The Crucible

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The Crucible is a play written and published by Arthur Miller in 1953. It describes the witch trials of Salem, Massachusetts in 1692, an event that Miller used as an allegory for McCarthyism in the USA of the 1950s. Miller was himself questioned by the House Committee on Un-American Activities in 1956.

The play was first performed on January 22, 1953 on Broadway, New York. The reviews of the first production were hostile, but a year later a new production succeeded and the play became a classic.

Cinematic versions of the play were produced in 1957 (Les Sorcières de Salem) and 1996.

Plot Overview

The Crucible is set in the small Puritan town of Salem, Massachusetts, some local girls start dancing in the woods with a slave from Barbados called Tituba. During their rituals in the forest Reverend Parris walks in on the group. Betty, upon being discovered, falls into an unconscious state. People everywhere are talking about witchcraft and are scared of what it could all mean. The town asks for Reverend John Hale, who is an authority on witchcraft, to come to Salem. Reverend Parris questions Abigail Williams, the unofficial leader of the group of girls, regarding what took place in the forest. Abigail denies any witchcraft and says they were just dancing.

Abigail manipulates the other girls into not revealing what really happened in the forest that day. Abigail is secretly infatuated with John Proctor with whom she had an affair when she was working in his home. Proctor is over Abigail, but she is not ready to let him go. As the witch trials continue, the madness and hysteria build, and Abigail and the other girls continue to lie and use their newfound power to seek revenge against those whom they do not like. Abigail, the ringleader, commits various acts of subterfuge trying to pull the wool over the eyes of the residents of Salem.

All are fooled by the good act put on by these seemingly newly baptized girls. Thomas Danforth, the Judge for the trials, believes the girls and many court cases trying the other residents of Salem follow. These accusations include John Proctor's wife Elizabeth Proctor and other respectable citizens. John Proctor’s role as his wife’s advocate actually leads to his own tragic demise. Abigail and another girl flee the town once John has been arrested, with Reverend Parris' money.

The Salem Witch trials, as exhibited by Miller, were motivated by fear and greed, and the loss of innocent life is unbelievable.

Why it was Written

The Crucible was written by Arthur Miller in 1953 as an allegory for McCarthyism or the so called (second) Red Scare. Miller felt many personal convictions to McCarthyism as a result of a multitude of events that happened in his life. Wanting to point out to the world the amazing parallel between the unjust Salem Witch Trials of 1692 and the (second) Red Scare from 1948 to 1956, Miller wrote the Crucible to make a powerful statement about the dangers of hysteria and dehumanization that can result because of this hysteria and frenzy. During McCarthyism, the United States was terrified of Communism's influence. Like the witches, communists were seen ingrained within every aspect of society. Miller was sent to jail for withholding information from the court, namely the names of those whom he assumed to be communists. Many of Miller’s peers fearing the wrath of the court provided names of suspected communists in an attempt to save themselves. Similarily the characters in Miller's play turn on each other in an attempt to save themselves. This social disorder of the 50’s is reflected beautifully in Miller’s The Crucible. Miller exemplifies the trite old saying “History repeats itself” and paints a very vivid image of the dangers of hysteria on society.

Important Characters

John Proctor, Abigail Williams, Reverend John Hale, Elizabeth Proctor, Reverend Parris, Ezekiel Cheever, Rebecca Nurse, Giles Corey, Betty Parris, Thomas Danforth, Thomas Putnam, Ann Putnam

References

Arthur Miller, Why I Wrote "The Crucible", published in the October 21, 1996 & October 28, 1996 issues of The New Yorker, pages 158-164.