The Crucible
Corrupt institutions (Danforth) - 278
Under suppressive circumstances, corrupt institutions can spark moral panic when the rights
of society are eliminated. Written during the Red Scare of the 1950s, a period characterised
by injustice, Arthur Miller’s ‘The Crucible’ critiques those who intentionally abuse their power
in order to favour the status quo over justice. Evident when Danforth first appears on stage,
the authorial intrusion reveals that his [humour and sophistication] do not [interfere with an
exact loyalty to his position and his cause], suggesting that he had the intellectual facilities to
understand the logical failures of the court. However, Miller positions Danforth as an effective
antagonist, as Danforth represents the inflexibility of authoritarianism present in legal and
religious institutions. Danforth’s dogmatic belief in the court’s ability to, “ burn a hot fire here;
it melts down all concealment” comparing the court to a crucible, suggesting court
proceedings are a purifying process, yet in reality, they are unjust and a profound abuse of
power. Furthermore, Danforth's hyperbole, “I should hang ten thousand that dared to rise
against the law”, underscores his relish to see those who challenge institutional power suffer.
He perceives any critique of the court as a personal attack and retaliates using his authority
to disregard justice and perpetuate the status quo. Furthermore, the numerical emphasis in
Danforth's boast, “Four hundred are in the jails upon my signature, and 72 condemned to
hang by that signature,” exacerbates the extent of theocratic power, highlighting humanity’s
fatal drive for control and the sacrifice of morals, much like during McCarthyism where
innocents were persecuted to avoid personal dishonour. Overall, Miller's allegorical play
critiques the perverse manifestations of corruption to perpetuate the status quo.
Individuality vs conformity (Proctor) - 298
Miller valorises those who demonstrate courage and stand up to corrupt authorities,
highlighting how collective experiences shape individual actions. Through the perverse
depictions of hysteria, Miller’s ‘the Crucible’ critiques repressive society, encouraging the
audience to resist conformity and uphold personal integrity, questioning unjust systems.
Miller positions Proctor as the tragic hero, symbolic of tensions between individual and
collective responsibility whilst also a vehicle used to exemplify the vulnerability one must
demonstrate when confronting our flaws in order to authentically participate in society. When
Proctor first arrives on stage, Miller establishes his character as a flawed man through the
authorial intrusion, revealing he has “ sinned … against his own vision of decent conduct”,
demonstrating that Proctor has a sense of self-loathing, establishing his need for personal
redemption. This is reinforced by Elizabeth who tells Proctor that “The magistrate sits in your
heart that judges you,”, metaphorically suggesting that Proctor’s self-loathing results from his
own self-perception rather than perceptions from others. However, Proctor's internal conflict
mirrors the broader societal struggle with reputation and conformity. This conflict is palpable
when Proctor defiantly declares, “Because it is my name… because I cannot live another
life,” and “I have given you my soul; leave me my name,” highlighting the paramount
importance of one's name and reputation in Puritan society. The exaggerated repetition
underscores how reputation often holds more weight than genuine morality, critiquing the
superficial values that transcend society. Finally, Proctor's assertion, "I am no saint, but my
name is white enough to keep it from such dogs," speaks to his journey toward
self-redemption. By defending his name, he confronts his past mistakes and strives to
reclaim his integrity. Overall, Miller's allegorical play explores the strength of human
character in times of injustice, emphasising the significance of personal integrity and the
courage to stand against societal wrongs.
Hale - 274
Innate in humanity is the experience of disillusionment when a previously held ideology is
exposed as problematic. Arthur Miller’s ‘The Crucible explores this collective experience by
critiques those who place beliefs in higher powers above those in the community. Through
the character arc of reverend Hale, Miller demonstrates the challenges of abandoning
entrenched beliefs, showing how disillusionment often arises when societal structures that
individuals rely upon prove to be corrupt. In Act 1, Hale is characterised as having the “light,
good, and its preservation”, arriving with “books weighted with authority”, metaphorically
symbolic of his blind faith in ideology, suggesting he believes in the good of the courts.
However, Hale's beliefs slowly chip away when those in the community are scapegoated in
order to preserve the status quo, leaving Hale “in a fever of guilt and uncertainty, turning
away from the door,” to reveal that he is “steeped in sorrow and exhausted.” Through
authorial intrusion, Miller conveys Hale's inner turmoil as he struggles to rationalise the
court's workings. When Hale realises the witch trials have corrupted the moral order he is
desperate to protect, he “denounces these proceedings, i quit this court!”. His exclamative
tone represents the destruction of his entire belief system in favour of morality. Hales's
disillusionment showcases his internal struggle with the pursuit of truth, emblematic of the
universal challenge of reconciling deeply rooted beliefs. By the end of Act 4, Hale is no
longer certain in any higher power when “I've come to do the devil's work, I've come to
counsel Christians to belie themselves”. Hale's sorrowful tone illustrates the crumbling of his
initial convictions and experiences of disillusionment. Hence, Miller critiques the blind faith of
higher power, highlighting the destructive consequences of unwavering adherence to
authority without critical examination.
Manipulation and Hysteria (Abigail) - 261 words
Innate in human behaviour is the ability to intentionally abuse power to perpetuate the status
quo at the expense of truth and justice. Through the characterisation of Abigail as
machiavellian and manipulative, Miller critiques those who are willing to create hysteria in
the name of self-preservation. In Act 1, Abigail threatens the girls that she will “bring a pointy
reckoning that will shudder you”. Miller utilises a domineering and threatening tone to create
a sense of fear and intimidation, that establishes her character as one “with an endless
capacity for dissembling". The fact that her dialogue evokes images of witchcraft in a town
that is set against the supernatural, represents her mendacious and duplicitous nature. This
is furthered through Abigail's dialogue, when “She is enraptured, as though in a pearly light”
and makes accusations “I saw Goody Hawkins with the Devil,”, exemplifies how individuals
can manipulate the collective fear for personal advantage, further perpetuating the hysteria
and chaos. Abigail's ambition for power is revealed through her exploitation of mass hysteria,
demonstrating how self-enrichment becomes central to her motives. This is furthered when
Abigail encourages the girls “I saw Goody Bibber with the devil! I saw Goody Booth with the
devil! (On their ecstatic cries The Curtain Falls).” The repetition of accusations coupled with
the stage directions of the curtain closing creates the effect of continual accusations of
innocents, creating a cycle of corruption and oppression. Thus, The Crucible emerges as a
cautionary tale, critiquing the multifaceted nature of humanity, and exposing the way humans
manufacture mass hysteria for self-interest.
The Tempest & Hag-Seed
The other:
The Tempest (172)
Shakespeare’s ‘The Tempest’ subtly challenges reductive Jacobean beliefs about
marginalised figures positioned by Eurocentric beliefs privileging the ‘old world’ yet raising
new world figures as inferior and savage. Shakespeare characterisation of Caliban as a
conundrum is flawed through his perpetuation of sexual thread when “thou didst prevent me
- I had peopled else this isle with Calibans' ', loathsome beings of “whoresome ….. Hag
Seed…. Filth as thou art” nature. The culmination of insults directed at Caliban reinforces his
disenfranchised space, garnering sympathy from the audience for how powerless Caliban
feels under Prospero’s command. Further, Shakespeare’s characterisation of Caliban subtly
deconstructs Eurocentric superiority through Caliban’s capacity to speak lyrical poetry,
instilling sympathy from the audience “When I wake I cried to dream again”. The form of the
blank verse imbues Caliban with dignity, aligning with Christian humanist beliefs. However,.
Yet, in Act Five, Shakespeare's representation of 'the other' is revealed when Caliban
decides to “be wise hereafter, And seek for grace”. The ability to seek forgiveness and
repent is a deeply Christian value. In the play, all of the European characters except for
Alonso reject forgiveness, yet Caliban displays the capacity to seek forgiveness. This is
confronting to the Christian audience of the Jacobean Era as Caliban is still an object of
scorn, but this is subtly challenged. It appears that Atwood and Shakespeare may agree in
their conversation about dignity and worth of the marginalised.
Hag-seed (192)
Atwood’s “Hag-Seed” overtly showcases her secular humanist belief in the dignity and
complexity of all through her characterisation of the ‘disenfranchised other’. Atwood’s
Caliban is disembodied and re-constructed as a multifarious collective, positioning the
monster, savage and subjugated slave as very human foibles of a modern-day failed
Canadian prison, that society peters out. The construction of the prison, metaphorically
imbued with “the smell of dejection” with people whose heads are “bowed down” with “many
motherless years”, positioning the marginalised prisoners as sympathetic figures. Atwood
subverts the traditional prisoner trope through 8Handz, who is positioned as the moral
compass to Felix - the law-abiding citizen - stating this is “Too sick even for me” in response
to Felix’s brutality. Hence, Atwood suggests that marginalised figures have the capacity for
morality and redemption, sometimes even more so than law-abiding citizens. Furthermore,
Atwood gives voice to the marginalised through the parlance of rap, a traditionally African
American form of expression, “You think I’m an animal, not even a man!”. Hence, Atwood
directly aligns the experience of the marginalised with racial injustice, causing the
postcolonial reader to sympathise with these figure and understand their systemic
mistreatment. While Shakespeare presents Caliban as a conundrum, Atwood's depiction is a
passionate plea for empathy and equality.
Representations of women:
Tempest (162)
In 'The Tempest’, Shakespeare’s sole female character reinforces reductive Jacobean
beliefs about female capacity of purity and virtue. This is evident in Prospero's inclination for
Miranda 'thou art inclined to sleep' as in the Shakespearean canon, sleep is associated with
purity and innocence. Additionally, the fact that Miranda falls asleep with such ease speaks
to her malleability to patriarchal dominance as well as her virtuous character. This patriarchal
dominance is demonstrated when Miranda is commodified as a “rich gift” who has been
"worthily purchased", conflating Miranda with an object of monetary value. Yet, like an object,
Miranda remains muted throughout the scene of her wedding, reflecting the Jacobean
values of women as valuable objects for men to 'acquire' rather than equals. Further, since
she has been the epitome of renaissance feminine virtue from the outset of the play,
Shakespeare awards Miranda no character development which is evident as she describes
the Machiavellian villains as "goodly creatures" and exclaims "how beauteous mankind is!".
The irony of this dialogue gives the Jacobean audience the inclination to laugh at Miranda's
naivety, emphasising how women are valued for purity and innocence in Jacobean society
rather than intellects. As such, Shakespeare reinforces traditional patriarchal stereotypes by
presenting sparse and reductive depictions of women.
Hagseed (179)
Atwood’s ‘Hag-seed’, reappropriates Shakespeare’s depiction of women as complex and
multifaceted figures. Immediately, Atwood's overtly showcases her secular humanist belief
by brings breadth and depth to femininity per her postmodern context, developing Miranda
from a one-dimensional plane to a multifaceted character capable of being a motivator of
action rather than a receiver of patriarchal power. This is evident when Felix highlights his
priority of reviving his daughter who “must be released from her glass coffin; she must be
given life”. The high modality characterises Miranda as central to Felix’s actions.
Furthermore, through the character of Anne-Marie, Atwood demonstrates the multifaceted
and complex nature women occupy when Anne-Marie claims that “being a girl is the pits” yet
she is “A strong, supple waif, just coming to bloom”. The metaphorical allusion to a flower,
highlights her strong physical attributes and alludes to her inner potential for growth and
sexual maturity, challenging stereotypical representations of femininity. Furthermore,
Atwood’s characterisation of the memory of Miranda as “An all-sustaining life force”
underscores her passive and inert portrayal in The Tempest, presenting this complex
character capable of shaping, not only her own, but those around her lives. In doing so,
Atwood reflects the vitality and agency women in the postmodern context occupy.
Representations of vengeance:
Tempest (192)
Shakespeare's portrayal of vengeance reveals the perennially dissatisfying nature of the
pursuit of revenge. Contextually, Jacobean society upheld Christian philanthropia,
emphasising compassion and moral restraint, positioning vengeance as a divine right
reserved for God, not humans. This framework discouraged personal retribution, aligning
with the Christian ethos of forgiveness. In Act 1, Prospero attempts to justify his vengeance
as preordained, suggesting that it is founded on a "most auspicious star" where the celestial
imagery elevates his status and conflates personal fury with cosmic order. Further, the fact
that Ariel claims "I and my fellows are ministers of Fate" reflects Prospero's conflation of fate
and destiny with his own vengeance, erring blasphemously close to godhood. However, the
ultimately dissatisfying outcome is evident in the faux epilogue of Act 4 as Prospero is at the
nadir of his character arc and succumbs to the nihilistic view that life is an "insubstantial
pageant" that is "baseless", suggesting that revenge is ultimately dissatisfying as it fails to
provide the desired outcome. By doing so, Shakespeare suggests the “rarer action be in
virtue than in vengeance”, resonating deeply with the Christian beliefs of the Jacobean era.
Hagseed (198)
Conversely, Atwood suggests that vengeance remains unfulfilling, even in the moral
relativism of the 21st-century zeitgeist. Atwood established Felix as an effective vehicle used
to exemplify the vulnerability we must demonstrate in order to overcome lesser noble
instincts. Initially, Felix is infected by his desire for vengeance as It rankles. It festers. It
brews vengefulness”.The truncated sentences reflect Felix’s fragmented mind that is
disturbed and distorted by fury as has been "chewing over his revenge for twelve years",
imagining "it takes like steak rare". The simile of rare steak evokes imagery of predation,
suggesting there is something animalistic about Felix’s desire for revenge, yet the fact that
Felix believes that revenge will taste like rare steak demonstrates that he is adamant that
vengeance will be deeply satisfying. This is later contrasted when he tells himself “I
succeeded”, yet internally he questions “Why does it feel like a letdown?”. The juxtaposition
between what Felix is willing to say and his thoughts revealed by the third-person focalised
narrative voice highlights the dissatisfying nature of vengeance as Felix is desperately trying
to convince himself that he is fulfilled. Thus, Atwood conveys the pursuit of vengeance as
underwhelming, suggesting that vengeance is perennially dissatisfying..
Representation of compassion:
Tempest (209)
Shakespeare's ‘The Tempest’ serves a pedagogic function, endorsing the restorative act of
forgiveness over the corrupting desire of our lesser noble aspects. Initially, Shakespeare
opens Act 1 in media res, signifying Prospero’s usurpation of the Jacobean divine order,
underscoring his opposition to the Christian belief of forgiveness and although he does not
intend harm, his questioning of Ariel “but are they, Ariel, safe?” suggests a willingness to
harm the innocent in his quest for revenge, blurring the line between his role and that of
God, as justice was considered a divine ordinance. However, in Act 5, Shakespeare's
soliloquy reveals that true forgiveness comes at a cost when Prospero decides to give
up"this rough magic" and recognises“the rarer action is in virtue than in vengeance”.
Positioning himself within Christian morality, Prospero discovers the authentic and
redemptive power of forgiveness when the epilogue breaks delineation “from crimes would
be pardon’d be, let your indulgence set me free”. Shakespeare's use of iambic pentameter,
provides a sense of completion as Prospero decides to embrace reconciliation and
redemption over the desire for vengeance, reclaiming his humanity. The inversion of the
revenge tragedy encourages the audience to consider the moral worth of compassion in
aligning with Christianity rather than revenge.
Hagseed (215)
Comparatively, Atwood's depiction of forgiveness in ‘Hagseed’, resonates with
Shakespeare's portrayal, even in the moral relativism of the postmodern zeitgeist. The
subjectivity of Felix’s third person focalised perspective aligns the reader with the
complexities of his grief. Whilst Prospero is forced into isolation, the setting of Felix’s
self-imposed reflects his fixation on vengeance. Hence, whilst Atwood reflects Prospero’s
forgiveness in Felix letting “bygones be bygones” he is not yet ultimately redeemed. Felix's
act of "strewing forgiveness around" suggests a cavalier approach to his mercy, especially
given that "his enemies had suffered, which had been a pleasure" , implies his act of
forgiveness is more transactional and less rooted in genuine repentance or moral growth. All
the while, Felix feels Miranda’s “fading, loosing substance”, the “endgame of his obsession
wasn’t to bring his Miranda back to life…” the free indirect discourse allows him to question
“keeping her tethered to him all this time” and sets her free. As a result, Felix hands over his
hold on grief, letting himself reconcile back into the world. Thus, Atwood reappropriation of
Shakespeare’s play echoes the idea that virtue is found in forgiveness and compassion,
whilst also validating that this journey is both personal and subjective leading to self
actualisation and healing.
T.S Eliot
Introduction:
The modernist movement of the early 20th century challenged the social, spiritual and
existential parameters that had previously underpinned western civilisation, leaving humanity
to navigate a world bereft of existential certainty. Throughout his oeuvre, ‘Selected Poetry’,
Eliot operates on three planes of existence; the social, where modernity is paralysed by
anxiety and debilitating self-conscious; the spiritual, which scrutinises mans’ inability to forge
a meaningful existence; and the existential plane of existence, where humanity is
confronted with its bleak spiritual decline.
External paragraph: 274
Eliot highlights the impossibility of authenticity and connection in the mundane reality of the
modern metropolis. Following the Second Industrial Revolution, the rapid growth of the
metropolis led to an experience of disillusionment and fragmentation, where urban life lacked
meaningful interaction, as individuals became lost to the “masquerades”. Eliot’s ‘Preludes’
(1911), insightfully establishes the precepts of detachment through vignettes, subverting
classical Romantic sentiment, the modern landscape is characterised by fragmentation, as
illustrated by the “muddy feet,” “soiled hands,” and “short square fingers.” The synecdoche
robs people of their humanity, creating a shared feeling of alienation and loneliness which
reflects the modernist belief about the city, speaking to the impossibility to find genuine
connection. Further, Eliot expresses how social isolation can cause a lack of ambition by
restricting the expression of "wants, needs and desires", portraying the world as dismal and
monotonous with no freedom. Furthermore, Eliot further subverts traditional romantic tropes
by fusing the transgressive human condition with the sordid decay of the metropolis,
exemplified through the “sawdust tramp[ed] the boards.” The imagery of sawdust, often
employed to cover waste, implies that city life is a facade, covering a disturbing and
unpleasant reality. This artifice and inability to connect are evident in Eliot’s The Love Song
of J. Alfred Prufrock (1910), where the speaker, Prufrock, asserts the necessity “To prepare
a face to meet the faces that you meet.” This synecdoche emphasises how modernity has
stripped individuals of their humanity, highlighting the preformative nature of such existence.
In this way, Eliot captures the sense of isolation prevalent in the early 20th century,
suggesting that life is inherently preformative and devoid of genuine connection.
Internal paragraph: 271 words
T.S. Eliot’s explores the depiction of man’s inability to take decisive action in a modern society
that is void of meaningful human connection as pre-war tension manifest into a sense of
impotence. Eliot’s dramatic monologue in ‘The Love Song of J. Alfred Prufrock (1910) redefines
traditional form, offering not a revelation of character but a "dismantling of character" as Prufrock
characterises himself through negation, declaring, "I am no prophet" and "I am not Prince
Hamlet". This underscores Prufrock's lack of identity and his perception of himself as
insignificant. However, Prufrock reappropriates the language of Ecclesiastes to add credibility
and to value his inaction as somehow noble, insisting "There will be time, there will be time”. Yet,
following the dramatic monologue, it is revealed that time is limited, he is ageing when “I grow
old... I'm growing old... I shall wear the bottoms of my trousers rolled". The repetition of "I grow
old" emphasises Prufrock's awareness of his own mortality and the passing of time. The image of
rolling up trousers signifies a futile attempt to appear youthful, highlighting Prufrock's insecurities
and fear of ageing. Yet, Prufrock muses “Do I dare disturb the universe?”. The rhetorical question
reflects Prufrock's hesitancy and self-doubt, reflecting the personal sense of crisis which
characterised the early 20th century. Instead, Prufrock muses "I should have been a pair of
ragged claws / Scuttling across the floors of silent seas'', Eliot utilises the zoomorphic imagery to
portray sub-human existence as appealing, as it carries no burden of consciousness, acting on
only raw instinct. Thus, Eliot highlights the paralysis of individuals in modern society due to their
futile existence.
Spiritual paragraph: 241
Eliot's poetry examines the futility and bleak outlook on the spiritual decline of modern man.
Amid the social upheaval of the Great War, traditional religious foundations were challenged,
leading to an increasing ontological distance between humanity and the possibility of a
higher power. Eliot, through dramatic monologue In ‘The Hollow Men’, rationalises Modern
man’s paradox of yearning to exceed his shortcomings whilst trapped within the confines of
a spiritual vacuum. Throughout the first stanza, the enjambment structurally echoes the
fragmented nature of the era, which deconstructed established ways of thinking. Eliot’s
synecdoche of “headpiece filled with straw” and “dried voices” symbolises man’s detachment
from spirituality, manifested through physical disembodiment. The oxymoron surrounding
Eliot’s juxtapositions of “shape without form” and “shade without colour” unveils a dualism
within man which neutralises itself, symbolic of society’s indecisiveness between cold
rationalism and Romantic optimism, which reduced man’s “gestures” of progress to a
“paralysed force”. In ‘Prufrock’, Eliot refers to this as the “etherised” state man resides in as
the world evolves without him. The lack of narrative progress represents the unwillingness to
change the status quo, even in a time that challenged traditional structures but ultimately
didn’t succeed in creating something new. This failure to transform led to a loss of identity,
hidden behind false appearances. Thus, Eliot reveals man’s reliance on others to catalyse
change, as we collectively “lean together” and “behave as the wind behaves”, becoming “no
nearer” to spiritual awakening.