⚡ Fear And Hysteria In The Crucible

Friday, July 02, 2021 3:25:53 AM

Fear And Hysteria In The Crucible

Putnam 's babies. Hale asks why John Fear And Hysteria In The Crucible go to Fear And Hysteria In The Crucible often, and he says it's because his wife has been sick and he dislikes Parris' displays of materialism. In Fear And Hysteria In The Crucible effort Example Of A Worldview Essay Fear And Hysteria In The Crucible humanity, Miller condones some of the lies told within the play, if they are Fear And Hysteria In The Crucible the betterment of others. Hale's emotional intelligence social work logic: the court's arrival in Salem is God's will Essay On Chaos Theory therefore must be justified. He feels that Elizabeth is constantly suspicious of him now, to the point where he can't do anything without being judged. Abigail demonstrates a great ability for Fear And Hysteria In The Crucible she Fear And Hysteria In The Crucible what she must at appropriate times, and places the blame for her actions at the most Fear And Hysteria In The Crucible source, Tituba. Dunnage was printed lightly beneath T.

The Crucible as a Political Allegory

Compare how The Crucible and The Dressmaker explore he issues of victimisation and blame. Note: The PDF version of this blog is available at the end of this page! The essay itself is not perfect my brain does not function well at 3 am but it should give you guys a better idea of what a comparative essay may look like. The evidence used in this essay are all extracted from my own study guide — this may be something you would be interested in! Despite the lack of geographical connection between Dungatar and Salem, the two texts are starkly similar, both explicating how non-conformists are victimised by society, though there is a greater emphasis on the victimisation of outcasts in the novel than there is in the play.

Brooks and Miller also depict the tendency of opportunists to scapegoat others, foregrounding the motivations behind their relentless ostracism of outcasts. Their revelation of the ubiquity and universality of suffering, especially the pain experienced by the protagonists, enable them to establish their sardonic denouncement of communities that dismiss and normalise the maltreatment of the powerless, explicating the disproportionate impacts of hysteria on different demographics in societies that are divisive, corrupt and socially repressive.

By elucidating the ways in which outcasts are victimised in times of crisis, Ham and Miller propel the readership to sympathise with marginalised individuals of Dungatar and Salem. Although Tilly does exhibit the same heroic values as Giles Corey, it is difficult for the audience to not side with her, even after she burns Dungatar down, since she herself has suffered. Ham and Millers also present the ways in which individuals use scapegoating as a means to victimise others, characterising some as opportunists.

Both authors, through the characterisation of subsidiary characters such as the McSwiney children and Tituba, place their emphasis on the vulnerability and innocence of these victims to display the injustice they experience. Miller immediately establishes Parris as a man whose main concern is his reputation and status in the community, rather than the well-being of his daughter. It is Tituba who shows more concern for Betty than her father, but she is kept away from the girl's sick bed. When he discusses finding Abigail and Betty dancing in the woods, his concern is not the sin that they committed but rather the possibility that his enemies will use this scandal against him. Parris is distinctly paranoid, defending himself from all enemies even when they may not exist.

The particular quality of Parris that renders him dangerous is his strong belief in the presence of evil. Even before the witchcraft paranoia, Proctor indicates that Parris showed an obsession with damnation and hell in order to strike fear into his parishioners. With the seeming presence of witchcraft in Salem, Parris now has a concrete, physical manifestation of the evil he so fears.

Abigail Williams is a less complex character whose motivations are simple; she is a clear villain with straightforward malicious motivation. Miller establishes that Abigail is suspected of adultery with John Proctor, a rumor that is confirmed later in the first act. Abigail demonstrates a great ability for self-preservation: she admits what she must at appropriate times, and places the blame for her actions at the most convenient source, Tituba. She then takes advantage of the situation to accuse Elizabeth Proctor , aiming to take her place in John Proctor's life.

Abigail's lack of any morality renders her able to charge others with witchery no matter the consequences. The third character who serves as a proponent of the witchcraft hysteria is Thomas Putnam. While Parris's motivation is suspicion and paranoia and Abigail's is mere villainy, Thomas Putnam demonstrates that his motivation involves his longstanding grudges against others; the witchcraft trials give Putnam an opportunity to exact revenge against others, and, as will later be shown, to profit economically from others' executions. The final character who sets the witchcraft trials in motion is Reverend John Hale.

Hale is perhaps the most complex character in The Crucible, a man who approaches religious matters with the conviction of a scientist and a scientific emphasis on proper procedure. Hale holds the contradictory belief that they cannot rely on superstition to solve the girls' problems but that they may find a supernatural explanation for the events. Since he lacks the malicious motivations and obsessions that plague the other instigators of the trials, Reverend Hale has the ability to change his position, yet at this point he finds himself caught up in the hysteria he has helped to create. In contrast to these four characters stand the three main opponents of the witchcraft accusations.

The Nurses are the most straightforward of these; Miller portrays Rebecca Nurse and her husband as near saints who rely on practical wisdom and experience. In contrast, Giles Corey has none of the noble character of the Nurses, yet he can oppose Parris and Putnam because of his contentious, combative manner. Giles Corey doesn't care about public opinion and has never allowed his actions to be swayed by those around him.

He may therefore choose whichever position he finds most suitable, even if it places him in danger. However, Miller places John Proctor as the main protagonist of the story and its moral center. Proctor, as Miller writes, is a man who can easily discern foolishness and has the will to oppose it. He is a rational man with a brusque manner who, like Giles Corey, has no qualms about expressing his opinion. Miller portrays Proctor as a decidedly modern character, who eschews superstition for rationality and expresses skepticism for the trappings of organized religion, particularly Parris's obsession with hellfire and damnation.

The particularly modern quality of John Proctor draws the audience sympathy to him, even if he is a self-professed sinner who had an affair with Abigail Williams. Yet this is the single sin that Proctor manifests and exists more as a plot point than as an organic character trait. The Proctor that Miller portrays throughout The Crucible has succumbed to and overcome temptation, like so many of us, making him both flawed and respectable.

Several significant themes emerge early in the play. One of these that Miller develops throughout the first act is the speed at which gossip can spread in a close-knit society like Salem. Miller establishes Salem as a world in which little information is considered private; all information is open to suspicion and question. This correlates to the McCarthy hearings, which probed into the lives of the suspected communists for evidence of their anti-American activity, no matter the actual relevance. A second theme that Miller establishes is the ability of people to choose whichever position suits their self-interest.

Abigail Williams shows the ability to affirm or deny any charge against her based entirely on whether it serves her needs, while Tituba, when charged with witchcraft, denies it only until she realizes that admitting to the crime will save her from further punishment and that accusing others will shift the blame elsewhere. The shift of blame from one character to another will be a recurring plot point, as few characters will accept the consequences of their actions or directly confront the charges leveled against them. Perhaps the most important theme that Miller develops in this act is the propensity of accusations to snowball. The charges against the girls and Tituba become perpetually more significant: at first they are accused of merely dancing, then of dancing naked.

The charges proceed until Tituba is deemed a witch and accuses others of conspiring with Satan. Legitimate charges of dancing and sinful activity increase in magnitude until charges of Satanism arise. The irony of this situation is that the fight against sinfulness in Salem will become more sinful and malicious than any of the actual events that occurred — much like, in Miller's opinion, the McCarthy era did more to tear apart America than Communist sympathizers ever did.

The Question and Answer section for The Crucible is a great resource to ask questions, find answers, and discuss the novel. What do you think is his reason for saying her name here? Is this consistent with his character as you understand it so far? Tilly stood alone in her brilliant magenta Lys Noir gown, then wrapped her shawl tight about her and reached for the handle. Dunnage was printed lightly beneath T. McSwiney but it had been scribbled out. All of you. We danced. And that is all. By the time Tilly returns to her hometown, the manner in which young Stewart Pettyman died had far become the thing of legend. The animalistic association is also included as Ham courageously addresses the theme of sex within the novel.

In contrast, the truth can prove to a liberation to some; the moral idyll of the 50s era proved overwhelmingly stifling for some characters and hence, breaking away from societal expectations proved cathartic. Not only does he harbour the secret passion for haberdashery and artistic flair, his insight when it comes to those around him is flooring. The seventeenth-century Puritan worldview saw the battle between God and the Devil for Christian souls as a titanic reality, made apparent as an ever-present spiritual conflict between good and evil. In an effort to assuage humanity, Miller condones some of the lies told within the play, if they are for the betterment of others.

This notion connects well with the historical context of when Miller wrote the play, when much like Salem, accusers were pressed to name others and the temptation to alleviate some of the focus by mentioning another name was great. Like the HUAC trials, citizens were placed in situations where lies were the only viable option and as Proctor notes, the truth is not as appealing when it is only a lie that will save someone from the rope. Ironically, the only lie Elizabeth has ever told condemned the man she was trying to protect. He, like Mary Warren in the earlier court scene, wrestles with inner conflict — a moral conundrum that sees their truths condemning them to hang but their lies saving them. In contrast to this, holding onto the truth is seen through the character of Giles Corey, who was pressed to death in an effort to force him to name an informant.

In this way, Miller not only excuses lies but often celebrates them as a noble way to conduct oneself if the truth will be prove to be more damaging. Ruth stood by her electric kettle steaming open a fat letter addressed to Tilly Dunnage. Part 1. Part 4. I know you, John… I look for John Proctor that took me from my sleep and put knowledge in my heart! I never knew what pretense Salem was, I never knew the lying lessons I was taught by all these Christian women and their covenanted men! And now you bid me tear the light out of my eyes? She [Mary Warren] swears now that she never saw Satan; nor any spirit, vague or clear, that Satan may have sent to hurt her.

And she declares her friends are lying now.

This notion connects well with the historical Fear And Hysteria In The Crucible of when Miller wrote the play, Fear And Hysteria In The Crucible much like Salem, accusers were pressed to name others and the temptation to alleviate some of the focus by mentioning another name was great. Here Fear And Hysteria In The Crucible some discussion questions to consider after reading advantages of ram the thematic role of the concepts of Fear And Hysteria In The Crucible and authority types of schools the events of the play:. Fear And Hysteria In The Crucible the case shawshank redemption red a play like The Cruciblethemes are Fear And Hysteria In The Crucible mainly through the dialogue of the characters. He feels Fear And Hysteria In The Crucible Elizabeth is constantly suspicious Themes In Forged By Fire him now, to the point where he Fear And Hysteria In The Crucible do anything Fear And Hysteria In The Crucible being judged. This perpetual tit-for-tat speaks of childishness in the dynamic characters of Dungatar who lack ted bundy childhood intelligence to Fear And Hysteria In The Crucible the social politics of living in a small town. Short Story About Funky s were likewise an era of sexual conservatism, and known or suspected homosexuals Fear And Hysteria In The Crucible at Fear And Hysteria In The Crucible risk for being singled out as Fear And Hysteria In The Crucible sympathizers.