At the beginning of act 4 we see symbolic setting and scenery created through Miller’s clever use of stage directions, which in turn, introduces and establishes the tone that will continue throughout the remainder of the play. For example, the reference to “moonlight seeping through the bars” of the darkened cell metaphorically suggests to the reader that there is still hope for the
wrongly accused sufferers of the witch hunt, the light being a positive aspect in the otherwise bleak atmosphere. This technique of using light symbolically is revisited later in the scene; “the new sun is pouring in”, reinforcing the theme of dramatic lighting that is so very important within the play. It is perhaps this phrase that best sums up the intensity of relief felt at the end of the ordeal, and emphasizes the theme of transition and change, highlighted in particular by the word “new”.
Another way in which Miller successfully creates tension within the play is through the use of apposite props and evocative scenery, most notably in the jail; “…a high barred window, near it, a great, heavy door”. This evokes a strong sense of oppression, in particular the “heavy door” which could be arguably be seen as a metaphor for the ignorance displayed by the townspeople of Salem. Furthermore, we see the play end on a very dramatic note; “The final drumroll crashes, then heightens violently”, surely emblematic of the last brutal act of the witch-hunt; the violent demise of the hero and the end of the suffering of those persecuted by fear and ignorance.
Dramatic theatre would be nothing however, without the powerful characters at the heart of the story, and the depth they bring to it through their emotions and actions. At the very beginning of the scene, we see a representation of the main theme of the story; the helplessness of the villagers against the cruel authority of Danforth, illustrated by the forcible removal of Tituba and Sarah Good from their cell. The power struggle between those in office and the common man draws great empathy from the audience and reinforces the brutality of the entire ordeal. Indeed, the women’s response to the guards; “We goin’ to Barbados, soon devil gits here...” highlights the villagers’ great superstition around Satan, giving the audience insight into how the situation has spiraled out of control, and how their fears fuel the fires of hysteria, allowing the oppression of the villagers to continue unabated.
Conversely, a shining example of the theme of resistance is seen in John Proctor. Despite the efforts of his accusers to completely strip him of his dignity, leaving him chained, bedraggled and “filthy”, Proctor still retains the courage of his convictions and remains firm in his principles. Even though acquiescing to Danforth’s demands would result in his release, Proctor destroys his confession, steadfastly and hysterically refusing to surrender his name to his enraged captor, maintaining that “I have given you my soul; leave me my name!”. This defiance towards authority is not encouraged by his wife Elizabeth, but does elicit admiration from several of the villagers, most notably Rebecca, who also refuses to “sell her soul”. Proctor’s show of strength also draws great support from the audience, who are eager to see the underdog fighting back!
Adding yet more dramatic tension to the act is the contrast in attitudes of Hale and Danforth, and the growing conflict that this engenders, with Danforth “pressing Hale impatiently aside”. Whilst Danforth is resolute in his pursuit and exposure of ‘witches’, Hale is beginning to realise the error of his ways, and developing strong feelings of sympathy towards those who stand accused; “ Pray, leave them Excellency”. It is at this point in the act that the audience truly sees Danforth’s disregard for anybody but himself, as it becomes apparent that he would happily let innocent people die rather than lose face and sacrifice his reputation; “Postponement now speaks a floundering on my part”.
Consistently throughout the play, Miller displays an expert use of language, not only managing to express the characters deepest thoughts and emotions, but more importantly evoking empathy from the audience and creating a sense of personal involvement that is maintained for the duration of the story.
We see the eloquent Danforth, for example, using very forceful language; “Hang them high over the town”, expressing his dominant personality, as we see from the onset that Danforth is a man in power, who is firm in his convictions and cannot be swayed by those who he considers ‘beneath him’. Danforth’s superior status is only reinforced through the colloquial language used by the ‘common man’; “It’s you folks - you riles him up…he freeze his soul in Massachusetts”. This clever use of language underlines how easy it was for those in power to manipulate the townspeople of Salem, who were unable to articulate a defence. This also helps to relate the story back to modern times, as this method of repression still holds true today.
The importance of a name or title is revealed particularly within Act 4, as the audience sees John Proctor willing to die rather than have his blackened thereby publicly losing his honour; “It Is my name…how can I live without my name?”. Equally we see the irony surrounding a power-hungry character who demands to be addressed as “Honour” and “Excellency” as these titles are arguably antonyms when given to such a brutal character as Danforth, and indeed more recently, albeit on a lesser scale, McCarthy.
A significant phrase used during the Salem interrogations; “Did you ever see…with the devil?” can be directly linked to the language often used during the McCarthy communist ‘witch-hunt’ of 1950’s USA, as ironically, Russia, and by association communism, was colloquially referred to as the ‘devil’. This shows that although many phrases may have been abandoned since the 17th century, the fundamental tenet of this expression still remains today.
Throughout the Crucible we see Miller create consistently dynamic theatre by providing us with the classic conventions of effective drama; structured plot, evocative setting and spectacular use of language.
Character conflict is also an integral part of the action, as this helps not only to establish the two main protagonists that can be found at the heart of any good story, but also gives the audience an insight into the mind-set of some of the more complex characters.
Overall, Miller constructs a successful allegory that allows the audience to experience the suffering of those involved in the witch hunts, and through effective and inescapable comparison, the McCarthy period. Truly, the Crucible is a direct social comment on what transpired during that era, and continues to be relevant today, as the main themes of blame and accusation are still prevalent in modern society.