The characters are indeed reflections of the people that too were involved in the McCarthy witch hunt: The Crucible is a play about people, humanity and human behaviour and their limits with its existence brought to the stage with a dual purpose, I will now discuss its technical properties-
A play in simplistic terms can be divided into three parts that essentially begin, develop and end the story. They are: the exposition, complication and resolution.
The exposition sets the scene, the mood, the atmosphere: it is at this point the audience is drawn in with a taster of what is about to happen. How is the social order to be disrupted? Which direction will the play take? My theory states that a play, a story, or a film must always open in either way: with the social order of any place /time intact. It is from there that the primary complication comes into view, it completely shakes everything that the characters find normal or brings about something that they feared. This is shown perhaps with an arrival of a new character or an event. The second exposition is when the social order is already in chaos and the remainder of the play is an attempt to resume the social balance. The exposition of The Crucible is a mixture of the two as it does not fit absolutely in either category: indeed, the fact that the social order is already beginning to collapse as talk of witchcraft and Satanism spreads like poison through puritan Massachusetts and that two village girls are currently in a "witch'd" slumber shows that the chaos is present- "I'd not call it sick; the devil's touch is heavier than sick." However, the extent of development with the satanic obsessed plotline exceeds the faint gossip that is witchcraft. The exposition would then fall into the second category, as gossip and accusation is an example of what protective lives the people of Salem lead, especially with the constant threat of the vast American continent which spread endlessly west with the wilderness close by, 'it stood dark and threatening day and night over their shoulders.' Indian tribes and neighbouring colonies stood in deathly threat and fear of one another. In terms of dramatic structure, the exposition of The Crucible is tainted with an air of mystery and an element of fear: from the stage directions '[Reverend Parris is praying, and although we cannot hear his words, a sense of confusion bangs about him. He mumbles, weeps and prays again; but his daughter does not stir on the bed.]' These are the opening stage directions of the play, where an unknown event or person is at the root of a problem. The exposition is vague and we see panic as Tituba and Parris become deep in flustered conversation about the welfare of young Betty Parris. As mentioned before, this atmosphere is the ingredient that draws the audience into the story; the inquisitive nature of the audience subconsciously looks for an intriguing, odd but most importantly vague element in the exposition that captures their attention.
Miller creates a fantastic atmosphere and a correct dramatically structured exposition not only for the audience but also for the readers of the script. It seems his simplistic method of explaining a large majority of the characters and above all the history involving The Crucible shows his need to covey to the directors, actors, set designers and so on the importance of the message that must shine through the play of seventeenth century Salem. We find nearly everything discussed in the introduction of this essay in the foreword of the script! All character's secret agendas, past and hidden personalities and abilities are written in a paragraph before their entrance. However, this may seem patronising in terms of the author writing what is usually left up to the audience to discover out as the play and characters develop, but it also allows one to understand the ethos behind the scene and characters; we can determine how to play the parts and understand the dramatic structure of the scene if we understand a little of the/their background.
The first scene that I have studied is an orthodox complication as it truly takes the play onto the next stage of development: it is in this scene that we are introduced to the weaknesses and hidden strengths of the primary characters. The play moves forwards from what is learnt about Abigail and Proctor in these four pages. It is also the point where we learn this is not essentially a play about what happens to people through political reasoning, but the journeys of all the characters through themselves; the political element and Miller's use of an allegorical device to give the American audience an alternative and relative view of current issues is but an allegory in itself as the play is really an account of his trials and tribulations. Miller's account, Miller's representation of the characters, the very root and ethos of the entire play is what Miller learned about himself! I believe Miller unintentionally let his experience rule the play, but this is what touches so many audiences: death is not it, the message is not 'we cannot allow history to repeat itself because we might all die,' but 'this is when you find out who you are, when you are forced to find your limits, when you alone must make the choice.'
It is therefore symbolic that this becomes apparent as the hustle and bustle of the first few scenes subside. The play is structured to illustrate the fact that The Crucible is a journey with the variety of characters, not to show the variation of conflicts and individual resolutions but to show how each different character develops as a person through their ordeals;
My analysis takes the view that this is why there is such a vast range of characters and personalities; the structure introduces characters and their role they are to play through stage directions and forewords- for example, it is said of Mrs Putnam 'She is a twisted soul of forty-five, a death-ridden woman, haunted by dreams.' It then proceeds to revealing their true inner selves to the audience, the social excepted front is dropped and their character is tested literally under trial or in other ways within the village. This formulaic structure is present when each new complication arises, for any character that is present: This is true to Abigail. I intentionally chose this scene to explore the wide range of emotions that is forced by panic. The audience is now introduced as the atmosphere is increased to a new level of desperation; the turmoil (or complication) is no longer vague with 'talk of witchcraft,' but frightfully apparent. We see the driving force behind all the commotion rear her ugly head. This is used to great dramatic effect, as the suspicions we had about the 'seeming beautiful' Abigail are confirmed. The audience feels fear for the villagers of Salem as we become aware of Abigail's obvious and endless manipulation skills, and even more fear as we see the character act on reaction, in a blind attempt to keep order we see the weakness that is her strength- her passion. She uses sarcasm- "Oh we'll be whipped!" Then reassurance and care- "Now wake up Betty, it's Abigail!" Followed by immediate anger- '[She furiously shakes her] "I'll beat you Betty!" '
As the audience becomes witness to all of this, they are left with anticipation of the revelations of the plot as we see such a strong but essentially weak character in relation to managing her emotions, lying at the root of all Salem's troubles- it must end in calamity. In addition, the scene places its full focus on Abigail and her emotional roller coaster, with all events and entrances delivered at certain times in according to dramatic irony and the increase of dramatic tension. For example, I recall the girls become transfixed in discussion, anger and fight until the deepest talk of death, threats and damnation arises when '[Enter John Proctor]', who's entrance lies on the climax of the scene. The very person who is involved either intimately or responsibly for the two characters that take opposing roles in the conflict enters at that pivotal and climatic point of the scene. This again has a strikingly dramatic effect. The characters are divided into three groups that form a triangle of dramatic irony; (at this point it is oblivious to the audience the fact that Proctor may lay at the root of Abigail's ambition and will for mayhem.) Proctor, who is involved with Mary as a guardian, is shocked to find his servant whom to his knowledge is at home with wife and children in dangerous discussion with the young girl he is intimately allied with. Abigail, ex-lover and the man she has since developed an obsession with standing and observing these dark subjects discussed with which innocent village children, who lie under the control of Abigail. Lastly, Mary Warren and village friends who fear Abigail and her readiness to betray and manipulate, as a product of that -who has power amongst the other villagers- standing in the doorway. This tangled web is viewed from the audience, such commotion and complexity in the first few scenes! Such tension and trouble; the audience already is aware of the sense of involvement of people and their lives, the feeling of suffocation in a village that survives by living in each others business. At the time of this pivotal entrance, the moods and feelings change dramatically in relation to Abigail, who despite the recent events leaps again to focus all energies on Proctor, with an array of attempts to impress, flatter, dominate and flirt with him, "Gah, I'd almost forgotten how strong you were John Proctor!" Panic emits in waves from the screaming girls, and Proctor, the unknown is regarded with 'fear and respect' (as it states in the following character analysis,) in relation to his effect on the other characters. Tension rises and when reading the script, is pro-longed by a substantial paragraph of writing explaining the basics and a little history of Proctor's character: everything we need to know to understand the development of the scene into the next section. Also, I could imagine such dramatic devices as a 'freeze frame' or pause to illustrate the climax and sudden alteration in emotions, as a new character is introduced. It becomes apparent of Proctor's character here- even before he has uttered a word- that he is a man that deserves an important entrance; a man of much significance to the extent that a paragraph of writing is needed to explain him fully.
Continuing the theme of humanity and its behaviour, I believe the following events to be true to that. It is strange that in a play that revolves around its religious puritan upbringing, it also lacks a certain amount of Christian/Satanic or general imagery or symbolism. I would say that in comparison to a play such as Macbeth which relies on its disturbing imagery to convey the involvement of dark forces with the plot, The Crucible uses the reactions and actions of human beings to essentially shock the audience with as opposed to bold and obvious imagery. The preceding actions of the girls is but a taste of the weak human nature that will to some degree be the ruination of the innocents of Salem: the inert readiness to speak out against those who will miss use power and authority to a larger agenda, is the collective attitude that will allow silence to manipulate the village's fate. The tension is released as the anger and madness dies, but the atmosphere is left with a slight air of detectable pessimism as the girls (including Mercy,) leave with no attempt to rectify with Proctor anything he may have heard or stay for Abigail's sake- ("I'd best be off, I have Ruth to watch.") Instead they leave apologetically and sheepishly, I quote- '[Mercy sidles out.]'
Now that the stage is rid of the bulk, only the strong figure of Proctor, a slightly hidden Abigail and mute Betty remain. The scope is quiet, the audience surges with anxiety, as we are now fully aware of the extent of Abigail's character and her master schemes for both characters on stage. The stage directions quote- '[Abigail has stood as though on tiptoe, absorbing his presence, wide-eyed. He glances at Betty on the bed.]' The scene is perfectly set, almost waiting for Abigail to pounce.
The remainder of the scene has only dramatic effect in the two character's direct speech and actions. It is the dramatic effect of the language in the dialogue that develops the characters for the benefit of the audience as history repeats- "You're surely sportin' with me." The flirtatious attempts of Abigail do nothing but reveal the nature of their relationship. Proctor's character is used in the first act and indeed second as a pawn, a strong male presence that conjures up history, friction and feelings between a variety of characters. In this quote, Proctor's reply demonstrates their current familiarity, as he obviously feels his would be rude answer appropriate in her case, which suggests history and the blunt coldness of his words suggests a tainted one- "You know me better," This is used to great dramatic effect as this quote is an example of what classes this scene a 'complication.' The revelations between the two characters and the audience displays I theorize that in this epitome, a play like The Crucible has numerous complications, which take the severity of the actual complication (the witch hunts,) to a higher level. For example the threat of being accused by one villager is but trivial when the accusation of attempted murder through witchcraft of which Elizabeth and Proctor are fully aware leads to trial, is brought to their knowledge. This accusation of attempted murder is one complication that mounts to a highly climatic and tragic demise.
The heated and often dark references that Abigail uses are incredibly direct and delivered with a force that might suggest these are situations that are in need of persuasion. Not only the dramatic tension created by her choice of tactics, but the very level of desperation and inner naivety of the character that results in juvenile actions is incomprehensible! The confusion behind the 'seemingly innocent' Abigail is astounding and her unpredictability creates tension as the audience realises the precarious nature of the play when Abigail is involved.
The next scene I will analyse simply overflows with emotion, brought out through the character's ordeals. Elizabeth is featured here, wife of Proctor and the other half of an unhappy marriage. Their struggles seemed to begin and end with 'that harlot,' once again Abigail is at the centre of insular turmoil. Leading up to this scene, we have seen a troubled and excluded couple; as Goody Proctor "kisses him with suspicion" and keeps their future happiness with it at the root of their marriage, Proctor bites his tongue with his sins past sins upon his shoulders. This scene is one of revelation and the audience sits enthralled as even tension created for the ultimate end disappears, as the couple who obviously still have love for one another quash their insecurities and make their peace.
The scene begins with this fluctuation of feelings toward one another still in tact. The atmosphere is one of grief and almost acceptance, as these accusations, deaths and confessions have continued over the past few months (since the previous scene,) and the two characters have bared gruelling witness to it all. Once again, this final appearance of Elizabeth to Proctor needs a more detailed explanation, as the stage directions take the audience through every one of their actions and therefore magnifying the importance of the revelation of this scene, '[Alone. Proctor walks to her, halts…]'
The gentle nature of Elizabeth has been taken advantage of, in order to coax proctor into a confession. Elizabeth has taken the opposite course of action and frees him from her suspicious grasp.
Elizabeth's query, though perhaps comical when an attempt is made to read it seriously, shows her utter lack of compassion and hope through the injustices of their predicament. Lack of compassion even for her own husband, though her enquiry made is meant in a considerate context- "You have been tortured?" Elizabeth continues to answer his questions in a cold and blunt manner, (their inhibitions still remain, anticipating the arrival of the emotional climax.) Extending the theme of revelation, this is probed unintentionally by Elizabeth and her remarks, for example she says about the death of Giles Corey, "They press him John, more weight he says." Proctor's reply is influenced by this, the courage of Corey is taken by Proctor and used to state, "I have been thinking I would confess to them Elizabeth." In addition, the quote of Elizabeth's instigates she wishes him to form a course of action, which he does in the previous quote. However, her reply is not one of looming suspicion or ruled by mistrust, it overcomes those petit consciences and the character finds the will to say, "I cannot judge you John." No matter how Proctor begs for an order, a course of action or reassurance, Elizabeth stands strong and helps him to lose his inhibitions by making his own choice. The scene finally reaches a heart-wrenching climax as Elizabeth delivers the line "Only be sure of this, for I know it now: Whatever you will do, it is a good man does it." Whatever the finale, this is a satisfying resolution because the characters have admitted exactly what the audience almost begs them to say, the actors deliver a service of satisfaction.
Perhaps the only the example of dramatic imagery is the recurring theme of winter inside the Proctor house, as opposed to the summer and heat in the midst of the Abigail/Proctor love affair. Elizabeth now admits that is was a cold attitude she had towards her husband; a shrivelled marriage that she kept, "a cold house." Her admittance of this symbolises the last string of the old relationship broken. The dramatic effective adds to the release of tension between the characters as the entire situation diffuses.
Both of the character's fronts falter as they indulge in insular peace, paving the way for the final resolution: the turmoil between husband and wife is finally resolved, Proctor has everything to live for and the strength to do what is need to remain with family and friends- or is it? Unfortunately, the phrase 'too good to be true' springs to mind, and also to the audience. The scene I analysed is in theory the penultimate resolution. It fits this description perfectly, as although it is misleading -because Proctor decides not to "have his life" and confess, but die with sanctity of name- it is satisfying. Dramatic tension is built extremely subtly behind the contagious joy of peace between the Proctors, foreseeing the ultimate loss of inhibitions for John. True, the character has lost the stubbornness that kept his wife from him, but it is also true to Elizabeth's statement that John has not forgiven himself: self confessed sinner he may be, but a proud man is John Proctor. The truth may be that even in death, let alone life would the character not forgive himself for his sins with Abigail. His martyrdom was the release of self-hatred through a noble stand; he held onto the only thing that in his opinion was not tainted, his name.
The Crucible recurs the theme of boundaries and limits, with such things as physical limits including the obsession with land, exclusive living (within colonies,) and with names. Proctor's boundary was infact the preservation of his name, that is the only earthly piece of self he would not let go of- the only piece of self he realistically had left. This is a truly effective resolution, as the main character is finally at rest: Miller is no hero for surviving the courts, but his duty to society is done, his warning and message still survives fifty years on.
By Jo Gilbert