The play “The Crucible”, written by Arthur Miller, used The Salem Witch Hunt trials as an allegory of the McCarthy hearings and the true horrors behind how America dealt with attempted Communism. Tension is evident throughout the play, and each character participates in intensifying it which entangles them into the extreme consequences of the tension they helped to circulate. The significance of Salem is that the tension can be sourced from within every character as they are engulfed in hidden and publically known feuds. The tension must be created, but the audience must determine who is to blame for it. Certain extracts are more explosive in the tension they channel and the hysteria that they circulate than others; therefore I shall explore these extracts in depth to display how tension is a key aspect of this play. An interesting extract of dramatic tension is in Act One of the play and sees Miller amplifying tension by using Abigail‘s struggle to evade the consequences of her actions and her frantic attempts to transfer the blame from herself to others. She hesitates repeatedly as her answers differ and contradict each other in reply to her uncle admitting that Abigail that she was involved with the sinners. Abigail betrays Tituba, and so increases the tension on the stage, as a confused Tituba is whipped and punished after Abigail accuses her of witchcraft. Abigail stammers that it was “Tituba, Tituba...” and trails off nervously to see whether the men believe her accusations of witchcraft. The tension in this extract climaxes as we see Tituba violently interrogated with questions such as “Woman, have you enlisted these children for the devil?” This is a key episode in the play as it is the first accusation of witchcraft, ... ... middle of paper ... ... hysteria that is when John dies. The hidden sins and family secrets provide a good base for the tension in Salem which has feuds and bitterness added to them in situations to heighten it to substantial levels. One may view that tension is created by the themes of betrayal, self importance and reputation in Salem as they are the reason that there are feuds and friction in the town. The tension may not be created by hysteria, but hysteria can be seen as a great fuel for it as in the scenes when tension is peaking, hysteria is evident with people shouting, fighting and screaming and this is shown through Miller’s use of caesurae which emphasizes the shouting and abrupt sentences that accompany hysteria. However, finally tension is resolved with the death of John Proctor who not only takes away Salem’s sins but also the feuds and tension that peaked around his death.
Throughout the entire play the majority of the events is based upon dramatic irony. This form of irony is developed from Tituba. The reader knows that Tituba is not a real witch, but a different cultured woman. The readers also know that Abigail is using Tituba as an escape to prevent herself from getting in trouble, and then on. As the irony continues this allows the reader to develop feelings and opinions towards the characters. No matter if one may have
Sadie, Stanley. Wolfgang Amadeus Mozart: Essays on his Life and his Music. United States: Oxford University Press. 1996, Print.
Many people look back on the events of the Salem witch trials and laugh at the absurdity of the allegations. It seems crazy that society could be fooled into believing in things like witches and deal with the events in such an extreme manner. It is a common belief that witch hunts are things of the past. Many people would agree that they no longer exist today; however Arthur Miller, author of the play, "The Crucible", points out that society has not come very far from the days of the Salem witch trials. In his play, he used the Salem witch trials to represent the McCarthy Era because he saw that the nation was facing the same events that Salem went through back in the late 1600's. Arthur Miller wrote "The Crucible" in an attempt to create moral awareness for society. He did so by making a few small changes to the history and creating parallels in the play with racism, human tendencies, and H.U.A.C.
A very famous man once said, “There is nothing to fear but fear itself.” (Franklin D. Roosevelt, 1933). This is certainly true when it comes to Arthur Miller’s, The Crucible. Arthur Miller lived through the Red Scare, also known as McCarthyism. After living through this era and being one of the accused communists Miller wrote the book titled The Crucible in 1952. This book told the story of the Salem witch trials with some modifications to make it more relevant to the current situation. The book ultimately became an allegory devoted solely to McCarthyism. In The Crucible it uses situations such as the actual trials; direct comparisons of the characters in the book to those that participated in the McCarthy trials and, the atmosphere of the two events were almost identical.
... life and goes back to these girls who turned on her in an instant. Others even confess to witchcraft because, once accused, it is the only way to get out of being hanged. The confessions and the hangings actually promote the trials because they assure townsfolk that God?s work is being done. Fear for their own lives and for the lives of their loved ones drives the townspeople to say and do anything.
Arthur Miller’s play, The Crucible, is set in Salem village where an atmosphere of enmity and mistrust has been created through the conflicts and disagreements many villagers experience throughout the play. Many of these are caused by or, similar to the conflict between Parris and Proctor, are inflated by the many accusations of witchcraft occurring in the village.
Arthur Miller displays elements of mass hysteria through the town’s large number of accusations. Even though a person knows they are not guilty when or if they are accused, they still get worried. People act differently independently versus in a group because in a group they can accuse another person or say that someone else is to blame. If someone is alone they have no where to hide. Abigail has slept with the married man John Proctor. Abigail acts like a harlot when alone with Proctor. Yet she still tries to be a perfectly behaved lady around other people. “The belief in witchcraft was, at bottom an
“The greater the power, the more dangerous the abuse” (Burke). Lies, power, and selfishness can destroy families, friendships, and towns. When a person has power, they may not use it properly. There have been many instances where this has happened, but two main examples are in the novel The Crucible, and in McCarthyism. The Crucible is connected to McCarthyism by its model of a desire for power, unsubstantiated accusations, and the detrimental effects of these accusations.
At the age of the Enlightenment, Antonio Salieri becomes the most triumphant musician in the city of Vienna, however, without any warning his harmonious universe comes to an utter halt. Salieri’s absolute faith in the world, in himself, and in God is all at once diminished by this spontaneous child composer. When the two opposite ends meet, there emerges a fury, a rage, and a passion in Salieri to sabotage the boy that has secured Salieri’s deserved God given talent; to destroy the one pubescent child that has made him so mute and naked now in a world of discordance. Salieri’s entire reputation and boyhood prayer to attain fame thus rests on his ability to annihilate that child prodigy, Wolfgang Amadeus Mozart.In analyzing the two composers, Salieri and Mozart, there is a distinct line that clearly divides them. Salieri’s operas receive astounding receptions, making them the “talk of the city,'; shaking the roofs, buzzing the cafes, and even the name Salieri “sounds throughout all of Europe'; (2,3). The reason for Salieri’s success, as well as many musicians of the eighteenth century, is because they have become enslaved by the well-to-do and hence are “no better than servants'; (1,3). This applies especially to the king. For example, in Amadeus, His Majesty forbid any ballet in his operas. Imperial commands such as this are not to be interpreted in any way, in other words, they are to be merely obeyed without any dispute. Since operas tend to the needs of the high society in order to obtain recognition, the operas must communicate through the language of the nobility, that is, Italian. In addition, since the majority of the audience is made up of the upper class, the subject matter of the operas must consist of elevated themes. Such as, mythological heroes, kings, and queens, and so forth. According to the eighteenth century view, operas are supposed to be a sublime and an aggrandizing art. The elevated subject matter is then chosen in order to venerate and honor the nobility. It’s purpose is to “celebrate the eternal in man'; says Van Swieten (2,4). Meaning that there is an element in a noble person that lasts without any end, like God who is immortal. God represents the everlasting and the eternality of existence, thus God gives inspiration to operas that...
Arthur Miller’s The Crucible is a play that discusses many issues and spurs contemplation within the reader. While reading this play, because of the controversy of many issues detailed within, it is difficult for one not to take a look at one’s own morals and determine what one would do if placed in a similar situation. The key issues discussed within this play, the effects of hysteria, marital betrayal, and the murderous powers of lies, are portrayed intriguingly and effectively. The lessons that can be learned from The Crucible are still quite applicable today.
The play “The Crucible” is an allegory for the McCarthyism hysteria that occurred in the late 1940’s to the late 1950’s. Arthur Miller’s play “the crucible” and the McCarthyism era demonstrates how fear can begin conflict. The term McCarthyism has come to mean “the practice of making accusations of disloyalty”, which is the basis of the Salem witch trials presented in Arthur Miller’s play. The fear that the trials generate leads to the internal and external conflicts that some of the characters are faced with, in the play. The town’s people fear the consequences of admitting their displeasure of the trials and the character of John Proctor faces the same external conflict, but also his own internal conflict. The trials begin due to Abigail and her friends fearing the consequences of their defiance of Salem’s puritan society.
Although a strict society composed of high morality and disciplinary laws may be necessary for safety, it causes internal conflicts within the individuals. In The Crucible, by Arthur Miller a theocracy in Salem rules and guides the citizens into doing what is “right”, but eventually backfires due to issues of reputation and jealousy. Society has a lot of influence on the citizens, and with a bad reputation, it is nearly impossible to live in a Puritan society. Salem’s strict Puritanical social structure causes personal struggles for the individuals involved in the events of The Crucible, and then eventually these personal struggles affect the society overall.
Mozart’s use of melodic contour and repetitive rhythmic motives make this piece feel very connected throughout. He begins with a two eighth note followed by two quarter note pattern. This pattern is repeated twice more until finally at measure four a new melodic and rhythmic motive is introduced. At measure four a retardation occurs using a half note to delay the resolution to the quarter note, drawing out the resolution as much as possible to create a sense of relief upon arrival. This pattern of three measures of motive “A” followed by...
Amadeus, the Tony-Award winning tale of 18th-century court composer Antonio Salieri's envy of Wolfgang Amadeus Mozart, is a mighty challenge for actors.
As an adult Mozart his career was not as successful as when he was younger. But he kept on composing anyway hoping one people would appreciate his work. He lived in poverty for the great majority of his life. In 1769 he became a concertmaster to the archbishop of Salzburg, which was another one of his jobs that afforded him little financial security. In 1777, he left on another concert tour. But, the courts of Europe ignored Mozart ‘s search for a more beneficial assignment. In 1782 he earned a living by selling compositions, giving public performances, and giving music lessons, which once again was a low paying job. The composer never did find a well paying job. The bizarre thing was is that even that he had ton of trouble finding jobs, he was still considered one of the leading composers of the late 1700s.