The Crucible

Crucible Questions 1. Perhaps the most shocking element of the play which is revealed in the introduction is that which is revealed to the play's reader here for the first time as the extraordinary young age of the girls. Acknowledging them as being barely out of their puberty, this introduction helps to pave the way for the cruel behavior perpetrated by such young aggressors. A second shocking detail noted in the introduction relates to the fact in the years after the witch trials, when the state of Massachusetts had come to full acknowledge and provide reparations for what had occurred, it did so with precious little remorse. Though it provided a small financial sum to the compensation of the Proctors-with John Proctor already deceased by execution-"perversely, damages were paid not only to the victims but also to such people as William Good, who was his wife's accuser, and Abigail Hobbs, a 'confessed witch' who became a hostile witness.'" (viii) In addition to this grotesque distortion of a reconciliation, the statement provided by the Governor accompanying this statement of apology would argue nonetheless that the accusers could be forgiven for their atrocities due to the fact that the time and place in question was "infested with a horrible Witchcraft." (vii) This would seem a most unyielding apology. These observations lead to a number of questions concerning the play as a whole. Particularly, the fact of this unrepentence causes me to wonder whether Miller's political enemies recognized the parallels suggested between McCarthyism and the Witch Trials. A second question wonders whether this play might have been made had not the era of McCarthyism begun to impact artists, authors and entertainers, even in spite of the fact that it was based on events more than 200 years passed. A final question as we enter further discussion on this subject questions whether or not-without a loaded intention-Miller's analogy between the Witch Trials and the anti-communist loyalty trials of the 1950s. 2. The most prominent of distinctions from history is the set of dramatic liberties taken with regard to personal relationships, such as the affair between Proctor and Abigail, which would be a device intended to move forward themes of personal vindictiveness. Additional distinctions are the characterizations which in many contexts, Miller acknowledges, were intended as 'composite' sketches of groups of individuals identified by historical record. His characters were fictionalized for the purpose of economy. An additional detail of importance is that many of the character ages were altered in order to create dramatic tensions and possibilities central to the narrative action but distinct from historical accuracy.

3. Act I: I am immediately struck by how fast speculation is turned around in this sequence. The manipulative young girls escape culpability for deviant behavior by exploiting the primitive instincts of the townsfolk. I am amazed by the susceptibility of the townsfolk to such a ploy. Act II: Again, what is most stunning is the quickness with which the Church moves to respond to allegations, eschewing sensible law enforcement or due process to instead begin a serious of completely unfounded arrests. Indeed, the arrival of Hale, the specialist on witchcraft, brings with it a gloomy sense of foreboding. With the sentence of death being the outcome to such proceedings, I am moved by the remarkable errant authority. Act III: The courtroom drama in this act is compelling if a little overstated. Here, the genuine hysteria has set in and the outrageous turnabout between first Mary and John toward Abigail and ultimately, Mary and Abigail toward John demonstrates the greatest problem of the play. It is clear that everybody is on trial. Act IV: I am most surprised by the reversal of Hale in this act. Initially, I viewed him as a sinister figure but it is clear by this juncture that the forces governing Salem had leapt far beyond his intent or control. The finality of the play here is unforgiving, as the accused are hanged with no redemption.

4. Two major themes in this work are those of intolerance and justice.