“The Crucible”

THE CHARACTERSBy Relationship

Parris: A minister in Salem who is more worried about his reputation than the life of his daughter or the lives of his parishionersBetty: Parris's young daughter; stricken at the beginning of the play; one of the girls who "cry out" during the trialAbigail: Orphan; niece of Parris; mistress of Proctor; leads "crying out" during the trialTituba: Parris's slave from Barbados; first accused witchPutnam: Vindictive, bitter villager who believes he has been wronged and cheated; leading village voice against the witchesMrs. Putnam: Wife of (Thomas) Putnam; first plants the idea that Betty has been bewitchedRuth: Daughter of the Putnams; one of the girls who "cry out" at trialsMercy Lewis: Putnams' servant; also involved in accusation of witches; one of the girls who "cry out" during the trialProctor: Good man with human frailties and a hidden secret; often the voice of reason in the play; accused of witchcraftElizabeth: Wife of (John) Proctor; a cold, childless but upright woman who at first cannot forgive her husband's frailties; an accused witchMary Warren: Proctor's servant; an easily swayed young girl who plants the evidence of witchcraft on Elizabeth; one of the girls who "cry out" during the trialHale: A minister who is a recognized authority on witchcraft; at the play's end tries to save the accused Danforth: Deputy Governor of Massachusetts who is taken in by the testimony; attempts to get confessions of accused witches Hathorne: One of the judges for the trialsRebecca: Wife of the respected Francis Nurse; midwife; exemplary Christian; accused witchFrancis: Husband of Rebecca; had land dispute with the Putnams Giles Corey Old, garrulous villager; inadvertently causes his wife to be accusedSarah Good: Accused witch who cracks under the strain of imprisonmentSusanna: Doctor's messenger; one of the girls who "cry out" during the trialCheever: Charged with arresting the witchesHerrick: Also charged with arresting the witches; acts as jailkeeperHopkins: MessengerMartha: Giles Corey's wife who likes to read; accused witchGoody Osburn: Midwife at birth of three Putnam babies who were born dead; accused witch

Bayley: Putnam's brother-in-law; Putnam's choice to be minister; opposed by Nurses

OVERVIEW Arthur Miller's The Crucible

Act One

Act One begins with the Rev. Samuel Parris praying for his daughter Betty who lies faint in her bed, suffering from a strange malady. Betty and Abigail, Parris's niece, and some of the other village girls had been surprised by Parris in the forest as they were engaged in a voodoo ritual led by Tituba, Parris's black slave. Betty fainted and still had not recovered. Ann and Thomas Putnam, prosperous villagers, arrive and claim that the children are suffering from "the Devil's touch" at the hands of witches.

When the adults leave to pray with townspeople who have heard rumors of witchcraft, Abigail and Mercy Lewis and Mary Warren wake Betty. Betty accuses Abigail of "drinking blood" and says that Abigail will be whipped. Abigail threatens the other girls with grievous harm if they admit too much to the elders.

At this point, John Proctor, a farmer who had an affair with Abigail, enters. Abigail tells John of her continuing love and desire, but Proctor rejects her saying nothing happened between them.

Soon the Rev. John Hale, a specialist in witch hunting arrives and examines Betty who has fainted again. He then questions Abigail and Tituba. Tituba, afraid of being hung as a witch, professes faith in God and confesses that two townswomen, Goody Good and Goody Osburn, came to her with the Devil. Abigail and then Betty claim they have been bewitched but now turn to God. The act closes as the girls ecstatically chant the names of the townspeople whom they accuse of consorting with the Devil.

Act Two

Act Two opens in John Proctor's house eight days after the girls' first accusations. Deputy Governor Danforth has arrived in Salem to supervise the court proceedings against the townspeople accused as witches. Fourteen people are imprisoned, and there is talk of hanging.

John Proctor's wife Elizabeth encourages him to go into town to testify against Abby and the girls. There is tension between the Proctors because Elizabeth has not forgiven John for his affair with Abigail.

The Proctor's servant Mary Warren arrives, and although forbidden to go to town, she has been attending the trial and is "crying out" with the other girls against the accused witches. Just as John is about to whip her, she shocks the Proctors by saying that she defended Elizabeth when Abigail accused her. She gives Elizabeth a doll she has made while at the trial. As John and Elizabeth are arguing about what to do, the Reverend Hale arrives to ask questions and to test the "Christian character" of the house. He finds that John can recite all of the commandments except the one forbidding adultery.

Next, two townsmen, Giles Corey and Francis Nurse, arrive to seek John Proctor's help because their wives have just been arrested for witchcraft. As the men discuss the events, the marshal arrives with a warrant for Elizabeth's arrest. She has been accused by Abigail of sending her spirit through the doll to stab Abigail in the stomach with a needle. Over John Proctor's violent protest, Elizabeth is hauled off in chains.

After the visitors leave, an enraged John Proctor demands that Mary Warren tell the court about the girl's fraudulent behavior. As the curtain falls, Proctor is determined to fight the proceedings even revealing his own sexual misconduct.

Scene 2

In this extra scene appearing at the rear of the reader's edition, Proctor meets Abigail in a woods to warn he will charge her with adultery if she does not recant her charge against Elizabeth. Abigail, unmoved by his pleas, appears to be deluded and says he is pretending to reject her.

Act Three

Act three takes place in the Salem meeting house that serves as the general court. In this act, we see the helplessness of the innocent in the face of unjust legal authority. Francis Nurse, Giles Corey, and John Proctor present their cases to Deputy Governor Danforth and Judge Hathorne. When Proctor presents a petition signed by 91 people attesting to the good character of the men's wives, Danforth issues warrants for the questioning of those who signed. Corey charges Putnam with inciting his daughter to accuse a townsman of witchcraft in order to get the townsman's land. Corey has a witness to support

the charge but, fearing that the witness will be arrested, refuses to name him. Corey is, therefore, arrested for contempt of court.

Proctor presents his case and a deposition by Mary Warren that she never saw Satan or any spirits and that the other girls are lying to Danforth. However, when Abigail and the other girls are brought before the court, Abigail denies the charges against her with indignation and leads the girls in a frenzied act of being bewitched by Mary. Proctor interrupts the charade by grabbing Abigail and accusing her of being his whore. To test the truth of this charge, Danforth brings in Elizabeth and questions her about her husband's fidelity. Elizabeth lies to save her husband's reputation, but in so doing undermines the charge against Abigail. The girls renew their act of being possessed by the spirit of Mary Warren. Overcome by their hysterical display, Mary gives in and accuses Proctor of being a witch. Danforth accepts the charge, and Proctor laughs in his face, blaming Danforth and himself for being afraid to reveal the truth. Danforth acts to preserve the reputation of his court more than to seek justice. The Rev. Hale, now convinced of the evil of the court, denounces the proceedings and walks out as Danforth calls to him.

Act Four

The final act opens in a Salem jail cell where Sarah Good and Tituba await hanging. They are happily deluded by the belief that they will be taken to Barbados by the devil.

The Salem trial is ending. Rumors of a rebellion against witchcraft trials in a nearby town ignite fear that the people of Salem will riot if upstanding citizens are hung.

Hale, disillusioned and humbled, pleads with the prisoners to save their lives by making false confessions. He requests Danforth pardon the accused, but Danforth refuses saying twelve have already hung for the same crime. When Hale asks Elizabeth to counsel Proctor to lie and save himself, she balks but agrees to see him. Alone with Proctor, Elizabeth forgives him for being unfaithful and blames herself for not being able to love him enough. She cannot counsel him to lie and instead tells him to make his own decision and to be his own judge.

Proctor, refusing to be a martyr, confesses to being a witch, but stops at indicting others. When Proctor tears up his confession, Elizabeth rushes to him and they embrace. As Proctor and Rebecca Nurse are led to be hung, Hale begs Elizabeth to plead with Proctor to save himself, but Elizabeth cries, "He have his goodness now. God forbid I take it

from him!" The curtain falls as the sunlight illuminates Elizabeth's face and the drums "rattle like bones."

BEFORE READING THE PLAY

This section of the teacher's guide provides questions and activities that can be used to introduce The Crucible, its themes, characters, and historic context to students.

All Subjects

Because the play is set in a period which may or may not be familiar to students it is important to provide all students with crucial historic background.

Ask students what they know about the period of the Salem witch trials. List the information they provide on the chalkboard or on chart paper.

Either read to the students or have them read an appropriate section from a U.S. history textbook. This should provide a basic, accurate outline of the events of the period.

In small groups, the students can develop a timeline of the events of the period using either an encyclopedia or other source. This can be posted in the classroom for further reference.

Certain terms and concepts are critical to an understanding of the play. It is helpful to introduce these to students prior to reading the play. Ask students what each means and list them on chart paper. If they do not know the definitions, have them look them up in a dictionary.

Theocracy: The rule of a state by God or a god. Democracy: Government by the people. Autocracy: A government with one person as the supreme power

over the people. Puritanism: Practices of the Puritans; extreme or excessive

strictness in matters of morals and religion.

History

Once students have identified the meaning of each term and discussed each concept, it is helpful to ask these questions:

What kind of government does the United States have today?

What type of government existed in colonial New England prior to the Revolution?

What is the relationship of the church to the state in the current form of U.S. government?

What was the relationship of the church to the state in colonial New England?

How did Puritanism affect the laws and the courts of colonial New England?

Other historical concepts useful for the students in understanding the Salem witch trials and Miller's play can be discussed. Students can research these topics in small groups to present to the entire class.

Slavery: The slave trade between colonial New England and the Caribbean.

Witchcraft: The practice of black magic and sorcery in Puritan New England.

The culture of Barbados in the 17th century: The events in Salem can be viewed as a clash of cultures.

Other witch trials: New England trials prior to Salem trials; Joan of Arc.

Joseph McCarthy: House Un-American Activities Committee hearings.*

Other more contemporary "witch hunts": Let the students use their knowledge of current U.S. history and come up with their own ideas - they might include Watergate hearings, the presidential campaigns of Gary Hart and Bill Clinton, etc.*

History of hate groups: Let students come up with their own ideas based on their knowledge of history. You might begin by asking: "What examples of organized attacks on groups of people are you familiar with?" Their answers might include Nazism, Ku Klux Klan, Skinheads, the McCarthy hearings, etc.* CD-ROM "17th Century"

English

Several terms and concepts helpful to understanding the play should be introduced to students. These can be discussed in terms of the students' prior knowledge and experience.

Tragedy: A serious play with an unhappy ending brought about by the characters or central characters impelled by fate (ancient drama) or moral weakness, psychological maladjustment, or social pressure. Students should be asked to identify tragedies they have previously read. These can be listed on chart paper and kept for comparative purposes.

Crucible: The word crucible has many meanings. Its literal definition is a container that resists heat or the hollow at the bottom of an ore furnace. However, its connotations include melting pot, in the symbolic sense, and bearing of a cross (crux, crusis, + ferre). Have students look up the meaning of the word; later they can examine why Miller selected it for the title of the play.

Historic Fiction: The Characteristics of Good Historic Fiction chart (see below) can be placed on an overhead and discussed with the students. After examining the chart, have students list historic fiction they have read.

Characteristics of Good Historic Fiction

Characters

Protagonist

often a real individual in history if not real, based on a real individual (e.g.: papers from

government agencies or reports, diaries, public documents, papers from historical archives or museums)

heroic reveals the plot

Other Characters

real individuals in history based on real individuals

Plot

revolves around history accurate to the last detail allows the protagonist to develop reveals the history and personalities of the period

Point of View

protagonist's third person

Voice

usually the author's sometimes the protagonist's

Theme

revealing the history revealing the "true" character of historic figures isms (e.g.: patriotism, nationalism, heroism, regionalism, etc.)

Many themes can be found in The Crucible. It is helpful to suggest a few that students might look for as they read. Each can be posted on the top of a sheet of chart paper on a "theme chart" and evidence of it can be added during the reading of the play.

Human cruelty in the name of righteousness The Individual and the Community Justice vs. Retribution and revenge Godliness vs. Worldliness Ignorance vs. Wisdom The Puritan Myth Order vs. Individual Freedom

The development of the characters and their relationships in Miller's play is particularly interesting. To introduce students to these characters, provide them with the annotated list of characters on pages 11-13 of this guide and point out the relationship of the characters to the students. Students can develop "character charts" on each character similar to the theme charts suggested above.

The Play

If students are not familiar with the structure of a play, it is helpful to discuss this with them prior to their reading.

Acts and scenes Stage directions in italics Rising and falling action Climax

Examine the language of the play in a broad literary sense.

Irony: Instances in which the intended meaning of a word or phrase used is the opposite of what it actually means. There are many instances of ironic language in the play. To help students identify them when they occur, have them discuss ironic statements they recognize in advertisements or in other literature they have read.

Paradox: A statement or event contrary to what one might expect. It is helpful for students to understand the term so that they can discuss the events of Salem as a paradox to what one might have expected from God-fearing people such as the Puritans. Students might identify other historical paradoxes or others found in literature they have read.

Allegory: A story in which people, things, and happenings have another meaning, as in a fable or parable. Many critics have referred to The Crucible as a political allegory. Discuss with students allegories they have read and suggest that they consider how Miller's play is allegorical as they read it.*

WHILE READING THE PLAY

This section of the teacher's guide is divided by acts paralleling the acts of the play. It is subdivided by questions, quotations, and activities, many of which can be used across subject areas. When one is more appropriate for one subject area than another, the subject area is indicated. Questions are designed to help students comprehend the play and move beyond comprehension to analysis and evaluation. The questions and quotations can be used as discussion starters or as writing prompts for response journals. As often as possible, activities are grouped by literary characteristics of theme, plot, character, and language and are designed to help students deal with the concepts in a more personal way. The response journal technique is appropriate for all subject areas. Students respond in writing to the questions and quotations in a variety of increasingly complex ways allowing them to develop high level thinking and writing skills.

Levels of Student Response

A. Engaging. The articulation of the reader's emotional reaction or level of involvement, from "This is BOR - ING," to "I couldn't put it down," are called engaging. The reader's articulation of her or his level of engagement with the play may be the first step in responding to it. For example, tell students, "Write about how the scene makes you feel."

B. Describing. Restating or reproducing information that is provided in the play requires selecting some important aspect of it and is often the next level of response. For example, tell students, "Select any quotation from this act and write about what you think it means."

C. Conceiving. Making statements about meaning or inferring from important aspects of the play. For example, tell students, "Write about

this quote, discuss not only what it means to you, but what it means in the context of the play or in an historic context."

D. Explaining. Explaining why the characters do what they do; examining their motivation. For example, ask students to explain what the Putnams' motivation might be in suggesting that Betty is bewitched. Throughout their reading of the play, they can write or discuss the Putnams' motivation as they learn more and more about them.

E. Connecting. The reader connects her or his own experiences or previous knowledge with the play. As in all responding to text, connecting is a recurrent movement between the text and one's experiences, knowledge, and attitudes. For example, ask the students to write about a time when they felt they were misunderstood. Now, they might write or discuss how this experience would have been different if they lived in an earlier time or in a place with limited freedom of expression. Next, they might write or discuss how they might try to help people understand them. Finally, they might put themselves in Elizabeth's or John Proctor's place: what would they do to attempt to have their meaning understood?

F. Interpreting. The reader uses all the reactions above to interpret an overall theme or meaning of the text. For example, ask questions such as: "Why did Miller write this play? Was his motivation for writing to simply examine a period in American history? Or, was his intent to express a larger meaning? What might the larger meaning of the play be? What warning does the play give to contemporary society?"

G. Judging. The reader makes judgments about the text: the truth of the text, the importance of the text, the quality of the text, etc. For example, ask student: "Why is this play considered a modern classic? Are there any lessons in it for you? Any lessons for the country?"

NOTE: Miller's commentaries, appearing throughout the reader's edition of The Crucible, increase the play's complexity by linking it to 17th-century Salem or the McCarthy era. Therefore, initially assign only the play. Miller's commentaries can be dealt with in post-reading activities. In addition, since Miller intended the Appendix, Act Two, Scene 2 to add information to the reading of the play, have students read in context.

Act One

QUESTIONS

Who are Reverend Parris, Betty, and Abigail? What is their relationship?

Who is Tituba? What is her relationship to the family? What is wrong with Betty? Why does Parris suggest calling in Reverend Hale? Who are Ann and Thomas Putnam? What do they suggest is

Betty's problem? What is their motivation for suggesting this? Who is Ruth? What is her relationship to the Putnams? What is

wrong with her? How do the Putnams tie her problem to Betty's? Who is Mercy Lewis? What is her relationship to the Putnams? What does the conversation between Abigail, Mercy Lewis, Mary

Warren, and Betty reveal about their recent activities? Who is John Proctor? What is his relationship to Mary Warren?

What is his relationship to Abigail? How does he feel about his relationship with Abigail?

Who is Elizabeth Proctor? What does Abigail think of her? How might this affect the outcome of the play?

Who is Giles Corey? Why is he introduced into the play? Who is Rebecca Nurse? What is her role likely to be in the play? Why is the issue of Parris's salary raised? What is the Putnams' grievance over land? (p. 32) What

significance might this have in the play? What do the Puritans think of books other than the Bible? How do

you learn about this in Act one? How does Hale confuse Tituba? What is the significance of their

conversation?

How and by whom are the other villagers accused of witchcraft? What is the motivation for the girls' accusations?

QUOTATIONS

"Now look you, child, your punishment will come in its time." (Parris to Abigail, p. 10)

"Your name in the town - it is entirely white, is it not?" (Parris to Abigail, p. 12)

"They want slaves, not such as I. Let them send to Barbados for that. I will not black my face for any of them!" (Abigail to Parris about why she is being discharged by the Proctors, p. 12.)

"How high did she fly, how high?" (Mrs. Putnam to Parris, p. 13) "I'd not call it sick; the Devil's touch is heavier than sick. It's

death, y'know, it's death drivin' into them, forked and hoofed." (Mrs. Putnam to Parris, p. 13)

"Thomas, Thomas, I pray you, leap not to witchcraft. I know that you - you least of all, Thomas, would ever wish so disastrous a charge laid upon me. We cannot leap to witchcraft. They will

howl me out of Salem for such corruption in my house." (Parris, p. 14)

"Gah! I'd almost forgot how strong you are, John Proctor!" (Abigail, p. 21)

"I have seen you since she [Elizabeth Proctor] put me out; I have seen you nights...I have a sense for heat, John, and yours has drawn me to my window." (Abigail, p. 23)

"Abby, I may think of you softly from time to time. But I will cut off my hand before I'll ever reach for you again. Wipe it out of mind. We never touched, Abby." (John Proctor, p. 23)

"I never knew what pretense Salem was, I never knew what lying lessons I was taught by all these Christian women and their covenanted men!" (Abigail, p. 24) "The psalm! The psalm! She cannot bear to hear the Lord's name! (Mrs. Putnam about Betty, p. 24)

"There is prodigious danger in the seeking of loose spirits." (Rebecca to Mrs. Putnam, p. 28)

"There are wheels within wheels in this village, and fires within fires!" (Mrs. Putnam to Rebecca, p. 28)

"I like not the smell of this `authority'." (John Proctor to Rebecca, p. 31)

"It suggests to the mind what the trouble be among us all these years. Think on it. Wherefore is everybody suing everybody else?" (Giles to assembled group, p. 31)

"They [his books] must be; they are weighted with authority." (Hale to Parris, p. 36)

"It discomfits me! Last night - mark this - I tried and tried and could not say my prayers. And then she close her book and walks out of the house, and suddenly - mark this - I could pray again!" (Giles to Hale about his wife Martha, p. 40)

"What victory would the Devil have to win a soul already bad? It is the best the Devil wants, and who is better than the minister?" (Hale to Parris, p. 41)

ACTIVITIES

Act One serves as an excellent introduction to most of the central characters. (English)

Assign each group of students one character. Have them outline on chart paper and report to the class what they have learned about the character and how they learned it.

Have students brainstorm and list human frailties found in the character(s) and suggest who possesses each frailty:

o lust - John Proctor o pride - Reverend Hale

o greed - Reverend Parris o revenge - Mrs. Putnam o ignorance - Giles Corey o self-indulgence - the girls o dishonesty - Abigail, the girls, John Proctor

Frequently in serious literature one character assumes the role of the voice of reason. In Act one of The Crucible, the voice of reason is Rebecca Nurse. Have students examine the Act for ways in which Rebecca attempts to apply reason to the situation.

Act One also provides an excellent introduction to themes explored in the play.

Assign each group of students a different theme (see p.23 of this guide). Have them go through Act one looking for instances in which the theme is addressed. These can be listed on chart paper and shared with the class.

Students can select scenes from the play in which aspects of theme are introduced and present these dramatically to the class.

The plot is carefully developed in Act One.

Have students examine the act for conflicts between characters. These conflicts can be listed on chart paper.

Students can develop a chart that visually presents the rise of action in the plot. (English)

Dramatic readings of sections of the Act that are key to plot development can be presented to the class.

The language in the Act is not unfamiliar to students, but its usage is.

Students can examine the Act for terms that are used in association with witchcraft.

It is interesting for students to search for examples of irony within the Act ("I'd almost forgot how strong you are, John Proctor!" "I never knew the lying lessons I was taught by all these Christian women and their covenanted men!" "The marks of his presence are definite as stone"). (English)

Students might also discuss the various meanings of color words such as white, black, and blush as used by the characters.

It is also interesting to note how gender specific pronouns are used - witches, for example, are always "she." However, some men are also accused of witchcraft on the final pages of the act. (English)

Students can now begin a discussion that can continue throughout the reading of the play about why Miller chose the word "crucible" for its title.

Act Two

QUESTIONS

What is the significance of the scene between Elizabeth and John Proctor? What does it reveal about their relationship and about each of their characters?

What is the gift Mary Warren gives to Elizabeth? What information does Mary provide about the trial? What role is

she playing at the trial? Why does John forbid her from attending?

Why does Reverend Hale come to the Proctors' home? What does this scene reveal about Hale's role in the trial?

What relationship does Hale suggest exists between the church and the court?

What does Proctor tell Hale about why the children were ill? How does he claim to know?

What is the point of the discussion between Hale and the Proctors about whether or not they believe in witches?

What does Giles report to the Proctors? What is the significance of his revelations?

What event begins to change Hale's opinion about the arrests? How does he feel about the court?

What role does Cheever play? What is revealed about his character?

What do we learn about why Mary Warren gave the poppet to Elizabeth?

Why is Elizabeth arrested? On what grounds? What do we learn about Mary Warren's motives at the end of the

act?

QUOTATIONS

"Oh, it is a black mischief." (John Proctor, p. 53) "John, if it were not Abigail that you must go to hurt, would you

falter now? I think not." (Elizabeth, p. 54) "Oh, Elizabeth, your justice would freeze beer!" (John, p. 55) "We must all love each other now, Goody Proctor." (Mary Warren,

p. 56) "He sentenced her. He must. But not Sarah Good. For Sarah

Good confessed, y'see." (Mary Warren to the Proctors, p. 56)

"She never knew no commandments." (Mary Warren to the Proctors, p. 58)

"It's God's work we do...I'm - I am an official of the court." (Mary Warren to the Proctors, p. 59)

"And thinks to kill me, then to take my place." (Elizabeth to John, p. 61)

"No - no, I come of my own, without the court's authority. Hear me. I know not if you are aware, but your wife's name is - mentioned in the court." (Hale to John Proctor, p. 63)

"He preach nothin' but golden candlesticks until he had them. I labor the earth from dawn of day to blink of night, and I tell you true, when I look to heaven and see my money glaring at his elbows - it hurt my prayer, sir, it hurt my prayer. I think, sometimes, the man dreams cathedrals, not clapboard meetin' houses." (John to Hale, p. 65)

"Theology, sir, is a fortress; no crack in a fortress may be accounted small." (Hale to Proctor, p. 67)

"If you think that I am one [a witch], then I say there are none." (Elizabeth to Hale, p. 70)

"God keep you both; let the third child be quickly baptized, and go you without fail each Sunday in to Sabbath prayer; and keep a solemn, quiet way among you." (Hale to the Proctors, p. 70)

"They take my wife....And his Rebecca!" (Giles, p. 70) "If Rebecca Nurse be tainted, then nothing's left to stop the

whole green world from burning. Let you rest upon the justice of the court; the court will send her home, I know it." (Hale to Francis Nurse, p. 71)

"Man, remember, until an hour before the Devil fell, God thought him beautiful in Heaven." (Hale, p. 71)

"I never kept no poppets, not since I were a girl." (Elizabeth to Cheever, p. 73)

"And he [Parris] goes to save her [Abigail], and, stuck two inches in the flesh of her belly, he draw a needle out. And demandin' of her how she come to be so stabbed, she - testify it were your wife's familiar spirit pushed it in." (Cheever to John Proctor, p. 74)

"Abby sat beside me when I made it [the poppet in court]." (Mary Warren, p. 76)

"Is the accuser always holy now? Were they born this morning as clean as God's fingers? I'll tell you what's walking Salem - vengeance is walking Salem. (John Proctor, p. 77)

"You are a coward! Though you be ordained in God's own tears, you are a coward now!" (John Proctor to Hale, p. 79)

ACTIVITIES

Many of the activities suggested for Act one can be done for each subsequent Act and will not be repeated. The following additional activities are now appropriate.

We learn more about the characters in Act Two. (English)

Reverend Hale is a particularly interesting character. Beginning in this act and continuing in the next acts, have students trace his opinions about: witchcraft, his own ability to identify witches, his belief about the role of the church in all aspects of life, and his beliefs about the court system.

Another interesting character is Mary Warren. Students can explore dramatically Mary Warren's changing roles. Have one group of students develop a character sketch of Mary Warren giving the poppet to Elizabeth; another portraying Mary when she is told she can no longer attend the trial; another when she reveals her motivation for giving the poppet to Elizabeth; and another when John Proctor confronts her.

The relationship of John and Elizabeth Proctor is also interesting. Students can select short scenes from the act that dramatically depict that relationship and present them to the class.

Students can attempt to identify a voice of reason in Act two. The theme of human cruelty vs. righteousness is particularly

important in this act. Students can go through the act and select quotes that represent this theme. Exploring these quotes in journal writing activities will provide students with the opportunity to think critically about the play.*

At this point or after reading the play, have two students report on "Malleus Maleficorum," a medieval guide on torturing witches in order to get confessions, and "Wonders of the Invisible World," Cotton Mather's report on witchcraft during Puritan times.

There are a few examples of figurative language students can explore.

What is meant when John uses the metaphor "your justice would freeze beer"? (p. 55)

What does John mean when he uses the metaphor "the man dreams cathedrals, not clapboard meeting houses"? (p. 65)

What does Hale mean when he says "theology...is a fortress"? (p. 67)

Here's a good discussion topic for the class: What does an individual's ability to use figurative language, such as metaphors, tell you about that person? Which characters in the play speak in metaphors?

Act Three Arthur Miller's The Crucible

QUESTIONS

What is the setting of Act Three? What is the significance of the behind the scenes discussion

between Hathorne, Danforth, Martha Corey, and Giles Corey? How do Proctor, Francis, and Giles plan to use Mary Warren's

testimony to prove that "Heaven is NOT speaking through the children"?

What is the significance of Proctor plowing on Sunday? How do Danforth and Hathorne attempt to get Proctor to drop

the charge that Mary Warren has lied? Why do they want him to do so? Why does Proctor refuse?

Why are Proctor, Francis, and Giles repeatedly accused of attacking the court?

Why is Putnam brought into the court? Why is Giles accused of contempt of court? What is the significance of the point made by Danforth that "no

uncorrupted man may fear this court"? Is this true? How does this point tie the court and the church together?

Why does Hale suggest that Proctor should have a lawyer? What does this tell us about Hale's feelings about the justice of the trial? Is this a change in his attitude? Why does Danforth refuse?

What is contained in Mary Warren's depositions? Why are the other children who have cried out brought in?

How does Danforth equate the court with the church? What does Abigail say about Mary's testimony? Why does she

lie? What role does Parris play during the testimony? Why does he lie

about the dancing in the woods? What point does Hathorne make about Mary fainting? Why can't

she faint on command? How does Danforth confuse Mary Warren? What does Abigail do to befuddle Mary? What secret does Proctor reveal about himself and Abigail? Why

does he reveal it? Why does Elizabeth deny John's relationship with Abigail? What is

the result of her denial? What evidence is there that Hale no longer believes the

testimony and crying out of the girls? What do the girls do to convince the men otherwise? Why? How

does their action further befuddle Mary? What does Mary do?

QUOTATIONS

"And do you know that near to four hundred are in the jails from Marblehead to Lynn, and upon my signature?" (Danforth, p. 87)

"Do you know, Mr. Proctor, that the entire contention of the state in these trials is that the voice of Heaven is speaking through the children?" (Danforth, p. 88)

"I think not, or you should surely know that Cain were an upright man, and yet he did kill Abel." (Parris to Proctor about his reading the Gospel, p. 91)

"He's come to overthrow this court, Your Honor!" (Parris about Proctor, p. 92)

"A person is either with this court or he must be counted against it, there be no road between." (Danforth, p. 94)

"We cannot blink it more. There is a prodigious fear of this court in the country." (Hale, p. 98)

"Then there is a prodigious guilt in the country...there is fear in the country because there is a moving plot to topple Christ in the country!" (Danforth, p. 98)

"Mr. Hale, you surely do not doubt my justice." (Danforth, p. 99) "Now, children, this is a court of law. The law, based upon the

Bible, and the Bible, writ by Almighty God, forbid the practice of witchcraft, and describe death as the penalty thereof. But likewise, children, the law and Bible damn all bearers of false witness." (Danforth, p. 102)

"We are here, Your Honor, precisely to discover what no one has ever seen." (Parris, p. 104)

"And yet, when people accused of witchery confronted you in court, you would faint, saying their spirits came out of their bodies and choked you" (Hathorne to Mary Warren, p. 106)

"I - I know not. A wind, a cold wind, has come." (Abigail, p. 108) "I have made a bell of my honor! I have rung the doom of my

good name." (Proctor, p. 111) "Private vengeance is working through this testimony!" (Hale, p.

114) "Praise God!" (Parris and the girls after the crying out and Mary's

calling Proctor "the Devil's man!", p. 118) "I say - I say - God is dead!" (Proctor, p. 119)

"A fire, a fire is burning! I hear the boot of Lucifer, I see his filthy face! And it is my face, and yours, Danforth! For them that quail to bring men out of ignorance, as I have quailed, and as you quail now when you know in all your black hearts that this be fraud - God damns our kind especially, and we will burn, we will burn together!" (Proctor, pp. 119-120)

ACTIVITIES

Students can explore three themes in this act: Justice vs. Retribution and Revenge; Godliness vs. Worldliness; Ignorance vs. Wisdom.

Have students go through the Act to find quotes that support each theme. They can list this on chart paper and discuss with the class what point Miller is making about each theme.

Students can also explore one of these themes in writing in their response journals. Some students might be moved to write a poem related to one of the themes.*

Students might examine the Act in terms of which characters favor ignorance over wisdom and knowledge and why.

Students with artistic talents can explore the themes through painting or musical composition.

In small groups, students can take one of these themes (or another theme mentioned on page 23 of this guide) and write a contemporary short story or play that addresses it.* (English)

Another important concept to explore in this act is the relationship of the church and the court.

In small groups students can research the relationship of the court and the church in colonial New England and report on their research to the class. (History)

In small groups students can research various aspects of the concept of separation of church and state as it exists today: when was it first established, by whom, and why; what are some recent court cases related to it; what are some recent challenges to it. An interesting debate could be conducted on a topic such as school prayer or federal funding of private religious schools.* (History)

Students can do a dramatic reading or dramatize the crying out scene. (English and Drama)

Students can examine the scene to find all the plot twisting and turning points. These can be listed on chart paper and discussed with the class. (English and Drama)

Students can discuss Act three in terms of how it provides the climax for the play. (English)

Students can explore several of the characters in this act in terms of their actions and motivations.

Danforth, Mary Warren, and Abigail are particularly intriguing and can be discussed in small groups or as a class.

Students might work in small groups to dramatically interpret these characters. (Drama)

Students can discuss Proctor's role as the voice of reason in this act.

Act Four

QUESTIONS

What is the significance of the scene between Herrick and the accused witches?

Why does Reverend Hale tell the accused witches to confess? What does the news of what is happening in Andover have to do

with the trials in Salem? Why does Parris say Abigail has vanished? Why does Parris suggest the hanging be postponed? Why does Danforth want Proctor to see Elizabeth? What does he

hope it will cause him to do? What are the conditions in Salem? Why? Why doesn't Elizabeth beg John to confess? Why does Proctor initially say he will confess? Why does he

refuse to sign the confession? Why does Parris beg Elizabeth to get John's confession? Why

does she refuse? Why does Miller end the play with Proctor's refusal to sign the

confession and Elizabeth's refusal to beg him to do so?

QUOTATIONS

"Oh, it be no Hell in Barbados. Devil, him be pleasureman in Barbados, him be singin' and dancin' in Barbados. It's you folks - you riles him up 'round here; it be too cold 'round here for that Old Boy. He freeze his soul in Massachusetts, but in Barbados he just and sweet." (Tituba, p. 122)

"I met him [Parris] yesterday coming out of his house, and I bid him good morning - and he wept and went his way." (Hathorne, p. 124)

"My niece, sir, my niece - I believe she has vanished....She told me she would stay a night with Mercy Lewis....Mercy told him [Mr. Lewis] she would sleep in my house for a night....I think they be aboard a ship... my strongbox is broke into....Thirty-one pound is gone. I am penniless." (Parris, p. 126)

"Mr. Parris, you are a brainless man!" (Danforth, p. 126) "Andover have thrown out the court, they say, and will have no

part of witchcraft. There be a faction here, feeding on that news, and I tell you true, sir, I fear there will be riot here...these people [the accused witches] have great weight yet in the town....Excellency, I would postpone these hangin's for a time." (Parris, p. 127)

"Now Mr. Hale's returned, there is hope, I think - for if he bring even one of these to God, that confession surely damns the

others in the public eye, and none may doubt more that they are all linked to Hell." (Parris, p. 128)

"Tonight, when I open my door to leave my house - a dagger clattered to the ground....There is danger for me." (Parris, p. 128)

"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. If retaliation is your fear, know this - I should hang ten thousand that dared to rise against the law." (Danforth, p. 129)

"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 harlot's cry will end his life - and you wonder yet if rebellion's spoke?" (Hale, p. 130)

"For if he [Proctor] is taken I count myself his murderer." (Hale, p. 131)

"He were not hanged. He would not answer aye or nay to his indictment; for if he denied the charge they'd hang him surely, and auction out his property. So he stand mute, and died Christian under the law. And so his sons will have his farm." (Elizabeth to Proctor about Giles, p. 135)

"Spite only keeps me silent. It is hard to give a lie to dogs." (Proctor, p. 136)

"John, it come to naught that I should forgive you, if you'll not forgive yourself." (Elizabeth, p. 136)

"I speak my own sins; I cannot judge another. I have no tongue for it." (Proctor, p. 141)

"Because it is my name! Because I cannot have another in my life! Because I lie and sign myself to lies! Because I am not worth the dust on the feet of them that hang! How may I live without my name? I have given you my soul; leave my name! (Proctor explaining why he will not sign a confession, p. 143)

"He [Proctor] have his goodness now. God forbid I take it from him! (Elizabeth, p. 145)

ACTIVITIES

Among the themes, there are three that are explored in Act Four. In small groups, students can look for quotes that further the themes and discuss these questions:

Community: Unity and Exclusion - Who is a part of the community of Salem? Who is excluded? How and why does the trial change the typical order of the community? What happens to the community when

the order is changed? Who is included in the community of your school or town? Who is excluded?

Students can study a theme by using the Expanded Book to search for the incidence of key words related to the theme. For example, the theme of unity vs exclusion can be followed by searching for words or phrases such as "village" or "the public eye."

The Puritan Myth - What is Puritanism? What do textbooks say about the Puritans? Why did they come to America? If this play is accurate, what myths do you find in definitions, textbook descriptions, and the Puritan's motivations for freedom? What groups can you identify in your school or community? What myths surround stereotypes of these groups?

Order vs. Individual Freedom - Why did the Puritans come to America? What level of individual freedom do you see in Salem? What level of order? What happens when one or the other gets out of balance? When does order become autocratic? What is the balance between individual freedom and order in your school or community?

A student can add depth to this discussion by reporting on how the authority of the state in 17th-century Salem, 1950's America, and World War II Germany was driven by "irrational terror [that took] the fiat of moral goodness".

Several of the characters are particularly well developed in Act four: John Proctor, Elizabeth Proctor, Parris, and Danforth.

Have students write a letter from the point of view and in the voice of one of these four characters explaining his/her actions and motivations. (English)

Have students develop a character sketch, including movement and expression, for each character. (Drama)

Students can find quotes throughout the Act that help develop a character; these can be placed on chart paper to present to the class. (English)

After students have reported on the characters or developed character sketches, have them view the young actors discussing their parts.

The final twist of the plot occurs in this Act.

Students can outline the plot on chart paper. (English)

There are many dramatic interpersonal interactions that occur. Students can select and present one of these interactions to the class. (Drama)

Students can discuss other possible endings for the play and examine if any others would have been realistic given the action of previous acts, particularly in the climax in Act Three.

The Crucibleby Arthur Miller

Page 5 of 6

AFTER READING THE PLAY

This section of the teacher's guide provides questions and activities that can be used to help students understand the play in more depth and extend their learning beyond the play. Most relate back to the prereading section of this guide. By selecting related activities teachers help tie the instructional unit together.

All Subjects

If possible, take the students to see a production of the play at a local theater.

Critical terms and concepts can be explored in more depth by the students.

o How is the theocracy broken in the play?o Was what happened in Salem important to the

development of U.S. democracy? How? o Was Salem an autocracy? Who was the autocratic ruler?o What did you learn about Puritanism by reading the play?

How does Miller's interpretation relate to historical accounts you have read?

At this point, it would be interesting for students to read Miller's commentary appearing throughout the reader's edition of The Crucible. Students can write about his comments in their response journals and discuss them in small groups or as a class.*

History

Students might explore new questions related to the terms and concepts they addressed before reading the play (see page 15).

o How does the government as presented in the play differ from U.S. government today?

o How does it differ from post-Revolutionary government? o How does the relationship of church and state in the play

differ from the relationship of church and state today? o How would our government and courts differ if we had a

single, central religion? (Students might want to compare the U.S. to Great Britain.)

Students can discuss the play in terms of concepts they examined prior to reading it: New England slave trade, witchcraft, the culture of Barbados (Tituba's comments at the beginning of Act four are particularly insightful.), other witch trials, McCarthy hearings (Miller's commentary is helpful here), contemporary "witch hunts," and hate groups in the U.S. today. The primary question students might ask here is: Could a similar event occur today?

English

Reviewing the meaning of terms and concepts discussed prior to reading the play and discussing them in light of the play is helpful to students.

o Students can discuss whether or not the play is a tragedy. Is there a tragic hero? Who has a tragic flaw? What moral weakness or psychological maladjustment do they see? What social pressures are prominent?

o In small groups, students can examine the title of the play to determine how the message of the play fits the dictionary definition and connotations of the word "crucible."

o Students can reexamine the overhead "Characteristics of Good Historic Fiction" to determine how well the play fits the genre.

Throughout the reading of the play, students have been examining its themes.

o Have small groups of students who have been examining each theme present the results of their work to the class.

o If the class has kept theme charts as suggested on page 23, additional information can be added to these charts.

Students have also been studying the development of the major characters in the play.

o This information can be added to the character charts suggested on pages 23-24.

o In small groups, students can develop dramatic monologues and dialogues which show character development and relationship of characters and present these to the class.

Throughout the play students have been examining how Miller develops the plot.

o Students can expand the plot summary into a complete outline or diagram of the plot that visually shows rising action, twists of the plot, the climax of the plot, and the final conclusion of the play.

The language of the play can be discussed in small groups or can be examined in response journals.

o What examples of irony do you see in the play? o What events in Salem can be viewed as paradox? o Is the play a political allegory?