the crucible central idea essay

Themes and Analysis

The crucible, by arthur miller.

Through 'The Crucible,' Miller explores several important themes, such as the power of fear and superstition and the dangers of religious extremism.

Article written by Emma Baldwin

B.A. in English, B.F.A. in Fine Art, and B.A. in Art Histories from East Carolina University.

Arthur Miller’s ‘ The Crucible ‘ is one of the most powerful and poignant plays ever written . Set in the Puritan town of Salem during the 1690s, the play focuses on a series of trials that ultimately reveal the dangers of fear and ignorance. The play is filled with important symbols and themes that drive the narrative, many of which are highly relatable, even today.

The Corruption of Power

In the story of ‘ The Crucible ,’ power corrupts absolutely. In the village of Salem, the court proceedings are directed by those in authority, such as Reverend Parris and Deputy Governor Danforth. They misuse their power to further their own personal agendas, leading to false accusations and wrongful executions. The corruption of power serves as a warning against allowing authority figures to control everyday life without consequence.

The Dangers of Hysteria

‘ The Crucible ‘ demonstrates how quickly hysteria can spread and affect a community. With the accusations of witchcraft, fear and paranoia spread like wildfire among the citizens of Salem. This leads to even more accusations and further isolation of those thought to be guilty. The play warns readers against succumbing to hysteria and shows the real danger it can pose when left unchecked; this relates directly to McCarthyism in the 1950s in the United States.

Ignorance and Intolerance

Many of the characters in ‘ The Crucible ‘ are ignorant and intolerant of others , especially those they view as outsiders. This is demonstrated through the character of Reverend Parris, who is deeply suspicious of anyone who is different or opposes him. Similarly, intolerance is shown when those accused of witchcraft are assumed to be guilty despite a lack of evidence. The play emphasizes the need for tolerance and understanding in order to prevent further strife.

Key Moments

• Reverend Parris discovers his daughter and niece dancing in the woods with Tituba, his slave, and other girls from the village. Betty falls into a coma.
• Parris questions the girls about witchcraft.
• It’s revealed that Abigail had an affair with her former employer John Proctor. She still wants to be with him.
• Betty wakes up screaming.
• Tituba confesses to witchcraft. Abigail joins her.
• Abigail and the other girls begin to accuse various citizens of Salem of witchcraft.
• Mary Warren, now a court official, testifies against John Proctor in court. 
• Elizabeth urges John to go to town and convince them that Abigail is not telling the truth. She is suspicious of their relationship.
• Mary gives Elizabeth a poppet.
• John is questioned by Reverend Hale.
• The town marshal arrests Elizabeth and finds the poppet, which has a needle in it.
• Mary admits she made the poppet in court, and Elizabeth claims she’s pregnant.
• The girls start screaming in court, saying that Mary is sending her spirit to them.
• Elizabeth convinces John to admit to witchcraft.
• John Proctor signs a confession but then rips it up before it can be used as evidence against him. 
• John Proctor is put to death after refusing to lie about being a witch.

Tone and Style

The tone of Arthur Miller’s ‘ The Crucible ‘ is serious and intense due to the subject matter of the Salem Witch Trials. Miller captures a sense of urgency and fear that pervaded the small town of Salem at the time, which amplifies the drama and tension between the characters. This serves as a reminder of the underlying paranoia that can quickly infect a community.

The writing style of Miller’s play is direct and succinct. Miller deliberately focuses on dialogue and action, allowing for a natural flow to the story as it unfolds. He also uses strong language to draw attention to the ways in which fear and paranoia can lead to injustice. Through this approach, Miller effectively conveys the consequences of these events. In part, this is due to the format of the story. It’s a drama, meaning that it is almost entirely composed of only dialogue.

Witchcraft is the most obvious symbol in ‘ The Crucible ‘, representing the fear and paranoia of the characters during the Salem Witch Trials. Miller uses it to reflect the rampant hysteria of the time and how quickly false accusations spread throughout Salem. Witchcraft can also be seen as a metaphor for the powerlessness of individuals in the face of a repressive and superstitious society. 

Proctor’s House

John Proctor’s house serves as a symbol of both the struggles and the strength of his marriage to Elizabeth. It is not only a physical representation of their relationship but also an example of their commitment to one another. As their relationship unravels, so does their home, until it is eventually burned down by the townspeople. This symbolizes the breakdown of their marriage and the ultimate downfall of their relationship. 

The forest is a symbol of freedom in ‘ The Crucible .’ It represents the escape from repression, control, and oppression in Salem. By venturing out into the woods, characters like Tituba, Abigail, and Parris are able to reject societal norms and restrictions, allowing them to find their own paths. It is also a sign of hope for those who are struggling against the unjust and oppressive nature of Salem society.

What is the most important theme in The Crucible by Arthur Miller?

The most important theme in “The Crucible” is the power of public opinion and hysteria. It demonstrates how an environment of fear and superstition can be manipulated to create a situation of paranoia and distrust. 

Why is The Crucible by Arthur Miller important?

‘ The Crucible ‘ is important because it explores themes of morality, justice, and personal responsibility. It also examines the effects of unchecked hysteria and paranoia on individuals and society as a whole.

Why did Arthur Miller write The Crucible ?

Arthur Miller wrote ‘ The Crucible ‘ as a metaphor for McCarthyism, which was a period of intense anti-communist sentiment in the United States during the 1950s. He wanted to illustrate how similar events could happen again if unchecked fear and paranoia were allowed to spread.

Who are some of the main characters in The Crucible ?

Some of the main characters in The Crucible include John Proctor, Abigail Williams, Elizabeth Proctor, Reverend Parris, Reverend Hale, and Judge Danforth.

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Most Important Themes in The Crucible, Analyzed

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The Crucible remains a staple of high school English because it is rich in themes that are consistently relevant to human beings regardless of time period. But these themes aren't always easy to explain or dissect in the context of the play, and they can be even harder to develop into essays. Read on for an overview of what a theme is, a list of important themes in The Crucible with specific act-by-act details, and a summary of how to use this information in your essays and other assignments.  

What’s a Theme? Why Are Themes Important?

Before I get into the nitty-gritty of how  The Crucible  themes are expressed, let's do a quick overview of what themes are and why they matter. A theme is a central topic that is addressed by a work of literature. Themes can be expressed in many different ways. In the case of a play like The Crucible , themes are revealed mainly through the dialogue of the characters. They're also revealed though events in the plot. 

Themes tell us what the purpose of the work is. What is the writer attempting to convey to the viewer? The Crucible 's themes have lent the play artistic longevity because they're more or less universal to the human experience across time.  If you hope to write an awesome essay on  The Crucible , you should have extensive knowledge of its themes. If you can show that you understand the themes of a work of literature, you've clearly mastered the material on a deeper level.  In the next few sections, I'll take a look at a group of broad themes in  The Crucible , including irony, hysteria, reputation, and power.

Theme 1: Irony

First off, what is irony? Many people are under the impression that irony is just when something happens that you don't expect (or that you really hoped wouldn't happen). In reality, true irony only happens when a situation is the exact opposite of what you would expect.  The classic example of an incorrect use of irony is in Alanis Morisette's song "Ironic" when she says that "rain on your wedding day" is an example of irony. Well, it's not. Sure, you don't expect or want rain, but it's not the polar opposite of getting married. A real example of irony would be if two married guests got into a fight about going to your wedding that ended in their divorce.

Irony abounds throughout The Crucible  as  characters who believe they are combating the Devil’s handiwork actually perform it themselves.   The ruthlessness with which the suspected witches are treated is aimed at purifying Salem, but it achieves the opposite outcome. The town slips further and further into chaos and paranoia until it reaches a point of total devastation.  As Reverend Hale says to Danforth, “Excellency, there are orphans wandering from house to house; abandoned cattle bellow on the highroads, the stink of rotting crops hangs everywhere, and no man knows when the harlots’ cry will end his life - and you wonder yet if rebellion’s spoke?” (Act 4, pg. 121).

The court's attempts to preserve Puritan morality by arresting and executing accused witches ironically lead to the removal of the most virtuous people from society. These people are the only ones who refuse to throw out false accusations or lie about involvement in witchcraft, so they find themselves condemned (this is the fate of Rebecca Nurse). This means that much of the population that remains is comprised of the power-hungry, the selfish, and the cowardly. 

There are several ironies in Act 1 that center around Abigail Williams. In her conversation with John, Abigail claims that he helped her realize all the lies she was told by two-faced people in Salem who only publicly adhere to the conventions of respectable society (pg. 22).  The irony is that, in the face of John’s rejection, Abigail turns around and creates her own lies soon after that give her increased control over the society she resents.  She puts on a fake front to get what she wants, ultimately creating a persona that’s even worse than that of the hypocrites she criticizes.   Abigail’s many deceptions are sometimes laughably ironic as she chastises others for lying even as she is spinning falsehoods.  In this act, she yells “Don’t lie!” at Tituba immediately before she tells some of the most damning lies of the play accusing Tituba of witchcraft (“ She comes to me while I sleep; she’s always making me dream corruptions!” pg. 41).

Hale also makes some unintentionally ironic statements in Act 1 when he begins his investigation.  He claims that they must not jump to conclusions based on superstition in their investigation of Betty’s affliction.  Hale is convinced that a scientific inquiry based only on facts and reality can be conducted to detect a supernatural presence. This is ironic because   searching for "the Devil's marks" as the potential cause of an ailment is inherently superstitious.

Once the accusations begin, Parris initiates an ironic thought process that persists throughout The Crucible: “You will confess yourself or I will take you out and whip you to your death, Tituba!” (pg. 42).  This “confess or die” mindset is one of the central ironies of the play.  The whole purpose of a trial is to hear both sides of the story before a verdict is reached.  In telling people they must confess to their crimes or be hanged, the officials show that they have already decided the person is guilty no matter what evidence is provided in their defense.

In Act 2, John Proctor’s guilt over his affair with Abigail is demonstrated through an ironic exchange with Reverend Hale. When Hale asks him to recite his commandments, the only one he forgets is adultery.  This is also the commandment that he has violated most explicitly , so you’d think it would be the first one to spring to mind.  The fact that he forgets only this commandment shows that he is trying extremely hard to repress his guilt.

This act also sees the irony of Hale discussing the “powers of the dark” that are attacking Salem (pg. 61).  This is irony of the same type that I discussed in the overview of this theme.  Hale doesn’t realize that his own fears and suspicions are the real powers of the dark.   Salem is under attack from the hysteria that is encouraged by the same people who seek to keep imaginary supernatural demons at bay.

In Act 3, Hale continues to make ironic statements about the existence of concrete proof for the accusations of witchcraft.  While touting his holy credentials, he claims that he “dare not take a life without there be a proof so immaculate no slightest qualm of my conscience may doubt it” (pg. 91).  This “immaculate proof” that has led him to sign numerous death warrants is nothing but the fabrications of teenage girls and other townspeople seeking petty revenge.  These types of statements made by Hale earlier in the play become even more ironic in Act 4 when he realizes he made a horrible mistake by trusting the “evidence” that was presented to him.

Abigail’s presence is always rife with irony in The Crucible , as she constantly chastises others for sins she herself has committed.  When she is brought in for questioning and claims to see Mary’s familiar spirit, she says “Envy is a deadly sin, Mary.” Abigail herself has acted out of envy for the entire play.  Her jealousy of Elizabeth Proctor’s position as John’s wife has led her to attempted murder, first by the charm in the woods and now by accusing Elizabeth of witchcraft. 

Elizabeth is a victim of cruel irony in this Act when she is summoned to testify on the reasons why she dismissed Abigail from her household.  John has already confessed that the affair was the reason for Abigail’s dismissal.  John tells the judge to summon Elizabeth to back him up because he knows she always tells the truth.  Ironically, though she is normally honest to a fault, in this situation Elizabeth decides to lie to preserve John’s reputation, not knowing he has already confessed.  This well-intentioned mistake seals both of their fates. 

Act 4 is Danforth’s turn to shine in the irony department.  He is appalled by Elizabeth’s lack of emotion when he asks her to help the court get a confession out of her husband (pg. 123).  This attitude comes from a man who has shown no remorse for condemning people to death throughout the play.  He refers to John’s refusal to confess as “a calamity,” looking past his own involvement in the larger calamity of the conviction that led John to this point.   

Later in Act 4, Danforth becomes angry at the implication that John’s confession may not be the truth. He insists,  “I am not empowered to trade your life for a lie” (pg. 130). Of course, we know that Danforth has been trading people’s lives for lies this whole time.  He has sentenced people to death based on lies about their dealings in black magic, and he has accepted other false confessions from those who would rather lie than be executed.  To Danforth, anything that doesn’t confirm that he was right all along is a lie. 

Discussion Questions

Here are a few questions related to this theme that you can use to test your grasp of irony and its significance as a theme in The Crucible : 

• How is Parris’ fate in act 4 ironic when considering his role in the events of the play?
• Why do certain characters seem to be blind to the irony of their actions (Abigail, Danforth)?
• Why is hypocrisy so common in repressive communities like Salem?
• Explain the irony of Hale’s position at the end of the play as compared to his actions at the beginning.   

Theme 2: Hysteria

The thematic significance of hysteria builds quickly as accusations of witchcraft proliferate throughout Salem.  The power of collective hysteria ultimately becomes insurmountable because it grows larger than the influence of the few rational voices in the community. The seeds are planted in Act 1, when Abigail is questioned about her activities in the woods and ends up accusing Tituba of witchcraft to avoid punishment.  The town, already primed with rumors of black magic, is quickly willing to accept that the first few women who are accused are involved in black magic because they’re beggars and slaves.  No one considers that the accusers are lying, partially because they’re seen as innocent children and partially because many “witches” confess to avoid the death penalty.

Armed with the false proof of these coerced confessions, the court officials aggressively persecute anyone who is accused.  Hysteria blinds the people of Salem to reason as they become convinced that there is a grand Satanic plot brewing in town, and they must not hesitate to condemn anyone who could be involved.   This is a lesson in how fear can twist perceptions of reality even for those who consider themselves reasonable under normal circumstances.   

Even before Abigail makes accusations, rumors of witchcraft have morphed into accepted truths in the minds of the more superstitious members of the community.   Ann Putnam jumps at any opportunity to blame supernatural forces for the deaths of her children.  Ann’s extreme conclusions are gradually accepted because rational people are too afraid to challenge the consensus and risk bringing accusations upon themselves.  Hale’s involvement is taken to mean that there must be a supernatural element to Betty’s illness.  Rational explanations are ground up by the drama of the rumor mill, and people see only what they want to see (whatever keeps them in the good graces of society and  makes them feel the best about themselves ) in situations that don't appear to have easy explanations.

The madness begins in earnest with Abigail’s claim that Tituba and Ruth were conjuring spirits in the woods.  Parris is extremely dismayed by this revelation because of the damage it will do to his reputation.  Thomas Putnam tells him to “Wait for no one to charge you - declare it yourself.”  Parris must rush to be the first accuser so he can place himself beyond reproach. It's a toxic strategy that causes panic to spread quickly and fear for one’s life to take the place of rationality.  Tituba is pressured to confess and name the names of other “witches” to avoid execution, which leads to Abigail and Betty’s accusations, now validated by a coerced confession.  This vicious cycle continues to claim the lives of more and more people as the play progresses.

By Act 2, there are nearly 40 people in jail accused of witchcraft.  Many people confess when threatened with execution, and this only heightens the paranoid atmosphere.  The authorities ignore any inconvenient logical objections to the proceedings because they, too, are swept up in the madness. The hysterical atmosphere and the dramatic performances of some of the accusers cause people to believe they have seen genuine proof of witchcraft.  Each new false confession is thrown onto the pile of “evidence” of a grand Satanic plot, and as the pile grows larger, the hysteria surrounding it is fed generously.

This hysteria-based “evidence” of witchcraft includes the discovery of the poppet in the Proctor household with a needle in it.  Elizabeth's side of the story is disregarded because Abigail’s testimony is far more dramatic.  "She sat to dinner in Reverend Parris's house tonight, and without word nor warnin' she falls to the floor. Like a struck beast, he says, and screamed a scream that a bull would weep to hear. And he goes to save her, and, stuck two inches in the flesh of her belly, he draw a needle out." (Cheever pg. 71). The idea that a witch's familiar spirit is capable of stabbing people is too scary for the superstitious and now hysterical people of Salem to give Elizabeth the benefit of the doubt. No one even considers Mary's statement about sticking the needle in herself. In this environment, whoever yells the loudest seems to get the most credibility.

The depths of the hysteria that has gripped Salem are revealed in Act 3 when John finally confronts the court. Danforth makes a shocking argument defending the way the trials have been conducted, insisting that only the victim’s testimony can serve as reliable evidence in this type of trial.   He is completely oblivious to the fact that the “victims” might be lying.  The court refuses to challenge anyone who claims to have been afflicted. 

When the petition testifying to the good character of the accused women is presented, the reaction from Danforth, Hathorne, and Parris is to arrest the people who signed it rather than considering that this might indicate that the women are innocent.   Danforth is convinced that “there is a moving plot to topple Christ in the country!” and anyone who doubts the decisions of the court is potentially involved.  They so fear the devilish consequences of challenging the accusers that they’re willing to take them at their word and ignore any defenses the accused have to offer.  Nowhere is there any consideration of ulterior motives.  

The power of mass hysteria is further revealed when Mary is unable to faint outside of a charged courtroom environment.  She believed she had seen spirits earlier because she was caught up in the delusions of those around her.  Abigail distracts the judges from any rational investigation in this act by playing into this hysteria.  Danforth, who has the most authority, is also the most sold on her act, and it only takes a few screams to persuade him that he’s in the presence of witchcraft.  This leads to Mary’s hysterical accusation of Proctor after she finds herself targeted by the other girls and about to be consumed by the hysteria herself if she doesn’t contribute to it. 

Danforth continues to demonstrate the effects of hysteria in act 4 even after things have died down a bit in Salem and there have been rumblings of discontent about the court’s actions.  As John gives his confession, Danforth says to Rebecca Nurse “Now, woman, you surely see it profit nothin’ to keep this conspiracy any further. Will you confess yourself with him?” (pg. 129)  He is still convinced that all the prisoners are guilty and is determined to force them to admit their guilt. 

Danforth also becomes frustrated with Proctor when he won’t name names in his confession : “Mr. Proctor, a score of people have already testified they saw [Rebecca Nurse] with the Devil” (pg. 130).  Danforth insists that John must know more about the Devil's dealings than he has revealed.  Though Rebecca Nurse's involvement has already been corroborated by other confessors, Danforth demands to hear it from John to confirm that John is fully committed to renouncing his supposed ties to Satan.

Here are a few questions about hysteria to consider now that you've read a summary of how this theme was expressed throughout the plot of the play:

• How does the hysteria in the play get started?
• What are some of the factors that feed the panic and suspicion in Salem, and why are officials (like Danforth) unable or unwilling to listen to reason?
• Is there any character besides John Proctor that represents the voice of common sense amidst the madness?
• Why is Cheever both astonished and afraid when he finds the poppet with the needle in it? Why is everyone so quick to believe Abigail’s story?
• Danforth explains that witchcraft is an invisible crime and that only the victims are reliable. How does this philosophy perpetuate hysteria?

Theme 3: Reputation

Concern for reputation is a theme that looms large over most of the events in The Crucible.  Though actions are often motivated by fear and desires for power and revenge, they are also propped up by underlying worries about how a loss of reputation will negatively affect characters' lives.   John’s concern for his reputation is strong throughout the play, and his hesitation to reveal Abigail’s true nature is a product of his own fears of being labeled an adulterer. 

Once there have been enough convictions, the reputations of the judges also become factors. They are extremely biased towards believing they have made the correct sentencing decisions in court thus far, so they are reluctant to accept new evidence that may prove them wrong.  The importance placed on reputation helps perpetuate hysteria because it leads to inaction, inflexibility, and, in many cases, active sabotage of the reputations of others for selfish purposes. The overall message is that when a person's actions are driven by desires to preserve favorable public opinion rather than do the morally right thing, there can be extremely dire consequences.

Reverend Parris' concerns about his reputation are immediately evident in Act 1. Parris initially insists that there are “no unnatural causes” for Betty’s illness because he fears that he will lose favor with the townspeople if witchcraft is discovered under his roof.  He questions Abigail aggressively because he’s worried his enemies will learn the full story of what happened in the woods first and use it to discredit him.  Parris is very quick to position himself on the side of the accusers as soon as Abigail throws the first punch, and he immediately threatens violence on Tituba if she doesn't confess (pg. 42).  He appears to have no governing system of morality. His only goal is to get on the good side of the community as a whole, even in the midst of this bout of collective hysteria.  

Abigail also shows concern for her reputation.  She is enraged when Parris questions her suspicious dismissal from the Proctor household.  Abigail insists that she did nothing to deserve it and tries to put all the blame on Elizabeth Proctor.  She says, "My name is good in the village! I will not have it said my name is soiled! Goody Proctor is a gossiping liar!" (pg. 12) The fi rst act of The Crucible  clearly establishes the fact that a bad reputation can damage a person’s position in this society severely and irreparably.

In this act, we learn more details about the accused that paint a clearer picture of the influence of reputation and social standing on the patterns of accusations.  Goody Good, an old beggar woman, is one of the first to be named a witch. I t’s easy for more respectable citizens to accept that she’s in league with the Devil because she is an "other" in Salem, just like Tituba.   When Abigail accuses Elizabeth, a respected farmer’s wife, it shows that she is willing to take big risks to remove Elizabeth from the picture.  She’s not a traditionally accepted target like the others (except in her susceptibility as a woman to the misogyny that runs rampant in the play).

In Act 2, the value of reputation in Salem starts to butt heads with the power of hysteria and fear to sway people’s opinions (and vengeance to dictate their actions).  Rebecca Nurse, a woman whose character was previously thought to be unimpeachable, is accused and arrested.  This is taken as evidence that things are really getting out of control ("if Rebecca Nurse be tainted, then nothing's left to stop the whole green world from burning." Hale pg. 67).  People in power continue to believe the accusers out of fear for their own safety, taking the hysteria to a point where no one is above condemnation.

At the end this act, John Proctor delivers a short monologue anticipating the imminent loss of the disguises of propriety worn by himself and other members of the Salem community.  The faces that people present to the public are designed to garner respect in the community, but the witch trials have thrown this system into disarray.   Proctor’s good reputation is almost a burden for him at this point because he knows that he doesn’t deserve it. In a way,   John welcomes the loss of his reputation because he feels so guilty about the disconnect between how he is perceived by others and the sins he has committed. 

John Proctor sabotages his own reputation in Act 3 after realizing it's the only way he can discredit Abigail.  This is a decision with dire consequences in a town where reputation is so important, a fact that contributes to the misunderstanding that follows.  Elizabeth doesn’t realize that John is willing to sacrifice his reputation to save her life.   She continues to act under the assumption that his reputation is of the utmost importance to him, and she does not reveal the affair. This lie essentially condemns both of them.    

Danforth also acts out of concern for his reputations here. He  references the many sentencing decisions he has already made in the trials of the accused. If Danforth accepts Mary’s testimony, it would mean that he wrongly convicted numerous people already. This fact could destroy his credibility , so he is biased towards continuing to trust Abigail.  Danforth has extensive pride in his intelligence and perceptiveness. This makes him particularly averse to accepting that he's been fooled by a teenage girl. 

Though hysteria overpowered the reputations of the accused in the past two acts, in act 4 the sticking power of their original reputations becomes apparent.  John and Rebecca’s solid reputations lead to pushback against their executions even though people were too scared to stand up for them in the midst of the trials.   Parris begs Danforth to postpone their hangings because he fears for his life if the executions proceed as planned.  He says, “I would to God it were not so, Excellency, but these people have great weight yet in the town” (pg. 118).

However, this runs up against Danforth’s desire to preserve his reputation as a strong judge.  He believes that “Postponement now speaks a floundering on my part; reprieve or pardon must cast doubt upon the guilt of them that died till now. While I speak God’s law, I will not crack its voice with whimpering” (pg. 119).  Danforth’s image is extremely valuable to him, and he refuses to allow Parris’ concerns to disrupt his belief in the validity of his decisions.

In the final events of Act 4, John Proctor has a tough choice to make between losing his dignity and losing his life. The price he has to pay in reputation to save his own life is ultimately too high.  He chooses to die instead of providing a false confession because he doesn’t think life will be worth living after he is so disgraced. As he says,  “How may I live without my name? I have given you my soul; leave me my name!” (pg. 133)

Here are a few discussion questions to consider after you've read my summary of how the theme of reputation motivates characters and plot developments in The Crucible :

• How are characters’ behaviors affected by concern for their reputations? Is reputation more important than truth?
• Why doesn’t John immediately tell the court that he knows Abigail is faking?
• How does Parris’ pride prevent him from doing anything to stop the progression of events in the play?
• Why does Mary Warren warn John about testifying against Abigail? Why does he decide to do so anyways?
• Why does John decide to ruin his reputation in Act 3 by confessing to the affair?
• How is the arrest of  Rebecca Nurse a sign that the hysteria in Salem has gotten out of control?
• How does reputation influence who is first accused of witchcraft?

Theme #4: Power and Authority

The desire to preserve and gain power pervades  The Crucible as the witch trials lead to dramatic changes in which characters hold the greatest control over the course of events.  Abigail’s power skyrockets as the hysteria grows more severe.  Where before she was just an orphaned teenager, now, in the midst of the trials, she becomes the main witness to the inner workings of a Satanic plot.  She has the power to utterly destroy people’s lives with a single accusation because she is seen as a victim and a savior.

The main pillars of traditional power are represented by the law and the church.  These two institutions fuse together in The Crucible to actively encourage accusers and discourage rational explanations of events. The girls are essentially given permission by authority figures to continue their act because they are made to feel special and important for their participation.  The people in charge are so eager to hold onto their power that if anyone disagrees with them in the way the trials are conducted, it is taken as a personal affront and challenge to their authority. Danforth, Hathorne, and Parris become even more rigid in their views when they feel they are under attack.  

As mentioned in the overview, religion holds significant power over the people of Salem.  Reverend Parris is in a position of power as the town's spiritual leader, but he is insecure about his authority.   He believes there is a group of people in town determined to remove him from this position, and he will say and do whatever it takes to retain control.   This causes problems down the line as Parris allows his paranoia about losing his position to translate into enthusiasm for the witch hunt. 

Abigail, on the other hand, faces an uphill battle towards more power over her situation.  She is clearly outspoken and dominant, but her initial position in society is one of very little influence and authority.  One path to higher standing and greater control would be in becoming John Proctor’s wife.  When she can’t get John to abandon Elizabeth for her, she decides to take matters into her own hands and gain control through manipulating the fears of others. 

Abigail accuses Tituba first because Tituba is the one person below her on the ladder of power, so she makes an easy scapegoat. If Tituba was permitted to explain what really happened, the ensuing tragedy might have been prevented.  No one will listen to Tituba until she agrees to confirm the version of events that the people in traditional positions of authority have already decided is true, a pattern which continues throughout the play.   Tituba is forced to accept her role as a pawn for those with greater authority and a stepping stone for Abigail’s ascent to power.

By Act 2, there have been notable changes in the power structure in Salem as a result of the ongoing trials.  Mary Warren’s sense of self-importance has increased as a result of the perceived value of her participation in court.   Elizabeth notes that Mary's demeanor is now like that of “the daughter of a prince” (pg. 50).  This new power is exciting and very dangerous because it encourages the girls to make additional accusations in order to preserve their value in the eyes of the court. 

Abigail, in particular, has quickly risen from a nobody to one of the most influential people in Salem.  Abigail’s low status and perceived innocence under normal circumstances allow her to claim even greater power in her current situation.  No one thinks a teenage orphan girl is capable of such extensive deception (or delusion), so she is consistently trusted.  In one of the most well-known quotes in the play, John Proctor angrily insists that “the little crazy children are jangling the keys of the kingdom” (pg. 73), meaning the girls are testing out the extent of the chaos they can create with their newfound power.

In Act 3, Abigail’s power in the courthouse is on display.  She openly threatens Danforth for even entertaining Mary and John's accusations of fraud against her. Though Danforth is the most powerful official figure in court, Abigail manipulates him easily with her performance as a victim of witchcraft. He's already accepted her testimony as evidence, so he is happy for any excuse to believe her over John and Mary. John finally comes to the realization that Mary's truthful testimony cannot compete with the hysteria that has taken hold of the court.  The petition he presents to Danforth is used as a weapon against the signers rather than a proof of the innocence of Elizabeth, Martha, and Rebecca. Abigail's version of events is held to be true even after John confesses to their affair in a final effort to discredit her.  Logic has no power to combat paranoia and superstition even when the claims of the girls are clearly fraudulent.  John Proctor surrenders his agency at the end of Act 3 in despair at the determination of the court to pursue the accusations of witchcraft and ignore all evidence of their falsehood.

By Act 4, many of the power structures that were firmly in place earlier in the play have disintegrated.  Reverend Parris has fallen from his position of authority as a result of the outcomes of the trials.   He is weak and vulnerable after Abigail's theft of his life's savings, and he’s even facing death threats from the townspeople as a result of John and Rebecca's imminent executions.  In Act 1 he jumped on board with the hysteria to preserve his power, but he ended up losing what little authority he had in the first place (and, according to Miller's afterward, was voted out of office soon after the end of the play). 

The prisoners have lost all faith in earthly authority figures and look towards the judgment of God.  The only power they have left is in refusing to confess and preserving their integrity. I n steadfastly refusing to confess, Rebecca Nurse holds onto a great deal of power.   The judges cannot force her to commit herself to a lie, and her martyrdom severely damages their legitimacy and favor amongst the townspeople.

Here are some discussion questions to consider after reading about the thematic role of the concepts of power and authority in the events of the play:

• How do the witch trials empower individuals who were previously powerless?
• How does Reverend Hale make Tituba feel important?
• Compare and contrast three authority figures in this drama: Hale, Danforth, and Parris. What motivates their attitudes and responses toward the witch trials?
• What makes Danforth so unwilling to consider that the girls could be pretending?
• Why does Mary Warren behave differently when she becomes involved in the trials?  
• How do the actions of authority figures encourage the girls to continue their accusations and even genuinely believe the lies they’re telling?

A Quick Look at Some Other The Crucible  Themes 

These are themes that could be considered subsets of the topics detailed in the previous sections, but there's also room to discuss them as topics in their own right. I'll give a short summary of how each plays a role in the events of The Crucible .

The theme of guilt is one that is deeply relevant to John Proctor's character development throughout the play. John feels incredibly ashamed of his affair with Abigail, so he tries to bury it and pretend it never happened. His guilt leads to great tension in interactions with Elizabeth because he projects his feelings onto her, accusing her of being judgmental and dwelling on his mistakes. In reality, he is constantly judging himself, and this leads to outbursts of anger against others who remind him of what he did (he already feels guilty enough!). Hale also contends with his guilt in act 4 for his role in condemning the accused witches , who he now believes are innocent.

There's a message here about the choices we have in dealing with guilt. John attempts to crush his guilt instead of facing it, which only ends up making it an even more destructive factor in his life. Hale tries to combat his guilt by persuading the prisoners to confess, refusing to accept that the damage has already been done. Both Hale and Proctor don't want to live with the consequences of their mistakes, so they try to ignore or undo their past actions. 

Misogyny and Portrayal of Women 

Miller's portrayal of women in The Crucible is a much-discussed topic. The attitudes towards women in the 1950s, when the play was written, are evident in the roles they're given. The most substantial female character is Abigail, who is portrayed as a devious and highly sexualized young woman. She is cast as a villain. Then, on the other end of the spectrum, we have Rebecca Nurse. She is a sensible, saintly old woman who chooses to martyr herself rather than lie and confess to witchcraft. The other two main female characters, Elizabeth and Mary Warren, are somewhat bland. Elizabeth is defined by her relationship to John, and Mary is pushed around by other characters (mostly men) throughout the play. The Crucible presents a view of women that essentially reduces them to caricatures of human beings that are defined by their roles as mothers, wives, and servants to men . Abigail, the one character who breaks from this mold slightly, is portrayed extremely unsympathetically despite the fact that the power dynamic between her and John makes him far more culpable in their illicit relationship.   

Deception is a major driving force in  The Crucible . This includes not only accusatory lies about the involvement of others in witchcraft but also the lies that people consistently tell about their own virtuousness and purity in such a repressive society. The turmoil in Salem is propelled forward by desires for revenge and power that have been simmering beneath the town's placid exterior.  There is a culture of keeping up appearances already in place, which makes it natural for people to lie about witnessing their neighbors partaking in Satanic rituals when the opportunity arises (especially if it means insulating themselves from similar accusations and even achieving personal gain). The Crucible provides an example of how convenient lies can build on one another to create a universally accepted truth even in the absence of any real evidence. 

How to Write About  The Crucible  Themes

It's one thing to understand the major themes in The Crucible , and it's another thing completely to write about them yourself. Essay prompts will ask about these themes in a variety of different ways. Some will be very direct. An example would be something like:

" How are themes like hysteria, hunger for power, reputation, or any of a number of others functional in the drama? Choose a single character and discuss how this person embodies one of the themes. How is Miller’s underlying message revealed in one of these themes and through the character?"  

In a case like this, you'd be writing directly about a specific theme in connection to one of the characters. Essay questions that ask about themes in this straightforward way can be tricky because there's a temptation to speak in vague terms about the theme's significance. Always include specific details, including direct quotes, to support your argument about how the theme is expressed in the play.  

Other essay questions may not ask you directly about the themes listed in this article, but that doesn't mean that the themes are irrelevant to your writing. Here's another example of a potential essay question for The Crucible that's less explicit in its request for you to discuss themes of the play:  

" Most of the main characters in the play have personal flaws and either contribute to or end up in tragedy. Explain who you believe is the central tragic character in the play. What are their strengths and personal flaws? How does the central tragic character change throughout the play, and how does this relate to the play's title? How do outside forces contribute to the character's flaws and eventual downfall?"  

In this case, you're asked to discuss the concept of a tragic character, explaining who fits that mold in The Crucible and why. There are numerous connections between the flaws of individual characters and the overarching themes of the play that could be brought into this discussion. This is especially true with the reputation and hysteria themes. If you argued that John Proctor was the central tragic character, you could say that his flaws were an excessive concern for his reputation and overconfidence in the power of reason to overcome hysteria. Both flaws led him to delay telling the truth about Abigail's fraudulent claims and their previous relationship, thus dooming himself and many others to death or imprisonment. Even with prompts that ask you to discuss a specific character or plot point, you can find ways to connect your answer to major themes. These connections will bolster your responses by positioning them in relation to the most important concepts discussed throughout the play.    

What's Next? 

Now that you've read about the most important themes in The Crucible , check out our  list of every single character in the play , including brief analyses of their relationships and motivations. 

You can also read my full summary of The Crucible here for a review of exactly what happens in the plot in each act.

The Crucible is commonly viewed as an allegorical representation of the communist "witch hunts" conducted in the 1950s. Take a look at this article for details on the history and thematic parallels behind this connection . 

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The Crucible Themes

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The Crucible

by Arthur Miller

A primary inspiration for The Crucible was the search by the U.S. Congress for “communist sympathizers” in the 1950’s, the time when Miller was writing the play. Those hearings were often denounced as a “witch-hunt,” and audiences in 1953 instantly recognized the implied analogy between the Salem witch trials and the current “red scare.” In both cases, accused persons were assumed to be guilty but, ironically, were excused from punishment if they were willing to accuse others. Many critics attacked Miller’s analogy with an argument that there are communists in America but no witches. Miller’s counterargument was that, regardless of whether witchcraft actually works, there are people who practice witchcraft. (In the play, Abigail has put a hex on Elizabeth.) Although many details in The Crucible are invented for dramatic purposes, such as the affair between Proctor and Abigail, the play can serve for young people as a powerful illustration of how paranoia can affect history.

It would be a mistake, however, to limit the play’s relevance to the Salem trials or to the congressional hearings. Miller wants the audience to respond to the play’s themes on a more universal level. He is perhaps primarily concerned with the conflict of the needs of society with those of the individual. It is the repressive atmosphere in which Abigail lives that causes her to rebel—by having an affair, by dancing naked in the woods, by experimenting with witchcraft. The society’s need for order places Abigail in jeopardy, and she exploits that need for order by offering Salem with scapegoats for its problems. In such an environment, the need for order becomes a force that is beyond the power of individuals to control. Once the accusations have been made and the trials set in motion, any attempt to question the validity of the process is met with punishment. Miller’s basic theme is central to American literature. The United States has a society based on individualism. Americans place primary emphasis on individual liberty, but any society must have restrictions if it is to have order. Within that paradox lies a central problem of defining the place of the individual in society. The question is further complicated because the forces of society (the trials) may be corrupted by self-interest (Parris).

Teenage readers and playgoers, more than anything else, probably relate to the characters’ sense of helplessness. Many believe that parents, teachers, ministers, and other authority figures are arbitrarily restricting their individuality and their freedom. In its treatment of rebellion and repression, The Crucible presents its audience with a complex puzzle. Proctor is certainly right to oppose the trials and even to oppose Reverend Parris’ vain and self-centered rule. It is Proctor’s affair with Abigail, however, that places Elizabeth in jeopardy, and it is the rebellion of Abigail, Betty, and their friends that sets the tragic events in motion. Thus, rebellion against the trials is good (if ineffective), but the trials may not have existed in the first place without rebellion.

Cite this page as follows:

"The Crucible - Analysis." Survey of Young Adult Fiction, edited by Frank Northen Magill, eNotes.com, Inc., 1997, 21 Sep. 2024 <https://www.enotes.com/topics/crucible/in-depth/key-ideas-commentary#in-depth-key-ideas-commentary-analysis>

The Crucible begins at daybreak in the house of the Reverend Samuel Parris, who is praying at the bed of his motionless daughter, Betty. Her apparently incurable illness sets in motion the action of the play, which centers on the historic Salem witch trials. In quick succession, key characters enter; the first is slave Tituba, on whose exit follows Parris’ ward, the seventeen-year-old Abigail Williams. Interrogating her sparks off Parris’ fear that “unnatural things” may be going on, occult practices that could wreck his career; he has already been shocked to discover the “sinful” dance of Tituba and the girls in the forest.

Ann and Thomas Putnam enter, two characters who have strong motivations for crying “witch”: Ann has no living children and envies happier mothers, while land-rich Thomas stands to gain still more if some of his neighbors are indicted. One neighbor is John Proctor, who appears while the adults are offstage praying, and after Abigail and her girlfriends have discussed what to reveal about Tituba, who indeed performed voodoo rites. Abigail even drank chicken blood to cast a deadly spell over Proctor’s wife Elizabeth, so that she could marry Proctor, with whom she had an affair before his wife cast her out.

When her girlfriends leave, Abigail attempts to seduce Proctor, who refuses and threatens her with the whip. As the adults come back, new characters appear, such as wily old Giles Corey, a friend of Proctor’s, and Rebecca Nurse, who looks at one of the sick girls and states calmly that “a child’s spirit is like a child . . . for love, it will soon itself come back.” Only Proctor and Giles listen; all others await the arrival of the demonologist, the Reverend John Hale. The moment he arrives, Hale starts his interrogation of Abigail, who confesses and turns against Tituba, who admits her dark practices.

Act 2 opens at Proctor’s house, where he tries in vain to regain the respect of his wife. Afraid of Abigail, Elizabeth implores Proctor to testify at the witch trials in Salem that he heard her earlier claims that the dancing was not connected to witchcraft—claims the girl had indeed made before discovering a better way to save her hide. It is too late; Reverend Hale enters with a warrant for Elizabeth, whom Abigail has implicated with the unwitting help of maid Mary Warren, one of the “bewitched” girls testifying in court.

Throughout the ensuing struggle, the dialogue expresses to what degree Salem has become paranoid; Hale rightly observes, “No man may longer doubt the powers of the dark are gathered in monstrous attack upon this village.” Proctor’s position becomes increasingly untenable: His dislike for Parris’ greed, along with economic concerns, has led him to neglect formal Christian duties, such as keeping the Sabbath and regularly attending church. His voice of reason is silenced, and his observation that the girls “were startled and took sick” after Parris discovered them sporting in the woods—as Abigail herself told him—is wiped off the record. At the end of act 2 Hale faces an increasingly painful moral dilemma, exacerbated by unmistakable signs of a judicial system going haywire.

This concern leads directly into act 3. Shouts are heard offstage as Corey defends his wife, another accused witch. Soon, the empty anteroom of Parris’ meeting house fills with characters entering from the courtroom or, like Proctor, from outdoors. Deputy Governor Danforth, not an unintelligent man, reluctantly hears Corey and Proctor. The latter now presents Mary Warren, who recants her earlier story of witchcraft; to strengthen his case, by presenting a motive for Abigail’s lying, Proctor even confesses his adultery. Sensing the impact of this, Danforth summons Elizabeth and asks her why she dismissed Abigail; she lies to protect her husband, thereby sabotaging his defense. Just as a now-remorseful Hale tries to intervene, the girls, whom Danforth has brought in, start a ghastly pantomime, pretending to have been bewitched by Mary. They mock her every word until she breaks down and accuses Proctor of having worked with the Devil to extort a false recantation. Act 3 ends with Corey and Proctor thrown into jail and a disgusted Hale quitting the court.

Act 4 commences in a moonlit prison chamber just before dawn, as Danforth and Parris try to bring Proctor to confess so that they can avoid hanging him, with other prominent citizens, for being an unrepentant sinner. Hale reenters, bitterly ready “to do the Devil’s work” of persuading Proctor to commit the sin of a false confession. In a clever move, Danforth uses the pregnant Elizabeth, who has been spared from execution, to persuade Proctor to opt for confession and life.

To get the most out of his triumph, Danforth asks Proctor to sign his confession, so that it can be posted upon the church door. This, however, is too much for Proctor. He snatches the confession and tears it apart, ready to die rather than to give false testimony publicly. Deeply moved by her husband’s heroism, Elizabeth refuses to work a change of his mind. “He have his goodness now,” she says in the last speech of The Crucible ; “God forbid I take it from him!”

"The Crucible - The Play." Comprehensive Guide to Drama, edited by Christian H. Moe, eNotes.com, Inc., 1990, 21 Sep. 2024 <https://www.enotes.com/topics/crucible/in-depth/key-ideas-commentary#in-depth-key-ideas-commentary-the-play>

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The Crucible by Arthur Miller

October 23, 2020

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‍ This blog was updated on 23/10/2020.

2. Historical Context

3. Character Analysis

5. Symbols and Motifs

6. Quote Analysis

7. Sample Essay Topics

8. Essay Topic Breakdown

The Crucible is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

The Crucible , Arthur Miller’s 1953 realist play, is based on the historical events of the 1692 Salem witch hunts. Although partially fictionalised, it depicts the very real consequences of false accusations based on blind religious faith , as Miller displays the dangers of such baseless rumours. However, the play was written during another type of witch hunt: McCarthyism in 1950s America. This was a political movement in which Senator Joseph McCarthy attempted to control the spread of Communism by placing any Communist sympathisers on a blacklist. This resulted in a widespread fear of Communist influences, and a political hunt similar to the Salem witch trials began, as civilians attempted to escape their own charges by accusing other innocent individuals of treason. Thus, given the historical context of the time, Miller uses The Crucible as an allegorical warning for the audience against the dangers of McCarthyism in 1950s America. 

These concepts will be fully unpacked later, but it is important to keep these key notions of hysteria, accusation and blind faith in mind as you study the text. These are the fundamental ideas that the play is based upon, and also the elements which make The Crucible hugely relevant in our society today. One could even say that the development of technology has made it easier for false allegations and social rumours to spread - leading to drastic consequences specific to the 21st century, such as the leaking of critical government information and cyberbullying. Not to mention, the anonymity of technology has enabled individuals to start modern-day witch hunts as a nameless, faceless user behind the comfort and security of their screens!

Historical Context

In varying degrees, every work of literature reflects its historical context , or the social and political conditions that shaped its time period. The Crucible is a four-act play, which presents a dramatised and partially fictionalised depiction of the 1692 Salem witch trials. It was also published in 1953, at the height of the Second Red Scare, or the heightened fear of Communist influences in America. As such, the play is not merely a play based on historically accurate events, but also an allegory of the disastrous consequences of McCarthyism.

Character Analysis

John proctor.

Proctor is a strong and hardworking farmer, respected by those in Salem for his power and independence. Possessing a “sharp and biting way with hypocrites”, Proctor is the symbol of autonomous leadership in the play, acting as another source of social authority to the theocratic leaders of the Puritan Church. He is the protagonist of the play, but a flawed individual - while he has great strength of character, he is also presented in The Crucible as an adulterous husband, who is openly defiant of his church. As such, he is described by Miller as a kind of “sinner” - one who experiences an internal moral conflict within himself. Proctor undergoes much personal growth during the plot of the play, redeeming his name and obtaining “goodness” by choosing moral honesty over freedom. This ultimate act of courage symbolises the importance of integrity and honour , and represents the “shred of goodness” in his character. 

Elizabeth Proctor

Although described by Abigail as a “bitter woman”, Elizabeth is the quiet yet resilient wife of Proctor. Her husband’s affair with Abigail renders her resentful towards the former and jealous of the latter, resulting in a wounded and fragile marriage. Her humility is made evident as she blames herself for Proctor’s infidelity, believing she erred in keeping a “cold house”. In tandem with this icy imagery , Miller utilises Elizabeth as a symbol of honesty and strict moral justice , despite it often being mistaken as “coldness” by others - Proctor asserts that Elizabeth’s justice “would freeze beer”. Despite this, Elizabeth proves herself to be a caring source of support for her persecuted husband, believing him to be “a good man”, and ultimately breaking her characteristic honesty in the hopes of his freedom. Her extreme courage is ultimately made evident by her willingness to lose Proctor to the hangman’s noose, rather than for him to lose his moral virtue by signing his name to lies. 

Abigail Williams

Described as “a wild thing”, Abigail is a beautiful, yet manipulative and deceptive adolescent with “an endless capacity for dissembling”. Still in love with Proctor after their brief affair, she lies to the court and condemns Elizabeth as a witch, in a desperate, jealous attempt to win him back and take Elizabeth’s place as his wife. Abigail is the ringleader of the girls, and the progenitor of the false rumours that spiral into the witch hunt. Thus, she embodies falsehood , in a stark contrast to Elizabeth, who is a symbol of truth. Her violent nature is made evident in the play, as she threatens the girls with physical violence and “smashes Betty across the face” in an effort to silence her. Despite this, Miller makes clear that Abigail is a victim of psychological trauma , as she is revealed to have borne witness to the violent death of her parents - partly explaining her disturbed and devious nature. 

Mary Warren 

Mary Warren is a sullen, sensitive and easily manipulated servant of the Proctor household. Her volatile nature makes her an easy target for Abigail, who manipulates her into betraying the Proctors by planting a poppet in Elizabeth’s room, which ultimately becomes the leading evidence in her sentencing. Mary is a symbol of mass hysteria , as her easily exploitable nature and weakness in spirit represent the irrationality of those who are quick to believe rumours, such as the persecutors of the Salem witch hunts, as well as the accusers of the McCarthy era. 

Susanna Walcott, Mercy Lewis, Betty Parris

Referred to as “the girls” throughout the play, these young individuals are manipulated by Abigail to falsely convict Elizabeth and numerous others as practicers of witchcraft. All of these girls possess a common fear of Abigail, and carry out her orders in an attempt to evade their own punishment at her hands. Thus, Miller uses them to emphasise his allegory of the McCarthy trials , in which numerous people accused others of Communism based on their own fear of being charged by the Court. 

Mass Hysteria

Mass hysteria is one of the most significant themes of the play, as Miller depicts the entire town of Salem engulfed by the superstition of witchcraft and devil-worship. The community-wide fear of consorting with the devil is shown to overwhelm any kind of rational thought . As one rumour created by Abigail and the girls leads to dozens of incarcerations and executions in a matter of days, The Crucible depicts the “perverse manifestation of panic” that can occur from unsubstantiated fear . Miller uses this illustration of hysteria to show the effects of a strictly repressive Puritan society . Although some residents of Salem manipulate the witch hunt for their own benefit, such as Abigail, the majority of the townspeople are launched into the terror-fuelled “fever” by their genuine belief that the devil is running amok in Salem. The strict theocracy of the town thus exacerbates the crisis, as joining the accusatory crowd becomes a religious necessity ; a virtuous “plane of heavenly combat between Lucifer and the Lord”. As such, the play demonstrates how uncontrolled religious fervour can lead to the collective indoctrination of “black mischief”, where panic clouds all reason. 

Judgement in The Crucible encompasses three meanings; the legal, personal, and spiritual . The legal judgement in the play is depicted as superficial - mainly illustrated through the characters of Hathorne and Danforth, the theocratical Salem court does not carry out real justice due to its dogmatic focus on its reputation . This is depicted by Danforth’s stubborn refusal to free the innocents accused, due to his belief that it would lead to a tainted esteem of the court. Thus, Miller suggests that the more important judgement is personal - exemplified by the character of Proctor. Believing himself to be a “sinner” against his own “version of moral conduct”, Proctor throughout the play shows limitless remorse and self-hatred for the hurt he has caused Elizabeth by his affair with Abigail. Miller shows the importance of forgiveness through self-judgement , as Elizabeth assures Proctor that there is “no higher judge under Heaven” than Proctor himself, and he ultimately is able to forgive himself and see the “shred of goodness” within him by the end of the play. Furthermore, The Crucible depicts the town of Salem overcome by the fear of God’s judgement, or what Proctor calls “God’s icy wind” . The events of the play unfold due to the town’s collective fear of the higher power of an “Almighty God”. As Hale proclaims, “Before the laws of God we are as swine!”, Miller showcases the extent of the fearsome “power of theocracy” in circumstances of confusion and hysteria .

The events of the Salem witch trials detail various types of accusation. Although all are disguised as the dispelling of witchcraft, the false allegations depicted in the play are carried out with a range of different motives . For example, Abigail’s accusation of Elizabeth as a witch is described to derive from a “whore’s vengeance” due to her passionate jealousy of Elizabeth’s position as Proctor’s wife, and Abigail’s wish to take her place. Similarly, Rebecca Nurse’s charge of “murdering Goody Putnam’s babies” is due to the Putnams’ resentment and jealousy of her numerous children, while they themselves have lost babies “before they could be baptised”.  In contrast to this, the accusation of Martha Corey, Giles' wife, of witchcraft is motivated by Walcott’s desire for revenge , as he resents her for the unhealthy “pig he bought from her five years ago”. Thus, his actions are calculative rather than passionate - a cruel attempt to get “his money back”. In his employment of the play as a historical allegory , this depiction of the blind following of rampant accusations depicted in The Crucible represents the similarly irrational proceedings of the McCarthy trials, many of which were carried out without substantial evidence. 

Honour and Integrity

Honour is one of the most prominent themes in the play, as the majority of the characters strive to maintain their reputations in society . Miller depicts a community in which private and public characters are one and the same, and the consequences of the obsessive desire to uphold the esteem of their name. For example, although Proctor has the chance to undermine the girls’ accusations by revealing Abigail as a ‘whore’, he does not do so in order to protect his good name from being tarnished . Likewise, Parris at the beginning of the play threatens Abigail and the girls due to his fear that hints of witchcraft will threaten his already precarious reputation in the church and banish him from the pulpit. Furthermore, the judges of Salem do not accept any evidence that could free the innocent accused, as they uphold a false reputation to honour the Puritan church. Despite this, Miller shows the importance of prioritising personal honour over public reputation through the character of Proctor. As he ultimately makes the valiant decision in Act IV to refrain from “signing lies” and thus uphold his name, he is able to redeem himself from his previous sins and is able to die with righteousness.

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Symbols and Motifs

The crucible.

A crucible is a ceramic or metal container in which metals, chemicals or other substances may be melted or subjected to very high temperatures. As such, Miller in the play employs the violent imagery of a crucible to symbolise the severe and challenging test of the Salem witch hunts . As spoken by Danforth in Act III, “We burn a hot fire in here; it melts down all concealment”, the motif of the crucible represents the merciless nature of both the Salem and McCarthy court proceedings , and their dogged determination to convict, despite the lack of substantial evidence. Crucibles are often used for the chemical process of calcination, during which particles are heated to high temperatures in order to purify them - removing any volatile substances from the compound. As such, Miller also suggests that societal challenges such as those depicted in the play can lead to situations in which the good can be separated from the evil ; as the town is split into those who are “with this court or…against it”, the witch hunts illustrate the distinction between the individuals who possesses moral integrity and those who manipulate the situation for their selfish pursuits . 

In Act III, Abigail and the girls plant a poppet, or doll, in Elizabeth’s house, in an attempt to frame her as an individual guilty of witchcraft. As Abigail stabs the doll with a needle in its stomach before leaving it on Elizabeth’s shelf, she is able to pretend that her own stomach is injured from Elizabeth’s practice of voodoo with it. The poppet is a symbol of childhood and girlhood , and the play’s depiction of it as a tool for malicious revenge represents the loss of innocence and pretence that arises out of the witch hunts . Miller illustrates the danger of mass hysteria , as he depicts the young group of girls, led by Abigail, become manipulated into condemning innocent townspeople to death; thereby losing their innocence and moral virtue . The poppet is also employed as a symbol of deception , as it emphasises the fact that the Salem persecutions are based on lies and falsehood . As the court ignores Elizabeth’s outraged protests that she has not kept a poppet since she was a little girl, Miller chastises a justice system which values convenient deceit over the cumbersome truth . 

Although traditionally associated with knowledge and truth, the motif of paper in the play symbolises morality and individualism . Paper first appears in the play as the judicial list naming the condemned, then as a document of proof outlining Proctor’s alleged crimes as a practicer of witchcraft and agent of the devil. As such, paper initially symbolises the false accusations that run rampant in Salem , and the destructive consequences of such on the lives of the accused innocents. This idea is furthered by Miller’s depiction of the signed, “seventy-two death warrants” of innocents, illustrating paper as a symbol of the unjust punishment and corruption within the Salem court . It is only when Proctor refuses to sign the testimony or have his false confession “posted on the church door”, that the symbol of paper begins to serve as a motif of heroism . As Proctor ultimately refuses to “sign [his] name to lies”, then “tears the paper and crumples” the document denouncing him as a devil-consorter in Act IV, Miller portrays paper as a mode for personal redemption in the face of blind injustice . This advocating for personal salvation is supported by the character of Hale, who undergoes a similar transformation. Although initially described as an intellectual whose paper “books are weighted with authority”, this religious authority loses its value throughout the tragic events of the play, as the injustices of the court lead him to lose his “great faith” in God. Ultimately, like Proctor, Hale is only able to gain personal redemption through his realisation of the immoral nature of the court and his attempts (albeit unrealised) to save the remaining incarcerated innocents from the fate of the gallows.

Quote Analysis

"There are wheels within wheels in this village, and fires within fires!”

Ann Putnam speaks this line when she admits to interrogating Tituba about the possibility of witchcraft having caused the early deaths of her seven infants. The audience can perceive her hysteria , as she begins to fear that the rumours of devil worship in Salem may be true, and that she may also lose her last surviving child, Ruth. Her sense of paranoia works to foreshadow the mass hysteria that is to overwhelm the town. This quote is also a direct reference to the prophet Ezekiel in the Bible , who compares his vision of God in his chariot to a gyroscope - an instrument of stability and balance. As such, Mrs. Putnam’s allusion to God is a direct reference to the rigidity of the Puritan value s in Salem, disguised as a creed of “unity” , when in reality it’s the root cause of social paranoia and resentment . The quote also illustrates that she believes that there are more complex and intricate forces present in Salem - the “deep and darkling forces” as described by Miller - which work to determine the fates of the townspeople. Combined with its fire imagery , this quote effectively foreshadows the drama that will unfold in the Salem court, in which Abigail and the girls will invent invisible spiritual forces to accuse innocents, in a court of “hot fire”, acting to “melt down all concealment”. 

“We cannot look to superstition in this. The Devil is precise; the marks of his presence are as definite as stone.” 

Hale says this to Parris when he first arrives in Salem from Beverley, after he is asked to inspect Betty for signs of witchcraft or possession by the devil. Although Parris is already convinced by the rampant rumours in the town of the existence of the devil and its effect on his daughter, Hale (being a professional “investigator of witchcraft”) is more meticulous in his examination of such a “strange crisis”. By calling the devil “precise”, Hale depicts his true and unflinching belief in its existence, representing the inflexible Puritan mindset . This quote is integral to understanding Hale as a character, and thus the nature of his disillusionment later in the play, as it reveals that Hale does not believe in witchcraft due to the mass hysteria and paranoia of the town, but because he possesses genuine and resolute faith in every word of the Bible . As this faith is shown to “bring blood” later in the play, Miller displays the dangerous “power of theocracy” , as the audience perceives Hale becoming radically disillusioned in his religion and world view. 

Sample Essay Topics

1. “For twenty week he preach nothin’ but golden candlesticks til he had them!” Are the leaders of the community misguided in The Crucible ? Discuss.

2. Miller uses fire and ice imagery in The Crucible to denounce the nature of humanity. Discuss.

3. ‘In The Crucible , the characters make decisions based solely on their emotions’. Do you agree?

Now it's your turn! Give these essay topics a go. For more sample essay topics, head over to our The Crucible Study Guide t o practice writing essays using the analysis you've learnt in this blog!

Essay Topic Breakdown

Whenever you get a new essay topic, you can use LSG’s THINK and EXECUTE strategy , a technique to help you write better VCE essays. This essay topic breakdown will focus on the THINK part of the strategy. If you’re unfamiliar with this strategy, then check it out in How To Write A Killer Text Response .

Within the THINK strategy, we have 3 steps, or ABC. These ABC components are:

Step 1: A nalyse

Step 2: B rainstorm

Step 3: C reate a Plan

Theme-Based Essay Prompt: In a theocracy, law and religion are bound together. What are the benefits and challenges of this depicted in The Crucible ? 

Step 1: analyse .

Here, we are asked to examine the benefits and challenges of a theocratic system , as depicted in The Crucible . Thus, we must consider both the positive and negative aspects of the binding of law and religion . It is a good idea to delegate two paragraphs to the challenges and one to the benefits , due to the fact that Miller wrote the play with the authorial intention of denouncing the repressive rigidity of its government - this means it is easier to think of negatives rather than positives. 

Step 2: Brainstorm

Let’s break down the term ‘ theocracy ’, as this is the focus of this essay topic. The play shows us various effects of such a system, but what does it actually mean? A theocracy is a form of government in which a religion (in this case, Puritanism) is recognised as the supreme ruling authority . Thus, as mentioned in the essay question, in a theocracy the rules of religion are treated as the law . Now, think of some of the words , phrases or key ideas you think of when you conjure up Salem’s version of theocracy. This may include:

• Strictness of Puritan values
• Unity vs. individualism
• Exploitation of the name of the church for personal gains 
• Societal repression
• Superfluous power given to the court
• Opportunity for individuals to reform 
• Social vs. individual redemption
• Disillusionment

Step 3: Create a Plan

When planning an essay, it is easy to let yourself go off track, discussing another point that is not quite relevant to the topic given. To prevent this from happening, always keep the topic firmly in your mind - glance at it periodically throughout your planning if needed, and check that every body paragraph that you are planning directly relates back to the topic and answers what it is asking . So, keeping the topic and its focus on theocracy firmly in mind, I chose to approach this essay with the following structured plan: 

Paragraph 1 : The Salem theocracy leads to the unjust exercise of power , resulting in a tragedy . 

• Here, our focus is on the overarching injustices that the theocratic nature of the government allows to occur . 
• Focus on the fact that it is because religion is the law , that the crime of witchcraft (believed to be a crime against God) is so severely punished (by death!). 
• Also discuss that it is due to the rigidity of the theocracy that any slight divergence from a complete adherence to Puritanism is perceived as a crime . 
• Examples of this include the witch hunt itself, and the victimisation of innocents who are condemned to be executed for crimes that they did not commit. 

Paragraph 2: The town’s theocratic belief in God is exploited by individuals who use it for their own personal gain .

• Our job here is to highlight the selfish natures of certain individuals, who take advantage of the townspeople’s theocratic mindsets to utilise the town’s mass hysteria for their own motives . 
• Examples of such characters include Abigail and Parris , who participate in the witch hunt out of vengeance and fear respectively.

Paragraph 3: However, the theocratic nature of the government allows opportunity for reform, and the ability to distinguish between morality and immorality.

• Here we are discussing the benefit that arises out of the theocracy, namely the idea that the tragedy that results from such allow certain individuals to be enlightened and reformed .
• Emphasise the fact that the theocracy does lead to disastrous effects , but it is from this hardship that we are able to distinguish the characters of good from the characters of evil. 
• An example of a character who undergoes reform is Hale , who becomes simultaneously disillusioned and enlightened by the tragedy of the Salem persecution.
• An example of an individual revealed by the events of the play to be ultimately immoral is Danforth , who refuses to change and reform , despite realising the injustice and cruelty of his actions. 

If you find this essay breakdown helpful, then you might want to check out our The Crucible Study Guide where we cover 5 A+ sample essays with EVERY essay annotated and broken down on HOW and WHY these essays achieved A+ so you reach your English goals! Let's get started.

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Get our FREE VCE English Text Response mini-guide

Now quite sure how to nail your text response essays? Then download our free mini-guide, where we break down the art of writing the perfect text-response essay into three comprehensive steps. Click below to get your own copy today!

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• Learn how to brainstorm ANY essay topic and plan your essay so you answer the topic accurately
• Apply LSG's THINK and EXECUTE strategy - a clear, proven method to elevate your Text Response essays.
• Includes 5 sample A+ essays with EVERY essay annotated and broken down on HOW and WHY these essays achieved A+
• Think like a 45+ study scorer through advanced discussions like symbols & motifs, views & values and character analysis

‍ Station Eleven is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

Breaking Down a Station Eleven Essay Prompt

We've explored themes, characters, symbols and provided a summary of the text over on our Station Eleven by Emily St John Mandel blog post. If you need a quick refresher or you’re new to studying this text, I highly recommend checking it out!

Here, we’ll be breaking down a Station Eleven essay topic using LSG’s THINK and EXECUTE strategy , a technique to help you write better VCE essays. If you’re unfamiliar with this strategy, you can learn about it in our How To Write A Killer Text Response study guide.

Without further ado, let’s get into it!

The Prompt: ' The distortion of memories can be harmful.' Do you agree?

Step 1: Analyse

The first thing to note about this prompt is that it's a theme-based prompt, focussing specifically on the theme of memory, which plays a significant role throughout the novel! But more specifically, it's asking directly about the impacts distorted (i.e. misrepresentative/twisted/warped) memories have on individuals, and whether this is harmful or not. So ultimately, you have to look at which memories are distorted throughout the novel, and evaluate whether this process is ultimately helpful to the characters or not.

Not sure what we mean by ‘theme-based prompt’? Then, you’ll want to learn more about the 5 types of essay prompts here .

‍ Step 2: Brainstorm

• Many characters' memories are altered significantly from what actually occurred - this is especially relevant for the characters living after the pandemic, as memories naturally distort over a 20-year period
• The two main characters we see whose memories are altered the most are Tyler and Kirsten - both of whom were children during the collapse of civilisation
• For Tyler, his recollections of the past are all dominated by violence and this has a significant impact on his worldview. One could very easily argue that it is this distorted view of reality that ultimately leads to the formation of his cult and the subsequent harm he inflicts
• Thus, in the case of Tyler, it is quite clear that the distortion of memories has been quite harmful
• However, on the other hand, Kirsten has had to commit unspeakable acts, (as implied by her being unable to remember her past/childhood), but this is seen as a coping mechanism, allowing her to move forward in life
• Thus, for Kirsten, the manipulation of her memories through her forgetting is ultimately rather positive!
• Memory distortion doesn't just relate to these two characters - it also affects Clark quite severely
• He is shown to be quite unhappy in the pre-apocalyptic world, which is a stark contrast to his fulfilment by the end of the novel. What causes this?
• This can be attributed to his distortion of memories which allows him to view the old world in a far more positive manner, with significant nostalgia
• Thus, like Kirsten, Clark's distortion of memories is also presented as largely beneficial
• So ultimately, while there are downsides to manipulating one's memories (Tyler), Mandel shows that distorting memories is largely a positive coping mechanism for many characters!

From my brainstorming, I'll be approaching the essay with the following contention: 

Distorting memories can be harmful but more often is beneficial.

Now it's time to work out our paragraph ideas.

P1: Tyler's distortion of memories is largely detrimental and therefore harmful because they are tainted with violence and thus exacerbate his suffering.

P2: However, Kirsten uses this as a coping mechanism, enabling her to move forward from the trauma associated with the collapse of society and therefore the distortion of memories is necessary in her case.

P3: Further, Clark's rose-tinted view of the past world allows him to come to terms with the collapse of society and again is beneficial.

While Emily St. John Mandel's post-apocalyptic novel Station Eleven illustrates the harm which can be associated with the distortion of memories, it ultimately expounds on the benefits which can be garnered by those who alter their perceptions of reality given how this can serve as an invaluable coping mechanism to process trauma. The non-linear structure of her novel, achieved through the interweaving of pre- and post-lapsarian scenes (1) , allows her to sculpt parallels between her characters who are able to accurately recall both the positives and the negatives of the 'modern world'. She thus advocates that whilst the distortion of memories can perpetuate and enable violence, it can alternatively result in tangible benefits when utilised in a positive manner, thus exposing Mandel's credence in how this can actually serve to benefit individuals and entire communities as a whole.

Annotations (1) It is really useful to show an understanding of how the novel has been constructed and why - so through Station Eleven not following a traditional model of time, this allows Mandel to really contrast between her characters - namely Kirsten and Tyler.

Mandel expounds (2) how the distortion of memories can ultimately exacerbate the suffering experienced by vast sectors of the community, arguing that it is this which actively perpetuates harm due to the inability of humans to adequately process trauma, particularly trauma which stems from one's childhood given the loss of innocence which accompanies this. Indeed, Tyler, who was characterised as a young boy during the 'neutron bomb' of the Georgia Flu and the subsequent destruction of civilisation 'had the misfortune of remembering everything', ultimately resulting in dire consequences for the majority of characters who interact with him. Mandel condemns Tyler's innate desire to justify the pandemic, arguing his inability to forget, process and fully comprehend ‘the blood drenched years of the collapse’ drives the creation of his cult which eventually perpetuates great suffering. This ultimately results in significant consequences, thus allowing her to denounce how the distortion of memories (with Tyler's recollections largely being defined by extreme violence and gore) can be extremely harmful. Indeed, 'ruling with a combination of charisma, violence and cherry-picked verses from the Book of Revelations', Tyler damages the overwhelming majority of people he comes into contact with, from having numerous 'child brides' to rendering the town of St. Deborah by the Water 'unsafe' to his cult containing only a few 'true believers', (3) serving as the embodiment of humanity's insatiable lust for power. Through his reciting of only phrases from the Book of Revelations, labelled the most exclusionary and brutal book of the New Testament (4) , Mandel condemns the selectivity of Tyler's beliefs, advocating that his internalisation of only the most harmful and violent phrases exemplifies the lack of benefits associated with violently distorting memories given the inability of humans to process such immense trauma and suffering. Whilst Mandel explains Tyler's actions as stemming from the violence underpinning his childhood, particularly given that he was raised by a 'lunatic' whom others deemed 'unsaveable', she dispels the notion that this excuses them, arguing the degree of hardships inflicted by Tyler himself are unjustifiable, thus further exposing her credence in the necessity of being able to forget harmful memories in order to overcome them. Ultimately, through her portrayal of Tyler's inability to forget his childhood as 'a boy adrift on the road', Mandel reveals the potential for harm to be imposed due to the distortion of memories so that they are marked by violence, arguing that this can indeed be overwhelmingly dangerous.

Annotations (2) It is great to use action words such as 'expounds' instead of the basic 'shows’ as this demonstrates a more in-depth understanding of the author’s views and values (ensuring you meet VCAA Criteria 2: Views and Values ).

(3) When making claims such as that Tyler harms 'the majority of people he comes into contact with', it is great to show multiple examples, so that your claims are properly backed up with appropriate evidence!

(4) This is a really great point to draw out that other students may not consider - Tyler never references any other components of the New Testament and only focuses on the most violent sections of one particular book.

However, Mandel also displays a belief in the positives which can be gleaned by those who inherently distort their memories as a mechanism to process traumatic times in their lives, arguing this can provoke significant, tangible benefits. Conveyed through the non-linear structure of her novel, Mandel sculpts parallels between Tyler and Kristen given their similar ages and respective connections to protagonist Arthur through him serving as their father and father figure respectively, with the significant difference being that only the latter was able to forget 'the year [she] spent on the road…the worst of it' (5) . As such, only Kirsten is able to adequately move on from this extremely traumatic period in her life, exemplifying Mandel's credence in how the distortion of memories can truly serve as an invaluable coping mechanism allowing individuals to overcome significant harm, with Kirsten experiencing a large degree of post-lapsarian fulfilment given her 'friendships' with her fellow members of the Travelling Symphony, her 'only home'. Despite Kirsten's past being underpinned by significant violence, with her having three 'knife tattoos' to commemorate those she has had to kill in order to survive, her continued ability to adapt her memories into less traumatic ones is applauded, with her murders having been portrayed as occurring 'slowly…sound drained from the earth' as a way for her to process 'these men [which she] will carry with [her] for the rest of [her] life', thereby exposing Mandel's credence in the necessity of being able to overcome trauma through distorting memories. As such, she ironically went on to perform Romeo and Juliet following one such event which, given Mandel's depiction of the unparalleled significance of artistic forms of expressionism facilitating human wellbeing as Kirsten 'never feels more alive' than when she performs, exposes Mandel's illumination of how altering false realities (6) can ultimately provoke tangible benefits given Kirsten's ability to simply move on despite the traumatising nature of the truth. Ultimately, through the juxtaposition between Tyler and Kirstens' distortion (7) of memories, Mandel expounds how distorting memories can wield both consequences and benefits, with the latter occurring when employed subconsciously by individuals to process harmful memories.

Annotations (5) It is quite sophisticated to go back to the construction of the novel throughout the essay (as opposed to just briefly mentioning it in the introduction!). This shows you truly understand why the author structured the novel the way she did, which in this case is to highlight the similarities and differences between Kristen and Tyler.

(6) Try to avoid repeating 'distortion of memories' every single time - it is great to use synonyms such as 'false realities', but make sure you're using the right words (see annotation 2 for more information).

(7) Note how this links back to paragraph 1 (given that these two points are so similar and go off of one another) which makes the essay flow better. We are showing that our argument is well-structured and follows logical patterns.

Furthermore, Mandel similarly explores the benefits of utilising the distortion of memories as a coping mechanism and how, especially when this is done through the lens of nostalgia, it can facilitate unprecedented satisfaction. Indeed, Clark is depicted to be the literal embodiment of post-lapsarian fulfilment (8) given his ability to, albeit through rose-tinted glasses, appreciate the 'taken-for-granted miracles' of the 'former world' through his position as the 'Curator' at the 'Museum of Civilisation'. Subsequently, he serves to expose Mandel's belief in the benefits of altering one's recollections in an overwhelmingly positive manner. As such, Clark 'spend[s] more time in the past…letting his memories overtake him' as he maintains integral cultural artefacts which 'had no practical use but that people wanted to preserve'. This ultimately eventuates into a significant degree of fulfilment for not only Clark himself, but also the other residents of the Severn City Airport, the children of whom 'like all educated children everywhere….memorise abstractions' of the pre-lapsarian society, with the entire Airport community revelling in the everyday 'beauty' of objects not typically appreciated by the general populace. In doing so Mandel highlights her belief regarding the significance underpinning the benefits which can be gained from those whose memories are distorted to cope with losses in a positive manner, arguing this can enable a substantial increase in wellbeing. This is exacerbated through the juxtaposition in Clark's pre- and post-lapsarian fulfilment, for in the former he is denigrated as merely an unhappy 'minimally present...high functioning sleepwalker' (9) . Overall, through her portrayal of Clark's satisfaction despite his elderly status and the loss of everyone dear to him, Mandel exposes her belief in the value of distorting one's memories in an overwhelmingly positive manner, advocating this can facilitate the forming of one's intrinsic purpose and thus fulfilment.

Annotations (8) You want to show how characters correlate to specific themes, and if one embodies a particular idea, then you should clearly state that! It shows examiners you really know your stuff. See this blog for more about the themes and characters in Station Eleven . 

(9) Again, you want to clearly highlight how Clark is distorting his memories, including by providing evidence to back up your claim.

Ultimately, Emily St. John Mandel’s Station Eleven exemplifies the limitations of the human psyche when affected by trauma, arguing that the distortion of memories can have either a positive or negative impact upon the individual. Whilst she cautions her audience against the dangers of adhering to selective recollections, she simultaneously presents the benefits which can be garnered from this, alongside the ability to liberate oneself from such harmful memories.

For more Station Eleven writing samples, check out this blog post , which compares three different paragraphs and analyses how they improve upon one another.

If you found this essay breakdown helpful, then you might want to check out our Station Eleven Study Guide where we cover 5 A+ sample essays with EVERY essay annotated and broken down on HOW and WHY these essays achieved A+ so you reach your English goals!

How can the context of a film be utilised to add complexity to an analysis?

Writing a film analysis can be daunting in comparison to analysing a written text. The task of dissecting a motion picture consisting of dialogue, camera shots and dialogic sound is challenging, but an understanding of a film’s social, cultural and political background can elevate your analysis from standard to spectacular. Thus, before analysing Alfred Hitchcock’s 1954 thriller ‘Rear Window’, it is important to consider its cultural, political and social context:

Cultural Context

• The Greenwich Village setting of ‘Rear Window’ is located in Lower West Manhattan, New York, and was known as America’s ‘bohemian capital’ during the 1950s, in which avant-garde artists freely explored unconventional lifestyles.
• Hitchcock’s decision to use Greenwich Village as the backdrop of the film links its image of human suffering to the failed vision of American progressivist culture.
• Despite acting as the main location of progressive culture, such as the beginning of the international gay rights movement, Greenwich Village was also the setting for the broken dreams of its eclectic residents.
• This cyclical nature of hope and defeat can be observed in the film, as the audience can perceive the frustrated songwriter destroying his latest work, and Miss Lonely hearts desperately seeking true love in the seedy bars and gloomy alleyways of the ‘bohemian heaven’.
• Additionally, it is this social radicalism of Jeff’s neighbours that provides the basis for his voyeuristic habits; by portraying their individual eccentricities though their respective apartment windows, Hitchcock offers to Jeff a range of human peculiarities, which he eagerly observes through his ‘portable keyhole’.

Political Context

• ‘Rear Window’ encapsulates the rampant Mccarthyism, and subsequent suspicion, at the time of its release in 1954.
• The fear of Communist influence in the USA led to heightened political repression from the government, and Americans could only prove their loyalty to the country only by offering others’ names to the government.
• As such, Jeff’s insubstantial speculation about Thorwald murdering his bedridden wife is disturbingly reflective of the social strife in 1950s America, as thousands accused their neighbours for treason or subversion without concrete evidence.
• Along with heightened political surveillance followed the allure of voyeurism; just as Jeff is contained to his wheelchair, and can merely gaze through his rear window into his wider world - the courtyard, so were Americans during the Cold War; expected to only ‘gaze’, and leave all the ‘involvement and engagement to the politicians’.

Social Context

• The suburban setting of‘Rear Window’ reinforces the sense of confinement and suspicion rampant during the 1950s.
• After WWII ended in 1952, millions of US soldiers returned to a multitude of suburban homes built using mass production techniques, all overwhelmingly close to another. The Greenwich Village of ‘Rear Window’ is an example of one of these suburbs.
• The crowded Greenwich Village apartment complex of the film acts as an effective narrative device, as Hitchcock employs the physical proximity of the apartments to reinforce the overwhelming sense of voyeurism and paranoia amongst neighbours.

How to Analyse a Scene

The Film’s Opening Sequence:

As the blinds roll up to reveal the apartment complex, a medium shot of the wide-open windows of each apartment immediately convey to the audience an environment of an uncomfortable openness. However, despite this, the separation of each apartment by brick walls as a separate entity on its own serves as a symbol of the widespread suspicion characteristic of the McCarthyian era. Within the frame of the main window, the windows of each apartment act as mini frames within the big frame, multiplying the sense of voyeurism present in the shot.

Although seemingly insignificant, the brown tabby cat that runs across the steps of Greenwich Village represents freedom and individual autonomy, later comparable to the character of Lisa in the film. The compounding sense of surveillance during the 1950s add more meaning to the freedom symbolised by the cat, which can then be contrasted to the suppressed independence of the protagonist, who is seen invalid in a wheelchair in the next shot:

By this extreme close-up shot of Jeff sleeping in his wheelchair during the opening sequence, Hitchcock immediately places the viewer in an uncomfortable position as the original and ultimate voyeur, surpassing the intimate boundaries of the protagonist. The camera’s focus on the beads of sweat on Jeff’s forehead signify the intense heat of summer in Greenwich Village, confirmed by the following close up shot of 94F on the thermometer:

The stifling temperature of the season foreshadows imminent tension about to unfold in the film, as does the following close-up shot:

The slow panning from Jeff’s head to his broken left leg in a cast, in tandem with the ominous, epitaph-like words, ‘Here lie the broken bones of L.B Jefferies’, increase the impending sense of tragedy.

Jeff’s profession as a photographer becomes gradually more evident, as the camera slowly pans from focusing on Jeff’s injury to around his room. This close shot of a destroyed, seemingly irreparable camera, literally reflects the cyclic nature of broken dreams characteristic of Greenwich Village, and also signifies that Jeff too has been hurt (literally) by radical pursuits in his progression. It is important to note that Jeff’s room is plain and lacks any decorative sophistication, establishing his character as a simple, ‘everyday’ American man.

The only things adorning Jeff’s small room are his many photographs, all taken by himself. Despite varying in size and setting, they all share a single point of similarity; they all focus on sights of destruction, such as the race car crash or the remains of a volcanic eruption. The framed nature of these photographs signify Jeff’s appreciation for tragic devastation, establishing further doom in the film by lending a darker note to his voyeuristic tendencies.

The last photograph the camera focuses on in the opening sequence is the picture taken by Jeff of an elegant woman, who bears a striking resemblance to Lisa.

This image of ‘Lisa’ in the negative literally symbolises Jeff’s negative perception of his girlfriend Lisa at the beginning of the film. In contrast, the following shot of ‘Lisa’ in the ‘positive’ foreshadows the development of the film, as he begins to perceive Lisa as a possible life partner:

Want to save this for later? Download a PDF version of this blog here .

Last updated 20/10/19

Planning is an essential part of any successful text response essay. It helps you ensure that you’re answering the prompt, utilising enough quotes and writing the most unique and perceptive analysis possible! The hard part of this is that you only have about FIVE MINUTES to plan each essay in the Year 12 English exam… (more info on the best way to tackle that challenge in this video !)

So, I developed the FIVE TYPES of essay prompts to help students streamline their planning process and maximise every minute of their SACs and exams.

By identifying the type of prompt you’re being challenged with immediately, a number of parameters or guidelines are already set in place. For a specific type of prompt, you have specific criteria to meet – for example, in a metalanguage-based prompt , you immediately know that any evidence you brainstorm in your planning stage should be based around the literary techniques used in your given text.

If you’d like the full picture on our best FREE advice on Text Response, check out our Ultimate Guide to VCE Text Response here .

1. Theme-Based Prompt

‘Ambition in the play Macbeth leads to success.’ Discuss. ( Macbeth )

When you’re presented with a theme-based prompt, you can automatically shift your brainstorming and planning towards the themes mentioned in the prompt along with any others that you can link to the core theme in some way.

In regard to this Macbeth prompt, for example, you could explore the different ways the theme of ambition is presented in the text. Additionally, the themes of guilt and power are intimately related to ambition in the text, so you can use those other ideas to aid your brainstorming and get you a step ahead of the rest of the state come exam day.

2. Character-Based Prompt

‘Frankenstein’s hubris is what punishes him.’ Discuss. ( Frankenstein )

These prompts are pretty easy to spot – if you see a character’s name in the prompt, there you have it; you have a character-based prompt on your hands.

Once you know this, you can assume that each example you brainstorm has to be relevant to the specific character named in the prompt in some way. Also, you can explore how the actions of characters don’t occur in isolation – they’re almost always interrelated. Remember, however, that the actions of characters are always connected to the themes and ideas the author is trying to convey.

This type of prompt also grants you some freedoms that other types don’t give. For example, unlike a Theme-based prompt, a character-based prompt means that it’s perfectly fine to write about characters in the topic sentences of your body paragraphs.

3. How-Based Prompt

‘How does Grenville showcase Rooke’s inner conflict in The Lieutenant ?’ ( The Lieutenant )

Unlike other prompts, the ‘How’ positions you to focus more on the author’s writing intentions. This can be achieved by discussing metalanguage – language that describes language (read my blog post about it here ). These prompts tell you immediately that you need to be thinking about the literary techniques explored in the text and explain how they affect the narrative.

Rather than using specific techniques to frame your specific arguments, it’s best to use them as evidence to support arguments that attack the main themes/ideas mentioned in the prompt.

4. Metalanguage or Film-Technique-Based Prompt

‘Hitchcock’s use of film techniques offers an unnerving viewing experience’. Discuss. ( Rear Window )

This type of prompt is very similar to How-based prompts, specifically in the fact that the discussion of literary techniques is essential.

For this type of prompt specifically, however, the actual techniques used can form more of a basis for your arguments, unlike in How-based prompts .

5. Quote-Based Prompt

“Out, damned spot!” How does Shakespeare explore the burden of a guilty conscience in Macbeth ? ( Macbeth )

Countless students ask me every year, “What do I do when there’s a quote in the prompt?!” My reply to these questions is actually fairly straightforward!

There are two main things that you should do when presented with this type of prompt. Firstly, contextualise the quote in your essay and try to use it in your analysis in some way. Secondly, interpret the themes and issues addressed in the quote and implement these into your discussion. The best place to do both of these is in a body paragraph – it weaves in seamlessly and allows for a good amount of analysis, among other reasons!

When faced with unknown prompts in a SAC or your exam, it's reassuring to have a formulaic breakdown of the prompt so that your brain immediately starts categorising the prompt - which of the 5 types of prompts does this one in front of me fall into? To learn more about brainstorming, planning, essay structures for Text Response, read our Ultimate Guide to VCE Text Response .

This blog was updated on 21/10/2020.

2. Background

4. Chapter 1 Plot and Analysis

The Secret River is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

The Secret River is a historical novel telling the story of William Thornhill, a poor Englishman from the early 19th century who was deported and transported to New South Wales, Australia in 1806 for theft. This novel tells the story of Australia's founding and the moral choices made when  Europeans colonised land that was already inhabited by Aboriginal people.

During 18th century to mid 19th century, 162,000 men and women were transported to Australia, with majority from England. These people, known as ‘convicts’, had committed crimes such as larceny and robbery – acts which were considered severe offenses and demanded heavy sentences. In order to deal with the overwhelming masses of criminals, the government exported crowds of convicts to Australia to serve their term as labourers. The reason driving the deportation included an attempt to decrease poverty and crime in England while concurrently developing the British colony in Australia.

Many of the fleets from England were destined for New South Wales, Australia. Those on the fleets included the criminals, marines, and their families. Living in a penal colony, the criminals were employed depending on their various skills: farmer, boatman, servant etc. The settlers were award a ‘ticket of leave’ if they presented good behaviour during labour. This meant that settlers would become emancipists, where they were set free from the government’s sentence and could begin a life for themselves by making their own living. This suited the government’s goal for a successful and thriving colony since it would only be possible if people were to work for themselves, and not under the terrain of the government.

Although Australia was chiefly populated with Indigenous Australians, the first century of colonisation saw a drastic decline in their population. This was due to a clash of desire for the land; the native’s innate protection of their land and the white settlers struggle to declare their right to an area already inhibited by natives – possibly for 40,000 years. The two cultures failed to ever create a peace agreement or compensation and as a result, the frontier was often marked with blood. Overtime, a successful of the British colony meant that white settlement overpowered any possibility of the natives retaining their land. The Secret River’s exploration of this powerful change in Australia’s history is a poignant reflection of the past, and demands attention to the sensitive issue of Australian and native relationship that is still present today.

Set during the early 19th century. Located in London, Sydney and on the Hawkesbury.

Chapter 1: Strangers

The Alexander , a transport ship for convicts has reached New South Wales, Australia after a travelling across the world for majority of the year. William Thornhill, an Englishman convicted to sentence his ‘natural life in the Year of Our Lord eighteen hundred and six’ [pg 3] will serve as a labourer.

During his first night in New South Wales, where their homes are ‘only a flap of bark, a screen of sticks and mud,’ Thornhill digested the new land with its ‘rich dank smells…restless water…no Pole star’; an environment vastly differentiated from England. The unfamiliar situation is overwhelming as ‘he had not cried, not for thirty years….but now his throat was thickening.’ In his despair, Thornhill describes how being sentenced to New South Wales could potentially be worse than dying itself.

Initially, Thornhill believed his tears are clouding his vision since the ‘darkness moved in front of him’ [pg 5]. However, he then realised that a human, ‘as black as the air itself’ stood before him. The unusual appearance of this human struck Thornhill since ‘his skin swallowed the light…[and] eyes were set so deeply into the skull.’ Although clothed, Thornhill ironically felt ‘skinless’ against the other who was completely naked and holding a spear. Thornhill repeatedly demanded that the man ‘be off’, for fear of his family and himself being attacked. Despite his shouting, this only impelled the man to move closer to the point where they almost touched. The ‘black man’ [pg 6] reproduced ‘be off’ in Thornhill’s exact tone. While Thornhill’s fear of this strange human is prominent, he grappled the strength to exert a bold, intrepid veneer, as ‘he was not about to surrender to any naked black man’. When he glanced back to his wife and children however, the man promptly disappeared, leaving only the darkness behind. Thornhill returned to his hut where he laid back down to rest yet ‘every muscle was tensed…the cold moment of finding that unforgiving thing in his flesh.’

Environmental / Landscape conflict

For Thornhill, who has spent a lifetime in England, the confrontation of a new environment evokes a powerful sense of unfamiliarity. The unknown land presents him with various intrapersonal conflicts, one of which is the difference between England and Australian stars. While the physical distance of this new land from Thornhill’s home is demonstrated by the lack of a ‘Pole Star, a friend to guide him on the Thames, [and] no Bear that he had known all his life,’ [pg 4] the unrecognisable stars above Australia only depict a ‘blaze, unreadable, [and] indifferent.’ His conflict demonstrates his physical and emotional distance from Thames, a place he grown up surrounded by compared to Australia, where learning begins from the very basics, as shown when he absorbs the natural landscape around him. The night described as ‘huge and damp, flowing in and bringing with it the sounds of its own life’ [pg 3] highlights how the Australian land is unique, possessing qualities of existence.

Thornhill’s sense of negligence in the vast forest that continues ‘mile after mile’ is illustrated through the imagery of the ‘trees [which] stood tall over him,’ depicting that nature is a powerful and dominant force over the Europeans. While the trees render him insignificant, it also demonstrates his alienation from the environment. The ‘Alexander,’ a common traditional English name, represents an intrusion of the Europeans onto the Australian land, further highlighting the idea that they do not belong on this island.

The Australian land is depicted to be harsh and unforgiving, as highlighted through the imagery of ‘dirt chill...sharp stab...alien stars' [pg 4] This conflict with the brutal landscape, along with the unknown leaves Thornhill apprehensive of what is to come. His feeling that he was ‘nothing more than a flea on the side of some enormous quiet creature’ [pg 4] depicts the Australian land almost like a monster. Additionally, the words ‘restless’ draw to the idea that the land is at discomfort or uneasy to have new inhabitants.

Racial/Cultural conflict

The conflict between two cultures is shown through the initial encounter between Thornhill and an Indigenous Australian. Without any conversation, the tension between the two is clear, merely through their actions in each other’s prescence. Thornhill notes the Aboriginal male’s tattoos, yet regards them as ‘scars’ since he is unaware to their culture. Even before this man, Thornhill is still infused with a sense of nakedness because of his unfamiliarity.  His feeling that ‘every muscle was tensed…the cold moment of finding that unforgiving thing in his flesh’ highlights the tension of his first encounter of an Australian Aboriginal while it also foreshadows a suffering and anguish for his time ahead.

If you'd like to see the all Chapter plots, their analysis, along with important quotes, then have a look at our The Secret River Study Guide .

Conflict with land quotes

“Now it had fetched up at the end of the earth.” [pg 3]

“…this prison whose bars were ten thousand miles of water.” [pg 3]

“foreign darkness” [pg 3]

“…soughing of the forest, mile after mile.” [pg 3]

“He was nothing more than a flea on the side of some enormous quiet creature.” [pg 4]

Thornhill’s inner conflict quotes

“He had not cried, not for thirty years, not since he was a hungry child to young to know that crying did not fill your belly.” [pg 4]

“But every muscle was tensed, anticipating the shock in his neck or his belly, his hand going to the place, the cold moment of finding that unforgiving thing in his flesh.” [pg 6]

Racism quotes

“It took a moment to understand that the stirring was a human, as black as the air itself.” [pg 5]

“Clothed as he was, Thornhill felt skinless as a maggot.” [pg 5]

“This was a kind of madness, as if a dog were to bark in English.” [pg 6]

“He was not about to surrender them to any naked black man.” [pg 6]

1. William Thornhill is more worthy of our respect than our reprehension. Do you agree?

2. How does Kate Grenville explore hierarchy?

3. How does The Secret River’s symbolism enhance its exploration of alienation?

4. “Fear could slip unnoticed into anger, as if they were one and the same.” The Thornhills’ anger is valid. To what extent do you agree?

Now it's your turn! Give these essay topics a go. For more sample essay topics, head over to our The Secret River Study Guide to practice writing essays using the analysis you've learnt in this blog!

Theme-Based essay prompt: T he Secret River depicts many layers of conflict, within but also between its key characters. Discuss

The key term of this prompt is conflict , but I think it’s also important to analyse how it’s discussed—as something that exists in layers , and something that can happen both within and between characters. This seems to hint at the idea that conflict can be internal—that is a single character can feel conflicted about something—as well as external—that is two or more characters can have some kind of dispute. This prompt will require us to think about all these different types of conflict. 

Let’s start with the most internal layer—conflicts with the self. In terms of key characters, consider William but also Sal: what debates do they have with themselves, or what do they say or do that shows they feel conflicted or unsure about something?  

Then, let’s broaden that out to interpersonal conflicts between characters. How do William and Sal, for example, come into conflict with their neighbours—both their white neighbours and their Aboriginal neighbours? How do they come into conflict with each other, even?

Maybe it’s worth separating the racial conflict into another category—conflicts between groups of characters, rather than individual characters. If we make this distinction, we need to be prepared to back it up—in what ways is this conflict of a different nature?

Step 3: Create a plan

I think we can pretty justifiably separate out our layers of conflict into those categories: interpersonal, interpersonal and interracial. This gives us three neat(-ish) paragraphs and a clear, affirmative contention: yes, there are many layers of conflict, and those are the three layers. 

P1: At its most intimate layer, conflict is internal—the moral dilemmas of William and Sal are particularly strong examples.

P2: Conflict can also be interpersonal—we can see this between William and Dan, or William and his neighbours, or between William and Sal even. It’s up to you which way you cut this paragraph.

P3: However, perhaps the central conflict that the novel is built around is interracial conflict between white colonisers and the Aboriginal people whose land they occupied. To extend the prompt a little, we can talk about conflict not just between characters or people, but also between value systems. For example, the way colonisers saw land and property were fundamentally incompatible with how Aboriginal people saw it—this is another type of conflict.

In this sense, we’re largely agreeing with the prompt, backing up the distinction between interpersonal and interracial conflict, and finding a way to extend on it a little towards the end. We can build this into the contention as well: there are many layers of conflict, but they occur not just between characters. They can also exist between the broad cultural values of entire groups of people as well. 

If you find this essay breakdown helpful, then you might want to check out our The Secret River Study Guide where we cover 5 A+ sample essays (written by a 50 study scorer!) with EVERY essay annotated and broken down on HOW and WHY these essays achieved A+ so you reach your English goals! Let's get started.

Text Response can be difficult because there are many different aspects of the text you need to discuss in an intellectual and sophisticated manner. The key points you need to include are stated in the VCAA Text Response criteria as shown below:

• the ideas, characters and themes constructed by the author/director and presented in the selected text
• the way the author/director uses structures, features and conventions to construct meaning
• the ways in which authors/directors express or imply a point of view and values
• the ways in which readers’ interpretations of text differ and why.

We have explored some of the different criterion points in past blog posts, but this time we’ll be focusing on number 3,

the ways in which authors/directors express or imply a point of view and values.

Views: How the author  sees  something

• Perspective
• Way of thinking
• Observation

Values: How the author  thinks  about something

In VCE, simply exploring themes and character development is not enough to score yourself a higher-graded essay. This is where discussion on ‘views and values’ comes in. Essentially this criterion urges you to ask yourself, ‘what are the author’s beliefs or opinion on this particular idea/issue?’ All novels/films are written to represent their author’s views and values and, as a reader it is your job to interpret what you think the author is trying to say or what they’re trying to teach us. And it’s not as hard as it seems either. You’ve instinctively done this when reading other books or watching movies without even realising it. For example, you’ve probably walked out of the cinemas after thoroughly enjoying a film because the ideas explored sat well with you, ‘I’m glad in  Hunger Games  they’re taking action and rebelling against a totalitarian society’ or, ‘that was a great film because it gave insight on how women can be just as powerful as men!’ Therefore, it is possible in this case that the author of this series favours the disintegration of tyrannical societies and promotes female empowerment.

Views and values are also based on ideas and attitudes of when it was written and where it was set – this brings both social and cultural context into consideration as well. Issues commonly explored include gender roles, racial inequality, class hierarchy, and more. For example, Margaret Atwood’s  Cat’s Eye , is set during the 20th century and explores feminism through women’s roles during World War II while Emily Bronte’s Wuthering Heights  depicts the divide between social classes and challenges the strict Victorian values of how society condemns cross-class relationships, in particular between Catherine and Heathcliffe.

Questions to ask yourself when exploring views and values:

• Is the author supporting or condeming/critising this idea?
• Through which literary devices are they supporting or condemning/critising the idea?
• Which characters represent society’s values? Which ones oppose them? Do we as readers favour those that represent or oppose society’s values?
• Does the author encourage us to support the morals and opinions displayed by the characters or those supported in that setting/time?

Here’s a sample discussion on the author’s views and values:

‘…Dickens characterises Scrooge as being allegorically representative of the industrial age in which he lived. Scrooge describes the poor as ‘surplus population’, revealing his cruel nature as he would rather they die than having to donate money to them. Dickens critiques the industrial revolution whereby wealth lead to ignorance towards poor as the upperclassmen would easily dismiss underclassmen, feeling no responsibility to help them as they believed they were of no use to society. ‘ ( A Christmas Carol,  Charles Dickens)

Here’s a list of some sample essay prompts you may get in regards to exploring ‘views and values’:

• ‘Cat’s Eye shows us that society’s expectations are damaging to women.’ To what extent do you agree? ( Cat’s Eye , Margaret Atwood)
• ‘Bronte criticises the social class conventions of her time as she demonstrates that those in the lower classes can succeed.’ ( Wuthering Heights,  Emily Bronte)
• ‘Social criticism plays a major role in A Christmas Carol.’ ( A Christmas Carol,  Charles Dickens)
• ‘Hamid shows that it is difficult to find our identity in modern society, with the ever-changing social and politics surrounding us.’ ( The Reluctant Fundamentalist , Mohsin Hamid)
• ‘In  Ransom  Malouf depicts war as the experience of grief, loss and destructive waste. The event of war lacks any heroic dimension. Discuss.’ ( Ransom,  David Malouf)

Frankenstein is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

2. Historical Contexts and Setting

4. Feminist Interpretation

5. Sample Essay Topics

6. Essay Topic Breakdown

• Frankenstein is a Gothic novel. The genre emerged in the eighteenth century, and was characterised by elements of mystery, horror and the supernatural. Such elements are manifested in the novel by Shelley’s use of isolated settings and dark undertones. Through her main plot of raising the dead to create a living creature, Shelley stays true to Gothic elements by allowing her characters to cross boundaries between mortal and supernatural worlds. 
• The novel is told in the epistolary form - written in a series of letters. This effectively integrates the reader into the story by allowing them to feel as if they are receiving a personal account of the events of the novel, adding an element of immersion. 
• Frankenstein is also a frame narrative, a form which examines the dark, internalised consciousness of each character that narrates the events of a story in each frame. Unlike in an omniscient narrative perspective, each storyteller is a character with concomitant shortcomings, limitations, prejudices, and motives.

Historical Contexts and Setting

• Born in London, 1797, Mary Shelley was the only daughter of notable intellectual radicals. Her father, William, was a philosopher who condemned social institutions as corrupt and instead advocated for reason to guide people’s decisions. 
• During the 18th century, the traditional and metaphysical understanding of the meaning of life were replaced by more secular ideologies. It was during this period that galvanism was born; Luigi Galvani’s experimentalism with electrical currents to stimulate muscle movement. Shelley took inspiration from this to form the crucial plot device of Frankenstein .
• The context of Frankenstein was also the backdrop of the French Revolution. There has been critic speculation that Shelley’s creature is an emblem of the French Revolution itself – originally created in order to benefit mankind, but the abuse of which drives it to uncontrollable destruction. 
• Thus, in Frankenstein , Shelley explores not only the scientific possibilities of human existence, but also the nature of man and self awareness of ambition. The novel is designed to make the reader wonder - is scientific exploration an exciting or terrifying thing? How much ambition is too much - and does having it offer more good or harm to humanity?

Pursuit of dangerous knowledge

Victor’s personal torment throughout the novel arises as a result of his attempt to surge beyond accepted human limits of science. Walton mirrors this pursuit by his attempt to surpass previous human explorations in his endeavour to reach the North Pole. Shelley evidently warns against such pursuits, as Victor’s creation causes the destruction of all those dear to him, and Walton finds himself critically trapped between sheets of ice, with only his deep loneliness to keep him company. A key difference between Victor and Walton’s fate, however, is that while Victor’s hatred of the creature drives himself into misery, he serves as a warning for the latter to pull back from his treacherous mission, proving just how dangerous the desire for knowledge can become.

Sublime Nature

The sublimity of the natural landscape is a typical Romantic symbol throughout the novel, as it acts as a source of emotional and spiritual renewal for both Frankenstein and his creature. Depressed and remorseful after the deaths of William and Justine, Victor retreats to Mont Blanc in the hopes that its grandness will uplift his spirits. Likewise, the creature’s ‘heart lightens’ as spring arrives, delivering him from the ‘hellish’ cold and abandonment of the winter. Such as this, nature acts as an instrument through which Shelley mirrors inherent similarity between Frankenstein and the creature. Nature is also constantly depicted as a force stronger than that of man, perceivable by its punishment of Frankenstein for attempting to violate maternal laws in his unnatural creation of the creature. As such, Shelley suggests that Frankenstein’s hubristic attitude towards nature ultimately results in his damnation.

Beauty and Monstrosity (Societal Prejudice)

The creature is rejected almost solely due to its hideously ugly physical appearance, standing at ‘eight feet tall’ and described as ‘a thing even Dante could not have conceived’. Prejudice against outward appearances becomes apparent throughout the novel, as despite educating itself and developing a ‘sophisticated speech’, the creature continues to be judged solely on its appearance and is shunned and beaten due to its repulsiveness. Shelley condemns the extent of this prejudice through the character of William, who, despite the creature’s belief that he is far too young to have ‘imbibed a horror of deformity’, demonstrates intense loathing at the ‘ugly wretch’. In stark contrast to this, the reader can perceive a prevalent social privilege of beauty, as numerous characters are favoured solely for their outward appearances. Safie, similar to the creature in that she is also foreign and unlearned in English, is admired for her ‘countenance of angelic beauty’. While the ‘demoniacal corpse’ of the creature is perceived by society as ‘a blot upon the earth, from which all men fled and whom all men disowned’, Safie’s beauty marks her as a cherished individual who ‘infuses new life’ into souls.

Victor’s obsession with creating life is shrouded in secrecy, and his obsession with destroying his creation remains equally secretive until his revelation to Walton near the end of the story. However, while Victor chooses to remain reclusive due to his horror and guilt, the creature is forced to do so merely by his hideous appearance. Despite this, the theme of secrecy also links the creator and creature through the character of Walton; in confessing to Walton of his crimes before he dies, Victor is able to escape this stifling secrecy that ruined his life, just as the monster desperately takes advantage of Walton’s presence to force a human connection, hoping to find someone who will empathise with his miserable existence as ‘a monster’. 

Feminist Interpretation

• Frankenstein has been perceived by many as a feminist novel, as Shelley’s weak representation of women acts as a critique to patriarchal ideals of females.
• During the eighteenth century, a woman’s finest characteristics were described by Rousseau himself: ‘The first and most important qualification in a woman is good nature or sweetness of temper.’ 
• Thus, in Frankenstein , women are almost always perceived through a male’s perception. The women in the novel are thus excluded from all spheres; not given voices in telling their stories, nor truly figuring in the male characters’ romantic lives. 
• Female representation is purposefully excluded from the novel in order to accentuate this flaw in society. As such, the women that do appear are symbols of the ‘ideal women’ of the eighteenth century - they are presented as reflections of their male counterparts; as mothers, daughters, sisters, or wives, rather than strong individual entities. 
• It is important to note that most of Shelley’s idealised women in Frankenstein all die in the end, and the character traits that had defined them as idealised women were the cause of their deaths. For example, Caroline Beaufort dies directly as a result of her acting as a dutiful caregiver, and looking after Elizabeth when she contracts scarlet fever. By emancipating her from her stereotypical role as a woman through death, Shelley suggests that her Enlightened society must depart from this systematic oppression of the female sex.

Author's Views and Values

Frankenstein depicts a variety of Shelley’s views and values. Some ways to word these in an essay would be: 

• Shelley suggests through Frankenstein’s downfall that an individual cannot succeed in isolation.
• Shelley visibly condemns the misuse of intellect and scientific discovery for one’s own personal gain.
• In Frankenstein , Shelley depicts the creature’s mistreatment to oppose the societal judgement that beauty is reflective of character. 
• Shelley offers a moral edict that superfluous pride leads to downfall.
• Shelley denounces the naïve ideals of revolution ideology through the tragic and violent consequences of Frankenstein’s discovery 

Whenever you get a new essay topic, you can use LSG’s THINK and EXECUTE strategy , a technique to help you write better VCE essays. If you’re unfamiliar with this strategy, then check it out in How To Write A Killer Text Response . ‍

Here are a few practice essay questions:

• ‘In Frankenstein, the creature is shown to be more humane than its human creator.’ To what extent do you agree?
• ‘Frankenstein often falls physically ill after traumatic events.’ Discuss the role of sickness in the novel.
• 'Although Frankenstein is written by a woman, it contains no strong female characters.’ Discuss.
• ‘Life, although it may only be awn accumulation of anguish, is dear to me and I will defend it.’ How does Shelley use paradox to show the complexity of the human condition?.
• ‘In Frankenstein, suffering results when imperfect men disturb nature’s perfection.’ To what extent do you agree

Essay Topic 1 : 'Although Frankenstein is written by a woman, it contains no strong female characters.’ Discuss.

You could approach this topic in a character-based manner , and focus on three female characters: 

Paragraph One: 

• Focus on how Shelley depicts women as merely weaker, sacrificial reflections of their male counterparts.
• Margaret Saville, Walton’s ‘dear sister’, is only present in the novel through his narrative portrayal of her. She is described as the ‘angel [of] the house’, and while her brother is exploring to ‘accomplish some great purpose’, Margaret is at home, passively waiting for his letters.
• Caroline Beaufort, Victor’s mother, is also only perceptible as the archetypal female, encompassing the roles of wife, mother, and daughter. After her father dies, leaving her as an ‘orphan and beggar’, Caroline is reduced to a damsel in distress in need of saving by Alphonse Frankenstein, who comes to her ‘like a protecting spirit’. 

Paragraph Two:

• In this paragraph, you could focus on how females are valued primarily as objects of physical beauty, rather than individual human beings of autonomy.
• Elizabeth is selected from the orphan peasant group merely due to her ‘very fair’ beauty. Thus, it is this ‘crown of distinction’ which affords Elizabeth her subsequent life of happiness in the Frankenstein household. However, beauty for women also induces objectification, as she is ‘given’ to Victor as a ‘pretty present’, and he views her as his ‘possession’ to ‘protect, love, and cherish’. 
• Safie is also physically beautiful, with a ‘countenance of angelic beauty and expression’. It is this attractiveness of Safie which affords her marginalised power as a woman. Unlike the creature, who is rejected by the De Laceys because of his ‘hideous deformity’, the foreign Safie ‘[diffuses] happiness among’ the De Lacey household through her ‘exotic’ beauty.

Paragraph Three: 

• Shelley’s deliberate exclusion of women from romantic and reproductive spheres in Frankenstein condemns the societal oppression of females.
• Frankenstein encompasses an immense focus on male relationships. There exists an almost homosexual ‘brotherly affection’ between Walton and Frankenstein, as Frankenstein can be perceived as the figure fulfilling Walton’s ‘bitter… want of a friend’ and companion for life; something that would conventionally be found in a wife. 
• Homosexual undertones are also evident in Frankenstein’s ‘closest friendship’ with Henry Clerval, who he treasures arguably more than Elizabeth. The murder of Frankenstein’s ‘dearest Henry’ exacts from him ‘agonies’ in the form of ‘strong convulsions’, as he subsequently falls physically ill for two months ‘on the point of death’. In contrast to this, the strangulation of Elizabeth is received by a brief period of mourning, implying that Frankenstein does not require as much time to grieve Elizabeth. 
• Finally, the male creature and his assumption that a female creature ‘will be content with the same fate’ as himself further emphasises male dismissal of female autonomy. 

Essay Topic 2: ‘Life, although it may only be awn accumulation of anguish, is dear to me and I will defend it.’ How does Shelley use paradox to show the complexity of the human condition?’.

• As the creature’s education by books teaches him contradictory lessons on human nature, Shelley portrays the acquisition of knowledge as a paradoxical double-edged sword.
• Through intertextual references to the books through which the creature ‘[studies] human nature’, Shelley presents the paradoxical characteristics of mankind. 
• Although The creature is propelled to suicidal thoughts of ‘despondency and gloom’ by Goethe’s Sorrows of Werther , the book also reveals his empathy, as he becomes ‘a listener’ to the ‘lofty sentiments and feelings’ of humanity. 
• Plutarch’s Lives instils in him the ‘greatest ardour for virtue… and  abhorrence for vice’; two traits, the creature realises, that simultaneously and paradoxically manifest in society.
• Milton’s Paradise Lost allows the creature to compares his rejection by Frankenstein with that of Satan by God. This results in his own paradoxical turn in character - as he subsequently declares ‘ever-lasting war against his ‘accursed creator’, ’evil thenceforth [becomes his] good’. 

Paragraph Two: 

• Shelley purposefully pairs the grotesque physicality of the creature with potent verbal power to showcase his complex humanity. 
• The creature’s humanity despite his ‘physical deformity allows him to be perceived by the audience as human rather than a ‘wretch doomed to ignominy and perdition’. 
• For De Lacey, the hideous appearance of the creature is eclipsed by his eloquence, which ‘persuades [him] that [he] is sincere’. Shelley portrays through his initial acceptance of the creature that he is a ‘daemon’ only in appearance, and thus criticises the ‘fatal prejudice that clouds [the majority of society’s] eyes’. 
• This idea is furthered as Felix’s perception of the creature’s ‘miserable deformity’ results in a ‘violent attack’ upon him. However, the creature abstains from defending himself out of human goodness - despite his capability to tear ‘[Felix] limb from limb’, the creature instead showcases his sensitivity. 
• Thus, the paradoxical antithesis of the creature is the way in which human actions, such as those of Felix, diminish his own humanity and mould him into the monstrous animal his appearance presents him as. 

Paragraph Three:

• The symbolism of fire and ice in ‘Frankenstein’ serves as a moral reminder of the paradoxical essence of human ambition. 
• The motif of fire symbolises the seductive quality of scientific aspiration, as Frankenstein’s ‘longing to penetrate the secrets of nature’ is described as literally ‘warming’ his young imagination. Despite being life-giving, fire is also evidently death-dealing, as fifteen-year-old Frankenstein perceives a vicious storm during which lightning causes the destruction of an oak tree into a ‘blasted stump’ issuing a ‘stream of fire’. As such, the powerfully antithetical nature of fire complicates his ambition, as he muses, ‘How strange… that the same cause should produce such opposite effects!’.
• In contrast, the motif of ice represents the perils of superfluous ambition. The icy sea of Mont Blanc serves as the backdrop of Frankenstein’s dialogue with his ‘filthy creation’. The creature utilises his familiarity to the icy climate to overpower his ‘master’; there is a disturbing reversal in roles as the creature forces Frankenstein to follow him into the ‘everlasting ices of the north’, and wishes for him to suffer ‘the misery of cold and frost to which [he himself is] impassive’. 
• The paradox of fire and ice in Frankenstein culminates in the creature’s dramatic announcement of death by fire, surrounded by ice. This acts as a bitter and ironic parody of both Walton's and Frankenstein's dream of the fire, underscoring its tragic fatality. This is emphasised by the creature’s final words, ‘I shall ascend my funeral pile triumphantly and exult in the agony of the torturing flames… my ashes will be swept into the sea by winds’.

For more advice on Frankenstein , read Kevin's blog post on How to Nail A Frankenstein Essay.

The Importance of the Introduction

The oral presentation SAC is worth 40% of your unit 4 English mark and is comprised of two sections: your statement of intention, and your oral presentation. It can be difficult to understand what is expected of you, as this SAC definitely varies from your typical English essay! So, if you need help understanding what’s expected of you, check out Our Ultimate Guide to Oral Presentations . If you’d like an even more in-depth guide on how to approach this assessment, definitely check out the How to Write a Killer Oral Presentation study guide!

Here, I’m going to dissect five of the most common mistakes students make during their oral presentation, and gloss over ways in which you can improve your marks for this critical SAC.

1. Writing an Unentertaining Speech

Whilst your other English SACs may require you to write in a formal and sophisticated manner, the oral presentation SAC is the one shining exception! Many students fall into the trap of writing a frankly boring and uninspiring speech that does no justice to their academic ability. Here are some mistakes to watch out for:

Choosing the Wrong Topic

Your school may or may not already give you a list of topics to choose from. However, in the event that you must research your own topic, it is essential that you choose an issue relevant to your current audience. You must adopt a clear contention in your speech. 

Do not, for example, write a five-minute speech on why one sports team is better than the other, or why murder should be illegal. Choose an issue that you can take a passionate stance on and engage the audience with. Avoid a contention that is obvious and aim to actually persuade your class. Make sure you choose a 'WOW' topic for your VCE Oral Presentation .

‍ Writing With the Wrong Sense of Tone

This is one of the biggest mistakes students make when writing their oral presentation. I cannot stress this enough – your speech is not a formally written text response! You are presenting your stance on an issue, which means that you are allowed to be passionate and creative. You can educate your audience on the facts without boring them to sleep. Let’s analyse two sample excerpts on the same issue to see why:

Issue: Should the Newstart allowance be increased?

Sample 1: 722,000 Australians are on Newstart. Single people receive approximately $40 a day. The Australian Bureau of Statistics recently increased this payment by $2.20 to adjust to price inflation. However, I am arguing that this price should be increased more.

Sample 2: As Australians, we pride ourselves on community values, and supporting one another. Yet, the way in which we treat 722,000 of our most vulnerable people doesn’t reflect this. The Australian government recently increased the Newstart payment by $2.20 weekly. But this means that Newstart recipients still live on just over $40 a day. Ask yourself, is that really enough to survive?

Samples 1 and 2 have the same information. Yet, Sample 2 engages with the audience in a much more effective manner. Try to avoid an overly formal tone and speak with passion and interest.

2. Presenting Without Confidence

Presenting in front of your class can be a very daunting experience. However, in order to distinguish yourself from your classmates, you must speak clearly and with confidence. Try to avoid making the following mistakes:

Reading Instead of Talking

Think back to primary school. Remember when your teacher would read you a storybook, and they would put on voices to make the story more engaging and interesting? The same sort of idea applies to your oral presentation. Simply reading a well-written speech will not get you marks. Rather, you should talk to your audience. Make eye contact, maintain good posture, and project your voice. Confidence is key!

Stalling for Time

I’m sure we’ve all been in a situation where we haven’t prepared ourselves for a test as well as we should have. The oral presentation SAC is not an assessment that you can simply wing on the day. Oftentimes, poor scores stem from a lack of preparation which can be reflected in the way students present themselves – and stalling for time is a big giveaway. Save yourself the mental stress and prepare for your SAC by writing out your speech beforehand (or even preparing a few dot points/cue cards). I personally find it helpful to practise in front of a mirror or even in front of pets/stuffed toys.

3. Not Distinguishing Yourself From Your Class

If you’re gunning for a good mark, you want to stand out from your class. This can be especially difficult if you are presenting the same topic as one of your peers. Avoid:

Starting in an Uninspiring Way

This is another big mistake students make when presenting. Let’s just estimate that there are approximately 20-25 people in your English class. Now, imagine if every person who presented before you began their speech with:

“Good morning, today I’ll be talking about why Newstart should be increased”.

It gets repetitive. You can distinguish yourself by beginning in a myriad of other ways. Here’s an example of how I started my own oral presentation for my SAC:

Topic: Should we ban sunscreens with oxybenzone and octinoxate?

Imagine you are a foreigner, excited to visit Australia. In your head, you’re picturing our beautiful flora and fauna, our stunning beaches, and the Great Coral Reef. You finally arrive after a long flight, eager to explore the country. You’re expecting the Great Coral Reef to be boasting colour, to look like all the pictures spotted online. Instead, you find what looks like a wasteland – a reef that has essentially been bleached to death. As Australians, we have to wonder what went wrong. If we really loved and cared for our environment, how could we not be protecting the reef, preventing any further damage? Recently, Hawaii banned sunscreens containing the chemicals oxybenzone and octinoxate, reasoning that these chemicals were causing harm to coral. Yet, in Australia, banning sunscreens with these chemicals are seen as drastic and useless measures, which simply isn’t true when you look at the facts. 

This is an example of an “imagined scenario” starter. How to Write a Killer Oral Presentation outlines other ways to start your speech with examples! If you’re having trouble figuring out how to start with a BANG, definitely make use of this resource.

No Enthusiasm

I say this to my students regardless of the English SAC that they’re writing – you want your writing/speech to reflect that you are indeed learning and enjoying your education. Your teacher will be able to tell if you choose a topic that you have no interest in, or if you are simply regurgitating information. Use this SAC to learn about an issue and take interest in your learning. Believe me, your grades will thank you for it.

4. Incorrectly Using Visuals

Whether you are allowed to present with visuals or not is up to your English teacher. However, it is essential that you do not incorrectly use these visuals, as it can cost you marks. Avoid:

Overusing PowerPoint Slides

I’m a bit old-fashioned myself and honestly prefer presenting a speech with no images. That’s not to say that some images can’t be a great addition to your piece. However, PowerPoint can quickly steer you away from presenting your topic in an engaging manner. 

This is an oral presentation with a stance on an issue, not an assessment where you are marked for presenting information to an audience. Therefore, reading off of PowerPoint slides is a big NO. 

Using Cluttered Infographics

The point of focus of your oral presentation should be on YOU – your words, your stance on the issue. This ties into the PowerPoint criticism I made above, but using a cluttered infographic takes away from your well-written speech. Below is an example of an overly cluttered infographic:

If your speech was on renewable energy, your audience would be detracted from your stance, and too focussed on reading the information from the visual. If you have any key information that needs to be explained, it is better to embed this into your speech than rely on an infographic. ‍

5. Disregarding the Statement of Intention

If you’ve finished writing your speech, you may have let out a big sigh of relief. But don’t get too comfortable yet – you still have to write your statement of intention ( SOI ). This piece of writing is supposed to accompany your speech, and it’s worth 25% of your SAC mark. Do not waste all your hard efforts by not taking the SOI seriously. 

I like to think of an SOI as a language analysis of your own speech. Essentially, you should be explaining your choice of language, tone, and rhetoric, and justifying why that would make a profound impact on the audience.  Make sure you understand what an SOI is.

I like thinking of this as a three-step approach:

• Quote my own speech 
• Explain why and how my language would impact the audience
• Link back to my overall contention of the issue

‍ How to Write a Killer Oral Presentation outlines exactly what is expected of you in this section of your SAC. If you’d like to see an annotated A+ statement of intention, be sure to check it out!

I hope that going through these mistakes will help you when writing your own oral presentation! It’s always best to ask your teacher or English tutor for advice if you’re unsure of where to start. Happy writing!

To elaborate further on the example using Macbeth and Animal Farm:

Avoid simply drawing connections between the texts which are immediately obvious. It is clear that both Napoleon and Macbeth are powerful leaders. The questions below start to delve into a more insightful comparison between the two men (comparative words are  bolded ):

Macbeth and Animal Farm: common theme = power

How do they achieve power?

In  Animal Farm , Napoleon is sly about his intentions and slowly secures his power with clever manipulation and propaganda.  However , Shakespeare’s Macbeth adopts very different methods as he uses violence and abuse to secure his power.

How do they maintain power?

Both  Napoleon and Macbeth are tyrants who go to great length to protect their power. They believe in killing or chasing away anyone who undermines their power.

What is the effect of power on the two characters?

While   Macbeth  concentrates on Macbeth’s growing guilty conscience and his gradual deterioration to insanity,  Animal Farm  offers no insight into Napoleon’s stream of consciousness.  Instead , George Orwell focuses on the pain and suffering of the animals under Napoleon’s reign. This highlights Shakespeare’s desire to focus on the inner conflict of a man,  whereas  Orwell depicted the repercussions of a totalitarian regime on those under its ruling.

For one of most popular posts on Comparative (also known as Reading and Comparing), check out our Ultimate Guide to VCE Comparative.

Don't forget to also check out Our Ultimate Guide to Oral Presentations for everything you need to know for Oral Presentations.

Welcome to 2014! As many of you will already be in your second or third week of schooling, it’s likely that you’re getting plenty of workload from across your subjects. Some of you may very well be preparing for your oral presentation SAC that’s coming up very soon! If that is the case, I’ve collated a list of some popular topics that have cropped up in the Australian media since September last year. The list is intended to help you brainstorm different issues you may wish to debate in your speech, with the contention left for you to decide once you have researched enough on the topic! Check it out below:

• Treatment of asylum seekers 
• Processing of asylum seekers
• ‘One punch law’
• Street violence
• Should mathematics be compulsory in schools?
• Shark culling in South Australia
• The end of car manufacturing in Australia
• Sex education and homosexuality
• Work-for-the-dole scheme
• Needle vending machines
• East-West tunnel
• Cory Bernadi’s book – The Conservative Revolution (Abortion)
• Should we smack our children?
• The Indigenous employment gap
• Tecoma McDonalds
• Sexism in the media
• Animal cruelty
• Treatment of fare evaders
• Wearing the hijab in schools
• Childcare wages
• Should the government fund private schools?
• See  Oral Presentation Issues in 2013  for other ongoing issues

Tracks and Into The Wild are studied as part of VCE English's Comparative. For one of most popular posts on Comparative (also known as Reading and Comparing), check out our Ultimate Guide to VCE Comparative.

INTRODUCTIONS

Into the Wild (2007) is a non-linear survival film directed by Sean Penn, which is based on Jon Krauker’s 1996 novel of the same name. It recollects the final few months of the life of Christopher McCandless as he departs from society in both an act of resistance as well as a means of self-discovery. A bright young college student in the 1990s, McCandless abandons his family and affluent lifestyle to embark on a frontier-style journey into the Alaskan wilderness. Troubled by a dysfunctional family and disenchanted with the materialistic excesses of 1980s America, McCandless seeks a radical engagement with nature, in the style of his literary heroes Henry David Thoreau and Jack London. After 113 days in the wilderness, he suffers from starvation and dies. The true story of McCandless’ journey renders the film an important depiction of self-reliance, isolation, and the unparalleled power of nature.

Whilst the film is of a biographical nature, it is important to understand that it is heavily subject to the interpretations and opinions of Penn. The story is informed by McCandless’ writings, and interviews with those who knew him, but is ultimately a work of artistic interpretation. Nonetheless, Penn’s film offers strong commentary regarding the materialistic, consumerist nature of modern living, whilst also ultimately emphasising the more humanistic importance of family and love.

Tracks is Robyn Davidson’s 1980 memoir detailing her perilous journey through 1700 miles of Australian outback and the remarkable character transformations that take place throughout. The events of the story begin in 1973, when a young Robyn Davidson arrives in Alice Springs with an outlandish plan to train wild camels to accompany her through the Australian desert. When, after two years of gruelling training, she receives a sponsorship from National Geographic, her journey can finally go ahead- on the condition that a photographer accompany her and document parts of the journey. This compromise weighs heavily on Robyn, as photographer Rick Smolan intrudes on her solitude and compromises everything the trip means to her. As Robyn delves deeper into the journey, each day brings new discoveries about the camels, the landscape, the people of Australia, and ultimately, her self. Tracks  emerges as a candid and compelling story of one woman’s odyssey of discovery and transformation.

Whilst Tracks is mostly a personal account, it also presents a co-existent dichotomy between modernistic libertarianism and conventionalism, which serves as a reflection of the changing political views and ideological turbulence of the time, as Davidson notes ‘you could choose not to participate in politics, but you could not avoid politics’. Thus, in many ways Davidson’s journey can be seen as a firm statement that challenges the inherent sexism, racism, and ‘status quo’, whilst also simultaneously embracing the notion of freedom, independence, and escape from conventionalism and ‘self-indulgent negativity’.

At LSG, we use the CONVERGENT and DIVERGENT strategy to help us easily find points of similarity and difference. This is particularly important when it comes to essay writing, because you want to know that you're coming up with unique comparative points (compared to the rest of the Victorian cohort!). I don't discuss this strategy in detail here, but if you're interested, check out my How To Write A Killer Comparative . I have used this strategy to create this themes table and throughout my character, views and values, and literary technique analysis.

CHARACTER ANALYSIS

Both Robyn Davidson and Christopher McCandless are products of the time period in which they live, and reject the concept of adhering to a predetermined notion of who they should be and how they should behave. Both embark on their journey because they reject the expectations of their class and gender.

AUTHORS VIEWS/VALUES

Women’s rights in 1970s australia .

Tracks is set in the late 1970s, an era of intense social and political change in Australia. The second wave feminist movements of the 1960s and 70s were enormously influential in Australia, as women began to dismantle the sexist structures inherent in Australian society at this time. Davidson describes Alice Springs as hopelessly in the grips of a ‘cult of misogyny’. She rejects the archetype of the passive, docile woman. She is passionately determined to shed her own sense of herself as traditionally “feminine,” a quality she sees as arising from being trained from birth to be “door-mattish”.

Davidson acknowledges her gender has played a central part in the media’s fascination with her journey. The character of the ‘camel lady’ that emerges suggests the significance of her trip, as a woman travelling alone in the 1970s through intensely difficult terrain. Davidson describes the late sixties and early seventies as a time of radical social time, when “anything and everything seemed possible, and when the status quo of the developed world was under radical scrutiny by its youth”. Thus Davidson’s actions must be considered in the context of this time, at the peak of the second wave feminist movement.

There are many explicit examples of Robyn facing misogyny and embodying feminist principles. One such example is when an Alice Springs local suggests she’s the “next town rape case”. This statement reveals the position of a woman in this misogynistic society, wherein a single woman travelling alone through the bush was synonymous with danger and irresponsibility. Davidson rejects this ideology and refuses to succumb to the violent sexism she encounters, or compromise her journey.

Tracks  is not an explicitly feminist text, but it clearly echoes the philosophies of feminism. In the years since the trek, Robyn Davidson has become a feminist symbol of defiance, endurance and strength. Thus to consider Tracks  from a feminist perspective is important when studying this text, Davidson’s criticisms of Australian misogyny inform our understanding of this historical context, and the significance of her actions.

Some example sentences:

• Davidson exposes the realities of misogynistic Australian culture in the 1970s.
• Davidson’s journey emerges as a defiant example of women’s strength and independence.
• Davidson’s friendship with Gladdy Posel suggests the injustices of women’s financial dependence on abusive men and condemns the limited options for women, particularly for those in rural settings.
• Tracks challenges the constraints of gender through a narrator that cannot be defined by stereotypical images of the domestic and passive female.

Indigenous Rights in Australia

The 1970s saw the first attempts to improve the lives and rights of indigenous Australians. In 1971 Indigenous people were counted in the census, and in 1976, the Aboriginal Land Rights Act was established. Davidson’s time with Mr Eddie exposes her to the harsh reality of the living conditions of Indigenous Australian’s throughout the 1970s, as well as inspiring a deep appreciation for the culture and connection with the land. Davidson is frustrated with the mistreatment of Indigenous people in Australia, and feels ambivalent about her status as a white, privileged, outsider in their community. Davidson confronts the racist and discriminatory stereotypes and attitudes towards Indigenous Australians, and experiences first hand the realities of the issues these people face. Davidson encounters intense generosity and friendship in the Indigenous community that she admires and presents as a stark contrast to the intolerant attitudes of white Australians in Alice Springs.

• “The blacks were unequivocally the enemy – dirty, lazy, dangerous”
• “Aborigines. Warm, friendly, laughing, excited, tired Pitjantjara Aborigines...” (p. 155)
• “Ceremonies are the visible link between Aboriginal people and their land. Once dispossessed of this 
land, ceremonial life deteriorates, people lose their strength, meaning and identity.” (p. 167) 

• Davidson renegotiates her identity and relationship with the land after learning from the Indigenous Australians.
• Davidson condemns the racist attitudes of white Australians towards the aboriginal people.
• Davidson embodies the changing attitudes of young Australians towards aboriginal Australians, endorsing a respectful relationship with the traditional land owners.

INTO THE WILD

Social criticism of materialistic excess.

While Into the Wild is set in the 1990s, McCandless’ formative years were the 1980s – a decade characterised by the consumerism, extravagance, and materialism of President Reagan’s America. The reverberating effects of this time period inform McCandless’ general outlook and disdain for American society. Whilst this contempt for consumerism is one motivation for McCandless’ actions, he is equally troubled by the family violence and dysfunction he experienced as a young man. This traumatic past informs his extreme actions and outlook.

Example sentences:

• Penn exposes the effects of materialistic society on young impressionable people.
• Penn explores the consequences of experiencing childhood trauma, and how this manifests in adult actions.
• Penn condemns the expectations of 21 st century nuclear families.
• Penn endorses the liberating power of familial love and relationships.

Depiction of the unparalleled power of nature and man’s inability to contend with it

Inspired by Thoreau and London, Chris seeks enlightenment in the wild. Despite a philosophical understanding of the power of nature, Chris believes he can survive the untamed wilderness of Alaska. Although nature is the locus for self-realisation and growth for Chris, it is also what destroys him. As the viewer watches him slowly deteriorate, we come to fully comprehend the force of nature – suggesting man’s inability to control it.

• Penn’s depiction of McCandless’ deterioration suggests human’s inability to control nature.
• Penn endorses the liberating power of literature, but cautions the idealism contained within romantic depictions of nature.

LITERARY TECHNIQUES

Narrative voice.

An important aspect of Into the Wild to consider is that McCandless’ story, while true, is told through Sean Penn’s directorial lens, which is in turn based on Jon Krakeur’s book. The story is informed by McCandless’ writings, and interviews with those who knew him, but is ultimately a work of artistic interpretation. Consider how this affect’s a viewer’s perception of Chris, does this raise questions around representation and identity? This is in direct contrast to Tracks , which is a first person, linear past tense, autobiographical account of the writer’s experience. Where Robyn is completely in control of her narrative, McCandless’ is subject to the artistic interpretation of others.

Anthropomorphism

Anthropomorphism is defined as the attribution of human characteristics or behaviour to a god, animal, or object. Robyn repeatedly personifies the animals she encounters. The camels in particular take on their own human personalities in her life. This technique, called anthropomorphism, can be used to complement a discussion of the theme of isolation. Robyn attributes distinct characteristics to each camel, suggesting her need for companionship and the powerful absence of human connection in prolonged periods of isolation.

Davidson’s depiction of her dependence on animals reveals deeper meanings about her inability to depend on, and communicate with, humans in the same way. Robyn’s reliance on her dog, Dookie, becomes more intense as the journey continues. Upon Dookie’s death, both the reader and Robyn experience the dog’s death as a powerful blow.

• “I am quite sure Diggity was more than a dog, or rather other than dog. (p. 207)”
• “But I said goodbye to a creature I had loved unconditionally, without question. ... I walked out into the morning and felt nothing. I was numb, empty. All I knew was I mustn‟t stop walking. (p. 223)
”
• “Diggity had become a cherished friend rather than simply a pet. (p. 227)”
• Kate: “remembered humans and hated them”
• Zeleika: “had a lovely gentle nature” “the street-smart, crafty, unfazable, self-possessed leader”
• Dookie: “nominally king, but if anything untoward happened he was the first to hide behind Zeleika’s skirts”
• Goliath: “cheeky, pushy, self-centred, demanding, petulant, arrogant, spoilt and delightful”

SAMPLE PARAGRAPHS

Prompt: Discuss the ways in which the environment assists the protagonists in their journey for self-discovery.

Introduction: In forging connections with the environment and people around us, humans end up inadvertently discovering themselves. It is this notion that resonates throughout both Robyn Davidson’s 1970 memoir, Tracks , and Sean Penn’s 2007 film, Into the Wild , where the relationships that the protagonists form throughout their journeys leads to intense self- discovery and growth. Both Davidson and McCandless seek knowledge and guidance through both the individuals they meet and, specifically to McCandless, the books he reads, citing it as a means of grappling with the fundamental stages of self-discovery. Whilst Davidson and McCandless experience different relationships with their immediate family, it is ultimately the concept of family that underpins their motivations and inspires them to pursue their journeys – both physical and psychological. Further, the respective temporal environments in which both protagonists are immersed in emerge as a distinct theme that facilitates each stage of self- discovery in the climatic lead up to the ultimate self-realisation.

Body Paragraph 1: Both Into the Wild  and Tracks endorse the guiding power of influential figures on both protagonists, as a catalyst for their growth. Davidson commences her self-described ‘lunatic’ journey with little knowledge of the wild to substantiate her mammoth ambition. That her drive outweighs her preparation manifests in the early moments of the text, wherein Davidson endures a grueling internship with the impulsive ‘maniac’ Kurt Posel. This man appears the epitome of the ‘biased, bigoted, boring and above all, brutal’ man she describes as the stereotypical ‘Aussie male’. Kurt is abusive to both Davidson and his wife, but his eccentric and impulsive ways expose her to the harsh realities of bush living. Ultimately, Kurt’s guidance allows Davidson to gain the fundamental skills she needs to train camels, whose dispositions reflect the erratic nature of Kurt himself. In direct contrast to this tense, exploitative relationship, is Davidson’s nuanced and spiritually rewarding relationship with Mr. Eddie, an aboriginal elder whom she describes as a “sheer pleasure to be with”.  Despite an ostensible language barrier, Eddie’s instruction of the Indigenous Arts and Culture leave an impressionable impact on Davidson’s character and personality. By accepting Eddie’s guidance at a pivotal point in her journey, Davidson’s ambivalent sense of self, the overwhelming feeling of being an imposter, is diminished. Davidson becomes more grounded and connected to her environment; the knowledge that she derives from key characters contributes to a distinct conformational change in her personality and thus critically assists her in developing a strong sense of one self.  A similar theme resonates in Into the Wild , where Chris McCandless heavily relies upon the guidance of various prominent figures he meets throughout his journey as well as ‘the characters of the books he loved from writers like Tolstoy, Jack London and Thoreau’ whose words he could and often would ‘summon….to suit any occasion’. The fact that McCandless readily referred to the words of the likes of Tolstoy, London, and Thoreau amidst times of mental angst and challenge, is a significant reflection of not only the quintessential teacher and student relationship he shares with them, but also the level of impact they have had in shaping in the ideological processes that define Chris’s values and sense of oneself. This very idea is furthered by Sean Penn when he depicts Christopher McCandless quoting soviet Russian poet, Boris Pasternak, suggesting that humans ‘ought to call each thing by it’s right name’, following which he acts impulsively and with great haste, engineered with rapid and distorted camera movements. In doing so, Penn illustrates the importance that Chris places upon the words of such idealists to the stage where he acts upon their advice without giving them proper consideration within his literal, temporal context. The protagonists of both Into the Wild and Tracks , both rely upon the knowledge and guidance of individuals, be they physical or via literature, as a means of grappling with their fundamental understanding of the human spirit and in doing so their intricate understanding of themselves.

Body Paragraph 2: Both texts demonstrate a degree of discontentment and resent towards the institutionalized, '20th century convention' of family. Davidson describes the notion of family as “invisible ropes and chains” of guilt, she comments that families lack for the most part, a true sense of love. This sentiment is starkly contrasted with Davidson’s intense engagement with the wild, which she describes in the language of love and connection. “I love you. i love you sky, bird, wind, desert, desert, desert’ proclaims Davidson, as she describes having “no more loved ones to care about” and “no more ties” to bind her to material existence. Davidson laments the distortion of her journey for public consumption, stating “so far people had said that i wanted to commit suicide, that i wanted to do penance for my mother’s death…” this comment is one of the only references to her mother’s suicide, which can be interpreted as a catalyst for her ambivalence about the notion of family. This experience evidently informs Davidsons’s somewhat impenetrable exterior and suggests a deeper complexity to her resistance of 20th century societal expectations. Similarly, Christopher McCandless articulates a powerful contempt for family. McCandless feels impeded in his personal motivations by the familial concepts of ‘graduating college’ and ‘getting a job’ which he describes as “20th century inventions” inextricably linked with “this world of material excess”. McCandless expands on this point, commenting that his pursuit for self-discovery has ultimately resulted in ‘the killing of the false being within’, the ‘false being’ that was bound to the societal expectations and the material conventions of the time. Chris’ departure into the wild is as much of an act of punishment for his family, as it is about Chris discovering true freedom and metaphysical spirituality. It is this idea of ‘telling the world’ of his family’s misdeeds that continually motivates Chris to continue on with his journey, which is depicted by Penn through the countless solo enactments and impersonation of both Chris’ mother and father, often depicting a negative experience which has quite evidently scarred his ‘crystal like’ mind. Family is thus, a primary motivation for both key characters within Tracks and Into the Wild to firstly partake on their journey, but more significantly to discover an uncorrupted, unbiased ‘true’ version of them that had been lost amidst ‘this world of material excess’.

Conclusion: Both Tracks and Into the Wild explore the inextricable link between ones environment and their personal growth. Nature is emphasised as a world removed from the materialistic excess of modern urban life, in which one can engage with an alternative, radical set of values. Both Davidson and McCandless escape from the confinements of their lives and experience profound transformations over the course of their journeys. Thus, both Davidson and Penn comment on the omniscient, multifaceted nature of the environment around a person being instrumental in moulding each stage of the journey of self-discovery and transformation.

*A big shout out to Suraj Hari, 2017 graduate and currently studying Medicine in Tasmania, who is a contributing author of this blog post.

What’s your exam nightmare?

Mine was always that I would open my booklet in reading time and find essay topics that I had never considered, and that I would waste time just trying to figure out where to start in tackling my essay.

That’s not what happened to me, because with that in mind, I spent all of my SWOTVAC planning essays for every topic my teacher could think of. So, in my exam, I was lucky enough to be able to write a Text Response and a Reading and Comparing essay on topics very similar to essays I had already written. This meant that for the first hour or so of my exam, I was quietly confident that I would be more than fine.

But the English exam is three hours long, it’s early in the morning, you switch writing styles three times. If you’re human, it’s scary! So many students put much more pressure on themselves than they can actually handle, and I was one of them. Halfway through my exam, I completely lost my train of thought. I was suddenly very overwhelmed and all I wanted to do was spit out my last two essays and get out of that hall. Because of this, I walked out of my exam teary - I thought those had to be the worst essays I’d ever written!

Luckily, I was wrong about those essays. Despite how frazzled I got during my exam, I stuck to a few key strategies to make sure I didn’t completely derail. In hindsight, I know that without them, I wouldn’t have overcome my “mid-exam crisis” and done as well as I did.

Here are my tips for staying on track and getting past any panic you might feel during your exam.

1. Before your exam: Prepare for the 3 hours of writing!

It’s obvious that preparing your mind by studying and practising is the biggest essential before your English exam. However, what use is your knowledge if you spend your exam trying not to fall asleep?! If you’re tired in your exam, you are more than likely to lose your train of thought and end up stressed. I know you’ve probably heard the ‘self-care’ talk many times, so from student to student, let me sum it up for you:

For the 1000th time - sleep! Honestly, you can’t cram the night before for English. If you don’t know your content by 9PM the night before your exam, you’re not going to know it by the morning. You’re better off getting rest so that you can think clearly, work with the knowledge you have, and perform your best in the exam. 

Eat well! My breakfast favourite during exams was oats with raspberries and banana - a bit of sugar, a good amount of carbs, and having a nice brekkie always put me in a good mood! There’s also your last-minute sustenance - even after my good breakfast, I always ate a banana or a mars bar right before I walked into an exam, because they’re great for an immediate energy boost.

2. During your exam: Start out with a plan!

Taking a minute or two before each essay will be your lifesaver when you’re mid-way through your exam and start second guessing yourself. Before starting each essay, jot down a basic plan that will help you remember your key points and contention. For example, say my topic is “Medea is symbolic of the intelligent woman caged in by the patriarchy”, my plan might look like this:

• Contention: agree to a degree - caged in & intelligent BUT not symbolic of women in general
• Body para 1: how she is caged in - marriage & infidelity, exiled by men, not given choice
• Body para 2: intelligence - outsmarted Creon & Aegeus (manipulation) - intellectual superiority over Jason
• Body para 3: not symbolic of women - demigod &sorceress - filicide - deus ex machina

While that may not make much sense to you, as the person writing the essay it helps me remember what my key points are, which is incredibly helpful if you start feeling overwhelmed.

3. Take a breather.

Yes, the English exam is all about time management, and so I can understand wanting to push through any panicky feelings, and keep writing when your time is precious. But if you’re not thinking clearly, you’re probably not writing clearly. Give yourself one minute. Watching the clock, think about nothing for a couple of seconds. Drink some water and give your brain a break. Then, as your minute comes to an end, calmly think about the approach you’re taking in your essay (again, this is going to be easier if you have a plan), and start a fresh sentence!

Overall , preparing yourself to maintain a clear head is the key to success. These tips helped me get past what felt like a “mid-exam crisis”, and I’m sure they’ll help you do the same. Stay positive and confident that you’re doing the best work you can, and keep these strategies in mind to help yourself out of any sticky situations. Good luck!

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Home Essay Samples Literature The Crucible

The Central Idea in Arthur Miller's "The Crucible"

Table of contents, introduction, mass hysteria and mob mentality, authority and abuse of power, the loss of individual rights, the human cost of fear.

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The Crucible

Arthur miller.

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Puritanism and Individuality

Puritan society required that its members follow strict guidelines of social order. These rigid rules of conduct helped the Puritans endure the persecution they faced in Europe and, after they came to America, created a close-knit community able to withstand the harsh weather and Native American attacks common to New England in the 17th century. But communities that focus primarily on social order leave no room for personal freedom. Those who think or act independently…

In The Crucible , neighbors suddenly turn on each other and accuse people they've known for years of practicing witchcraft and devil-worship. The town of Salem falls into mass hysteria, a condition in which community-wide fear overwhelms logic and individual thought and ends up justifying its own existence. Fear feeds fear: in order to explain to itself why so many people are afraid, the community begins to believe that the fear must have legitimate origins.

The Danger of Ideology

An ideology is a rigid set of beliefs that defines what an individual or community thinks. In the Puritan theocracy of Massachusetts, a government run by religious authorities, the dominant ideology held that the Puritans were a chosen people that the devil would do anything to destroy. Since religious men ran their government, the Puritans considered all government actions to be necessarily "good," or sanctioned by Heaven. This meant that any attempt to question, obstruct…

Reputation and Integrity

Reputation is the way that other people perceive you. Integrity is the way you perceive yourself. Several characters in The Crucible face a tough decision: to protect their reputation or their integrity. Parris , Abigail , and others to protect their reputations. Rebecca Nurse and, eventually, John Proctor, choose to protect their integrity.

In rigid communities like Salem, a bad reputation can result in social or even physical punishment. The Crucible argues that those most…

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Higher English > The Crucible Critical Essay Introductions and Conclusions > Flashcards

The Crucible Critical Essay Introductions and Conclusions Flashcards

What is the summary of the play?

Set in Salem, Massachusetts in 1692, the play focuses on the protagonist John Proctor as he struggles to overcome his past transgressions, prior to the play, when he committed adultery with Abigail Williams which subsequently controls and influences the outcome of the play. Abigail charges various citizens of practising witchcraft, leading to Proctor’s death.

What is the introduction to the play for the question - Choose a play in which there is a central character brings about his or her downfall because of a weakness within their character.

Arthur Miller’s play ‘The Crucible’ explores a character who possess a significant weakness. John Proctor, the antagonist, is unwilling to forgive himself after committing adultery with Abigail Williams. It is this inability to forgive himself that prevents him from revealing Abigail’s lies before they gather momentum and ultimately lead to his downfall in the play’s denouement.

What is the introduction to the play for the question - For a play you have studied, choose a scene in which a character is forced to face up to the truth about himself/herself?

Arthur Millers ‘The Crucible’ is a play where a character is forced to face up to the truth about themselves. John Proctor is a crucial character in the play who’s actions influence the outcome of everyone else. John’s struggles and worries of his tainted past are clearly shown throughout the play. Only through the personal sacrifice and matyrdrom can the constraints of Salem’s society be broken

What is the sentence for the techniques to convey the ideas in the play?

Through the use of characterisation, key scene and dialogue Arthur Miller successfully conveys/demonstrates and refer back to question.

What is the introduction to the play for a question about setting?

Arthur Miller’s the crucible is a play that makes use of setting to make the main ideas of the play more comprehensible and believable. After accusations of witchcraft, hysteria breaks out in Salem. Only through the use of setting can the main ideas be conveyed to the reader and the outcome of the play be explained.

What is the introduction to the play for a question on choose a play in which a central character struggles to cope with social convention or financial difficulties or family duties?

Arthur Miller’s play ‘The Crucible’ contains a central character who struggles to cope with social convention. The protagonist John Proctor, is unwilling to forgive himself after committing adultery - an act frowned upon by the Puritan community. It is his inability to forgive himself and need for self preservation that subsequently controls and influences the outcome of the play, resulting in Proctors death.

What is the introduction for choose a play in which the concluding scene provides effective clarification of the central concerns?

Arthur Miller’s play ‘ The Crucible ‘ concludes with a scene that provides effective clarification of the central concerns in the play. The protagonist John Proctor, is unwilling to forgive himself for committing adultery with Abigail Williams. Proctors need for self preservation and unwillingness to forgive himself influence the outcome of the play and result in his death in the denouement of the play.

What is the introduction for choose a play in which the conflict between two characters is an important feature?

Arthur Miller’s play ‘The Crucible’ explores a conflict between two important characters which influence the outcome of the play. John Proctor ,the protagonist, is tortured and weighed down by the guilt of his affair with Abigail Williams. Due to this, Proctor life is influenced by Abigail who is ultimately the cause of his death in the plays denouement.

What is the introduction for choose a play which focuses on a relationship which is destructive or is in crisis?

Arthur Miller’s play ‘The Crucible’ focuses on a relationship which is destructive. The protagonist, John Proctor, is tortured weighed down with guilt of his affair with Abigail Williams. Proctor tries his hardest to remove Abigail from his life. However it is his rejection of her that results in Abigail seeking revenge on his wife, ultimately leading to Proctors death in the plays denouement.

What is the introduction for choose a play in which a major character behaves in an impulsive or calculating or emotional manner?

Arthur Miller’s play ‘The Crucible’ focuses on a character who behaves in a calculating way.The protagonist, John Proctor, is tortured weighed down with guilt of his affair with Abigail Williams. Proctor tries his hardest to remove Abigail from his life. However it is his rejection of her that results in Abigail seeking revenge on his wife, ultimately leading to Proctors death in the plays denouement.

What is the introduction for choose a play in which there is a scene which influences the course of future events?

Arthur Miller’s play ‘The Crucible’ contains a scene which influences the course of future events.The protagonist, John Proctor, is tortured weighed down with guilt of his affair with Abigail Williams. Proctor tries his hardest to remove Abigail from his life. However it is his rejection of her that results in Abigail seeking revenge on his wife, by accusing her of witchcraft, ultimately leading to Proctors death in the plays denouement.

What is the introduction for choose a play which deals with the theme of honour or shame or betrayal?

Arthur Miller’s play ‘The Crucible’ explores the theme of betrayal. The protagonist, John Proctor, is tortured weighed down with guilt of his affair with Abigail Williams. Proctor tries his hardest to remove Abigail from his life and not betray his wife again. However it is his rejection of her that results in Abigail seeking revenge on his wife, by accusing her of witchcraft, ultimately leading to Proctors death in the plays denouement.

What is the introduction for choose a play which has an effective opening scene or concluding scene?

Arthur Miller’s play ‘ The Crucible ‘ which has an effective opening scene. The protagonist John Proctor, is unwilling to forgive himself for committing adultery with Abigail Williams. Proctors need for self preservation and unwillingness to forgive himself influence the outcome of the play and result in his death in the denouement of the play.

What is the introduction for choose a play in which a major character’s actions influence the emotions of others?

Arthur Miller’s play ‘The Crucible’ contains a major character who influences the emotions of others. The protagonist, John Proctor, is tortured weighed down with guilt of his affair with Abigail Williams. Proctor tries his hardest to remove Abigail from his life. However it is his rejection of her that results in Abigail seeking revenge on his wife, by accusing her of witchcraft, ultimately leading to Proctors death in the plays denouement.

What is the introduction for choose a play in which there is a scene involving a moment of conflict or of resolution to conflict?

Arthur Miller’s play ‘The Crucible’ contains a scene involving a moment of conflict. The protagonist, John Proctor, is tortured and weighed down with guilt of his affair with Abigail Williams. Proctor tries his hardest to remove Abigail from his life. However it is his rejection of her that results in Abigail seeking revenge on his wife, by accusing her of witchcraft. Proctor attends court in the hope of pleading his wife’s innocence, which results in a conflict, that ultimately leads to Proctors death in the plays denouement.

What is the introduction for choose a play which explores an important issue or issues within society?

Arthur Miller’s play ‘The Crucible’ explores the issue of suppressed desire in the Puritan community of the 1690s. The protagonist John Proctor, is unwilling to forgive himself after committing adultery - an act frowned upon by the Puritan community. It is his inability to forgive himself and need for self preservation that subsequently controls and influences the outcome of the play, resulting in Proctors death.

What is the introduction for a character who, makes a vital error?

Arthur Miller’s play ‘The Crucible’ contains a scene where a character makes a vital error. The protagonist, John Proctor, is tortured and weighed down with guilt of his affair with Abigail Williams. Proctor tries his hardest to remove Abigail from his life. However it is his rejection of her that results in Abigail seeking revenge on his wife, by accusing her of witchcraft. Proctor attends court in the hope of pleading his wife’s innocence but when presented with the chance to save herself and her husband, Elizabeth’s natural lie to protect her husband ultimately leads to Proctors death in the plays denouement.

What is the introduction for a scene that acts as a clear turning point?

What is the introduction for choose a play where the emotions of one or more characters reach a climax?

Arthur Miller’s play ‘The Crucible’ contains a scene involving a moment of conflict. The protagonist, John Proctor, is tortured and weighed down with guilt of his affair with Abigail Williams. Proctor tries his hardest to remove Abigail from his life. However it is his rejection of her that results in Abigail seeking revenge on his wife, by accusing her of witchcraft. Proctor attends court in the hope of pleading his wife’s innocence, which results in a climax of his emotions, that ultimately leads to Proctors death in the plays denouement.

What is the conclusion to the play?

To conclude - refer to question. Had Proctor been able to overcome his excessive pride and forgive himself for the the adultery he committed and not been so preoccupied with his past transgressions and reputation in Salem, he could have revealed his knowledge of Abigail earlier in the play and prevented the deaths of many people, as well as his own. Ultimately his inhabiting to forgive himself which was his fatal weakness and Miller successfully conveys the power conscience has over us. The play as a whole provides a powerful message about the dangers of being swept up in hysteria as well as the difficulties placed upon an individual to conform to society.

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The Crucible

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Discussion Questions

From the infectious groupthink of accusers to the fear-mongering speeches of Reverend Parris and Judge Danforth, the Salem witch trials in The Crucible mirror Arthur Miller’s lived experiences as a named “communist” (called before Joseph McCarthy’s Committee on Un-American Activities). Analyze at least three specific moments in The Crucible that gesture toward the actions, attitudes, and rhetoric of McCarthyism.

The word “crucible” has two meanings. The term can either refer to a large (witch’s) cauldron wherein substances boil together, or a challenging test of character (a “trial by fire”). Considering both definitions, how does the title of The Crucible function as a metaphor for the events and developments in Miller’s play?

The Crucible uses the Salem witch trials to closely examine intersecting hierarchies of class, gender, and power in a conservative Puritan community. The least powerful members of society—a slave, a homeless woman, and a sexual deviant—are the first to stand accused, and the accusers themselves are young servant girls (who do not possess a great deal of political power prior to the witch trials). What messages does this play send about obtaining and maintaining power? How do power dynamics fluctuate throughout the play?

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Home — Essay Samples — Literature — The Crucible — Analysis Of The Main Themes In The Crucible By Arthur Miller

Analysis of The Main Themes in The Crucible by Arthur Miller

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Published: Feb 8, 2022

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Three Prominent Themes of "The Crubicle"

Works cited:.

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• Krohn, B. (2013). Hitchcock at work. Phaidon Press.
• McDevitt, J. P. (Ed.). (2019). Alfred Hitchcock: A brief life. Basic Books.
• Modleski, T. (1988). The women who knew too much: Hitchcock and feminist theory. Routledge.
• Rohdie, S. (2001). The passion of Pier Paolo Pasolini. Bloomsbury Academic.
• Spoto, D. (2012). Spellbound by beauty: Alfred Hitchcock and his leading ladies. Vintage Books.
• Wood, R. (2002). Hitchcock's films revisited. Columbia University Press.

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87 The Crucible Essay Topics & Examples

Looking for The Crucible essay examples? Arthur Miller’s play is worth writing about!

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📌 interesting essay topics for the crucible, 🔝 best the crucible essay topics, 👍 most catchy the crucible essay titles, ❓ the crucible essay questions.

The Crucible is a play by famous American playwright Arthur Miller that premiered in 1953 in NYC. It is based on a true story of the Salem witch trials that took place in the late 17th century.

In your The Crucible essay, you might want to make a literary analysis of the play. Another option is to focus on one of the themes or symbols used by Miller. Whether you need to write a short 5-paragraph essay or a longer argumentative paper on the play, this article will be helpful. It contains catchy titles, research questions, and essay topics for The Crucible by Arthur Miller. Free essay examples are added to inspire you even more.

• A. Miller’s “The Crucible” Play: Who Is to Blame? The Crucible, written by Arthur Miller in 1953, is a play focusing on the topic of the Salem witch of the last decade of the 1600s in Massachusetts.
• Salem’s Puritans in “The Crucible” Play by Arthur Miller Parris is described as a man in his forties and the author adds that there is “very little good to be said for him”. The land is not very fertile and the town is surrounded […]
• Analysis of the Movie The Crucible Arthur Miller’s play and movie was a reflection of what used to happen in the United States of America. It was a situation where reason was not used in the judicial system and people were […]
• The Crucible (1996) by Nicholas Hytner Although Miller has never consented to the historical accuracy of the story, most of the events in the story match up with the occurrences in Salem, Massachusetts during the seventeenth century.
• Shakespeare’s “Othello” and Miller’s “The Crucible” The villains in both “Othello” and “The Crucible” are unique in their proficiency in the use of language for manipulating others and their ability to use the current setting for achieving their goals; Abigail is […]
• Goodness as a Central Theme of “The Crucible” In the play “The Crucible”, Artur Miller raises the topic of Salem witch accusations taking place in Massachusetts during the end of the seventeenth century.
• Witches Against Corruption in Miller’s The Crucible Play Through their portrayal in the play, the accused witches have become powerful symbols of strength and resistance for women who want to take a stand against corruption and injustice.
• “The Crucible” by Arthur Williams John may be considered the protagonist of the play, however, the interrelation of the two main female characters of the play are, certainly, of great use for the development of the action and realization of […]
• Arthur Miller: Hypocrisy, Guilt, Authority, and Hysteria in “The Crucible” The cruel persecution of minorities and the interference of the state in the individual’s conscience became the key concerns of Miller’s criticism of this people’s actions and beliefs.
• Arthur Miller’s The Crucible: Unmasking Fear and Accusations Answer: Hale comes to Salem with the intention of finding concrete proof of witchcraft and using it to condemn the people guilty of the crime.
• John Hale’s Image in “The Crucible” by Arthur Miller The book is concerned with the topic of witch trials taking place in the city of Salem, the Province of Massachusetts Bay, 1692-1693; it features a number of characters, some of whom depict the real […]
• “The Crucible” a Play by Arthur Miller In both cases, it can clearly be seen that it is fear that allows unreasonable and unlawful actions to continue under the guise of lawful actions that are for the common good.
• Literature as a Protest: The Lottery and The Crucible Thus, in the case of “the lottery” it can be seen that it is a form of protest against the practice of blindly following “tradition” without taking into consideration the full logic of the actions […]
• The Salem Witch Trials in “The Crucible” by Arthur Miller Though Miller has made a range of changes to the original, the alterations did not prevent from understanding the case better; instead, these changes allowed for updating the story so that it would be interesting […]
• “The Crucible” by Arthur Miller: Play Analysis The scenario calls for the need to investigate the villagers on issues pertaining to witchcraft, a take that finds many of them victims of the evil doing ready to be judged. First, the plot of […]
• The Crucible by Arthur Miller The plays interweaves Christ’s crucifixion with the picture of a bubbling crucible in it a man and a society: the predicament of arriving to the right choice of morality and the inevitability of attaining redemption […]
• Informative Synthesis on Movie: The Crucible The writer of the play version of the film, Arthur Miller, takes charge of the screenplay while Nicholas Hytner is the director.
• The Madness of the Salem Witch Trials of 1692 in “The Crucible” by Arthur Miller
• The Theme of Sacrifice in “The Crucible” by Arthur Miller and “The Scarlet Letter” by Nathaniel Hawthorn
• The Society and the Individual in Arthur Miller’s “The Crucible”
• The Social Breakdown That Allowed the Witch Hunt Paranoia in Salem in Arthur Miller’s “The Crucible”
• The Victory of Morality Over Cowardice in “The Crucible” by Arthur Miller
• Values and Morality in “The Crucible” by Arthur Miller
• The Valuable Reasons of Abigail Williams in “The Crucible” by Arthur Miller
• The Significance and Role of Abigail Williams and Tituba in “The Crucible” by Arthur Miller
• The Witch Hearings in “The Crucible” by Arthur Miller
• The Influence of the McCarthy Hearings of the 1950’s in “The Crucible” by Arthur Miller
• The Use of Rhetorical Devices to Reveal Negative Correlation Between Power Truth, Justice, and Emotions in “The Crucible” by Arthur Miller
• The Traits and Characteristics of John Proctor in “The Crucible” by Arthur Miller
• The Unfair and Unkind Treatment of Women in Arthur Miller’s “The Crucible”
• The Internal Battles of Mary Warren, John Proctor and Reverend Hale in “The Crucible” by Arthur Miller
• The Symbolism of the Crucible as a Test for Salem in “The Crucible” by Arthur Miller
• The True Meaning of Tragedy in “The Crucible” by Arthur Miller
• The Presentation of Abigail Williams in Act I of “The Crucible” by Arthur Miller
• The Tragic Fate of John Proctor in “The Crucible” by Arthur Miller
• The Reasons Why People Stand Up for Justice in “The Crucible” by Arthur Miller and “The Lottery” by Shirley Jackson
• The Sinful Confessions in Arthur Miller’s “The Crucible”
• The Motivation of Abigail Williams to Protect Her Image and Interest in “The Crucible” by Arthur Miller
• The Unreasonable Discrimination in “The Crucible” by Arthur Miller
• The Theme of Justice Versus Retribution and Revenge in “The Crucible” by Arthur Miller
• The Responibility of the Salem Community for the Tragedy in “The Crucible” by Arthur Miller
• Weakness, Jealousy, and Manipulation in “The Crucible” by Arthur Miller
• Vengeance and Malevolent Intent in a Corrupt World in “The Crucible” by Arthur Miller
• The Materialistic and Controlling Characteristics of Reverend Parris in “The Crucible” by Arthur Miller
• The Themes of Fear, Revenge and Greed, and Courage in “The Crucible” by Arthur Miller
• The Sacrifices and Actions of Abigail for Love in “The Crucible” by Arthur Miller
• What Arthur Miller’s “The Crucible” Has to Offer to Modern Readers Globally
• The Historical Meaning and Universal Themes of the Love Triangle, Mass Hysteria, and the Judicial System in “The Crucible” by Arthur Miller
• The Salem Witch Trials as an Outlet for Revenge in Arthur Miller’s “The Crucible”
• The Three Stages of John Proctor’s Transformation in “The Crucible” by Arthur Miller
• The Transformation of Abigail Williams in “The Crucible” by Arthur Miller
• The Themes of Intolerance, Reputation, and Injustice in “The Crucible” by Arthur Miller
• The Theme of Courage in “The Crucible” by Arthur Miller and “The Scarlet Letter” by Nathaniel Hawthorne
• John Proctor as a Fair and Noble Character in “The Crucible” by Arthur Miller
• The Strength of Elizabeth as Shown Through Her Trials in “The Crucible” by Arthur Miller
• The Key Aspects of a Witch-Hunt in “The Crucible” by Arthur Miller and Paradise Lost
• An Analysis of Social Status as a Significant Theme in Arthur Miller’s “The Crucible”
• How Does Fear Motivate the Main Characters in “The Crucible”?
• What Was the Critical and Public Reaction to “The Crucible”?
• What Is the Main Story of “The Crucible”?
• What Were the Changes in John Proctor’s Character Throughout the Play “The Crucible”?
• Why Is “The Crucible” So Famous?
• How Does Arthur Miller Create Tension in the Trial Scene of “The Crucible”?
• What Is the True Meaning of “The Crucible”?
• How Does Miller Present the Character of John Proctor in “The Crucible”?
• How Does John Proctor Contribute to the Effectiveness of Arthur Miller’s “The Crucible”?
• What Are Some Examples of Mob Mentality in “The Crucible”?
• How Does Miller Create Dramatic Tension in the Four Acts of “The Crucible”?
• Does John Proctor Die in “The Crucible”?
• When Did the Witch Trials Take Place in “The Crucible”?
• How Does Miller Convey His Message Through “The Crucible”?
• Was Jon Proctor From Arthur Miller’s “The Crucible” a Good Man?
• How Did Arthur Miller Portray the Relationship Between John and Elizabeth Proctor in “The Crucible” by Arthur Miller?
• How Are Women Portrayed in Arthur Miller’s “The Crucible”?
• How Does Arthur Miller Show Abigail’s Character in “The Crucible”?
• Does Arthur Miller’s Play “The Crucible” End in Hope?
• How Easily People Can Be Fooled as Portrayed in Arthur Miller’s Play “The Crucible”?
• How Does Miller Present Social Status in “The Crucible”?
• Why Was John Proctor Convicted of Witchcraft in Arthur Miller’s “The Crucible”?
• How Miller Creates Conflict in “The Crucible”?
• How Does Arthur Miller Explore Social Injustice in His Play “The Crucible”?
• How Arthur Miller Effectively Illustrates the Strength of John Proctor in His Play “The Crucible”?
• How Arthur Miller Makes Act Three of “The Crucible” a Dramatic Scene?
• Why “The Crucible” Remains Important Today?
• What Arthur Miller’s “The Crucible” Has to Offer to Modern Readers Globally?
• How Does Miller Present the Character of Abigail in “The Crucible”?
• How Does Miller Use Reverend Hale in “The Crucible”?
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Why I Wrote “The Crucible”

As I watched “The Crucible” taking shape as a movie over much of the past year, the sheer depth of time that it represents for me kept returning to mind. As those powerful actors blossomed on the screen, and the children and the horses, the crowds and the wagons, I thought again about how I came to cook all this up nearly fifty years ago, in an America almost nobody I know seems to remember clearly. In a way, there is a biting irony in this film’s having been made by a Hollywood studio, something unimaginable in the fifties. But there they are—Daniel Day-Lewis (John Proctor) scything his sea-bordered field, Joan Allen (Elizabeth) lying pregnant in the frigid jail, Winona Ryder (Abigail) stealing her minister-uncle’s money, majestic Paul Scofield (Judge Danforth) and his righteous empathy with the Devil-possessed children, and all of them looking as inevitable as rain.

I remember those years—they formed “The Crucible” ’s skeleton—but I have lost the dead weight of the fear I had then. Fear doesn’t travel well; just as it can warp judgment, its absence can diminish memory’s truth. What terrifies one generation is likely to bring only a puzzled smile to the next. I remember how in 1964, only twenty years after the war, Harold Clurman, the director of “Incident at Vichy,” showed the cast a film of a Hitler speech, hoping to give them a sense of the Nazi period in which my play took place. They watched as Hitler, facing a vast stadium full of adoring people, went up on his toes in ecstasy, hands clasped under his chin, a sublimely self-gratified grin on his face, his body swivelling rather cutely, and they giggled at his overacting.

Likewise, films of Senator Joseph McCarthy are rather unsettling—if you remember the fear he once spread. Buzzing his truculent sidewalk brawler’s snarl through the hairs in his nose, squinting through his cat’s eyes and sneering like a villain, he comes across now as nearly comical, a self-aware performer keeping a straight face as he does his juicy threat-shtick.

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McCarthy’s power to stir fears of creeping Communism was not entirely based on illusion, of course; the paranoid, real or pretended, always secretes its pearl around a grain of fact. From being our wartime ally, the Soviet Union rapidly became an expanding empire. In 1949, Mao Zedong took power in China. Western Europe also seemed ready to become Red—especially Italy, where the Communist Party was the largest outside Russia, and was growing. Capitalism, in the opinion of many, myself included, had nothing more to say, its final poisoned bloom having been Italian and German Fascism. McCarthy—brash and ill-mannered but to many authentic and true—boiled it all down to what anyone could understand: we had “lost China” and would soon lose Europe as well, because the State Department—staffed, of course, under Democratic Presidents—was full of treasonous pro-Soviet intellectuals. It was as simple as that.

If our losing China seemed the equivalent of a flea’s losing an elephant, it was still a phrase—and a conviction—that one did not dare to question; to do so was to risk drawing suspicion on oneself. Indeed, the State Department proceeded to hound and fire the officers who knew China, its language, and its opaque culture—a move that suggested the practitioners of sympathetic magic who wring the neck of a doll in order to make a distant enemy’s head drop off. There was magic all around; the politics of alien conspiracy soon dominated political discourse and bid fair to wipe out any other issue. How could one deal with such enormities in a play?

“The Crucible” was an act of desperation. Much of my desperation branched out, I suppose, from a typical Depression-era trauma—the blow struck on the mind by the rise of European Fascism and the brutal anti-Semitism it had brought to power. But by 1950, when I began to think of writing about the hunt for Reds in America, I was motivated in some great part by the paralysis that had set in among many liberals who, despite their discomfort with the inquisitors’ violations of civil rights, were fearful, and with good reason, of being identified as covert Communists if they should protest too strongly.

In any play, however trivial, there has to be a still point of moral reference against which to gauge the action. In our lives, in the late nineteen-forties and early nineteen-fifties, no such point existed anymore. The left could not look straight at the Soviet Union’s abrogations of human rights. The anti-Communist liberals could not acknowledge the violations of those rights by congressional committees. The far right, meanwhile, was licking up all the cream. The days of “ J’accuse ” were gone, for anyone needs to feel right to declare someone else wrong. Gradually, all the old political and moral reality had melted like a Dali watch. Nobody but a fanatic, it seemed, could really say all that he believed.

President Truman was among the first to have to deal with the dilemma, and his way of resolving it—of having to trim his sails before the howling gale on the right—turned out to be momentous. At first, he was outraged at the allegation of widespread Communist infiltration of the government and called the charge of “coddling Communists” a red herring dragged in by the Republicans to bring down the Democrats. But such was the gathering power of raw belief in the great Soviet plot that Truman soon felt it necessary to institute loyalty boards of his own.

The Red hunt, led by the House Committee on Un-American Activities and by McCarthy, was becoming the dominating fixation of the American psyche. It reached Hollywood when the studios, after first resisting, agreed to submit artists’ names to the House Committee for “clearing” before employing them. This unleashed a veritable holy terror among actors, directors, and others, from Party members to those who had had the merest brush with a front organization.

The Soviet plot was the hub of a great wheel of causation; the plot justified the crushing of all nuance, all the shadings that a realistic judgment of reality requires. Even worse was the feeling that our sensitivity to this onslaught on our liberties was passing from us—indeed, from me. In “Timebends,” my autobiography, I recalled the time I’d written a screenplay (“The Hook”) about union corruption on the Brooklyn waterfront. Harry Cohn, the head of Columbia Pictures, did something that would once have been considered unthinkable: he showed my script to the F.B.I. Cohn then asked me to take the gangsters in my script, who were threatening and murdering their opponents, and simply change them to Communists. When I declined to commit this idiocy (Joe Ryan, the head of the longshoremen’s union, was soon to go to Sing Sing for racketeering), I got a wire from Cohn saying, “The minute we try to make the script pro-American you pull out.” By then—it was 1951—I had come to accept this terribly serious insanity as routine, but there was an element of the marvellous in it which I longed to put on the stage.

In those years, our thought processes were becoming so magical, so paranoid, that to imagine writing a play about this environment was like trying to pick one’s teeth with a ball of wool: I lacked the tools to illuminate miasma. Yet I kept being drawn back to it.

I had read about the witchcraft trials in college, but it was not until I read a book published in 1867—a two-volume, thousand-page study by Charles W. Upham, who was then the mayor of Salem—that I knew I had to write about the period. Upham had not only written a broad and thorough investigation of what was even then an almost lost chapter of Salem’s past but opened up to me the details of personal relationships among many participants in the tragedy.

I visited Salem for the first time on a dismal spring day in 1952; it was a sidetracked town then, with abandoned factories and vacant stores. In the gloomy courthouse there I read the transcripts of the witchcraft trials of 1692, as taken down in a primitive shorthand by ministers who were spelling each other. But there was one entry in Upham in which the thousands of pieces I had come across were jogged into place. It was from a report written by the Reverend Samuel Parris, who was one of the chief instigators of the witch-hunt. “During the examination of Elizabeth Procter, Abigail Williams and Ann Putnam”—the two were “afflicted” teen-age accusers, and Abigail was Parris’s niece—“both made offer to strike at said Procter; but when Abigail’s hand came near, it opened, whereas it was made up into a fist before, and came down exceeding lightly as it drew near to said Procter, and at length, with open and extended fingers, touched Procter’s hood very lightly. Immediately Abigail cried out her fingers, her fingers, her fingers burned. . . .”

In this remarkably observed gesture of a troubled young girl, I believed, a play became possible. Elizabeth Proctor had been the orphaned Abigail’s mistress, and they had lived together in the same small house until Elizabeth fired the girl. By this time, I was sure, John Proctor had bedded Abigail, who had to be dismissed most likely to appease Elizabeth. There was bad blood between the two women now. That Abigail started, in effect, to condemn Elizabeth to death with her touch, then stopped her hand, then went through with it, was quite suddenly the human center of all this turmoil.

All this I understood. I had not approached the witchcraft out of nowhere, or from purely social and political considerations. My own marriage of twelve years was teetering and I knew more than I wished to know about where the blame lay. That John Proctor the sinner might overturn his paralyzing personal guilt and become the most forthright voice against the madness around him was a reassurance to me, and, I suppose, an inspiration: it demonstrated that a clear moral outcry could still spring even from an ambiguously unblemished soul. Moving crabwise across the profusion of evidence, I sensed that I had at last found something of myself in it, and a play began to accumulate around this man.

But as the dramatic form became visible, one problem remained unyielding: so many practices of the Salem trials were similar to those employed by the congressional committees that I could easily be accused of skewing history for a mere partisan purpose. Inevitably, it was no sooner known that my new play was about Salem than I had to confront the charge that such an analogy was specious—that there never were any witches but there certainly are Communists. In the seventeenth century, however, the existence of witches was never questioned by the loftiest minds in Europe and America; and even lawyers of the highest eminence, like Sir Edward Coke, a veritable hero of liberty for defending the common law against the king’s arbitrary power, believed that witches had to be prosecuted mercilessly. Of course, there were no Communists in 1692, but it was literally worth your life to deny witches or their powers, given the exhortation in the Bible, “Thou shalt not suffer a witch to live.” There had to be witches in the world or the Bible lied. Indeed, the very structure of evil depended on Lucifer’s plotting against God. (And the irony is that klatches of Luciferians exist all over the country today; there may even be more of them now than there are Communists.)

As with most humans, panic sleeps in one unlighted corner of my soul. When I walked at night along the empty, wet streets of Salem in the week that I spent there, I could easily work myself into imagining my terror before a gaggle of young girls flying down the road screaming that somebody’s “familiar spirit” was chasing them. This anxiety-laden leap backward over nearly three centuries may have been helped along by a particular Upham footnote. At a certain point, the high court of the province made the fatal decision to admit, for the first time, the use of “spectral evidence” as proof of guilt. Spectral evidence, so aptly named, meant that if I swore that you had sent out your “familiar spirit” to choke, tickle, or poison me or my cattle, or to control my thoughts and actions, I could get you hanged unless you confessed to having had contact with the Devil. After all, only the Devil could lend such powers of invisible transport to confederates, in his everlasting plot to bring down Christianity.

Naturally, the best proof of the sincerity of your confession was your naming others whom you had seen in the Devil’s company—an invitation to private vengeance, but made official by the seal of the theocratic state. It was as though the court had grown tired of thinking and had invited in the instincts: spectral evidence—that poisoned cloud of paranoid fantasy—made a kind of lunatic sense to them, as it did in plot-ridden 1952, when so often the question was not the acts of an accused but the thoughts and intentions in his alienated mind.

The breathtaking circularity of the process had a kind of poetic tightness. Not everybody was accused, after all, so there must be some reason why you were . By denying that there is any reason whatsoever for you to be accused, you are implying, by virtue of a surprisingly small logical leap, that mere chance picked you out, which in turn implies that the Devil might not really be at work in the village or, God forbid, even exist. Therefore, the investigation itself is either mistaken or a fraud. You would have to be a crypto-Luciferian to say that—not a great idea if you wanted to go back to your farm.

The more I read into the Salem panic, the more it touched off corresponding images of common experiences in the fifties: the old friend of a blacklisted person crossing the street to avoid being seen talking to him; the overnight conversions of former leftists into born-again patriots; and so on. Apparently, certain processes are universal. When Gentiles in Hitler’s Germany, for example, saw their Jewish neighbors being trucked off, or farmers in Soviet Ukraine saw the Kulaks vanishing before their eyes, the common reaction, even among those unsympathetic to Nazism or Communism, was quite naturally to turn away in fear of being identified with the condemned. As I learned from non-Jewish refugees, however, there was often a despairing pity mixed with “Well, they must have done something .” Few of us can easily surrender our belief that society must somehow make sense. The thought that the state has lost its mind and is punishing so many innocent people is intolerable And so the evidence has to be internally denied.

I was also drawn into writing “The Crucible” by the chance it gave me to use a new language—that of seventeenth-century New England. That plain, craggy English was liberating in a strangely sensuous way, with its swings from an almost legalistic precision to a wonderful metaphoric richness. “The Lord doth terrible things amongst us, by lengthening the chain of the roaring lion in an extraordinary manner, so that the Devil is come down in great wrath,” Deodat Lawson, one of the great witch-hunting preachers, said in a sermon. Lawson rallied his congregation for what was to be nothing less than a religious war against the Evil One—“Arm, arm, arm!”—and his concealed anti-Christian accomplices.

But it was not yet my language, and among other strategies to make it mine I enlisted the help of a former University of Michigan classmate, the Greek-American scholar and poet Kimon Friar. (He later translated Kazantzakis.) The problem was not to imitate the archaic speech but to try to create a new echo of it which would flow freely off American actors’ tongues. As in the film, nearly fifty years later, the actors in the first production grabbed the language and ran with it as happily as if it were their customary speech.

“The Crucible” took me about a year to write. With its five sets and a cast of twenty-one, it never occurred to me that it would take a brave man to produce it on Broadway, especially given the prevailing climate, but Kermit Bloomgarden never faltered. Well before the play opened, a strange tension had begun to build. Only two years earlier, the “Death of a Salesman” touring company had played to a thin crowd in Peoria, Illinois, having been boycotted nearly to death by the American Legion and the Jaycees. Before that, the Catholic War Veterans had prevailed upon the Army not to allow its theatrical groups to perform, first, “All My Sons,” and then any play of mine, in occupied Europe. The Dramatists Guild refused to protest attacks on a new play by Sean O’Casey, a self-declared Communist, which forced its producer to cancel his option. I knew of two suicides by actors depressed by upcoming investigation, and every day seemed to bring news of people exiling themselves to Europe: Charlie Chaplin, the director Joseph Losey, Jules Dassin, the harmonica virtuoso Larry Adler, Donald Ogden Stewart, one of the most sought-after screenwriters in Hollywood, and Sam Wanamaker, who would lead the successful campaign to rebuild the Old Globe Theatre on the Thames.

On opening night, January 22, 1953, I knew that the atmosphere would be pretty hostile. The coldness of the crowd was not a surprise; Broadway audiences were not famous for loving history lessons, which is what they made of the play. It seems to me entirely appropriate that on the day the play opened, a newspaper headline read “ALL THIRTEEN REDS GUILTY” —a story about American Communists who faced prison for “conspiring to teach and advocate the duty and necessity of forcible overthrow of government.” Meanwhile, the remoteness of the production was guaranteed by the director, Jed Harris, who insisted that this was a classic requiring the actors to face front, never each other. The critics were not swept away. “Arthur Miller is a problem playwright in both senses of the word,” wrote Walter Kerr of the Herald Tribune , who called the play “a step backward into mechanical parable.” The Times was not much kinder, saying, “There is too much excitement and not enough emotion in ‘The Crucible.’ ” But the play’s future would turn out quite differently.

About a year later, a new production, one with younger, less accomplished actors, working in the Martinique Hotel ballroom, played with the fervor that the script and the times required, and “The Crucible” became a hit. The play stumbled into history, and today, I am told, it is one of the most heavily demanded trade-fiction paperbacks in this country; the Bantam and Penguin editions have sold more than six million copies. I don’t think there has been a week in the past forty-odd years when it hasn’t been on a stage somewhere in the world. Nor is the new screen version the first. Jean-Paul Sartre, in his Marxist phase, wrote a French film adaptation that blamed the tragedy on the rich landowners conspiring to persecute the poor. (In truth, most of those who were hanged in Salem were people of substance, and two or three were very large landowners.)

It is only a slight exaggeration to say that, especially in Latin America, “The Crucible” starts getting produced wherever a political coup appears imminent, or a dictatorial regime has just been overthrown. From Argentina to Chile to Greece, Czechoslovakia, China, and a dozen other places, the play seems to present the same primeval structure of human sacrifice to the furies of fanaticism and paranoia that goes on repeating itself forever as though imbedded in the brain of social man.

I am not sure what “The Crucible” is telling people now, but I know that its paranoid center is still pumping out the same darkly attractive warning that it did in the fifties. For some, the play seems to be about the dilemma of relying on the testimony of small children accusing adults of sexual abuse, something I’d not have dreamed of forty years ago. For others, it may simply be a fascination with the outbreak of paranoia that suffuses the play—the blind panic that, in our age, often seems to sit at the dim edges of consciousness. Certainly its political implications are the central issue for many people; the Salem interrogations turn out to be eerily exact models of those yet to come in Stalin’s Russia, Pinochet’s Chile, Mao’s China, and other regimes. (Nien Cheng, the author of “Life and Death in Shanghai,” has told me that she could hardly believe that a non-Chinese—someone who had not experienced the Cultural Revolution—had written the play.) But below its concerns with justice the play evokes a lethal brew of illicit sexuality, fear of the supernatural, and political manipulation, a combination not unfamiliar these days. The film, by reaching the broad American audience as no play ever can, may well unearth still other connections to those buried public terrors that Salem first announced on this continent.

One thing more—something wonderful in the old sense of that word. I recall the weeks I spent reading testimony by the tome, commentaries, broadsides, confessions, and accusations. And always the crucial damning event was the signing of one’s name in “the Devil’s book.” This Faustian agreement to hand over one’s soul to the dreaded Lord of Darkness was the ultimate insult to God. But what were these new inductees supposed to have done once they’d signed on? Nobody seems even to have thought to ask. But, of course, actions are as irrelevant during cultural and religious wars as they are in nightmares. The thing at issue is buried intentions—the secret allegiances of the alienated heart, always the main threat to the theocratic mind, as well as its immemorial quarry. ♦

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