely for his deliverance.

I fired. When he pronounced my name he was already dead; the bullet had gone through his heart. A dead man, whose lips were still warm, had pronounced my name: Elisha.

[…] That's it, I said to myself. It's done. I've killed. I've killed Elisha. The ghosts began to leave the cell, taking John Dawson with them. The little boy walked at his side as if to guide him. I seemed to hear my mother say: "Poor boy! Poor boy!"

The night lifted, leaving behind it a grayish light the color of stagnant water. Soon there was only a tattered fragment of darkness, hanging in midair, the other side of the window. Fear caught my throat. The tattered fragment of darkness had a face. Looking at it, I understood the reason for my fear. The face was my own.