The Crucible
Community
In this play, the people of the town were always aware of everyone else’s business. No secrets were kept in the community. So, when people started to talk about witchcraft and accusing others of it, everyone knew very quickly.
Everyone and everything belonged to God or the Devil.
These villagers believed in witches and the infallibility of the bible.
Anyone, in the community that doubted any evidence given against an accused person, would be questioning God’s will.
The tensions caused in the community because of the witch trials, led to a confrontations between characters.
Key Characters
Although all characters are linked to the community, Reverend Parris and Reverend Hale are the key ones.
Reverend Parris
Although Parris is meant to be the leader of the town, he changes through the duration of the play. He separates himself from the town and his own family, resulting in the breakdown
of the entire community. He also divides the community by claiming that he doesn’t get enough money and demanding possessions, such as the house that he lives in. This starts arguments between the characters
He shows more concern over his own reputation than his own daughter’s welfare at the beginning. His concerns over his reputation develop throughout the play.
Stage Description
The smallness of the room in Parris’ house symbolises the narrow-mindedness of the community.
Reverend Hale
Hale arrives in the town to question people, as an expert on witchcraft. He investigates who goes to church and who works on Sundays, to see who should be under the suspicion of witchcraft
At first he is arrogant, but his confidence erodes when he realises that the girls may be lying in the court. He finds himself caught up in the hysteria of the community.
McCarthyism
The McCarthy hearings were when people were put under suspicion of being a communist because they were involved in Anti-American activities.
The play has a strong link with the McCarthy hearings of the late 50’s and early 60’s in America. The witch trials symbolise McCarthyism and the community represents the American society of that period.
Thursday, November 22, 2007
Tuesday, November 13, 2007
Act 1 of "The Crucible"
Act 1
First performed in January of 1953, The Crucible is first and foremost an allegorical tale relating the Salem witchcraft trials to their contemporary equivalent in Miller's time, the McCarthy hearings. The figurative witch hunt of McCarthyism becomes literal in Miller's play, which is constructed to illustrate how fear and hysteria mixed with an atmosphere of persecution may lead to tragically unjust consequences.
Miller presents the play with traditional theatrical devices, relying on the dialogue and situations to illustrate his themes, but finds these somewhat insufficient; in the first act the play therefore contains a number of historical digressions that reveal the motivations of each character and which cannot be accurately conveyed through a strict stage interpretation.
Through these prose passages that interrupt the dialogue and action of the play, Miller establishes the particular quality of Salem society that makes it particularly receptive to the repression and panic of the witch trials. The Puritan life in Salem is rigid and sombre, allowing little room for persons to break from the monotony and strict work ethic that dominated the close-knit society.
Furthermore, the Puritan religious ethic informed all aspects of society, promoting safeguards against immorality at any cost to personal privacy or justice. The Puritans of Massachusetts were a religious faction who, after years of suffering persecution themselves, developed a willful sense of community to guard against infiltration from outside sources. It is this paradox that Miller finds to be a major theme of The Crucible: in order to keep the community together, members of that community believe that they must in some sense tear it apart.
Miller relates the intense paranoia over the integrity of the Puritan community to their belief that they are in some sense a chosen people who will forge a new destiny for the world. This relates strongly to the political climate of the early 1950s in which Miller wrote The Crucible. After the end of the second world war, the United States found itself engaged in a struggle for political supremacy with communist forces, in particular the Soviet Union; just as the Salem authorities believe that witchcraft threatens their community, many Americans during this time saw communism as a threat to the American way of life.
However, the Salem witch trials as described by Miller have a sexual element that runs concurrent with the political aspects of the allegory. The community is one that promotes interference in all personal matters and intensely frowns upon any sinful conduct without allowing for any legitimate expurgation of sin. The witch trials serve as a means to break from this stifling atmosphere and publicly confess one's sins through accusation.
This simultaneous fear of and fascination with sexuality is a theme that predominates throughout The Crucible, as demonstrated by the particular relationship between Abigail Williams and John Proctor and the sexual undertones of the dancing that instigates the witchcraft trials, and it also relates to the quality of 1950s culture in which the play was written.
The first act establishes the primary characters of the play who instigate the Salem witch trials. Each has his particular obsessions and motivations that drive him to push for the trials. The first and perhaps most reprehensible of these characters is the Reverend Samuel Parris, a man who symbolizes the particular quality of moral repression and paranoia that characterize the trials. Miller immediately establishes Parris as a man whose main concern is his reputation and status in the community and not the well-being of his daughter, for whom he shows little emotion. It is Tituba who shows more concern for Betty Parris than her father, who rules his household as an autocrat.
When he discusses finding Abigail and Betty dancing in the woods, his concern is not the sin that they committed but rather the possibility that his enemies may use this sin against him. Parris will manifest a sharp paranoia concerning possible enemies, even when they may not exist. The particular quality of Parris that renders him dangerous is his strong belief in the presence of evil; even before the witchcraft paranoia, Proctor indicates that Parris showed an obsession with damnation and hell in order to strike fear into his parishioners. With the seeming presence of witchcraft in Salem, Parris now has a concrete, physical manifestation of the evil he so fears.
Abigail Williams is a less complex character whose motivations are simple; she is a clear villain with straightforward malicious motivation. Miller establishes that Abigail is suspected of adultery with John Proctor, a rumor that is confirmed later in the first act, while Abigail physically threatens the other girls if they disobey her. Abigail demonstrates a great ability for self-preservation: she admits what she must at appropriate times, and places the blame for her actions at the most convenient source, Tituba, when she realizes that it is the most savvy course of action.
Abigail's lack of any morality renders her able to charge others with witchery no matter the consequences. The third character who serves as a proponent of the witchcraft hysteria is Thomas Putnam. While Putnam's motivation is suspicion and paranoia and Abigail's is mere villainy, Thomas Putnam demonstrates that his motivation is his longstanding grudges against others; the witchcraft trials give Putnam an opportunity to exact revenge against others, and, as will later be shown, to profit economically from others' executions.
The final character who sets the witchcraft trials in motion is Reverend John Hale. Hale is perhaps the most complex character in The Crucible, a man who approaches religious matters with the conviction of a scientist and a scientific emphasis on proper procedure. Hale holds the contradictory belief that they cannot rely on superstition to solve the girls' problems but that they may find a supernatural explanation for the events. Since he lacks the malicious motivations and obsessions that plague the other instigators of the trials, Reverend Hale has the ability to change his position, yet at this point he finds himself caught up in the hysteria he has helped to create.
In contrast to these four characters stand the three main opponents of the witchcraft accusations. The Nurses are the most straightforward of these; Miller portrays Rebecca Nurse and her husband as near saints who rely on practical wisdom and experience. In contrast, Giles Corey has none of the noble character of the Nurses, yet he can oppose Parris and Putnam because of his contentious, combative manner. Giles Corey is a man who cares not for public opinion and may therefore choose whichever position he finds most suitable, even if it places him in danger.
However, Miller places John Proctor as the main protagonist of the story and its moral center. Proctor, as Miller writes, is a man who can easily discern foolishness and has the will to oppose it. He is a rational man with a brusque manner who, like Giles Corey, has no qualms about expressing his opinion. Miller portrays Proctor as a decidedly modern character, who eschews superstition for rationality and expresses skepticism for the trappings of organized religion, particularly the obsession with hellfire and damnation that Parris expresses.
The particularly modern quality of John Proctor draws the audience sympathy to him, even if he is a self-professed sinner who had an affair with Abigail Williams. Yet this is the single sin that Proctor manifests and exists more as a plot point than as an organic character trait. The Proctor that Miller portrays throughout The Crucible seems hardly capable of giving in to lust for a manipulative and demonstrably wicked young girl.
Several significant themes emerge early in the play. One of these that Miller develops throughout the act is the capability for gossip and rumors to disseminate throughout the close-knit society of Salem. Miller establishes that Salem is a society in which little information is considered private; there is no line between public and private conduct, for all information is open to suspicion and question. This correlates to the McCarthy hearings, which probed into the lives of the suspected communists for evidence of their anti-American activity, no matter the actual relevance.
Perhaps the most important theme that Miller develops in this act is the ability for accusations to snowball. The charges against the girls and Tituba become perpetually more significant: at first they are accused of merely dancing, then of dancing naked. The charges proceed until Tituba is deemed a witch and accuses others of conspiring with Satan. Legitimate charges of dancing and sinful activity increase in magnitude until charges of Satanism arise. The irony of this situation is that the fight against sinfulness in Salem will become more sinful and malicious than any of the actual events that occurred.
First performed in January of 1953, The Crucible is first and foremost an allegorical tale relating the Salem witchcraft trials to their contemporary equivalent in Miller's time, the McCarthy hearings. The figurative witch hunt of McCarthyism becomes literal in Miller's play, which is constructed to illustrate how fear and hysteria mixed with an atmosphere of persecution may lead to tragically unjust consequences.
Miller presents the play with traditional theatrical devices, relying on the dialogue and situations to illustrate his themes, but finds these somewhat insufficient; in the first act the play therefore contains a number of historical digressions that reveal the motivations of each character and which cannot be accurately conveyed through a strict stage interpretation.
Through these prose passages that interrupt the dialogue and action of the play, Miller establishes the particular quality of Salem society that makes it particularly receptive to the repression and panic of the witch trials. The Puritan life in Salem is rigid and sombre, allowing little room for persons to break from the monotony and strict work ethic that dominated the close-knit society.
Furthermore, the Puritan religious ethic informed all aspects of society, promoting safeguards against immorality at any cost to personal privacy or justice. The Puritans of Massachusetts were a religious faction who, after years of suffering persecution themselves, developed a willful sense of community to guard against infiltration from outside sources. It is this paradox that Miller finds to be a major theme of The Crucible: in order to keep the community together, members of that community believe that they must in some sense tear it apart.
Miller relates the intense paranoia over the integrity of the Puritan community to their belief that they are in some sense a chosen people who will forge a new destiny for the world. This relates strongly to the political climate of the early 1950s in which Miller wrote The Crucible. After the end of the second world war, the United States found itself engaged in a struggle for political supremacy with communist forces, in particular the Soviet Union; just as the Salem authorities believe that witchcraft threatens their community, many Americans during this time saw communism as a threat to the American way of life.
However, the Salem witch trials as described by Miller have a sexual element that runs concurrent with the political aspects of the allegory. The community is one that promotes interference in all personal matters and intensely frowns upon any sinful conduct without allowing for any legitimate expurgation of sin. The witch trials serve as a means to break from this stifling atmosphere and publicly confess one's sins through accusation.
This simultaneous fear of and fascination with sexuality is a theme that predominates throughout The Crucible, as demonstrated by the particular relationship between Abigail Williams and John Proctor and the sexual undertones of the dancing that instigates the witchcraft trials, and it also relates to the quality of 1950s culture in which the play was written.
The first act establishes the primary characters of the play who instigate the Salem witch trials. Each has his particular obsessions and motivations that drive him to push for the trials. The first and perhaps most reprehensible of these characters is the Reverend Samuel Parris, a man who symbolizes the particular quality of moral repression and paranoia that characterize the trials. Miller immediately establishes Parris as a man whose main concern is his reputation and status in the community and not the well-being of his daughter, for whom he shows little emotion. It is Tituba who shows more concern for Betty Parris than her father, who rules his household as an autocrat.
When he discusses finding Abigail and Betty dancing in the woods, his concern is not the sin that they committed but rather the possibility that his enemies may use this sin against him. Parris will manifest a sharp paranoia concerning possible enemies, even when they may not exist. The particular quality of Parris that renders him dangerous is his strong belief in the presence of evil; even before the witchcraft paranoia, Proctor indicates that Parris showed an obsession with damnation and hell in order to strike fear into his parishioners. With the seeming presence of witchcraft in Salem, Parris now has a concrete, physical manifestation of the evil he so fears.
Abigail Williams is a less complex character whose motivations are simple; she is a clear villain with straightforward malicious motivation. Miller establishes that Abigail is suspected of adultery with John Proctor, a rumor that is confirmed later in the first act, while Abigail physically threatens the other girls if they disobey her. Abigail demonstrates a great ability for self-preservation: she admits what she must at appropriate times, and places the blame for her actions at the most convenient source, Tituba, when she realizes that it is the most savvy course of action.
Abigail's lack of any morality renders her able to charge others with witchery no matter the consequences. The third character who serves as a proponent of the witchcraft hysteria is Thomas Putnam. While Putnam's motivation is suspicion and paranoia and Abigail's is mere villainy, Thomas Putnam demonstrates that his motivation is his longstanding grudges against others; the witchcraft trials give Putnam an opportunity to exact revenge against others, and, as will later be shown, to profit economically from others' executions.
The final character who sets the witchcraft trials in motion is Reverend John Hale. Hale is perhaps the most complex character in The Crucible, a man who approaches religious matters with the conviction of a scientist and a scientific emphasis on proper procedure. Hale holds the contradictory belief that they cannot rely on superstition to solve the girls' problems but that they may find a supernatural explanation for the events. Since he lacks the malicious motivations and obsessions that plague the other instigators of the trials, Reverend Hale has the ability to change his position, yet at this point he finds himself caught up in the hysteria he has helped to create.
In contrast to these four characters stand the three main opponents of the witchcraft accusations. The Nurses are the most straightforward of these; Miller portrays Rebecca Nurse and her husband as near saints who rely on practical wisdom and experience. In contrast, Giles Corey has none of the noble character of the Nurses, yet he can oppose Parris and Putnam because of his contentious, combative manner. Giles Corey is a man who cares not for public opinion and may therefore choose whichever position he finds most suitable, even if it places him in danger.
However, Miller places John Proctor as the main protagonist of the story and its moral center. Proctor, as Miller writes, is a man who can easily discern foolishness and has the will to oppose it. He is a rational man with a brusque manner who, like Giles Corey, has no qualms about expressing his opinion. Miller portrays Proctor as a decidedly modern character, who eschews superstition for rationality and expresses skepticism for the trappings of organized religion, particularly the obsession with hellfire and damnation that Parris expresses.
The particularly modern quality of John Proctor draws the audience sympathy to him, even if he is a self-professed sinner who had an affair with Abigail Williams. Yet this is the single sin that Proctor manifests and exists more as a plot point than as an organic character trait. The Proctor that Miller portrays throughout The Crucible seems hardly capable of giving in to lust for a manipulative and demonstrably wicked young girl.
Several significant themes emerge early in the play. One of these that Miller develops throughout the act is the capability for gossip and rumors to disseminate throughout the close-knit society of Salem. Miller establishes that Salem is a society in which little information is considered private; there is no line between public and private conduct, for all information is open to suspicion and question. This correlates to the McCarthy hearings, which probed into the lives of the suspected communists for evidence of their anti-American activity, no matter the actual relevance.
Perhaps the most important theme that Miller develops in this act is the ability for accusations to snowball. The charges against the girls and Tituba become perpetually more significant: at first they are accused of merely dancing, then of dancing naked. The charges proceed until Tituba is deemed a witch and accuses others of conspiring with Satan. Legitimate charges of dancing and sinful activity increase in magnitude until charges of Satanism arise. The irony of this situation is that the fight against sinfulness in Salem will become more sinful and malicious than any of the actual events that occurred.
Act 2 - "The Crucible"
Act 2
While the first act takes place in the ostensibly Œpublic' 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 intimate and even at times mundane, but there is a significant subtext of tension that remains between the couple that is undoubtedly caused by 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. Elizabeth has made her home into a repressive atmosphere, as she continues to punish her husband for his wrongdoing. Still, if Elizabeth Proctor adopts a tone of moral superiority it is because she is in a significant sense 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 the larger Puritan society. John 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 weight of John's adultery is a perpetual consideration.
Miller demonstrates this, in particular, when Proctor states the Ten Commandments; while John, likely motivated by guilt, wishes to forget the commandment against adultery, it is Elizabeth who offers him a sharp reminder. 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 the husband's infidelity.
Two major themes emerge in the second act of The Crucible. The first of these is the line between public and private. The chapter 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 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 validity 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. This certainly relates to the intense public scrutiny of Miller's contemporary McCarthy hearings in which information about who was present at communist meetings years before was considered relevant.
The second major theme of the act is the ambiguity of evidence. This begins even before Hale arrives at the Proctors' home, when Elizabeth Proctor construes John's late arrival at home as possible evidence that he may be guilty of additional indiscretions. This continues with Reverend Hale's misinterpretation of John's forgetfulness of one of the Ten Commandments and the evidence against Martha Corey, which deems her a witch for reading books.
The most significant symbol of this theme in the second act is Mary Warren's poppet. Although Miller makes it clear to the audience that Proctor did not use the poppet as a charm against Abigail Williams, its presence in the house certain attests to this conclusion.
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 serves to break 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 the two 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 a Satanic alliance. In this situation the evil persons 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 effect this act. 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.
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 the enthusiasm of before; although he clings to his belief in the absolute certainty of finding proof of witchery within Salem, Hale appears 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.
While the first act takes place in the ostensibly Œpublic' 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 intimate and even at times mundane, but there is a significant subtext of tension that remains between the couple that is undoubtedly caused by 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. Elizabeth has made her home into a repressive atmosphere, as she continues to punish her husband for his wrongdoing. Still, if Elizabeth Proctor adopts a tone of moral superiority it is because she is in a significant sense 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 the larger Puritan society. John 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 weight of John's adultery is a perpetual consideration.
Miller demonstrates this, in particular, when Proctor states the Ten Commandments; while John, likely motivated by guilt, wishes to forget the commandment against adultery, it is Elizabeth who offers him a sharp reminder. 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 the husband's infidelity.
Two major themes emerge in the second act of The Crucible. The first of these is the line between public and private. The chapter 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 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 validity 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. This certainly relates to the intense public scrutiny of Miller's contemporary McCarthy hearings in which information about who was present at communist meetings years before was considered relevant.
The second major theme of the act is the ambiguity of evidence. This begins even before Hale arrives at the Proctors' home, when Elizabeth Proctor construes John's late arrival at home as possible evidence that he may be guilty of additional indiscretions. This continues with Reverend Hale's misinterpretation of John's forgetfulness of one of the Ten Commandments and the evidence against Martha Corey, which deems her a witch for reading books.
The most significant symbol of this theme in the second act is Mary Warren's poppet. Although Miller makes it clear to the audience that Proctor did not use the poppet as a charm against Abigail Williams, its presence in the house certain attests to this conclusion.
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 serves to break 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 the two 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 a Satanic alliance. In this situation the evil persons 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 effect this act. 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.
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 the enthusiasm of before; although he clings to his belief in the absolute certainty of finding proof of witchery within Salem, Hale appears 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.
Act 3 of "The Crucible"
Act 3
Among the characters in the play, it is Deputy Governor Danforth who seems to provide the most obvious symbol of Senator Joseph McCarthy. Danforth rules over the proceedings as if he automatically has assigned guilt to the accused suspects, and adopts a harsh and vindictive air. However, Miller does not make Danforth a direct equivalent of the irrational demagogue McCarthy; rather, Danforth is a stern, cold man of unfailing faith in his judicial powers.
He does not manifest any particular political ambition, but instead acts to preserve the strength of the court over which he rules. This does make Danforth suspicious of any attack on the plaintiffs and the proceedings, but does allow him some room for flexibility. He uses reason to persuade Proctor to drop his charges against Abigail, telling him that his wife is spared for at least a year and that he need not worry about her execution.
. It is Danforth's stern rationality that makes him a more disturbing figure; he is not a malicious villain equivalent to Abigail Williams or Thomas Putnam, but rather a man who operates out of intense faith in the integrity of his court. He operates under the assumption that good and evil can be clearly and intensely defined, a flaw of tragic irony. In his desperate hope to sharply delineate good and evil, Danforth becomes the willing accomplice of those who obscure this line.
It is Reverend Parris who appears as the demagogue in this act of the play, denouncing all challenges to the court as challenges to Christianity and God himself. Parris is paranoid and foolish, demanding that all ninety-one people who attest to the good name of the three accused women be brought in for questioning. It is Parris' rabid defense of the trials that finally causes Hale to break from the court and offer a defense of the Proctors, Coreys and Nurses.
Parris knows that the trials are a fraud and that the girls are lying, yet continues to push against witchcraft to suit his ends.
Miller develops the motivations of the proponents of the witchcraft trials in this chapter. Reverend Parris remains motivated by suspicion and paranoia, while Thomas Putnam moves from an original motivation of grudges against others to unabashed greed. Abigail Williams, in contrast, has moved from self-preservation to a more general lust for power. However, upon the arrest of Rebecca Nurse and Elizabeth Proctor, Reverend Hale now eschews the supernatural explanations for more concrete, legal explanations.
He redeems himself from his role as a Pontius Pilate by serving as an advocate for justice. This is significant, for it provides concrete evidence that opposition to the trials does not necessarily mean opposition to law and order.
Deputy Governor Danforth espouses the central irony of the witchcraft trials: because there can be no concrete evidence of witchcraft, one must automatically assume that accusations are true, for the only two persons who take part in the crime are the witch and the victim, and the witch will never accuse herself. This essentially negates the idea of evidence, taking opinion and allegation to be concrete fact. It is this flaw that on which Abigail Williams and the other girls capitalize when making their accusations.
Miller establishes that it takes only a simple accusation for a person to be convicted of witchcraft. Thomas Putnam uses this for economic gain, coercing his daughter into accusing George Jacobs so that he may purchase his land once Jacobs has been executed. Yet it is Abigail Williams who brings this particular quality into sharp relief. Abigail is intense and dramatic; she targets the weak-willed Mary Warren, knowing that she will easily break from her alliance with Proctor once challenged.
When Abigail pretends to see a yellow bird attacking her, it is an obvious falsehood, yet the court accepts it as truth because they have established that such evidence is irrefutable proof.
The chapter culminates to encompass two central ironies. The first of these is that, to prove his own innocence and prove himself faithful to his wife, John Proctor must publicly declare his infidelity. To save Elizabeth and protect himself from an inevitable accusation of witchcraft, Proctor must tear down his name and condemn himself for the crime of lechery.
Despite Proctor's obvious sin, this places Proctor as a martyr, sacrificing any chance for a good reputation in Salem, where public reputation is essential, in order to save his wife and others wrongly accused of witchcraft.
The second irony involves the testimony of Elizabeth Proctor. To save her husband from accusations of witchcraft, she must condemn him for lechery. Miller establishes that she is an honest woman who never lies, yet at the moment in which her honesty is most critical she chooses the noble yet practical lie that she believes will defend her husband. As Hale notes, it is a natural lie for Elizabeth Proctor to tell, yet an incredibly ill-timed one; Elizabeth Proctor chooses dishonesty at the precise moment that her integrity matters the most.
Miller continues the theme of revolving accusations in this act when Mary finally breaks down and accuses Proctor of witchcraft. Fearful of her own life, Mary realizes that the only way to save herself is to accuse Proctor of coercing her into attempting to overthrow the court. In this case the accusation contains some truth: Proctor did force Mary Warren into testifying, yet in this case the purpose is to promote true justice rather than to dispute it.
At the end of this chapter, Proctor condemns himself by claiming that God is dead. When he states this, he speaks metaphorically, lamenting a world in which a stock villain such as Abigail Williams may preside over the ostensibly just and moral society of Salem. Once again Proctor gives into melodramatics when faced with injustice. He may be correct, yet expresses his righteousness through means that make him an easy target for those such as Abigail and Reverend Parris.
Among the characters in the play, it is Deputy Governor Danforth who seems to provide the most obvious symbol of Senator Joseph McCarthy. Danforth rules over the proceedings as if he automatically has assigned guilt to the accused suspects, and adopts a harsh and vindictive air. However, Miller does not make Danforth a direct equivalent of the irrational demagogue McCarthy; rather, Danforth is a stern, cold man of unfailing faith in his judicial powers.
He does not manifest any particular political ambition, but instead acts to preserve the strength of the court over which he rules. This does make Danforth suspicious of any attack on the plaintiffs and the proceedings, but does allow him some room for flexibility. He uses reason to persuade Proctor to drop his charges against Abigail, telling him that his wife is spared for at least a year and that he need not worry about her execution.
. It is Danforth's stern rationality that makes him a more disturbing figure; he is not a malicious villain equivalent to Abigail Williams or Thomas Putnam, but rather a man who operates out of intense faith in the integrity of his court. He operates under the assumption that good and evil can be clearly and intensely defined, a flaw of tragic irony. In his desperate hope to sharply delineate good and evil, Danforth becomes the willing accomplice of those who obscure this line.
It is Reverend Parris who appears as the demagogue in this act of the play, denouncing all challenges to the court as challenges to Christianity and God himself. Parris is paranoid and foolish, demanding that all ninety-one people who attest to the good name of the three accused women be brought in for questioning. It is Parris' rabid defense of the trials that finally causes Hale to break from the court and offer a defense of the Proctors, Coreys and Nurses.
Parris knows that the trials are a fraud and that the girls are lying, yet continues to push against witchcraft to suit his ends.
Miller develops the motivations of the proponents of the witchcraft trials in this chapter. Reverend Parris remains motivated by suspicion and paranoia, while Thomas Putnam moves from an original motivation of grudges against others to unabashed greed. Abigail Williams, in contrast, has moved from self-preservation to a more general lust for power. However, upon the arrest of Rebecca Nurse and Elizabeth Proctor, Reverend Hale now eschews the supernatural explanations for more concrete, legal explanations.
He redeems himself from his role as a Pontius Pilate by serving as an advocate for justice. This is significant, for it provides concrete evidence that opposition to the trials does not necessarily mean opposition to law and order.
Deputy Governor Danforth espouses the central irony of the witchcraft trials: because there can be no concrete evidence of witchcraft, one must automatically assume that accusations are true, for the only two persons who take part in the crime are the witch and the victim, and the witch will never accuse herself. This essentially negates the idea of evidence, taking opinion and allegation to be concrete fact. It is this flaw that on which Abigail Williams and the other girls capitalize when making their accusations.
Miller establishes that it takes only a simple accusation for a person to be convicted of witchcraft. Thomas Putnam uses this for economic gain, coercing his daughter into accusing George Jacobs so that he may purchase his land once Jacobs has been executed. Yet it is Abigail Williams who brings this particular quality into sharp relief. Abigail is intense and dramatic; she targets the weak-willed Mary Warren, knowing that she will easily break from her alliance with Proctor once challenged.
When Abigail pretends to see a yellow bird attacking her, it is an obvious falsehood, yet the court accepts it as truth because they have established that such evidence is irrefutable proof.
The chapter culminates to encompass two central ironies. The first of these is that, to prove his own innocence and prove himself faithful to his wife, John Proctor must publicly declare his infidelity. To save Elizabeth and protect himself from an inevitable accusation of witchcraft, Proctor must tear down his name and condemn himself for the crime of lechery.
Despite Proctor's obvious sin, this places Proctor as a martyr, sacrificing any chance for a good reputation in Salem, where public reputation is essential, in order to save his wife and others wrongly accused of witchcraft.
The second irony involves the testimony of Elizabeth Proctor. To save her husband from accusations of witchcraft, she must condemn him for lechery. Miller establishes that she is an honest woman who never lies, yet at the moment in which her honesty is most critical she chooses the noble yet practical lie that she believes will defend her husband. As Hale notes, it is a natural lie for Elizabeth Proctor to tell, yet an incredibly ill-timed one; Elizabeth Proctor chooses dishonesty at the precise moment that her integrity matters the most.
Miller continues the theme of revolving accusations in this act when Mary finally breaks down and accuses Proctor of witchcraft. Fearful of her own life, Mary realizes that the only way to save herself is to accuse Proctor of coercing her into attempting to overthrow the court. In this case the accusation contains some truth: Proctor did force Mary Warren into testifying, yet in this case the purpose is to promote true justice rather than to dispute it.
At the end of this chapter, Proctor condemns himself by claiming that God is dead. When he states this, he speaks metaphorically, lamenting a world in which a stock villain such as Abigail Williams may preside over the ostensibly just and moral society of Salem. Once again Proctor gives into melodramatics when faced with injustice. He may be correct, yet expresses his righteousness through means that make him an easy target for those such as Abigail and Reverend Parris.
Act 4 of "The Crucible"
The fourth act of The Crucible largely concerns the perversion of justice that has occurred in Salem. Miller demonstrates this immediately in the comic interlude that opens the act. Tituba and Sarah Good are foolish comic foils whose claims of communing with Satan are intended to be absurd. Yet while these women are spared the gallows because they have confessed to witchcraft, persons such as Rebecca Nurse who refuse to admit to a crime they did not commit remain sentenced to execution.
This large-scale inversion of justice is reflected in the larger workings of Salem society. As Parris claims, there is the possibility of rebellion because of the witchcraft trials, while the numerous people who remain in jail have caused the village to fall into shambles. This is yet another example of the irony of the witchcraft trials: while they meant to preserve the order of society, the trials throw Salem into a state of anarchy and rebellion.
However, since the previous act there has been a shift in the public opinion concerning the trials. Miller indicates that the citizens of Salem supported the trials when the victims were obviously disreputable members of the community, but now that the executions of the more respectable community members are imminent. This reinforces the idea that the Salem witch trials were in part vindictive; the purpose of the trials was not to remove witches from Salem, but rather to remove certain members of the community for other reasons.
For the citizens of Salem, the executions only become unacceptable when they involve those honored members of the community, even if the charges against them have the same proof, or lack thereof, as those against the disreputable Bridget Bishop or Sarah Osburn. The implications of this are wholly cynical: the shift in public opinion is not a turn toward justice but rather an expression of personal preference.
If there is a sense of justice in The Crucible, it is meted out to Reverend Parris and Abigail Williams in this chapter. Reverend Parris reveals himself to be a fool capable of being easily manipulated by Abigail Williams, whose guilt seems obvious thanks to her sudden escape from town and theft of Reverend Parris' savings. However, even with these revelations which cast further doubt on the validity of Abigail's charges of witchery against others, the Salem court continues with the trials and executions.
This demonstrates that the trials have taken on a life of their own separate from the accusations of the principles, who set legal machinations in motion that even they cannot stop. This therefore fulfills the theme of snowballing accusations that Miller established early in the play. The accusations began with Abigail Williams, but now, supported by the weight of the judiciary, the prosecution does not stop with her downfall.
Contrasting considerations of self-interest lead Danforth and Parris to beg John Proctor to confess to witchcraft. While Parris fears for his physical safety, Deputy Governor Danforth operates to defend the court from further attack. The change in Danforth's overt motivation is important: previously, Danforth meant to uphold the integrity of the court, but here he suggests corruption to simply preserve the political stature of the government; he even worries if postponing the executions might show weakness on the part of the court.
By prompting Proctor to give an obviously false confession, Danforth indicates that he likely believes that the witchcraft allegations are false. This fully demonstrates how the witch hunts have gained a life of their own; considerations of reputation and the political dynamic lead the court to continue with prosecutions and executions even when the original proponents of the trials are proven disreputable and even when the political officials who run these trials show serious doubt concerning the validity of the charges.
The final passages of The Crucible concern ideas of martyrdom and justice. Miller places three of the accused as possible martyrs, each representing different methods and approaches to self-sacrifice. Giles Corey, the first of the noble victims of the trials, remains the comic tragedian even in the event of his death death. He does not passively accept the decision of the court, but struggles against the court's charges. Even when Giles Corey dies at the hands of the court, he chooses his fate, giving as his last words the order "more weight" when he is pressed by stones.
In contrast, Rebecca Nurse accepts her fate passively, remaining consigned to her fate and thus placing herself as a long-suffering martyr to the court's injustice. Unlike the truculent Giles Corey, Rebecca Nurse only displays those most Christian qualities of resignation and turning the other cheek, but in behaving as such she does nothing.
The critical test for John Proctor in this act is whether he will accept the martyrdom of Giles Corey and Rebecca Nurse or choose self-interest. Proctor himself proposes the question of whether a sinful man may accept martyrdom by clinging to principles he has not always upheld. The saintly Rebecca Nurse may accept martyrdom because it suits her character, but the sinful Proctor questions whether or not it is hypocrisy to stand for his principles when he is an overt sinner.
Miller implies that Proctor can choose self-sacrifice for his principles, for it is not a question simply of his reputation, but that of his family and his community. Proctor may not be an exemplar in all matters, but he could not serve as a father to his children if he were to so readily give up his name to preserve himself.
The second question of this chapter is whether it is a worse sin to lie to save oneself or to make a decision that directly leads to one's death. This is the fulfillment of the theme of self-preservation that has recurred throughout the novel.
While Hale suggests that God damns a liar less than a person who throws one's life away, Elizabeth suggests that this is the devil's argument. Miller seems to support Elizabeth's position, for it is by giving self-preserving lies that Tituba and Sarah Good perpetuated the witch hunts.
Elizabeth Proctor serves as the moral conscience in this act of The Crucible. It is she who puts forth the most prominent arguments for Proctor accepting his own death, despite her stated wish that she wants her husband to remain alive. This could be interpreted as another manifestation of Elizabeth's cold nature, for she remains seemingly more concerned about abstract moral principles than her husband's life; Danforth even questions whether Elizabeth does have any sense of tenderness.
However, Miller counteracts the possibility that Elizabeth Proctor is an unfailingly cold woman; she refuses to attempt to influence her husband even if her position is clear, and she even admits her failings, accepting some portion of the blame for her husband's infidelity. Elizabeth shows herself to be more fragile during this act of the play, allowing her to serve as the story's moral conscience rather than a proponent of abstract and harsh moral law.
The negotiations between Proctor and Danforth concerning his confession illustrate the theme of public versus private redemption. Proctor insists that his penitence remain private, while Danforth requires a public declaration of guilt and a further condemnation of other witches. It is this critical factor that turns Proctor to accepting his martyrdom when he chooses sacrificing himself to stop the perpetuation of the witchcraft accusations. Proctor thus answers his own concern about martyrdom, ending his life with an action that remains indisputably noble dispute the sins he has previously committed.
This large-scale inversion of justice is reflected in the larger workings of Salem society. As Parris claims, there is the possibility of rebellion because of the witchcraft trials, while the numerous people who remain in jail have caused the village to fall into shambles. This is yet another example of the irony of the witchcraft trials: while they meant to preserve the order of society, the trials throw Salem into a state of anarchy and rebellion.
However, since the previous act there has been a shift in the public opinion concerning the trials. Miller indicates that the citizens of Salem supported the trials when the victims were obviously disreputable members of the community, but now that the executions of the more respectable community members are imminent. This reinforces the idea that the Salem witch trials were in part vindictive; the purpose of the trials was not to remove witches from Salem, but rather to remove certain members of the community for other reasons.
For the citizens of Salem, the executions only become unacceptable when they involve those honored members of the community, even if the charges against them have the same proof, or lack thereof, as those against the disreputable Bridget Bishop or Sarah Osburn. The implications of this are wholly cynical: the shift in public opinion is not a turn toward justice but rather an expression of personal preference.
If there is a sense of justice in The Crucible, it is meted out to Reverend Parris and Abigail Williams in this chapter. Reverend Parris reveals himself to be a fool capable of being easily manipulated by Abigail Williams, whose guilt seems obvious thanks to her sudden escape from town and theft of Reverend Parris' savings. However, even with these revelations which cast further doubt on the validity of Abigail's charges of witchery against others, the Salem court continues with the trials and executions.
This demonstrates that the trials have taken on a life of their own separate from the accusations of the principles, who set legal machinations in motion that even they cannot stop. This therefore fulfills the theme of snowballing accusations that Miller established early in the play. The accusations began with Abigail Williams, but now, supported by the weight of the judiciary, the prosecution does not stop with her downfall.
Contrasting considerations of self-interest lead Danforth and Parris to beg John Proctor to confess to witchcraft. While Parris fears for his physical safety, Deputy Governor Danforth operates to defend the court from further attack. The change in Danforth's overt motivation is important: previously, Danforth meant to uphold the integrity of the court, but here he suggests corruption to simply preserve the political stature of the government; he even worries if postponing the executions might show weakness on the part of the court.
By prompting Proctor to give an obviously false confession, Danforth indicates that he likely believes that the witchcraft allegations are false. This fully demonstrates how the witch hunts have gained a life of their own; considerations of reputation and the political dynamic lead the court to continue with prosecutions and executions even when the original proponents of the trials are proven disreputable and even when the political officials who run these trials show serious doubt concerning the validity of the charges.
The final passages of The Crucible concern ideas of martyrdom and justice. Miller places three of the accused as possible martyrs, each representing different methods and approaches to self-sacrifice. Giles Corey, the first of the noble victims of the trials, remains the comic tragedian even in the event of his death death. He does not passively accept the decision of the court, but struggles against the court's charges. Even when Giles Corey dies at the hands of the court, he chooses his fate, giving as his last words the order "more weight" when he is pressed by stones.
In contrast, Rebecca Nurse accepts her fate passively, remaining consigned to her fate and thus placing herself as a long-suffering martyr to the court's injustice. Unlike the truculent Giles Corey, Rebecca Nurse only displays those most Christian qualities of resignation and turning the other cheek, but in behaving as such she does nothing.
The critical test for John Proctor in this act is whether he will accept the martyrdom of Giles Corey and Rebecca Nurse or choose self-interest. Proctor himself proposes the question of whether a sinful man may accept martyrdom by clinging to principles he has not always upheld. The saintly Rebecca Nurse may accept martyrdom because it suits her character, but the sinful Proctor questions whether or not it is hypocrisy to stand for his principles when he is an overt sinner.
Miller implies that Proctor can choose self-sacrifice for his principles, for it is not a question simply of his reputation, but that of his family and his community. Proctor may not be an exemplar in all matters, but he could not serve as a father to his children if he were to so readily give up his name to preserve himself.
The second question of this chapter is whether it is a worse sin to lie to save oneself or to make a decision that directly leads to one's death. This is the fulfillment of the theme of self-preservation that has recurred throughout the novel.
While Hale suggests that God damns a liar less than a person who throws one's life away, Elizabeth suggests that this is the devil's argument. Miller seems to support Elizabeth's position, for it is by giving self-preserving lies that Tituba and Sarah Good perpetuated the witch hunts.
Elizabeth Proctor serves as the moral conscience in this act of The Crucible. It is she who puts forth the most prominent arguments for Proctor accepting his own death, despite her stated wish that she wants her husband to remain alive. This could be interpreted as another manifestation of Elizabeth's cold nature, for she remains seemingly more concerned about abstract moral principles than her husband's life; Danforth even questions whether Elizabeth does have any sense of tenderness.
However, Miller counteracts the possibility that Elizabeth Proctor is an unfailingly cold woman; she refuses to attempt to influence her husband even if her position is clear, and she even admits her failings, accepting some portion of the blame for her husband's infidelity. Elizabeth shows herself to be more fragile during this act of the play, allowing her to serve as the story's moral conscience rather than a proponent of abstract and harsh moral law.
The negotiations between Proctor and Danforth concerning his confession illustrate the theme of public versus private redemption. Proctor insists that his penitence remain private, while Danforth requires a public declaration of guilt and a further condemnation of other witches. It is this critical factor that turns Proctor to accepting his martyrdom when he chooses sacrificing himself to stop the perpetuation of the witchcraft accusations. Proctor thus answers his own concern about martyrdom, ending his life with an action that remains indisputably noble dispute the sins he has previously committed.
Monday, November 12, 2007
yarr
am putting this up so i can get it at home ^^ lol
and help if your internet is working please :S
and help if your internet is working please :S
""Harry Potter And The philosophers Stone
This study will look at the theme of good and evil in JK Rowling’s ‘Harry Potter And The Philosopher’s Stone’, we will also focus on Rowling’s use of characterisation, setting and symbolism. Harry is a young boy whose life has not been the best up till when he discovers he’s a wizard. He goes into this new world makes friends and enemies and finds an old one too who almost kills him but Harry escapes and continues on his new happy life.""
OOft Please God Make It Thursday
Please Please Please Please Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please PleasePlease Please Please
pretty please make it thursday most of the class have no chance at all of getting it in =[
Pretty Please are you sure that alcohol won't swing it
Sunday, October 07, 2007
Technical Terms (reposted)
Alliteration:the repetition of the same consonant sound in two or more word.
Allusion:A reference to another event, place, person, or piece of literature.
Ambiguity:Words or phrases in which the meaning is unclear or which has more than one possible interpretation.
Archaic:old-fashioned language; used to describe words which are seldom used any more.
Assonance:The repetition of similar vowel sounds.
Blank Verse:Unrhymed poetry in iambic pentameter.
Cliche:A phrase, idea or image that has been used so much that it has lost its original meaning and significance.
Climax:Building up to a high point or important moment.
Colloquial:Ordinary, everyday speech.
Connotation:The implication or suggestion attached to a word or phrase.
Couplet:Two consecutive lines of verse that rhyme.
Dialect: a way of speaking in certain areas of the country.
Enjambement:A line of verse that flows on to the next line without pause.
Euphemism: A softer, less harsh way of expressing something unpleasant.
Extended Image: A comparison that is repeated in more than one place in a poem or is continued throughout the writing.
Feminine Rhyme: Rhyme of more than one syllable (eg. constitution)
Figurative Language: Language which is symbolic or metaphorical; not meant to be taken literally, such as similes, metaphors and personification.
Hyperbole: elaborate exaggeration.
Imagery: The use of words to create pictures or images for the reader.
Infinitive: "To" plus a verb form, such as "to jump" or "to swim".Internal Rhyme: Rhyming words within a line rather than at the end of lines.
Inversion: Word order which places the verb before the subject or otherwise "inverts" the usual structure of a sentence with which we are familiar - subject, verb, object - and thereby puts emphasis on the word which is out of order.
Irony: Saying one thing while meaning another: a word or phrase has a surface meaning but the opposite, often contradictory, meaning is implied.
Jargon: Language which is particular to a particular profession or occupation.Juxtaposition: Placing togther two items which are not usually placed together to create a striking combination.
Masculine Rhyme: Rhyme of one syllable.
Metaphor: A comparison of two things to make a description more vivid. the metaphor states that one thing is the other; whereas, a simile would say that it is "like" or "as" the other object.
Metre: Regular use of stressed and unstressed syllables in poetry.
Monosyllabic: Single syllable.
Mood: THe overall emotional feeling or atmosphere communicated by a piece of writing.
Octave: The first eight lines of a Petrarchal sonnet.
Onomatopoeia: The use of words whos sound copies the sound of the thing they describe.
Oxymoron: A figure of speech which joins together words of opposite meanings.
Paradox: A puzzle; a statement that appears contradictory, but when it is considered more closely it is seen to be true.
Parallel Sentence Structure: Two sentences follow the same structure of syntax or pattern. usually used to show either a contrast in the ideas of the two sentences or a similarity. (Also known as a balanced sentence or "antithesis")
Parenthetical: from paraenthesis: a word or phrase which gives extra information and is not strictly speaking necessary for the sense. These phrases are placed within brackets or commas.
Parody: A work that is written in imitation of another work, usually written to make fun of the original work.
Pejorative: A negative suggestion or implication of a word.
Pentameter: A line of verse containing five feet.
Persona: The "person" in the poem - not necessarily the poet; it is the perspective or point of view from which the poem is written.
Personification: Giving human qualities to an inanimate object. A metaphor in which an inanimate object is likened to a person.
Polysyllabic: Made up of more than one syllable.Polysyndetic: The joining of words in a list with "and" between each of the items. Usually this is used to emphasise or draw attention to some feature of the list.
Pun: a play o words: two words that have similar sounds but different meanings.
Quatrain: A stanza of four lines which rhyme.
Refrain: Repetition throughout a poem of a phrase, line or verse.
Rhetorical Question: A question which does not require an answer because the answer is obvious or because it is implied in the question.
Rhyme: Corresponding sounds in words, usually at the end of lines.
Rhyme Scheme: The pattern of rhyme in a poem.Sarcasm: Usually a very cruel or cutting remark.
Satire: The exposing of human failings by ridiculing them.
Sestet: The last six lines of a Petrarchan sonnet.
Sibilants: Words which begin with "s" or soft "c", like "soft shoes".
Simile: A comparison of one thing to another in order to make a description more vivid. Similes use the words "like" or "as".
Simple Sentence: A sentence which has one clause with a subject and verb.
Sonnet: A fourteen line poem. A petrarchan sonnet has an octave and a sestet which is often a puzzle followed by an "answer" or a resolution. A Shakespearean sonnet is three quatrains plus a couplet. The quatrains are often related and an idea is developed throughout the quatrains reaching a climax or conclusion in the final couplet.
Stanza: The blocks of lines into which a poem is divided.
Stream of Conciousness: A technique in which the writer writes down thoughts and emotions as they come into mind without seeming to bother about an order or structure.
Structure: The way that a piece of writing is put togther.
Style: The individual way in which a writer uses language to express ideas.Symbol: A physical object representative of something else.
Syntax: The way in which sentences are constructed.
Theme: the central idea or ideas that are explored in a piece of literature.
Tone: The author's voice or overall impression created in the poem. it is created in a combination of ways, such as word choice, sentece structure, rhythm, rhyme.
Transferred Epithet: An adjective which is usually applied to a person is applied to an object to draw attention to the quality.
Verse: A unit of Poetry
Villanelle: A verse form which is complex and artificial. It has a very tight rhyme scheme: aba aba aba aba aba abaa. Certain lines are repeated entirely: line 1 is repeated in lines 6, 12, 18; line 3 is repeated in lines 9,15 and 19.
Allusion:A reference to another event, place, person, or piece of literature.
Ambiguity:Words or phrases in which the meaning is unclear or which has more than one possible interpretation.
Archaic:old-fashioned language; used to describe words which are seldom used any more.
Assonance:The repetition of similar vowel sounds.
Blank Verse:Unrhymed poetry in iambic pentameter.
Cliche:A phrase, idea or image that has been used so much that it has lost its original meaning and significance.
Climax:Building up to a high point or important moment.
Colloquial:Ordinary, everyday speech.
Connotation:The implication or suggestion attached to a word or phrase.
Couplet:Two consecutive lines of verse that rhyme.
Dialect: a way of speaking in certain areas of the country.
Enjambement:A line of verse that flows on to the next line without pause.
Euphemism: A softer, less harsh way of expressing something unpleasant.
Extended Image: A comparison that is repeated in more than one place in a poem or is continued throughout the writing.
Feminine Rhyme: Rhyme of more than one syllable (eg. constitution)
Figurative Language: Language which is symbolic or metaphorical; not meant to be taken literally, such as similes, metaphors and personification.
Hyperbole: elaborate exaggeration.
Imagery: The use of words to create pictures or images for the reader.
Infinitive: "To" plus a verb form, such as "to jump" or "to swim".Internal Rhyme: Rhyming words within a line rather than at the end of lines.
Inversion: Word order which places the verb before the subject or otherwise "inverts" the usual structure of a sentence with which we are familiar - subject, verb, object - and thereby puts emphasis on the word which is out of order.
Irony: Saying one thing while meaning another: a word or phrase has a surface meaning but the opposite, often contradictory, meaning is implied.
Jargon: Language which is particular to a particular profession or occupation.Juxtaposition: Placing togther two items which are not usually placed together to create a striking combination.
Masculine Rhyme: Rhyme of one syllable.
Metaphor: A comparison of two things to make a description more vivid. the metaphor states that one thing is the other; whereas, a simile would say that it is "like" or "as" the other object.
Metre: Regular use of stressed and unstressed syllables in poetry.
Monosyllabic: Single syllable.
Mood: THe overall emotional feeling or atmosphere communicated by a piece of writing.
Octave: The first eight lines of a Petrarchal sonnet.
Onomatopoeia: The use of words whos sound copies the sound of the thing they describe.
Oxymoron: A figure of speech which joins together words of opposite meanings.
Paradox: A puzzle; a statement that appears contradictory, but when it is considered more closely it is seen to be true.
Parallel Sentence Structure: Two sentences follow the same structure of syntax or pattern. usually used to show either a contrast in the ideas of the two sentences or a similarity. (Also known as a balanced sentence or "antithesis")
Parenthetical: from paraenthesis: a word or phrase which gives extra information and is not strictly speaking necessary for the sense. These phrases are placed within brackets or commas.
Parody: A work that is written in imitation of another work, usually written to make fun of the original work.
Pejorative: A negative suggestion or implication of a word.
Pentameter: A line of verse containing five feet.
Persona: The "person" in the poem - not necessarily the poet; it is the perspective or point of view from which the poem is written.
Personification: Giving human qualities to an inanimate object. A metaphor in which an inanimate object is likened to a person.
Polysyllabic: Made up of more than one syllable.Polysyndetic: The joining of words in a list with "and" between each of the items. Usually this is used to emphasise or draw attention to some feature of the list.
Pun: a play o words: two words that have similar sounds but different meanings.
Quatrain: A stanza of four lines which rhyme.
Refrain: Repetition throughout a poem of a phrase, line or verse.
Rhetorical Question: A question which does not require an answer because the answer is obvious or because it is implied in the question.
Rhyme: Corresponding sounds in words, usually at the end of lines.
Rhyme Scheme: The pattern of rhyme in a poem.Sarcasm: Usually a very cruel or cutting remark.
Satire: The exposing of human failings by ridiculing them.
Sestet: The last six lines of a Petrarchan sonnet.
Sibilants: Words which begin with "s" or soft "c", like "soft shoes".
Simile: A comparison of one thing to another in order to make a description more vivid. Similes use the words "like" or "as".
Simple Sentence: A sentence which has one clause with a subject and verb.
Sonnet: A fourteen line poem. A petrarchan sonnet has an octave and a sestet which is often a puzzle followed by an "answer" or a resolution. A Shakespearean sonnet is three quatrains plus a couplet. The quatrains are often related and an idea is developed throughout the quatrains reaching a climax or conclusion in the final couplet.
Stanza: The blocks of lines into which a poem is divided.
Stream of Conciousness: A technique in which the writer writes down thoughts and emotions as they come into mind without seeming to bother about an order or structure.
Structure: The way that a piece of writing is put togther.
Style: The individual way in which a writer uses language to express ideas.Symbol: A physical object representative of something else.
Syntax: The way in which sentences are constructed.
Theme: the central idea or ideas that are explored in a piece of literature.
Tone: The author's voice or overall impression created in the poem. it is created in a combination of ways, such as word choice, sentece structure, rhythm, rhyme.
Transferred Epithet: An adjective which is usually applied to a person is applied to an object to draw attention to the quality.
Verse: A unit of Poetry
Villanelle: A verse form which is complex and artificial. It has a very tight rhyme scheme: aba aba aba aba aba abaa. Certain lines are repeated entirely: line 1 is repeated in lines 6, 12, 18; line 3 is repeated in lines 9,15 and 19.
Friday, September 28, 2007
New year - New Class
Hello Higher class 2007/2008.
Welcome to the forum that is my blog. As you know you are taking over this blog from last year's class, but that does not mean you are simply replacing them. You are adding to the wealth of knowledge already displayed. Feel free to look at the postings already made. There is a great deal of brilliant stuff on here. However, do NOT delete anything once it is posted. That is my job! There is a lot of stuff on here that I would like to keep but not had a chance to archive yet.
Over the next few months you will find various hints and tips about the texts studied and to help you with exam technique. There may also be a few surprises along the way. You must check this regularly for feedback, homework tasks, etc.
So welcome and enjoy!
Ms. Moore
Welcome to the forum that is my blog. As you know you are taking over this blog from last year's class, but that does not mean you are simply replacing them. You are adding to the wealth of knowledge already displayed. Feel free to look at the postings already made. There is a great deal of brilliant stuff on here. However, do NOT delete anything once it is posted. That is my job! There is a lot of stuff on here that I would like to keep but not had a chance to archive yet.
Over the next few months you will find various hints and tips about the texts studied and to help you with exam technique. There may also be a few surprises along the way. You must check this regularly for feedback, homework tasks, etc.
So welcome and enjoy!
Ms. Moore
Thursday, September 27, 2007
wehey ^^
wehey i got the blog thing to work for me ^^ score lol so..... aye and that ^^
and omg i can use html :O wehey ^^
Thursday, May 24, 2007
Tuesday, May 22, 2007
Hooray!!
At long last my dodgy internet has finally been fixed. I know that is not much use to those of you who have been posted recently. I apologise so much. I hope that the exam went well. I have seen a few of you and it doesn't sound like it was a disaster.
Anyway 3 things:
1. Please return your copies of the Crucible and any other materials you have as soon as possible.
2. If you want to come out for some chinese buffet then come and see me by the 1st so that I can add you to the list of names.
3. It is really important you all come along as it will be my leaving do. For those of you who have not already heard I am leaving at the end of June to go and work at Drummond Community High in Edinburgh as PT English and Drama.
Come and see me soon, I am having higher class withdrawl symptoms!!
Ms. Moore
Anyway 3 things:
1. Please return your copies of the Crucible and any other materials you have as soon as possible.
2. If you want to come out for some chinese buffet then come and see me by the 1st so that I can add you to the list of names.
3. It is really important you all come along as it will be my leaving do. For those of you who have not already heard I am leaving at the end of June to go and work at Drummond Community High in Edinburgh as PT English and Drama.
Come and see me soon, I am having higher class withdrawl symptoms!!
Ms. Moore
No More English
Well this year was.... not quite sure how to describe it, the words strange and torture come to mind but thats just me :) No more english for some of us but good luck to you people who took Advanced Higher, why you would take more english, we have no idea. While im here, Miss whats happening about the going out for a meal thing?
Anyways Good Luck to everyone with their exam results
Anyways Good Luck to everyone with their exam results
Tuesday, May 08, 2007
Hiyaa
Hiya miss I was just wondering, when are we getting our trick essays back? And are you going away to France on wed or thurs?
Becca D X
Becca D X
Monday, May 07, 2007
tRICK ESSAY ON IDENTITY
HELLO MISS WOULD IT BE POSS IF YOU COULD LOOK OVER THIS ESSAY AND TELL ME WHAT YOU THINK PLEASE! MUCH LOVE XX
Choose a novel which the writer uses different techniques to convey the main theme.
Focus on how you feel these techniques are specifically important for an overall understanding of the novel and the main character.
In “The Trick Is To Keep Breathing” by Janice Galloway one of the main themes is identity. This essay will focus on the main techniques that the writer uses to portray the theme of identity. The novel is about a grieving young Scotswoman, our protagonist, Joy Stone. She has lost her partner, Michael, in an accident on holiday where he tragically drowned, after banging his head, when diving into the pool. We see Joy at her worst right through to her recovery and Joy begins to adopt her own identity towards the end.
Joy makes various comments about herself which give us proof that she fees she has no identity. “This is my workplace. This is where I earn my definition, the place that tells me what I am.” This is an early reference to Joy’s identity. It is an example of Joy distancing her from herself, she feels she is known by her job, a drama teacher, but not for who she is but “what” she is. She uses her job to disguise her true identity, she feels her real identity will not be acceptable, so uses her job as a security blanket to protect her from other people. Joy also begs “can you speak to me, just speak to me!” Showing her complete insecurity, she feels she has to beg for someone to speak to her, not just ask “can I speak to you?” She does not feel anyone wants to listen to what she has to say.
Janice Galloway uses script to further exaggerate this idea, the script shows how Joy thinks she should behave and so, she finds this quite simple to act out by following her mental script. In these scripts she is a PATIENT, EMPLOYEE, HARRIDAN, IMPATIENT, however she is never JOY in these scripts, but she is, in one script, ME – this is when she is recovering, Janice Galloway uses ME in this script reflecting her confidence and a realisation of her own self. In this conversation Joy is shown to be more confident and strong rejecting Tony “No!” hence the reason Galloway feels the need to use ME in this script. Also in the novel she says “It’s okay. It’s just me. It’s me..” once again not referring to herself as Joy separating Joy from the person she wants people to see. Janice Galloway repeats Joy’s feelings of low self-confidence once again by saying “It’s just me.” She feels insignificant.
Joy’s identity is so lost that she can’t even identify with her own body. Not only can Joy not identify with anyone else but she can’t identify with herself. Joy does not see her body as a whole she sees it in separate parts “to accommodate the tilting, adjusting, redistributing pieces of myself.” Without Michael she no longer feels like a whole person and without Michael she no longer feels she has an identity. She feels she is just a body she is nothing, this idea is emphasised at the service when the minister gives his sympathies to Michael’s wife and family, but she is not mentioned, “I didn’t exist.” “The miracle had wiped me out.” She feels completely lost as her source of identity, Michael, was dead and she was not even allowed to be acknowledged for being part of his life. This repeats the feeling of her being insignificant.
Galloway uses magazine articles to show how Joy is in search of her identity. As she cannot find her own solution, she feels that an agony aunt will tell her. However because no one else has a problem she can identify with she once again feels loss “I push the magazine aside and let the tears drip.” She gets upset when she finds that no one has the answer for her and that there isn’t anyone she can identify with. The horoscopes are a way for Joy to try to create an identity instead of seeing what could happen she uses them as a guideline of how to live. However as Joy begins to recover she acknowledges she needs her own dependence “I have to stop reading these fucking magazines!” This moment is highly significant for Joy who begins to re-identify with herself.
Galloway’s different techniques are very effective in showing the theme of identity, or lack of it. In Joy’s situation it is natural for her to feel loss of part of herself. Re-identifying with herself was necessary for her to fully recover. However this theme would not have been as well portrayed had it not been for the stream of conscience narrative which Galloway adopts. Allowing the reader to empathise with Joy and really feel her sense of confusion and loss of her identity. The use of script and magazines showed also to be very effective as the reader feels like they are reading the magazine with Joy or using a script with her. These techniques help the reader to have an overall understanding of the recovery of Joy Stone and how she comes to realisation of her problem with the central them- identity.
DANIELLE LOCKE
Choose a novel which the writer uses different techniques to convey the main theme.
Focus on how you feel these techniques are specifically important for an overall understanding of the novel and the main character.
In “The Trick Is To Keep Breathing” by Janice Galloway one of the main themes is identity. This essay will focus on the main techniques that the writer uses to portray the theme of identity. The novel is about a grieving young Scotswoman, our protagonist, Joy Stone. She has lost her partner, Michael, in an accident on holiday where he tragically drowned, after banging his head, when diving into the pool. We see Joy at her worst right through to her recovery and Joy begins to adopt her own identity towards the end.
Joy makes various comments about herself which give us proof that she fees she has no identity. “This is my workplace. This is where I earn my definition, the place that tells me what I am.” This is an early reference to Joy’s identity. It is an example of Joy distancing her from herself, she feels she is known by her job, a drama teacher, but not for who she is but “what” she is. She uses her job to disguise her true identity, she feels her real identity will not be acceptable, so uses her job as a security blanket to protect her from other people. Joy also begs “can you speak to me, just speak to me!” Showing her complete insecurity, she feels she has to beg for someone to speak to her, not just ask “can I speak to you?” She does not feel anyone wants to listen to what she has to say.
Janice Galloway uses script to further exaggerate this idea, the script shows how Joy thinks she should behave and so, she finds this quite simple to act out by following her mental script. In these scripts she is a PATIENT, EMPLOYEE, HARRIDAN, IMPATIENT, however she is never JOY in these scripts, but she is, in one script, ME – this is when she is recovering, Janice Galloway uses ME in this script reflecting her confidence and a realisation of her own self. In this conversation Joy is shown to be more confident and strong rejecting Tony “No!” hence the reason Galloway feels the need to use ME in this script. Also in the novel she says “It’s okay. It’s just me. It’s me..” once again not referring to herself as Joy separating Joy from the person she wants people to see. Janice Galloway repeats Joy’s feelings of low self-confidence once again by saying “It’s just me.” She feels insignificant.
Joy’s identity is so lost that she can’t even identify with her own body. Not only can Joy not identify with anyone else but she can’t identify with herself. Joy does not see her body as a whole she sees it in separate parts “to accommodate the tilting, adjusting, redistributing pieces of myself.” Without Michael she no longer feels like a whole person and without Michael she no longer feels she has an identity. She feels she is just a body she is nothing, this idea is emphasised at the service when the minister gives his sympathies to Michael’s wife and family, but she is not mentioned, “I didn’t exist.” “The miracle had wiped me out.” She feels completely lost as her source of identity, Michael, was dead and she was not even allowed to be acknowledged for being part of his life. This repeats the feeling of her being insignificant.
Galloway uses magazine articles to show how Joy is in search of her identity. As she cannot find her own solution, she feels that an agony aunt will tell her. However because no one else has a problem she can identify with she once again feels loss “I push the magazine aside and let the tears drip.” She gets upset when she finds that no one has the answer for her and that there isn’t anyone she can identify with. The horoscopes are a way for Joy to try to create an identity instead of seeing what could happen she uses them as a guideline of how to live. However as Joy begins to recover she acknowledges she needs her own dependence “I have to stop reading these fucking magazines!” This moment is highly significant for Joy who begins to re-identify with herself.
Galloway’s different techniques are very effective in showing the theme of identity, or lack of it. In Joy’s situation it is natural for her to feel loss of part of herself. Re-identifying with herself was necessary for her to fully recover. However this theme would not have been as well portrayed had it not been for the stream of conscience narrative which Galloway adopts. Allowing the reader to empathise with Joy and really feel her sense of confusion and loss of her identity. The use of script and magazines showed also to be very effective as the reader feels like they are reading the magazine with Joy or using a script with her. These techniques help the reader to have an overall understanding of the recovery of Joy Stone and how she comes to realisation of her problem with the central them- identity.
DANIELLE LOCKE
Saturday, May 05, 2007
Hello Miss
Hi Miss. I've got a couple of questions if thats OK.
If I was talking about symbolism in "Trick" would you say that Joy's name is symbollic and why?
Also there's a essay question about Choosing a poem in which contrast is used to classify a key idea. I was wondering if I could use Victor and talk about the form of the nursery ryhme and how that contrasts to his violent actions towards Anna??
Thank
Katie
If I was talking about symbolism in "Trick" would you say that Joy's name is symbollic and why?
Also there's a essay question about Choosing a poem in which contrast is used to classify a key idea. I was wondering if I could use Victor and talk about the form of the nursery ryhme and how that contrasts to his violent actions towards Anna??
Thank
Katie
Monday, April 30, 2007
help with the trick
miss
when im re-reading the trick im finding a lot of quotes that show that Joy is suppressing things, like where she cuts off in the middle of sentences etc. where i could write a lot about them but i cant think of any sort of essay i could put them in
what kind of questions would be good to use those kind of quotes in?
and what kind of questions would be good for th trick in general? coz ive only ever written about narrative structure i think...
Michael M :)
when im re-reading the trick im finding a lot of quotes that show that Joy is suppressing things, like where she cuts off in the middle of sentences etc. where i could write a lot about them but i cant think of any sort of essay i could put them in
what kind of questions would be good to use those kind of quotes in?
and what kind of questions would be good for th trick in general? coz ive only ever written about narrative structure i think...
Michael M :)
Wednesday, April 18, 2007
Right, Here's The Thing...
Right, I was looking through my school books, you know as you do, and I realised to myself, where is "The Crucible"? And I looked and looked and I still can't find it. I found An Inspector Calls by J.B bloody Priestley but I just can not find THE CRUCIBLE, I'm not panicking or that because we only have a PRELIM tomorrow and it's only paper 2, the ESSAY section.
Yeah....not panicking IN THE SLIGHTEST.....
Yeah....not panicking IN THE SLIGHTEST.....
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