Dramatic Devices

Download PDF PDF Page Citation Cite Share Link Share

The Crucible is a drama in the tradition of American realism, and Arthur Miller strives for historic verisimilitude both through his deliberate use of archaic language in the dialogue and by prescribing settings with a distinctly realistic look. Proctor’s house has the “low, dark, and rather long living room of the time.” Samuel Parris’ house, with its “air of clean spareness,” where “the roof rafters are exposed, and the wood colors are raw and unmellowed,” accords with the audience’s preconception of a Puritan minister’s home. Clearly, Miller is also re-creating the myth of Puritan drabness here: His theatrical setting eschews the bright blues and reds with which the Puritans actually decorated their homes.

The lighting of the opening moments of the play has its obvious diegetic source in “the morning sunlight” that streams through the leaded panes of a narrow window at the left. Against this appropriate backdrop, the events of the previous night are brought to light. Characters are neatly grouped into units by the possibility of having some go “downstairs,” into the meeting room offstage. Thus, there is private space created for the girls and, later, for a key scene between Proctor and Abigail. To reinforce the audience’s sense of a coming eclipse of Proctor’s fortunes, and to create an outer manifestation of the inner darkness of the characters and the city of Salem, his house is visited in the evening, after a hard day in early summer. In contrast, the courtroom drama of act 3 is played out in broad daylight. Proctor and Corey face the juggernaut of Danforth’s witch trial in a well-crafted liminal space, the anteroom of the courtroom; this both avoids the distracting spectacle of a full courtroom and—since the anteroom has doors to the court and the street (stage left and right respectively)—creates a spatial image of purgatory. In this space Proctor faces the hell of a justice system set to make a mockery of rational law and due process.

With a touch of the melodramatic, the jail scene of act 4 opens in the dark hours before an autumn dawn; Miller’s stage directions have characters blowing on their hands in order to emphasize the coldness of the near dungeon. Here, the play has come full circle from act 1’s (false) promise of a spring day. Yet through Proctor’s steadfastness and his reconciliation with his pregnant wife, the possibility of a rebirth—following the autumnal day of the hanging and the winter of injustice—is strongly suggested; such a rebirth is confirmed by Miller’s epilogue to the printed play.

Form and Content

Download PDF PDF Page Citation Cite Share Link Share

The Crucible is based on actual persons and events. While some dialogue and characterizations are based on legal records of the Salem witch trials, other details crucial to the play are inventions or suppositions by the author. The published version of The Crucible includes occasional prose discussions of the characters and themes that are not part of the play in performance. The play as published begins with several pages describing the Puritan environment in which the events take place. Arthur Miller explains that the witch trials occurred because of a theocratic government that repressed individual freedom.

The play opens in the home of Reverend Samuel Parris, where his daughter Betty is suffering from a mysterious ailment. Parris had discovered Betty and his niece Abigail Williams dancing naked in the forest and fears that Betty’s ailment is supernatural in origin. Other Salemites—including Ann Putnam, who has lost several children—believe that witchcraft has been responsible for local misfortunes. The girls have, in fact, been playing at witchcraft, a crime that carries a penalty of death. In order to protect themselves from punishment, the girls confess that they were under the spell of other witches within the community, and they provide Parris with the names of those witches. Parris is a vain man who seeks to be the central power within the community. His sermons have more often concerned his desires for increased pay and gold candlesticks than spiritual or moral lessons. Lately, his congregation has developed a faction opposed to his authority. Parris sees the girls’ accusations as a chance to regain the power that he has lost.

One of Parris’ most vocal critics has been John Proctor, a farmer. Abigail had been a servant for Proctor and his wife, Elizabeth, until Elizabeth discovered that Proctor was having an affair with Abigail. Abigail still harbors a hatred for Elizabeth, and, as the trials progress, Elizabeth becomes one of the accused. In a scene that Miller added after the play was first produced, Proctor confronts Abigail after the arrest of Elizabeth, only to discover that Abigail has become insane.

Before long, many of the most respected citizens of Salem—especially Rebecca Nurse and Giles Corey—have been condemned or executed. Proctor defends his wife before the tribunal and even confesses his adultery, a ploy that fails because Elizabeth, not aware of his confession, denies her husband’s sin in order to protect him. The Proctors’ current servant, Mary Warren, who is also one of the accusers, knows Elizabeth to be innocent but lacks the courage to reveal the trials as a sham. The trials have become a self-justifying institution; anyone who attempts to oppose them instantly faces the accusation of witchcraft, and to be accused is to be assumed guilty. Proctor’s defense sways Reverend Hale, a minister from a neighboring community, but even Hale cannot save Proctor from being placed under a sentence of death.

Those condemned for witchcraft can save themselves by confessing their guilt and naming other witches (thereby validating the trials). As Proctor and others await their executions, Hale pleads with them to confess because he knows their condemnations to be unjust. After much prodding, Proctor agrees to confess but refuses to name others. In the end, he goes offstage to be hanged.

Places Discussed

Download PDF PDF Page Citation Cite Share Link Share

*Salem

*Salem. Small Massachusetts town on the Atlantic coast, about twenty miles northeast of Boston. A small community sandwiched between the ocean and the wilderness, Salem felt itself surrounded by danger, a danger that could be combated only by hard work, perseverance, and strict religious observance. The Native Americans living in the area presented a threat, but the devil, who lurked in the nearby wilderness, was a far greater threat, tempting villagers to worship him. The theocracy that governed Salem was designed to prevent this from occurring; thus any departure from orthodoxy was condemned, and any opposition was summarily crushed.

Parris’s house

Parris’s house. Home of the Reverend Parris in Salem. It is symbolically appropriate that the home of Parris, the congregation’s minister, is the site of the first outbreak of witchcraft hysteria. Act 1 occurs in an upstairs bedroom of the Parris house. The room contains only “a narrow window,” a metaphor for the narrowness of Puritan beliefs, through which not much light is allowed to shine. The somber room “gives off an air of clean spareness,” and the “raw and unmellowed” nature of the wood coincides with the nature of Puritan life.

Proctor home

Proctor home. Farmhouse five miles from Salem. Act 2 takes place in John and Elizabeth Proctor’s home. The room where the act is set seems cold; although it is spring, John declares, “It’s winter in here yet,” signifying the emotional distance between John and Elizabeth. Court officials travel five miles to arrest Elizabeth, indicating how widespread the witch hysteria has become.

Salem meetinghouse

Salem meetinghouse. Church building in Salem in whose vestrom act 3 is set. It is a “solemn, even forbidding” room with heavy timbers, now used as the anteroom of the court. A symbol of the religion, the gloomy meetinghouse is where people are condemned rather than brought to the light of God. Although churches traditionally offer sanctuary to even the lowest of criminals, the church in Salem is where innocent people are condemned. Ironically, at the end of the act, a bird (not the dove of the Holy Spirit, but a demoniac bird) appears in the high rafters of the room.

Salem jail

Salem jail. Act 4 takes place in a jail cell, a dark place that looks empty even though two prisoners are kept here. All the prisoners are filthy, cold, and weak from hunger. The play ends in the jail, indicating that death is the ultimate outcome of such a cruel and narrow religion.

Forest

Forest. Wilderness west of Salem. The forest represents humankind’s pagan instincts, which the Puritans have set out to suppress. In spite of their role in the church, Parris has caught his own family members dancing with the devil in the forest. Although John Proctor cultivates the earth right to the edge of the forest, the forest itself remains wild and uncultivated.

*Andover

*Andover. Massachusetts town a few miles from Salem in which rebellion against the court is rumored to be afoot. Parris fears it will spread to Salem.

*Boston

*Boston. Leading Massachusetts city, located about twenty miles southwest of Salem. The judges come from the General Court of Boston, and Boston carries a great deal of weight with Salemites. A witch had been hanged in Boston two years before the opening of the play.

*Beverly

*Beverly. Massachusetts town a few miles from Salem from which the Reverend Hale comes. The town seems to be slightly more enlightened than Salem.

Expert Q&A

In The Crucible, act 4, what is Salem's condition and why?

By Act 4, Salem is in chaos and disorder due to the witch trials. The town is demoralized, divided, and on the brink of implosion, with untended cattle roaming the streets and farms neglected. The trials have reached their peak, causing societal breakdown and fatigue among residents. Reverend Hale now advocates for the accused, and there are fears of riots if further executions occur. The legitimacy of the court is questioned, and the town's hysteria is nearing its end.

What changes in the town are identified in the opening section of Act 4 in The Crucible?

In Act 4 of The Crucible, significant changes in Salem are evident. Reverend Hale has been barred from court but later tries to persuade the accused to confess. Reverend Parris, once confident, is now anxious and fearful, having been robbed by Abigail, who fled with Mercy Lewis. The town is in disarray, with wandering livestock and rotting crops due to numerous arrests. The mood is volatile, and rebellion looms as the townspeople grow disillusioned with the trials.

What foods were typically eaten during the Salem witch trials in 1692 in The Crucible?

During the Salem witch trials in 1692, typical foods included cornbread, johnnycakes, corn chowder, and popcorn. Fresh fruits and vegetables like apples, lettuce, carrots, and squash were available during the harvest, while wild game and fish were year-round staples. Dairy products like butter and cheese were also common. The Puritans preferred simple, practical foods with minimal seasonings and garnishes.

Where and when is the opening scene of The Crucible set?

The opening scene is set in Salem, Massachusetts, in the spring of 1692, in Reverend Parris's small upstairs bedroom. Reverend Parris is seen praying beside his daughter Betty's bed, who is mysteriously ill after being caught dancing in the woods with Abigail Williams and others. The local doctor is perplexed by her condition, and rumors of witchcraft begin to spread. This is revealed during a private conversation between Abigail and Reverend Parris.

What were Salem members' feelings about the surrounding forest in The Crucible?

In The Crucible, Salem's Puritans viewed the surrounding forest as a menacing, mysterious place associated with the devil and evil. They feared its darkness and the "savage" Native Americans living within it, believing the forest to be the devil's domain. This fear helped unite the community, encouraging them to stick together for survival and religious cohesion. The forest symbolized danger and sin, reinforcing the Puritans' need for a common enemy to maintain social and religious order.

What costumes and set design would you propose for Act 4 of The Crucible?

For Act 4 of The Crucible, costumes should reflect Puritan simplicity: dark, plain clothing for officials like Marshal Herrick, Mr. Cheever, and Reverend Parris, with Parris appearing slightly disheveled. Prisoners such as Sarah Good and John Proctor should wear tattered, dirty rags, indicating their harsh imprisonment. Magistrates Danforth and Hathorne should look more refined to show authority. The set should be sparse, with heavy iron bars for the jail, and a simple, clean room for the magistrates, emphasizing contrasts in power and conditions.

What are the living conditions in Salem in Act 4 of The Crucible?

In Act 4 of The Crucible, Salem's living conditions are dire. Many residents are jailed or executed, leading to untended livestock roaming the streets and crops rotting in the fields. The town is in disarray, with orphans wandering and a pervasive fear of further accusations. This situation has sparked unrest and potential rebellion, as the community grapples with the consequences of the witch trials and the breakdown of social and agricultural order.

How does Andover differ from Salem in The Crucible?

Andover differs from Salem in "The Crucible" as it recognizes the court's corruption faster. While Salem remains embroiled in witch trials, Andover reportedly rebels by rejecting the court and refusing further witch cases. Reverend Parris fears this rebellion will inspire a similar uprising in Salem, which is already showing signs of unrest, such as threats against him and societal chaos. Despite Danforth's attempts to dismiss these fears, Andover's actions highlight its progressive stance compared to Salem.

The timeframe and time span of and between each act in The Crucible

The timeframe in The Crucible spans several months. Act I occurs in the spring of 1692, Act II takes place eight days later, Act III happens immediately after Act II, and Act IV jumps forward three months to the fall of 1692.

Entertainment accepted and forbidden by the Puritans in Salem in The Crucible

In The Crucible, the Puritans in Salem accepted religious gatherings, communal prayer, and hard work as forms of acceptable entertainment. However, they forbade activities such as dancing, theatrical performances, and secular music, viewing them as sinful and distractions from their strict religious duties.

Show another question (7 questions hidden)

Literary Style

Download PDF PDF Page Citation Cite Share Link Share

The Meaning in Miller's Title
The title The Crucible alludes to the complex themes woven throughout the play. On one side, a crucible, which is a container where metals are heated to separate impurities from valuable elements, symbolizes the spiritual growth that can result from trials and tribulations. Conversely, a crucible can also refer to a witches' cauldron where ingredients are mixed for dark magic. In this context, Miller might be suggesting that good can emerge from attempted evil, as well as from the ordinary and healthy challenges of Christian life. Thus, the events in Salem are portrayed as a necessary evil that eradicates deeper malevolence within the community, leading to a kind of purification. These events had to happen to prevent their recurrence in the future.

Prose Inserts
To grasp how The Crucible should be performed and to appreciate it both as a text and a script, it is beneficial to examine Miller's prose inserts, which elucidate the actions unfolding in the dialogue. In his directions, Miller leaves little room for interpretation; he almost didactically outlines the background of the witch trials and elaborates on the characters, focusing on their motives and the psychological states that propel them into the tragedy. For example, early in Act 1, Miller provides a brief description of Thomas Putnam that explains his grievances about land and town governance, highlighting his vindictive and embittered nature. This context helps the reader understand Putnam's later ambitions for land and status; by providing this background, Miller encourages the reader to feel little sympathy for the avaricious old man when he and his wife continue the accusations initiated by their daughter, who is evidently a troubled child. For an audience watching the play, these aspects of Putnam's character must be conveyed by the actor, but for readers or actors, they offer a valuable framework.

Language
Miller's use of language for his characters' dialogue suggests historical realism. It reflects the speech of seventeenth-century East Coast settlers and is often highly conversational. The women's language is particularly rich in jargon: for instance, Rebecca Nurse says she will "go to God for you," meaning she will pray, and Mrs. Putnam says "mark it for a sign," indicating she believes something is a sign from God. By using this historically distinct language, Miller establishes the temporal distance of the events. This helps the reader or viewer envision the strict nature of society and the pervasive influence of religion in nearly every aspect of the villagers' lives.

Reported Speech
Since the events in the woods and the courtroom are never directly shown in the play, the audience learns about them through the characters' accounts. The viewer or reader must piece together the events and understand the personal stakes of those narrating the events. This is especially clear in the opening scene, where the audience needs to determine why Betty is lying in bed in a catatonic state, why Tituba is trying to reassure herself and others that everything will be fine, and why Reverend Parris is so furious. While reading the text, it's useful to consider not only who is speaking and to whom but also the reasons behind their specific portrayal of events to that person at that time.

Expert Q&A

The tone of The Crucible by Arthur Miller

The tone of The Crucible by Arthur Miller is serious and intense. The play explores themes of hysteria, accusation, and the consequences of mass paranoia, creating a somber and dramatic atmosphere throughout. The dialogue and events reflect the gravity and urgency of the Salem witch trials, emphasizing the dire impact of fear and suspicion on a community.

Mood and Atmosphere in The Crucible

The mood and atmosphere in Arthur Miller's The Crucible significantly impact audience understanding and enjoyment by establishing themes of dread, fear, and suspicion. Act 1 introduces a sense of fear and suspicion through the characters' fear of sin and witchcraft, creating an emotional dread that intensifies throughout the play. Acts 3 and 4 shift from confrontation to resignation, highlighting themes of resistance and sadness. The historical context of the Salem witch trials and parallels to McCarthyism enhance the play's relevance and emotional intensity. Miller's straightforward language and simple, clear structure make the complex themes accessible, while the setting in 17th-century New England adds symbolic weight, emphasizing themes of public vs. private truths and injustice. The dramatic meaning explores honesty and deception, resonating with audiences through universally relatable conflicts of truth and justice, making the play both engaging and thought-provoking.

Get Ahead with eNotes

Start your 48-hour free trial to access everything you need to rise to the top of the class. Enjoy expert answers and study guides ad-free and take your learning to the next level.

Get 48 Hours Free Access
Previous

Key Ideas and Commentary

Next

Historical and Social Context

Loading...