the thesis of the crucible

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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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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.

About the Book

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.

About Emma Baldwin

Emma Baldwin, a graduate of East Carolina University, has a deep-rooted passion for literature. She serves as a key contributor to the Book Analysis team with years of experience.

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The Crucible

Arthur miller, ask litcharts ai: the answer to your questions.

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…

The Crucible Arthur Miller

The Crucible essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of The Crucible by Arthur Miller.

The Crucible Material

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The Crucible Essays

Conformity, imbalance of power, and social injustice geoff cowper-smith, the crucible.

A "Great Drama" is a play in which an audience can find personal relevance. It is something which an audience can relate to. A great drama should having meaning to audiences for multiple generations. Arthur Miller's "The Crucible" successfully...

Sins and Ambitions Anthony Haddad

"The belief in a supernatural source of evil is not necessary; men alone are quite capable of every wickedness." - Joseph Conrad

The Salem witchcraft trials illuminate a great human campaign to rid society of the wicked devil and his sinful...

The Stream of Conscience in Arthur Miller's The Crucible Anonymous

In Arthur Miller's powerful stage play The Crucible, written in 1953 as a metaphor for the McCarthy hearings on communism in America, the idea of conscience is greatly emphasized in many of the main characters. Miller himself once said that The...

The Crucible as an Allegory Anonymous

In his classic drama The Crucible, Arthur Miller chronicles the horror of the Salem witch trials, an embarrassing episode of colonial America's history. At first reading, one might only view Miller's work as a vivid account of the tragedy of...

Contemporary Events Leading to The Crucible Lee Wang

When The Crucible opened on January 22, 1953, audiences greeted it with lukewarm applause. Critics did what they do best by berating the new play. What is now arguably the most influential allegorical play on the subject of Communism written...

Society In The Crucible and Death of a Salesman Michael Brooks

Two plays by Arthur Miller, Death of a Salesman and The Crucible, both contend that society is the indifferent, sometimes brutal, force that crushes an individual. Although the plays take place in different time periods, they each convey the force...

The Evolution of Reverend Hale Matt Rigolizzo 11th Grade

How can a trial turn a religious minister into a man separated from a town’s power structure? In The Crucible, Reverend Hale is sent to Salem to deal with an alleged outbreak of witchcraft. At the beginning of the play, Hale is a confidant man,...

Puritans, the Devil, and American Literature Anonymous 11th Grade

“The Devil and Tom Walker” by Washington Irving and “Young Goodman Brown” by Nathaniel Hawthorne are both short stories that illustrate Puritan ideas about the place of evil in human nature. Both short stories revolve around a central character...

Rev. Parris: Greed and Lies in The Crucible Anonymous 10th Grade

Human nature has a tendency, a fad if you will, to display traits of selfishness and a "me first, you later" attitude. This sort of thinking often leads people to do unjust or politically incorrect things, and it gets them in trouble with the law,...

Personal Expediency Among the Puritans Chloe Mourad 10th Grade

Within the Puritan society of the seventeenth century, the fear of the Devil fueled the actions of individuals; this idea is reflected in two significant works of literature, A Year of Wonders by Geraldine Brooks and The Crucible by Arthur Miller....

Fear is Something to be Feared Serena Huang 10th Grade

Fear is Something to be Feared

The word "fear" can be defined as: a distressing emotion aroused by impending danger or pain. In his play The Crucible, Arthur Miller addresses the fear embedded within Puritan society. According to the Public...

The Two Opposing Female Roles in “The Crucible” Sanya Helene Stern 11th Grade

“Does this dress make me look fat?” It’s a common conception; women tell each other to wear black because the contrast is slimming. Politicians run attack ads on components to make themselves look better in comparison. The literary technique of...

A New Perspective on Salem Anonymous College

The name Salem or any mention of the Salem witch trials almost always turns heads, and usually this sudden attention is not due to a reputable history. Most people think of the Salem witch trials and begin to picture an out of control environment....

The Crucible - Pure vs. Tainted Love Anonymous 9th Grade

The concept of redemptive and destructive love is common in all modes of texts, no matter the location or the time period. This is because love itself is timeless; it is a moving force that pushes people to act, an emotion which can cause both...

Hubris vs. Heroism : An Analysis of John Proctor’s shortcomings as Miller’s Tragic Hero Arthur Miller 11th Grade

The famous philosopher Aristotle formally defined the parameters of the tragic hero in his work On Poetics (335 B.C.). Aristotle based his tragic hero model on Oedipus, a king from Greek mythology. He defined the tragic hero as a man of noble...

Ambiguous Political Agendas: Historical Figures in Miller and Atwood Anonymous 12th Grade

Political agendas remain dubious and uncertain, but control is the eventual aim, almost by definition, of political activity. The Crucible by Arthur Miller and Margaret Atwood’s free-verse poem “Helen of Troy Does Countertop Dancing” expose innate...

The Crucible and Year of Wonders Anonymous 12th Grade

Arthur Miller’s play The Crucible and Geraldine Brooks’ novel Year of Wonders are both works that explore the treatment of individuals under oppressive theocratic ruling. Both Miller’s and Brooks’ works are aligned with key themes of superstition,...

How the Actions of the Court Amplified Hysteria and Expedited the Trials in The Crucible Anonymous 10th Grade

How is it possible that the actions of a single institution can completely decimate the physical and societal structure of an entire town? In Arthur Miller’s play The Crucible, this situation comes to pass in Salem, Massachusetts during the 1690’...

The "Weights" of the World: A Central Motif in 'The Crucible' Evan Kade Bridges 12th Grade

Arthur Miller confronts the “weight of truth," "weight of authority," and the "weight of law" in The Crucible. This play expresses the different complications that come along with having to bear each "weight." Many characters in the play conform...

Compare the ways in which The Crucible and Year of Wonders explore the conflict between appearance and reality. Kulin Gunathilake 12th Grade

Arthur Miller’s allegorical play, The Crucible , illustrates the parallels between the Salem Witch Trials and the HUAC communist crisis, highlighting the injustice of McCarthyism. Alternatively, Geraldine Brooks intertextually takes a cue from the...

A Study of People and Politics in The Crucible and Citizenfour Anonymous 12th Grade

Composers represent the ultimate powerlessness of ordinary people through the ways in which they explore the complex and dynamic relationship between people and politics. Arthur Miller’s play “The Crucible” written in a communist fearing period...

True character is revealed under pressure Grace Harrington 12th Grade

In both The Crucible and Year of Wonders , characters are put under pressure and in times of crisis their true character is revealed. Arthur Miller’s, The Crucible , showcases the grotesque nature of the human form and how it contorts when tempted...

Representation of gender in The Crucible and Macbeth Isabelle White 11th Grade

Drama is the performance of a narrative by actors on stage, and differs from prose fiction in that it is interpreted and presented by others rather than the individual viewer. The Crucible, by Arthur Miller, is a drama that illustrates a...

Jealousy and the destructive nature of love in Shakespeare’s ‘Othello’, Arthur Miller’s ‘The Crucible’, and Ian McEwen’s ‘Atonement’. Summer Jade Dolan 12th Grade

Compare and contrast the representation of jealousy and the destructive nature of love in Shakespeare’s ‘Othello’, Arthur Miller’s ‘The Crucible’, and Ian McEwen’s ‘Atonement’.

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The Crucible

A dramaturgy notebook by evan wetzel.

3-Historical Context

The Crucible remains charged in terms of its historical setting as well as the historical context in which it was written. During the 1950’s in America, McCarthyism arose as a judicial doctrine antagonizing any Americans suspected of sympathizing with Communist ideas. This doctrine led to the formation of the House Un-American Activities Committee, or HUAC, which questioned and scrutinized government officials, artists, activists, and all others suspected of liberal leaning ideas. Arthur Miller characterizes this political climate of fear in the United States by setting The Crucible during the frenzied witch trials of Salem Massachusetts. The play both mirrors the era of McCarthyism as a whole, and also shows how Miller was implicated and testified in hearings that sought to eradicate Communism without due process or constitutional rights. Miller’s contemporary, Elia Kazan, serves as another historical agent who shows just why The Crucible was written. The play must be understood in the context of its Twentieth Century premiere in order to understand from its Seventeenth Century setting and its place in the present day.

Miller witnessed the alienation of himself and his peers while understanding that in effect, the state had supplanted all divine power through HUAC. McCarthy’s purification acted to suppress the fundamental liberties which the United State had been built upon. Miller saw through the hearings to legislation which gave a tenuous constitutional backing to legalize the new witch hunt that plagued the 1950’s. Of course, the Salem witch trials underwent the same cycle of persecution, but with far less need for justification. In the defense of God’s law, the judges portrayed in The Crucible had no qualms about executing anyone they chose at will. [8] In the era of McCarthyism, condemnation by HUAC was tantamount to the gallows of Salem, as condemnation could lead to loss of employment, friends, opportunity, and reputation, essentially ending one’s life. This was the context Miller faced when he went to testify in June of 1956. Miller cooperated almost fully, answering every question save two, both of which involved naming alleged Communist Party associates. “His refusal to pay symbolic tribute to the Committee’s theme of subversive conspiracy was paid for with a charge of contempt.” [9] Scholarship notes that in The Crucible comparisons can be drawn between Miller’s testimony to HUAC and the structure of his play. [10] John Proctor exclaims in the face of death, “How may I live without my name? I have given you my soul; leave me my name!” [11] Miller refuted and rebuked all evidence offered against him, essentially playing the hero in his set of trials to foil John Proctor’s role in Salem. This was the historical nightmare that Miller and so many of his contemporaries lived in. The Crucible faced criticism because “while there were no witches in Salem, there were Communists in Washington.” [12] This reality would touch Miller in a very personal way through the testimony of his friend, Elia Kazan.

[1] Aziz, Aamir. “Using the Past to Intervene in the Present: Spectacular Framing in Arthur Miller’s The Crucible.” New Theatre Quarterly, vol. 32, no. 2, 2016, 171.

[2] Ibid, 171.

[3] Parry, Dale D. Exploring the Morality of Arthur Miller and Elia Kazan to Show How It Affected Their Work, Friendship and Society. MA Thesis, University of Nevada Las Vegas, 2002. 3.

[4] Aziz, 171.

[5] Ibid, 170.

[6] Ibid, 169.

[7] Miller, Quentin D. “The Signifying Poppet: Unseen Voodoo and Arthur Miller’s Tituba.” Forum for Modern Language Studies, vol. 43, no. 4, 2007, 443.

[8] Aziz, 174.

[9] Sabinson, Eric Mitchell. Script and Transcript: The Writings of Clifford Odets, Lillian Hellman and Arthur Miller in Relation to Their Testimony Before the U.S. House Committee on Un-American Activities. Dissertation, University of New York at Buffalo, 1986. 315.

[10] Ibid, 316.

[11] Miller, Arthur. The Crucible. Bantam Books, 1963. 138.

[12] Sabinson, 319.

[13] Parry, 14.

[14] Ibid, 30.

Images: Above left: Lights, camera, action in Committee hearing . October. Photograph. Retrieved from the Library of Congress, <https://www.loc.gov/item/2010646093/>. Below left: Block, Herbert, Artist.  “ We now have new and important evidence. “ [6-1] Photograph. Retrieved from the Library of Congress, <https://www.loc.gov/item/2012633209/>. Below right: Kavallines, James, photographer.  [Elia Kazan, full-length portrait, standing before bookshelves at Brentano’s book store / World Journal Tribune photo by James Kavallines] . Photograph. Retrieved from the Library of Congress, <https://www.loc.gov/item/96516144/>.

The Crucible Themes

‘ Theme ’ is a universal idea presented in a literary piece of work. There are many themes in the masterpiece of Arthur Miller, The Crucible. Themes of this play not only shows the problem of witchcraft during the late 19th and early 20th centuries but also exposes the dark sides of human nature. Some of the major themes have been discussed below.

Themes in The Crucible

Reputation is one of the major themes in the play, The Crucible. Most of the characters of the story strive hard to maintain their reputations. The prominent example is John Proctor, who hides his affair with Abigail. He fears it will harm his reputation in the society. Even in the court after confessing his crime, he tries to save his name. Judges of Salem are also biased, as they uphold a false reputation to honor the church. They believe that they make the right decisions and hesitate to accept any evidence which could have set innocents free. It is evident from John Proctor’s case, as the delay in his confession makes him a liar in the court.

Hysteria also upholds thematic significance in the play because the society in Salem is engulfed in the accusations of witchcraft. The rapid growth of hysteria in Salem destroys the impact of rational thinking. Act 1 of the play starts giving clues of hysteria when Abigail tries to escape from the harsh judgment blaming Tituba of witchcraft. The existence of evil plot creates tension in the town, as the people do not find any fault in punishing the accusers. Hence, they believe that women were truly guilty of witchcraft and chose to punish them without an inquiry. Often mass hysteria numbs people’s mind and makes them vulnerable.

Power and Authority

The desire to attain power serves as blood for the people of Salem. The pillars of traditional power, the church, and the court worked in unison. The judges exercise their absolute power by rejecting Proctor’s rational explanation and punishing him and acquitting the girls, who are guilty. Progress in Abigail’s character , from an orphan teenager to the witness of a sinister plot, highlights the theme of power in the play. From a helpless girl, she becomes crafty and capable of destroying innocent lives through such accusations.

The theme of guilt is related to the progress in John Proctor’s character in the play. He is ashamed of the infidelity committed in the past and wants to bury it deep in the heart as if it never existed. He fails to relegate his guilt to the background. In reaction to this, he turns against Elizabeth, accusing her of being judgmental. In reality, his sin is responsible for his mental confusion. Hale also becomes the victim of his guilt, as he once believed people engaged in witchcraft are sinners. However, as the play progresses, he considers them innocent and tries to save them. Thus, the theme of guilt plays an important role in shaping and reshaping the characters in the play.

Portrayal of Women

The women’s portrayal in the play is not of a typical Victorian era. They are not portrayed as servants to men, mothers or wives. Miller presents them keeping in mind the attitude of the society toward women in 1950s when writing The Crucible. The most prominent character, Abigail, portrayed as a promiscuous young woman, represents a few women during that period. She is selfish and becomes extremely revengeful when John leaves her. On the contrary, there were many women like Rebecca, a nurse, who chooses to sacrifice herself over a false statement. Again, a few women held false standards of feminity like Elizabeth, John Proctor’s wife, in the society of that time.

Deception and lies present another important theme that runs throughout the play. It does not include myths related to black magic or witchcraft. It includes lies that people tell to save their false reputations in society. The girls of the town tell lies in the court thinking they can continue this by deceiving others. Putnam deceives the innocents to take control of their lands. Proctor deceives Elizabeth and himself by keeping the secret of his adultery in his heart to secure his false reputation. Therefore, deception and lies in Salem serve as a tool to achieve what is desirable.

Goodness also serves as a major theme of The Crucible despite the deception. People in Salem intend to look genuine in the eyes of society. Proctor suppresses his guilt and does not reveal the truth before the girls just because he wants to be a good person. Abigail, when tries to confess about witchcraft following Tituba’s example, lies to prove herself good. Elizabeth is also portrayed as a good character, but toward the end, the acceptance of an affair reveals the truth about her nature. Therefore, the concept of goodness plays a vital role in the play.

Another major theme in the play is judgment. It is seen through the characters of Danforth and Hale. Danforth, a deputy Governor, sits for judgment against the accusers of witchcraft. Although he knows that most of the prisoners like Martha Corey, Elizabeth, and Rebecca Nurse are not witches, he believes his decisions are absolute and refuses to change his mind even after having proof of their innocence. Hale, on the other hand, does not care about the rules. In fact, he intends to save people. These incidents happen when people consider themselves the custodians of justice and fair play.

Another important theme seen through the character of Abigail is jealousy. She plots the whole blame to rekindle the affair with John Proctor. While Proctor does not want to continue the life of sin and leaves it behind as the forgotten tale, she exacts revenge from Salem and despises Elizabeth Proctor. She also threatens the girls that if they are going to disclose her secret of witchcraft, she will murder them on a dark night . Hence, jealousy gives birth to hatred and consequential evil deeds against others.

Intolerance

During the play, various characters face false judgment and intolerance. The play shows prejudice of the characters for others such as in the court and at the time when someone is accused of witchcraft. Second, The Crucible also presents a theocratic society where the Church and state are one, and no one can go against this system. The beginning of the play foreshadows intolerance in Salem when some outcast women are accused of witchcraft. Everyone turns against them without any proof. The situation becomes complex when reputed persons of the town are caught for the same guilt. Ironically, they also receive the same treatment as outcasts.

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This Town Had a Reputation Problem. Premier League Soccer Changed Things.

Having a team in the world’s richest sports competition might alter how people think of Luton, a place long dogged by a ramshackle image and links to extremism.

By Rory Smith

Reporting from Luton, England

As the announcement trilled out over Kenilworth Road, the jumble of rusted metal and peeling paint that Luton Town F.C. calls home, the tone started to shift. At the start of the sentence, it was little more than the traditional polite welcome to the stadium for that evening’s visiting team, Manchester City.

By the end, though, the voice of the announcer seemed overcome by what sounded a little like awe. Luton, the fans in the stands and the players on the field were reminded, was about to face “the champions of the F.A. Cup, the champions of England and the champions of Europe.” Luton seems to be having a hard time believing the company it now keeps.

There is a reason for that. Fifteen years ago, Luton Town had been relegated to the fifth tier of English soccer, a world away from the power and the prestige of the Premier League. There was, for a time, a genuine risk that the club, founded in 1885, several years before the invention of the zipper , might fold altogether. For years afterward, money remained tight, ambitions modest.

Now, Luton Town’s horizons are much grander. Last summer, it won an unexpected promotion to the world’s richest, most popular sports league. Three decades after it last played in England’s top division, it could again call Manchester City, Manchester United and the rest its peers.

That meant an immediate transformation in the club’s financial outlook: Playing in the Premier League for a single season is worth around $150 million. More important, the status that came with it gave the town — a place that has long suffered a chronic reputation problem — a global platform on which to change not just how it is perceived by others, but how it thinks of itself.

There are, broadly speaking, three ways that Luton permeates the British consciousness. One is as a transportation hub; some 16.2 million passengers filter through London Luton Airport every year. Few, though, linger. The clue for their ultimate destination is in the name.

The second is, perhaps, best summarized by the results of a 2004 poll for The Idler magazine. Some 1,800 of its readers awarded Luton the dubious honor of being Britain’s pre-eminent “crap” town . As one reader put it, Luton was essentially a “brick-and-iron temple to global pollution.” Last year, another survey ranked it as the worst place to live in Britain .

Third — and most damaging — is the town’s association with extremism. In 2005, three suicide bombers responsible for a set of coordinated attacks in London stopped off in Luton to collect a fourth accomplice before boarding a train to the capital. One of the town’s mosques has hosted speeches by the radical Islamist preachers Mostafa Kamel Mostafa and Omar Bakri Mohammed .

In 2009, a handful of protesters from the extremist group Al Muhajiroun staged a demonstration in Luton against British soldiers returning from Afghanistan. That prompted counterprotests in the town from an array of far-right groups. A far-right agitator, Stephen Yaxley-Lennon — better known by his stage name, Tommy Robinson — was born in Luton.

For a time, the town was unwittingly and unwillingly projected as the heartland of the nationalist group he founded, the English Defence League. The largest march in the group’s short history was held there in 2011 . Another contentious figure, the provocateur Andrew Tate , who has been accused of human trafficking and sex crimes, spent some of his childhood on the town’s Marsh Farm estate.

When — if — the rest of England thought of Luton, it was in that context: division, rancor, blight. Luton, though, always saw something different.

“The place that you see on the news: I don’t recognize it,” Tanher Ahmed, 42, said from behind the counter of Hatters Fish and Chips, a couple of minutes’ walk from Kenilworth Road. “There’s harmony here,” he added. “There’s a sense of community.”

Bury Park, the area that immediately surrounds the stadium, might feel distinct from the center — with streets full of sari stores, roti joints and perfumed confectioners rather than the clutter of chain pubs and bookmakers that dot most British high streets — but Luton sees that as a strength.

“Luton has always been a mix of people,” said Maryan Broadbent, a board member of Luton Town’s main fan group. When the town was a center for millinery, and then for the car manufacturer Vauxhall, there were influxes of workers not only from India and Pakistan but also from Ireland and, later, Eastern Europe.

“It’s always been a changing place,” Ms. Broadbent said. The town’s Muslim community has long fought both the handful of extremists who made up Al-Muhajiroun and the idea that they were somehow representative.

But the presence of its soccer team in the Premier League was, for residents, a chance to offer an alternative definition of Luton.

Mr. Ahmed chose to win hearts and minds on a case-by-case basis. He opened his shop after he spotted a gap in the market. “There was no chippie in the area,” he explained. Fans have to walk the bustling streets of Bury Park to get to the stadium, so he knew there would be demand. “I wanted to give a good impression of the town,” he added.

It has also helped that the club has not merely existed in the Premier League — an improbable guest at the feast — but also provided one of the season’s most compelling story lines.

Luton has a shoestring team — one of its mainstays, Pelly Ruddock Mpanzu, is now the only player to have represented the same club in the top five divisions of English soccer — and it is led by Rob Edwards, a young, charismatic (and, not entirely irrelevantly, very handsome ) coach.

It has a crumbling, hostile stadium, a creaking throwback to an age before the edges of elite sports were smoothed down and buffed to a high sheen. And it has shown that it can compete with far richer, far more pedigreed rivals. With a handful of games remaining, Luton still harbors a slim hope of avoiding relegation and securing a second season among the elite.

There have been moments where the team has been overmatched, the romance of its story lost amid cold, hard capitalist reality — against Manchester City, for example, Luton lost, 6-2. But the team’s pluck has won it plenty of friends.

Jürgen Klopp, the Liverpool manager, described Mr. Edwards’s work with his team as “insane” — in a positive way. Mikel Arteta, the Arsenal coach, insisted that Luton Town “deserves more credit than any other team in this league.”

For Luton, the town, that positive association is a rare and precious thing. It has, in recent years, nurtured a thriving arts scene. And when the author Sarfraz Manzoor, who grew up in Luton, was appointed chancellor of the University of Bedfordshire last year, he said he would use his post to make people think of Luton as “cool.”

But having a team in the Premier League will not change any of the more deep-rooted problems Luton faces. Unemployment is higher than the national average , for example, and there are as many as 15,000 children in town living in poverty.

The club’s success may yet generate a material benefit. A portion of the $150 million or so that it will earn for playing a season in the Premier League has been set aside to help build a new stadium. That arena would be closer to the city center and could “transform the piece that lets Luton down,” according to Ms. Broadbent. But the intangible benefit is no less valuable.

For almost a year, millions of people have thought about Luton at least once a week. Not as a backwater or as a crucible of intolerance, but as a soccer team: bold and courageous and hopeful and refreshing.

There are plenty of people, across England, nursing a fading hope that Luton Town avoids relegation and sticks around for another year. That may not make a difference to the ultimate outcome of the season — the Premier League is not a sentimental place — but it has made a difference in Luton.

In the soccer team, the town has been able to see itself as it would like to be seen. “Whatever happens,” Ms. Broadbent said as she contemplated the specter that Luton’s feel-good story may not have a happy ending, “we have done ourselves proud.”

Rory Smith is a global sports correspondent, based in the north of England. He also writes the “ On Soccer With Rory Smith ” newsletter. More about Rory Smith

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