When Elizabeth does eventually enter to meet John, Miller is quick to show through her first line of speech “What keeps you so late? It’s almost dark.” the amount of suspicion and absence of trust in the relationship. The next few exchanges are short and polite but are not that of which one would perhaps expect from a contently married couple. The friction and awkwardness is possibly understandable following John’s unfaithfulness. However, as was the norms of those days, couples would always remain together and never host the thought of divorce. Although John and Elizabeth are trying to avoid the truth that is really bothering them by trying to discuss everyday topics, the audience can still sense a separation through the supposed signs of unfamiliarity through which they commune.
I feel that in order to emphasize this point and gain maximum effect on the audience, Miller could have opted to include a description of the table at which the Proctors dine and also the seating arrangement. As a director I would instruct for a large table to be placed on stage, enhancing the separation between the two actors. In addition to this I would include two chairs on the opposing ends of the table and as many along the sides. The husband’s seat would be a comfortable one, as if he was chairing a meeting, and Elizabeth’s a rough and painful one. The clear distinction in comfort would show the type of unfair marriage that Elizabeth is experiencing. I feel that the more chairs between John and Elizabeth would make them seem further away than they really are. This is slightly symbolic of their marriage. Both John and Elizabeth seem to be living in completely different worlds, however their thoughts are quite alike but the only reason that they don’t is their reluctance to disclose these thoughts to one another.
Once the two are seated and John advances to taste the rabbit he compliments Elizabeth on its seasoning. Although John has previously been seen to season it himself, his compliment could be seen as a way of making amends and praising her efforts rather than the actual outcome. It is not quite known just exactly what Miller was trying to represent through this line and some directors may wish to instruct the actor through a different approach so that the line is said with a hint of sarcasm, thus widening the separation. Whilst the latter option does seem more appropriate one would think that Elizabeth’s ‘blushing with pleasure’ might perhaps prove that Miller used this line to show that she appreciates one of her husbands rare compliments. Unfortunately Elizabeth’s next question does not bring about much of a response from and her husband and this could further prove how unimpressed he is. In the script, Speech is then interrupted by a brief interval of stage direction ‘He eats. She watches him’. This line could give a director further incentive to illustrate signs of unease between the couple through interaction by awkward movements and anxious looks.
In my opinion John’s seasoning of the rabbit and then compliment to Elizabeth is a good choice by Miller to affect the audience and provoke them into thought about the lack of fulfillment within the Proctors’ relationship. However I also think that Miller did not explore this point as much as he could have; had he done so this could have triggered a whole new sense of division within the marriage. If Elizabeth herself had tasted the food and noticed the difference her reaction may have been cold, bitter and hurt therefore leading the audience to realize the anger boiling up inside of her leading to a confrontation.
As John continues to make conversation with Elizabeth he starts to approach her in a more ‘affectionate’ way. His efforts are more obvious than Elizabeth’s as he is the one who had an affair and consequently, is trying to make amends. Miller makes the mood more intense as Johan says “I mean to please you, Elizabeth.” His reminder to Elizabeth shows that perhaps she may not quite believe this. Although Elizabeth says she knows it, the inclusion of ‘it is hard to say’ in the stage directions shows how Miller wanted the audience to be aware of her acceptance, accompanied by bitterness. It is as if she has forced herself to accept this as truth whilst some doubt still lingers in her mind. This is further highlighted when John goes to kiss Elizabeth. In the stage directions Miller describes Elizabeth’s reactions as receiving the kiss. This is an unusual word to use. When couples kiss you expect them to embrace one another. Elizabeth’s failure to reciprocate shows awkward affection and the typical marriage of convenience rather than love.
Justifiably John returns to his seat ‘with a certain disappointment’. This is where a long table would again be particularly useful on stage. A long, silent walk utilising the length of the table, would further enhance the situation and separation. When John reminds his wife of his cider and the absent flowers this adds to the tension. Contrary to a contemporary seventeenth century Salem wife, a woman was expected to serve her husband - without fail. When she replies ‘with a sense of reprimanding herself’ this shows that perhaps something else is on her mind preventing from doing her ‘job’. Although John then tries to be more romantic and Miller shows an opposing side to his character, the pause indicates their discomfort and when Elizabeth’s ‘back is turned to him’ this is yet another effective way of making the audience notice the increasing distance between them, both physically and emotionally.
Finally John then gives up and decides to try and address the problem that is bothering his wife. Miller’s stage directions ‘she doesn’t want friction, and yet she must’ portrays an image of a woman caught in two minds. Elizabeth wants to remain a good, obedient wife however she cannot resist challenging John about his whereabouts which led to his late arrival. The place of ‘Salem’ is mentioned and this could be Miller’s way of Elizabeth inadvertently or perhaps indirectly showing her distrust towards John.
When John learns of Marry Warren’s presence in Salem his anger