Department of English

Faculty of Arts, Chulalongkorn University


 

The Crucible

(1953)

 

Arthur Miller
(October 17, 1915 – February 10, 2005)


 

Notes

First called Those Familiar Spirits, this play under its current title opened on Broadway in New York at the Martin Beck Theatre (renamed Al Hirschfeld Theatre in 2003) on January 22, 1953 and ran for 197 performances, winning the Tony Award for Best Play that same year. An operatic adaptation was commissioned by the New York City Opera, written by Richard Ward with libretto by Bernard Stambler, and premiered in 1961, winning a Pulitzer Prize for Music and the New York Music Critics Circle Citation in 1962.


crucible:


Act 1 (Overture)

Reverend Samuel Parris: minister of Salem Village 1689–1697


Massachusetts Historical Society
  • reverend (Merriam-Webster)
    2 b: being a member of the clergy —used as a title <the Reverend Mr. Doe> <the Reverend John Doe> <the Reverend Mrs. Jane Doe>
  • minister (Merriam-Webster)
    2 b: a clergyman especially of a Protestant communion
  • clergyman: a member of the clergy
  • clergy (Meriam-Webster)
    1: a group ordained to perform pastoral or sacerdotal [priestly] functions in a Christian church
  • Biography

 

 

Salem, Massachusetts:

 

their creed: Puritanism; Puritan beliefs and values, for example:

One law forbade the wearing of lace, another of "slashed cloaths other than one slash in each sleeve and another in the back." The length and width of a lady's sleeve was solemnly decided by law. It was a penal offense for a man to wear long hair, or to smoke in the street, or for a youth to court a maid without the consent of her parents. A man was not permitted to kiss his wife in public. Captain Kimble, returning from a three-years' ocean voyage, kissed his wife on his own doorstep and spent two hours in the stocks for his "lewed and unseemly behavior." (Puritan Laws and Character)

Jamestown: founded in 1607, Jamestown, in the Colony of Virginia, is the first permanent English settlement in America

 


 

 

the Puritans:

Tituba: Note Miller's liberties in the creation of Tituba. For instance, historically she may not have been a Negro, and she was not the reason the girls were afflicted.


Barbados: an island country in the Caribbean Sea; colonized by Britain in 1627

 

Barbados
Central America. Map. 2006. Modified from the CIA's World Factbook.
 
Barbados
Ligon, Richard Ligon. A Topographicall Description and Admeasurement of the Yland of Barbados in the West Indyaes. Map. A True and Exact History of the Island of Barbados. London: H. Moseley, 1657.

 


dissembling: pretense, acting, feigning, faking


10  sport:


11  Goody: shortened form of goodwife, a polite way to address the mistress of a household; Mrs.


12  hard-handed:

14  break: to make a will invalid; here, Thomas Putnam is trying to contest his father's will through legal procedures

 

16  swayed: convinced

22  covenanted:

25  iniquity:

 


28  Quakers: members of the Religious Society of Friends


Trial of Anne Hutchinson
Abbey, Edwin Austin. Trial of Anne Hutchinson. Scribner’s Popular History of the United States. William Cullen Bryant, Sidney Howard Gay, and Noah Brooks. New York: C. Scribner's Sons, 1898.
  • Friend (Merriam Webster)
    5 capitalized: a member of a Christian sect that stresses Inner Light, rejects sacraments and an ordained ministry, and opposes war —called also Quaker
  • Who Are the Quakers?, Arch Street Friends (what Friends believe, testimonies in real life)
    • The Religious Society of Friends (Quakers) arose in mid-17th century England, during the religious, social and political upheaval of the English Civil War. Founded by George Fox (1624–1691), the movement was not intended as a new denomination, but rather as a rediscovery of original Christianity without institutional limitations. With recently-acquired access to the Bible in English, converts to this new view called themselves "Friends of Truth," considering themselves to be friends of Jesus, after the Gospel of John 15:14 ("You are my friends if you do what I command you").
    • Mocked as trembling with religious zeal, Fox and his followers adopted the term "Quakers" as their own.
  • Carla Gardina Pestana, Quakers and Baptists in Colonial Massachusetts (Cambridge: Cambridge UP, 1991)
    • Making the most of early Quaker statements that the inward light superseded the Bible and ignoring modifications in the sect's position since that time, ministers often informed lay people that the Quakers refused to acknowledge that the Scriptures were the Word of God. (148)
    • The portrayal of sectarians as outsiders proved most effective with the Quakers, for whom it had originally been developed. Quakerism, as the more radical departure from orthodoxy, had always earned especially vicious epithets. Initially, official pronouncements by the General Court described them as "wicked and dangerous seducers" and "incorrigible rogues & enemies to the common peace." Given this understanding of the sect, Quakers could easily be depicted as alien. The extremism of the early movement and the Salem community's clannishness also enhanced the image of Quakerism as far beyond the pale. (148)
    • Increase Mather adopted a more indirect approach to damning Quakerism, repeating stories of the murderous debauchery of the Long Island Ranters in his exceedingly popular Essay for the Recording of Illustrious Providences (1684). Dubbing them the "singing and dancing Quakers," Mather linked this group—which reportedly stage sacrificial killings, danced naked, and otherwise worshipped the devil—to the Quakers themselves. Similarly, Cotton Mather would associate Quakers first with witches and then also with Satan and Indians in pamphlets published five and fifteen years later. (149)
    • To be likened to the Quakers...was a profound insult. In 1690, Cotton Mather was declared a "semi-Quaker" for his views on the Lord's Supper. (150)
    • The association of Quakers as aliens continued for so long in large part because the Quakers themselves enhanced that image by adopting a provocative stance toward the colonial establishment. Their audacious disregard for the authority of the colony's magistrates and ministers was most marked during the first twenty years of the sect's existence in Salem. (150)
  • Tim Lambert, "A Short History of Boston, Massachusetts, USA"
         The Puritans hoped to create a 'city on a hill' i.e. a shining example of a Godly society for the entire world to see. Instead they created a society just as intolerant as the one they had left. The Puritans went to America fleeing religious persecution but they in turn persecuted the Quakers who they called a 'cursed sect'. A Baptist named Obadiah Holmes was publicly whipped in Boston in July 1651. In October 1659 two Quakers named William Robinson and Marmaduke Stevenson were hanged in Boston. Another Quaker named Mary Dyer was hanged on Boston Common on 1 June 1660.
  • Murray N. Rothbard, "Pennsylvania's Anarchist Experiment: 1681–1690," Conceived in Liberty (1979)
         Induced by religious liberty and relatively cheap land, settlers poured into Pennsylvania at a remarkably rapid rate, beginning in 1682. Most of the immigrants were Quakers; in addition to English Quakers came Welsh, Irish, and German Quakers, Penn laid out the capital, destined to become the great city of Philadelphia, and changed the name of the old Swedish settlement of Upland to Chester. The German Quakers, led by Francis Daniel Pastorius, founded Germantown, In addition to Quakers, there came other groups attracted by the promise of full religious liberty: German Lutherans, Catholics, Mennonites, and Huguenots.
  • Society of Friends (Quaker) (Patheos Library)
    The Religious Society of Friends, commonly known as the Quakers, is a Protestant Christian tradition originating in mid-17th century England. Founded (traditionally) by George Fox, it adhered to religious teaching and practice that focused on living in accordance with the "Inward Light" (the inward apprehension of God, who is within everyone).
  • The Religious Society of Friends (introductory items, writings of historical Friends, Quaker history)

 

 

29  break charity with

 

Charity
Burgkmair, Hans. Die Liebe. The Metropolitan Museum of Art.
  • charity (Merriam Webster)
    1: benevolent goodwill toward or love of humanity
    2 a: generosity and helpfulness especially toward the needy or suffering; also: aid given to those in need  b: an institution engaged in relief of the poor  c: public provision for the relief of the needy
    3 a: a gift for public benevolent purposes  b: an institution (as a hospital) founded by such a gift
    4: lenient judgment of others
  • 1 Corinthians 13:
    1 Though I speak with the tongues of men and of angels, and have not charity, I am become as sounding brass, or a tinkling cymbal.
    2 And though I have the gift of prophecy, and understand all mysteries, and all knowledge; and though I have all faith, so that I could remove mountains, and have not charity, I am nothing.
    3 And though I bestow all my goods to feed the poor, and though I give my body to be burned, and have not charity, it profiteth me nothing.
    4 Charity suffereth long, and is kind; charity envieth not; charity vaunteth not itself, is not puffed up,
    5 Doth not behave itself unseemly, seeketh not her own, is not easily provoked, thinketh no evil;
    6 Rejoiceth not in iniquity, but rejoiceth in the truth;
    7 Beareth all things, believeth all things, hopeth all things, endureth all things.
    8 Charity never faileth: but whether there be prophecies, they shall fail; whether there be tongues, they shall cease; whether there be knowledge, it shall vanish away.
    9 For we know in part, and we prophesy in part.
    10 But when that which is perfect is come, then that which is in part shall be done away.
    11 When I was a child, I spake as a child, I understood as a child, I thought as a child: but when I became a man, I put away childish things.
    12 For now we see through a glass, darkly; but then face to face: now I know in part; but then shall I know even as also I am known.
    13 And now abideth faith, hope, charity, these three; but the greatest of these is charity.
  • Charity, The Theological Virtues, Chapter 1: The Dignity of the Human Person, Catechism of the Catholic Church; Charity
  •  

 


 

37  incubi: plural of incubus

 
37  succubi: plural of succubus



Act 2

55  commandments: the Ten Commandments

Modernized Spelling Transcription of 1611 KJV Scanned Page from 1611 KJV
3: Thou shalt have no other gods before me.
4: Thou shalt not make unto thee any graven image, or any likeness of any thing that is in heaven above, or that is in the earth beneath, or that is in the water under the earth:
5: Thou shalt not bow down thyself to them, nor serve them: for I the LORD thy God am a jealous God, visiting the iniquity of the fathers upon the children unto the third and fourth generation of them that hate me;
6: And shewing mercy unto thousands of them that love me, and keep my commandments.
7: Thou shalt not take the name of the LORD thy God in vain; for the LORD will not hold him guiltless that taketh his name in vain.
8: Remember the sabbath day, to keep it holy.
9: Six days shalt thou labour, and do all thy work:
10: But the seventh day is the sabbath of the LORD thy God: in it thou shalt not do any work, thou, nor thy son, nor thy daughter, thy manservant, nor thy maidservant, nor thy cattle, nor thy stranger that is within thy gates:
11: For in six days the LORD made heaven and earth, the sea, and all that in them is, and rested the seventh day: wherefore the LORD blessed the sabbath day, and hallowed it.
12: Honour thy father and thy mother: that thy days may be long upon the land which the LORD thy God giveth thee.
13: Thou shalt not kill.
14: Thou shalt not commit adultery.
15: Thou shalt not steal.
16: Thou shalt not bear false witness against thy neighbour.
17: Thou shalt not covet thy neighbour's house, thou shalt not covet thy neighbour's wife, nor his manservant, nor his maidservant, nor his ox, nor his ass, nor any thing that is thy neighbour's.
3: Thou shalt haue no other Gods before me.
4: Thou shalt not make vnto thee any grauen Image, or any likenesse of any thing that is in heauen aboue, or that is in the earth beneath, or that is in the water vnder the earth.
5: Thou shalt not bow downe thy selfe to them, nor serue them: For I the LORD thy God am a iealous God, visiting the iniquitie of the fathers vpon the children, vnto the thirde and fourth generation of them that hate me:
6: And shewing mercy vnto thousands of them that loue mee, and keepe my Commandements.
7: Thou shalt not take the Name of the LORD thy God in vaine: for the LORD will not holde him guiltlesse, that taketh his Name in vaine.
8: Remember the Sabbath day, to keepe it holy.
9: Sixe dayes shalt thou labour, and doe all thy worke:
10: But the seuenth day is the Sabbath of the LORD thy God: in it thou shalt not doe any worke, thou, nor thy sonne, nor thy daughter, thy man seruant, nor thy mayd seruant, nor thy cattell, nor thy stranger that is within thy gates:
11: For in sixe dayes the LORD made heauen and earth, the sea, and all that in them is, and rested the seuenth day: wherefore the LORD blessed the Sabbath day, and halowed it.
12: ¶ Honour thy father and thy mother: that thy dayes may bee long vpon the land, which the LORD thy God giueth thee.
13: Thou shalt not kill.
14: Thou shalt not commit adultery.
15: Thou shalt not steale.
16: Thou shalt not beare false witnes against thy neighbour.
17: Thou shalt not couet thy neighbours house, thou shalt not couet thy neighbours wife, nor his man seruant, nor his maid seruant, nor his oxe, nor his asse, nor any thing that is thy neighbours
King James Bible

 


Act 3

77  vestry

81  Marblehead: a town in Massachusetts founded in 1629 and was part of Salem until 1648


81  Lynn: a town in Massachusetts, became a city in 1850

93  ipso facto: Latin for, literally, "by the fact itself"


102  mark:

 

102  bedded: note the pun here, playing on at least two senses of the verb "to bed": one meaning to put to bed, and the other meaning to have sexual intercourse with

 

102  I have known her: I have had sexual intercourse with her.

 

104  shovelboard: a game played on a wooden board, common in taverns during the sixteenth and seventeenth centuries

108  gulling: deceiving, tricking


Act 4

116  providence: a divine act or guidance, an act or sign from God, God's will


117  Andover: a town in Massachusetts

118  gibbet:


gibbet
gibbet

gallows
gallows
  • (Webster's Third New International Dictionary, vol. 1, 955)
    1 or gibbet tree a: an upright post with a projecting arm for hanging the bodies of executed criminals in chains or irons  b: gallows
    2: the projecting arm of a crane: jib
  • gallows (Merriam-Webster)
    1 a: a frame usually of two upright posts and a transverse beam from which criminals are hanged—called also gallows tree  b: the punishment of hanging
    2: a structure consisting of an upright frame with a crosspiece
    Examples of gallows
        He was sentenced to death on the gallows.

 


120  Joshua: an Israelite leader whom God empowered, cf. Joshua 1:5: "There shall not a man be able to withstand thee all the days of thy life: as I was with Moses, so will I be with thee: I will not leave thee, nor forsake thee."

 

132  salvation:


132  beguile: to trick, bait, trap, tempt, lure; cf. Genesis 3:13: "The serpent beguiled me, and I did eat."




 



Language


    Miller seems to have written the play in a kind of white heat. The enthusiasm and speed with which he went to Salem underline the urgency with which he regarded the project, as did his later comment, on returning from Salem, that he felt a kind of social responsibility to see it through to production. His achievement was to control and contain that anger without denying it. Linguistically he achieved that by writing the play first in verse. Dramatically he accomplished it by using the structured formality of the court hearings, albeit hearings penetrated by the partly hysterical, partly calculated interventions of the accusing girls.

    Much of the achievement of The Crucible lies in his creation of a language that makes the seventeenth century both distant and close, which enables his characters to discover within the limiting vocabulary and grammar of faith turned dogma a means to express their own lives. For the British dramatist John Arden, who first encountered the play at a time when his own attempts at historical writing had, in his own words, proved "embarrassingly bad," it "showed me how it could be done." In particular, "It was not just the monosyllabic Anglo-Saxon strength of the words chosen so much as the rhythms that impregnated the speeches," that and "the sounds of the seventeenth century, not tediously imitated, but...imaginatively reconstructed to shake hands with the sounds and speech patterns of the twentieth." The language of The Crucible is not authentic in the sense of reproducing archaisms or reconstructing a seventeenth-century lexis. It is authentic in that it makes fully believable the words of those who speak out of a different time and place but whose human dilemmas are recognizably our own.


--Christopher Bigsby, "Introduction," The Crucible: A Play in Four Acts (New York: Penguin, 2003): xxi–xxii.




It was not only the rise of McCarthyism that moved me, but something which seemed much more weird and mysterious. It was the fact that a political, objective, knowledgeable campaign from the far Right was capable of creating not only a terror, but a new subjective reality, a veritable mystique which was gradually assuming even a holy resonance...Astounded, I watched men pass me by without a nod whom I had known rather well for years; and again, the astonishment was [end of page 39] produced by my knowledge, which I could not give up, that the terror in these people was being knowingly planned and consciously engineered, and yet that all they knew was terror. That so interior and subjective an emotion could have been so manifestly created from without was a marvel to me, It underlies every word in The Crucible.


--Arthur Miller, "Introduction," Arthur Miller's Collected Plays (New York: Viking, 1967): 39–40.



 

 

Study Questions

  • A crucible, a vessel for melting substances (ex. metals like copper, iron) at very high temperatures, is also a test or trial of extreme pressure. Think about high pressure situations different characters are put in and how they perform under that heat. How is Hale tested, for example, and how does he acquit himself? What about Tituba? How does the Barbadian slave's reaction under high pressure compare to that of her white masters? How does Elizabeth Proctor deal with the problems she faces? In what ways does John Proctor break or not break when severely tested?
    • Under what influences do different characters like Reverend Parris and Abigail who insisted on no witchcraft at first (9) change their positions to supporting and even desperately sustaining it?
    • In act 3, Danforth warns Proctor, "We burn a hot fire here; it melts down all concealment" (83). How prescient or accurate is the Deputy Governor's statement? What concealments, if any, are melted down in the heat of the proceedings that follow?
  • Puritan society is known to be highly patriarchal, with Puritan law and codes restricting women more than men. Consider the role of female characters in this play. Do they act as the codes would have them? How conforming are they to the Puritan ideal? In what ways have Puritan laws and conventions shaped them, and in what ways do they act against those codes? Look closely at some of the following scenes: the bedroom scene with the girls interacting with Rev. Parris and other men of the town (act 1), the home scene with Elizabeth and John Proctor (act 2), the yellow bird scene (act 3), the jail cell scene with Elizabeth and John Proctor (act 4).
  • What is the significance of someone's name or the act of naming? What is the purpose of Danforth's reciting the effect of his signed name to Francis Nurse toward the beginning of act 3: "And do you know that near to four hundred are in the jails from Marblehead to Lynn, and upon my signature?...And seventy-two condemned to hang by that signature?" (81)? In what ways is John Proctor's name "weighty" (131)? What qualities or values are embodied in someone's name that so many characters will go to great lengths to defend it? Look, for instance, at
    • Abigail: "My name is good in the village! I will not have it said my name is soiled!" (12)
    • "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" (14)
    • Proctor: "We vote by name in this society, not by acreage." (27); "How may I live without my name?" (133)
    • Giles Corey: "I will not give you no name. I mentioned my wife’s name once and I’ll burn in hell long enough for that. I state mute." (90)
    • Mary Warren: "My name, he want my name." (110)
  • Consider the different fears portrayed in this play. What do they mean and what are their consequences? In what ways are the fears misguided or justified? Examine what informs the fears of, for example,
    • Reverend Parris's "Quaking with fear" (8), "in deadly fear" (134)
    • Abigail's "with fear in her voice" (17)
    • Rebecca Nurse's "I fear it, I fear it" (26), "Let you fear nothing!" (133)
  • Notice Miller's use of words, terms or ideas. What meanings do they have? How do they change throughout the play? Consider, for example,
    • the Devil (26, 112, 113, 114); Lucifer (7)
    • unnatural things/causes (9); witched (9); the supernatural (14); witchcraft (9, 17); marvelous (67); magic (133)
    • lies (22, 78, 126, 129, 130); lying (94); liars (94); a fraud (19); hypocrisy (19); pretense (22)
    • God (30, 76, 94, 95, 110, 111, 120, 127, 133); the Lord (7, 28, 131)
  • Why are numbers used so often in this play? What impact do they have?

            

 


 

Review Sheet

 

Characters

Ezekiel Cheever – "Let you go to Ezekiel Cheever—he knows you [John Proctor] well" (50);

Martha Corey – third wife of Giles Corey (67); charged by Walcott for "bewitch[ing] them [Walcott's pigs] with her books" (68)

Giles Corey – husband of Martha; "early eighties" (38); "eighty-three...knotted with muscle, canny, inquisitive, and still powerful" (23); "Great stones they lay upon his chest until he plead aye or nay...They say he give them but two words. 'More weight,' he says. And died" (125)
Mary Easty – Rebecca Nurse's sister, also accused of witchcraft (130)

Deputy Governor Danforth – "a grave man in his sixties, of some humor and sophistication...exact loyalty to his position and his cause" (79); see also Character Profile: Danforth;

Sarah Good – "the woman's near to sixty!" (56); "smokin' a pipe all these years, and no husband either!" (56); does not hang because she confesses (54); a jabberer (54)

Dr. William Griggs – attended Ruth's illness (8); "cannot discover no medicine for it [Betty's illness] in his books" (8); "he bid me tell you, that you might look to unnatural things for the cause of it [Betty's strange illness]" (9); "They had Doctor Griggs examine her [Sarah Good], and she's full to the brim [pregnant]" (56)

Judge Hathorne – "in his sixties, a bitter, remorseless Salem judge" (78)

Reverend John Hale – minister of Beverly (39); "nearing forty, a tight-skinned, eager-eyed intellectual...felt the pride of the specialist" (30); "Coming into Salem now, Reverend Hale conceives of himself much as a young doctor on his first call. His painfully acquired armory of symptoms, catchwords, and diagnostic procedures is now to be put to use at last...He feels himself allied with the best minds of Europe—kings, philosophers, scientists, and ecclesiasts of all churches. His goal is light, goodness and its preservation, and he knows the exaltation of the blessed whose intelligence, sharpened by minute examinations of enormous tracts, is finally called upon to face what may be a bloody fight with the Fiend himself" (34)

Marshal Herrick – "a man in his early thirties" (68)

Hopkins – a guard (113)

Mercy Lewis – "the Putnam's servant, a fat, sly, merciless girl of eighteen" (16); was running through the trees naked in the forest (10, 17)

Francis Nurse – husband of Rebecca Nurse; "one of those men for whom both sides of the argument had to have respect...called upon to arbitrate disputes as though he were an unofficial judge...[he and his wife] had three hundred acres, and their children were settled in separate homesteads within the same estate" (24); "The Nurse clan had been in the faction that prevented Bayley's [Thomas Putnam's man for the Salem ministry] taking office" (24)

Rebecca Nurse – wife of Francis Nurse; "seventy-two...white-haired" and uses a walking stick (23); "It was Edward and Jonathan Putnam who signed the first complaint against Rebecca" (25); "I have eleven children, and I am twenty-six times a grandma, and I have seen them all through their silly seasons" (25); "if Rebecca Nurse be tainted, then nothing's left to stop the whole green world from burning" (67); charged "For the marvelous and supernatural murder of Goody Putnam's babies" (67); does not confess, "She is one foot in Heaven now; naught may hurt her more" (124)
Goody Osburn – midwife to Mrs. Putnam three times (44); "I [Mrs. Putnam] feared her. My babies always shriveled in her hands!" (44); "Goody Osburn—will hang!" (54)

Reverend Samuel Parris – widower "in his middle forties" (3); minister of Salem; "spent some years as a merchant [in Barbados] before entering the ministry" (7); "preach only hellfire and bloody damnation. Take it to heart, Mr. Parris. There are many others who stay away from church these days because you hardly ever mention God any more" (27); "you are the first minister ever did demand the deed to this house" (28)

Elizabeth Parris, Betty – daughter of Rev. Parris, age 10 (3)

Elizabeth Proctor – wife of John Proctor; accused of being a witch by Abigail (69)

John Proctor – husband of Elizabeth; "a farmer in his middle thirties...powerful of body, even-tempered, and not easily led...In Proctor's presence a fool felt his foolishness instantly...the steady manner he displays does not spring from an untroubled soul. He is a sinner...not only against the moral fashion of the time, but against his own vision of decent conduct...Proctor, respected and even feared in Salem, has come to regard himself as a kind of fraud...a man in his prime...with a quiet confidence" (19); "He is another man, bearded, filthy, his eyes misty as though webs had over grown them" (123)

Mrs. Ann Putnam – wife of Thomas Putnam; "a twisted soul of forty-five, a death-ridden woman, haunted by dreams" (12);

Thomas Putnam – husband of Ann Putnam; "a well-to-do, hard-handed landowner, near fifty" (12); "a man with many grievances...the eldest son of the richest man in the village" (13); "regarded himself as the intellectual superior of most of the people around him. His vindictive nature was demonstrated long before the witchcraft began...a deeply embittered man...it is not surprising to find that so many accusations against people are in the handwriting of Thomas Putnam" (14)

Ruth Putnam – daughter of Thomas and Ann Putnam (12); "led the crying-out at the most opportune junctures of the trials" (14); "seems to walk like a dead one since last night" (17); "fell into a fit at the hearing and pointed to Rebecca as her attacker" (25)

Tituba – "Negro slave...in her forties" that "Parris brought...with him from Barbados" (7)

Abigail Williams, Abby – niece of Rev. Parris, age 17, "a strikingly beautiful girl, an orphan, with an endless capacity for dissembling" (8); "drank blood...a charm to kill Goody Proctor" (18); "I saw Indians smash my dear parents' heads on the pillow next to mine, and I have seen some reddish work done at night" (19)

Susanna Walcott – "a little younger than Abigail, a nervous, hurried girl" (8)

Mary Warren – the Proctors' maidservant; "seventeen, a subservient, naïve, lonely girl" (17); "we've got to tell" (18); "I never done none of it...I only looked!" (18)



Setting

Place

Salem, Massachusetts – "Salem had been established hardly forty years before" (3)

    small upper bedroom, home of Reverend Samuel Parris – "his house stood in the 'town'—but we today would hardly call it a village" (3)

    vestry room, Salem meeting house – "now serving as the anteroom of the General Court" (77); near Rev. Parris's house (3);

    a cell, Salem jail – (112)


Outside of Salem Village

    common room, home of John Proctor – (47)



Time

spring, 1692 – (3); "I [Proctor] never see such a load of flowers on the earth...Massachusetts is a beauty in the spring!" (49)

    morning – "through its [window of upper bedroom in Rev. Parris's home] leaded panes the morning sunlight streams" (3)

    evening – "it's almost dark" (47); "Good evening" (60)

    day – "sunlight pouring through two high windows in the back wall" (77)


fall, 1692 – (112)

    night – "The place is in darkness but for the moonlight seeping through the bars" (112)

    morning – "the new sun is pouring in upon her face, and the drums rattle like bones in the morning air" (134)

 

 



Sample Student Responses to Arthur Miller's The Crucible 


   

Response 1:

Study Question: Notice Miller's use of words, terms or ideas. What meanings do they have? How do they change throughout the play?

 

 

 

 

 

 

Parida Namseni

2202234 Introduction to the Study of English Literature

Acharn Puckpan Tipayamontri

August 21, 2013

Reading Response 2

  

Bad Is Good: Ugly Equations in The Crucible

 

In the final act of Arthur Miller’s The Crucible, John Proctor’s words telling Elizabeth, his wife, of his decision to confess sum up a distorted pattern that is so disturbing in this play. Of the tantalizing confession he says, “It is evil. Good, then” (128), laying out a twisted equation—bad equals good—one of many that plague this staging of events that challenges audiences to rethink simple words as connected to simple referents.

For Proctor who considers himself a sinner (19), this confession is not only bad, and therefore good (a sin befits a sinful man), it is also life: “You’ll confess yourself?...I want my life” (127), presumably also good, presenting yet another bad equals good equation. Proctor’s confession is bad because it is a lie, and in lying he is selling his friends (132), and in selling his friends, gifting them to a corrupt court and to Parris, a minister who “hardly ever mention[s] God” 27 (“Would you ever give them this?” 128). In lying to gain his life, he is taking away others’. His bad good act is good for the wrong people. More conflicting equations arise as the condemned man, urged to sign a public confession, is torn not only between living in name or living in person, but also mired in an doomed equation: to sign is to live, but to sign his name to a lie also destroys his name. “How may I live without my name?” (133). If Proctor cannot live without his name, his lie means death either way.

When Rebecca Nurse is brought in to learn from Proctor’s actions, her “Why” (129) breaks down this charade of an equation. John Proctor finds himself false yet again, even as he is trying to be truthful. Unlike others’ true lies, Proctor’s false lie—a lie that is false to itself as a lie—is not accepted by Danforth (133).

The world has turned upside-down. When the adulterer Proctor becomes a “good example” for Rebecca Nurse to “witness” (129), when lying is “com[ing] to God” and bringing a woman who already “has half a foot in Heaven” to God, the equations’ paradox is stark: those unable to lie are witches and with the Devil, and liars are with God. Fear of God equals death, and fear of death equals murder. There is a crucial last one: “It is the same, is it not? If I report it or you sign to it?” (132). Proctor refuses this equation: “No, it is not the same!” Following Miller’s relentless showing of the terrible face of a sick society until it has exhausted its incredible horrors, one can only hope that, true to its paradoxical play to the end, the resulting deaths and killing can come to some good.


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Works Cited


Miller, Arthur. The Crucible: A Play in Four Acts. 1953. Introd. Christopher Bigsby. New York: Penguin, 2003. Print. Penguin Classics.

 

 

 

 

 



 

 


 

Reference


Miller, Arthur. The Crucible: A Play in Four Acts. 1953. Introd. Christopher Bigsby. New York: Penguin, 2003. Print. Penguin Classics.


Further Reading

Bigsby, Christopher, ed. The Portable Arthur Miller. New York: Penguin, 1995. Print.


Boyer, Paul, and Stephen Nissenbaum. Salem Possessed: The Social Origins of Witchcraft. 1974. Cambridge: Harvard UP, 1994. Print.


Miller, Arthur. Arthur Miller's Collected Plays. New York: Viking, 1967. Print.


Miller, Arthur. The Theater Essays of Arthur Miller. Ed. R. A. Martin. New York: Viking, 1978. Print.


Miller, Arthur. Timebends: A Life. New York: Grove, 1987. Print.

 

 

Links

 


Media


  • Witch Hunt, dir. Lisa Ouijano Wolfinger, History Channel (2001 documentary; 1 h. 8:01 min.)

  • Salem Witch Trials, dir. Joseph Sargent (2002 TV movie)

  • Cold War, CNN (1998–1999 TV series; 24 episodes)

  • Hollywood on Trial, dir. David Helpern (1976 documentary on the HUAC hearings and the Hollywood blacklist)


  • Christopher Bigsby, "Arthur Miller: Un-American," Esmond Harmsworth Lecture, Oxford University (2009)

  • The Crucible, dir. Yaël Farber, The Old Vic Theatre (Jun. 21–Sep. 13, 2014; includes link to audio introduction [16:30 min.] to the production and transcript)
    • Richard Armitage, Interview, BBC Breakfast (2014 The Crucible Promo; video clip, 7:33 min.)

  • The Crucible, dir. Sam Strong, Melbourne Theatre Company (Jun. 22–Aug. 3, 2013)

  • Part 1, The Crucible, Williams College (2013; 1 h. 22:56 min.)

  • Act  1, The Crucible, Bedford College (2011; 27:05 min.)

  • The Crucible, opera, Dicapo Opera Theatre (2008)
    • Act 1 (1 8:38 min., 2 9:46 min., 3 9:18 min., 4 4:50 min.)
    • Act 2 (1 8:50 min., 2 8:40 min., 3 9:44 min.)
    • Act 3 (1 8:58 min., 2 10:55 min., 3 6:51 min.)
    • Act 4 (1 9:36 min., 2 8:20 min., 3 10:22 min.)




Arthur Miller

 

 


 


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Last updated September 21, 2014