Anna+T

**What Is the Relationship Between the Use of Stage Directions and Characterization In Act 1 of The Crucible?**

In Act 1 of The Crucible, Arthur Miller is very particular about the stage directions given in order to introduce us to the characters of the story and emphasize parts of their character that are hidden to the naked eye. He does this by underlining each characters actions specifically and using sometimes odd descriptive words that will strike the reader because of its contrasts to the character's denotation. The first character we are introduced to is reverend Parris, and from the very first stage direction given for him we can see that he is quite an unstable and somewhat neurotic character, which in turn could be the reason for his praying and confusion. “Reverend Parris is praying now, and, though we cannot hear his words, a sense of confusion hangs about him.” (p. 7) He is described to be switching between weeping and praying continuously and an “air of confusion” hangs around him, which suggests his unruly state of mind. Also, the fact that he frequently turns to praying suggests that this is his way of handling, or pretending to handle, his problems. Miller gives us this information through the stage directions to give significance to Parris’ character flaws. Then again on page 10 the stage directions describe another side of the character as we discover the root of Parris’ conflictions. The trait introduced is that he is self-centered and cares only for his status rather than being genuinely concerned about his daughters. “But if you trafficked with spirits in the forest I must know it now, for surely my enemies will, and they will ruin me with it.” This quote suggests that all his concern, confusion, and praying seem to have been for his own interest, as he mentions his enemies. He seems to hide his selfish aspect as stage directions mention him being erratic, almost bipolar in a sense that he changes his emotions to suit the situation: "Parris, with anger: I saw it! He moves from her, then resolved: Now tell me true Abigail." (p. 11). The fact that Miller describes him to move so quickly from anger to being resolved puts emphasis on how his character changes in order to extract infromation from Abigail. As his changes in movement and tone contradicts with his high status and occupation, the reader can see an obvious complexity of his character. In this way Miller’s stage directions give the characters breadth that can be a hidden feature in the dialogue.

** Discuss the Catalyst of The Crucible **

There are various catalysts in The Crucible, yet the one most prominent seems to be how the church misinterprets reality, leading to fear and neuroticism. Even Abigail, the main character of the play, has established her manipulating nature because of the way she can harness the superstition of the people in Salem “I saw Sarah Good with the devil! I saw Goody Osburn with the devil! I saw Bridget Bishop with the devil! ” (Act One, p 45). Here she clearly pretends the girls listed are associated with the devil, the exclamation marks adding to the alarming effect her words have on the people whom she tells. The towns folks’ superstition is caused by how the church uses lies for their convenience, such as claiming illness is caused by witchcraft: “I’d not call it sick; the devils touch is heavier than sick.” (Act One, p 13). This quote clearly shows the person’s mind has been influenced by religion as she claims the devil is the cause for her daughter’s sickness. As the church and it’s associates are the main drivers and projectors of the community’s religion, it could be argued that their manipulative teachings is the catalyst for the events of the play, as they have a heavy influence on the setting and attitude the characters live in. Even in court, the religion and the characters of the church seem to set the rule for justice. This can be seen when Parris says "All innocent and Christian people are happy for the courts in Salem! These people are gloomy for it. And I think you will want to know, from each and every one of them, what discontents them with you!" (Act three, p. 87). Parris argues from the point of view of the church, something that continues through the scene "Francis: These are all covenanted Christians, sir." (Act three, p. 87), and signifies how the church claims people innocent as long as they are propper Christians. By this basis, the people of Salem are persued due to superstition, and convicted by the warped justice of the religiosly influenced court.

**__ Directing to Convey an Underlining Sense of Tension and Hysteria __**

In pages 61 to 62 there is a rather perturbing tone as Hale arrives to question the Proctors in suspicion for their involvement with the Devil. To saturate the sense of tension in the passage, I would have Elizabeth and John Proctor standing beside each other, facing Hale who has just entered the door to signify their unity and assembled struggle that will arise as they fight for their innocence. Mr. Hale enters hesitantly, as if a feeling of guilt is still present in his character for what he is about to do, as he seems to not be fully consented with his mission. “Good evening.” Mr. Hale says, and John replies over-eagerly, to mask his suspicion and fright as to why a person like Mr. Hale would show up at their doorstep, as he knows Elizabeth has told him Abigail planned to convict her. “Why, Mr. Hale! Good evening to you sir. Come in, come in.” His hospitality is evident, but the kindness is only to flatter the presence of a person of high importance. I would have Hale slightly disregard Proctor and turn towards Elizabeth, the action in itself spawning underlying tension as his interest in Elizabeth is peculiar. “I hope I do not startle you.” Hale says, genuinely. Elizabeth, also hiding her confusion and nervous state answers, “Oh no, its only that I heard no horse-“. Hale cuts her off to get straight to the point, giving a sense of urgency to his words and leading the Proctors to further question his appearance, causing a build up of tension. “You are goodwife Proctor.” Hale asks, albeit with an unsure tone. With this statement Hale strengthens the suspicion against Elizabeth, and the Proctors do not move as if hindered to do so by fear. Proctor, wearily, “Aye; Elizabeth”, he nods as if to confirm. Hale nods likewise, searching their eyes for an incentive to stay, as it is apparent he has business with them. “I hope you’re not off to bed yet.” Proctor, setting his gun down and relaxing his shoulders as if the tension has disappeared, to prove to Hale that he was only tense because of the sudden and unexpected entrance, when in reality, he is more hysteric now than when Hale first made an appearance. “No, no,” Hale takes further steps into the room, and John gives reason for his nervousness to avert Hale’s suspicion. “We are not used to visitors after dark, but you’re welcome here. Will you sit down sir?” Hale sits down “I will. Let you sit Goodwife Proctor” He looks at Elizabeth and she sits too, though with slower movements, never averting her gaze from Mr. Hale. This creates tension on her part as her motions are wary and nervous, and on Mr. Hale’s part because he specifically asks Elizabeth to sit, as if there is something grave concerning her about to unfold, and the matter is serious. Hale, as an attempt to release the tension, looks around the room as if in admiration. Proctor breaks the silent with yet another gesture of presumed genuine hospitality “Will you drink cider, Mr. Hale?” Hale, as if not wanting to accept their kindness because of the news he brings, wanting to get straight to the point, says “No, it rebels my stomach. I have some further travelling yet tonight. Sit you down, sir.” Proctor sits next to his wife and Hale is facing them opposite the table, underlining that he is there to persecute them on some level. Hale says, “I will not keep you long, but I have some business with you.” Proctor, still with a straight face despite his worries says “Business of the court?” Hale says, reassuringly, “No- no, I come on my own, without the court’s authority. Hear me.” He wets his lips as he prepares to reveal his business. “I know not if you are aware, but your wife’s name is – mentioned in the court.” He says this avoiding their eyes as if guilty for hinting at his suspicion of them. Proctor calmly says “We know it sir, out Mary Warren told us. We are entirely amazed.” I would have him put a hand on Elizabeth’s shoulder as reassurance, tensing the situation for Hale as he sees their solemnly grieving stance on the accusation.

**__ Theme in The Crucible __**

A theme which is prominent in The Crucible is that of destructive blind faith. Played out from beginning to end one can see the heavy consequences of the people of Salem following their Christian faith blindly, as if there is no other way to live. This unquestioning way of being lead by their faith is what causes the devastation within their town. To present this, the line Goody Putnam speaks in Act 1 clearly shows she follows the Christian faith enough to exterminate any other possibility of explanation to be presented to her regarding Betty’s sickness: “Mrs. Putnam, with vicious certainty: I’d not call it sick; the devil’s touch is heavier than sick. It’s death, y’know, it’s death drivin into them, forked and hoofed.” (p. 13). Mrs. Putnam says this with ‘vicious certainty’, underlining the heavy extent of her belief and leading us to believe she will not consider any other option that contradicts her faith. The fact that people of high importance as well as the commoners are helplessly driven by this faith is what makes the unsettlement of the town so devastating. Even Herrick in Act 2 describes his actions as driven by God, not failing to follow his religion in order to make life-threatening decisions. “In God’s name John, I cannot help myself. I must chain them all. Now let you keep inside this house till I am gone!” (p. 74). It can be seen that Herrick does not consider the gravity of his actions of chaining his fellow citizens, and reasons by religion. In the last Act Danforth and Hathorne both press John Proctor to make a life threatening decision by God’s name: “Praise to God, man, praise to God, you shall be blessed in heaven for this." (p. 128). They use religion as a method to suave him, as they have with the rest of the convicted. However, they condemn them to death solely because they believe they are witches, which proves the extent their faith has lead them to ruin.

**__The Relevancy of The Crucible in Contemporary Society__**

In some ways one can argue that The Crucible is an allegory for anti-communism or even a symbolic representation of the anti-Semitic views from World War II. The play can be seen as symbolic of the communism hysteria that crept over America in the 1950’ s because there are several parallels existing between the handling of suspected communists during the 50’s and the 17th century witch hunt that Miller displays in The Crucible//,// including the supposedly all knowing, narrow-minded, and disregarding nature of characters that symbolize the American government’s effort to vanquish communism. Furthermore, as can be seen with the people prosecuted in Salem for witchcraft, suspected Communists were persuaded into confessing their sins and to give names of others that were believed to be in their accomplice. An example of this is when Danforth presses Proctor to name someone he has seen with the devil, almost manipulating him into submitting: “Proctor, you mistake me. I am not empowered to trade your life for a lie. You have most certainly seen some person with the Devil. //Proctor is silent.// Mr. Proctor, a score of people have already testified they saw this woman with the devil.” (Act 4, p. 130). Proctor is clearly labeled a liar, as were communist confessors who refused to name names of others of the same influence. Likewise, the treatment of the suspected communists were very alike that of suspected Jews, who were persecuted in Europe at around the same time. Jews were looked ill-upon just like the suspected witches on Salem, and paid a penalty of death. What is also a clear similarity is the way the government used propaganda to highlight there supposed evil touch on a community, as can be seen in Salem when Danforth shows his view of persecuted Devil-accomplices: “Hang them high over the town! Who weeps for these, weeps for corruption!” (Act 4, p. 134)

Generally a decent knowledge of different aspects of the play. I was particularly impressed with the first 3 paragraphs as they are rounded and well developed with relevant quotes integrated. The paragraph on theme needs a little develoment as you don't fully explore but you still identify a clear theme. At times writing needs to be a little more specific - the overuse of 'person' is a little ambiguous.

Try to pay even more attention to literary features i.e. how language creates effect

K&U - 4 Lit Features - 4 Interpretation - 4