Vengeance is cruel and allows for psychological manipulation and hysteria, bought out by the vindictiveness of ostracism amongst neighbours. Arthur Miller’s psychological drama, The Crucible, is an allegory which enforces this truth as a reality ascending within the maddened town of Salem, Massachusetts during the witch trials in the 1600s. The Crucible, reflective of its definition, represents the society in which the people of Salem live. The purity of the elements remaining in a crucible is illustrative of the purity of John Proctor which remains as he dies a martyr. Through various literary devices, the playwright presents the fundamental concept of vengeance through puritanism amongst psychological manipulation, hysteria and reputation.
Miller published his text concerning hysteria within Salem as a parallel to McCarthyism during the 1950s. Miller aimed to warn the world of the dangers of hysteria, after discovering a moral cry regarding routine insanity, through the idea that “the Devil’s loose in Salem.” The Crucible’s witch trials relate to McCarthyism, with the entire performance being an allegory to the paranoia seeking suspected communists pervading America during the 1950s. In the text, Abigail plays on the hysteria throughout the convictions to accuse Goody Proctor of witchcraft, thus sending her to jail with intentions “to dance with [proctor] on [his] wife’s grave!” Abigail’s realisation that Proctor wants no contact with her arises after his confrontation, “You’ll put it out of mind. I’ll not be comin’ for you more…” This confrontation leads her to create madness in the village by accusing Elizabeth of “trafficking with the devil”. Proctor’s act of lechery with Abigail is the impetus for his underlying internal conflict to become overwhelming. As he asks Elizabeth to “look sometimes for the goodness in me, and judge me not”, his madness is further developed and he is flooded with guilt. The girls in the play continuously fabricated false accusations of others involved in witchcraft, so that they were never suspected themselves. Mary Warren’s nature, characterised as ultimately spineless, is revealed when her knowledge of Abigail’s fraudulent case prevents her from testifying against them, with her fear that “they will turn on [her]”. The characterisation of Mary causes harm in the play as she allows Abigail to continue her major participation in madness within the village. Miller announces how benevolent people can commit destructive acts when swept up in mass hysteria. The false accusations and convictions of citizens in Salem caused the unnecessary deaths of many, leaving homes and properties deserted. Cheever points out that “there be so many cows wanderin’ the highroads”, symbolic of the destruction and madness which arose due to Salem’s witch trials. In following, Proctor announces “I’ll tell you what’s walking Salem – vengeance is walking Salem!” His statement raises the fundamental issue with the witch trial scheme; the assumption that the accusers are innocent and that the accusations have personal objectives. Hysteria is an overwhelming fear which overrides all logic, and is often enhanced and intensified by the presence of others who are acting out on that fear.
The playwright reconnoitres the consequences of biblical Puritanism through exploration of psychological manipulation amongst specific individuals. A crucible is a vessel made to withstand great heat for fusing metals. In the society of Salem, the metals represent the people, who under stress may change their appearances or actions, but always maintain essentially what they always were; they merely manifest different characteristics because of the pressure applied to them. The playwright refers to the purity of the citizens, specifically when Danforth voices, “we burn a hot fire in here”, representing burning the citizens down to the purest of ‘metals’, evidently referring to their souls. Initially, Reverend Parris witnesses the girls, led by Tituba, dancing naked around a fire in a cauldron. Following, Betty Parris fell ill, which catalysed the rumours and false accusations of witchcraft, led by Abigail, who wanted to assassinate Goody Proctor. The Puritans were a group of English protestants that formed in the 16th century to bring religious reform and purity to the church through intensely strict religious principles. As Jerusalem is the holiest city in the world, it is ironic that the second half of the word is ‘Salem’. The Puritans in Salem manage to turn it into a holy theocratic place rather than the holiness of Jerusalem. The poppet found on Elizabeth Proctor’s shelf, sewn and given to her by Mary Warren, is a traditional symbol for voodoo and witchcraft. In normal society, dolls represent childhood innocence and happiness, however in Salem dolls represent evil, extending to the Puritan government and church, both being entrusted to protect its citizens, yet both doing the opposite. Abigail, who stuck a needle in herself, accused Elizabeth Proctor for the needle which had been fixed in the poppet by Mary for safe keeping. Mary is pressured, threatened and thus obliged to maintain secrecy, given that Abigail will “kill [her] for sayin’ that”, referring to telling the court the truth about who stuck the needle in the poppet. As Elizabeth is arrested for the attempted murder of Abigail, Proctor shouts that “this warrants a whore’s vengeance! I’ll not give my wife to vengeance!” Psychological manipulation amongst citizens is often the outcome within Puritan governments.
The protection of one’s name and their attached reputation is regarded with more value than existence itself. Miller characterises Reverend Parris as snivelling and selfish, seeming to care only about his reputation. Whilst standing over Betty’s deathbed, Parris seems to only care how her health will affect his reputation. The fear of ruining his high reputation is displayed when Parris tells Susanna Walcott to “go directly home and speak nothing of unnatural causes.” Reverend Parris says this as an attempt to prevent rumours that the town reverend’s daughter may have been inflicted by the Devil. If rumours such as this were to spread, Parris’ entire reputation would be obliterated, as assumptions that he may be supporting the Devil at home would detriment his social quo. Elizabeth Proctor is unknowingly put to a test that will determine not only her own fate, but also the fate of John when she lies in an attempt to protect him. This occurs during Act III when Elizabeth is presented in front of Danforth, who demands to know if John Proctor is a lecher. When Elizabeth responds faintly with “No, sir.”, she taints her perfect reputation and unintentionally damns John in her attempt to preserve his reputation. John faces death due to accusations of lying and trying to overthrow the court. In Act IV, Proctor verbally confesses to the court that he’s been bound to the Devil’s service. Danforth disregards the declaration unless Proctor signs a written confession. “With a cry of his whole soul”, Proctor refuses stating that “I have given you my soul; leave me my name”, illustrating with watershed how his reputation is more important than his life. Matters in the sense of satanic activity are concerns of the public; he would rather be respected and known as a man with morals, than have people convinced he worked for the Devil, and engaged in witchcraft and diabolic activity. Through the tearing of the confession he is emblematically tearing up his life, illustrating that identity is more precious than survival. Proctor’s desire to keep his good name leads him to make the heroic choice to avoid making a false confession and to go to his death without signing his name to any untrue statement. By Proctor refusing to relinquish his name, he redeems himself for his earlier failure and dies with integrity. Concluding the final Act, the narrator speaks of the play’s directions with the “new sun pouring in upon [Elizabeth’s] face”, symbolising a new beginning and chapter in her life, as darkness has been lifted from Salem with the new sun rising above after Proctor defied hysteria and thus, died with integrity.
Arthur Miller’s, The Crucible, positions the reader to adopt a negative outlook on vengeance, understanding the extent to its psychological destruction. The author provides a multifaceted warning of Puritan governments, and the danger associated with societies resorting to hysteria. Miller expresses that those who favour integrity through rejecting confession and lies to save their own lives, help defy hysteria. Willing to die for what they believe in, they put a stop to the baseless fear that feeds hysteria. Through John Proctor, the audience learns the importance of non-conformism as he gains personal integrity and maintains his good name.