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Moreover, as much as Tilly tries to fool herself that she is not bothered by what others think of her, she is acutely concerned that ‘they’ll [the townsfolk] hate me [her] even more’ (Part 2) and is hounded by their hate of her, dreaming that the men of the town ‘stood shaking their fingers at her’ (Part 4) and that the residents will crawl up The Hill, armed with ‘firewood and flames, stakes and chains’ (Part 4) in a twisted amalgamation of a witch-hunt. Strategically, Abby and the other girls use this power to their advantage, ‘scream[ing] and fall[ing] to the floor’ (Act 2) when the accused are brought before them. Not enough to weave a banner with, but white enough to keep it from such dogs.’ Act 4. That she and Osburn were named by Tituba, signified that according to the hierarchy of Salem’s peer groups, these three (Tituba, Sarah Good and Sarah Osburn) are at the bottom. The townspeople mistreat Molly just because she has Tilly unmarried. Whilst the ‘couturiered ladies of Dungatar… enter[ed] the halls at three minute intervals, poised, their noses aimed at the lights… slowly down the centre if the hall through the gaping guests from Winyerp’ (Part 2) symbolises the superficiality of their aspirations, the sudden notion to use euphemisms such as the porch, ‘now being called the back patio’ (Part 3), speaks of a deeper need to be seen as something they are not by others around them. This notion that hysteria can lead characters to deceive and harm others is further fortified by Abigail’s scapegoating of Tituba, the “Negro slave”. It is a natural human instinct shared by many other living creatures, to belong to a group, herd or tribe of some kind. ... wild and uncivilised and those of the state capital of Boston were hesitant to venture out into the wilderness for fear of the untamed savage presence. And, for love, it will soon itself come back.’ (Rebecca) Act 1 ‘There is prodigious danger in the seeking of loose spirits. The resignation that is shared by Lesley and Mona after the marry that they’ll ‘do the best we [they] can together’ (Part 3) is a suffocating prospect when we consider the endless possibilities of real love as Teddy and Tilly begin to plan a full life together. The ‘great stones’ (Act 4) that were placed upon his chest are metaphoric of the weight of ‘stand[ing] mute’ (Act 4) and lying in order to save others. All of you. This notion doesn’t escape Molly, who reminds her daughter that ‘everybody knows everything about everyone’ (Part 1) but the townsfolk have learnt not to gossip about one another, lest ‘some [one] else’ll tell of them’ (Part 1). The women’s obsession with the ‘exquisite’ (Part 2) new gowns that they believe will ‘set[s] women back ten years’ (Part 2) grows into a mania to acquire the same exact look and in some situations, the same lifestyle as the super models in Tilly’s fashion magazines – she [Nancy] ‘held the January edition of Vogue up in front of her and pointed to a model in an elegant tapered trouser suit in bright swirling colours. You’ll only be whipped for dancin’ and the other things!’ (Mary Warren is frightened about keeping the truth from the courts) Act 1, ‘Nonsense! When this same social group plans to hold a play, being directly involved in the proceedings becomes essential to each of the residents and as they ‘queued on the tiny stage like extras from a Hollywood film’ (Part 4), the resident’s personalities meld together and readers begin to observe them as a collective enemy, neither one more forgivable than the other. Is there not good penitence but it be made public? In this way, Miller not only excuses lies but often celebrates them as a noble way to conduct oneself if the truth will be prove to be more damaging. People must conform to societal expectations in The Crucible and The Dressmaker. Comparison. Quail not before God’s judgement in this, for it may well be that God damns a liar less that he that throws his life away for pride.’ (Hale to Elizabeth) Act 4, ‘Because I lie and sign myself to lies! Mister, I have myself examined Tituba, Sarah Good and numerous others that have confessed to dealing with the Devil. Concern for reputation is a theme that looms large over most of the events in The Crucible. © The decade of the 1950s is often looked back on as the halcyon days of morality and the nuclear family, but Ham’s novel reveals what remains when the veneer is striped back and we see ordinary citizens for what they are. However, the townspeople have always ostracized Tilly (they wrongly believe she is responsible for a local boy’s death) and they continue to do so on her return. Discuss. The oppression that Mary has to endure is what drives her to transform from a timid, intimidated girl into an arrogant girl who declares herself as “an official of the court” and scapegoat others, such as Sarah Good who “sleeps in ditches” and Goody Osburne “drunk and half-witted.” This enhances the notion that power can be ephemeral and individuals are likely to lean towards individualism if they are overly oppressed by societal norms, embodied by Mary Warren’s accusation of others. In life, emotions can act as motivators for courses of action, particularly the feelings of fear, guilt and revenge. The fact that small Tilly was ‘cornered beside the library… just trying to save herself’ (Part 3) became irrelevant and all that was remembered was the grotesque image of the ‘boy… with his neck broken and his round podgy body at right angles to his head’ (Part 3) and as such, Tilly had been sent away from the town. In contrast, the truth can prove to a liberation to some; the moral idyll of the 50s era proved overwhelmingly stifling for some characters and hence, breaking away from societal expectations proved cathartic. In his 1953 play The Crucible, playwright Arthur Miller employs a fictionalized account of Massachusetts Bay colonists accused of witchcraft in 1692 as a metaphor for government persecution of suspected communists during the mid-20th century.Explore a character analysis of John Proctor, plot summary, and important quotes. You cannot!’ Part 1, Sergeant Farrat’s secret wardrobe hung in a locked cupboard next to the front door. At the start of The Crucible Betty Paris is very ill, and Abigail is about to be accused of cursing her in the woods. The Crucible Act 1 Quotes ‘A child’s spirit is like a child, you can never catch it by running after it; you must stand still. Mary Warren describes the classic onset of symptoms that mark her first hysterical episode in court: ‘a misty coldness’ (Act 2), crawling flesh, a choking sensation, dissociation, ‘a screaming voice’ (Act 2) and then the realisation that the voice was her own. Hale: ‘Do you falter here?’ Several characters in The Crucible face a tough decision: to protect their reputation or their integrity. And now you bid me tear the light out of my eyes?’ (Abby pleads with Proctor) Act 1, ‘Aye, sir. The animalistic association is also included as Ham courageously addresses the theme of sex within the novel. Similarly, Ham’s writing in the latter half of the novel strips back the façade and the once ‘couturiered ladies of Dungatar’ (Part 2) become ‘snobby old Elsbeth… puny Mona… putrid gossiping Lois, leathery old sticky-beak Ruth, venomous Beula’ (Part 3) as Tilly (and inadvertently, the reader) become aware of the true nature of these women. With accusations being the drive of fear in ‘the crucible’, Ham’s haute couture inspired book ‘The Dressmaker’ also highlight how accusations play a role of fear on the community. (after being spat at by Evan and called names by Beula at the social gathering) Part 2, T. Dunnage was printed lightly beneath T. McSwiney but it had been scribbled out.’ Part 2, … tragedy includes everyone… wasn’t everyone else in the town different, yet included? how did she show she was scared in the beging of the novel. The justice that the supreme government of the province intends for the citizens of Salem is a ‘hot fire [here]…[that] melts down all concealment’ (Act 3) and his solution to the situation in Act 4 is to place pressure on the weakest person and break a confession from them, tells us that he (representative of the judicial system) has lost his way and in an effort to protect himself, will damn the prisoners regardless – ‘which of these in your [Parris] opinion may be brought to God? And Tituba conjured Ruth Putnam’s dead sisters. Although Tilly does exhibit the same heroic values as Giles Corey, it is difficult for the audience to not side with her, even after she burns Dungatar down, since she herself has suffered. The Crucible and The Dressmaker. I have not moved from there to there without I think to please you, and still an everlasting funeral marches round your heart. Characters sense of freedom and the ability to express individuality is frequently under threat either by the fear of losing power by wider community and becoming a leper, like Tilly in the Dressmaker or John Proctor that fall in an act of ‘lechering’. Proctor reticence to attend Church, although a bone of contention for Hale as he visits the accused to ascertain the ‘Christian character of this [the Proctors’] house’ (Act 2), sets him up as an outsider. Despite Sergeant Farrat reminding the citizens at the funeral of Teddy that ‘if you [they] had included her [Tilly], Teddy would have always been with us [them]’ (Part 3), the message falls on deaf ears and the Dungatar residents failed to see what their prejudice and bigotry had done to the town’s ‘cheeky boy’ (Part 3). The ‘grey, crying sky’ (Part 4) during Molly’s burial cements to Tilly that she is alone; the end of her family line. Reputation is the way that other people perceive you. Expository essay about friendship. Although Ham avoids the subjects such as race, there is segregation from the community nonetheless. Rebecca Nurse and, eventually, John Proctor, choose to protect their integrity.. I will not have it said my name is soiled! In a small rural town in Outback Australia in the 1950s, residents will do almost anything to protect their reputations. The texts The Crucible, “Why I Wrote The Crucible,” and “Vigilante ‘Vampire-hunters’” tells about how fear has an effect on society from the Salem witch hunts to McCarthyism to modern-day. Unlike Mary, who can’t even pretend to faint on order, Abigail calculates the most effective moment to stage her hysterical visions of persecution. Much like Proctor, Tilly’s final appearance is met with admiration as she rises out of the mire of rumour and segregation and seeks revenge in a manner mirroring the early dramatical climax of ‘Deas Ex Machina’; whereas a complicated and seemingly hopeless plot is resolved neatly as the protagonist escapes the scene unscathed. However, it is those who are considerably less deserving that incur the scathing judgement of the town – such as Molly who ‘wished for herself’ (Part 4) a ‘life of love and acceptance’ (Part 4) and failed to find that sense of belonging she so longed for. The McSwiney family were ‘by natural order of the town’ (Part 3) outcasts and despite the fact that Mae McSwiney ‘did what was expected of her from the people of Dungatar’ (Part 3) and her husband Edward ‘worked hard…fixed people’s pipes… trimmed their tree and delivered their waste to the tip’ (Part 3) they were and would always remain on the outer circle of society. From this, we can see that it is his single motive that he should hunt down all those that are afflicted and not ‘flounder’ (Act 4) in his quest for them. Likewise, Proctor’s inclination to ‘sign myself [himself] to lies’ (Act 4) and sign his name to a document stating that he trafficked with the devil is done in an effort to save his neck. Mary Warren confirms the notion that the girls are enjoying their newfound power when she speaks of the ‘weighty work’ (Act 2) that the girls do in court as they claim to be hunting the ‘Devil [that is] loose in Salem’ (Act 2). In the same way, the town of Dungatar become madly enthralled with the dressmaker Tilly after it becomes evident at Gertrude and William’s wedding that she is ‘an absolute wizard with fabric and scissors’ (Part 2) and the right creation for the bride-to-be was magnificent enough to make her feel ‘safe’ (Part 2) and secure that her groom would not stray from her. Their revelation of the ubiquity and universality of suffering, especially the pain experienced by the protagonists, enable them to establish their sardonic denouncement of communities that dismiss and normalise the maltreatment of the powerless, explicating the disproportionate impacts of hysteria on different demographics in societies that are divisive, corrupt and socially repressive. This will set us all to arguin’ again in the society, and we thought to have peace this year.’ (Rebecca Nurse is concerned that Hale’s appearance in the town will cause mischief) Act 1, ‘Your soul alone is the issue here, Mister, and you will prove its whiteness or you cannot live in a Christian country.’ (Danforth to Proctor) Act 4. From the outset of the play, Abigail is portrayed as “a strikingly beautiful girl…with an endless capacity for dissembling” establishes the incongruity between Abigail’s physical appearance and her true character; this thereby characterises her as duplicitous and exploitative, foreshadowing her subsequent malevolence in the face of a crisis. Tituba is the minority in Salem. He, like Mary Warren in the earlier court scene, wrestles with inner conflict – a moral conundrum that sees their truths condemning them to hang but their lies saving them. William was slumped in a battered deckchair on what was now called ‘the back patio’, formerly the porch. Brooks and Miller also depict the tendency of opportunists to scapegoat others, foregrounding the motivations behind their relentless ostracism of outcasts. The “great stones [that are placed] upon his chest until he pleads aye or nay,” represent the societal pressures and the authority of the theocracy. Although Hale’s visitation to the town eases concerns momentarily as he refers to the Devil being ‘stripped of all his brute disguises’ (Act 1) by his skill set in detecting those afflicted, his sensibility is soon cast aside for the more frenzied ‘thundering wrath’ (Act 2) that Hale warns has been drawn down from heaven on the village; Hale becomes irrelevant and becomes akin to the livestock that wander the roads abandoned, sporting a ‘mad look’ (Act 4), as he makes his way from one accused to the next seeking a confession that will save their lives. When Gertrude and William finally appear as a couple together, the sniggers of the townspeople who has already been privy to the rumour that a hasty marriage was on horizon after the two lovebirds ‘spent the whole night wif each other…’ (Part 2) is reason enough for them to make remarks to each other on the snide. Hysteria is often devalued as a temper-tantrum but the medical term refers to a serious functional disturbance of the entire nervous system, often activated by severe stress or conflicting impulses. Learn unique points of comparison through LSG'S CONVERGENT and DIVERGENT strategy for The Crucible and The Dressmaker and stand out from the rest of the Victorian cohort. In gory detail, Arthur Miller’s play not only captures the truth on the terrible events surrounding the Salem Witch Trials, but … The essay itself is not perfect (my brain does not function well at 3 am) but it should give you guys a better idea of what a comparative essay may look like. By elucidating the ways in which outcasts are victimised in times of crisis, Ham and Miller propel the readership to sympathise with marginalised individuals of Dungatar and Salem. Human Flaws in Arthur Miller's The Crucible Many of the characters in Arthur Miller's The Crucible have specific human flaws that cause the tragedy of the Salem Witch Trials. Tilly’s reputation as a murderess resonates in the small-minded residents of Dungatar, and even her hiatus to Europe where she trained under the prestigious fashion magnates of Paris was not enough to erase the memory of her association with Stewart Pettyman’s death. Sergeant Farrat’s penchant for women’s clothing works in direct contrast to the reliable law enforcement model typical in small rural towns scattered across the Australian outback. Comparative Analysis of Text Z Louise Roberts Firbank Grammar School email@example.com W "The Crucible" "The Dressmaker" X e h e 4 Friday, Feb 14 VATE English and EAL Day S K G Comparative Analysis Making Meaningful Connections A Analyse the interplay between character The Crucible and The Dressmaker. Delivering the eulogy at both Teddy and Molly’s funerals, he berates the citizens for their piety and espouses forgiveness and an understanding that Tilly was not to blame for the death of Teddy, even if it means bending the truth when he assures them that he ‘instead [he] wrote the Teddy McSwiney had slipped and that it was his own terrible mistake’ (Part 3). That’s what I want.”‘ In this instance, the impressionable Nancy Pickett, who is in a secret lesbian relationship with Ruth Dimm, associates fashion with her desire for women. Mr Almanac, who represents the judgemental and unforgiving Dungatar residents, is often antagonised and satirised by Ham, likened to a “crumpling question mark” and the “teats of a breeding bastards” in the narration. The cast go from ‘progressing slowly’ (Part 4) through the rehearsals to ‘looked[ing] increasingly stressed and tired’ and finding little joy in the practice that has become a laborious task, often causing ‘someone… any other lousy actor here… [to have] a bit of a bawl’ (Part 4) and the fractious crew bicker constantly. In The Crucible, Tituba represents women and people of the lower echelon of society who ultimately become victim to Abigail’s false accusations; her vulnerability has the effect of magnifying the exploitative and malevolent nature of Abigail and, to some extent, the broader Salem community in this time of crisis. The Abigail victimises Tituba, the “negro slave”, Beula victimise the McSwiney children, the “littlies”. In contrast to this, holding onto the truth is seen through the character of Giles Corey, who was pressed to death in an effort to force him to name an informant. This notion connects well with the historical context of when Miller wrote the play, when much like Salem, accusers were pressed to name others and the temptation to alleviate some of the focus by mentioning another name was great. In this society, the Bible is the basis for the law and as Danforth subscribes in his soliloquy to the girls, ‘the law, based upon the Bible, and the Bible, writ by Almighty God, forbid the practice of witchcraft, and describe death as the penalty thereof. . In the same way, judging yourself and judging one another is ubiquitous in Miller’s play and the narrative pivots on how one person might judge another. ‘Everybody knows everything about everyone but no one ever tittle-tattles because then some else’ll tell of them. It is not only the outcasts of the town that are victims of the ‘open slather’ (Part 1) but anyone who seems to have stepped out of line. The Crucible and The Dressmaker. Note: The PDF version of this blog is available at the end of this page! After Tituba confesses to witchcraft Abigail panics and does the same by proclaiming (1156), I want to open myself! I have gone tiptoe in this house all seven month since she is gone. Many of The Dressmaker ’s characters are haunted by or romanticize the past throughout the novel, which is set in the small, rural town of Dungatar—a place where the townspeople dislike change and feel that social progress threatens their conservative ways of life. There are however, all kinds of personal conflicts between individuals and families simmering beneath the surface that are easily stirred up when a threat to the community is perceived. Anything that overturns class is dangerous because it challenges the social order – meaning that individuals such as Reverend Parris for The Crucible, or Councillor Pettyman for The Dressmaker may lose all their power and authority. The characters of Dungatar are besotted with their carnal instincts – Mona’s ‘quiet, evening orgasm’ (Part 1), Trudy and William’s inability to remain chaste until a proper marriage is conducted and Evan Pettyman’s libidinous inclinations both toward his wife, whom he frequently drugs and rapes, or the countless women he either has affairs with or harasses, the citizens of Dungatar are presented as beasts unable to rise above their most base bodily needs. The town of Dungatar become madly enthralled with the dressmaker Tilly after it becomes evident at Gertrude and William’s wedding that she is ‘an absolute wizard with fabric and scissors’ (Part 2), and the right creation for the bride-to-be was magnificent enough to make her feel ‘safe’ (Part 2) and secure that her groom would not stray from her. Furthermore, ‘pleading the belly’ is a term used to describe the practice of women, who were condemned to be executed, and informed their captors that they were pregnant in an attempt to stall the sentence. Abigail Williams… is there any truth in this?’ (Danforth questions Abby one final time) Act 3, ‘Let him [Proctor] give his lie. In addition, Miller and Brooks also seek to evoke sympathy from the readers towards those who are judged and ostracised respective communities, depicting how they are often harmed and exploited by others. Tilly’s bespoke creations become much sought after as women begin to see the power that the seductive gowns designed specifically for them are able to do; making them feel confident whilst also bewitching the men. And there’s your first marvel that I can. It seems that Gertrude’s paranoia about ‘my [her] reputation’ (Part 2) is well founded when they move on from Tilly and begin to attack Trudy – ‘and guess who Gertrude was with, all night’ (Part 2). The Dressmaker was published in 2000 and was turned into a film, starring Kate Winslet, in 2015. In the end, Farrat is her last remaining friend and suggests that they ‘drink laced tea until we [they] feel some understanding’ (Part 4) in an effort to disguise their grief and avoid facing the truth. Despite Teddy teasing Tilly that ‘I’m [he’s] the one that should be frightened of you [her]’ (Part 1), Tilly’s notion that bad luck follows her is cemented as the residents of Dungatar begin dying and Tilly fears their wrath more than ever when Teddy passes and irrespective of Farrat’s attempts to re direct the blame, Tilly is in their sights – ‘Tilly feared football defeat would send the people to her, that they would spill wet and dripping from the gateway of the oval to stream up The Hill with clenched fists for revenge blood.’ (Part 4), Edward always remembered the look on Evan’s face at that moment… when he realised fully what it all meant, what it had come to. “See her? Ham renders antagonists caricatures of their true selves, hyperbolising their villainous features. God does not need my name nailed upon the church! After their behaviour has been disclosed, Ham begins to morph the descriptions of these dynamic characters in an animalistic manner, likening them to lumbering livestock that mindlessly ‘traipse[ing]’ and ‘amble[d]’ (Part 4) wherever the crowd is going; failing to think for themselves until their behaviours and words are indistinguishable from the rest of the flock. I cannot speak but I am doubted, every moment judged for lies, as though I come into court when I come into this house!’ (Proctor to Elizabeth) Act 2, ‘I see now your spirit twists around the single error of my life, and I will never tear it free!’ (Proctor to Elizabeth) Act 2, ‘Now believe me, Proctor, how heavy be the law, all its tonnage I do carry on my back tonight.’ (Cheever is made to arrest many people for questioning, including Elizabeth) Act 2, ‘I have confessed myself! Ham and Millers also present the ways in which individuals use scapegoating as a means to victimise others, characterising some as opportunists. Miller’s stage notes take heed of the ‘colour of her skin and consequent low standing’ (stage notes) which inevitably lower her in society’s eyes and when she is placed under scrutiny in the bedroom of the afflicted Betty, notably not in a courthouse where all other accusers are given their trial, she is threatened to be ‘whip[ped] to [your] death’ (Act 1) by the village minister Parris. Parris, Abigail, and others to protect their reputations. Both Dungatar and Salem are portrayed as divided and detached, with a well-established social hierarchy and a constant atmosphere of violence cast over the play. When Francis Nurse refuses to believe John’s confession of having an affair with Abby, Proctor ‘wish[es] you [Francis] had some evil in you [him] that you [he] might know me [him]’ (Act 3) for the man that he truly is and has kept secret for seven months gone. Argument 3: The motivation behind the victimisation of others are presented differently. Both Dungatar and Salem are por trayed as divided and detached, wi th a well-established social hierarchy and a constant atmosphere of violence cast over the play. Arthur Miller’s play The Crucible shows these themes put to use on a number of occasions. The evidence used in this essay are all extracted from my own study guide – this may be something you would be interested in! But you don’t matter – it’s open slather on outcasts.’ Part 2, ‘The others were happy to let you die. The “sweet saliva [that] spilled and coated their chin” further bolsters the portrayal of these children as innocent, insinuating that they are not capable of committing such a dishonest crime. There are them that will swear to anything before they’ll hang; have you ever thought of that?’ (Hale and Proctor arguing about the accused) Act 2. It’s me they’ll try to kill now.’ (Tilly to Molly) Part 1, ‘He spoke of love and hate and the power of both and he reminded them how much they loved Teddy McSwiney. However, while characters in The Crucible are inclined to harm others out of fear, characters in The Dressmaker often victimise others out of personal bias and bigotry. Despite Hale’s keenness to apply theological arguments and collect confessions peaceably, he soon comes to realise that the Salem courtroom is not interested in dispensing justice but instead, prides itself on imposing it. The McSwiney family help bridge the gap between the lower and middle classes; Teddy is known for his congeniality to the broader townsfolk and is similarly kind and charismatic with Tilly and her mother. Though actions are often motivated by fear and desires for power and revenge, they are also propped up by underlying worries about how a loss of reputation will negatively affect characters' lives. Arthur Miller’s play The Crucible and Geraldine Brooks’ novel Year of Wonders are both works that explore the treatment of individuals under oppressive theocratic ruling.Both Miller’s and Brooks’ works are aligned with key themes of superstition, suspicion of witchcraft, and unknown cause of diseases which lead the communities to unravel and fraction in 1660’s Salem and Eyam. Mary Warren is good in nature as she does attempt to do what she believes as righteous by admitting that what Abigail and the girls do “[were] pretense” despite her extreme fear of Abigail. The townspeople ostracise Molly, not because they are severely pressured by the justice system in power like in The Crucible, but because “everyone needs somebody to hate.” They mistreat Molly because she does not conform to the norms embedded within their community, leaving her in a house that was “dank and smelled like possum piss.” The alliterative cliche “possum piss” helps Ham establish the poor state that she is left in and comedically criticise the harsh judgment and mistreatment of the townspeople towards Molly – one that leaves her “mad” and abandoned.
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