the crucible act 2 assignment

The Crucible

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

Teaching The Crucible: An Outline of My Unit

Welcome to my second post in my series on teaching Arthur Miller’s drama, “The Crucible.” In my first post, I offer my top 5 tips on teaching the play, and in this one, I’m mapping out my entire unit, from pre-reading to assessment. I love teaching “The Crucible” now, but I actually hated the play in high school. Year after year, this unit has been a favorite for me and my students. I’m hoping that a glimpse into my planning process helps you make this text more engaging and accessible for your students.

FOCUS SKILLS & STANDARDS

“The Crucible” is a text rich for analysis, and you can teach just about any skill or standard with it. Here are the Common Core standards I prioritize while teaching this text:

• Analyzing author’s choices:  CCSS.ELA-LITERACY.RL.11-12.3  and  CCSS.ELA-LITERACY.RL.11-12.5
• Citing textual evidence to support analysis:  CCSS.ELA-LITERACY.RL.11-12.1
• Analyzing the development of theme and author’s purpose:  CCSS.ELA-LITERACY.RL.11-12.2  and  CCSS.ELA-LITERACY.RI.11-12.6
• Analyzing the impact of word choice:  CCSS.ELA-LITERACY.RL.11-12.4
• Analyzing irony:  CCSS.ELA-LITERACY.RL.11-12.6

PRE-READING

In my previous post, I emphasized the need for teaching historical, cultural, and political context, so check that out to learn more about why it’s so crucial to invest time in this before reading.

My hook for this unit is a fun “How Puritan Are You?” magazine-style personality quiz that helps students learn about Puritan values and practices. After students take the quiz, we discuss what the questions reveal about the Puritan way of life. Then, students learn more about Puritanism through learning stations that introduce students to Puritan ethics, theology, and more.

After students understand Puritanism, we listen to excerpts from Jonathan Edwards’ infamous sermon, “Sinners in the Hands of an Angry God.” This lesson is always engaging due to its inherent shock value.

Finally, I introduce my students to the allegorical layer of the play: McCarthyism and the Red Scare. To tackle this, I have students complete a Webquest that builds historical background knowledge. Then, we play the “red dot game,” a simulation that models the process of unfounded accusations during the McCarthy era. This is not my own idea, but a quick Google search will give you instructions on this fun but meaningful activity.

Since “The Crucible” is the first piece of literature we read as a whole class, I heavily scaffold Act 1 and spend a lot of time on it. We always act it out, because I’m a firm believer in the fact that plays are meant to be seen and heard. Acting automatically increases engagement and allows students to take more ownership of the text and unit. For more information on how I do this with my students, check out my previous post.

Between the acting, close reading, analysis, activities, film, and assessment, we spend nearly 2 weeks on Act 1, because it’s crucial to understanding the rest of the play. During acting, we pause, discuss, and check for comprehension frequently. In addition, I have my students complete a character/conflict map as we read. This helps students track of all of the details Miller provides in his mini-essays before new characters come onstage.

We also closely read, annotate, and analyze the scene between Abby and Proctor and then evaluate the changes made to the film adaptation of this scene. At the end of the act, I facilitate learning stations to analyze characters and conflict, allegorical parallels to the Red Scare/McCarthyism, the Puritan paradox, and the role of fear. Finally, we watch the film and analyze the directors’ choices. Film analysis is the perfect way to scaffold the literary analysis we will practice throughout the rest of the play. More on that later!

My Act 1 assessment is a “blame chart” that asks students to critically think about who is responsible for the hysteria at the end of the act. Students distribute blame in a pie chart and defend their interpretation with explanations and textual evidence. You can find all of my Act 1 activities here.  

We spend around 3 days acting out Act 2. I typically have my students read the first portion of this act in small groups. Then, they analyze the conversation between the Proctors with giant close-reading task cards . In small groups, students annotate the excerpts and discuss the conflict between the Proctors.

We act out the rest of Act 2, because who doesn’t want to use props like a poppet, handcuffs, and a search warrant? Along the way, we stop to analyze the purpose of the irony, as well as character development. Analyzing Miller’s choices in the earlier acts of the play scaffolds students’ understanding of the theme and allegorical purpose of the text later on. Finally, after we have analyzed the text in great detail, we watch the film and analyze the director’s choices as a way to practice literary analysis.

To creatively assess students’ understanding of characters and plot, I have them write a diary entry from the perspective of one character. If you’d like to check out all of these activities for Act 2, they’re bundled for you here.

During my first few years of teaching “The Crucible,” we read/acted out all of Act 3 & 4, but it always took too long. I’m pretty sure we spent an entire 2 months on “The Crucible” my first year of teaching. I love acting it out, but I can’t justify too many days of acting the play out when I have analysis standards to teach. To maximize my time, I began substituting the 1996 film adaptation for the text of Act 3 & 4. I created these film analysis guides to scaffold literary analysis through film analysis.

These guides are not your typical “movie guides” filled with comprehension questions to keep the kids busy when you press play. Instead, these guides force students to be active viewers while they analyze characterization, author’s choices, purpose, plot devices, and more. After viewing, we discuss the changes made to the film adaptation and the effect on one’s interpretation of the film. You can read more about my decision to use film with “The Crucible” here and learn about how I engage reluctant readers with film here.

Because I still want students to be exposed to key parts of the text, I supplement the film with close readings of key excerpts from Proctor and Danforth. After viewing Act 3, we do another round of critical thinking learning stations that challenge students to analyze the power structure, characterization, irony, author’s choices, dramatic structure, and author’s purpose. You can check out my close reading activities and learning stations for Act 3 here.

After watching Act 4, I host a funeral for John Proctor, which is just a creative way to force my students to analyze the characterization of Proctor, the meaning behind his death, and how Miller’s choice to end the tragedy in this way contributes to theme and purpose. Students write an elegy or eulogy that creatively demonstrates mastery of these essential questions, and then I set the stage with “sad music” from YouTube and battery-powered tea light candles from the Dollar Tree. It’s always a hit and a much more effective way to address these complex questions.

Finally, I challenge students to “escape the Salem hysteria” through an engaging escape room activity that’s designed to function as review and analysis. The escape room challenges start simple, with comprehension and identification of literary devices, and gradually progress to more cognitively complex tasks involving close-reading, analysis, allegory, and theme. Because this activity forces students to examine the text, we are always able to have much more meaningful discussions about the text as a whole after the escape room.

To assess the literary analysis standards, I use two extended response questions that ask students to analyze character development, theme, and purpose. These written responses offer student choice and are a great way for students to demonstrate mastery of the standards. I’ve found that these written responses are a much better measure of my students’ skills than previous multiple-choice assessments I’ve given. Plus, they offer some much-needed writing practice that will come in handy for our following unit on argumentation. While any written assessment takes more time to grade, I’ve found that I can grade these efficiently with my rubric and sample responses.

Thanks for reading!

I hope this post helps make teaching “The Crucible” easier for you and more engaging for your students. If you are interested in any of these lessons or activities, check out my  Crucible unit bundle! In the meantime, please let me know if you have any questions about how I teach this play.

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Quick question about the blame chart assessment: do you grade it for completion or is it more of a quiz grade to assess comprehension and analysis? Thanks!

I usually grade it as a quiz because it’s assessing their analysis + ability to cite evidence. 🙂

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The Crucible

By arthur miller, the crucible summary and analysis of act two.

The second act takes place in the common room of Proctor's house eight days later. John Proctor returns from a day in the fields and greets his wife, Elizabeth. They make small talk about dinner and the crops, but there is an awkwardness between them. Elizabeth thinks that he went to Salem that afternoon, but Proctor says he thought better of it. Elizabeth tells him that Mary Warren is there today, and although Elizabeth tried to forbid her, Mary frightened her strength away. Mary is now an official in the court, formally accusing people of witchcraft, along with Abigail and the other girls. Elizabeth tells John to go to Ezekiel Cheever and tell him what Abigail said last week - namely that Betty's sickness had nothing to do with witchcraft. Proctor tells her that nobody will believe him, as Proctor was the only one to hear.

Elizabeth is disturbed to realize that Proctor and Abigail were alone together, but Proctor angers at her suspicion. He has tiptoed around the house for the seven months since Abigail left, and has confessed to his sin openly, but Elizabeth remains cold. She claims she does not judge him. Proctor replies that her justice would freeze beer.

Mary Warren enters, and gives Elizabeth a poppet that she made in court that day. Mary reports that thirty-nine people are arrested, and Goody Osburn will hang, but not Sarah Good because she confessed. Mary Warren claims that Goody Osburn sent her spirit out in court to choke them, and often mumbles whenever others turn her away when she begs. Proctor demands proof that Goody Osburn is a witch, and forbids Mary Warren to go to court. Mary says that it is amazing that Proctor does not realize the importance of her work, and insists that she is a court official. Incensed, Proctor threatens her with a whip.

Mary reveals that she saved Elizabeth's life today, for Elizabeth was accused in court. Proctor orders Mary to go to bed. Elizabeth realizes that Abigail wants her dead. Proctor reassures her that he will find Ezekiel Cheever and tell him what Abigail said, but Elizabeth thinks that more than Cheever's help is needed now. She tells him to go to Abigail and firmly renege on whatever promise she may think he made her. Elizabeth believes Abigail must plan to profit from Elizabeth's death, for accusing a respected member of society like her is more dangerous than accusing a drunk or indigent woman like Good or Osburn.

Mr. Hale arrives at the house as Elizabeth and John argue over Abigail. He now has a quality of deference and even guilt. Hale tells them that Elizabeth's name was mentioned in court and Rebecca Nurse was charged. Proctor finds it impossible to believe that so pious a woman could be in the service of the devil after seventy years of prayer, but Hale reminds him that the Devil is wily and strong. Hale questions Proctor on his churchgoing habits, and Proctor claims that he prays at home and criticizes Parris for his wasteful spending habits in church. Hale also notes that only two of Proctor's children are baptized, and asks Proctor to state the Ten Commandments. He names nine of them, but needs Elizabeth to remind him of the tenth – adultery. Proctor says that between the two of them they know all of the Commandments, but Hale says that no crack in the fortress of theology can be considered small.

Proctor says there is no witchcraft happening, and tells Hale how Abigail said Parris discovered the girls sporting in the woods. Hale claims that it is nonsense, as so many have confessed, but Proctor says that anyone would confess if they will be hanged for denying it. Hale asks if Proctor will testify to this in court, and asks if he believes in witches. Proctor answers that he does not believe that there are witches in Salem, but Elizabeth denies any belief in witches at all. When Hale asks Elizabeth if she questions the gospel, she retorts that he should question Abigail Williams about the gospel and not her.

Giles Corey arrives with Francis Nurse , and they tell the Proctors that their wives were taken away. Rebecca has been charged with the supernatural murder of Ann Putnam's babies. Hale, who is deeply troubled, claims that if Rebecca Nurse is tainted, there is nothing to stop the whole world from burning. Walcott charged Martha Corey for the rumor that Giles proposed about his wife reading books.

Cheever arrives to charge Elizabeth. He asks if she keeps any poppets in the house, and she says no. Cheever spies the poppet that Mary Warren made, and finds a needle in it. Abigail had testified that Elizabeth's familiar spirit pushed a needle into her at dinner that night. Mary Warren tells them how the poppet got into the house, and claims that she stuck the needle in it, but Hale questions whether or not her memory is accurate or supernatural. Elizabeth, upon hearing that Abigail has charged her with murder, calls Abigail a murderer who must be ripped out of the world. Proctor rips up the warrant, and asks if the accuser is always holy now. He says that he will not give his wife to vengeance. Hale insists that the court is just, but Proctor calls him a Pontius Pilate. Cheever takes Elizabeth away. Proctor demands that Mary Warren come to court with him and charge murder against Abigail. She warns Proctor that Abigail will charge him with lechery, but Proctor insists that his wife shall not die for him. Mary Warren sobs that she cannot go against Abigail.

While the first act takes place in the "public" setting of Reverend Parris' home, the second act moves into what should be considered the private sphere of the Proctors' home. The conversation between John and Elizabeth Proctor is highly mundane, illustrating the significant tension remaining in the relationship since Proctor's affair with Abigail Williams. Elizabeth Proctor is intensely suspicious of her husband, worrying when he arrives at home late for dinner and adopting a condescending tone when her husband admits that he was momentarily alone with Abigail Williams. Miller establishes Elizabeth Proctor as a morally upright woman, respectable and dignified, yet with an air of superiority that renders her frigid and distant. Proctor feels that Elizabeth has made her home into a repressive atmosphere, continually punishing her husband for his wrongdoing. Still, if Elizabeth adopts a tone of moral superiority it is because she is the superior of her contemporaries, with an unwavering belief in the capability of persons to remain moral.

Miller creates an atmosphere of guilt within the Proctor household that mirrors the similar conditions within larger Puritan society. Proctor has expressed contrition for his infidelity and asked for forgiveness, yet there is no sense of catharsis within his marriage nor ability for full reconciliation. The Proctor marriage is stagnant and stifling, as the fact of John's adultery lingers in every conversation like a giant white elephant. Miller demonstrates this, in particular, when Proctor is unable to recall the commandment against adultery – it is a moment of humor, but it also reflects the crisis of the Proctor marriage. Miller seems to indicate that, like the rest of their Puritan society, the Proctors need an outlet to expiate John's sins and without this means for redemption they are committed to a perpetual obsession with past infidelity.

Two major themes emerge in the second act of The Crucible . The first of these is the line between public and private. The act itself moves from the intimate conversation between husband and wife to more public matters, but the division between these two spheres becomes obscure. Even in this setting, the public discussions of the Proctors' guilt or innocence occurs within the home. More importantly, Reverend Hale and the other court officials use private information for their public matters, such as information about the frequency with which they attend church and their belief in the existence of witches. The court officials investigate all aspects of the suspects' private lives. Under such intense scrutiny, these officials are able to find any information that may be may interpreted as evidence of guilt – not unlike the House Unamerican Activities Commission using everything from religion and sexuality to, in the case of the Rosenbergs, a discarded box of Jell-o as evidence of un-American behavior.

The second major theme of the act is the ambiguity of evidence. This begins even before Hale arrives at the Proctors' home, when Elizabeth, as a betrayed wife, suspects her husband's excuses for coming home late. This continues with Reverend Hale's interpretation of John's forgetfulness of one of the Ten Commandments and the evidence against Martha Corey, which deemed her a witch for reading books. The most significant symbol of this theme in the second act is Mary Warren's poppet. Miller makes it clear to the audience that Elizabeth did not use the poppet as a charm against Abigail Williams, but its presence in her house is quite damning in the view of the court.

The poppet demonstrates that Abigail Williams is more villainous than earlier indicated. In the first act she behaved solely out of self-interest. She was ready to do harm to others, but only to save herself. However, in this instance she purposely frames Elizabeth Proctor out of revenge, planting the poppet as a means to engineer Elizabeth's murder. This event even breaks the icy exterior of Elizabeth Proctor, who deems that Abigail must be "ripped out of the world."

Miller creates a situation of bleak irony in this chapter with the arrest of Rebecca Nurse and Elizabeth Proctor. These characters are the most upright in the play, yet are accused of witchcraft by two of the most ignoble, Thomas Putnam and Abigail Williams. The dynamic of the witchcraft hysteria has created a situation in which the accuser of witchcraft is automatically presumed holy, as Proctor notes, while even the most spiritual character may be suspected of Satanic influence. In this situation the evil of Salem may raise their reputations at the expense of the good.

An additional irony that Miller constructs in the act is in the plot structure. The Proctors and their allies can rely on a single person to save themselves from Abigail Williams' treachery. Yet this person, Mary Warren, is the weakest and most pliable character in The Crucible. She alone has the power to stop the hysteria of the witchcraft trials, but neither the strength nor resolve to do so. Mary requires intense coercion from John Proctor to even consider admitting to the falsehood in court. However, despite her weakness Mary Warren is as dangerous as Abigail, for the guileless girl betrays none of Abigail's malicious bearing and thus appears more overtly innocent. She is a pawn who may be used by the Proctors to prove their innocence, but Miller foreshadows that Mary Warren may be used by Abigail to serve her own purposes as well.

Among the characters in the play, it is Reverend Hale who demonstrates the most prominent character development. While the other characters remain fixed in their particular allegiances and beliefs, Hale demonstrates the debilitating effects of the witchcraft trials by the change in his character. When he reappears in the third act he has none of his old enthusiasm. Although he clings to his belief that proof of witchery can be found in Salem, Hale appears more and more tentative about the results. He demonstrates a strong feeling of guilt for his actions, as shown by his reliance on what he grasps as indisputable evidence. Like Pontius Pilate, to whom Proctor compares Hale, he wants to play only a passive role in the proceedings without any feeling of personal responsibility. Hale's growing disillusionment foreshadows his later repudiation of the court's actions.

The Crucible Questions and Answers

The Question and Answer section for The Crucible is a great resource to ask questions, find answers, and discuss the novel.

The Crucible, Act 2

1) Proctor believe the girls to be liars and tells Hale how Abigail said Parris discovered the girls sporting in the woods. Hale claims that it is nonsense, as so many have confessed, but Proctor says that anyone would confess if they will be...

As the act opens, who is being interrogated, and on what charge?

In the beginning of Act III, Martha Corey is being interrogated on charges of witchcraft.

why does reverend parris send for reverend hale?

Because Reverend Hale is an intelligent man who has studied witchcraft extensively.

Study Guide for The Crucible

The Crucible is a play by Arthur Miller. The Crucible study guide contains a biography of Arthur Miller, literature essays, quiz questions, major themes, characters, and a full summary and analysis.

• About The Crucible
• The Crucible Summary
• Character List

Essays for The Crucible

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.

• Conformity, Imbalance of Power, and Social Injustice
• Sins and Ambitions
• The Stream of Conscience in Arthur Miller's The Crucible
• The Crucible as an Allegory
• Contemporary Events Leading to The Crucible

Lesson Plan for The Crucible

• About the Author
• Study Objectives
• Common Core Standards
• Introduction to The Crucible
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
• Related Links
• The Crucible Bibliography

Wikipedia Entries for The Crucible

• Introduction
• Characters (in order of appearance)
• Notable casts
• Originality

ELA  /  10th Grade  /  Unit 7: The Crucible (2021)

The Crucible (2021)

In Arthur Miller’s play The Crucible , which explores the consequences of the McCarthyism scare of the 1950s, students explore the central topics of history, community, herd mentality and truth.

This unit has been archived. To view our updated curriculum, visit our 10th Grade English course.

• Text and Materials

Composition Projects

Unit summary.

In this unit on Arthur Miller’s play The Crucible , students will explore the thematic topics of history, community, and truth. Written during the McCarthyism scare of the 1950s, the play underscores the importance of remembering the events of our collective past. In exploring the circumstances of the Salem witch trials, which occurred centuries prior to Senator Joseph McCarthy’s communist “witch hunt,” Miller raises questions about the devastating impact that corruption, herd mentality, and vengeance can have on a community.

In addition to the play, students will read several paired texts that add to their analysis of the core text. Through reading excerpts of Maryse Condé’s I, Tituba, Black Witch of Salem , which is the story retold from the slave’s, Tituba’s, perspective, students can analyze the impact of narration and point of view in a work of fiction. The nonfiction readings “Herd Behavior,” “On Tragedy,” and “McCarthyism” provide a foundation on which students can build their analysis of the play. And finally, Shirley Jackson’s short story “The Lottery” and Margaret Atwood’s poem “Half-Hanged Mary” allow students to explore similar themes in different genres.

While reading and analyzing the works of fiction and nonfiction in this unit, students will be working to develop their literary analysis skills, speaking and listening skills, and writing skills.

At Match, students have a Composition class 4 days per week in addition to English class. Below, we have included Supplementary Composition Projects to reflect the material covered in our composition course. For teachers who are interested in including these Composition projects but do not have a separate Composition course, we have included a “Suggested Placement” to note where these projects would most logically fit into the English unit. While the Composition projects may occasionally include content unrelated to English 10, most have both a skill and content connection to the work students are doing in their English 10 class. 

In the English lessons of Unit 2, students will focus on analyzing author’s craft, investigating how authors use various techniques to create mood, tone, character, point of view and theme. In these parallel Composition projects, students will learn to craft effective literary analysis essays expressing their thoughts on various authors’ uses of literary techniques to create mood, tone, character, and point of view. Additionally, students will be asked to try on various techniques for appealing to an audience, including practice with establishing a specific tone and mood in their own writing. While the writing days described in the English unit are exclusively on-demand pieces of writing, the Composition projects are a blend of on-demand writing and process writing so students have exposure to writing for a range of topics, timeframes, and purposes.

Texts and Materials

Some of the links below are Amazon affiliate links. This means that if you click and make a purchase, we receive a small portion of the proceeds, which supports our non-profit mission.

Core Materials

Play:  The Crucible by Arthur Miller (Penguin Classics, 2003)   —  1320L

Short Story:  “The Lottery” by Shirley Jackson

Book:  I, Tituba, Black Witch of Salem by Maryse Conde (University of Virginia Press, 2009)

Supporting Materials

Article:  “Herd Behavior” by CommonLit Staff

Article:  “McCarthyism” by USHistory.org (CommonLit)

Poem:  “Half Hanged Mary” by Margaret Atwood

Article:  “On Tragedy” by Aristotle (CommonLit)

Article:  “The Salem (and Other) Witch Hunts” by Mike Kubic (CommonLit)

This assessment accompanies Unit 7 and should be given on the suggested assessment day or after completing the unit.

Download Content Assessment

Download Content Assessment Answer Key

Intellectual Prep

Suggestions for how to prepare to teach this unit

• Read and annotate The Crucible and this unit plan.
• Read and annotate at least the designated passages of I, Tituba, Black Witch of Salem .
• Read and annotate “The Lottery.”
• Take the unit exam and write a mastery response for the essay on the unit exam.
• Read the article, "McCarthyism" and any other resources on McCarthyism that help you to feel confident discussing The Crucible in the context of the time in which Arthur Miller wrote the play.
• Make visuals for the classroom that will aid in students’ analysis and comprehension (e.g., character lists or maps, thematic questions, etc.).

Essential Questions

The central thematic questions addressed in the unit or across units

• History: Why is it important to recall our past, even if it is difficult?
• Community: What impact do herd mentality and vengeance have on a community? Can their impact ever be positive?
• Truth and Lies: Can lying ever be justified? What if the lie could save a life?

Writing Focus Areas

Specific skills to focus on when giving feedback on writing assignments

English Lessons Writing Focus Areas

There are notes throughout this unit that encourage the teacher to use analysis of their students’ writing in order to determine the areas of focus for writing instruction in this unit. One suggested area of focus is on teaching students to use partial quotations to support their analysis and arguments rather than entire sentences or multiple sentences. A potential spiraling area of focus is ensuring students write a thesis statement that addresses the prompt and previews what is to come in the essay.

Composition Projects Writing Focus Areas

Below are the writing focus areas that are recommended for the Composition projects described in this unit. Each focus area comes from a particular row and column of our Composition Writing Rubric and more detail about each area of focus is provided in the description of each specific project.The teacher should feel free to substitute or revise these writing focus areas in order to meet his/her students where they are and help students improve their writing in ways that authentically address the students' areas for growth.

• Focus on Task: appropriate for task, purpose and audience 
• Diction: Includes precise language and vocabulary
• Thesis: Includes a clear, relevant and unique thesis statement
• Analysis: Demonstrates clear and logical reasoning
• Evidence: Draws relevant evidence to support position
• Professional Revised: Adequate revisions

Related Teacher Tools:

Grades 9-12 Composition Writing Rubric

Literary terms, text-based vocabulary, idioms and word parts to be taught with the text

Literary Terms

plot, characterization, setting, stage directions, symbolism, characterization, point of view/perspective, tone, metaphor, rising action, irony, tragic hero, paradox, power dynamics

Roots and Affixes

Integ- (integrity), be- (begrudge), def- (defamation)

“The Lottery”: profusely, uneasily, reprimand, jovial, paraphernalia, perfunctory, soberly, paradox, petulantly

The Crucible:  persecuted (3), sect (4), fanatic (4), justice (6), paradox (6), vengeance (7), dissembling (8), propriety (8), conjure (10), abomination (10), begrudge (11), vindictive (14), formidable (15), prodigious (23), defamation (29), anarchy (30), trepidation (37), fraud (50), conviction (50), falter (52), ameliorate (54), civilly (57), base (59), daft (65), bewilder (66), wrath (75), contentious (79), pretense (82), immaculate (92), incredulously (96), slovenly (104), transfixed (106), denounce (111), prodigious (114), gaunt (115), remedy (117), adamant (120), mercy (120), incredulous (130)

Idioms and Cultural References

The Crucible:  land-lust (7), theocracy (6), the Mayflower (6), the Puritans, “soiled my name” (12), Goody___ (12), “the Fiend” (34), ordained (62), poppets (69), deposition (82), the Gospel (84), “ipso facto” (93), “wash your hands of this” (Macbeth reference), poppet (95), anti-Christ (111)

Content Knowledge and Connections

Fishtank ELA units related to the content in this unit.

Students will become aware of the concept of a theocracy and also a paradox. Students will discover the strict religious mindset and values of the Puritans who came to Massachusetts in the 1600s and will explore the role this mindset played in causing their demise. Students will also be exposed to McCarthyism and its impact on 1950s America.

Previous Fishtank ELA Connections

• Students will be able to connect the idea of corruption from  10th Grade ELA - The Catcher in the Rye (2021)  to the corruption in the court and the church in this text. 
• Students might also make connections between the political message of 10th Grade ELA - The Catcher in the Rye (2021) and the political message of Animal Farm , which was read in {% unit 419 %}

Future Fishtank ELA Connections

• 11th Grade ELA - The Scarlet Letter   will be a future unit in which students can make connections to Puritan culture as well as the themes of truth and deceit.

Distinguish between mood and tone in the first pages of “The Lottery.”

Independently identify and analyze symbols used in “The Lottery."

Finish “The Lottery” and explain how Jackson’s tone serves to underscore the horror of the events in the story.

Reexamine “The Lottery” for clues early on that hint at the eventual ending. 

Explain theme in a short written response that addresses Checks For Understanding from the previous unit’s test.

• “Herd Behavior”
• The Crucible — Act I, pp. 1-7

Explain the herd mentality phenomenon.

Analyze the full setting and explain how the setting helped to create the herd mentality that caused the witch trials.

Establish the power dynamics, conflict, and characterization as revealed in Act 1.

Characterize the relationship between John Proctor and Abigail.

Identify and describe the conflict between the Putnams and the Nurses as developed by Miller in this scene.

Characterize Hale and explain what he represents in the play. 

Explain how the role of the Devil has changed in religion over time and explain how the people of Salem viewed him.

• The Crucible — Act I, pp. 38-46
• I, Tituba, Black Witch of Salem pp. 55 – 63

Explain the difference in perspective and tone between the excerpts from Condé’s book and Miller’s play.

Analyze Proctor and Elizabeth’s relationship and identify each of these characters’ tragic flaws.

• The Crucible — Act II, pp. 53-60 and pp. 60-67
• “McCarthyism”

Draw parallels between McCarthyism and the events of The Crucible .

Explain events of the rising action and the irony of the situation.

Explain John Proctor’s decision to go to the court.

Analyze the symbolism of the courtroom and the significance of Danforth.

Track Mary Warren’s changing emotions throughout this scene.

Continue tracking Mary Warren’s emotions.

Examine Miller’s use of suspense. 

Continue to track Mary Warren’s emotions for open response.

Produce a written analysis of Mary Warren’s changing emotions.

• The Crucible — Act IV, pp. 112-113
• I, Tituba, Black Witch of Salem — p. 91

Identify and compare perspective in two texts.

Explain Danforth’s motives in this scene and analyze Proctor’s choice.

Explain John Proctor’s tragic flaw.

• “On Tragedy”
• The Crucible

Explain what makes The Crucible a tragedy and John Proctor its tragic hero.

• “Half Hanged Mary”

Explain the tone and author’s purpose of specific lines of the poem.

Draw connections to events in The Crucible.

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(ON DEMAND)

You need $100 to pay for a student activity fee (for a club, sport, or other extra-curricular activity). There is no prospect of you earning this money, so you are going to have to convince someone to give it to you. You are going to have to ask your audience for a gift of $100. Not a loan –  a gift. You cannot lie or make up ridiculous things, but you will obviously need to use some creativity to complete this assignment. You should be trying to actually convince your audience to give you $100. So have fun with this, but get the cash. It’s up to you to decide how much of this information to reveal to the recipient of your letter, but outright lying is not allowed. 

Remember: You will need to select a specific audience to whom you will be writing and identify the tone you intend to develop in order to persuade this particular audience. Possible audiences from which to choose: a teacher, a family member, a friend, a classmate, a financial aid organization, the principal, a religious leader, other (please specify).

An effective letter:

• Effectively establishes a purpose
• Develops a tone appropriate for appealing to the intended audience
• Includes precise language and advanced vocabulary

L.9-10.3 W.9-10.3.a

(PROCESS WRITING)

Use the speech, “Enemies from Within” by Joseph McCarthy as well as your understanding of rhetorical devices to respond in writing to the prompt below.

Analyze the techniques that Senator Joseph McCarthy uses to appeal to the emotions of his audience in his speech, “Enemies From Within.” Use evidence from the speech to support your analysis.

An effective essay:

• Includes a clear, relevant and unique thesis statement
• Demonstrates clear and logical reasoning
• Draws relevant evidence to support position
• Uses precise language and advanced vocabulary

W.9-10.1.a W.9-10.1.b W.9-10.4 W.9-10.5 W.9-10.6 W.9-10.9.a

Both The Crucible by Arthur Miller and Maryse Conde’s novel, I, Tituba, Black Witch of Salem , explore the events of Salem in 1692. Explain the major differences between the two works, making sure to consider tone, perspective and purpose in your response.

• Analyzes tone, perspective and purpose
• Draws relevant evidence from both texts to support position

W.9-10.1.a W.9-10.1.b

Use the events occurring at the end of Act 2 and your knowledge of John Proctor’s character to write a narrative in response to the prompt below.

Write a journal entry from the perspective of John Proctor that reflects his thoughts and feelings about the events of the evening recorded on p. 67-76. Use relevant and specific details from the text to develop his perspective.

A successful narrative:

• Establishes John Proctor’s perspective accurately and in the first person
• Uses details from the text in order to convey his perspective
• Uses precise language and vocabulary

Analyze Mary Warren’s changing emotions during the court scene. Use evidence from throughout Act 3 of The Crucible  by Arthur Miller to support your answer.

• Describes Mary Warren’s emotions at the beginning and end of Act 3
• Analyzes how the author conveys these emotions and why Mary is experiencing these emotions
• Draws relevant evidence from throughout Act 3 to support position

W.9-10.1.a W.9-10.1.b W.9-10.4 W.9-10.5 W.9-10.6

Using Aristotle’s “On Tragedy,” analyze The Crucible by Arthur Miller and assess how well it fits Aristotle’s description of a tragedy. Include information and evidence from both The Crucible and the Aristotle reading.

A successful argumentative essay:

• Includes a compelling thesis that previews the arguments to be made
• Provides a clear and accurate definition of tragedy according to Aristotle
• Offers multiple accurate examples of the literary techniques that qualify The Crucible as a tragedy OR make The Crucible not a tragedy
• Uses evidence from both the play and the article to support the analysis
• Displays evidence of revision

SL.9-10.1 W.9-10.1.a W.9-10.1.b W.9-10.4 W.9-10.5 W.9-10.6 W.9-10.9.a

Common Core Standards

Core standards.

The content standards covered in this unit

Language Standards

L.9-10.3 — Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening.

L.9-10.4 — Determine or clarify the meaning of unknown and multiple-meaning words and phrases based on grades 9—10 reading and content, choosing flexibly from a range of strategies.

L.9-10.6 — Acquire and use accurately general academic and domain-specific words and phrases, sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression.

Reading Standards for Literature

RL.9-10.1 — Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.

RL.9-10.2 — Determine a theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.

RL.9-10.3 — Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme.

RL.9-10.4 — Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone).

RL.9-10.5 — Analyze how an author's choices concerning how to structure a text, order events within it (e.g., parallel plots), and manipulate time (e.g., pacing, flashbacks) create such effects as mystery, tension, or surprise.

Speaking and Listening Standards

SL.9-10.1 — Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 9—10 topics, texts, and issues, building on others' ideas and expressing their own clearly and persuasively.

Writing Standards

W.9-10.1 — Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.

W.9-10.1.a — Introduce precise claim(s), distinguish the claim(s) from alternate or opposing claims, and create an organization that establishes clear relationships among claim(s), counterclaims, reasons, and evidence.

W.9-10.1.b — Develop claim(s) and counterclaims fairly, supplying evidence for each while pointing out the strengths and limitations of both in a manner that anticipates the audience's knowledge level and concerns.

W.9-10.3 — Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.

W.9-10.3.a — Engage and orient the reader by setting out a problem, situation, or observation, establishing one or multiple point(s) of view, and introducing a narrator and/or characters; create a smooth progression of experiences or events.

W.9-10.4 — Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.

W.9-10.5 — Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on addressing what is most significant for a specific purpose and audience.

W.9-10.6 — Use technology, including the Internet, to produce, publish, and update individual or shared writing products, taking advantage of technology's capacity to link to other information and to display information flexibly and dynamically.

W.9-10.9 — Draw evidence from literary or informational texts to support analysis, reflection, and research.

W.9-10.9.a — Apply grades 9—10 Reading standards to literature (e.g., "Analyze how an author draws on and transforms source material in a specific work [e.g., how Shakespeare treats a theme or topic from Ovid or the Bible or how a later author draws on a play by Shakespeare]").

W.9-10.9.b — Apply grades 9—10 Reading standards to literary nonfiction (e.g., "Delineate and evaluate the argument and specific claims in a text, assessing whether the reasoning is valid and the evidence is relevant and sufficient; identify false statements and fallacious reasoning").

W.9-10.10 — Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of discipline-specific tasks, purposes, and audiences.

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Sat / act prep online guides and tips, most important themes in the crucible, analyzed.

Book Guides

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 . 

Samantha is a blog content writer for PrepScholar. Her goal is to help students adopt a less stressful view of standardized testing and other academic challenges through her articles. Samantha is also passionate about art and graduated with honors from Dartmouth College as a Studio Art major in 2014. In high school, she earned a 2400 on the SAT, 5's on all seven of her AP tests, and was named a National Merit Scholar.

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