Throughout the play it is evident that Arthur Miller uses dramatic techniques to build up tension for the audience. At the beginning of the act this is portrayed clearly in the row between John and Elizabeth, through the use of imagery and dialogue. Elizabeth: “Then go and tell her she’s a whore.” The use of the word ‘whore’ brings a crude image in the mind of the audience. This kind of language would not have been used in a Puritan society, which immediately gains the audiences attention. Proctor: “I will curse her hotter than the oldest cinder in hell.” The fury and heat of John’s words increasingly become dynamic as it expresses his anger. The threat makes the audience picture hell and it links with the hatred and rage John feels for Abigail at this point in the play. The argument is built to a climax through the intensity of the dialogue and the anger expressed.
The row between John and Elizabeth comes to a sudden end by the dramatic entrance of Reverend hale. “Quite suddenly as though from the air a figure appears in the doorway.” This unexpected entrance adds to the excitement of the scene, and increases the suspense. Proctor: (still in shock) “Why Mr Hale! Good evening to you, sir.” By using the word ‘why’ we can clearly see that John is surprised and acutely embarrassed to see Mr Hale, because he has just arrived when the argument was at its peak. The suspense mounts rapidly, because the audience are curious to know how much of the argument Hale has heard. In addition they would also be wondering what brings Hale to the Proctor’s home.
The timing of Giles Corey and Francis Nurses’ entrance is ironic because they appear with the news of Goody Corey and Rebecca Nurses’ arrest, just as Reverend Hale is interrogating John Proctor about his belief in witchcraft. Proctor: “Rebecca’s in the jail!” The tension rises dramatically, because Rebecca Nurse one of the pillars of society who is a very faithful Christian is accused of witchcraft. Elizabeth: “They’ve surely gone wild now, Mr Hale!” We can clearly tell that the characters are genuinely shocked because we are not sure just how many arrests or accusations have been made, however we do know that they are increasing at a horrifying speed. The tension is built here as the sense of hysteria increases. This makes the audience fear what dangers are going to come next and they are literally on the edge of their seats.
Tension is built dramatically when Ezekiel Cheever comes with an arrest warrant for Elizabeth. When he comes in it is clear that he is looking for some kind of clue and then he finds the poppet. Cheever: “Why a poppet – (he gingerly turns the poppet over)- a poppet may signify…” Arthur Miller keeps the audience in suspense with Cheever’s deliberate, delayed actions. Hale: “What signifies a poppet, Mr Cheever?” Cheever does not respond to any of the questions asked to him, so this increases the anxiety that the audience are feeling as it keeps them guessing what will happen next. Cheever: “(turning the poppet over in his hands) Why, they say it may signify that she- (He has lifted the poppet’s skirt, and his eyes widen in astonished fear.) Why this, this-” It is evident from Cheever’s facial expression that there is something wrong even though he does not say what it is. This builds up tension as it prolongs the agony for the audience and they can’t wait to find out what is wrong. Proctor: (angrily, bewildered) and what signifies a needle!” Arthur Miller not only uses action to add suspense and increase tension he uses dialogue in a skilful way as well. The repetition used clearly shows that the characters as well as the audience are now extremely
impatient to know what the poppet and needle signifies. The tension reaches a climax, as we are aware of the impending danger to Elizabeth.
Ezekiel Cheever is convinced that Elizabeth is guilty of placing the needle in the poppet, which symbolises Abigail who was stabbed earlier that night. The tension increases because the poppet was given to her by Mary Warren, (one of the girls that are responsible for the witch trials), and now Elizabeth’s fate is in her hands. Arthur Miller raises the tension even more by adding John’s outburst. Proctor: “We are what we always were in Salem, but now the little crazy children are jangling the keys of the kingdom, and common vengeance writes the law! This warrant’s vengeance! I’ll not give my wife to vengeance!” Arthur Miller uses repetition of the word ‘vengeance’ to emphasise the fact that John has cut to the heart of the matter. The imagery of the jangling keys shows that the children have the power and authority. The tension rises at this point, because the audience now know that no justice will be done.
As the scene comes to an end, Arthur Miller once again raises the tension for the last time. John’s treatment of Mary Warren when they are alone has the audience on the edge of their seats. Proctor: (moving menacingly toward her) “You will tell the court how that poppet come here and who stuck the needle in.” The dialogue is shocking because, although we know John has a bad temper the audience have not seen him so mentally disturbed, and this is clearly out of his character. “(He throws her to the floor, where she sobs, ‘I cannot I cannot…)” The fear of John Proctor is brought about by his violent actions. This is also very effective as the audience are uncertain of how far John will go. “(Grasping her by the throat as though he would strangle her)” At this moment in the scene the audience are made to feel that John is capable of anything and the tension is at its peak.
Overall, I think that Arthur Miller has built the tension and suspense effectively throughout act two, through the use of the dramatic dialogue, entrances and actions. It is clear that he has done this very skilfully because it creates a mixture of emotions such as tension, excitement, suspense and fear for the audience.
