This play turned out to be one of the most relevant plays of the past and of today. Miller uses logos to give his article the factual appeal needed to be credible. At a certain point, the high court of the province made the fatal decision to admit, for the first time, the use of "spectral evidence" as proof of guilt.
When Miller is describing the various events in history that relate to the Red Scare, he writes: With three simple phrases, Miller significantly set up his audience to realize the main point by revealing the tone right off the bat.
The people really believed that Lucifer was roaming the streets of Salem seeking to destroy the town and seeking to destroy the institution of the church. There was bad blood between the two women now.
He later translated Kazantzakis. In this article, he used diction to convey the negative tone he needed to set up the audience for his persuasive appeal that communicated his purpose to the audience. How could one deal with such enormities in a play? If the right events and the right people trigger such a scare, our country could be in a state of mass hysteria as it was two times already.
Nobody wants to be in jail, and the thought of a pregnant woman in a freezing cold jail cell makes the reader feel the sad tone that Miller is striving for. As in the film, nearly fifty years later, the actors in the first production grabbed the language and ran with it as happily as if it were their customary speech.
Yet I kept being drawn back to it. I remember how inonly twenty years after the war, Harold Clurman, the director of Incident at Vichy, showed the cast a film of a Hitler speech, hoping to give them a sense of the Nazi period in which my play took place. Upham, who was then the mayor of Salem -- that I knew I had to write about the period.
They watched as Hitler, facing a vast stadium full of adoring people, went up on his toes in ecstasy, hands clasped under his chin, a sublimely self-gratified grin on his face, his body swivelling rather cutely, and they giggled at his overacting. Racial profiling and accusations may be prominent in our country once again!
Nor is the new screen version the first. The people of Salem believed in the devil and thought that witchcraft should be hunted out.
Naturally, the best proof of the sincerity of your confession was your naming others whom you had seen in the Devil company -- an invitation to private vengeance, but made official by the seal of the theocratic state.
In truth, most of those who were hanged in Salem were people of substance, and two or three were very large landowners. Both events were irrational fears that witchcraft and communism were going to change the face of society if drastic measures were not taken.
All this I understood. The events that led up to the Salem witch trails and McCarthyism was also similar.
I had not approached the witchcraft out of nowhere or from purely social and political considerations. The critics were not swept away.
Nobody seems even to have thought to ask. Moving crabwise across the profusion of evidence, I sensed that I had at last found something of myself in it, and a play began to accumulate around this man.
By denying that there is any reason whatsoever for you to be accused, you are implying, by virtue of a surprisingly small logical leap, that mere chance picked you out, which in turn implies that the Devil might not really be at work in the village or, God forbid, even exist.
In any play, however trivial, there has to be a still point of moral reference against which to gauge the action. Spectral evidence, so aptly named, meant that if I swore that you had sent out your "familiar spirit" to choke, tickle, poison me or my cattle, or to control thoughts and actions, I could get you hanged unless you confessed to having had contact with the Devil.
It is a purely a controversial play, so why write a play knowing the danger you were putting yourself in? That plain, craggy English was liberating in a strangely sensuous way, with its swings from an almost legalistic precision to a wonderful metaphoric richness.
A group of anti-communist battle began and it was led by an America politician called Joseph Raymond McCarthy. About a year later, a new production, one with younger, less accomplished actors, working in the Martinique Hotel ballroom, played with the fervor that the script and the times required, and The Crucible became a hit.
It is evident that this hysteria ruined the lives of many people, due to the constant accusations of witches and communists. I was also drawn into writing The Crucible by the chance it gave me to use a new language -- that of seventeenth-century New England.
In Salem the accused are the communists and the accusers are McCarthyists. It was as though the court had grown tired of thinking and had invited in the instincts: But below its concerns with justice the play evokes a lethal brew of illicit sexuality, fear of the supernatural, and political manipulation, a combination not unfamiliar these days.
The anti-Communist liberals could not acknowledge the violations of those rights by congressional committees. Immediately Abigail cried out her fingers, her fingers, her fingers burned McCarthy -- brash and ill-mannered but to many authentic and true -- boiled it all down to what anyone could understand:Arthur Miller is an American playwright who wrote The Crucible in Thus, the play was written on the heels of World War II, which ended inand was written during a time in which the United States was becoming increasingly concerned about the rising power of the Soviet Union.
When Arthur Miller’s The Crucible was being made into a movie, he decided to write an article called “Why I Wrote the Crucible” in the New Yorker. Using the ‘Salem Witch Trials’ of the early s as a precinct, Arthur Miller wrote The Crucible.
The characters in the play are faced with the same tragedies & sentences that befell people during the McCarthyism trials; he uses the ‘Salem Witch Trials’ as a metaphor to draw national attention towards the doings and executioners of the.
Why I Wrote The Crucible Essay By: Arthur Miller Date: Source: Miller, Arthur. Why I Wrote The Crucible. The New Yorker, October 21 and 28,About the Author: Playwright Arthur Miller () was born in New York. He worked numerous odd jobs from truck Miller s essay Why I Wrote The Cru.
Miller wrote "The Crucible" in about a year. Plays by Miller and others had already been boycotted and banned by various organizations. The play opened on Broadway to.
An Analytical Essay Explaining Why Arthur Miller Wrote The Crucible Authors often have underlying reasons for giving their stories certain themes or settings. Arthur Miller’s masterpiece, The Crucible, is a work of art inspired by actual events as a response to political and moral issues.Download