The crucible
- Plot overview, summary, and analysis
Plot overview
In the Puritan New England town of Salem, Massachusetts, a group of girls goes dancing in the forest with a black slave
named Tituba. While dancing, they are caught by the local minister, Reverend Parris. One of the girls, Parris’s daughter
Betty, falls into a coma-like state. A crowd gathers in the Parris home while rumours of witchcraft fill the town. Having
sent for Reverend Hale, an expert on witchcraft, Parris questions Abigail Williams, the girls’ ringleader, about the
events that took place in the forest. Abigail, who is Parris’s niece and ward, admits to doing nothing beyond “dancing.”
While Parris tries to calm the crowd that has gathered in his home, Abigail talks to some of the other girls, telling them
not to admit to anything. John Proctor, a local farmer, then enters and talks to Abigail alone. Unbeknownst to anyone
else in the town, while working in Proctor’s home the previous year she engaged in an affair with him, which led to
her being fired by his wife, Elizabeth. Abigail still desires Proctor, but he fends her off and tells her to end her
foolishness with the girls.
Betty wakes up and begins screaming. Much of the crowd rushes upstairs and gathers in her bedroom, arguing over
whether she is bewitched. A separate argument between Proctor, Parris, the argumentative Giles Corey, and the
wealthy Thomas Putnam soon ensues. This dispute centres on money and land deeds, and it suggests that deep fault
lines run through the Salem community. As the men argue, Reverend Hale arrives and examines Betty, while Proctor
departs. Hale quizzes Abigail about the girls’ activities in the forest, grows suspicious of her behaviour, and demands
to speak to Tituba. After Parris and Hale interrogate her for a brief time, Tituba confesses to communing with the devil,
and she hysterically accuses various townsfolk of consorting with the devil. Suddenly, Abigail joins her, confessing to
having seen the devil conspiring and cavorting with other townspeople. Betty joins them in naming witches, and the
crowd is thrown into an uproar.
A week later, alone in their farmhouse outside of town, John and Elizabeth Proctor discuss the ongoing trials and the
escalating number of townsfolk who have been accused of being witches. Elizabeth urges her husband to denounce
Abigail as a fraud; he refuses, and she becomes jealous, accusing him of still harbouring feelings for her. Mary Warren,
their servant and one of Abigail’s circle, returns from Salem with news that Elizabeth has been accused of witchcraft
but the court did not pursue the accusation. Mary is sent up to bed, and John and Elizabeth continue their argument,
only to be interrupted by a visit from Reverend Hale. While they discuss matters, Giles Corey and Francis Nurse come
to the Proctor home with news that their wives have been arrested. Officers of the court suddenly arrive and arrest
Elizabeth. After they have taken her, Proctor browbeats Mary, insisting that she must go to Salem and expose Abigail
and the other girls as frauds.
The next day, Proctor brings Mary to court and tells Judge Danforth that she will testify that the girls are lying. Danforth
is suspicious of Proctor’s motives and tells Proctor, truthfully, that Elizabeth is pregnant and will be spared for a time.
Proctor persists in his charge, convincing Danforth to allow Mary to testify. Mary tells the court that the girls are lying.
When the girls are brought in, they turn the tables by accusing Mary of bewitching them. Furious, Proctor confesses
his affair with Abigail and accuses her of being motivated by jealousy of his wife. To test Proctor’s claim, Danforth
summons Elizabeth and asks her if Proctor has been unfaithful to her. Despite her natural honesty, she lies to protect
Proctor’s honour, and Danforth denounces Proctor as a liar. Meanwhile, Abigail and the girls again pretend that Mary
is bewitching them, and Mary breaks down and accuses Proctor of being a witch. Proctor rages against her and against
the court. He is arrested, and Hale quits the proceedings.
The summer passes and autumn arrives. The witch trials have caused unrest in neighbouring towns, and Danforth
grows nervous. Abigail has run away, taking all of Parris’s money with her. Hale, who has lost faith in the court, begs
the accused witches to confess falsely in order to save their lives, but they refuse. Danforth, however, has an idea: he
asks Elizabeth to talk John into confessing, and she agrees. Conflicted, but desiring to live, John agrees to confess, and
the officers of the court rejoice. But he refuses to incriminate anyone else, and when the court insists that the
confession must be made public, Proctor grows angry, tears it up, and retracts his admission of guilt. Despite Hale’s
desperate pleas, Proctor goes to the gallows with the others, and the witch trials reach their awful conclusion.
What does the ending mean?
After having signed, then ripped up his confession, John Proctor declares that he cannot throw away his good name in
a lie, even though doing so would save his life. He chooses to die. As John is led away to his execution, Rev. Hale begs
Elizabeth to go after him to change his mind, but she refuses, saying that he finally has his goodness, and she won’t
take that away from him. The ending resolves the central conflict of the play: will John Proctor turn out to be a good
man or not? Throughout the play, John has made both good and bad moral choices. He tries to be a good husband to
Elizabeth. When she is in danger, he tries to save her, even sacrificing his own reputation to do so. But we also learn
that he had an affair with Abigail, and that even though the affair is over, John still looks at Abigail “softly” from time
to time. He is cruel to Mary Warren. He initially signs a confession even though he knows in his heart that it’s wrong
to do so, despite what Rev. Hale says. But in the end, John’s refusal to dishonor himself, even at the cost of his own
life, shows that he is ultimately a good man. The price of this goodness is death. As Elizabeth says, he “have his
goodness now” and she won’t take it from him.
Act I – Opening scene to the entrance of John Proctor
summary
The play is set in Salem, Massachusetts, 1692; the government is a theocracy—rule by God through religious officials.
Hard work and church consume the majority of a Salem resident’s time. Within the community, there are simmering
disputes over land. Matters of boundaries and deeds are a source of constant, bitter disagreements.
As the play opens, Reverend Parris kneels in prayer in front of his daughter’s bed. Ten-year-old Betty Parris lies in an
unmoving, unresponsive state. Parris is a grim, stern man suffering from paranoia. He believes that the members of
his congregation should not lift a finger during religious services without his permission. The rumor that Betty is the
victim of witchcraft is running rampant in Salem, and a crowd has gathered in Parris’s parlor. Parris has sent for
Reverend John Hale of Beverly, an expert on witchcraft, to determine whether Betty is indeed bewitched. Parris
berates his niece, Abigail Williams, because he discovered her, Betty, and several other girls dancing in the forest in
the middle of the night with his slave, Tituba. Tituba was intoning unintelligible words and waving her arms over a fire,
and Parris thought he spotted someone running naked through the trees.
Abigail denies that she and the girls engaged in witchcraft. She states that Betty merely fainted from shock when her
father caught them dancing. Parris fears that his enemies will use the scandal to drive him out of his ministerial office.
He asks Abigail if her name and reputation are truly unimpeachable. Elizabeth Proctor, a local woman who once
employed Abigail at her home but subsequently fired her, has stopped attending church regularly. There are rumors
that Elizabeth does not want to sit so close to a soiled woman. Abigail denies any wrongdoing and asserts that Elizabeth
hates her because she would not work like a slave. Parris asks why no other family has hired Abigail if Elizabeth is a
liar. Abigail insinuates that Parris is only worried about her employment status because he begrudges her upkeep.
Thomas Putnam and his wife enter the room. Putnam holds one of the play’s many simmering grudges. His brotherin-law was a candidate for the Salem ministry, but a small faction thwarted his relative’s aspirations. Mrs. Putnam
reports that their own daughter, Ruth, is as listless as Betty, and she claims that someone saw Betty flying over a
neighbour’s barn.
Mrs. Putnam had seven babies that each died within a day of its birth. Convinced that someone used witchcraft to
murder them, she sent Ruth to Tituba to contact the spirits of her dead children in order to discover the identity of
the murderer. Parris berates Abigail anew and asserts that she and the girls were indeed practicing witchcraft. Putnam
urges Parris to head off his enemies and promptly announce that he has discovered witchcraft. Mercy Lewis, the
Putnams’ servant, drops in and reports that Ruth seems better. Parris agrees to meet the crowd and lead them in a
prayer, but he refuses to mention witchcraft until he gets Reverend Hale’s opinion.
Once they are alone, Abigail updates Mercy on the current situation. Mary Warren, the servant for the Proctor
household, enters the room in a breathless, nervous state. She frets that they will all be labelled witches before long.
Betty sits up suddenly and cries for her mother, but her mother is dead and buried. Abigail tells the girls that she has
told Parris everything about their activities in the woods, but Betty cries that Abigail did not tell Parris about drinking
blood as a charm to kill Elizabeth Proctor, John Proctor’s wife. Abigail strikes Betty across the face and warns the other
girls to confess only that they danced and that Tituba conjured Ruth’s dead sisters. She threatens to kill them if they
breathe a word about the other things that they did. She shakes Betty, but Betty has returned to her unmoving,
unresponsive state.
Analysis
The Crucible is a play about the intersection of private sins with paranoia, hysteria, and religious intolerance. The
citizens of Arthur Miller’s Salem of 1692 would consider the very concept of a private life heretical. The government
of Salem, and of Massachusetts as a whole, is a theocracy, with the legal system based on the Christian Bible. Moral
laws and state laws are one and the same; sin and the status of an individual’s soul are public concerns. An individual’s
private life must conform to the moral laws, or the individual represents a threat to the public good.
Regulating the morality of citizens requires surveillance. For every inhabitant of Salem, there is a potential witness to
the individual’s private crimes. State officials patrol the township, requiring citizens to give an account of their
activities. Free speech is not a protected right, and saying the wrong thing can easily land a citizen in jail. Most of the
punishments, such as the stocks, whipping, and hangings, are public, with the punishment serving to shame the
lawbreaker and remind the public that to disagree with the state’s decisions is to disagree with God’s will.
The Crucible introduces a community full of underlying personal grudges. Religion pervades every aspect of life, but it
is a religion that lacks a ritual outlet to manage emotions such as anger, jealousy, or resentment. By 1692, Salem has
become a fairly established community, removed from its days as an outpost on a hostile frontier. Many of the former
dangers that united the community in its early years have lessened, while interpersonal feuds and grudges over
property, religious offices, and sexual behavior have begun to simmer beneath the theocratic surface. These tensions,
combined with the paranoia about supernatural forces, pervade the town’s religious sensibility and provide the raw
materials for the hysteria of the witch trials.
On the surface, Parris appears to be an anxious, worried father. However, if we pay close attention to his language,
we find indications that he is mainly worried about his reputation, not the welfare of his daughter and their friends.
He fears that Abigail, Betty, and the other girls were engaging in witchcraft when he caught them dancing, and his first
concern is not the endangerment of their souls but the trouble that the scandal will cause him. It is possible—and
likely, from his point of view—that members in the community would make use of a moral transgression to ruin him.
Parris’s anxiety about the insecurity of his office reveals the extent to which conflicts divide the Salem community. Not
even those individuals who society believes are invested with God’s will can control the whim of the populace.
The idea of guilt by association is central to the events in The Crucible, as it is one of the many ways in which the
private, moral behavior of citizens can be regulated. An individual must fear that the sins of his or her friends and
associates will taint his or her own name. Therefore, the individual is pressured to govern his or her private
relationships according to public opinion and public law. To solidify one’s good name, it is necessary to publicly
condemn the wrongdoing of others. In this way, guilt by association also reinforces the publicization of private sins.
Even before the play begins, Abigail’s increasingly questionable reputation, in light of her unexplained firing by the
upright Elizabeth Proctor, threatens her uncle Parris’s tenuous hold on power and authority in the community. The
allegations of witchcraft only render her an even greater threat to him.
Putnam, meanwhile, has his own set of grudges against his fellow Salemites. A rich man from an influential Salem
family, he believes that his status grants him the right to worldly success. Yet he has been thwarted, both in his efforts
to make his brother-in-law minister, and in his family life, where his children have all died in infancy. Putnam is well
positioned to use the witch trials to express his feelings of persecution and undeserved failure, and to satisfy his need
for revenge. His wife feels similarly wronged—like many Puritans, she is all too willing to blame the tragic deaths of
her children on supernatural causes—and seeks similar retribution for what she perceives as the malevolent doings of
others.
Important quotes
“Long-held hatreds of neighbours could now be openly expressed, and vengeance taken, despite the Bible’s charitable
injunctions. Land-lust, which had been expressed by constant bickering over boundaries and deeds, could now be
elevated to the arena of morality; one could cry witch against one’s neighbour and feel perfectly justified in the
bargain. Old scores could be settled on a plane of heavenly combat between Lucifer and the Lord; suspicions and the
envy of the miserable toward the happy could and did burst out in the general revenge.”
“Now look you, child, your punishment will come in its time. But if you trafficked with spirits in the forest I must know
it now, for surely my enemies will, and they will ruin me with it.”
“Abigail, is there any other cause than you have told me, for your being discharged from Goody Proctor’s service? I
have heard it said, and I tell you as I heard it, that she comes so rarely to the church this year for she will not sit so
close to something soiled. What signified that remark?”
“So it is not surprising to find that so many accusations against people are in the handwriting of Thomas Putnam, or
that his name is so often found as a witness corroborating the supernatural testimony, or that his daughter led the
crying-out at the most opportune junctures of the trials, especially when—But we’ll speak of that when we come to
it.”
“Now look you. All of you. We danced. And Tituba conjured Ruth Putnam’s dead sisters. And that is all. And mark this.
Let either of you breathe a word, or the edge of a word, about the other things, and I will come to you in the black of
some terrible night and I will bring a pointy reckoning that will shudder you. And you know I can do it; I saw Indians
smash my dear parents’ heads on the pillow next to mine, and I have seen some reddish work done at night, and I can
make you wish you had never seen the sun go down!”
Act I: The entrance of John Proctor to the entrance of Reverend Hale
Summary
John Proctor, a local farmer, enters Parris’s house to join the girls. Proctor disdains hypocrisy, and many people resent
him for exposing their foolishness. However, Proctor is uneasy with himself because he had conducted an extramarital
affair with Abigail. His wife, Elizabeth, discovered the affair and promptly dismissed Abigail from her work at the
Proctor home.
Proctor caustically reminds Mary Warren, who now works for him, that he forbade her to leave his house, and he
threatens to whip her if she does not obey his rules. Mercy Lewis and Mary depart. Abigail declares that she waits for
Proctor at night. Proctor angers her by replying that he made no promises to her during their affair. She retorts that
he cannot claim that he has no feelings for her because she has seen him looking up at her window. He admits that he
still harbors kind feelings for her but asserts that their relationship is over. Abigail mocks Proctor for bending to the
will of his “cold, sniveling” wife. Proctor threatens to give Abigail a whipping for insulting his wife. Abigail cries that
Proctor put knowledge in her heart, and she declares that he cannot ask her to forget what she has learned—namely,
that all of Salem operates on pretense and lies.
The crowd in the parlor sings a psalm. At the phrase “going up to Jesus,” Betty covers her ears and collapses into
hysterics. Parris, Mercy, and the Putnams rush into the room. Mrs. Putnam concludes that Betty is bewitched and
cannot hear the Lord’s name without pain. Rebecca Nurse, an elderly woman, joins them. Her husband, Francis Nurse,
is highly respected in Salem, and many people ask him to arbitrate their disputes. Over the years, he gradually bought
up the 300 acres that he once rented, and some people resent his success. He and Thomas Putnam bitterly disputed
a matter of land boundaries. Moreover, Francis belonged to the faction that prevented Putnam’s brother-in-law from
winning the Salem ministry. Giles Corey, a muscular, wiry eighty-three-year-old farmer, joins the crowd in the room as
Rebecca stands over Betty. Betty gradually quiets in Rebecca’s gentle presence. Rebecca assures everyone that Ruth
and Betty are probably only suffering from a childish fit, derived from overstimulation.
Proctor asks if Parris consulted the legal authorities or called a town meeting before he asked Reverend Hale to
uncover demons in Salem. Rebecca fears that a witch-hunt will spark even more disputes. Putnam demands that Parris
have Hale search for signs of witchcraft. Proctor reminds Putnam that he cannot command Parris and states that Salem
does not grant votes on the basis of wealth. Putnam retorts that Proctor should not worry about Salem’s government
because he does not attend church regularly like a good citizen. Proctor announces that he does not agree with Parris’s
emphasis on “hellfire and damnation” in his sermons.
Parris and Giles bicker over the question of whether Parris should be granted six pounds for firewood expenses. Parris
claims that the six pounds are part of his salary and that his contract stipulates that the community provide him with
firewood. Giles claims that Parris overstepped his boundaries in asking for the deed to his (Parris’s) house. Parris replies
that he does not want the community to be able to toss him out on a whim; his possession of the deed will make it
more difficult for citizens to disobey the church.
Parris contends that Proctor does not have the right to defy his religious authority. He reminds Proctor that Salem is
not a community of Quakers, and he advises Proctor to inform his “followers” of this fact. Parris declares that Proctor
belongs to a faction in the church conspiring against him. Proctor shocks everyone when he says that he does not like
Parris’s kind of authority and would love to find and join this enemy faction.
Putnam and Proctor argue over the proper ownership of a piece of timberland where Proctor harvests his lumber.
Putnam claims that his grandfather left the tract of land to him in his will. Proctor says that he purchased the land
from Francis Nurse, adding that Putnam’s grandfather had a habit of willing land that did not belong to him. Putnam,
growing irate, threatens to sue Proctor.
Analysis
In Puritan Salem, young women such as Abigail, Mary, and Mercy are largely powerless until they get married. As a
young, unmarried servant girl, Mary is expected to obey the will of her employer, Proctor, who can confine her to his
home and even whip her for disobeying his orders.
Proctor, in his first appearance, is presented as a quick-witted, sharp-tongued man with a strong independent streak.
These traits would seem to make him a good person to question the motives of those who cry witchcraft. However,
his guilt over his affair with Abigail makes his position problematic because he is guilty of the very hypocrisy that he
despises in others. Abigail, meanwhile, is clearly not over their affair. She accuses Proctor of “putting knowledge” in
her heart. In one sense, Abigail accuses him of destroying her innocence by taking her virginity. In another sense, she
also accuses him of showing her the extent to which hypocrisy governs social relations in Salem. Abigail’s cynicism
about her society reveals that she is well positioned to take advantage of the witch trials for personal gain as well as
revenge. Her secret desire to remove Elizabeth Proctor from her path to John Proctor drives the hysteria that soon
develops.
Proctor’s inquiry as to whether Parris consulted anyone before seeking out Reverend Hale illustrates another
constricting aspect of Salem society: the emphasis on public morality and the public good renders individual action
suspect. Proctor’s question subtly insinuates that Parris has personal, private, motives for calling Reverend Hale. He
compounds the tension between the two by hinting that Parris’s fire and brimstone sermons further the minister’s
individual interests by encouraging people to obey him, lest they risk going to hell.
Parris is one of the least appealing characters in the play. Suspicious and grasping, he has a strong attachment to the
material side of life. It is obvious that his emphasis on hellfire and damnation is, at least in part, an attempt to coerce
the congregation into giving him more material benefits out of guilt. Parris, Miller mentions in an aside to the audience,
was once a merchant in Barbados. His commercialist zeal shows in the way he uses sin as a sort of currency to procure
free firewood and free houses. He would have his congregation pay God for their sins, but he wants to collect on their
debts himself.
Parris’s desire to own the deed to his house is likewise telling. He explains his reasons in terms of the community’s
fickle attitude toward its ministers—in this, at least, he has a point. Before his arrival, the Putnams and the Nurses
engaged in a bitter dispute over the choice of minister, a quarrel that offers ample evidence of a minister’s vulnerability
to political battles and personal grudges between families. However, Parris’s claim that he wants only to ensure
“obedience to the Church” is suspect, given that he reacts to disagreement with the church’s edicts as though it were
a personal insult. His allegation that Proctor leads a church faction intent on bringing about his downfall reveals that
Parris is fairly paranoid. This paranoia, coupled with his actual political vulnerability, primes him to take advantage of
the witch trials to protect his personal interests.
Rebecca’s insistence to Proctor that he not “break charity” with the minister suggests that there are few ways to
express individual disagreements in Salem because doing so is considered immoral. Feelings of jealousy and
resentment have no outlet other than the court, which, in theocratic Salem, is also an institution of religious authority.
The entire community of Salem is thus ripe for the witch trials to become an outlet for the expression of economic,
political, and personal grudges through the manipulation of religious and moral authority. The land dispute between
Proctor and Putnam adds the final touch to the implication that the real issues in the witch trials have much more to
do with intra-societal and interpersonal concerns than with supernatural manifestations of the devil’s influence.
Important quotes
“I know how you clutched my back behind your house and sweated like a stallion whenever I come near! Or did I
dream that? It’s she put me out, you cannot pretend it were you. I saw your face when she put me out, and you loved
me then and you do now!”
“I look for John Proctor that took me from my sleep and put knowledge in my heart! I never knew what pretense Salem
was, I never knew the lying lessons I was taught by all these Christian women and their covenanted men! And now
you bid me tear the light out of my eyes? I will not, I cannot! You loved me, John Proctor, and whatever sin it is, you
love me yet!”
“I think she’ll awake in time. Pray calm yourselves. I have eleven children, and I am twenty-six times a grandma, and I
have seen them all through their silly seasons, and when it come on them they will run the Devil bowlegged keeping
up with their mischief. I think she’ll wake when she tires of it. A child’s spirit is like a child, you can never catch it by
running after it; you must stand still, and, for love, it will soon itself come back.”
“I have trouble enough without I come five mile to hear him preach only hellfire and bloody damnation. Take it to
hear, Mr. Parris. There are many others who stay away from church these days because you hardly ever mention God
any more.”
“Mr. Corey, you will look far for a man of my kind at sixty pounds a year! I am not used to this poverty; I left a thrifty
business in the Barbados to serve the Lord. I do not fathom it, why am I persecuted here? I cannot offer one proposition
but there be a howling riot of argument. I have often wondered if the Devil be in it somewhere; I cannot understand
you people otherwise.”
Act I: The entrance of Reverend Hale to the closing scene
Summary
Reverend Hale is an intellectual man, and he has studied witchcraft extensively. He arrives at Parris’s home with a
heavy load of books. Hale asks Proctor and Giles if they have afflicted children. Giles says that Proctor does not believe
in witches. Proctor denies having stated an opinion on witches at all and leaves Hale to his work.
Parris relates the tale of finding the girls dancing in the forest at night, and Mrs. Putnam reports having sent her
daughter to conjure the spirits of her dead children. She asks if losing seven children before they live a day is a natural
occurrence. Hale consults his books while Rebecca announces that she is too old to sit in on the proceedings. Parris
insists that they may find the source of all the community’s troubles, but she leaves anyway.
Giles asks Hale what reading strange books means because he often finds his wife, Martha, reading books. The night
before, he tried to pray but found that he could not succeed until Martha closed her book and left the house. (Giles
has a bad reputation in Salem, and people generally blame him for thefts and random fires. He cares little for public
opinion, and he only began attending church regularly after he married Martha. Giles does not mention that he only
recently learned any prayers and that even small distractions cause him problems in reciting them.) Hale thoughtfully
considers the information and concludes that they will have to discuss the matter later. Slightly taken aback, Giles
states that he does not mean to say that his wife is a witch. He just wants to know what she reads and why she hides
the books from him.
Hale questions Abigail about the dancing in the forest, but Abigail maintains that the dancing was not connected to
witchcraft. Parris hesitantly adds that he saw a kettle in the grass when he caught the girls at their dancing. Abigail
claims that it contained soup, but Parris insists that he saw something moving in it. Abigail says that a frog jumped in.
Under severe questioning, she insists that she did not call the devil but that Tituba did. She denies drinking any of the
brew in the kettle, but when the men bring Tituba to the room, Abigail points at her and announces that Tituba made
her drink blood. Tituba tells Parris and Hale that Abigail begged her to conjure and concoct a charm.
Tituba insists that someone else is bewitching the children because the devil has many witches in his service. Hale
counsels her to open herself to God’s glory, and he asks if she has ever seen someone that she knows from Salem with
the devil. Putnam suggests Sarah Good or Goody Osburn, two local outcasts. In a rising tide of religious exultation,
Tituba says that she saw four people with the devil. She informs Parris that the devil told her many times to kill him in
his sleep, but she refused even though the devil promised to grant her freedom and send her back to her native
Barbados in return for her obedience. She recounts that the devil told her that he even had white people in his power
and that he showed her Sarah Good and Goody Osburn. Mrs. Putnam declares that Tituba’s story makes sense because
Goody Osburn midwifed three of her ill-fated births. Abigail adds Bridget Bishop’s name to the list of the accused.
Betty rises from the bed and chants more names. The scene closes as Abigail and Betty, in feverish ecstasy, alternate
in piling up names on the growing list. Hale calls for the marshal to bring irons to arrest the accused witches.
Analysis
In a theocracy, part of the state’s role is policing belief. Therefore, there is a good deal of pressure on the average
citizen to inform on the blasphemous speech of his or her neighbours in the name of Christian duty. Giles’s claim to
Hale that Proctor does not believe in witches does not necessarily arise out of a desire to do his Christian duty—he
may only be making a joke. However, the very offhand nature of his statement indicates that reporting a neighbour’s
heretical words or thoughts is a deeply ingrained behaviour in Salem.
Rebecca, a figure of respectability and good sense, fears that an investigation into witchcraft will only increase division
within the Salem community. Parris’s declaration that a thorough investigation could get at the root of all the
community’s problems proves accurate, though not in the way that he foresees. The witch trials do bring out all of the
community’s problems, but in the worst possible way. The specter of witchcraft allows citizens to blame political
failures, the deaths of children, and land squabbles on supernatural influences. No one has to accept individual
responsibility for any of the conflicts that divide the community or confront any of his or her personal issues with other
individuals because everyone can simply say, “The devil made me do it.”
Reverend Hale’s reaction to Giles’s story about Martha reveals the dangerous implications of a zealous witch-hunt.
Ordinarily, reading books not related to the Bible would be considered an immoral use of one’s time, but it certainly
would not be interpreted as evidence of witchcraft. But with Hale present and the scent of witchcraft in the air, the
slightest unorthodox behavior automatically makes someone suspect.
Abigail’s reaction to the mounting pressure determines the way in which the rest of the witch trials will play out.
Because she can no longer truly deny her involvement in witchcraft, she accepts her guilt but displaces it onto Tituba.
She admits being involved in witchcraft but declares that Tituba forced her into it. Tituba’s reaction to being accused
follows Abigail’s lead: she admits her guilt in a public setting and receives absolution and then completes her selfcleansing by passing her guilt on to others. In this manner, the admission of involvement with witchcraft functions like
the ritual of confession.
The ritual of confession in the witch trials also allows the expression of sentiments that could not otherwise be
verbalized in repressive Salem. By placing her own thoughts in the devil’s mouth, Tituba can express her long-held
aggression against the man who enslaves her. Moreover, she states that the devil tempted her by showing her some
white people that he owned. By naming the devil as a slave owner, she subtly accuses Parris and other white citizens
of doing the devil’s work in condoning slavery. Tituba is normally a powerless figure; in the context of the witch trials,
however, she gains a power and authority previously unknown to her. No one would have listened seriously to a word
she had to say before, but she now has a position of authority from which to name the secret sins of other Salem
residents. She uses that power and authority to make accusations that would have earned her a beating before. The
girls—Abigail and Betty—follow the same pattern, empowering themselves through their allegedly religious hysteria.
Important quotes
“One cannot help noting that one of his lines has never yet raised a laugh in any audience that has seen this play; it is
his assurance that ‘We cannot look to superstition in this. The Devil is precise.’ Evidently we are not quite certain even
now whether diabolism is holy and not to be scoffed at. And it is no accident that we should be so bemused.”
“No, no. Now let me instruct you. We cannot look to superstition in this. The Devil is precise; the marks of his presence
are definite as stone, and I must tell you all that I shall not proceed unless you are prepared to believe me if I should
find no bruise of Hell upon her.”
“It discomfits me! Last night—mark this—I tried and tried and could not say my prayers. And then she close her book
and walks out of the house, and suddenly—mark this—I could pray again!”
“He say Mr. Parris must be kill! Mr. Parris no goodly man, Mr. Parris mean man and no gently man, and he bid me rise
out of my bed and cut your throat! They gasp. But I tell him ‘No! I don’t hate that man.’ But he say, ‘You work for me,
Tituba, and I make you free! I give you pretty dress to wear, and put you way high up in the air, you gone fly back to
Barbados!’ And I say, ‘You lie, Devil, you lie!’ And then he come one stormy night to me, and he say, ‘Look! I
have white people belong to me.’ And look—and there was Goody Good.”
“I want to open myself! They turn to her, startled. She is enraptured, as though in a pearly light. I want the light of
God, I want the sweet love of Jesus! I danced for the Devil; I saw him; I wrote in his book; I go back to Jesus; I kiss His
hand. I saw Sarah Good with the Devil! I saw Goody Osburn with the Devil! I saw Bridget Bishop with the Devil!”
Act II
Summary
John Proctor sits down to dinner with his wife, Elizabeth. Mary Warren, their servant, has gone to the witch trials,
defying Elizabeth’s order that she remain in the house. Fourteen people are now in jail. If these accused witches do
not confess, they will be hanged. Whoever Abigail and her troop name as they go into hysterics is arrested for
bewitching the girls.
Proctor can barely believe the craze, and he tells Elizabeth that Abigail had sworn her dancing had nothing to do with
witchcraft. Elizabeth wants him to testify that the accusations are a sham. He says that he cannot prove his allegation
because Abigail told him this information while they were alone in a room. Elizabeth loses all faith in her husband
upon hearing that he and Abigail were alone together. Proctor demands that she stop judging him. He says that he
feels as though his home is a courtroom, but Elizabeth responds that the real court is in his own heart.
When Mary Warren returns home, she gives Elizabeth a doll that she sewed in court, saying that it is a gift. She reports
that thirty-nine people now stand accused. John and Mary argue over whether Mary can continue attending the trials.
He threatens to whip her, and Mary declares that she saved Elizabeth’s life that day. Elizabeth’s name was apparently
mentioned in the accusations (Mary will not name the accuser), but Mary spoke out in Elizabeth’s defense. Proctor
instructs Mary to go to bed, but she demands that he stop ordering her around. Elizabeth, meanwhile, is convinced
that it was Abigail who accused her of witchcraft, in order to take her place in John’s bed.
Hale visits the Proctors because he wants to speak with everyone whose name has been mentioned in connection
with witchcraft. He has just visited Rebecca Nurse. Hale proceeds to ask questions about the Christian character of the
Proctor home. He notes that the Proctors have not often attended church and that their youngest son is not yet
baptized. Proctor explains that he does not like Parris’s particular theology. Hale asks them to recite the Ten
Commandments. Proctor obliges but forgets the commandment prohibiting adultery.
At Elizabeth’s urging, Proctor informs Hale that Abigail told him that the children’s sickness had nothing to do with
witchcraft. Taken aback, Hale replies that many have already confessed. Proctor points out that they would have been
hanged without a confession. Giles and Francis rush into Proctor’s home, crying that their wives have been arrested.
Rebecca is charged with the supernatural murders of Mrs. Putnam’s babies. A man bought a pig from Martha Corey
and it died not long afterward; he wanted his money back, but she refused, saying that he did not know how to care
for a pig. Every pig he purchased thereafter died, and he accused her of bewitching him so that he would be incapable
of keeping one alive.
Ezekiel Cheever and Herrick, the town marshal, arrive with a warrant for Elizabeth’s arrest. Hale is surprised because,
last he heard, Elizabeth was not charged with anything. Cheever asks if Elizabeth owns any dolls, and Elizabeth replies
that she has not owned dolls since she was a girl. Cheever spies the doll Mary Warren gave her. He finds a needle
inside it. Cheever relates that Abigail had a fit at dinner in Parris’s house that evening. Parris found a needle in her
abdomen, and Abigail accused Elizabeth of witchcraft. Elizabeth brings Mary downstairs. Mary informs the inquisitors
that she made the doll while in court and stuck the needle in it herself.
As Elizabeth is led away, Proctor loses his temper and rips the warrant. He asks Hale why the accuser is always
considered innocent. Hale appears less and less certain of the accusations of witchcraft. Proctor tells Mary that she
has to testify in court that she made the doll and put the needle in it. Mary declares that Abigail will kill her if she does
and that Abigail would only charge him with lechery. Proctor is shocked that Abigail told Mary about the affair, but he
demands that she testify anyway. Mary cries hysterically that she cannot.
Analysis
Abigail and her troop have achieved an extremely unusual level of power and authority for young, unmarried girls in
a Puritan community. They can destroy the lives of others with a mere accusation, and even the wealthy and influential
are not safe. Mary Warren is so full of her newfound power that she feels able to defy Proctor’s assumption of
authority over her. She invokes her own power as an official of the court, a power that Proctor cannot easily deny.
Proctor’s sense of guilt begins to eat away at him. He knows that he can bring down Abigail and end her reign of terror,
but he fears for his good name if his hidden sin of adultery is revealed. The pressing knowledge of his own guilt makes
him feel judged, but Elizabeth is correct when she points out that the judge who pursues him so mercilessly is himself.
Proctor has a great loathing for hypocrisy, and, here, he judges his own hypocrisy no less harshly than that of others.
Proctor’s intense dilemma over whether to expose his own sin to bring down Abigail is complicated by Hale’s decision
to visit everyone whose name is even remotely associated with the accusations of witchcraft. Hale wants to determine
the character of each accused individual by measuring it against Christian standards. His invasion of the home space
in the name of God reveals the essential nature of the trials—namely, to root out hidden sins and expose them. Any
small deviation from doctrine is reason for suspicion. Proctor tries to prove the upright character of his home by
reciting the Ten Commandments. In forgetting to name adultery, however, just as he “forgot” it during his affair with
Abigail, he not only exposes the deficiency of his Christian morality but also suggests the possibility that his entire
household has succumbed to the evil influence of the devil and witchcraft.
When Proctor asks indignantly why the accusers are always automatically innocent, he comments upon the essential
attractiveness of taking the side of the accusers. Many of the accusations have come through the ritual confession of
guilt—one confesses guilt and then proves one’s “innocence” by accusing others. The accusing side enjoys a privileged
position of moral virtue from this standpoint. Proctor laments the lack of hard evidence, but, of course (as Danforth
will later point out), in supernatural crimes, the standards of evidence are not as hard and fast. The only “proof” is the
word of the alleged victims of witchcraft. Thus, to deny these victims’ charges is almost a denial of the existence of
witchcraft itself—quite a heretical claim. Therefore, those who take the side of the accusers can enjoy the selfjustifying mission of doing God’s will in rooting out the devil’s work, while those who challenge them are threatening
the very foundations of Salem society.
Hale, meanwhile, is undergoing an internal crisis. He clearly enjoyed being called to Salem because it made him feel
like an expert. His pleasure in the trials comes from his privileged position of authority with respect to defining the
guilty and the innocent. However, his surprise at hearing of Rebecca’s arrest and the warrant for Elizabeth’s arrest
reveals that Hale is no longer in control of the proceedings. Power has passed into the hands of others, and as the
craze spreads, Hale begins to doubt its essential justice.
Important quotes
“The Deputy Governor promise hangin’ if they’ll not confess, John. The town’s gone wild, I think. She speak of Abigail,
and I thought she were a saint, to hear her. Abigail brings the other girls into the court, and where she walks the crowd
will part like the sea for Israel. And folks are brought before them, and if they scream and howl and fall to the floor—
the person’s clapped in the jail for bewitchin’ them.”
“Spare me! You forget nothin’ and forgive nothin’. Learn charity, woman. I have not moved from there to there without
I think to please you, and still an everlasting funeral marches round your heart. I cannot speak but I am doubted, every
moment judged for lies, as though I come into a court when I come into this house!”
“I never knew it before. I never knew anything before. When she come into the court I say to myself, I must not accuse
this woman, for she sleep in ditches, and so very old and poor. But then—then she sit there, denying and denying, and
I feel a misty coldness climbin’ up my back, and the skin on my skull begin to creep, and I feel a clamp around my neck
and I cannot breathe air; and then—entranced—I hear a voice, a screamin’ voice, and it were my voice—and all at
once I remember everything she done to me!”
“Charity, Proctor, charity. What I have heard in her favor, I will not fear to testify in court. God help me, I cannot judge
her guilty or innocent—I know not. Only this consider: the world goes mad, and it profits nothing you should lay the
cause to the vengeance of a little girl.”
“Proctor, I cannot think God be provoked so grandly by such a petty cause. The jails are packed—our greatest judges
sit in Salem now—and hangin’ promised. Man, we must look to cause proportionate. Were there murder done,
perhaps, and never brought to light? Abomination? Some secret blasphemy that stinks to Heaven? Think on cause,
man, and let you help me to discover it. For there’s your way, believe it, there is your only way, when such confusion
strikes upon the world. He goes to Giles and Francis. Let you counsel among yourselves; think on your village and what
may have drawn from heaven such thundering wrath upon you all. I shall pray God open up our eyes.”
Act III
Summary
Back in Salem, the court is in session. Giles interrupts the proceedings by shouting that Putnam is only making a grab
for more land. He claims to have evidence to back up this assertion. Judge Hathorne, Deputy Governor Danforth, and
the Reverends Hale and Parris join Giles and Francis in the vestry room to get to the bottom of the matter. Proctor
and Mary Warren enter the room. Mary testifies that she and the other girls were only pretending to be afflicted by
witchcraft. Judge Danforth, shocked, asks Proctor if he has told the village about Mary’s claims. Parris declares that
they all want to overthrow the court.
Danforth asks Proctor if he is attempting to undermine the court. Proctor assures him that he just wants to free his
wife, but Cheever informs the judge that Proctor ripped up the warrant for Elizabeth’s arrest. Danforth proceeds to
question Proctor about his religious beliefs. He is particularly intrigued by the information, offered by Parris, that
Proctor only attends church about once a month. Cheever adds that Proctor plows on Sunday, a serious offense in
Salem.
Danforth and Hathorne inform Proctor that he need not worry about Elizabeth’s imminent execution because she
claims to be pregnant. She will not be hanged until after she delivers. Danforth asks if he will drop his condemnation
of the court, but Proctor refuses. He submits a deposition signed by ninety-one land-owning farmers attesting to the
good characters of Elizabeth, Martha, and Rebecca. Parris insists that they all be summoned for questioning because
the deposition is an attack on the court. Hale asks why every defense is considered an attack on the court.
Putnam is led into the room to answer to an allegation by Giles that he prompted his daughter to accuse George Jacobs
of witchcraft. Should Jacobs hang, he would forfeit his property, and Putnam is the only person in Salem with the
money to purchase such a tract. Giles refuses to name the man who gave him the information because he does not
want to open him to Putnam’s vengeance. Danforth arrests Giles for contempt of court.
Danforth sends for Abigail and her troop of girls. Abigail denies Mary’s testimony, as well as her explanation for the
doll in the Proctor home. Mary maintains her assertion that the girls are only pretending. Hathorne asks her to pretend
to faint for them. Mary says she cannot because she does not have “the sense of it” now. Under continued pressure,
she falters and explains that she only thought she saw spirits. Danforth pressures Abigail to be truthful. Abigail shivers
and the other girls follow suit. They accuse Mary of bewitching them with a cold wind.
Proctor leaps at Abigail and calls her a whore. He confesses his affair with her and explains that Elizabeth fired her
when she discovered it. He claims that Abigail wants Elizabeth to hang so that she can take her place in his home.
Danforth orders Abigail and Proctor to turn their backs, and he sends for Elizabeth, who is reputed by Proctor to be
unfailingly honest. Danforth asks why she fired Abigail. Elizabeth glances at Proctor for a clue, but Danforth demands
that she look only at him while she speaks. Elizabeth claims to have gotten the mistaken notion that Proctor fancied
Abigail, so she lost her temper and fired the girl without just cause. As marshal, Herrick removes Elizabeth from the
room. Proctor cries out that he confessed his sin, but it is too late for Elizabeth to change her story. Hale begs Danforth
to reconsider, stating that Abigail has always struck him as false.
Abigail and the girls begin screaming that Mary is sending her spirit at them. Mary pleads with them to stop, but the
girls repeat her words verbatim. The room erupts into a hectic frenzy of fear, excitement, and confusion. Mary seems
to become infected with the hysteria of the other girls and starts screaming too. Proctor tries to touch her, but she
dashes away from him, calling him the devil’s man. She accuses him of consorting with the devil and pressuring her to
join him in his evil ways. Danforth orders Proctor’s arrest against Hale’s vocal opposition. Hale denounces the
proceedings and declares that he is quitting the court
Analysis
The desperate attempt by Giles, Proctor, and Francis to save their respective wives exposes the extent to which the
trials have become about specific individuals and institutions struggling to maintain power and authority. Deputy
Governor Danforth and Judge Hathorne do not want to admit publicly that they were deceived by a bunch of young
women and girls, while Parris does not want the trials to end as a fraud because the scandal of having a lying daughter
and niece would end his career in Salem. Predictably, the judge and the deputy governor react to Proctor’s claims by
accusing him of trying to undermine “the court,” which, in theocratic Salem, is tantamount to undermining God
himself.
In order to dispose of Proctor’s threat, Danforth and Hathorne exercise their power to invade his privacy. Although
Proctor has not yet been formally accused of witchcraft, Danforth and Hathorne, like Hale earlier, question him about
his Christian morals as though he were already on trial. They hope to find in his character even the slightest deviation
from Christian doctrine because they would then be able to cast him as an enemy of religion. Once thus labeled,
Proctor would have virtually no chance of anyone in God-fearing Salem intervening on his behalf.
The reaction of Danforth and Hathorne to the deposition signed by ninety-one land-owning citizens further
demonstrates the power of the court to invade the private lives of citizens, and indicates the extent to which the court
believes in guilt by association. In the witch trials, guilt need not be proven by hard evidence, and signing a deposition
attesting to the good character of the accused is enough to put oneself under the same suspicion of guilt. Over the
protests of Francis, Danforth states that the signers should have nothing to worry about if they are innocent. The
desire for privacy becomes an automatic sign of guilt. Revealingly, Parris states that the goal of the trials is to find
precisely what is not seen—in both the supernatural realm and the realm of people’s private lives.
During a bout of hysteria such as the witch trials, authority and power fall to those who can avoid questioning while
forcing others to speak. By virtue of their rank, Danforth and Hathorne have the authority to cast any questions put to
them as an attack on the court. Similarly, Abigail responds to Proctor’s charges of harlotry with a refusal to answer
questions. Although Danforth’s patience with her presumptuous manner is limited, the fact that a young girl can so
indignantly refuse to answer a direct question from a court official indicates that she possesses an unusual level of
authority for her age and gender.
Much of Act III has to do with determining who will define innocence and guilt. Proctor makes one desperate bid for
this authority by finally overcoming his desire to protect his good name, exposing his own secret sin. He hopes to
replace his wife’s alleged guilt with his own guilt and bring down Abigail in the process. Unfortunately, he mistakes
the proceedings for an actual search for the guilty, when, in fact, the proceedings are better described as a power
struggle. He exposes his private life to scrutiny, hoping to gain some authority, but he does not realize that too many
influential people have invested energy into the proceedings for him to be able to stop them now. Too many
reputations are at stake, and Proctor’s revelation comes too late to stop the avalanche.
Important quotes
“I tell you straight, Mister—I have seen marvels in this court. I have seen people choked before my eyes by spirits; I
have seen them stuck by pins and slashed by daggers. I have until this moment not the slightest reason to suspect that
the children may be deceiving me. Do you understand my meaning?”
“But you must understand, sir, that a person is either with this court or he must be counted against it, there be no
road between. This is a sharp time, now, a precise time—we live no longer in the dusky afternoon when evil mixed
itself with good and befuddled the world. Now, by God’s grace, the shining sun is up, and them that fear not light will
surely praise it. I hope you be one of those.”
“I—I cannot tell how, but I did. I—I heard the other girls screaming, and you, Your Honor, you seemed to believe them,
and I—It were only sport in the beginning, sir, but then the whole world cried spirits, spirits, and I—I promise you, Mr.
Danforth, I only thought I saw them but I did not.”
“Excellency, it is a natural lie to tell; I beg you, stop now before another is condemned! I may shut my conscience to it
no more—private vengeance is working through this testimony! From the beginning this man has struck me true. By
my oath to Heaven, I believe him now, and I pray you call back his wife before we—"
“A fire, a fire is burning! I hear the boot of Lucifer, I see his filthy face! And it is my face, and yours, Danforth! For them
that quail to bring men out of ignorance, as I have quailed, and as you quail now when you know in all your black
hearts that this be fraud—God damns our kind especially, and we will burn, we will burn together!”
Act IV–Epilogue
Summary Act IV
That fall, Danforth and Hathorne visit a Salem jail to see Parris. Parris, worn and gaunt, greets them. They demand to
know why Reverend Hale has returned to Salem. Parris assures them that Hale only wants to persuade the holdout
prisoners to confess and save themselves from the gallows. He reports that Abigail and Mercy vanished from Salem
after robbing him. Hale now appears, haggard and sorrowful. He begs the men to pardon the prisoners because the
prisoners will not confess. Danforth replies that postponement or pardons will cast doubt not only on the guilt of the
seven remaining prisoners but also on that of the twelve who have hanged already. Hale warns that the officials are
courting rebellion. As a result of the trials, cows are wandering loose, crops are rotting in the fields, and orphans are
wandering without supervision. Many homes have fallen into neglect because their owners were in jail or had to attend
the proceedings. Everyone lives in fear of being accused of witchcraft, and there are rumors of revolt in nearby
Andover.
Hale has not yet spoken to Proctor. Danforth hopes that Elizabeth can persuade him to confess. Elizabeth agrees to
speak with Proctor, but she makes no promises. Everyone leaves the room to allow Elizabeth and Proctor privacy.
Elizabeth tells Proctor that almost one hundred people have confessed to witchcraft. She relates that Giles was killed
by being pressed to death by large stones, though he never pleaded guilty or not guilty to the charges against him.
Had he denied the charges, the court would have hanged him, and he would have forfeited his property. He decided
not to enter a plea, so that his farm would fall to his sons. In order to force him to enter a plea, the court tortured him
on the press, but he continually refused, and the weight on his chest eventually became so great that it crushed him.
His last words were “more weight.”
Proctor asks Elizabeth if she thinks that he should confess. He says that he does not hold out, like Rebecca and Martha,
because of religious conviction. Rather, he does so out of spite because he wants his persecutors to feel the weight of
guilt for seeing him hanged when they know he is innocent.
After wrestling with his conscience for a long time, Proctor agrees to confess. Hathorne and Danforth are overjoyed
and Cheever grabs paper, pen, and ink to write the confession. Proctor asks why it has to be written. Danforth informs
him that it will be hung on the church door.
The men bring Rebecca to witness Proctor’s confession, hoping that she will follow his example. The sight of Rebecca
shames Proctor. He offers his confession, and Danforth asks him if he ever saw Rebecca Nurse in the devil’s company.
Proctor states that he did not. Danforth reads the names of the condemned out loud and asks if he ever saw any of
them with the devil. Proctor again replies in the negative. Danforth pressures him to name other guilty parties, but
Proctor declares that he will speak only about his own sins.
Proctor hesitates to sign the confession, saying that it is enough that the men have witnessed him admitting his alleged
crimes. Under pressure, he signs his name but snatches the sheet from Danforth. Danforth demands the confession
as proof to the village of Proctor’s witchcraft. Proctor refuses to allow him to nail the paper with his name on the
church door and, after arguing with the magistrates, tears the confession in two and renounces it. Danforth calls for
the marshal. Herrick leads the seven condemned prisoners, including Proctor, to the gallows. Hale and Parris plead
with Elizabeth to remonstrate with Proctor, but she refuses to sway him from doing what he believes is just.
Summary Epilogue
Not long afterward, Parris is voted out of office. He leaves Salem, never to be heard from again. Rumours have it that
Abigail became a prostitute in Boston. Elizabeth remarries a few years after her husband’s execution. In 1712, the
excommunications of the condemned are retracted. The farms of the executed go fallow and remain vacant for years.
Analysis
Months have passed, and things are falling apart in Massachusetts, making Danforth and Hathorne increasingly
insecure. They do not want to, and ultimately cannot, admit that they made a mistake in signing the death warrants
of the nineteen convicted, so they hope for confessions from the remaining prisoners to insulate them from
accusations of mistaken verdicts. Danforth cannot pardon the prisoners, despite Hale’s pleas and his obvious doubts
about their guilt, because he does not want to “cast doubt” on the justification of the hangings of the twelve previously
condemned and on the sentence of hanging for the seven remaining prisoners. In the twisted logic of the court, it
would not be “fair” to the twelve already hanged if the seven remaining prisoners were pardoned. Danforth prioritizes
a bizarre, abstract notion of equality over the tangible reality of potential innocence.
Clearly, the most important issue for the officials of the court is the preservation of their reputations and the integrity
of the court. As a theocratic institution, the court represents divine, as well as secular, justice. To admit to twelve
mistaken hangings would be to question divine justice and the very foundations of the state and of human life. The
integrity of the court would be shattered, and the reputations of court officials would fall with it. Danforth and
Hathorne would rather preserve the appearance of justice than threaten the religious and political order of Salem.
Danforth and Hathorne’s treatment of Proctor reveals an obsessive need to preserve the appearance of order and
justify their actions as well as a hypocritical attitude about honesty. They want Proctor to sign a confession that admits
his own status as a witch, testifies to the effect that he saw the other six prisoners in the company of the devil, and
completely corroborates the court’s findings. While they seek to take advantage of Proctor’s reputation for honesty
in order to support their claims of having conducted themselves justly, Danforth and Hathorne are wholly unwilling to
believe Proctor when he says that he has conducted himself justly.
Proctor’s refusal to take part in the ritual transfer of guilt that has dominated the play—the naming of other
“witches”—separates him from the rest of the accused. His unwillingness to sign his name to the confession results in
part from his desire not to dishonour his fellow prisoners’ decisions to stand firm. More important, however, Proctor
fixates on his name and on how it will be destroyed if he signs the confession. Proctor’s desire to preserve his good
name earlier keeps him from testifying against Abigail, leading to disastrous consequences. Now, however, he has
finally come to a true understanding of what a good reputation means, and his defence of his name, in the form of not
signing the confession, enables him to muster the courage to die heroically. His goodness and honesty, lost during his
affair with Abigail, are recovered.
Important quotes
“Now hear me, and beguile yourselves no more. I will not receive a single plea for pardon or postponement. Them
that will not confess will hang. Twelve are already executed; the names of these seven are given out, and the village
expects to see them die this morning. Postponement now speaks a floundering on my part; reprieve or pardon must
cast doubt upon the guilt of them that died till now. While I speak God’s law, I will not crack its voice with whimpering.
If retaliation is your fear, know this—I should hang ten thousand that dared to rise against the law, and an ocean of
salt tears could not melt the resolution of all the statues. Now draw yourselves up like men and help me, as you are
bound by Heaven to do.”
“Let you not mistake your duty as I mistook my own. I came into this village like a bridegroom to his beloved, bearing
gifts of high religion; the very crowns of holy law I brought, and what I touched with my bright confidence, it died; and
where I turned the eye of my great faith, blood flowed up. Beware, Goody Proctor—cleave to no faith when faith
brings blood. It is mistaken law that leads you to sacrifice. Life, woman, life is God’s most precious gift; no principle,
however glorious, may justify the taking of it. I beg you, woman, prevail upon your husband to confess. Let him give
his lie. Quail not before God’s judgment in this, for it may well be God damns a liar less than he that throws his life
away for pride.”
“John, I counted myself so plain, so poorly made, no honest love could come to me! Suspicion kissed you when I did; I
never knew how I should say my love. It were a cold house I kept!”
“You will not use me! I am no Sarah Good or Tituba, I am John Proctor! You will not use me! It is no part of salvation
that you should use me!”
“Because it is my name! Because I cannot have another in my life! Because I lie and sign myself to lies! Because I am
not worth the dust on the feet of them that hang! How may I live without my name? I have given you my soul; leave
me my name!”
The crucible
- Act I, Act II, Act III, Act IV notes
The Crucible introduction
Witch hunt – the searching out and deliberate harassment of people. It is an idiom. / the searching out for
persecution of persons accused of witchcraft
Communism – a theory/system where property is owned by the community and each person contributes and
receives according to their ability and needs.
Bourgeoisie – the "capitalist" class who own society´s wealth and therefore society´s power
Prolateral – the working-classes.
Example of current communist countries: China, Laos, Vietnam, North Korea, Cuba
Example of countries that have been communist states at some point in their history: Hungary, Czechoslovakia, East
Germany, Poland, Romania, Soviet Union, Yugoslavia
What makes a play different to a novel or a poem?
Novels are usually straight-forward and just like poems are presented in a common structure / form. However,
Drama is a literary art transmitted through performance. It is meant to be seen & heard rather than read.
Why do playwrights write plays?
It is the only art form in which artists are necessarily present to witness their audience receive and respond to the
work. It also challenges the writer to focus the play on one issue, tell the story completely, and seek a reaction from
the audience – all within a short period of time.
How is ´Drama´ created?
Costumes – are used to provide a ‘visual’ representation of character. For example, the respectability of the woman
is shown through her modest ensemble.
Speech – The amount of lines a character says could indicate their importance in the play
Theme – represents the basic idea of the text.
Characterisation – the way in which a character is portrayed and developed.
A character has its distinctive appearance, beliefs, thoughts, flaws,
personality, age, and dialogues.
T one / theme
S peech / stagecraft
P roxemics
Proxemics – the distance between different characters on stage
E xpression
Stagecraft – the effective management of theatrical devices or techniques.
C ostume
I nterruption / imagery
E ffects – light and sound
S et / setting
The crucible introduction – Continued
What are the denotations (literal meanings) and connotations (suggested meanings) of your front cover?
Connotations:
Black = danger / death
Black hand holding puppets could indicate people are being controlled, either emotionally or physically
Women in white dress could be the character, distorted reflection could indicate her thinking of her life as distorted
& her being lost
The black cover with a tree and shadows behind could indicate paranormal creatures
Denotations:
trees, hand, puppets, water reflection, white dress, black backgrounds
What do they suggest about the events, themes and characters of ‘The Crucible?’
Judging by the covers, the events are probably dark, involving deaths and a society being controlled. In addition, one
of them indicates a women to be one of the main characters, or women being used as slaves. The themes could
include, hierarchy, death and even hysteria. Looking at the women in the white dress, the position of the body
suggests characters to be firm, and behave almost robotically.
Crucible definitions:
A ceramic or metal container in which metals or other substances may be melted or subjected to very high
temperatures: the crucible tipped and the mould filled with liquid metal.
2. A situation of severe trial, or in which different elements interact, leading to the creation of something new: their
relationship was forged in the crucible of war.
What does the word ´Crucible´ suggest about the possible events, characters and themes of the play?
It suggests a story with a divided society, probably due to some kind of ´trial´ or belief. This also suggests war to be
another possible theme and characters to be strongly against each other.
The Crucible – First impression
Capitalist society – believes in private ownership where producers compete to maximise profits.
Pro´s – incentives to be rich and encourage motivation, firms have incentives to be efficient, consumers feel free to
choose products they desire, prevents large bureaucratic government and is better than alternatives
Cons – firms can gain monopoly power and exploit consumers, Firms with monopsony power can pay low wages,
externalities can damage the environment, tends to lead to large inequality and is prone to ´boom and bust´
economic cycles
Communist society - follows the ideology of economic equality through the elimination of private property.
In the post WWII, two nations were the new superpowers: The united states and the Soviet Union (USSR)
Capitalism vs communism and Democracy vs Totalitarianism
Red scare – As the Cold War between the Soviet Union and the United States intensified in the late 1940s and early
1950s, hysteria over the perceived threat posed by Communists in the U.S. became known as the Red Scare.
(Communists were often referred to as “Reds” for their allegiance to the red Soviet flag.) The Red Scare led to a range
of actions that had a profound and enduring effect on U.S. government and society. Federal employees were analyzed
to determine whether they were sufficiently loyal to the government, and the House Un-American Activities
Committee, as well as U.S. Senator Joseph R. McCarthy, investigated allegations of subversive elements in the
government and the Hollywood film industry. The climate of fear and repression linked to the Red Scare finally began
to ease by the late 1950s.
Following World War II (1939-45), the democratic United States and the communist Soviet Union became engaged in
a series of largely political and economic clashes known as the Cold War. The intense rivalry between the two
superpowers raised concerns in the United States that Communists and leftist sympathizers inside America might
actively work as Soviet spies and pose a threat to U.S. security.
Oppression – the prolonged cruel or unjust treatment or exercise of authority.
Puritanism – a religious reform movement in the late 16th and 17th centuries that sought to “purify” the Church of
England of remnants of the Roman Catholic “popery” that the Puritans claimed had been retained after the religious
settlement reached early in the reign of Queen Elizabeth I. Puritans became noted in the 17th century for a spirit
of moral and religious earnestness that informed their whole way of life, and they sought through church reform to
make their lifestyle the pattern for the whole nation. Their efforts to transform the nation contributed both to civil
war in England and to the founding of colonies in America as working models of the Puritan way of life.
Piety – to be religious and solemnly respectful.
Explore and interpret an adaptation via TSPECIES
Tone / theme
Speech
Stagecraft – it is organized at the beginning, a crowd sitting in rows and a character walking down the centre
Proxemics – constantly change, at the beginning the crowd is sitting down with one character walking down the
middle, a few seconds later, everyone stands up and start walking around the stage
Expression
Costume
Interruption / imagery
Effects – light and sound
Set / setting
Dramatic introduction – Dark setting with dim lights in the centre barely illuminating the stage, enough for us to see
someone walking down the centre of a crowd but not enough for us to see who. Stagecraft is organized with chairs
meticulously placed in rows with one of them missing in the centre. Sound dominates this very first scene, with us
being able to hear deep strong breaths and really accentuated footsteps that get louder and more intense as the
character reaches the front.
This is followed by a sudden interruption, deep voices start to create a strong background music and the crowd stands
up. Proxemics change as all the characters leave their seats and start walking around the stage, the dim light that
hardly managed to illuminated the centre of the stage now has to shares its light with the whole crowd, that keeps
moving slowly. Light is still barely present but we can see all characters wearing dark coloured costumes. Males
wearing black, brown or grey jackets and pants, some of which have tunics over them and female characters wearing
long clothing items, covering their whole legs and a piece wrapped around their neck and scalp. The music smoothly
gets quieter and louder accentuating the movements of some of the characters and making the setting seem much
more obscure and deep. Speech doesn’t directly start, building up curiosity and tension within the spectators in
wanting to know what is going on
Teacher feedback –
Very perceptive Paola- I like your use of expression for drama, your sharp observations and the way you address
the TSPECIES features.
TARGET: To exploit these observations and score with them by addressing character and theme.
Example: * Miller’s choice of barely present light and dark hued costumes acts as a metaphor for the sense the
characters have of the feeble presence of God, now they are engulfed with so-perceived evil. The
costumes sombreness conveys Puritan sobriety but additionally symbolise and forebode the horror to come.
The Crucible – continued
In the film, we see a group of young women from what looks like a cult, ´carrying´ out a ´witch craft´ ceremony involving
a fire and a dead chicken that, in reality, is just a group of girls playing around in the forest and saying who they want
to marry.
Tone / theme
Speech
Stagecraft – lost of hysteria at the beginning due to reported nakedness
Proxemics – camera movements and focus change throughout the first scene. The ´witchcraft´ fire is zoomed in and
out alongside the girls around it and the dead chicken
Expression –
Costume – Puritan costumes from 1692. Tight and restricted to keep devils out and dark coloured hues to indicate
some sort of evil.
Interruption / imagery – interruption of forest scene, Paris reports what he thinks is nakedness causing hysteria
within the town. He is worried because he is the head of the religious society in the town, and the uncle of the girls
who ´committed´ what some suspect to be ´witchcraft´, being a crime.
Effects – light and sound – spiritual music, supernatural. Non-diegetic sound – Soundtrack from outside the scene
Set / setting – a forest, where the ´witch crafting´ ritual takes place. Film stages are much more versatile that theatre
ones, which are more estatic
Non-diegetic sound – music we can hear but the actors don’t
-The Crucible is an allegory (figurative treatment of one subject under the guise of another) of 1950s McCarthyism.
-In other words, it appears that The Crucible is referring to the Salem Witch Trials but it is actually commenting on
1950s American society.
-People were ‘witch hunted’ in the Salem Witch hunts for behaviours that were feared, misunderstood or against
community regulations.
-Similarly, those against the state (communists or anyone who opposed state ideologies) were also ‘witch hunted’ for
beliefs or behaviours which were deemed ‘different’ or ‘dangerous.’
-The Crucible comments on how those in power can oppress others by using political or religious grounds to justify
their attempts to destroy anything that might threaten their position, status or control.
-Such oppression is often a direct reaction to fear or misunderstanding of the unknown.
How does Arthur miller portray Abigail Williams so powerfully and dramatically in this scene/s?
Three sentence starters –
1. Arthur miller powerfully and dramatically portrays Abigail Williams as…
2. Millers powerful portrayal of Abigail Williams is based essentially on…
3. It is perhaps millers use of paradox and proxemics which makes his portrayal of Abigail Williams so powerfully
dramatic…
Level gradually increases – first starter is of a lower level while the third is a higher level.
eg. Genre analysis: It could be argued that in terms of genre, the full tragedy of the play is also embodied in Abigail’s
youthful beauty – tainted by Putnam’s theocratic blindness and bitter experience. In this way she forms part of the
tragic human flaw and its consequences on the community
Quotes to analyse –
pg. 26 abigail: “(smashes her across the face) Shut it! Now shut it!”
smashes – use of ´smashing´ instead of slapping shows millers intention to add more violence and perhaps show
maturity, hence children tend to slap while, if capable, older beings tend to violently take part in more aggravated
aggressions. Abigail’s easiness to disorderly assault another individual shows us her distorted confidence and
manipulative tendencies when dealing with uncontrolled situations. By portraying Abigail’s character in this way, miller
exhibits how she owns the power of an adult while still being slightly immature, and so behaving as a mentally
challenged and incredibly clever teenager.
Repetition of shut it – shows no remorse, miller shows abigails desire to control is over anything else as if she were
possessed, making her extremely dangerous and powerful due to her incapacity to deal humanly with situations she´s
not in control with. His use of exclamation marks reinforces this idea of power by increasing abigails ´volume´ above
everybody elses, showing us how she believes she is above everyone else.
Finished paragraph:
It is perhaps millers use of paradox and proxemics which makes his portrayal of Abigail Williams so powerfully
dramatic. His use of ´smashing´ instead of slapping when Abigail ´smashes her across the face´ shows millers intention
to add more violence and perhaps show maturity, hence children tend to slap while, if capable, older beings tend to
violently take part in more aggravated aggressions. Abigail’s easiness to disorderly assault another individual shows us
her distorted confidence and manipulative tendencies when dealing with uncontrolled situations. By portraying
Abigail’s character in this way, miller exhibits how she owns the power of an adult while still being slightly immature,
and so behaving as a mentally challenged and incredibly clever teenager. In addition, followed by this previous
murderous action, the repetition of ´shut it!´ shows no remorse. Miller shows Abigail´s desire to control is over
anything else as if she were possessed, making her extremely dangerous and powerful due to her incapacity to deal
humanly with situations she´s not in control with. His use of exclamation marks reinforces this idea by increasing
Abigail´s volume above everybody else’s, showing us how she believes her authority is stronger than that of anyone
else, making this scene outstandingly dramatic and powerful.
First assessment (Formal)
How does Arthur miller dramatically explore the relationships between Abigail and proctor in this scene from “The
Crucible”?
Exemplar Abigail paragraph –
In Act One, Miller presents Abigail as an immoral character; she deliberately and manipulatively flouts the religious
values prescribed by the theocracy of Salem. A semantic field of evil is created through the use of colours such as
‘black’ and ‘reddish’ which links to the devil and characterises Abigail as sinful. Moreover, the exclamative phrase
‘Now, you- sit up and stop this!’ creates dramatic tension for the audience, as Abigail´s tone conveys her controlling
and aggressive manner when speaking to her friends. The sibilant imperatives ‘sit’ and ‘stop’ as well as the use of the
second person pronoun ‘you’ seek to emphasise the viciousness of Abigail’s character to the audience which makes
them even more wary of her. Her behaviour foreshadows Abigail´s immoral actions later in the play particularly in
relation to her unjustified accusations towards Elizabeth. She accuses Elizabeth of witchcraft in order to ´get rid´ of
her so that she can pursue her adulterous affair with Proctor. Abigail is undoubtedly the antagonist of the play and the
antithesis of the good, Puritan girl we would expect her to be. Witnessing the horrific murder of her parents has
undoubtedly left her psychologically traumatised and might account for her shocking behaviour throughout ´The
Crucible.´
Pre-assessment extract
This part of the play helps us get to know proctors characterisation much better
Proctor was a farmer in his middle thirties, (A) He need not have been a partisan of any
faction in the town, but there is evidence to suggest that he had a sharp and biting way
with hypocrites. He was the kind of man - powerful of body, even-tempered, and not
easily led - who cannot refuse support to partisans with-out drawing their deepest
resentment. In Proctors presence a fool felt his foolishness instantly - and a Proctor is
always marked for calumny therefore.
But as we shall see, the steady manner he displays does not spring from an untroubled
soul. He is a sinner, a sinner not only against the moral fashion of the time, but against
his own vision of decent conduct. These people had no ritual for the washing away of
sins. It is another trait we inherited from them. and it has helped to discipline us as well
as to breed hypocrisy among us. Proctor, respected and even feared in Salem, has
come to regard himself as a kind of fraud. But no hint of this has yet appeared on the
surface, and as he enters from the crowded parlor below it is a man in his prime we see,
with a quiet confidence and an unexpressed, hidden force. Mary War-ren, his servant,
can barely speak for embarrassment and fear.
Section 0
(A) Powerful- cool and collected. He is ‘steady’ with a ‘quiet confidence’ despite his wrong-doing. Triplet emphasises
key personality traits
( )Semantic field of religious morality- sinner, soul, moral, conduct, hypocrisy, fraud, discipline. The audience knows
immediately that his sins will be important to the plot.
Proctor might be escribed as a tragic hero because although he does commit a sin by betraying his wife through an
infidelity, he recognizes his faulty actions and dies with integrity and honesty in the end.
Assessment extract
Mercy sidles out. Since Proctor’s entrance, Abigail has stood as though on
tiptoe, absorbing his presence, wide-eyed. He glances at her, then goes to Betty
on the bed.
Abigail: Gah! I’d almost forgot how strong you are, John Proctor!
Section 1
Proctor, looking at Abigail now, the faintest suggestion of a knowing smile on
his face: What’s this mischief here?
Abigail, with a nervous laugh: Oh, she’s only gone silly some-how.
Proctor: The road past my house is a pilgrimage to Salem all morning. The
town’s mumbling witchcraft.
Abigail: Oh, posh! Winningly she comes a little closer, with a confidential, wicked air. We were dancin’ in the woods
last night, and my uncle leaped
in on us. She took fright, is all.
Proctor, his smile widening: Ah, you’re wicked yet, aren’t y’! A trill of
expectant laughter escapes her, and she dares come closer, feverishly looking
into his eyes. You’ll be clapped in the stocks before you’re twenty.
He takes a step to go, and she springs into his path.
Abigail: Give me a word, John. A soft word. Her concentrated desire destroys
his smile.
Proctor: No, no, Abby. That’s done with.
Abigail, tauntingly: You come five mile to see a silly girl fly? I know you
better.
Proctor, setting her firmly out of his path: I come to see what mischief your
uncle’s brewin’ now. With final emphasis: Put it out of mind, Abby.
Abigail, grasping his hand before he can release her: John - I am waitin’ for
you every night.
Proctor: Abby, I never give you hope to wait for me.
Abigail, now beginning to anger - she can’t believe it: I have something better
than hope, I think!
Proctor: Abby, you’ll put it out of mind. I’ll not be comin’ for you more.
Abigail: You’re surely sportin’ with me.
Proctor: You know me better.
Abigail: I know how you clutched my back behind your house and sweated
like a stallion whenever I come near! Or did I dream that? It’s she put me out,
you cannot pretend it were you. I saw your face when she put me out, and you
loved me then and you do now!
Proctor: Abby, that’s a wild thing to say Abigail: A wild thing may say wild things. But not so wild, I think. I have seen you
since she put me out; I have seen you nights.
Proctor: I have hardly stepped off my farm this sevenmonth.
Abigail: I have a sense for heat, John, and yours has drawn me to my window,
and I have seen you looking up, burning in your loneliness. Do you tell me
you’ve never looked up at my window?
Proctor: I may have looked up.
Abigail, now softening: And you must. You are no wintry man. I know you,
John. I know you. She is weeping. I cannot sleep for dreamin‘; I cannot dream
but I wake and walk about the house as though I’d find you comin’ through
some door. She clutches him desperately.
Proctor, gently pressing her from him, with great sympathy but firmly: Child Abigail, with a pash of anger: How do you call me child!
Proctor: Abby, I may think of you softly from time to time. But I will cut off my
hand before I’ll ever reach for you again. Wipe it out of mind. We never
touched, Abby.
Section 2
Section 3
Abigail: Aye, but we did.
Proctor: Aye, but we did not.
Abigail, with a bitter anger: Oh, I marvel how such a strong man may let such a
sickly wife be Proctor, angered - at himself as well: You’ll speak nothin’ of Elizabeth!
Abigail: She is blackening my name in the village! She is telling lies about me! She is a cold, sniveling woman, and you
bend to her! Let her turn
you like a Proctor, shaking her: Do you look for whippin’?
A psalm is heard being sung below.
Abigail, in tears: I look for John Proctor that took me from my sleep and put knowledge
in my heart! I never knew what pretense Salem was, I never knew the lying lessons I
was taught by all these Christian women and their covenanted men! And now you bidme tear the light out of my
eyes? I will not, I cannot! You loved me, John Proctor, and
whatever sin it is, you love me yet! He turns abruptly to go out. She rushes to him. John,
pity me, pity me!
Section 4
Group analysis 1–
Proctor: You know me better.
Abigail: I know how you clutched my back behind your house and sweated
like a stallion whenever I come near! Or did I dream that? It’s she put me out,
you cannot pretend it were you. I saw your face when she put me out, and you
loved me then and you do now!
Proctor: Abby, that’s a wild thing to say Abby- Proctor abbreviates Abigail´s name which implies they have an intimate relationship. This is compounded by
´You know me better´ which suggests they have gotten to know each other over a period of time
sweated like a stallion – The simile ´sweated like a stallion´ portrays Proctor´s masculine strength but also conveys the
affair as something instinctive, animalistic and motivated by lust. This makes the audience question whether Proctor´s
relationship with Abigail is motivated by sex or by love.
Exclamation and rhetorical sentence – The exclamative sentences and rhetorical question convey Abigail´s anger at
Proctor. The actress would adopt a disgruntled and accusatory tone. Indeed the repeated use of the second person
pronoun ´you´ is quite threatening. Abigail wants Proctor to admit his feelings for her, but her naivety is evident as she
doesn´t realise that Proctor has merely been captivated by her youth. He is a normal, ´sinful´ man who has given into
temptation rather than fallen in love.
Short lines and interruption – The short lines and the interruptions in the dialogue convey the conflict between the
characters. Here, Abigail dominates the turns which suggests she wants to regain some control over Proctor. She is
determined to make him admit to loving her, which shows her desperation. She will do whatever it takes to get what
she wants.
Group analysis 2 –
Abigail: (in tears) I look for John Proctor that took me from my sleep and put knowledge in my heart! I never knew
what pretense Salem was, I never knew the lying lessons I was taught by all these Christian women and their
covenanted men! And now you bid me tear the light out of my eyes? I will not, I cannot! You loved me, John Proctor,
and whatever sin it is, you love me yet! (He turns abruptly to go out. She rushes to him.) John, pity me, pity me!
Put knowledge in my heart – Address, second person pronoun conveys forcefulness.
And now you bid me tear the light out of my eyes – Metaphor – Proctor has corrupted her soul. He has taken her from
the light to the darkness. He has made her ‘sin.’ He made her question Puritan morals- The Bible. Does the audience
believe this?
He turns abruptly to go out. She rushes to him – Close proxemics is used here to convey Abigail´s desperation as she
´rushes´ towards him. His ´abrupt´ turning away from her symbolises the end of their relationship.
Exclamation marks and increasingly short simple sentences increases pace. This helps convey her anger and
desperation.
Lying lessons – Alliteration emphasises her distaste for Christian way of life.
Exemplar paragraph –
Abigail behaves in an inappropriate manner towards Proctor. She is obviously in awe of him as suggested by the stage
directions: ´Abigail has stood as though on tiptoe, absorbing his presence, wide eyed. He glances at her, then goes to
Betty on the bed.´ The adjective ´wide-eyed´ suggests her attraction towards Proctor and the verb ´absorbing´ conveys
her desire for him. She is obviously entranced by Proctor as suggested by her body language, ´has stood as though on
tiptoe.´ Standing on tiptoe is something one associates with children who are eager to get a better look at something
they admire. In a Puritan society, lust was seen as sinful so Abigail´s behaviour here would be frowned upon. Her affair
with Proctor would be seen as highly immoral as sexual relationships outside of marriage would not have been
permitted. One might also question Proctor´s behaviour here; ´he glances at her´ conveys his mutual attraction to
Abigail and enhances the tension between them. The audience might feel particularly judgmental of Proctor as he is a
married man who should know how to behave, whereas Abigail is presented as young and impressionable at this point,
despite her devious accusations.
Exemplar introduction – At this point in ´The Crucible,´ the tension between Abigail and Proctor is created by the range
of dramatic devices employed by Arthur Miller. Abigail is desperate for the tragic-hero Proctor to admit his love for
her, but really his allegiance remains to his wife, Elizabeth. Abigail´s anger at this point foreshadows her malicious
actions later in the play, when she accuses Elizabeth of witchcraft to get her thrown in prison and ´out of the way.´ In
this extract, Proctor tries to convince Abigail that their affair is over; he realises that his adultery was a sin and demands
his mistress ´wipe it out of her mind.´ Their relationship is also another example of how Proctor has to decide whether
to lie to preserve his life as he knows it or be honest and destroy it.
06 10 20 / 07 10 20
How does Arthur miller dramatically explore the relationship between Abigail and proctor in this scene from “The
Crucible”?
At this point in ´The Crucible´ the tension between both Abigail and Proctor is created by the utilisation use of a variety
of techniques, including metaphors and shifts in proxemics. Arthur Miller´s employment of hedonistic lexical choices
quotes when characterising Abigail alongside Proctor´s resistance and determination in re-gaining his Puritan path
dramatically explores their combative relationship. Abigail´s obsessive desire towards proctor reveals her incredibly
malicious, childish tendencies, foreshadowing her as the antagonist of the play and portraying Proctor as the opposite;
the tragi- hero. GOOD START-INTELLIGENT AND PRECISE
Abigail´s and Proctor’s relationship is firstly scrutinized right at the beginning by highlighting their age, maturity and
power unbalance, portraying Abigail in a childish way in comparison to Proctor. This is first seen when proctor enters
the room and ´Abigail has stood as though on tiptoe, absorbing his presence, wide-eyed`. Millers use of ´tiptoe´ when
describing Abigail´s posture makes her seem younger; the manoeuvre is a paradoxical movement, with Abigail
elevating herself in order to feel more mature and sexually equal as proctor. This however results in her looking naiver,
trying to reach proctors height in a way in which a child would reach for their authoritative figure. In addition, the
employment of ´absorbing´ when describing Abigail´s reaction to Proctors presence shows us how she hasn’t seen
proctor in a lot of time, revealing how thirsty she is for him and how strongly she hedonistically needs sexual company,
Proctor’s company. This also reveals a child-like behaviour, with Abigail desperately wanting something or in this case
someone she knows she cannot have – The use of ‘absorb’ rather than any other verb could also refer to her taking
away his identity, leaving him empty and with nothing left, possibly foreboding future events. On a final note, Abigail
being ´wide-eyed´ as Proctors enters the room exposes how she sees him as a god like figure and is awed by him and
his presence, once again presenting her as a child and their relationship as unbalanced, making the audience question
Proctor´s behaviour as the adult in this situation. SPECTACULARLY GOOD! Love this writing here!
Lateron,Subsequently, Miller defines Abigail’s sexual desire towards Proctor as a sick obsession. This, alongside
proctor’s willingness to resist to Abigail´s sexual tentation while admitting to his own infidelity, dramatizes the whole
scene. After coming a little closer to proctor, ´A trill of expectant laughter escapes´ Abigail ´and she dares come closer,
feverishly looking into his eyes`. The employment of the noun ´trill´ when describing Abigail´s ´expectant laughter´
shows us how she tries to behave in an angelic way, making a fluttering sound when laughing, as that made by birds.
However, the use of ´escapes her´ alongside ´trill´ turns this phrase into a paradoxical and contradictory statement,
making it seem as if she were possessed or enchanted by Proctors presence or ´the devil´ itself. BRILLIANT! It proves
how her sexual tension and desire towards him is such that she cannot resist, and despite trying to sound angelic, it´s
almost as if ´the devil´ had taken over her body and her control over it, coercing her to sin. Miller also dramatizes this
scene by describing Abigail’s movement as daring, portraying her obsessive behaviour as brave. This change in
proxemics further shows how Abigail is willing to risk everything, and how her obsession overpowers anyone and
anything else. In addition, the implementation of the adjective ´feverishly´ rather than any other once again reinforces
the idea that Abigail is sickly obsessed with Proctor. GREAT STUFF-ANALYSIS AND EXPLORATION ON A HIGH LEVEL,
LINKS AND ENGAGEMENT!
Following up on this idea, Proctor’s tumultuous resistance to Abigail´s sensuality antithetically opposite to her
obsession over him dramatically presents their Affiliation. Not long after Abigail´s sick obsessive delusion is presented,
Proctor states that ´I will cut off my hand before I’ll ever reach for you again´. In this HYPERBOLE quote, Proctor
threatens Abigail with physical pain – cutting off his hand, maybe hinting that from his view, their relationship was
purely physical. This also implies that Proctors pain is mainly visceral, from having to resist to Abigail’s sexual
TEMPTATION tentation, contrasting with Abigail’s pain, which by her behaviour, we see is purely emotional and
formed due to her delusional love over him. In addition, Millers metaphorical use of ´cut off my hand´ puts forward
how Proctor tries to separate his good puritan self from the man who committed a sin by having an affair with
Abigail.YES! This reveals Abigail´s sexuality as being Proctor’s weakness and so alongside his declaration – before I´ll
ever reach for you again – implies that Proctor intends on keeping his distance from Abigail for ´ever´ showing us his
intentions in trying to regain his path into becoming a well-favoured puritan. This all adds to the dramatization of the
scene by highlighting Proctors ´threat´ and Abigail´s rejection to surrender, building up tension and making the
audience wonder who will finally win this power-fuelled battle. EXCELLENT-A CHANCE HERE TO EXTEND TO A
COMMENT ON GENRE OR CONTEXT? SOMETHING ABOUT MILLER’S VIEWS ON TOTALITARIAN OR AUTHORITARIAN
SOCIETIES FORCING ITS CITIZENS OUT OF THEIR NATURAL SELVES, MAYBE?
Lastly, Miller manages to dramatize the scene and so their relationship by creating a contradictory situation of
exclusiveness and fight over power. After having failed to gain Proctor’s sexual attention back by flirtingcoquetting
with him, Abigail attempts to beg for his love. She does this after Proctor reminds her of the consequences their
relationship would have, telling him that ´You loved me, John Proctor, and whatever sin it is, you love me yet!` This
however seems to alarm him, with his response to this being to ´turn abruptly to go out.` After this, once again, Abigail
rushes to Proctor begging for him to ´ pity me, pity me!`. The fast repetition of the pronoun ´me` in Abigail´s utterances
shows how her hedonisticWW personality is trying to force proctor into loving her. She does this by trying to command
proctor on the feelings he has to have, the feelings she wants him to have, dramatizing their relationship by
symbolising it as a fight of power. As I mentioned before, Miller brings this to bear by portraying Abigail´s character as
possessive over him, constantly repeating the pronoun ´me´ and so giving Proctor no time to think about Elisabeth.
The addition of imperatives and orders fired from Abigail towards proctor heightens this effect, and once again,
portrays their affiliation as one driven by power. EXCELLENT! Moreover, Proctors intent to ´turn abruptly to go out`
further shows how Abigail is his weakness, having to get out of the situation probably fearing he will give into her
compelling phrases, and so lose the power he has in the situation. This creates a moment of tension for the audience,
seeing how Proctor slowly loses authority to Abigail and comes closer to succumbing to her convincing arguments.
GOOD-CAN YOU LOOK AT THE 8-10 DESCRIPTORS ON THE ANALYSIS SYSTEM AND SEE IF THERE IS A CHANCE TO PUSH
IDEAS IN ONE OF THESE DIRECTIONS?
In conclusion, Arthur miller dramatically explores Abigail´s and Proctors relationship by presenting both characters as
being paradoxical to each other in maturity, age and behaviour, with Abigail being unveiled as more of a child and
Proctor being questioned as the supposedly mature adult in the situation. Her obsessive appetency ?? over him and
his desperate need to regain his puritan qualities derive this as a fight over governance and control, which, alongside
their incongruent personalities, dramatize the entire scene.
8
9 A*
23
24
25
Answers in this band have all the qualities of an A grade with further insight,
sensitivity, individuality and flair. They show complete and sustained
engagement with both text and task
Religion in the crucible – Second assessment
Theocratic society - a society that is governed by religious rules. For example, many middle eastern countries could be
considered theocracies.
The theme of religion is displayed throughout the whole book, being on the characters mind with every action they
do.
The crucible is set in Salem, a theocratic society in which moral laws and state laws are equally as important; sins and
the status of individuals souls are matters of public concern, everything and everyone belong to either god or the devil.
Right at the start of the Crucible Arthur miller immediately introduces religion as ´Reverend Parris is discovered
kneeling beside the bed, evidently in prayer`. This from a beginning already demonstrates its importance throughout
the play as it is introduced within the first page.
Politics definition – Activities associated with the governance of a country or area / Activities aimed at improving
someone’s status or increasing power within an organisation
Religion definition – The belief in and worship of a superhuman controlling power, especially a personal God or gods.
Theocratic Salem – As a theocracy, Salem’s political governance is religious, but political governance practically can
only be enacted by human intermediaries as God’ superhuman powers are invisible-that interpretation must be
delivered via impartial human messengers-who cannot be involved in human political bias, but…
Religion influencing thinking – good vs evil – Salem is greatly influenced by religion due to its strict puritan theocracy
ruled by priests and the view that anything against the government is evil. Everything in this puritan society is black
and white, people tend to think that there is either just pure goodness or evil.
Religion influencing actions – intolerance of individualism – Salem´s puritan society is intolerant of anything against
social norms, individualism and expressing one´s own thoughts is strictly not allowed.
McCarthyism – McCarthyism is the practice of making accusations of subversion or treason without proper regard for
evidence. The term refers to U.S. Senator Joseph McCarthy and has its origins in the period in the United States known
as the Second Red Scare, lasting from the late 1940s through the 1950s and characterized by heightened political
repression as well as an alleged campaign spreading fear of Communist influence on American institutions and
of espionage by Soviet agents. During the McCarthy era, hundreds of Americans were accused of being communists
or communist sympathizers and became the subject of aggressive investigations and questioning before government
or private industry panels, committees and agencies.
How does Miller explore the theme of religion in his play ´The Crucible?
Example –
"I saw Goody...with the Devil!" – By the end of Act One, Abigail and Betty are fearful to the point of hysteria, of being
punished for transgressing the theocratic codes and so are susceptible to the power of psychological suggestion. The,
"I saw Goody...with the Devil!" mantra is lulling and a crescendo which breaks over the audience at the act's finale-so
that we remember ocular proof ( "I saw") and the name of Lucifer clearly. Miller here makes direct reference to the
McCarthyist with hunt trial s and the torrent of confession, betraying one's fellow Communist artists, and in so doing
points to the dangers of fear as an instrument to root out the truth, as well as the Darwinian survival instinct which
makes man destroy man. This is the Salem we find at the end of Act One.
The Crucible is set in a theocratic society, in which the church and the state are one, and the religion is a strict, austere
form of Protestantism known as Puritanism. Because of the theocratic nature of the society, moral laws and state laws
are one and the same – sin and the status of an individual’s soul are matters of public concern. There is no room for
individuals, since any individual whose private life doesn’t conform to the established moral laws represents a threat
not only to the public good but also to the rule of God and true religion.
In Salem, everything and everyone belongs to either God or the devil, this means that anyone who behaves
differently from the norm or breaks the law is seen to belong to the devil.
(page 13) Narrow window at the left – The narrow window could be indicative of the Puritans' close-minded views of
life.
(page 13) Through its leaded panes the morning sunlight streams. – Theme of light and dark. ‘sunlight streams’
represent the purity of Salem
(page 13) A candle still burns near the bed. – Candle signifies the burning presence of religion in the minds and hearts
of the residents of Salem, Massachusetts.
EXTRA ANNOTATIONS Hale knows the political structure – books are a metaphor for learning, his presence is threatening to Parris –
worried that he is pushed aside to let the expert come in – loses power (power war) – sets power away from Parris –
he becomes ´god´ now – he has answers.
Giles stays to ask him. Makes mental notes – forensic gives impression he knows what he is doing.
Religion and superstition are intertwined – everyone has theory
We look to you to come to our house and save our child – dietic signalling
The devil is precise – denies superstition, he acts as the higher authority figure – makes it see like he is in power – he
has all the power, to make his position stronger he reinforces his credibility and position – has one foot in reality
Why is hale important? – supernatural world – god, devil, witches (we can´t see them). The mass people of Salem
CANT see them – but hale states that he will give them ocular proof – with his books and learning – link to
McCarthyism - hale turns these figures into tangible souls which cause hysteria – McCarthyism – if we can proof you
are a communist – this becomes reality and stops being superstitious. Same kind of hysteria and fear. we will be able
to see them and this religious invisible war between god and the devil will become visible to them. Before Hale there
was no proof of witches, however when hale enters he makes this link and by asking Tituba and Abigail confess he
proves
The spiritual world is invisible – and only if you can make a link and make it visible will you e able to accuse of crime
– witnesses
In order to accuse you need to make a bridge between the invisible and visible – hale is this bridge – makes them
´see´ the witches.
He is asking lot of things to back up his theory later on – you permit dancing?
Hale links this to Tituba – everyone knows she can conjure spirits
Mrs Putnam needs to blame someone else for the deaths of his children
Hale is the only one with the ´magic books´ he has contact with the other world
Tasty love – Hale loves being in power
Hale – if he has shown himself – visibility – show the devils face is dangerous because he is given power
How does this happen in a community – miller explores power of conspiracies within religion
The village is in hales hand
POINTS – hale changes the dynamic of the village – and connects the invisible word and the invisible – is dangerous
because he can bring the invisible world to court because he now has proof.
Giles – he is an old man, older than the community – he is ignorant, a peasnt worker – he believes in these things he asks innocently about the book without realising that it could in the future get his wife killed
Hale – you will witness
Religion is very susceptible to the concept of unity in which positive and negative, in this case god and the devil are
attributes of the same force, with Salem being gripped between these two diametrically opposed absolutes.
Abigail is under pressure what was in the kettle – blames Tituba – under religious questioning fear always passes
through people and they react and blame the most weak – Tituba. When the pressure goes to Tituba a crack appears
and hales opening of that crack will result in the which trials and mass hanging
Pressure shifts and Abigail’s blames the only one – Tituba
You beg me to conjure – Abigail’s stops Tituba before she confesses she asked her to make charm to kill goody
proctor
Abigail is very cleverly changing the text and fills their minds with the possibility of witchcraft – link to McCarthyism
Acknowledgment of devil by Tituba ´I told him´ is the crack
Change – from invisibility to it being there
Tituba blames a woman because a women have less power than men
I confess – I am protected
Tituba blames those who others want her to blame – Sarah good is blamed because Mrs Putnam thinks she killed her
children – will make Tituba believable
Religious theory relies on the fear of others – black women begins this
I make you free – Tituba freedom – devil has given her everything and threatened to take her back to Barbados –
Tituba confesses to impress and get on their good side.
Writing about Tituba –
Due to Tituba´s Caribbean roots, she is seen as ´different´ by prejudiced members of the Salem community. With
´difference´, comes fear from those who don´t understand her culture and background. Inevitably, Tituba becomes a
victim of leaders who seek to persecute anybody who may threaten the authority of their theocracy. The stage
directions reveal how Tituba´s body language would portray her as a ´frightened´ slave who wishes to avoid trouble
by conforming to the wishes of her ´owner.´ Proxemics are used to convey how Tituba ´backs to the door´, distancing
herself from an angry Paris and demonstrating her fear to the audience. Her distress is further emphasised by the line
´My Betty not going to die´. This conveys her bewilderment about the strange events that are going on around her.
The first-person possessive pronoun ´my´ suggests that Tituba is attached to Betty and would not hurt her. She views
her as part of her family, which make the accusations of her being involved witchcraft even more unjustified.
How does Arthur miller convey the increasing impact of religious beliefs and theocratic rule on the lives of Salemites
in act one of ´the crucible´?
Miller conveys the increasing impact of religion and theocratic rules by metaphorically illustrating scenarios in which
´god´ and the ´devil´ are contrasted alongside each other. In this case, he does this by showing us how the characters
behavior differentiates within open and closed spaces, expressing that ´the forest is the devils last preserve`. The use
of this statement fairly towards the beginning of the play suggests how the forest is considered ´off-limits´ to the
members of Salem’s society as it is associated with the wild ´Indian tribes´ or ´the devil´ itself. However, it is in this
forest or open space where we see the girls dancing right at the beginning, suggesting that there is no one watching
and so the girls are able to ´dance´ and be free. As opposed to this, the later interaction of the girls in Parris´ home,
with this being a closed space is more tense and aggressive due to the characters being scrutinized by each other and
being pressured into behaving accordingly to their religious rules. This motif shows how as a result of their veracious
religious morals and the immense pressure put upon younger beings to behave accordingly, these are almost forced
to ´sin´ in order to breath some freedom and not burst from the colossal strain disposed on them, revealing how
outside of their homes, the characters are able to be who they desire and do whatever they wish to do without being
restrained by anyone. This could be linked to the idea that freedom of thought, self-expression and in general opinions
were prohibited during the 1950´s and could be used against you – in Salem you were accused of witchcraft and in the
McCarthy era of being a communist.
Miller then develops this idea and conveys the impact of religion and the influence of McCarthyism upon those
considered of a lower class by showing us how Tituba is forcefully manipulated in Parris´ house – a closed space. This
is conveyed when Tituba is rocking on her knees, sobbing in terror as hale interrogates her after stating that they will
´hang her´ if she does not confess to witchcraft. This threat accompanied by Parris´s and Putnam´s cautionary
intimidation alongside Hale´s forceful attitude manage to twist, manipulate and change Tituba´s words until she says
what they want her to say, In this case being the desired confession to supernatural dealings. This forced obedience
presented by Tituba towards Hale once again reflects the events of the macabre communist associated accusations of
the McCarthyistic era.
Miller then continues to convey the impact of religion and the influence of McCarthyism upon those considered of a
lower class. This is seen when Tituba – Parris´s ´negro slave´ enters and her senses warn her that ´as always, trouble
in this house eventually lands on her back´. Millers inclusion of this particular allegation shows us the power of
McCarthyism and slavery upon Salem´s theocratic society. The fact that within moments Tituba already sensed that
´as always´ she was going to be accused of everything despite not having been asked or told anything by anyone shows
us how she is frequently treated inferiorly just because of her class type, race and gender. This triple oppression
towards her proves how religion has caused Salem´s townsfolks to desperately feel the need to blame someone, with
those who are seen as powerless being more likely to be cotton-picked as guilty despite of there being no evidence.
He then develops this idea and conveys the impact of religion and the influence of McCarthyism upon those considered
of a lower class by showing us how Tituba is forcefully manipulated in a closed space.
This is also evident when Tituba is rocking on her knees, sobbing in terror as hale interrogates her after stating that
they will ´hang her´ if she does not confess to witchcraft. This threat accompanied by Parris´s and Putnam´s cautionary
intimidation alongside Hale´s forceful attitude manage to twist, manipulate and change Tituba´s words until she says
what they want her to say, In this case being a confession to supernatural dealings. The forced obedience presented
by Tituba towards Hale once gain reflects the events of the macabre communist associated accusations of the
McCarthyistic era.
Act II ´Meet the Proctors`
What will we see?
-A confrontation due to Proctor and Abigail affair – awkwardness
-Tension due to mistrust – lexical examinations and paradox of closeness/distance between the both
-Disappointment from Elisabeth – housewife, mother and lover roles which she maintains while Proctor doesn’t.
Lover – sexual tension
-quiet phase is ´difficult´ which then develops into loud accusatory phase
(pg51) – ´John proctor enters, carrying his gun´ - Phallocentric metaphor – proctors ´gun´ symbolises his predatory
aspect
´He lifts out the ladle and tastes. He is not quite pleased. He reaches to a cupboard, takes a pinch of salt, drops it into
the pot´– salt symbolises Abigail and how Elisabeth isn’t enough, he needs to add this ´spiciness´ to his relationship
due to his need to inject energy – he doesn’t get this with Elisabeth but does have get it with Abigail. Elisabeth is
slow, melancholic and almost lifeless – Also shows how it is easier to deceit those who are closer to us.
He is not satisfied, so he takes a pinch of salt suggest that he needs to reject some energy onto the pot. This could be
emphasizing Elizabeth lacks in spice and passion rather than the lack of spice; it could also be referred to the
stubbornness of Elizabeth. Undeniably, this could be due to Elizabeth´s emotionally coldness she is feeling. However,
there is a use of simile since the soup John tasted was plain, so he added salt. The marriage he has with Elizabeth is
like the soup “plain”. So, he had an affair with Abigail to season up his life like he did with the salt. Moreover, use of
the noun salt emphasizes the salacious (sexual) tension he had with Abigail.
Stichomythia – line by line – creates rawness and awkwardness between both – they are cold
´Rabbit´ represents Abigail and paradoxically their relationship – Elisabeth chops and strips the Rabbit, she proves
her capabilities.
Rabbit is female – Abigail
(pg52) – ´Warm as blood beneath the clods´ – metaphor – hell is rising – something is about to happen. Could also
mean that there is a bit of warmth within their relationship.
Miller uses symbols ambiguously – they change as the scene advances
Protean metaphor – metaphors change shape – change meaning.
How would that please you? – Proctor is guilty, trying to make up for his mistake – using feelings to ´trade´
Elisabeth receives proctors kiss disappointedly – relationship is cold (cold snivelling women) – pathos for Elisabeth –
no passion
´Cider?´ – proctor still has control – Elisabeth occupies wifely role – wants to maintain uxorial role – religious beliefs
hierarchy – she can´t deny Proctor his Cider because religiously men are above women - she wants those
established positions
´Winter´ – Abigail describes proctor as ´wintry man´ and Elisabeth as a ´cold snivelling women´ at the beginning and
Proctor now mentions winter – ipsissima verba is when you have a text when a character is speaking and use words
that aren’t theirs.
Could argue that miller ipsissima verba is present here as Proctor now uses winter
Attempted regenesis – you should come walk with me to the farm – Proctor pictures the ideal picture
Her back is turned to him – important proxemics
(pg53) – ´Official of the court` – Mary warren and the girls are now running the court – Mary warren who was
nothing is now on the highest parts of the hierarchy
vox populi – the voice of the people – hierarchy broken up
Gynopedocracy (female child rule) – society now lead by children – they decide who dies and who lives (klymer
rouge – example context – children killed parents – capitalism Cambodia)
The red sea for Israel – Moses – Abigail leads the girls to freedom as Moses lead his people – irony.
(pg54) – ´Do what you want then´ – passive aggression
(pg55) – ´Then let you not earn it´ – passive aggressive – holly subjunctive – don’t want my suspicion, don’t deserve
it, don’t provoke me
Imperative and subjunctives – I do not, no more
´Your justice would freeze beer´ – describes Elisabeth as extremely cold- so cold that she will freeze beer. – Proctor
lied when he told Elizabeth that Abigail denied the witchcraft rumors because he didn’t want Elizabeth to know they
were alone. He reveals the truth when he says the court won’t believe him because nobody witnessed their
conversation. When Elizabeth accuses him of dishonesty, Proctor gets angry that she still won’t trust him seven
months after the affair. He says she is colder than ice since beer freezes at a colder temperature than water.
Elizabeth later admits she was suspicious even before the affair and blames herself because “it needs a cold wife to
prompt lechery.”
Act II continued – Elisabeth and Proctor
Lo – To analyse how language, structure and dramatic techniques are used to establish gender roles in Household
1. Describe Elisabeth and Proctors marriage
The Proctors marriage is suffering from John´s infidelity and Elisabeth’s so perceived cold inability to accept, forgive
and more on. Proctor is characterised as desperate to heal the wounds caused and turned back time – presenting
halcyon images of former times – while Elisabeth demands her husband to look into his own heart for forgiveness.
The shadow of Abigail and her court activity hangs over the relationship.
2. What are the main issues in Elisabeth and Proctors marriage?
The main issues of Elisabeth’s and Proctors marriage come from her mistrust towards him due to Abigail´s infidelity.
Proctor refers to Elisabeth as if she were god – he confesses to him and is almost as if he confesses to himself. In
addition, Elisabeth capability to chop and strip a rabbit without even trying alongside Proctors inability to hunt one
single thing
3. What is Proctors role in the marriage?
Proctors role in his marriage should be that of a puritan man – he should be the one to take care of harder tasks such
as hunting, which we see in this case he doesn’t do since Elisabeth is the one to obtain the rabbit to make the stew –
he comes home after a whole afternoon of hunting with nothing to give.
4. what is Elisabeth’s role in the marriage?
Elisabeth’s role in the marriage should be that of a puritan wife – she should take care of the household and the kids.
However we see how she manages to hunt a rabbit without even leaving the house while Proctor spends the
afternoon hunting and comes home empty handed – she kills the rabbit inside which could also metaphorically
signify Elisabeth´s power within the household.
5. How does the relationship conform a typical puritan marriage
Wife is a housewife and takes care of the kids while the man takes care of harder labour such as the hunting – roles
in this case are almost paradoxically switched – Elisabeth manages to hunt while proctor doesn’t
Act II – Extract analysis
Extract one –
Elizabeth: What keeps you so late? It’s almost dark.
Proctor: I were planting far out to the forest edge.
Elizabeth: Oh, you’re done then.
Proctor: Aye, the farm is seeded. The boys asleep?
Elizabeth: They will be soon. And she goes to the fireplace, proceeds to ladle up stew in a dish.
Proctor: Pray now for a fair summer.
Elizabeth: Aye.
Proctor: Are you well today?
Elizabeth: I am. She brings the plate to the table, and, indicating the food: It is a rabbit.
Proctor, going to the table: Oh, is it! In Jonathan’s trap?
Elizabeth: No, she walked into the house this afternoon; I found her sittin’ in the corner like she come to visit.
Proctor: Oh, that’s a good sign walkin’ in.
Elizabeth: Pray God. It hurt my heart to strip her, poor rabbit. She sits and watches him taste it.
Proctor: It’s well seasoned.
Elizabeth, blushing with pleasure: I took great care. She’s tender?
Proctor: Aye. He eats. She watches him. I think we’ll see green fields soon. It’s warm as blood beneath the clods.
Elizabeth: That’s well.
Proctor eats, then looks up.
Quotes
Analysis
Elisabeth: ´what keeps
you so late? It’s
almost dark. `
Proctor: ´I were
planting far out to the
forest edge`
Keeps you – verb clause with redundant reflexive pronoun makes it seem as if it were an
interrogation. She is accusing him – passive aggression. This verb refers back to proctor
which, due to his inability to correctly identify himself, causes him to feel guilty for the
distance and separation of their marriage.
So, almost and far out – adjectival qualifiers connote temporal and spatial distance –
Elisabeth blames proctor for the ´detachment´ and coldness in their relationship
Planting – metaphorically implies how proctor is trying to re-plant or grow their
relationship again for Elisabeth – maybe shows how although an infidelity was committed,
he still loves/ cares for her – he wants her to be happy and so blames himself and feels
responsible for making it up to her.
Forest and dark – semantic field of evil
Proctor: Are you well
today?
Elisabeth: I am (she
brings the plate to the
table, and, indicating
the food). It is a rabbit
I am – The conversation between both Elisabeth and Proctor is carried out in a dry, stale
and pared down tone. Rather than lack of spice the use of ´I am´ shows how all the
conversation has been trimmed down to its bared bones revealing the use of stichomythia
between both characters dialogue.
This exposes their relationship as that of someone who lacks love, excitement or any
passion at all with this being conveyed by displaying a lack of emotion in Elisabeth´s
answers. Phatic communion – Elisabeth’s ´I am´ is used to fill the space/ awkwardness and
carries no emotion within it/ no meaning
It is a rabbit – Monotonous/ simple phrasing – no real excitement – no emotion
Rabbit intruding the house - Symbolises Abigail’s intrusion in the relationship
Stichomythia – line by line – creates rawness and awkwardness between both – they are
cold
Proctor: It’s well
seasoned.
Elizabeth, blushing
with pleasure: I took
great care. She’s
tender?
It´s well seasoned – almost shows how Proctor is trying to make the relationship work
even if this means that he has to complete Elisabeth´s job – he seasons the soup until it
is well seasoned and then compliments Elisabeth on this making it seem as if she were
the one who successfully completed this task.
This shows a juxtaposition in their representation, as if they had switched puritan roles –
Proctor correctly seasons the soup Elisabeth can´t manage to fully make. – Elisabeth
strips a Rabbit when Proctor comes home empty handed after hunting
Blushing with pleasure – In addition to being chromatic imagery, the use of Blushing can
be juxtaposed with her ´cold and stubborn´ personality, possibly increasing her warm
and good side. Abigail also blushed when seeing proctor and so by using this statement
again we are reminded of Proctors affair by being presented with both scenes as a
parallel.
She´s tender – the use of ´she´ when referring to the ´Rabbit´ represents Abigail
Proctor: Aye. He eats.
She watches him. I
think we’ll see green
fields soon. It’s warm
as blood beneath the
clods.
Aye – The short static answer tells the reader how there is a lot tension still in the
relationship to set the tone for future dialogue
She watches him – Verb shows the viewer the amount of distrust there is within their
relationship –metaphorically shows how Elizabeth does not trusting him and therefore
watches or surveys Proctors actions – in this case him eating. Kind of staring at him like a
hawk or a camera about to unleash at him.
Green fields – Chromatic Metaphor – shows how proctors hopes in seeing a brighter
greener future when in reality it is going to get much worse. Green symbolises hope
Warm – metaphor – metaphorically imply relationship isn’t fully dead – there is still a
chance
Blood – protean metaphor – it can give the viewer hints in the sense that something bad
is brewing or going to happen – juxtaposes Proctors ´green fields´ statement.
foreshadowing future in Salem – prophetic irony – hell is going to be let out in Salem in
the future
Analysis – Both Proctor and Elizabeth exist and live through each other’s wrong-doings and mistakes. They are not
distant physically, yet emotionally they live in different worlds. Elizabeth´s doubtful thoughts of Proctors loyalty in
their relationship, shows they no longer have that sexual and romantic bond between them.
Proctors affiliation with Abigail shows to be the perfect formula of the weaking of their relationship. Betrayal and
dis-trust is a recurring factor in there very stale relationship which conveys there connection could be weakening just
like Salem´s society which slowly disintegrates in total hysteria and paranoia later on the play. We can also infer that
people such as Elizabeth determined decisions on the basis of simple assumptions without any physical evidence,
similarly to McCarthy when people of power accused others of communism as they were preluded as a serious
threat to the society. Ultimately we are left with the impression that indicates that their relationship can be viewed
as one that is on the verge of terminal disaster.
Mini extract –
Proctor (with a grin): I mean to please you, Elizabeth.
Elizabeth (it is hard to say): I know it, John.
(He gets up, goes to her, kisses her. She receives it. With a certain disappointment, he returns to the table.)
Quotes
'it is hard to say'
Analysis
Elizabeth is divided between her pride as a woman betrayed and her deeper
compassion for a man she still loves.
The adverbial manner clause emphasises her difficulty in communicating and
reaching out for John-given his infidelity, as well as highlighting the breakdown in
the Proctors' relationship
TSPECIES – Miller would have the actress pause here, John waiting expectantly with
the audience as she gives him a small morsel of love to feed off.
In terms of tragedy, the playwright makes the theme of forgiveness/ the inability to
forgive, a central cornerstone for our moral consciences. Ultimately and
paradoxically, the Proctors' relationship will strengthen under this pressure.
Extract 2 –
Elizabeth, with a sense of reprimanding herself for having forgot: Aye! She gets up and goes and pours a glass for
him. He now arches his back.
Proctor: This farm’s a continent when you go foot by foot droppin’ seeds in it.
Elizabeth, coming with the cider: It must be.
Proctor, drinks a long draught, then, putting the glass down: You ought to bring some flowers in the house.
Elizabeth: Oh! I forgot! I will tomorrow.
Proctor: It’s winter in here yet. On Sunday let you come with me, and we’ll walk the farm together; I never see such
a load of flowers on the earth. With good feeling he goes and looks up at the sky through the open doorway. Lilacs
have a purple smell. Lilac is the smell of nightfall, I think. Massachusetts is a beauty in the spring!
Elizabeth: Aye, it is.
There is a pause. She is watching him from the table as he stands there absorbing the night. It is as though she would
speak but cannot. Instead, now, she takes up his plate and glass and fork and goes with them to the basin. Her back
is turned to him. He turns to her and watches her. A sense of their separation rises.
Quotes
There is a pause. She is
watching him from the
table as he stands there
absorbing the night.
Analysis
The verb ´absorbing´ portrays Proctor as completely taking in all the negatives of his
and Elizabeth´s fractured relationship, he tries to ´absorb´ all his wrong doings as if
to feel pain and the extent of anger Elizabeth feels, however if you absorb
something it later needs to be released somewhere, we see him instantly lash out at
Marry Warren when she enters, this portrays the flow of all the negatives leaving his
body. In addition, this insinuates him trying to purify himself again, getting rid of his
sins. This presents their relationship as a flawed relationship, meaning that there is
always something wrong.
Proctor: I never see such
a load of flowers on the
Earth.
Lilacs have a purple
smell
Massachusetts is a
beauty in the spring!
Proctor gets romantic; Elizabeth however is short and abrupt. There is this sense of
re-genesis trying to come back together Use of imagery “beautiful”.
Symbolic meaning of lilac: they symbolize spring and renewal. Moreover, lilacs
symbolize purity and innocence.
A sense of their
separation rises
Both Proctor and Elizabeth exist and live through each others wrong-doings and
mistakes. They are not distant physically, yet emotionally they live in different worlds.
Elizabeth´s doubtful thoughts of Proctors loyalty in their relationship, shows they no
longer have that sexual and romantic bond between them before Proctors affiliation
with Abigail shows to be the perfect formula of the weaking of there relationship.
Betrayal and dis-trust is a recurring factor in there very stale relationship which
conveys there connection could be weaking just like Salem´s society which slowly
disintegrates in total hysteria and paranoia later on the play. We can also infer that
people such as Elizabeth determined decisions on the basis of simple assumptions
without any physical evidence, similarly to McCarthy when people of power accused
others of communism as they were preluded as a serious threat to the society.
Ultimately we are left with the impression that indicates that their relationship can
be viewed as one that is on the verge of terminal disaster.
Extract 3 –
Elizabeth. John, you are not open with me. You saw her with a crowd, you said. Now you—
Proctor. I’ll plead my honesty no more, Elizabeth.
Elizabeth now she would justify herself : John, I am only—
Proctor. No more! I should have roared you down when first you told me your suspicion. But I wilted, and, like a
Christian, I confessed. Confessed! Some dream I had must have mistaken you for God that day. But you’re not,
you’re not, and let you remember it! Let you look sometimes for the goodness in me, and judge me not.
Elizabeth: I do not judge you. The magistrate sits in your heart that judges you. I never thought you but a good man,
John with a smile only somewhat bewildered.
Proctor (laughing bitterly): Oh, Elizabeth, your justice would freeze beer! He turns suddenly toward a sound outside.
He starts for the door as Mary Warren enters. As soon as he sees her, he goes directly to her and grabs her by her
cloak, furious. How do you go to Salem when I forbid it? Do you mock me? shaking her I’ll whip you if you dare leave
this house again!
Strangely, she doesn’t resist him, but hangs limply by his grip.
Quotes
´I do not judge you. The
magistrate sits in your
heart that judges you.´
Analysis
Unlike in Proctor´s eyes where Elizabeth is a visual representation of coldness, the
audience sympathizes with her and sees that the problem lies withing Proctor´s
portrayal in his own eyes.
Elizabeth´s semantic field ´I do not´ indicates her strict and principal personality.
Personification ´magistrate sits in your heart’ indicates Elizabeth’s understanding of
Proctor’s Schizophrenic split and how it fogs his conscience.
TSPECIES - The calmness in her voice indicates her matureness and explores the idea
that Elizabeth no longer holds any anger towards John. However, he indoctrinated
himself with the idea that he will never make it up and he is starting to lose his
patience.
This creates drama as Elizabeth rather blames the circumstances than any of them in
their distance. In fact, she doesn’t even blame anyone.
Laughing bitterly- Oh,
Elizabeth, your justice
would freeze beer.
Proctor is portrayed as ignorant and stuck in his own new bubble.
This is what Proctor responds to Elizabeth. Therefore, this represents how far-gone
Proctor is that he doesn´t hear whatever she is saying.
TSPECIES – Proctor is laughing; therefore, he is at this point of anger when you start
laughing in a serious situation. The laugh shows how he misunderstands Elizabeth,
and the ´bitterness´ shows how he is not even trying to understand her.
The fact that he numerously calls Elizabeth cold, throwbacks/refers to Abigail´s words
about Elizabeth ´Cold and sniveling woman´. It could be argued that Proctor is still not
fully over his romance with Abigail, without realization. Thereto, the thoughts that
unconsciously relate to her poison John and Elizabeth´s marriage.
Act II - continued
Potential extract for essay question –
Elizabeth, quietly: Oh, the noose, the noose is up!
Proctor: There‘ll be no noose…
Elizabeth: She wants me dead; I knew all week it would come to this!
Proctor, without conviction: They dismissed it. You heard her say…
Elizabeth: And what of tomorrow? She will cry me out until they take me!
Proctor: Sit you down…
Elizabeth: She wants me dead, John, you know it!
Proctor: I say sit down! She sits, trembling. He speaks quietly, trying to keep his wits Now, we must be wise,
Elizabeth.
Elizabeth, with sarcasm, and sense of being lost: Oh, indeed, indeed!
Proctor: Fear nothing. I‘ll find Ezekiel Cheever. I‘ll tell him she said it was all sport.
Elizabeth: John, with so many in the jail, more than that is needed now, I think. Would you favor me with this? -Go to
Abigail.
Proctor, his soul hardening as he senses…: What have I to say to Abigail?
Elizabeth, delicately: John…grant me this. You have a faulty understanding of young girls. There is a promise made in
any bed…
Proctor, striving against his anger: What promise?
Elizabeth: Spoke or silent, a promise is surely made. And she may dote on it now-I am sure she does-and thinks to kill
me, then to take my place.
Proctors anger is rising; he cannot speak
Elisabeth: It is her dearest hope, John, I know it. There be a thousand names, why does she call mine? There be a
certain danger in calling such a name-I am no Goody Good that sleeps in ditches, nor Osburn drink and half-witted.
She‘d dare not call out such a farmer‘s wife but there be monstrous profit in it. She thinks to take my place, John.
Proctor: She cannot think it. He knows it is true
Elizabeth “reasonably”: John, have you ever shown her somewhat of contempt? She cannot pass you in the church
but you will blush…
Proctor: I may blush for my sin.
Elizabeth, conceding: I think she sees another meaning in that blush.
Proctor: And what see you? What you see, Elizabeth.
Elizabeth: I think you be somewhat ashamed, for I am there, and she so close.
Proctor: When will you know me, woman? Were I stone I would have cracked for shame this seven-month!
Elizabeth: Then go-and tell her she‘s a whore. Whatever promise she may sense break it, John, break it.
Proctor, between his teeth: Good, then. I‘ll go. He starts for his rifle
How does Miller dramatically present the character of Elizabeth at this point in Act Two of ´The Crucible?´
At this point in Act II, Miller dramatically presents Elisabeth by revealing to us her power within the household as a
paradox between her and Proctor´s relationship – which we would not expect from her as a good puritan wife.
We are first presented with this after having been told that after a whole afternoon hunting, Proctor come´s home
empty handed. To our surprise, Elisabeth states that ´she walked into the house this afternoon´ and ´it hurt my eyes
to strip her´ - referring to a rabbit which as I said before, Proctor was initially unable to hunt. This first shocks the
audience by paradoxically presenting their marriage since, in a puritan town such as Salem, we would expect the
husband to hunt and the wife to cook, revealing how in this case, both of these jobs are first completed by Elisabeth.
This empowers her and almost de-emasculates Proctor, revealing how unlike what we thought, it seems as if Elisabeth
were the one in power within the household. In addition, Millers inclusion of a rabbit ´walking into the house´
symbolises Abigail´s intrusion in the marriage and hints of Elisabeth´s knowledge of the affair. Moreover, the use of
the pronouns ´she´ and ´her´ when colloquially speaking about the animal reinforce this idea of Abigail by
metaphorically symbolising her as an animal and reveals how Elisabeth doesn’t fear her. Elisabeth´s character
dramatization is taken further as she describes how although ´it hurt my heart´ she ´stripped her´ once again depicting
how though she didn’t like the idea of killing a rabbit – or switching roles – she does this still as she envisions it as the
tasks which need to be accomplished within a puritan marriage. This all dramatically presents Elisabeth as a character
proving to us how her strength within the household may surpass that of Proctor, who alongside her representation,
could be seen as weak
Subsequently, Elisabeth is dramatically presented by showing how although Proctor may be viewed as the one in
power at the beginning, she manages to weaken him as a character through her actions. This is seen when ´he gets
up, goes to her, kisses her´ and she merely ´receives it´. The use of ´kisses her´ rather than ´they kiss´ shows us how
although she may have cooked and completed all her roles, se refuses to let go of her knowledge on her husbands
affair, dramatically portraying her as a mentally strong character who will not give in to lust temptations from Proctor.
This also creates a parallel between her and Abigail – she receives the kiss Abigail was previously in the play dying to
have and shows us how she is way above her, who begs for something she receives without even trying. The inclusion
of this parallel not only strengthens Elisabeth´s figure but weakens Proctor as a masculine puritan by forcing him to be
the one who has to get her attention – once again paradoxically switching their puritan roles which manage to
empower Elisabeth´s character and reinforce her dramatic representation
The crucible essay re-written paragraph –
Rather than powerless or jealous, in this extract from act two of the crucible Arthur miller dramatically depicts
Elisabeth’s character by presenting her as the one in power, proving how although Proctor may have been the one to
be viewed as powerful, she was able to outgo him in this area with her actions. This is seen when ´he gets up, goes to
her, kisses her´ and she merely ´receives it´. The use of ´kisses her´ rather than ´they kiss´ and Elisabeth’s unwillingness
as she ´receives it´ shows how she is fractured between two different parallels, religion and love, both of which usually
fuel her actions. In addition, the use of proxemics when describing Proctor ´getting up´ symbolise his intent in trying
to re-gain his power through physically placing himself above Elisabeth, action which does not cause nor reveal any
reaction from her. This shows how emotion wise she rejects Proctor but ethically as well as religiously she cannot –
she has to carry out her role as a puritan wife and so she does this with minimal affection, trying merely to bare her
actions around her religious beliefs and separate them from the negative emotions that currently afloat in their
relationship.
A* sample paragraph –
Miller´s portrayal of Elisabeth at this point in the play is particularly powerful as his floral chromatic imagery shows in
the line, ´Lilac is the smell of nightfall, I think´. As she delivers these symbolic words, the actress playing Elisabeth
would gaze reflectively out of the farmhouse window, perhaps avoiding John´s inquisition. The metaphor here seems
to indicate her inability to overcome the traumatic effects of her husband’s betrayal whilst also alluding the dark
events that follow. – finish off by including points 8 to 10 on the assessment targets.
Act III
Study this extract guided by this question –
‘How does Arthur Miller create such an imposing and dramatic court atmosphere at the start of this scene?’
The vestry room of the Salem meeting house, now serving as the anteroom of the General Court.
As the curtain rises, the room is empty, but for sunlight pouring through two high windows in the back wall. The room
is solemn, even forbidding. Heavy beams jut out, boards of random widths make up the walls. At the right are two
doors leading into the meeting house proper, where the court is being held. At the left another door leads outside.
There is a plain bench at the left, and another at the right. In the centre a rather long meeting table, with stools and a
considerable armchair snugged up to it.
Through the partitioning wall at the right we hear a prosecutor’s voice, Judge Hawthorne’s, asking a question; then a
woman’s voice, Martha Corey, replying.
Hathorne's Voice: Now, Martha Corey, there is abundant evidence in our hands to show that you have given yourself
to the reading of fortunes, Do you deny it?
Martha Corey s Voice: I am innocent to a witch. I know not what a witch is.
Hathorne’s Voice: How do you know, then, that you are not a witch?
Martha Corey Voice: If I were, I would know it.
Hathorne s Voice: Why do you hurt these children?
Martha Corey s Voice: I do not hurt them. I scorn it!
vestry room - Amalgamation of religion and the state – man
represents god – believed they are representing him – come
together to decide fate of many
Giles Voice, roaring: I have evidence for the court!
Voices of townspeople rise in excitement.
Danforth´s Voice: You will keep your seat!
Giles Voice: Thomas Putnam is reaching out for land!
Danforth´s Voice: Remove that man, Marshal!
Giles Voice: You’re hearing lies, lies!
A roaring goes up from the people.
Hathorne’s Voice: Arrest him, excellency!
Giles Voice: I have evidence. Why will you not hear my evidence?
The door opens and Giles is half carried into the vestry room by Herrick.
Giles: Hands off, damn you, let me go!
Herrick: Giles, Giles!
Giles: Out of my way, Herrick! I bring evidence Herrick: You cannot go in there, Giles; its a court!
Enter Hale from the court.
Hale: Pray be calm a moment.
Giles: You, Mr. Hale, go in there and demand I speak.
Hale: A moment, sir, a moment.
Giles: They’ll be hangin´ my wife!
Judge Hathorne enters. He is in his sixties, a bitter, remorseless Salem judge.
Hathorne: How do you dare come roarin´ into this court! Are you gone daft, Corey?
Giles: You’re not a Boston judge yet, Hathorne. You’ll not call me daft!
Enter Deputy Governor Danforth and, behind him, Ezekiel Cheever and Parris. On his appearance, silence falls.
Danforth is a grave man in his sixties, of some humor and sophistication that does not, however, interfere with an
exact loyalty to his position and his cause. He comes down to Giles, who awaits his wrath.
Danforth, looking directly at Giles: Who is this man?
Parris: Giles Corey, sir, and a more contentious Giles, to Parris: I am asked the question, and I am old enough to answer it! To Danforth, who impresses him and to
whom he smiles through his strain: My name is Corey, sir, Giles Corey. I have six hundred acres, and timber in
addition. It is my wife you be condemning now. He indicates the courtroom.
Danforth: And how do you imagine to help her cause with such contemptuous riot? Now be gone. Your old age alone
keeps you out of jail for this.
Giles, beginning to plead: They be tellin lies about my wife, sir, I Danforth: Do you take it upon yourself to determine what this court shall believe and what it shall set aside?
Giles: Your Excellency, we mean no disrespect for Danforth: Disrespect indeed! It is disruption, Mister. This is the highest court of the supreme government of this
province, do you know it?
Giles, beginning to weep: Your Excellency, I only said she were reading books, sir, and they come and take her out of
my house for Danforth, mystified: Books! What books?
Giles, through helpless sobs: It is my third wife, sir; I never had no wife that be so taken with books, and I thought to
find the cause of it, d´y´see, but it were no witch I blamed her for. He is openly weeping. I have broke charity with the
woman, I have broke charity with her. He covers his face, ashamed. Dan-forth is respectfully silent.
Hale: Excellency, he claims hard evidence for his wife’s defense. I think that in all justice you must Danforth: Then let him submit his evidence in proper affidavit. You are certainly aware of our procedure here,
Mr. Hale: To Herrick: Clear this room.
Herrick: Come now, Giles, He gently pushes Corey out.
Francis: We are desperate, sir; we come here three days now and cannot be heard.
Danforth: Who is this man?
Francis: Francis Nurse, Your Excellency.
Hale: His wife’s Rebecca that were condemned this morning.
Danforth: Indeed! I am amazed to find you in such uproar; I have only good report of your character, Mr. Nurse.
Hathorne: I think they must both be arrested in contempt, sir.
Danforth, to Francis: Let you write your plea, and in due time I will -
Francis: Excellency, we have proof for your eyes; God forbid you shut them to it. The girls, sir, the girls are frauds.
Danforth: What’s that?
Francis: We have proof of it, sir. They are all deceiving you.
Danforth is shocked, but studying Francis.
Hathorne: This is contempt, sir, contempt!
Danforth: Peace, Judge Hathorne. Do you know who I am, Mr. Nurse?
Francis: I surely do, sir, and I think you must be a wise judge to be what you are.
Danforth: And do you know that near to four hundred are in the jails from Marblehead to Lynn, and upon my
signature?
Francis: I Danforth: And seventy-two condemned to hang by that signature?
Francis: Excellency, I never thought to say it to such a weighty judge, but you are deceived.
Enter Giles Corey from left. All turn to see as he beckons in Mary Warren with Proctor. Mary is keeping her eyes to the
ground; Proctor has her elbow as though she were near collapse.
Parris, on seeing her, in shock: Mary Warren! He goes directly to bend close to her face. What are you about here?
Proctor, pressing Parris away from her with a gentle but burnt motion of protectiveness: She would speak with the
Deputy Governor.
Danforth, shocked by this, turns to Herrick: Did you not tell me Mary Warren were sick in bed?
Herrick: She were, Your Honor. When I go to fetch her to the court last week, she said she were sick.
Giles: She has been strivin´ with her soul all week, Your Honor; she comes now to tell the truth of this to you.
Danforth: Who is this?
Proctor: John Proctor, sir. Elizabeth Proctor is my wife.
Parris: Beware this man, Your Excellency, this man is mischief.
Hale, excitedly: I think you must hear the girl, sir, she Danforth, who has become very interested in Mary Warren and only raises a hand toward Hale: Peace. What would
you tell us, Mary Warren?
Proctor looks at her, but she cannot speak.
Proctor: She never saw no spirits, sir.
Danforth, with great alarm and surprise, to Mary: Never saw no spirits!
Giles, eagerly: Never.
Proctor, reaching into his jacket: She has signed a deposition, sir Danforth, instantly: No, no, I accept no depositions. He is rapidly calculating this; he turns from her to Proctor. Tell
me, Mr. Proctor, have you given out this story in the village?
Proctor: We have not.
Parris: They´ve come to overthrow the court, sir! This man is -
Danforth: I pray you, Mr, Parris. Do you know, Mr. Proctor, that the entire contention of the state in these trials is
that the voice of Heaven is speaking through the children?
Proctor: I know that, sir.
Danforth, thinks, staring at Proctor, then turns to Mary Warren: And you, Mary Warren, how came you to cry out
people for sending their spirits against you?
Mary Warren: It were pretense, sir.
Danforth: I cannot hear you.
Proctor: It were pretense, she says.
Danforth: Ah? And the other girls? Susanna Walcott, and - the others? They are also pretending?
Mary Warren: Aye, sir.
Danforth, wide-eyed: Indeed. Pause. He is baffled by this. He turns to study Proctor´s face.
Parris, in a sweat: Excellency, you surely cannot think to let so vile a lie be spread in open court!
Danforth: Indeed not, but it strike hard upon me that she will dare come here with such a tale. Now, Mr. Proctor,
before I decide whether I shall hear you or not, it is my duty to tell you this. We burn a hot fire here; it melts down
all concealment.
Proctor: I know that, sir.
Danforth: Let me continue. I understand well, a husband´s tenderness may drive him to extravagance in defense of a
wife. Are you certain in your conscience, Mister, that your evidence is the truth?
Proctor: It is. And you will surely know it.
Danforth: And you thought to declare this revelation in the open court before the public?
Proctor: I thought I would, aye - with your permission.
Danforth, his eyes narrowing: Now, sir, what is your purpose in so doing?
Proctor: Why, I - I would free my wife, sir.
Danforth: There lurks nowhere in your heart, nor hidden in your spirit, any desire to undermine this court?
Proctor, with the faintest faltering: Why, no, sir.
Cheever, clears his throat, awakening: I - Your Excellency.
Danforth: Mr. Cheever.
Cheever: I think it be my duty, sir - Kindly, to Proctor: You´ll not deny it, John.
To Danforth: When we come to take his wife, he damned the court and ripped your warrant.
Parris: Now you have it!
Danforth: He did that, Mr. Hale?
Hale, takes a breath: Aye, he did.
Proctor: It were a temper, sir. I knew not what I did.
Danforth, studying him: Mr. Proctor.
Proctor: Aye, sir.
Danforth, straight into his eyes: Have you ever seen the Devil?
Proctor: No, sir.
Danforth: You are in all respects a Gospel Christian?
Proctor: I am, sir.
Parris: Such a Christian that will not come to church but once in a month!
Danforth, restrained - he is curious: Not come to church?
Proctor: I - I have no love for Mr. Parris. It is no secret. But God I surely love.
Cheever: He plow on Sunday, sir.
Danforth: Plow on Sunday!
Cheever, apologetically: I think it be evidence, John. I am an official of the court, I cannot keep it.
Proctor: I - I have once or twice plowed on Sunday. I have three children, sir, and until last year my land give little.
Giles: You´ll find other Christians that do plow on Sunday if the truth be known.
Hale: Your Honor, I cannot think you may judge the man on such evidence.
Danforth: I judge nothing. Pause. He keeps watching Proctor, who tries to meet his gaze. I tell you straight, Mister - I
have seen marvels in this court. I have seen people choked before my eyes by spirits; I have seen them stuck by pins
and slashed by daggers. I have until this moment not the slightest reason to suspect that the children may be
deceiving me. Do you 'understand my meaning?
Proctor: Excellency, does it not strike upon you that so many of these women have lived so long with such upright
reputation, and Parris: Do you read the Gospel, Mr. Proctor?
Proctor: I read the Gospel.
Parris: I think not, or you should surely know that Cain were an upright man, and yet he did kill Abel.
Proctor: Aye, God tells us that. To Danforth: But who tells us Rebecca Nurse murdered seven babies by sending out
her spirit on them? It is the children only, and this one will swear she lied to you.
Danforth considers, then beckons Hathorne to him. Hathorne leans in, and he speaks in his ear. Hathorne nods.
Hathorne: Aye, she´s the one.
Danforth: Mr. Proctor, this morning, your wife send me a claim in which she states that she is pregnant now.
Proctor: My wife pregnant!
Act III extract analysis
Study the extract guided by this question –
‘How does Arthur Miller create such an imposing and dramatic court atmosphere at the start of this scene?’
You might consider:
•
•
•
•
•
•
•
•
•
1 The setting details at the beginning and the architectural detail of the court which is both naturalistic and
symbolic.
2 The voices heard; characters not seen aspect to the opening.
3 The curious logic of being a witch or not.
4 The entries of Giles and Francis.
5 The description of the two sexagenarian judges Hathorne and Danforth.
6 The words and stage directions of those in power and those not.
7 Proctor’s entrance with Mary Warren
8 The incorporation of real images and footage from the 1950s McCarthy Communist witch-hunt.
9 The struggle to save his wife by Proctor.
Example –
The atmosphere in the courtroom is made particularly powerful and imposing by disempowering both Proctor and
the audience.
Danforth consults with Hathorne from an already theatrical position of power, reinforced by Hathorne’s unexplained
comment: “Aye, she’s the one.”
Miller’s inverse dramatic irony weakens Proctor and us at this stage as we are keen to discover the enigma.
Danforth’s delivery of the news: …”your wife send me a claim in which she states she is pregnant now.” delays the
vital news and is wrapped in convoluted reported speech/written information, coldly separated from the
joyful revelation under other circumstances
I have broken charity with the woman - he is ashamed because he was the one who convicted his wife by saying she
was reading strange books
We burn a hot fire here; it melts down all concealment - The statement refers to an actual crucible that is used to
burn things and uncover hidden substances within them, which is what the court does with their community during
the trials.
Cain were an upright man, and yet he did kill Abel - justifies the point that people may seem nice on the outside, but
no one may truly know their intentions; also, tests Proctor’s knowledge of the Gospel
1. The setting details at the beginning and the architectural detail of the court which is both naturalistic and symbolic
Vestry room- it is the amalgamation of religion and the state in which man is the pure representation of god which
come together to decide the fate of so many.
Two high windows- relate to the beginning of the play, however, change to natural light but they still cannot see, still
blinded by vengeance and jealousy, therefore maintain the sense of no justice.
Sunlight pouring through windows – links to page 13, even though there is light you cannot see, the 2 windows
indicate the growth and development of the story.
Heavy beams – man made, rudimentary, the rough random widths can indicate god’s attempt to return to the court
after being pushed out. Unequal sizes imply the uneven weight of justice.
Plain bench – plain can be puritanism, indicated the novelty of the court and how it is still growing and becoming
more official, contrast to now days and the complex layout courtroom as well as the hierarchy of the accused and
judge.
Considerable armchair – hierarchy, distinct from plain, indicate the comfort the judge feel with his power, and the
advantage took of the power, links to power and Joe McCarthy's comfort in the publicity and power during the
communist era.
Empty room – links to the cleanliness of a priest, links to puritanism due the blandness.
2. The voices heard; characters not seen aspect to the opening
Miller decides to disorientate the audience and make them aurally engage with the play to give them the sensation
of being in the position of the dock, on trial. We can imagine the start of this scene being set in a dark atmosphere,
with possibly one source of dim light to make the scene as pure and minimalistic as possible, contrasting wing with
the superior’s hyperbolic immoral intentions. This a parallel between these trials and many of our own world,
showing how absurd and arbitrary the fact that your fate can be left in the hands of megalomaniacs, driven by pure
human emotions, therefore, distorting reality.
•
Aural connection- Wants us to think we are on trial, see their perspective, disorientation, forced to listen and
pay attention.
•
Miller wants the audience to think they are on trial – links to McCarthyism, wants us to feel how he felt on
trial, arbitrary nature of people.
•
Gives them all power – curious as to who the new voices are, attention is power – they have our attention,
allows the audience to believe Hathorne is in control to tear his power away and give it to the quiet voice.
•
Indicates the weight of justice felt – the unknowing of what is really happening can show the confusion of
everything.
•
Preparing audience for entrance – builds up the tension and power leading to a unbalanced scene with loss
and gain of power continuously.
3. The curious logic of being a witch or not
Martha Corey s Voice: I am innocent to a witch. I know not what a witch is.
Hathorne’s Voice: How do you know, then, that you are not a witch?
Once Martha Corey subjects her identity to Hathorne, for him to decide her fate, he shows abuse of his immense
power, this is due to the fact that she subconsciously gave away her identity, handing over her knowledge to his
conscious. This foreshadows the scene of proctor’s death, in which he pleads his identity be kept clean, and his sins
to be wiped of record, as his name, an important factor in puritan society is what regulates who one is. Overall, this
points to the fact that between mass hysteria and a society which fuges from reality, there is no way to differentiate
right from wrong, to the point where false accusations from superior figures can cause the massacre of a whole
town. In the crucible, Miller demonstrates how history repeats it’s by linking the witch trials of Salem(1600) to the
McCarthy soviet trials. Similarly, to Salem all you needed to bring death upon someone was a good accusation, as
proof nor witnesses were needed. Furthermore, it shows that these trials were based merely from catholic beliefs.
Which logic –
•
Losing yourself when handing over your identity – someone else has power over you and your choices,
religion – links to the devil and how you can ‘sell your soul to the devil’
•
Resemblance to McCarthyism trials – you are not in control someone else holds your identity and who you
are by taking you to court.
•
Harshness of court – insensate, the truth and difficulty of being at court for something that doesn’t exist or
has not be seen.
•
Attempt to catch you in a lie – links to communists, is an overview of the whole play and how everyone in
Salem is attempting to get you caught.
•
Link to now and how we are unsure of what we are hunting
4. The entries of Giles and Francis
Quote – Giles, through helpless sobs: It is my third wife, sir; I never had no wife that be so taken with books, and I
thought to find the cause of it, d´y´see, but it were no witch I blamed her for. He is openly weeping. I have broke
charity with the woman, I have broke charity with her. He covers his face, ashamed. Dan-forth is respectfully silent
Arthur Miller presents Giles entrance dramatically by creating a character that is desperate and has no control over a
situation and no power. Giles wife has been accused of witchcraft. What makes it dramatic is that Giles fells guilty
about what Martha is enduring. We can infer that when he talks to Danforth at the court. [Quote 1] This quote,
especially “I have broke charity with the women, I have broke charity with her”. Shows us how guilty he feels about
the current situation. The use of the two words “broke charity” are being used by Giles as betray. Giles fells like he
has betrayed is own wife because of what he has said to Hale at the beginning of the play [Quote 2]. At that time this
quote had no impact to Giles life whereas now it does even though it was in the past. This links back to McCarthyism
where everything you say can be used against you
Giles:
•
Half carried – loss of power, no one is listening to him, too many higher people.
•
Fighting to gain power – demanding things of people he knows have no power
•
Lost control – held in high regard and has lost power since he (his wife) has been threatened, our
understanding of a character dies.
•
As the play develops he starts to develop – portraiture to caricature – yet as he dies his character has
developed again as he becomes a symbol of the truth and normalcy in the chaotic Salem.
Francis:
•
Entered with Danforth – has power to be grouped with strong people, important, shows that he has a place
at the table of power though it begins to fade throughout the scene as the balance of power is tipped.
•
Entrance is not mentioned- not enough power to stir the balance of it.
•
Only spoke when no one else is speaking- doesn’t have power to interrupt.
5. The description of the two sexagenarian judges Hathorne and Danforth
Danforth –
Enter Deputy Governor Danforth… On his appearance, silence falls. Danforth is a grave man in his sixties, of some
humor and sophistication that does not, however, interfere with an exact loyalty to his position and his cause. He
comes down to Giles, who awaits his wrath.
Arthur Miller creates an imposing and dramatic court atmosphere at the start of the scene by presenting Deputy
Governor Danforth as dominating with an almost dictator-like adherence to Puritan law.
We see this throughout the whole beginning of act III in both quotations and stage directions in which he is not
questioned once.
His power clearly outgoes that of the rest of the characters and audience with this being shown through his lack of
emotions and empathy as well as when ´on his appearance, silence falls´
Millers word choice in this short statement in the form of a simple sentence reinforce the power Danforth’s holds as
an authoritarian figure while metaphorically hinting at the tragic fate of the town which will eventually ´fall´ apart
revealing him as an imposing character which alongside the court atmosphere dramatize the beginning of the Act.
Danforth –
•
Power – interrupts many people contiuously, stopped the talking of his companion judge showing how he
still excels over a powerful judge.
•
Collected – doesn’t over react, intrigued but subtle, never gets angry – leaves the emotions to Hathorne
(letting him react for the both)
Hathorne –
Danforth considers, then beckons Hathorne to him. Hathorne leans in, and he speaks in his ear. Hathorne nods.
Hathorne: Aye, she´s the one.
Judge Hathorne enters. He is in his sixties, a bitter, remorseless Salem judge.
This dramatization and power-play is taken further with the introduction of Hathorne by merely revealing to us his
imperative tone of voice before fully presenting his character as a whole, displaying him as secretive in addition to
bitter and remorseless as described in the text.
Danforth leaning in Hathorne´s ear and him dryly stating that ´aye, she´s the one´ further highlights Hathorne´s
power ownership by portraying him as a person who knows everything about others with others not knowing
anything about him.
This results in there being a clear imbalance in authoritarian-strength between both judges and other characters
who were previously presented as ´powerful´ such as Proctor or Parris, They are now portrayed as weak under
Hathorne and Darnforth’s jurisdiction.
This all creates an imposing courtroom atmosphere by disempowering characters previously classified as powerful
while simultaneously elevating Hathorne´s and Danforths strength within the community.
Hathorne –
•
Trying to steal danforth’s power – acts like he is in charge, attempts to confuse the audience
•
Loyal – uses correct names for the more important people (sir, excellency)
•
Second in command- was told to be quiet and didn’t speak again until spoken to by Danforth.
6. The words and stage directions of those in power and those not.
Powerful –
•
Danforth leads the group in- this shows us his imminent power and control over the other- the long text
about him can show the shift in power as he enters leaving it unbalanced for the rest of the scene.
•
Meeting the gaze – danforth keeps watching Proctor indicating his fear about proctors power, proctor also
tries to meet the gaze without cowering away, Danforth grasps the power by staring straight into the eyes of
Proctor, Danforth studying Proctor shows he is objectifying him while leaving time to considerately think
through what he has to say to avoid loss power to proctor, intimidation.
Powerless –
•
Interruptions- shift in power, attempt to gain power, afraid of their opinion and what it could do to the
powerful.
•
Speechless – shows their vulnerability around such a big power, the fear of what the wrong word could
mean issues with the powerful, the control held over them about being silenced, afraid of their thoughts out
in the open, consequences.
7. Proctor’s entrance with Mary Warren
•
Mary is keeping her eyes on the ground: She doesn´t want to look up because of the intimidation that
Danforth is and because of all of the power that´s in front of her in the court. Also not wanting to show eye
contact to not show anything because she is very nervous and she wants to not seem scared to the court.
•
Proctor comes in very protective, `pressing Parris away from her with a gentle but firm motion of
protectiveness´ He is protecting Marry Warren because he knows that she is the key to get Elizabeth out of
there because she knows the truth and he won´t let anyone do anything to her
8. The incorporation of real images and footage from the 1950s McCarthy Communist witch-hunt.
1950´s McCarthy communist which trials
•
He is always interrupting people and does not let anyone interrupt him because of his power
•
Danforth is presented as Joe McCarthy because of his power and because he´s emotionless, he gets people
in jail and hung and doesn´t care about it, he´s getting rid of the witches in the same way that McCarthy to
the communists in the 1950s.
•
Interrogations are the same. How do you know then, that you are not a witch? If I were, I would know it. If
someone was a communist they would know same to being a witch
9. The struggle to save his wife by Proctor.
•
Proctor knows that everything is against Elizabeth because her name was already mentioned by one of the
girls and they are taking control over Salem and making it a disaster.
•
He knows that she is not a witch and that by the fact that her name was mention by Abigail this makes him
feel that she is only looking for revenge by taking her to jail so she can have Proctor all for her own instead
of actually trying to help the town by mentioning the real witches where there aren´t really any, because the
girls were the ones dancing in the forest the rest are all innocent.
•
Elizabeth is the woman that Proctor really loved.
Assessment 3 – Danforth
Useful language –
What roles does Danforth have in the crucible?
Omnipotent, omniscient
Character Traits
Judge
-Shows no emotion/
Danforth sympathy
-Somewhat a dictator
-Gullible
Reputation
He is an old and semi-fragile man. He
believes that Abigail and the girls are
capable of lying. He also convinces
himself that killing innocent people
was right
Accused or Accuser
Judge Danforth was accused. He
believed whatever Abigail and the
teenage girls say. He also refuses to
postpone the hangings because it
would admit to some wrongdoings or
doubt
Danforth under the microscope – possible points
-
As the most direct parallel to Joseph McCarthy
As a ´foil´ of sorts for Hale, Proctor, Parris and Abigail
As a man whose identity is subsumed/ absorbed by his role dispersing ´serene justice´ from the armchair
As Millers warning on the effect of power invested in one mand
As a comment on state-religion, power (theocracy) and its flaws
As a comment on the dangers of binary/ Manichean justice – good or evil, black or white – no grey
What is Danforth´s role in the play?
How would you describe his personality and his actions?
How does he differ to Reverend Hale?
Key ideas - questions
What is the audience´s opinion of him?
Exemplar –
Governor Danforth represents rigidity and an over-adherence to the law in The Crucible. Danforth is clearly an
intelligent man, highly respected and successful. He arrives in Salem to oversee the trials of the accused witches with
a serene sense of his own ability to judge fairly. The chaos of the trial doesn’t affect his own belief that he is the best
judge. At the end of the play, Salem is falling apart, Abigail has run away, having stolen Parris’s life savings, and many
other lives have been ruined yet Danforth still cannot agree that the trials were a sham. He remains firm in his
conviction that the condemned should not be executed. When John refuses to let him post his confession in town,
Danforth sends him away to be hanged, “high over the town.” Danforth believes in sticking by a principle in spite of
all evidence that his belief is wrong.
Despite his intelligence and prestige, Danforth is the most deluded a character in the play. While modern audiences
many find the idea of witches laughable, Danforth reflects his time, an era when many people believed in witches and
witchcraft, (although it should be noted that Miller makes it clear that at least a few of the residents of Salem are
skeptical of witches). But even in Salem, in 1692, some people did not fall for the girls’ “pretense” as easily as Danforth
does. Once he believes the girls, lead by Abigail, really are possessed, Danforth is trapped by his own ego, unable to
see that they’re lying despite mounting evidence. He just can’t go back and admit that he was fooled. Danforth
represents the evil of blind certainty in the play: he refuses to accept the truth because to do so would humiliate him.
He’d rather see people die.
Extract 5 –
Danforth, pounding it into her: You have seen the Devil, you have made compact with Lucifer, have you not?
Proctor: God damns liars, Mary!
Mary utters something unintelligible, staring at Abigail, who keeps watching the ´bird´ above.
Danforth: I cannot hear you. What do you say? Mary utters again unintelligibly You will confess yourself or you will
hang! He turns her roughly to face him. Do you know who I am? I say you will hang if you do not open with me!
Proctor: Mary, remember the angel Raphael - do that which is good and Abigail, pointing upward: The wings! Her wings are spreading! Mary, please, don´t, don´t - !
Hale: I see nothing, Your Honor!
Danforth: Do you confess this power! He is an inch from her face. Speak!
Abigail: She´s going to come down! She´s walking the beam!
Danforth: Will you speak!
How do the other characters behave when talking to Danforth?
Respect – almost out of fear
How does Miller use language and structural devices to convey Danforth´s authority?
´pounding it into her´ shows how he is almost forcing/ coercing Mary warren – He is telling her what she ´saw´ rather
than asking her – imperatives. Shows his ease in manipulating people – he is comfortable in doing so and therefore
his confidence in doing this heightens his authoritarian power and the respect other characters have over him. He
asks close questions – yes or no
What do the stage directions convey about Danforth´s character?
Assessment 3 – Danforth
Key questions
•
•
•
•
•
•
•
•
Who is Danforth? What role does he play in the drama on his entrance? What position does he occupy in
terms of the power hierarchy for the play/ in Salem? When does he enter the drama, why at this point?
How does Miller convey the nature of Danforth in terms of the language he uses to the accused and the
lower rungs of Salem society that enter the court?
How does he speak to Proctor, Parris and Hale? What does this show?
Comment on his relationship with female characters? How is this distinct?
Danforth and power-how does Miller explore this? Comment on power too in relation to McCarthyism and
larger models of patriarchal authority or justice systems.
The bigger point: morally and in terms of justice and law governing our lives?
TSPECIES or para-linguistics for Danforth?
The last words…’Hang them high….’
Roles
-Danforth simply as a study in power and authority in modern societies.
-Danforth is a warning on the dangers of identity subsumed by societal position.
-Danforth equates to OT justice and law as binary or Manichean: the basic doctrine of a conflict between light and
dark, matter being regarded as dark and evil.
- Danforth’s role is also to show the tragedy of human error despite absolute faith in the truth of conviction. Lack of
anagnorisis.
-Danforth acts as a kind of foil for both Proctor and Abigail-with the former, as a symbol of hypocrisy against
Proctor’s perception of his own double standards; with the latter, as evidence of her power to seduce and
manipulate justice. In each case Abigail and Proctor’s characters are given greater dimension through the judge.
-Danforth enters the play late (Act 3) when events are reaching their climax-he is a second Hale figure of sorts to
ensure the truth of the girls’ ‘sportin’ behaviour, rather than sorcery does not come to light.
-Danforth is characterized as intelligent but cold-a metaphor or perhaps synecdoche for law, but also as a symbol of
the dysfunction of man-made law in representing justice
-Judge Danforth is very much a 'by the book' jurist, meticulous in his fealty to the rules that govern the court. He is
intended by Miller to represent integrity and rigidity-so as such is not condemned indiscriminately, but rather as a
symbol of an evil (?) or at best a callous system.
-Danforth believes passionately in the scaffold of law as the only means to prevent chaos, even if that means
proceeding regardless; ignorant of the truth as it amasses around him.
-Danforth and Hathorne? What role, if any, does Hathorne add to Danforth? Is he in any way an extension of the
Danforth character? Think about the difference and similarities between Hale and DF or Proctor and DF.
The language and dramaturgy of Danforth
-The set is an extension of and metaphor for Danforth – the vestry room, for example, a spatial representation of
man’s ability to assume power as he changes into preacher here (from man to priest)
-Danforth is disembodied – only his voice is heard initially-the voice of authority/ the voice of God/ instils fear into an
audience, as we are disorientated, yet forced to listen.
-Danforth cameo-he ‘is a grave man in his sixties, of some humour and sophistication that does not, however,
interfere with an exact loyalty to his position and his cause.’
-Therefore, WASP sexagenarian authority but human and intelligent-this deepens the notion of tragedy.
-Interrogatives part of his inquisitional nature as part of his role, yet DF’s delivery shows disdain and supercilious
contempt for the common man: ‘And how do you imagine to help her cause with such contemptuous riot? Now be
gone.’
Danforth uses a kind of mimetic requalification – he repeats or echoes a word, examines it and occasionally
requalifies or amplifies it –
Giles: ‘…disrespect for…’
Danforth: Disrespect indeed! It is disruption, Mister.’
Danforth as a performer – he operates on a level above his physical stage self: ‘Danforth (mystified): Books! What
books?’
Danforth as professional and procedural – use of a lofty epic subjunctive –
Danforth: Then let him submit his evidence in proper affidavit. You are certainly aware of our procedure here, Mr
Hale.
Danforth’s entrapment technique – the use of cunning Machiavellian questions – to Proctor ‘What is your purpose in
so doing?’ and to Mary Warren, ‘Has he ever threatened you?’
These closed interrogatives lure the ‘victim’ into a bottleneck, with only yes or no responses possible, both of which
condemn the individual-gain an extension of DF’s binary perspective on truth and lies.
Danforth’s lexical choices all derive from two correlated areas – Old Testament justice and Torture.
‘We burn a hot fire here; it melts down all concealment’.
‘This is a sharp time, now, a precise time-we no longer live in the dusky afternoon when evil mixed itself with good
and befuddled the world’.
‘I have seen people choked before my eyes by spirits; I have seen them struck by pins and slashed by daggers’.
‘Children, a very augur bit will now be turned into your souls until your honesty is proved.’
Psycho-semantically, Danforth’s lexicon is replete with imagery informed by massacre and suffering, and strict
Puritan life-so it forms a kaleidoscope of sorts telling the story of Puritan settlement and history. If one adds to this
the commercial or economic forces which internalize the language, as a result of increasing mercantile trade,
Danforth becomes something of a synecdoche for USA past and, as an allusion to McCarthy, its present.
Danforth’s use of aposiopesis or truncation – Miller has Danforth interrupt and silence subordinates around himfrom Hathorne and Parris to Hale and Proctor, Francis and Giles.
Hale: But this child claims the girls are not truthful and if they are notDanforth: That is precisely what I am about to consider, sir.
The effect is to disempower the speaker and to increment his own strength and presence on stage/ in court. There
are also occasions when he allows conversation to proceed without his intervention-his presence enough to colour
the tone of any dialogue despite his verbal absence. As such then he is like a conductor, leading his orchestra in their
roles…until that is Abigail accuses him of attempting to question her virtue; her the baton drops!
Danforth’s egocentric alignment with God and The Law – ‘Postponement now speaks a floundering…’ Danforth’s lexis
perhaps betrays an unusual insecurity, and a bewildered approach-contemplation and reflection seen as weakness-a
crack in the wall separating truth and falsehood; Good and Evil.
Notes on Danforth –
-King-like role (everyone respects him out of fear due to the power he has) –
When Giles Corey bursts into the courtroom, the first Judge to enter is Hathorne to whom he proceeds to yell at.
However, as soon as Danforth enters the room, everyone goes silent, with the first thing being said by Danforth himself
who asks Corey who he is, to which he responds, ‘my name is Corey sir, Giles Corey’.
-Point is further seen by the forms in which other characters refer to him, ‘your excellency’ ´mister´ ´sir´
-Could be seen as the metaphorical representation of puritan law itself – potentially due to the lack emotion
-Interrupts many of the characters - aposiopesis - ‘peace’
-Everyone knows who Danforth is and what his role consists in. He on the other hand doesn´t know anyone which
creates an unbalance and makes him seem much higher up in Salem´s hierarchy and therefore powerful
-Manipulative / Machiavellian / binary justice mind - Proctor claims his aim is to save his wife however Danforth
manages to twist his intentions from him wanting to save his and his friends wives into Proctor having a ‘larger
purpose’ - with this purpose being seen by Danforth as Proctor trying to take down the court
-Danforth gives Mary warren an impossible choice - ‘You are either lying now or you were lying in court’
-If she is telling the truth now, there will be consequences because it means she lied before. However, if she said the
truth before, there will be consequences because it means she must be lying now.
-Hale bursts out due to the immense guilt he holds for ending the lives of those who he begins to realise could have
been innocent with this representing the way in which his character has reached anagnorisis - point to which Danforth
never arrives, showing us how although he may be the most powerful, he is partially clueless with this playing a massive
role as to how hysteria kept spreading in Salem
-When Corey mentions Danforth’s father and how he took part in one of his trials Danforth’s tone and facial
expressions change, almost showing how the mention of his father triggered him and almost humanized him again,
bringing him down from his previous god-like position to now being a simple puritan member of Salem
-Shows how he is not flawless - quite on the opposite, what may be one of his only flaws is one of the triggers to the
mass hysteria on the town - his reliance on children. He shows how from his beliefs all children are the absolute form
of innocence and purity placing them and their say next to that of god. However, as the audience well know by now
this isn’t the case with Abigail who doesn’t hesitate to take advantage of one of the most influential and powerful
characters in order to maintain her power-play where she wants it.
-The way in which the other characters stand up and surround Danforth - who is reading Mary warrens deposition metaphorically represent how he is the centre of the courtroom and all others move around him just like Salem’s fate
relies on him and his decisions. Him reading the book also further position him in a place of power as he almost forces
everything and everyone else to freeze and wait until he has finished reading - he had the power to ‘stop’ time and
has the power to start it again once he is finished. Once he is finished, he calmly stands up, moves around and blows
his nose without any need ti rush showing us how he really doesn’t care about others and he is perfectly conscious
with the fact that everyone else revolves around him and his say
-When Mary is being held by Proctor, she is wheeping, almost to the verge of tears. However as soon as she is put in
front of Danforth her facial expressions completely change, she is now serious and looking down trying to avoid eye
contact. Further shows Mary Warrens need to impress and therefore Danforths powerful position
‘You sat in my court’ - Danforth use of my when speaking about the court further shows how he knows he is the god
figure in the trials - they are owned by him
-As soon as Abigail enters the power completely shifts and she now owns all of it, including that of Danforth´s, who
attempts to regain his power by constantly calling them children, putting himself in a teacher-like position in which he
has now gained back his power.
Discuss and explore the role of Danforth in ´the Crucible´
In Act three of ´The Crucible´ Arthur miller presents Dan forth as an egocentric and narcissistic judge with an almost
dictator like adherence to puritan law. He does this by portraying him as a character who lacks any sort of emotions,
who is blindly dealing with the issues that arise from the macabre witch related accusations.
His role is first portrayed as godly by revealing him as the person in power within the court. This is seen when Giles
first interrupts his wife´s trial in session causing various other characters including Herrick and Judge Hathorne to come
out in order to stop the intrusion. However, it isn’t until Danforth comes in that the whole court ´falls silent´ until
Danforth himself asks Corey who he is, question to which he answers ´My name is Corey sir, Giles Corey´. The use of
´falls silent´ when describing the unanimous behaviour of the characters present in the court reveal the immense
respect and authority Danforth holds upon all the other Salemites. This silence stays until he first speaks, once again
showing the audience how easily others obey to his demands and desires with no questioning whatso ever, causing
his entrance and role to be linked to that of god or a king who is never questioned nor gone against. In addition, the
difference in Corey´s tone when speaking to Danforth in contrast to when speaking to Parris proves the massive effect
his judicial presence has. He shifts from using more colloquial and rude language towards Parris to a more modest and
respectful tone when dialoguing with Danforth, referring to him as ´sir´ and introducing himself as if he were speaking
with royalty, first stating his surname and then his full name – ´Corey sir, Giles Corey´. This not only shows how other
characters view him as godly but also reveals how everyone already knows who he is as soon as he enters without
needing an introduction, once again proving how his presence itself reveals him as the one in power within the court.
Subsequently, another one of Millers intentions when including Danforth in the play could very well be to create a
parallel between the play and the actual Salem witch trials that happened in 1692, with this being seen as another one
of Danforths roles – the metaphorical representation of John McCarthy himself. This idea is clearly represented when
Giles Corey first hands him his deposition, which he calmly reads while the whole courtroom focus merely on him. The
calmness he reads the deposition in shows how the courtroom follows him and his pace only, giving him the power to
almost stop time – whenever he finishes reading it, time and the trial session will continue, until then everyone needs
to stop. In addition, the use of the book with this being an intertextual prop creates a visual parallel of what it would
have been like in the actual witch trials that happened in 1692, with John McCarthy peacefully reading depositions
while Salemites anxiously waited to be told whether they were allowed to live or not. The inclusion of the book and
Danforth´s position right in the centre of the stage further put out the importance his role plays, with him almost
leading the whole of Act three, once again mirroring the idea of John McCarthy leading the Salem witch trials.
On a final note, Danforths character also reveals how although in 1692 some may have at some point realised that the
witch accusations were ´pretense´, out of narcissism many decided to ignore this and keep killing due to this being
better than the humiliation of having to admit to having ´lost´ in this war against children, in this case Abigail and the
girls. Danforth´s vision of children being the purest form of innocence and therefore being the closet connection to
god completely cloud his mind and further lead the town to mass hysteria. This proves how although he may have
been entitled to carry out a dictator like character, his role reveals the flaws and cracks present within the Salem
community, with this being the major reason as to why his role is crucial in millers fatal drama ´The Crucible´.
8
9 A*
23
24
25
Answers in this band have all the qualities of an A grade with further insight, sensitivity,
individuality and flair. They show complete and sustained engagement with both text and task
Explore and Discuss the role of Danforth in ‘The Crucible’. Model Answer
Ideal paragraph structure – Point and introduction, quoted evidence for point, language analysis and effects,
development 1 – what does this mean, development 2 – context link (in this case) and back to the question
Exemplar essay –
Although Danforth’s role in ‘The Crucible’ seems on the surface quite evidently one of implacable power and the
patriarchal imposition of law, under this exterior, Miller has created a character with great complexity. Clues to further
depths to his role can be seen at the very start of Act Three in the courtroom as a remodelled ‘vestry room’ and by
the fact that Danforth’s voice is heard: “You will keep your seat!” and “Remove that man, Marshal!”, before we actually
see him. The modal auxiliary ‘will’ and the imperative demands to subordinates within the justice system denote
complete authority, but in a room where man dons the robes of religious leader (the ‘vestry room’) and where he has
also assumed the mantle of state control as Judge. It could be argued then that Miller suggests an element of hubris
and pride in Danforth’s assimilation of a role of huge moral responsibility- of God and Governor-a responsibility too
‘weighty’ for one man. We may derive from this then that, as Miller admits candidly in interviews since the play’s
debut, his figure here invites a direct parallel with Senator Joseph McCarthy in this sense of outrageous abuse of
position: Danforth in his function (role)within theocratic Salem; McCarthy within the 1950s Capitalist culture of the
USA.
When we first see Danforth, his role in the play as a man whose original human personality has been completely
consumed/ subsumed by his function within the theocracy, is made very clear to us by Miller. We learn from the stage
directions for casting that Danforth is a man of ‘some humour and sophistication that does not, however, interfere
with an exact loyalty to his position and his cause. ’The abstract noun collocation of ‘humour and sophistication’ is
designed by the dramatist to make us understand that Danforth’s position in the play is a nurtured one, not one
stemming from his original nature as an intelligent and thoughtful citizen. The adjectival predicate ‘exact’, a word
which will be echoed in ‘precise’ and ‘sharp’ later, and that in fact echoes Hale’s own words earlier (LINK), convey the
idea that there is no margin or gap between the man and his profession-a profession which is termed by Miller as a
cause’, and so suggestive of the righteousness of his role, in his eyes. Danforth’s role then in the drama is not merely
one which reflects McCarthyism, but one that warns us of the dangers of unlimited power combined with fervent
theological adherence to personal moral convictions.
It could also be argued that Danforth’s role in the drama is Miller’s way of highlighting the real wickedness in our
secular world: the division of all life into Good and Evil. Danforth exhibits this fatal binary perspective in his words, “a
person is either with this court or he must be counted against it, there be no road in between.” The conjunction ‘or’
pivots the two states, admitting no third or nuanced ‘other’ truth or paradox. It therefore fuses moral goodness with
agreement with the law, cunningly conveying the sanctity of the court as uncorruptible as God Himself. Danforth’s
role then, as Manichean Judge, is for Miller one where an audience must inevitably question their own position in
society and blind adherence to the propaganda of justice systems. The playwright might emphasis this onstage by
having Danforth occupy centre stage and so indicating with his left and right hands, like a set of scales, where his ‘right’
and ‘wrong’ paths are for the defendants. In terms of role or ‘cog’ in Miller’s dramatic wheel then, Danforth is a key
element in the tragic genre, as Miller sees tragedy that is, as that of the common man: his inability to nuance justice,
to ‘see it human’, make the Proctors and other Salemites fates pre-ordained, and part of a cosmic force beyond man
but also part of his narrative.
Task: Now write or rewrite your own Danforth role paragraph, concluding with the idea of anagnorisis* we discussed
in class.
Danforth´s role could also be seen as crucial in Millers fatal drama due to the impact his vigorous force has above the
power of other character, in this case Abigail. Mid-way through act 3, Danforth calls upon Abigail and the girls to come
out in order to resolve the problem arising from Mary Warrens confession as to there being no witchcraft at all. Later
on, in the midst of a heated argument, Proctor admits to his sin – adultery, action to which Danforth´s response is to
violently yell at the girls to ´remain where they are´, including Abigail who now has tears dropping out of her eyes. The
girl’s immediate response to Danforth´s command prove how he is the ´god´ of the courtroom, what he says is done
immediately without any questioning which revealing the immense power he holds above all other Salemites. In
addition, the tears dropping down Abigail´s eyes prove how although she may have seemed confident all throughout
the trials, deep down, she knew the only power she truly had was due to Danforth´s faith in her, faith which he is now
starting to lose, clarifying how she wasn’t powerful because of herself, but because of the beliefs and ideas she
managed to incrust into Danforth´s mind. This idea of Abigail being powerful due to the control she holds upon
Danforth is clearly seen since, if it were the case where Hale were to be the judge, she would have not been able to
carry out this massive ´witch accusations´ plot due to Hale reaching a point of realisation – anagnorisis – in which he
realised how the accusations had in reality been ´pretense´ just as Mary warren had stated at the beginning. However,
thanks to Danforth being the elected judge and him never reaching that point of ´anagnorisis´, Abigail is able to play
around and control him and his power, playing the role of ´god´. This reveals his flaw as being the absurd beliefs he
holds towards the portrayal of children as the purest form of innocence, reason as to why his role is incredibly
important – it is what allows the girls to drag the town to mass hysteria, or as Miller would describe it, hell.
Marked paragraph –
Danforth´s role could also be seen as crucial in Millers fatal drama due to the impact his vigorous force has above the
power of other character, in this case Abigail.
Mid-way through act 3, Danforth calls upon Abigail and the girls to come out in order to resolve the problem arising
from Mary Warrens confession as to there being no witchcraft at all. Later on, in the midst of a heated argument,
Proctor admits to his sin – adultery, action to which Danforth´s response is to violently yell at the girls
to ´remain where they are´, including Abigail who now has tears dropping out of her eyes. Good – tspecies. The girl’s
immediate response to Danforth´s command prove how he is the ´god´ of the courtroom, what he says is done
immediately without any questioning which revealing the immense power he holds above all other Salemites.
In addition, the tears dropping down Abigail´s eyes prove how although she may have seemed confident all throughout
the trials, deep down, she knew the only power she truly had was due to Danforth´s faith in her, faith which he is now
starting to lose, clarifying how she wasn’t powerful because of herself, but because of the beliefs and ideas she
managed to incrust into Danforth´s mind. (Where is the ‘role’ here?)
This idea of Abigail being powerful due to the control she holds upon Danforth is clearly seen since, if it were the case
where Hale were to be the judge, she would have not been able to carry out this massive ´witch accusations´ plot due
to Hale reaching a point of realisation – anagnorisis – in which he realised how the accusations had in reality been
´pretense´ just as Mary warren had stated at the beginning. Miller arguably incorporates two moments of anagnorisis
into his tragedy: one, the tragic protagonist’s own when he reclaims his name at the cost of his life; the other
reserved for penitent Hale, who steps back from the abyss through his epiphany at the end of Act 3 This reveals his
flaw as being the absurd beliefs he holds towards the portrayal of children as the purest form of innocence, reason as
to why his role is incredibly important – it is what allows the girls to drag the town to mass hysteria, or as Miller would
describe it, hell. Can you connect with McCarthyism or tragedy here?
Act III continued
Tone – The tone used by Danforth is strong and tense, he constantly yells at other characters and uses entrapment
questions to back others into a corner and leave them with no options – forces them into doing what he wants them
to do.
Use of ´it´ from Proctor when referring to Abigail contradict his views on her in comparison to previous acts – he now
talks about her as if he barely knew her when this clearly isn’t the case – he is trying to alienate her to win others by
his side.
Staging – Abigail and the girls enter from the back, silently and without a single ray of light on them – increases tension
and curiosity from audience.
The girls take over the centre of the stage while they are being ´possessed´ by Mary Warren – shifts focus point from
Danforth and Elisabeth to the girls – gives them all the power
Proxemics – Danforth continues to move, occasionally getting extremely close to Mary Warren whom he wants to
intimidate. In addition, all other character’s flow around him and his movements once again revealing him as the god
of the courtroom.
Danforth grabs Elisabeth violently by her jaw, he yells at her once again proving his power as opposed to that of others
– proctor is watching, unable to do anything.
Expression/ gesture – Abrupt and sudden gestures from Danforth as opposed to others who move gently and almost
precautiously – clearly reveal the unbalance in authoritarian power and that in the Salem community
Costumes – All costumes are dark, possibly symbolising the presence of maliciousness within Salem as a whole,
revealing how all characters have their flaws and ´dark sides´. Also allows them to camouflage in the dark and
surroundings metaphorically showing how their flaws can go unseen and they can be unnoticed.
Interruptions/ turn-taking – Danforth continuously interrupts others – aposiopesis showing how he is the only one
who can do this and therefore having the audience see him as powerful. However, Abigail seems to defy this side of
him when all the girls enter, she is now the once causing continuous intrusions while Danforth speaks, revealing Salems
flaws
Entrance/ exits – The girls entrance creates tension as the whole courtroom falls silent as they cautiously walk towards
the centre – light is dim and so their faces aren’t revealed for some time increasing the sese of tension.
Act IV key quotations
Danforth: Postponement now speaks a floundering on my part; reprieve or pardon must cast doubt upon the guilt of
them that died till now. While I speak God's law, I will not crack its voice with whimpering. If retaliation is your fear,
know this - I should hang ten thousand that dared to rise against the law, and an ocean of salt tears could not melt the
resolution of the statutes.
This quote provides deeper insight into Danforth's character and state of mind. He feels that he can't postpone the
hangings now because he may be seen as weak and indecisive. He definitely can't pardon the prisoners because people
might suspect mistakes were also made in past convictions. Every person brought in by the trials and convicted must
receive an equally harsh punishment, or Danforth's reputation will be decimated. He is so authoritarian that he
would hang ten thousand people who objected to a law without stopping to consider whether this big of an uprising
could indicate major flaws in the law itself. Dan forth is dependent on this concept of the infallibility of the law
because it allows him to maintain control.
Hale: I came into this village like a bridegroom to his beloved, bearing gifts of high religion; the very crowns of holy
law I brought, and what I touched with my bright confidence, it died; and where I turned the eye of my great faith,
blood flowed up. Beware, Goody Proctor - cleave to no faith where faith brings blood. It is mistaken law that leads you
to sacrifice. Life, woman, life is God's most precious gift; no principle, however glorious, may justify the taking of it. I
beg you, woman, prevail upon your husband to confess. Let him give his lie. Quail not before God's judgement in this,
for it may well be God damns a liar less than he that throws his life away for pride.´
Hale is a disillusioned shell of the man he was at the beginning of the play. He initially felt that he was bringing
enlightenment to Salem, but he inadvertently brought destruction instead. His good intentions rooted in a strong
faith led to the loss of innocent lives. Hale argues that throwing away one's life, even if it's done in adherence to God's
commandments, leaves a darker moral stain on the world than giving a false confession. This advice is largely an effort
to assuage his guilt about the situation. He won't be able to live with himself if all these people die because of his
mistakes.
Proctor: Let them that never lied die now to keep their souls. It is pretense for me, a vanity that will not blind God
nor keep my children out of the wind.
John is convinced that he is not worthy of dying as a martyr because he has already lied and committed immoral
acts in his life. He feels his soul beyond saving, so he should stop acting all virtuous and just confess. There is no point
in remaining honest if he is already going to Hell with or without this false confession. At least if he lives, he can
continue to provide for his kids and postpone an unpleasant afterlife.
Proctor: Because it is my name! Because I cannot have another in my life! Because I lie and sign myself to lies!
Because I am not worth the dust on the feel of them that hang! How may I live without my name? I have given you
my soul; leave me my name!´
Proctor has this outburst after he snatches his signed confession away from Danforth. He can't bring himself to
permanently sacrifice his reputation by signing the confession. He feels his self-loathing and inevitable suffering in
the afterlife is punishment enough ("I have given you my soul"). He can't stomach the idea of also being defined by his
confession in the eyes of society and history. He knows his name will forever be associated with cowardice and a
lack of integrity.
Elisabeth: He have his goodness now. God forbid I take it from him!
Elizabeth refuses to dissuade John from revoking his confession. She can see that he has achieved freedom from his
own self-loathing through this final truthful act. If she persuades him to return and confess, she might as well not
save his life at all because he will feel so utterly worthless after throwing away this last bit of integrity.
Other key points of Act IV –
Danforth and Hathorne meet in a jail cell and discuss their concerns with Parris' erratic behaviour and Hale's return
to Salem.
Parris joins them and reveals that Hale is advising the prisoners to confess.
Parris also reveals that Abigail ran away with his life's savings, most likely because of the rising societal discontent
with the court's activities.
Both Parris and Hale beg Danforth to either pardon the prisoners or postpone the hangings until confessions are
obtained because Rebecca Nurse and John Proctor still have such good reputations, and their executions could cause
an uprising.
Danforth refuses because he's already executed other prisoners accused of the same crimes, and he doesn't want to
look weak.
They decide to bring in Elizabeth Proctor so she can talk to John and hopefully convince him to confess before he is
sent to the gallows. (tells proctor that Giles has died by staying as a Cristian by rock upon his chest so his children will
not lose his land)
John and Elizabeth discuss this decision, and John is leaning towards confessing because he doesn't feel he's worthy
of martyrdom.
Elizabeth tells him he has to make his own choice.
John begins to confess, but he falters when he is ordered to sign his name to the confession and learns that it will be
displayed publicly.
He tears up the confession and decides he will go to his death rather than permanently ruin his reputation and
sacrifice the only integrity he has left.
The officials try to convince Elizabeth to stop him, but she refuses because she recognizes this is the only way John
can end his feelings of self-hatred.
John and Rebecca Nurse are led to the gallows to be executed.
In Miller's short afterward, entitled "Echoes Down the Corridor," he states that Parris was soon voted out of office,
and the families of the victims of the witch trials were later provided with compensation by the government. He
claims that in the aftermath of the trials, "the power of theocracy in Massachusetts was broken." However, the
events of The Crucible provide an all too clear allegory for many modern-day tragedies borne of prejudice, fear, and
ignorance.
Act IV
Danforth: I´ll hear no more of that!
Hale, continuing to Elizabeth: Let you not mistake your duty as I mistook my own. I came into this village like a
bridegroom to his beloved, bearing gifts of high religion; the very crowns of holy law I brought, and what I touched
with my bright confidence, it died; and where I turned the eye of my great faith, blood flowed up. Beware, Goody
Proctor - cleave to no faith when faith brings blood. It is mistaken law that leads you to sacrifice. Life, woman, life is
God´s most precious gift; no principle, however glorious, may justify the taking of it. I beg you, woman, prevail upon
your husband to confess. Let him give his lie. Quail not before God´s judgment in this, for it may well be God damns
a liar less than he that throws his life away for pride. Will you plead with him? I cannot think he will listen to another.
Elizabeth, quietly: I think that be the Devil´s argument.
Hale, with a climactic desperation: Woman, before the laws of God we are as swine! We cannot read His will!
Elizabeth: l cannot dispute with you, sir; I lack learning for it.
Danforth, going to her: Goody Proctor, you are not summoned here for disputation. Be there no wifely tenderness
within you? He will die with the sunrise. Your husband. Do you under-stand it? She only looks at him. What say you?
Will you contend with him? She is silent. Are you stone? I tell you true, woman, had I no other proof of your
unnatural life, your dry eyes now would be sufficient evidence that you delivered up your soul to Hell! A very ape
would weep at such calamity! Have the devil dried up any tear of pity in you? She is silent. Take her out. It profit
nothing she should speak to him!
Elizabeth, quietly: Let me speak with him, Excellency.
Parris, with hope: You´ll strive with him? She hesitates.
Danforth: Will you plead for his confession or will you not?
Elizabeth: I promise nothing. Let me speak with him.
A sound - the sibilance of dragging feet on stone. They turn. A pause. Herrick enters with John Proctor. His wrists are
chained. He is another man, bearded, filthy, his eyes misty as though webs had overgrown them. He halts inside the
doorway, his eye caught by the sight of Elizabeth. The emotion flowing between them prevents anyone from speaking
for an instant. Wow Hale, visibly affected, goes to Danforth and speaks quietly.
Hale: Pray, leave them, Excellency.
Danforth, pressing Hale impatiently aside: Mr. Proctor, you have been notified, have you not? Proctor is silent,
staring at Elizabeth. I see light in the sky, Mister; let you counsel with your wife, and may God help you turn your
back on Hell. Proctor is silent, staring at Elizabeth.
Hale, quietly: Excellency, let Danforth brushes past Hale and walks out. Hale follows. Cheever stands and follows, Hathorne behind. Herrick goes.
Parris, from a safe distance, aye:
Parris: If you desire a cup of cider, Mr. Proctor, I am sure I - Proctor turns an icy stare at him, and he breaks op. Parris
raises his palms toward Proctor. God lead you now. Parris goes
Alone. Proctor walks to her, halts. It is as though they stood in a spinning world. It is beyond sorrow, above i,". He
reaches out his hand as though toward an embodiment not quite real, and as he touches her, a strange soft sound,
half laughter, half amazement, comes from his throat. He pats her hand. She covers his hand with hers. And then,
weak, he sits. Then she sits, facing him.
Proctor: The child?
Elizabeth: It Slows.
Proctor: There is no word of the boys?
Elizabeth: They´re well. Rebecca´s Samuel keeps them.
Proctor: You have not seen them?
Elizabeth: I have not. She catches a weakening in herself and downs it.
Proctor: You are a - marvel, Elizabeth.
Elizabeth: You - have been tortured?
Proctor: Aye. Pause. She will not let herself be drowned in the sea that threatens her. They come for my life now.
Elizabeth: I know it. Pause.
Proctor: None - have yet confessed?
Elizabeth: There be many confessed.
Proctor: Who are they?
Elizabeth: There be a hundred or more, they say. Goody Ballard is one; Isaiah Goodkind is one. There be many.
Proctor: Rebecca?
Elizabeth: Not Rebecca. She is one foot in Heaven now; naught may hurt her more.
Proctor: And Giles?
Elizabeth: You have not heard of it?
Proctor: I hear nothin´, where I am kept.
Elizabeth: Giles is dead.
He looks at her incredulously.
Proctor: When were he hanged?
Elizabeth, quietly, factually: He were not hanged. He would not answer aye or nay to his indictment; for if he denied
the charge they´d hang him surely, and auction out his property. So he stand mute, and died Christian under the law.
And so his sons will have his farm. It is the law, for he could not be condemned a wizard without he answer the
indictment, aye or nay.
Proctor: Then how does he die?
Elizabeth, gently: They press him, John.
Proctor: Press?
Elizabeth: Great stones they lay upon his chest until he plead aye or nay. With a tender smile for the old man: They
say he give them but two words. ´More weight´ he says. And died.
Proctor, numbed - a thread to weave into his agony: ´More weight´
Elizabeth: Aye. It were a fearsome man, Giles Corey. Pause.
Proctor, with great force of will, but not quite looking at her: I have been thinking I would confess to them, Elizabeth.
She shows nothing. What say you? If I give them that?
Elizabeth: I cannot judge you, John. Pause.
Proctor, simply - a pure question: What would you have me do?
Elizabeth: As you will, I would have it. Slight pause: I want you living, John. That´s sure.
Proctor, pauses, then with a flailing of hope: Giles´ wife? Have she confessed?
Elizabeth: She will not. Pause.
Proctor: It is a pretense, Elizabeth.
Elizabeth: What is?
Proctor: I cannot mount the gibbet like a saint. It is a fraud I am not that man. She is silent. My honesty is broke,
Elizabeth; I am no good man. Nothing´s spoiled by giving them this lie that were not rotten long before.
Elizabeth: And yet you´ve not confessed till now. That speak goodness in you.
Proctor: Spite only keeps me silent. It is hard to give a lie to dogs. Pause, for the first time he turns directly to her. I
would have your forgiveness, Elizabeth,
Elizabeth: It is not for me to give, John, I am Proctor: I´d have you see some honesty in it. Let them, that never lied die now to keep their souls. It is pretense for
me, a vanity that will not blind God nor keep my children out of the wind. Pause. What say you?
Elizabeth, upon a heaving sob that always threatens: John, it come to naught that I should forgive you, if you´ll not
forgive yourself.
Now he turns away a little, in great agony.
It is not my soul, John, it is yours.
He stands, as though in physical pain, slowly rising to his feet with a great immortal longing to find his answer. It is
difficult to say, and she is on the verge of tears.
Only be sure of this, for I know it now: Whatever you will do, it is a good man does it.
He turns his doubting, searching gaze upon her.
I have read my heart this three-month, John. Pause. I have sins of my own to count. It needs a cold wife to prompt
lechery.
Proctor, in great pain: Enough, enough Elizabeth, now pouring out her heart; Better you should know me!
Proctor: I will not hear it! I know you!
Elizabeth: You take my sins upon you, John Proctor, in agony: No, I take my own, my own!
Elizabeth: John, I counted myself so plain, so poorly made, no honest love could come to me! Suspicion kissed you
when I did; I never knew how I should say my love. It were a cold house I kept! In fright, she swerves, as Hathorne
enters.
Hathorne: What say you, Proctor? The sun is soon up.
Proctor, his chest heaving, stares, turns to Elizabeth. She comes to him as though to plead, her voice quaking.
Elizabeth: Do what you will. But let none be your judge. There be no higher judge under Heaven than Proctor is!
Forgive me, forgive me, John - I never knew such goodness in the world! She covers her face, weeping.
Proctor turns from her to Hathorne; he is op the earth, his voice hollow.
Proctor: I want my life.
Hathorne, electrified, surprised: You´ll confess yourself?
Proctor: I will have my life.
Hathorne, with a mystical tone: God be praised! It is a providence! He rushes out the door, and his voice is heard
calling dawn the corridor: He will confess! Proctor will confess!
Proctor, with a cry, as he strides to the door: Why do you cry it? In great pain he turns back to her. It is evil, is it not?
It is evil.
Elizabeth, in terror, weeping: I cannot judge you, John, I cannot!
Proctor: Then who will judge me? Suddenly clasping his hands: God in Heaven, what is John Proctor, what is John
Proctor? He moves as an animal, and a fury is riding in him, a tantalized search. I think it is honest, I think so; I am no
saint. As though she had denied this he calls angrily at her: Let Rebecca go like a saint; for me it is fraud!
Voices are heard in the hall, speaking together in suppressed excitement.
Elizabeth: I am not your judge, I cannot be. As though giving him release: Do as you will, do as you will!
Proctor: Would you give them such a lie? Say it. Would you ever give them this? She cannot answer. You would not;
if tongs of fire were singing you you would not! It is evil. Good, then - it is evil, and I do it!
Hathorne enters with Danforth, and, with them, Cheever, Parris, and Hale. It is a business-like, rapid entrance, as
though the ice had been broken.
Danforth, with great relief and gratitude: Praise to God, man, praise to God; you shall be blessed in Heaven for this.
Cheever has hurried to the bench with pen, ink, and paper. Proctor watches him. Now then, let us have it. Are you
ready, Mr. Cheever?
Proctor, with a cold, cold horror at their efficiency: Why must it be written?
Danforth: Why, for the good instruction of the village, Mister; this we shall post upon the church door! To Parris,
urgently: Where is the marshal?
Act IV continued
Themes analysis (research) –
Irony
Danforth makes a few ironic statements in Act 4 as he interrogates Elizabeth and John. In observing Elizabeth's lack of
emotion when he asks her to help them convince John to confess, he says "A very ape would weep at such calamity!
Have the Devil dried up any tear of pity in you?" (pg. 123) He is shocked that she isn't acting more upset even though
he has shown no remorse for condemning people to death throughout the play. In fact, he expressed his viewpoint
that "I should hang ten thousand that dared to rise against the law, and an ocean of salt tears could not melt the
resolution of the statutes" (pg. 120). He can't understand why Elizabeth doesn't fall apart and beg her husband to
confess because he doesn't grasp the idea that an action can be legally prudent but morally distasteful.
Later in Act 4, Danforth becomes angry at the implication that John's confession may not be the truth. He says "I am
not empowered to trade your life for a lie" (Danforth pg. 130). This is an example of tragic irony because Danforth has
been trading people's lives for lies this whole time. He has sentenced numerous people to death based on lies about
their dealings in black magic, and he has accepted the false confessions of those who would rather lie than be
executed.
Hysteria
Though there is less evidence of hysteria in this act, Danforth, for one, is still very much caught up in the
"WWIIIIIITTTTCHHHH" mindset. As John gives his confession, Danforth says to Rebecca Nurse "Now, woman, you
surely see it profit nothin' to keep this conspiracy any further. Will you confess yourself with him?" (pg. 129). He
remains convinced that everyone is guilty.
Danforth also becomes frustrated with Proctor when he won't name names in his confession: "Mr. Proctor, a score of
people have already testified they saw [Rebecca Nurse] with the Devil" (pg. 130). Danforth is convinced that John
knows more about the Devil's dealings than he has revealed. Though Rebecca Nurse's involvement has already been
corroborated by other confessors, Danforth demands to hear it from John. This testimony will confirm that John is
fully committed to renouncing his supposed ties to Satan.
Reputation
As the hysteria over the witch trials dies down, it becomes apparent that the reputations of the accused continue to
influence how they are treated as prisoners. Parris begs Danforth to postpone the executions of John and Rebecca
because they're so well-respected that he's received death threats for going along with their hangings. He says, "I
would to God it were not so, Excellency, but these people have great weight yet in the town" (pg. 118).
However, Danforth's own reputation as a strong judge hangs in the balance, and he dares not damage it by getting all
wishy-washy. "Postponement now speaks a floundering on my part; reprieve or pardon must cast doubt upon the guilt
of them that died till now. While I speak God's law, I will not crack its voice with whimpering" (pg. 119).
John Proctor's concern for his reputation also plays a role in the events of Act 4. He goes to the gallows instead of
providing a false confession because he realizes his life won't be worth living if he publicly disgraces himself in this
way: "How may I live without my name? I have given you my soul; leave me my name!" (pg. 133).
Power and Authority
In Act 4, many of the power structures that were in place earlier in the play have broken down or become
meaningless. Though the judges and reverends technically still hold official positions of authority, Reverend Parris
has been subjected to death threats, and Salem as a whole seems to be in complete disarray. The judges now have
little respect for Parris ("Mr. Parris, you are a brainless man!" pg. 117), who has become weak and vulnerable
following the loss of his life's savings.
The prisoners have lost what little faith they had in the earthly authority figures who have failed them, and they look
towards the judgment of God. John ultimately realizes the only power he has left is in refusing to confess and
preserving his integrity. As Elizabeth says to him, "There be no higher judge under Heaven than Proctor is!" (pg.
127). In steadfastly refusing to confess, Rebecca Nurse ends up holding onto a significant amount of power. The
judges cannot force her to commit herself to a lie, and her sacrifice will deal a serious blow to their legitimacy.
Guilt
Several characters are still dealing with intense guilt at the end of The Crucible. After quitting the court in Act 3, Hale
did some self-reflection and decided to return to Salem to advise the accused witches to confess. His rationalization
is that encouraging people to lie to save their lives is a forgivable sin, but being responsible for the deaths of
innocents is not. He's wracked with guilt over the part he played in kicking off the witchcraft hysteria ("There is blood
on my head!" pg. 121). However, because Hale is so tormented, he's only able to consider his personal feelings
about the situation. The false confessions might absolve him of his guilt, but the confessors would be forced to live
the rest of their lives in shame.
This might seem strange to us today (obviously you should just lie to avoid being executed!), but we have to consider
the pervasiveness of religion in Puritan society. This is not just a matter of upholding one's good name in society—it's
a matter of the state of one's soul. To the most devout people (like Rebecca Nurse) in such a highly religious culture,
lying about involvement with the Devil might be considered worse than death. If a person dies without sin, she will
go to Heaven, but if she corroborates the lie perpetuated by the courts, her soul will carry a permanent stain and
could spend eternity in Purgatory or Hell. Hale's argument is less than convincing to people who have spent their
whole lives in service to God and don't intend to compromise such an excellent record.
Meanwhile, John Proctor continues to feel guilty for his affair and the role it has played in putting both he and his
wife in mortal peril. A deep fear of hypocrisy almost persuades Proctor to confess because he would feel guilty
martyring himself next to other people like Rebecca Nurse who are genuinely without sin. He says, "My honesty is
broke, Elizabeth; I am no good man" (pg. 126). However, he ultimately doesn't allow his guilt to define him and
refuses to give up the remainder of his integrity.
Elizabeth also displays some guilt in Act 4 when she partially blames herself for pushing John into Abigail's arms ("I
have sins of my own to count. It takes a cold wife to prompt lechery" pg. 126). The sexism of the play shows through
in Elizabeth's guilt. She has been conditioned to believe that it's her job to prevent her husband from straying by
being a happy homemaker. If we weren't entirely sure that this play was written in the 1950s before, it's pretty clear
now.
Act IV
-They decide to bring in Elizabeth Proctor so she can talk to John and hopefully convince him to confess before he is
sent to the gallows. (tells proctor that Giles has died by staying as a Cristian by rock upon his chest so his children will
not lose his land)
-John and Elizabeth discuss this decision, and John is leaning towards confessing because he doesn't feel he's worthy
of martyrdom.
Proctor: Let them that never lied die now to keep their souls. It is pretense for me, a vanity that will not blind God nor
keep my children out of the wind.
John is convinced that he is not worthy of dying as a martyr because he has already lied and committed immoral
acts in his life. He feels his soul beyond saving, so he should stop acting all virtuous and just confess. There is no point
in remaining honest if he is already going to Hell with or without this false confession. At least if he lives, he can
continue to provide for his kids and postpone an unpleasant afterlife.
-Elizabeth tells him he has to make his own choice.
-John begins to confess, but he falters when he is ordered to sign his name to the confession and learns that it will be
displayed publicly.
-He tears up the confession and decides he will go to his death rather than permanently ruin his reputation and
sacrifice the only integrity he has left.
Proctor: Because it is my name! Because I cannot have another in my life! Because I lie and sign myself to lies!
Because I am not worth the dust on the feel of them that hang! How may I live without my name? I have given you
my soul; leave me my name!´
Proctor has this outburst after he snatches his signed confession away from Danforth. He can't bring himself to
permanently sacrifice his reputation by signing the confession. He feels his self-loathing and inevitable suffering in
the afterlife is punishment enough ("I have given you my soul"). He can't stomach the idea of also being defined by his
confession in the eyes of society and history. He knows his name will forever be associated with cowardice and a lack
of integrity.
Proctor utters these lines at the end of the play, in Act IV, when he is wrestling with his conscience over whether to
confess to witchcraft and thereby save himself from the gallows. The judges and Hale have almost convinced him to
do so, but the last stumbling block is his signature on the confession, which he cannot bring himself to give. In part,
this unwillingness reflects his desire not to dishonor his fellow prisoners: he would not be able to live with himself
knowing that other innocents died while he quaked at death’s door and fled. More important, it illustrates his
obsession with his good name. Reputation is tremendously important in Salem, where public and private morality
are one and the same. Early in the play, Proctor’s desire to preserve his good name keeps him from testifying
against Abigail. Now, however, he has come to a true understanding of what a good reputation means and what
course of action it necessitates—namely, that he tell the truth, not lie to save himself. “I have given you my soul;
leave me my name!” he rages; this defense of his name enables him to muster the courage to die, heroically, with his
goodness intact
-The officials try to convince Elizabeth to stop him, but she refuses because she recognizes this is the only way John
can end his feelings of self-hatred.
-John and Rebecca Nurse are led to the gallows to be executed.
-In Miller's short afterward, entitled "Echoes Down the Corridor," he states that Parris was soon voted out of office,
and the families of the victims of the witch trials were later provided with compensation by the government. He
claims that in the aftermath of the trials, "the power of theocracy in Massachusetts was broken." However, the
events of The Crucible provide an all too clear allegory for many modern-day tragedies borne of prejudice, fear, and
ignorance.
Key quotations –
He moves as an animal, and a fury is riding him, a tantalized search – His identity is lost at the end in the same way
as he lost it with Abigail
His breast heaving, his eyes staring, Proctor tears the paper and crumples it, and he is weeping in fury, but erect, His breast heaving – Proctor´s heart is beating violently in an uncontrolled way; he is unable to breath in a fixed pace
due to the stress and pressure he is currently undergoing – also represents how his life is now out of control and
despite his desperate efforts to re-gain power over it he is unable to do so.
How does miller make this an emotive ending to his play the Crucible?
Arthur miller makes the ending to his play ´The Crucible´ emotive by destroying the previously set authoritarian
hierarchy and theocratic rule within Salem – characters who were recognised as powerful are now forced to beg for
their lives in an attempt to save themselves.
This is first seen after Proctor signs his confession and Danforth asks him to hand it in, order which he denies stating
that he won´t do so ´because it is my name! Because I cannot have another in my life! Because I lie and sign myself to
lies! Because I am not worth the dust on the feet of them that hang! How may I live without my name? I have given
you my soul; leave me my name´. Millers inclusion of Proctors resistance to give in the wanted document creates
tension within the audience since by doing so he would be ´giving them his ´soul´. The use of this statements shows
how by handing in said document Proctor would be giving away all of his identity as well as his power. This in turn
would be seen by Danforth as Proctor giving him the ´benediction´ he desperately needs to keep on going with the
witch trials and hangings mainly due to the fact that he would be feeding his negligence – action which Proctor wants
to avoid since he clearly knows the accusations are ´pretense´. In addition, the repetition of ´because´ in proctors
´speech´ accelerates the pace at which the conversation seems to be going and so makes the scene seem much more
upbeat and intense which agitates the audience and makes them feel extremely pity for Proctor which in turn makes
the scene incredibly emotional.
Subsequently after this action takes place, the emotiveness of the scene is taken further as ´Proctor tears the paper
and crumples it´ while his ´breast is heaving´. Millers use of ´heaving´ when describing Proctor´s agitated breathing
shows how he is unable to take control of the situation he is in despite his desperate efforts to do so – situation which
we´ve never seen him in since he has been, from the start, presented as an extremely confident character. In addition,
Proctor ´crumpling´ the only now destroyed document which could have saved his life stress out the audience who
know for a fact that in doing so he has signed his death penalty and therefore fate. This therefore creates a
metaphorical parallel between Millers drama and the Salem witch trials of 1692 symbolising how even the most
powerful and well-known public figures could be taken down by the accusations. This awakes all sorts of emotions
from the audience and makes this tragic ending incredibly emotional