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Putnam: We cannot be sure of that, Goody Ann - Mrs. Putnam, frightened, very? I sent my child - she should learn from Tituba who murdered her sisters. I had not expected such distinguished company, Putnam, pleased, It does not seem to help us today, Mr. Putnam: She cannot eat. Thinks on it. Then, to Proctor and Giles Corey: Do you men have afflicted children? Proctor to Hale: I never spoke on witches one way or the other.
Giles: No - no, John, I think not. Hale, narrowing his eyes: Tries to fly. He goes to the bed, looks down at Betty. Parris: No, no, it were secret - Mrs. Putnam, frightened, very: softly: 1 know it, sir.
Act One 39 Rebecca horrified: Goody Ann! You sent a child to conjure up the dead? Putnam: Let God blame me, not you, not you, Rebecca! To Hale: Is it a natural work to lose seven children before they live a day? Parris: Sssh! Rebecca, with great pain, turns her face away. There is a pause. Hale: Seven dead in childbirth.
Putnam, softly: Aye. Her voice breaks; she looks up at him. Hale is impressed. Parris looks to him. He goes to his books, opens one, turns pages, then reads. All wait, avidly. Parris, hushed: What book is that? Putnam: What's there, sir? Hale, with a tasty love of intellectual pursuit: Here is all the invisible world, caught, defined, and calculated. In these books the Devil stands stripped of all his brute disguises.
Here are all your familiar spirits - your incubi and succubi; your witches that go by land, by air, and by sea; your wizards of the night and of the day. Have no fear now - we shall find him out if he has come among us, and I mean to crush him utterly if he has shown his face! He starts for the bed. Rebecca: Will it hurt the child, sir? Hale: I cannot tell. I am too old for this. She rises. Parris, striving for conviction: Why, Rebecca, we may open up the boil of all our troubles today!
Rebecca: Let us hope for that. I go to God for you, sir. Slight pause. Rebecca: I wish 1 knew. She goes out; they feel resentful of her note of moral superiority. Sit you here. Giles: Mr. Hale: What books? Giles: I cannot tell; she hides them, Hale; Who does this? Giles: Martha, my wife. Now what do you make of that? Last night - mark this - I tried and tried and could not say my prayers. And then she close her book and walks out of the house, and suddenly - mark this - 1 could pray again!
Old Giles must be spoken for, if only because his fate was to be so remarkable and so different from that of all the others. He was in his early eighties at this time, and was the most comical hero in the history. No man has ever been blamed for so much. He was a crank and a nuisance, but Act One 41 withal a deeply innocent and brave man.
The stoppage of prayer - that is strange. To all: Now mark me, if the Devil is in her you will witness some frightful wonders in this room, so please to keep your wits about you. Putnam, stand close in case she flies. Now, Betty, dear, will you sit up? Putnam comes in closer, ready-handed. Hale sits Betty up, but she hangs limp in his hands. He observes her carefully. The others watch breathlessly. Can you hear me? I am John Hale, minister of Beverly. I have come to help you, dear.
Do you remember my two little girls in Beverly? She does not stir in his hands. Parris, in fright: How can it be the Devil? Why would he choose my house to strike? We have all manner of licentious. Hale: What victory would the Devil have to win a soul already bad? It is the best the Devil wants, and who is better than the minister? Paaris, with resolution now: Betty! Answer Mr. Hale: Does someone afflict you, child? It need not be a woman, mind you, or a man. Perhaps some bird invisible to others comes to you - perhaps a pig, a mouse, or any beast at all.
Is there 42 The Crucible some figure bids you fly? The child remains limp in his hands. In silence he lays her back on the pillow Now, holding out his hands toward her, he intones: In nomine Domini Sabaoth sui filiique ite ad infernos.
She does not stir. He turns to Abigail, his eyes narrowing. Abigail, what sort of dancing were you doing with her in the forest? Abigail: Why - common dancing is all. Parris: I think I ought to say that 1 - 1 saw a kettle in the grass where they were dancing. Abigail: That were only soup. Hale: What sort of soup were in this kettle, Abigail? Abigail: Why, it were beans - and lentils, I think, and - Hale: Mr. Parris, you did not notice, did you, any living thing in the kettle? A mouse, perhaps, a spider, a frog -?
Parris, fearfully: I - do believe there were some movement - in the soup. Abigail: That jumped in, we never put it in! Hale, quickly: What jumped in? Abigail: Why, a very little frog jumped - Parris: A frog, Abby! Hale, grasping Abigail: Abigail, it may be your cousin is dying. Did you call the Devil last night? Abigail: I never called him! Tituba, Tituba Parris, blanched: She called the Devil?
Mrs, Putnam exits. Hale: How did she call him? Act One Abigail: I know not - she spoke Barbados. A sudden cold wind, perhaps? A trembling below the ground? Shaking Betty: Betty, wake up. Hale: You cannot evade me, Abigail. Did your cousin drink any of the brew in that kettle? Abigail: She never drank it! Hale: Did you drink it? Abigail: No, sir! Hale ". Did Tituba ask you to drink it?
Abigail: She tried, but I refused. Hale: Why are you concealing? Have you sold yourself to Lucifer? Abigail: I never sold myself! Putnam enters with Tituba, and instantly Abigail points at Tituba. Abigail: She made me do it! She made Betty do it! Abigail: She makes me drink blood! Parris: Blood!! I give she chicken blood! Hale: Woman, have you enlisted these children for the Devil?
Hale: Why can she not wake? Are you silencing this child? Hale; You have sent your spirit out upon this child, have you not? Are you gathering souls for the Devil? Abigail: She sends her spirit on me in church; she makes me laugh at prayer!
Parris: She have often laughed at prayer! Abigail: She comes to me every night to go and drink blood! Abigail: Sometimes I wake and find myself standing in the open doorway and not a stitch on my body!
I always hear her laughing in my sleep. Hale: You most certainly do, and you will free her from it now! When did you compact with the Devil? Parris: You will confess yourself or I will take you out and whip you to your death, Tituba! She must be taken and hanged! Parris: The Devil? Act One 45 Hale: Then you saw him! Tituba weeps. Now Tituba, I know that when we bind ourselves to Hell it is very hard to break with it. Hale: Who? Hale: Does he! It is a clue. Tituba, look into my eyes.
Come, look into me. She raises her eyes to his fearfully. You would be a good Christian woman, would you not, Tituba? Hale: And you love these little children? Hale: And you love God, Tituba? Bless Him. She is rocking on her kness, sobbing in terror. Hale: And to His glory - Tituba: Eternal glory.
Bless Him - bless God Hale: When the Devil comes to you does he ever come - with another person? She stares up into his face, Perhaps another person in the village? Someone you know. Parris: Who came with him? Did you ever see Sarah Good with him? Or Osbum? Parris: Was it man or woman came with him?
Was - was woman. Parris: What woman? A woman, you said. What woman? Salem witches? Now Hale takes her hand. She is surprised. Hale: Tituba. You must have no fear to tell us who they are, do you understand? We will protect you. The Devil can never overcome a minister. You know that, do you not? And we will bless you, Tituba. Tituba, deeply relieved: Oh, God bless you, Mr.
You are selected, Tituba, you are chosen to help us cleanse our village. So speak utterly, Tituba, turn your back on him and face God - face God, Tituba, and God will protect you. Hale, kindly: Who came to you with the Devil? How many? Act One 47 Tituba pants, and begins rocking back and forth again, staring ahead. Tituba: There was four. There was four. Parris, pressing in on her: Who? Their names, their names! Tituba, suddenly bursting out: Oh, how many times he bid me.
Parris: Kill me! Parris must be kill! Parris no goodly man, Mr. Parris mean man and no gentle man, and he bid me rise out of my bed and cut your throat! They gasp. I give you pretty dress to wear, and put you way high up in the air, and you gone fly back to Barbados! I have white people belong to me. Parris: Sarah Good! Putnam: I knew it! Goody Osbum were midwife to me three times.
I begged you, Thomas, did I not? I begged him not to call Osburn because I feared her. My babies always shriveled in her hands! Hale: Take courage, you must give us all their names.
How can you bear to see this child suffering? Look at her, Tituba. He is indicating Betty on the bed. Look at her God-given innocence; her soul is so tender; we must protect her, Tituba; the Devil is out and preying on her like a beast upon the mesh of the pure lamb.
God will bless you for your help. They turn to her, startled. She is enraptured, as though in a pearly light. I want the light of God, I want the sweet love of Jesus!
I saw Sarah Good with the Devil! I saw Goody Osbum with the Devil! I saw Bridget Bishop with the Devil! As she is speaking, Betty is rising from the bed, a fever in her eyes, and picks up the chant. Betty, staring too: I saw George Jacobs with the Devil! I saw Goody Howe with the Devil! Parris: She speaks!
He rushes to embrace Betty. She speaks! Hale: Glory to God! It is broken, they are free! Betty, calling out hysterically and with great relief: I saw Martha Bellows with the Devil! Abigail: I saw Goody Sibber with the Devil! It is rising to o great glee. Parris is shouting a prayer of thanksgiving. The curtain begins to fall. Hale, as Putnam goes out: Let the marshal bring irons! Abigail: I saw Goody Hawkins with the Devil! Abigail: I saw Goody Booth with the Devil! At the right is a door opening on the fields outside.
A fireplace is at the left, and behind it a stairway leading upstairs. It is the low, dark, and rather long living room of the time. As the curtain rises, the room is empty. From above, Elizabeth is heard softly singing to the children. Presently the door opens and John Proctor enters, carrying his gun. He glances about the room as he comes toward the fireplace, then halts for an instant as he hears her singing. He continues on to the fireplace, leans the gun against the wall as he swings a pot out of the fire and smells it.
Then he lifts out the ladle and tastes. He is not quite pleased. He reaches to a cupboard, takes a pinch of salt, and drops it into the pot. As he is tasting again, her footsteps are heard on the stair. He swings the pot into the fireplace and goes to a basin and washes his hands and face, Elizabeth enters. Elizabeth: What keeps you so late? Proctor: I were planting far out to the forest edge.
Proctor: Aye, the farm is seeded. The boys asleep? And she goes to the fireplace, proceeds to ladle up stew in a dish.
Proctor: Pray now for a fair summer. Elizabeth: Aye. Proctor: Are you well today? Elizabeth: I am. She brings the plate to the table, and, indi-cating the food:. 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.
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. While Kazan folded under the pressure of condemnation as so many do in The Crucible, Miller chose to stand tall in the face of such persecution and protect his name. This historical reality plagued Miller through the era and led him to write such a poignant work about an equally destructive time in American history.
Recognizing the relevance of these issues as Miller saw them allows a contemporary exposure to The Crucible to carry the implications it deserves. House Committee on Un-American Activities. Dissertation, University of New York at Buffalo, Images: Above left: Lights, camera, action in Committee hearing. Below left: Block, Herbert, Artist. Below right: Kavallines, James, photographer.
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