Product Description

Based on historical people and real events, Arthur Miller's play uses the destructive power of socially sanctioned violence unleashed by the rumors of witchcraft as a powerful parable about McCarthyism.

Introduction by Christopher Bigsby

Product Details

• Amazon Sales Rank: #13968 in Books
• Published on: 2003-03-25
• Released on: 2003-03-25
• Original language: English
• Number of items: 1
• Binding: Paperback
• 176 pages

Features

• ISBN13: 9780142437339
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.
• Click here to view our Condition Guide and Shipping Prices

About the Author
Arthur Miller, born in New York City, has been a prominent and influential playwright for the last half-century. His works include Death of a Salesman, The Crucible, and All My Sons. He has twice won the New York Drama Critics Circle Award and in 1949 was awarded the Pulitzer Prize.

Christopher Bigsby is professor of American studies at the University of East Anglia, in Norwich, England.

Customer Reviews

A Moving and Brilliant Play
The play's main narrative line tells the story of the Salem witch hunts which took place in Massachusetts, 1692. At a deeper level, Miller raises several powerful and important questions about human life and morality. But the play's most amazing quality is that it is not "deep" or "philosophical" by traditional standards. Miller has, in a short and easy-to-read manuscript, opened the door (or maybe I should say he presents the reader with a mirror) to modern political life.

The play is essentially a crtique of McCarthyism and the the communist scare of the 1950s. Miller saw the parallels between the witch hunts and the McCarthy trials, and found the witch trials to be a compelling vehicle for discussing modern events. Key themes include:

1. People gaining absolution from the powers-that-be by confessing the sins of others.
2. The power of community rituals, such as confession.
3. The role of political opposition and the consequences of compliance (passive or active).
4. The consequences of a polarized world views and mass hysteria.

These are just a few of the themes. The play is quite clearly a great tragedy, but remains a tragedy for our times. Through characters we can connect with, Miller convincingly shows us that the lessons from the witch hunts still apply. As a reader, I am convinced that Miller's play remains relevant and powerful in the twenty-first century. Miller has left me with questions, regarding world events in 2002 and 2003, that I did not have before reading the play.

I read this play in only a couple hours. It is compelling, engaging, and difficult to put down. Personally, I feel this text stands a great chance of making it onto my "top ten" list of best manuscripts. I highly recommend this play.

Frightening Possibilities
As usual, Arthur Miller was in rare form when he wrote "The Crucilble." Although on the surface it is about the Salem Witch Trials, Miller's true inspiration came from the Red Scare that plagued Hollywood in the middle of the twentieth century (and included his pal Elia Kazan). The fact that Miller wove factual history with the hysteria of his day makes "The Crucible" all the more chilling.

Throughout the course of the play, a collection of teenage girls 'confess' to having seen various women and men of the town of Salem with the devil. This hysteria sweeps over the town as even the authorities fall under the sway of these lying young girls. Caught in the middle of these hysteronics is the Proctor family - John and Elizabeth, who have struggled in the past, but are trying to rebuild their marriage. They are rent apart when Elizabeth is suspected of being a witch. John hopes to clear his wife's name, but only manages to make matters worse for both of them.

The hysteria experienced in Salem is chilling in the fact that these sorts of witch hunts occur today, in all different areas of society. "The Crucible" shows how easily people can be swayed, with the barest of evidence, to believe something that is false. Miller's play is extremely well-written and informative, and almost too frighteningly real.

A Timeless Parable; A Theatrical Masterpiece
Like many others, Elia Kazan flirted with the American Communist party in the 1930s; again like many others he was soon disgusted by the vicious totalitarianism of the Soviet Union and left the party. In the 1940s Kazan emerged as a major director, creating such films as GENTLEMAN'S AGREEMENT for the screen and staging playwright Arthur Miller's landmark dramas ALL MY SONS and DEATH OF A SALESMAN--but in the early 1950s his former affiliation with the American Communist Party came back to haunt him the form of the House Unamerican Activities Committee.

In the wake of World War II the American goverment began to fear that Soviet agents had infiltrated the country and were working for the overthow of American democracy. The film industry became a hotspot of investigation, with conservatives claiming that motion pictures were being used to popularize communist thought. Unfortunately, the House Unamerican Activities Committee was less interested in getting to the truth of the matter than in maintaining political power: American citizens were hauled before the committee; attacked, often for no reason; and found their careers and lives destroyed as a result. But there was a way around this. If you confessed you had been a communist (whether you had been or not), if you recanted your former beliefs (whether you had held them or not), and if you named names of others involved in the party (whether they had been or not)--you could survive. And when Kazan was called before the committee in 1952 that is precisely what he did.

Arthur Miller was so outraged by Kazan's behavior that he terminated both their longstanding friendship and highly successful working relationship; although they would eventually resume a working relationship, they had no contact for more than a decade. He also wrote a play about the situation: THE CRUCIBLE.

On the surface, THE CRUCIBLE is a retelling of the infamous Salem witch trials of 1692. The power-hungry Rev. Parrish has met with resistance in the town, and when his daughter Betty, his ward Abigail, and several other teenage girls are found dancing in the wood the community fears the worst: witchcraft. In order to protect himself, Parrish calls in Rev. Hale, an expert in such matters. In order to protect themselves, the girls confess--and then begin to name names of "other witches." In order to placate the court, those named must name others in turn, and the lies and hysteria turn into a cycle of power-grabs and revenge.

Among those named as a witch is Elizabeth Proctor, wife of John Proctor--a man who had a sordid affair with Abigail, who now sees the opportunity to get rid of Elizabeth via hanging and force Proctor into marriage. In an effort to protect his wife, Proctor goes before the court and denounces Abigail, but Abigail now turns on him as well, accusing him of being a witch. He is arrested and sentenced to hang. Rev. Hale, now aware of the fraud involved, begs Proctor to confess, even though the confession will be a lie. Proctor refuses and pays for his integrity with his life.

In broad historical outline, Miller's tale of the witch trials is quite accurate; he does, however, take considerable license with individual characters and relationships. Whatever the case, the result is a uniquely powerful play, not only as a story pure and simple but on a deeper level in its warning against the communist witch hunt of the 1950s--and any similar witch hunt, regardless of nature, which relies on a process created by those with ulterior motives and uses as evidence testimony extracted by fear of reprecussion. While most consider DEATH OF A SALESMAN Miller's finest play, I have always given that title to THE CRUCIBLE; unlike SALESMAN, which has a dated quality, THE CRUCIBLE has a timeless quality, remarkable in intensity, thought-provoking in subtext in ways which most plays are not. Strongly recommended.

GFT, Amazon Reviewer