Significantly, various concealing shadows are also employed in the film, to further notch up the voyeur's curiosity levels. Also, he distinguishes between horror and tension skilfully, by making sure that enough tension has been built up to be broken by horror. His introduction to horror from tension is often sudden and unexpected, showing he understands that horror induces intense and profound fear; tension however produces a state of mental or emotional strain or suspense. Another of his famous quotes, "If it's a good movie, the sound could go off and the audience would still have a perfectly clear idea of what was going on." That sums up his superb visual content and masterful camera angles, which show status, stature, body language personalities, thoughts and expressions. We can see that Voyeurism is perhaps the most prominent theme and sensation in this Hitchcock classic. Hitchcock showed that he has plunged into the human mind and found out that there is a little voyeurism in all of us. Throughout the film, sections of the dual nature of humanity and voyeurism present themselves; film, lighting, camera angle and mise-en-scene all make their contributions to the total concept. Lastly, this film shows that not all is known to what meets the eye, although what truly meets the eye can be unveiled in horrific ways.
John Milton’s “Paradise Lost” is one of the narrative poems that can be used as examples of juxtaposition. This well-crafted literary piece is clearly based on the juxtaposition of two characters: God and Satan. Frequently in the poem, the bad qualities of Satan and the good qualities of God are placed side by side and comparison hence made brings to the surface the contrast between the two characters. The juxtaposition in the poem helps us to reach a conclusion that Satan deserved his expulsion from the paradise because of his unwillingness to submit to God’s will.
The telos of tolerance is truth. It is clear from the historical record that the authentic spokesmen of tolerance had more and other truth in mind than that of propositional logic and academic theory. John Stuart Mill speaks of the truth which is persecuted in history and which does not triumph over persecution by virtue of its 'inherent power', which in fact has no inherent power 'against the dungeon and the stake'. And he enumerates the 'truths' which were cruelly and successfully liquidated in the dungeons and at the stake: that of Arnold of Brescia, of Fra Dolcino, of Savonarola, of the Albigensians, Waldensians, Lollards, and Hussites. Tolerance is first and foremost for the sake of the heretics--the historical road toward humanitas appears as heresy: target of persecution by the powers that be. Heresy by itself, however, is no token of truth.