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SECTION 1. Definitions.
As used in this chapter the following words shall have the following meanings: "Abuse", the occurrence of one or more of the following acts: (a) attempting to cause or causing physical harm to another; or (b) placing another in fear of imminent serious physical harm.
(a) three or more acts of willful malicious conduct aimed at a specific person done with the intent to cause fear, intimidation, abuse or damage to property and that does in fact cause fear, intimidation, abuse or damage to property; or (b) a single act or course of conduct that (i) causes another to engage involuntarily in sexual relations by force, threat or duress; or (ii) constitutes a violation of Chapter 265 of the General Laws sections 13B, 13F, 13H, 22, 22A, 23, 24, 24B, 26C, 43, or 43A or Chapter 272 of the General Laws section 3. "Court", the superior, probate and family, juvenile, district or Boston municipal court departments of the trial court. "Law officer", any officer authorized to serve criminal process. "Protection order issued by another jurisdiction", any injunction or other order issued by a court of another state, territory or possession of the United States, the Commonwealth of Puerto Rico, or the District of Columbia, or tribal court that is issued for the purpose of preventing violent or threatening acts, abuse, or harassment against, or contact or communication with or physical proximity to another person, including temporary and final orders issued by civil and criminal courts filed by or on behalf of a person seeking protection.
SECTION 2. Venue. Proceedings under this chapter shall be filed, heard and determined in the superior court department or the Boston municipal court department or respective divisions of the probate and family, juvenile, or district court departments having venue over the plaintiff's residence. SECTION 3. Persons Suffering From Harassment; Complaint Requesting Protection From Harassment. A person suffering from harassment may file a complaint in the court requesting protection from such harassment, including, but not limited to, the following orders: (a) ordering the defendant to refrain from abusing or harassing the plaintiff, whether the defendant is an adult or minor; (b) ordering the defendant to refrain from contacting the plaintiff, unless authorized by the court, whether the defendant is an adult or minor; (c) ordering the defendant to remain away from the plaintiff's household, multiple family dwelling, and workplace, whether the defendant is an adult or minor;
(d) ordering the defendant to pay the plaintiff monetary compensation for the losses suffered as a direct result of harassment. Compensatory losses shall include, but not be limited to, loss of earnings, out-of-pocket losses for injuries sustained or property damaged, replacement of locks, medical expenses, cost for obtaining an unlisted phone number, and reasonable attorney's fees; (e) ordering information in the case record to be impounded in accordance with court rule. No filing fee shall be charged for the filing of the complaint. Neither the plaintiff nor the plaintiff's attorney shall be charged for certified copies of any orders entered by the court, or any copies of the file reasonably required for future court action or as a result of the loss or destruction of plaintiff's copies. Any relief granted by the court shall be for a fixed period of time not to exceed one year. Every order shall on its face state the time and date the order is to expire and shall include the date and time that the matter will again be heard. If the plaintiff appears at the court at the date and time the order is to expire, the court shall determine whether or not to extend the order for any additional time reasonably necessary to protect the plaintiff or to enter a permanent order. When the expiration date stated on the order is on a weekend day or holiday, or a date when the court is closed to business, the order shall not expire until the next date that the court is open to business. The plaintiff may appear on such next court business day at the time designated by the order to request that the order be extended. The court may also extend the order upon motion of the plaintiff, for such additional time as it deems necessary to protect the plaintiff from harassment. The fact that harassment has not occurred during the pendency of an order shall not, in itself, constitute sufficient ground for denying or failing to extend the order, of allowing an order to expire or be vacated, or for refusing to issue a new order. The court may modify its order at any subsequent time upon motion by either party. When the plaintiff's address is inaccessible to the defendant as provided in section 8 of this chapter and the defendant has filed a motion to modify the court's order, the court shall be responsible for notifying the plaintiff. In no event shall the court disclose any such inaccessible address. A court shall not deny any complaint filed under this chapter solely because it was not filed within a particular time period after the last alleged incident of harassment.Any action commenced under the provisions of this chapter shall not preclude any other civil or criminal remedies. A party filing a complaint under this chapter shall be required to disclose any prior or pending actions involving the parties. SECTION 3A. Information Required to be Given to Complainant. Upon the filing of a complaint under this chapter, a complainant shall be informed that the proceedings hereunder are civil in nature and that violations of orders issued hereunder are criminal in nature. Further, a complainant shall be given information prepared by the appropriate district attorney's office that other criminal proceedings may be available and such complainant shall be instructed by such district attorney's office relative to the procedures required to initiate criminal proceedings including, but not limited to, a complaint for a violation of sections 13B, 13F, 13H, 22, 22A, 23, 24, 24B, 26C, 43, and 43A of Chapter 265 and section 3 of Chapter 272 of the General Laws. Whenever possible, a complainant shall be provided with such information in the complainant's native language. SECTION 4. Temporary Orders. Upon the filing of a complaint under this chapter, the court may enter such temporary orders as it deems necessary to protect a plaintiff from harassment, including relief as provided in section three. If the plaintiff demonstrates a substantial likelihood of immediate danger of harassment, the court may enter such temporary relief orders without notice as it deems necessary to protect the plaintiff from harassment and shall immediately thereafter notify the defendant that the temporary orders have been issued. The court shall give the defendant an opportunity to be heard on the question of continuing the temporary order and of granting other relief as requested by the plaintiff no later than ten court business days after such orders are entered. Notice shall be made by the appropriate law enforcement agency as provided in section seven. If the defendant does not appear at such subsequent hearing, the temporary orders shall continue in effect without further order of the court. SECTION 5. Granting of Relief When Courts Closed; Notice; Next-Day Certification. When the court is closed for business or the plaintiff is unable to appear in court because of severe hardship due to the plaintiff's physical condition, any justice of the superior, probate and family, juvenile, district or Boston municipal court departments of the trial court may grant relief to the plaintiff as provided under section four if the plaintiff demonstrates a substantial likelihood of immediate danger of harassment. In the discretion of the justice, such relief may be granted and communicated by telephone to an officer or employee of an appropriate law enforcement agency, who shall record such order on a form of order promulgated for such use by the chief administrative justice and shall deliver a copy of such order on the next court day to the clerk-magistrate of the court having venue and jurisdiction over the matter. If relief has been granted without the filing of a complaint pursuant to this section of this chapter, then the plaintiff shall appear in court on the next available business day to file said complaint. If the plaintiff in such a case is unable to appear in court without severe hardship due to the plaintiff's physical condition, then a representative may appear in court on the plaintiff's behalf and file the requisite complaint with an affidavit setting forth the circumstances preventing the plaintiff from appearing personally. Notice to the plaintiff and defendant and an opportunity for the defendant to be heard shall be given as provided in said section four. Any order issued under this section and any documentation in support thereof shall be certified on the next court day by the clerk-magistrate or register of the court issuing such order to the court having venue and jurisdiction over the matter. Such certification to the court shall have the effect of commencing proceedings under this chapter and invoking the other provisions of this chapter but shall not be deemed necessary for an emergency order issued under this section to take effect. SECTION 5A. Protection Orders Issued By Another Jurisdiction. Any protection order issued by another jurisdiction, as defined in section one, shall be given full faith and credit throughout the commonwealth and enforced as if it were issued in the commonwealth for as long as the order is in effect in the issuing jurisdiction. A person entitled to protection under a protection order issued by another jurisdiction may file such order in the superior, probate and family, juvenile, district or Boston municipal court departments of the trial court by filing with the court a certified copy of such order. Such person shall swear under oath in an affidavit, to the best of such person's knowledge, that such order is presently in effect as written. Upon request by a law enforcement agency, the register or clerk of such court shall provide a certified copy of the protection order issued by the other jurisdiction. A law enforcement officer may presume the validity of, and enforce in accordance with section six, a copy of a protection order issued by another jurisdiction which has been provided to the law enforcement officer by any source; provided, however, that the officer is also provided with a statement by the person protected by the order that such order remains in effect. Law enforcement officers may rely on such statement by the person protected by such order. SECTION 6. Powers and Duties of Law Officers; Notice of Rights.
Whenever any law officer has reason to believe that a person has been abused or harassed or is in danger of being abused or harassed, such officer shall use all reasonable means to prevent further abuse or harassment. Officers should make every effort to do the following as part of the emergency response:
(1) Assess the immediate physical danger to the victim and provide assistance reasonable to mitigate the safety risk.
(2) If there is observable injury to the victim or if the victim is complaining of injury, encourage the victim to seek medical attention and arrange for medical assistance or request an ambulance for transport to a hospital.
(3) If a sexual assault has occurred, notify the victim that there are time sensitive medical/forensic options that may be available. Encourage the victim to seek medical attention and arrange for medical assistance or request an ambulance for transport to a hospital.
(4) Provide the victim with referrals to local resources that may assist the victim in locating and getting to a safe place.
(5) Provide adequate notice to the victim of her/his rights, including but not limited to obtaining a harassment prevention order. SECTION 7. Search of Records; Outstanding Warrants; Service of Order, Complaint and Summons; Enforcement; Violations. When considering a complaint filed under this chapter, a judge shall cause a search to be made of the records contained within the criminal justice information system maintained by the office of the commissioner of probation or the criminal history systems board and shall review the resulting data to determine whether the named defendant has a civil or criminal record involving violent crimes or abuse. Upon receipt of information that an outstanding warrant exists against the named defendant, a judge shall order that the appropriate law enforcement officials be notified and shall order that any information regarding the defendant's most recent whereabouts shall be forwarded to such officials. In all instances where an outstanding warrant exists, a judge shall make a finding, based upon all of the circumstances, as to whether an imminent threat of bodily injury exists to the petitioner. In all instances where such an imminent threat of bodily injury is found to exist, the judge shall notify the appropriate law enforcement officials of such finding and such officials shall take all necessary actions to execute any such outstanding warrant as soon as is practicable. Whenever the court orders under sections three, four and five of this chapter the defendant to refrain from harassing the plaintiff or to have no contact with the plaintiff, the register or clerk-magistrate shall transmit two certified copies of each such order and one copy of the complaint and summons forthwith to the appropriate law enforcement agency which, unless otherwise ordered by the court, shall serve one copy of each order upon the defendant, together with a copy of the complaint and order and summons. The law enforcement agency shall promptly make its return of service to the court. Law enforcement officers shall use every reasonable means to enforce such harassment prevention orders. Law enforcement agencies shall establish procedures adequate to insure that an officer on the scene of an alleged violation of such order may be informed of the existence and terms of such order. The court shall notify the appropriate law enforcement agency in writing whenever any such order is vacated and shall direct the agency to destroy all record of such vacated order and such agency shall comply with that directive. Each harassment prevention order issued shall contain the following statement: VIOLATION OF THIS ORDER IS A CRIMINAL OFFENSE. Any violation of such order or a protection order issued by another jurisdiction shall be punishable by a fine of not more than five thousand dollars, or by imprisonment for not more than two and one-half years in a house of correction, or by both such fine and imprisonment. In addition to, but not in lieu of, the forgoing penalties and any other sentence, fee or assessment, including the victim witness assessment in section 8 of chapter 258B, the court shall order persons convicted of a crime under this statute to pay a fine of $25 that shall be transmitted to the treasurer for deposit into the General Fund. For any violation of such order, the court may order the defendant to complete an appropriate treatment program based on the offense. In each instance where there is a violation of a harassment prevention order or a protection order issued by another jurisdiction, the court may order the defendant to pay the plaintiff for all damages including, but not limited to, loss of earnings, out-of-pocket losses for injuries sustained or property damaged, medical expenses, cost for obtaining an unlisted telephone number, and reasonable attorney's fees. Any such violation may be enforced in the superior, juvenile, district or Boston municipal court departments. Criminal remedies provided herein are not exclusive and do not preclude any other available civil or criminal remedies. The court may enforce by civil contempt procedure a violation of its own court order. The provisions of section eight of chapter one hundred and thirty-six shall not apply to any order, complaint or summons issued pursuant to this section. SECTION 8. Confidentiality of Plaintiff's Address; Records Involving Minors. The records of cases arising out of an action brought under the provisions of this chapter where the plaintiff or defendant is a minor shall be withheld from public inspection except by order of the court; provided, that such records shall be open, at all reasonable times, to the inspection of the minor, said minor's parent, guardian, attorney, and to the plaintiff and the plaintiff's attorney, or any of them. The plaintiff's residential address, residential telephone number and workplace name, address and telephone number, contained within the court records of cases arising out of an action brought by a plaintiff under the provisions of this chapter, shall be confidential and withheld from public inspection, except by order of the court, except that the plaintiff's residential address and workplace address shall appear on the court order and be accessible to the defendant and the defendant's attorney unless the plaintiff specifically requests that this information be withheld from the order. All confidential portions of the records shall be accessible at all reasonable times to the plaintiff and plaintiff's attorney, to others specifically authorized by the plaintiff to obtain such information, and to prosecutors, victim-witness advocates as defined in section 1 of chapter 258B, sexual assault counselors as defined in section 20J of chapter 233, and law enforcement officers, if such access is necessary in the performance of their duties. The provisions of this paragraph shall apply to any protection order issued by another jurisdiction, as defined in section 1, that is filed with a court of the commonwealth pursuant to section 5A. Such confidential portions of the court records shall not be deemed to be public records under the provisions of clause twenty-sixth of section 7 of chapter 4. SECTION 9. Form of Complaint. The administrative justices of the superior, probate and family, juvenile, district and Boston municipal court departments shall jointly promulgate a form of complaint for use under this chapter which shall be in such form and language to permit a plaintiff to prepare and file such complaint pro se.
SECTION 10.Assessment Upon Assignment to a Treatment Program The court may impose an assessment against any person who has been referred to a treatment program as a condition of probation. Said assessment shall be in addition to the cost of the treatment program. In the discretion of the court, said assessment may be reduced or waived when the court finds that the person is indigent or that payment of the assessment would cause the person, or the dependents of such person, severe financial hardship. Assessments made pursuant to this section shall be in addition to any other fines, assessments, or restitution imposed in any disposition. All funds collected by the court pursuant to this section shall be transmitted monthly to the state treasurer, who shall deposit said funds in the General Fund.
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Paperback(New Edition)
A haunting examination of groupthink and mass hysteria in a rural community
A Penguin Classic
"I believe that the reader will discover here the essential nature of one of the strangest and most awful chapters in human history," Arthur Miller wrote in an introduction to The Crucible, his classic play about the witch-hunts and trials in seventeenth-century Salem, Massachusetts. Based on historical people and real events, Miller's drama is a searing portrait of a community engulfed by hysteria.
In the rigid theocracy of Salem, rumors that women are practicing witchcraft galvanize the town's most basic fears and suspicions; and when a young girl accuses Elizabeth Proctor of being a witch, self-righteous church leaders and townspeople insist that Elizabeth be brought to trial. The ruthlessness of the prosecutors and the eagerness of neighbor to testify against neighbor brilliantly illuminate the destructive power of socially sanctioned violence.
Written in 1953, The Crucible is a mirror Miller uses to reflect the anti-communist hysteria inspired by Senator Joseph McCarthy's "witch-hunts" in the United States. Within the text itself, Miller contemplates the parallels, writing: "Political opposition...is given an inhumane overlay, which then justifies the abrogation of all normally applied customs of civilized behavior. A political policy is equated with moral right, and opposition to it with diabolical malevolence."
For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
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|New Edition
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|14 Years
About the Author
Arthur Miller (1915–2005) was born in New York City and studied at the University of Michigan. His plays include All My Sons (1947), Death of a Salesman (1949), The Crucible (1953), A View from the Bridge and A Memory of Two Mondays (1955), After the Fall (1963), Incident at Vichy (1964), The Price (1968), The Creation of the World and Other Business (1972) and The American Clock (1980). He also wrote two novels, Focus (1945), and The Misfits, which was filmed in 1960, and the text for In Russia (1969), Chinese Encounters (1979), and In the Country (1977), three books of photographs by his wife, Inge Morath. His later work included a memoir, Timebends (1987); the plays The Ride Down Mt. Morgan (1991), The Last Yankee (1993), Broken Glass (1994), and Mr. Peter's Connections (1999); Echoes Down the Corridor: Collected Essays, 1944–2000; and On Politics and the Art of Acting (2001). He twice won the New York Drama Critics Circle Award, and in 1949 he was awarded the Pulitzer Prize. Miller was the recipient of the National Book Foundation's 2001 Medal for Distinguished Contribution to American Letters, the Prince of Asturias Award for Letters in 2002, and the Jerusalem Prize in 2003.
Christopher Bigsby is a professor of American Studies at the University of East Anglia. He edited the Penguin Classics editions of Miller's The Crucible, Death of a Salesman, and All My Sons.
Read an Excerpt
ARTHUR MILLER was born in New York City in 1915 and studied at the University of Michigan. His plays include All My Sons (1947), Death of a Salesman (1949), The Crucible (1953), A View from the Bridge and A Memory of Two Mondays (1955), After the Fall (1964), Incident at Vichy (1965), The Price (1968), The Creation of the World and Other Business (1972), and The American Clock (1980). He has also written two novels, Focus (1945) and The Misfits, which was filmed in 1960, and the text for In Russia (1969), In the Country (1977), and Chinese Encounters (1979), three books of photographs by Inge Morath. His most recent works include a memoir, Timebends (1987), the plays The Ride Down Mt. Morgan (1991), The Last Yankee (1993), Broken Glass (1994), and Mr. Peters' Connections (1999), Echoes Down the Corridor: Collected Essays, 1944-2000, and On Politics and the Art of Acting (2001). He has twice won the New York Drama Critics Circle Award, and in 1949 he was awarded the Pulitzer Prize.
CHRISTOPHER BIGSBY has published more than twenty books on British and American culture. His works include studies of African-American writing, American theater, English drama, and popular culture. He is the author of two novels, Hester and Pearl, and he has written plays for radio and television. He is also a regular broadcaster for the BBC. He is currently professor of American Studies at the University of East Anglia, in Norwich, England.
DRAMA The Golden Years The Man Who Had All the Luck All My Sons Death of a Salesman An Enemy of the People (adaptation of a play by Ibsen)
ONE-ACT PLAYS A View from the Bridge, one act version, with A Memory of Two Mondays Elegy for a Lady (in Two-Way Mirror)
OTHER WORKS Situation Normal The Misfits (a cinema novel)
COLLECTIONS Arthur Miller's Collected Plays (Volumes I and II)
VIKING CRITICAL LIBRARY EDITIONS Death of a Salesman (edited by Gerald Weales)
TELEVISION WORKS Playing for Time
SCREENPLAYS The Misfits Everybody Wins The Crucible
Table of Contents
About the Authors
Also by Arthur Miller
Title Page
Copyright Page
A Note on the Historical Accuracy of This Play
APPENDIX - ACT Two, SCENE 2
In 1692 nineteen men and women and two dogs were convicted and hanged for witchcraft in a small village in eastern Massachusetts. By the standards of our own time, if not of that, it was a minor event, a spasm of judicial violence that was concluded within a matter of months. The bodies were buried in shallow graves or not at all, as a further indication that the convicted had not only forfeited participation in the community of man in this life, but in the community of saints in the next. Just how shallow those graves were, however, is evident from the fact that the people buried there were not eradicated from history: their names remain with us to this day, not least because of Arthur Miller, for whom past events and present realities have always been pressed together by a moral logic. In his hands the ghosts of those who died have proved real enough even if the witches they were presumed to be were little more than fantasies conjured by a mixture of fear, ambition, frustration, jealousy, and perverted pride.
In 1957 the Massachusetts General Court passed a resolution stating that "No disgrace or cause for distress" attached itself to the descendants of those indicted, tried, and sentenced. Declaring the proceedings to be "the result of popular hysterical fear of the Devil," the resolution noted that "more civilized laws" had superseded those under which the accused had been tried. It did not, however, include by name all those who had suffered, and it was not until 1992 that the omissions were rectified in a further resolution of the court. It had taken exactly three hundred years for the state to acknowledge its responsibility for all those who died.
This was the long-delayed end of a story whose beginnings lay in the woods that surrounded the village of Salem when, in 1692, a number of young girls were discovered, with a West Indian slave called Tituba, dancing and playing at conjuring. To deflect punishment from themselves they accused others, and those who listened, themselves insecure in their authority, acquiesced, partly because it served their interests to do so and partly because they inhabited a world in which witchcraft formed a part of their cosmology. Their universe was absolute, lacking in ambivalence. There was only one text to consult, and that text reserved only one fate for witches.
Why should it have taken so long to acknowledge error? More significantly, why offer apology at all for an event so long in the past? Perhaps because the needs of justice and the necessity for sustaining the authority of the court have not always been coincident and because there will always be those who defend the latter, believing that by doing so they sustain the possibility of the former. Perhaps because there are those who believe that authority is all of a piece and that to challenge it anywhere is to threaten it everywhere.
It was not the first such apology. In 1711 the governor of Massachusetts, acting on behalf of the general court of the province, set his hand to a reversal of attainder that offered restitution for this miscarriage of justice. In particular he granted one hundred and fifty pounds damages to John and Elizabeth Proctor. Elizabeth had survived, by virtue of the child she carried. Her husband was not so lucky; he was executed on August 19, 1692. His accusers were young girls, barely on the verge of puberty. Perversely, damages were paid not only to the victims but also to such people as William Good, who was his wife's accuser, and Abigail Hobbs, a "confessed witch" who became a hostile witness. The affair, it seemed, was to be treated as a general calamity from which all suffered and in which the state was essentially innocent. Indeed the incident was ascribed to "The Influence and Energy of the Evil Spirits so great at that time," a time that, despite the declared purpose of the document, was described as being "Infested with a horrible Witchcraft."
Arthur Miller first encountered the story of Salem and its witches while a student at the University of Michigan. It stayed in his mind, but only as one of those mysterious incidents from a past separated from us by more than time: "It never occurred to me that I would ever deal with it ... because I had never formulated an aesthetic idea of this tragedy." Then, in 1949, he came upon a new book about the trials, by Marion Starkey, called The Devil in Massachusetts.
Not the least fascinating aspect of the book lay in the fact that the author recognized the dramatic potential of the events. Claiming to have tried to "uncover the classic dramatic form of the story itself" Starkey insisted that "here is real Greek tragedy," with "a beginning, a middle and an end." Interestingly, in the notebook Arthur Miller started at this time, he noted that "It must be 'tragic'" and, when The Crucible opened in New York, in 1953, he remarked, "Salem is one of the few dramas in history with a beginning, a middle and an end."
Starkey recognized, too, a truth that has always lain at the center of Miller's own approach to theater and the public world it shadows:
The human reality of what happens to millions is only for God to grasp; but what happens to individuals is another matter and within the range of mortal understanding. The Salem story has the virtue of being a highly individualized affair. Witches in the abstract were not hanged in Salem; but one by one were brought to the gallows such diverse personalities as a decent grandmother grown too hard of hearing to understand a crucial question from the jurors, a rakish, pipe-smoking female tramp, a plain farmer who thought only to save his wife from molestation, a lame old man whose toothless gums did not deny expression to a very salty vocabulary.... And after you have studied their lives faithfully, a remarkable thing happens; you discover that if you really know the few, you are on your way to understanding the millions. By grasping the local, the parochial even, it is possible to make a beginning at understanding the universal.
Starkey also acknowledged the wider implications of Salem, implications Miller would choose to amplify. For the witch hunt was scarcely a product only of the distant past. "It has been revived," Starkey insisted, "on a colossal scale by replacing the medieval idea of malefic witchcraft by a pseudo-scientific concept like 'race,' 'nationality' and by substituting for theological dissension a whole complex of warring ideologies. Accordingly the story of 1692 is of far more than antiquarian interest; it is an allegory of our times."
It was as an allegory of our times that Miller seized upon it, and though it was to be the McCarthyite witch-hunts of the House Un-American Activities Committee that seemed to offer the most direct parallel, he, like Starkey, recognized other parallels, in a war then only four years behind them, for the Nazis, too, had their demons and deployed a systematic pseudo-science to identify those they regarded as tainted and impure.
But for the moment it was the domestic danger that commanded Miller's imagination. It was "the maturation of the hysteria at the time which pulled the trigger; without the latter I'd never have launched." As he remarked at the time, to his friend and colleague Elia Kazan, director of All My Sons and Death of a Salesman, the Salem trials offered a persuasive parallel: "It's all here... every scene." And certainly Miller's own account suggests that what had once struck him as an impenetrable mystery had now begun to make psychological and social sense. As he has explained in his autobiography,
At first I rejected the idea of a play on the subject.... But gradually, over weeks, a living connection between myself and Salem, and between Salem and Washington, was made in my mind—for whatever else they might be, I saw that the hearings in Washington were profoundly and even avowedly ritualistic. ... The main point of the hearings, precisely as in seventeenth-century Salem, was that the accused make public confession, damn his confederates as well as his Devil master, and guarantee his sterling new allegiance by breaking disgusting old vows-whereupon he was let loose to rejoin the society of extremely decent people. In other words, the same spiritual nugget lay folded within both procedures-an act of contrition done not in solemn privacy but out in the public air.
Molly Kazan objected, feeling that the parallel was a false one, since witches manifestly did not exist, but Communists did. It was an objection later echoed by others, but not one accepted by Miller. For, as he has pointed out, not only was Tituba in all probability practicing voodoo on that night in 1692, but witchcraft was accepted as a fact by virtually every secular and religious authority. To that end he quotes the eighteenth-century British jurist Sir William Blackstone as insisting that it "is a truth to which every nation in the world hath in its turn borne testimony," and John Wesley, founder of Methodism, as stating, "The giving up of witchcraft is, in effect, giving up the Bible." Indeed, by the end of the seventeenth century an estimated two hundred thousand people worldwide had been executed as witches. The question is not the reality of witches but the power of authority to define the nature of the real, and the desire, on the part of individuals and the state, to identify those whose purging will relieve a sense of anxiety and guilt. What lay behind the procedures of both witch trial and political hearing was a familiar American need to assert a recoverable innocence even if the only guarantee of such innocence lay in the displacement of guilt onto others. To sustain the integrity of their own names, the accused were invited to offer the names of others, even though to do so would be to make them complicit in procedures they despised and hence to damage their sense of themselves. And here is the root of a theme that connects virtually all of Miller's plays: betrayal, of the self no less than of others.
Nor was the parallel a product of Miller's fanciful imagination. In 1948 Congressman George A. Dondero, in the House debate on the Mundt-Nixon bill, to "protect the United States against Un-American and subversive activities," observed that "the world is dividing into two camps, freedom versus Communism, Christian civilization versus paganism." More directly Judge Irving Kaufman, who presided over the Rosenberg espionage trial in 1951, accused those before him of "diabolical conspiracy" and "denial of God." Interestingly, on the night the Rosenbergs were executed, the cast and audience of The Crucible stood in silence as a gesture of respect.
The past had attractions for Miller because a rational analysis and dramatic presentation of the political realities of early-fifties America presented problems. He has said,
The reason I think that I moved in that direction was that it was simply impossible any longer to discuss what was happening to us in contemporary terms. There had to be some distance, given the phenomena. We were all going slightly crazy trying to be honest and trying to see straight and trying to be safe. Sometimes there are conflicts in these three urges. I had known this story since my college years and I'd never understood why it was so attractive to me. Now it suddenly made sense. It seemed to me that the hysteria in Salem had a certain inner procedure or several which we were duplicating once again, and that perhaps by revealing the nature of that procedure some light could be thrown on what we were doing to ourselves. And that's how that play came to be.
The hostility of the Kazans toward the project came from Elia Kazan's decision to be a cooperative witness before the Committee and thus to identify by name those who, in his judgment, had been members of the Communist party in the 1930s. By a strange irony Miller was returning from Salem, where he had been researching the play, when he heard on his car radio news of Kazan's testimony before the Committee. Kazan had offered names: Harry Elion, John Bonn, Alice Evans, Anne Howe. He was the first of a number of Miller's colleagues and friends to capitulate to the Committee's demands and blandishments. The following month Miller's role model, the radical playwright Clifford Odets, also named names; in June of the following year, six months after The Crucible opened, so did Lee J. Cobb, who originated the role of Willy Loman on Broadway. They did so partly out of fear for their careers—uncooperative witnesses would almost inevitably find themselves dismissed from their jobs-and partly because they genuinely felt guilty about the naïveté of their earlier commitments. The Committee thus offered what religion offers: the opportunity for confession and the grace of redemption.
The irony lay not only in the fact that in doing so they replicated the processes of the 1692 trials, where the children cried out against Sarah Good, Bridget Bishop, George Jacobs, Martha Bellows, Alice Barrow, but that in Miller's plays there usually comes a moment when the central character cries out his own name, determined to invest it with meaning and integrity. Almost invariably this moment occurs when he is on the point of betraying himself and others. A climactic scene in The Crucible comes when John Proctor, on the point of trading his integrity for his life, finally refuses to pay the price, which is to offer the names of others to buy his life. "I like not to spoil their names. ... I speak my own sins; I cannot judge another. I have no tongue for it." He thus recovers his own name by refusing to name others: "... now I do think I see some shred of goodness in John Proctor." Three years later, Miller himself was called before the Committee. His reply, when asked to betray others, was a virtual paraphrase of the one offered by Proctor. He announced, "I am trying to, and I will, protect my sense of myself. I could not use the name of another person and bring trouble on him." Asked to comment on this, thirty years later, he replied, "Well, there's only one thing to say to them. You don't have much choice."
Salem in 1692 was in turmoil. The Royal Charter had been revoked. Original land titles had been canceled and others not yet secured. Neighbor accordingly looked on neighbor with some suspicion, for fear that land might be reassigned. It was also a community riven with schisms, which centered on the person of the Reverend Parris, whose materialism and self-concern were more than many could stomach, including a landowner and inn-keeper called John Proctor.
Miller observed in his notebook, "It is Shakespearean. Parties and counter-parties. There must be a counter-party. Proctor and others." John Proctor quickly emerged as the center of the story Miller wished to tell, though not of the trials, where he was one among many. But to Miller, as he wrote in the notebook, "It has got to be basically Proctor's story. The important thing-the process whereby a man, feeling guilt for A, sees himself as guilty of B and thus belies himself,—accommodates his credo to believe in what he knows is not true." Before this could become a tragedy for the community it had to be a tragedy for an individual : "A difficulty. This hanging must be 'tragic'-i.e. must [be] result of an opportunity not grasped when it should have been, due to 'flaw.' "
That flaw, as so often in Miller's work, was to be sexual, not least because there seemed a sexual flavor to the language of those who confessed to possession by the devil and who were accused of dancing naked in a community in which both dancing and nakedness were themselves seen as signs of corruption. But that hardly seemed possible when Abigail Williams and John Proctor, who were to become the central characters in Miller's drama, were eleven and sixty, respectively. Accordingly, at Miller's bidding she becomes seventeen and he thirty-five, and so they begin to move toward each other, the gap narrowing until a sexual flame is lit. Elizabeth Proctor, who had managed an inn, now becomes a solitary farmer's wife, cut off from communion not only with her errant husband, who has strayed from her side, but also in some degree from the society of Salem.
Other changes are made. Giles Corey, a cantankerous old man who carelessly damns his wife by commenting on her fondness for books, was killed, pressed to death by stones, on September 19, 1692, a month after Proctor's death. Miller brings that death forward so that it can prove exemplary. By the same token John Hale's growing conversion to skepticism did not come to its climax with Proctor's death, but only later, when his own wife was accused. The event is advanced in order to keep Proctor as the focus. At the same time the playwright resisted an aspect of the story that would have damaged the parallel to fifties America, though it would have struck a chord with people in many other countries who were later to seize on The Crucible as an account of their own situation. For the fact is that John Proctor's son was tortured. Proctor wrote in a petition, "My son William Proctor, when he was examin'd, because he would not confess that he was Guilty, when he was Innocent, they tied him Neck and Heels till the Blood gushed out of his Nose." The effect on the play of including this detail would have been to transform Proctor's motivation and diminish the significance of the sexual guilt that disables him.
Historically, John Proctor did not immediately intervene on learning of the trials and does not do so in the play. The historical account offers no explanation. In the notebooks Miller searched for one: "Proctor—guilt stays his hand (against what action?)." The guilt derives from his adultery; the action becomes his decision to expose Abigail.
In his original plan Miller toyed with making Proctor a leader of the anti-Parris faction, who backtracks on that role and equivocates in his dealings with Hale. He toyed, too, with the notion that Proctor should half wish his wife dead. He abandoned both ideas. If Proctor emerges as a leader, it is inadvertently as he fights to defend the wife he has wronged and whose life he has placed in jeopardy because of his affair with Abigail.
What is at stake in The Crucible is the survival of Salem-which is to say, the survival of a sense of community. On a literal level the village ceased to operate. The trials took precedence over all other activities. They took the farmer from his field and his wife from the milk shed. In the screenplay for the film version Miller has the camera observe the depredations of the countryside: unharvested crops, untended animals, houses in disrepair. But, more fundamentally than this, Miller is concerned with the breaking of the social contract that binds a community together, as love and mutual respect bind individuals. What took him to Salem was not, finally, an obsession with McCarthyism nor even a concern with a bizarre and, at the time, obscure historical incident, but a fascination with "the most common experience of humanity, the shifts of interest that turned loving husbands and wives into stony enemies, loving parents into indifferent supervisors or even exploiters of their children ... what they called the breaking of charity with one another." There was evidence for all of these in seventeenth-century Salem but, as Miller implies, the breaking of charity was scarcely restricted to a small New England settlement in a time distant from our own. For him the parallel between Salem in 1692 and America in 1953 was clear:
People were being torn apart, their loyalty to one another crushed and ... common human decency was going down the drain. It's indescribable, really, because you'd get the feeling that nothing was going to be sacred anymore. The situations were so exact it was quite amazing. The ritual was the same. What they were demanding of Proctor was that he expose this conspiracy of witches whose aim was to bring down the rule of the Church, of Christianity. If he gave them a couple of names he could go home. And if he didn't he was going to hang for it. It was quite the same excepting we weren't hanged, but the ritual was exactly the same. You told them anyone you knew had been a left-winger or a Communist and you went home. But I wasn't going to do that.
Neither was John Proctor.
One dictionary definition of a crucible is a place of extreme heat, "a severe test." John Proctor and the others summoned before the court in Salem discovered the meaning of that. Yet such tests, less formal, less judicial, less public, are the small change of daily life. Betrayal, denial, rash judgment, self-justification are remote neither in time nor place.
The Crucible, then, is not finally concerned with reanimating history or even merely with implying contemporary analogies for past crimes. It is Arthur Miller's most frequently produced play not, I think, because it addresses affairs of state nor even because it offers us the tragic sight of a man who dies to save his conception of himself and the world, but because audiences understand all too well that the breaking of charity is no less a truth of their own lives than it is an account of historical process.
There is, thus, more than one mystery here. Beyond the question of witchcraft lies the more fundamental question of human nature, for which betrayal seems an ever-present possibility. The Crucible reminds us how fragile is our grasp on those shared values that are the foundation of any society. It is a play written not only at a time when America seemed to sanction the abandonment of the normal decencies and legalities of civilized life but in the shadow of a still greater darkness, for Miller has acknowledged that the fact of the Holocaust was in his mind, as it had been in the mind of Marion Starkey.
What replaces the sense of natural community in The Crucible, as perhaps in Nazi Germany and, on a different scale, 1950s America, is a sense of participating in a ritual, of conformity to a ruling orthodoxy and hence a hostility to those who threaten it. The purity of one's religious principles is confirmed by collaborating, at least by proxy, in the punishment of those who reject them. Racial identity is reinforced by eliminating those who might "contaminate" it, as one's Americanness is underscored by identifying those who could be said to be un-American. In the film version of his play, Miller, free now to expand and deepen the social context of the drama, chose to emphasize the illusory sense of community: "The CROWD's urging rises to angry crescendo. HANGMAN pulls a crude lever and the trap drops and the two fall. THE CROWD is delirious with joyful, gratifying unity."
Alexis de Tocqueville identified the pressure toward conformity even in the early years of the Republic. It was a pressure acknowledged equally by Hawthorne, Melville, Emerson, and Thoreau. When Sinclair Lewis's Babbitt abandons his momentary rebellion to return to his conformist society, he is described as being "almost tearful with joy." Miller's alarm, then, is not his alone, nor is his sense of the potentially tyrannical power of shared myths that appear to offer absolution to those who accept them. If his faith in individual conscience as a corrective is also not unique, it is, perhaps, harder to sustain in the second half of a century that has seen collective myths exercising a coercive power, in America and Europe.
Excerpted from "The Crucible"
by .
Copyright © 1976 Arthur Miller.
Excerpted by permission of Penguin Publishing Group.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Table of Contents
The Crucible
" cellpadding="0" cellspacing="5" border="0"A Note on the Historical Accuracy of This Play
Act One (An Overture)
Act Two
Act Three
Act Four
Echoes Down the Corridor
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For the last four years I have taught "The Crucible" to high school Juniors using a class set of the Penguin Classics version of the play. Needing more copies, I placed an order for some with my school's librarian. Thinking he'd save money, he bought this version. *It is not the same version of the play.* This version of the play reads more like a script (complete with detailed stage directions and set design/layout) and is better suited for performing the play, not reading it in a classroom setting. Differences: * This play is divided into 2 main Acts, not the original 4 * Miller's commentary and character descriptions are omitted (vital sections if you want to link the play to McCarthyism) * The dialogue is different; certain (sometimes key) lines are omitted. Bottom Line: It's an inferior copy of the play, and it is worth the few extra dollars to buy the other version.
I had to read this book for my Honors english class, and at first it was a bit weird, like I kind of didn't understand what was happening. But as I read on, it became a wonderful book that I recommend to any High School student, looking for a good read.
Since I was a little girl I've been interested in witch stories and everything related. Not in the Harry Potter kind of way, but in the more realistic; the witch hunts in medieval time Europe, the people hanged and burnt at the stake and the Salem Witch Trials. Because I was a little girl who loved to watch TV documentaries, my knowledge in those subjects was fed by channels like Discovery and later History. I'd never read before an actual book about this, like I've done with other historic matters of my interest, until some weeks ago, all the information I wanted to know was looked up in the internet. One day I was looking up for books at Amazon.com like I usually do, when I came up with this play, a classic of American Literature by Arthur Miller (may he rest in peace), based in the Salem Witch Trials of 1962. As I normally do, I did research on the book and thought about it. It wasn't until some weeks ago I finally acquired it. I just finished reading The Crucible some days ago and I absolutely adored it. I think Mr. Miller did an excellent job bringing the characters and the story back to live. The historical accuracy of the play is not precise, for he fused some characters into one, increased and decreased the characters' ages, reduced the number of girls involved and developed the characters' personalities to relate among others. Above all this, he made of the play a masterpiece, just like he did with the 1996 screenplay for the film version starring Daniel Day-Lewis and , one of my favorite actresses, Winona Ryder, who I must admit did an excellent job portraying her first antagonist role, Abigail Williams. It's a shame the box-office numbers didn't match the great critics the film received. Back on praising the play, one of the things it fascinated me the most was the language used, which was taken out of the King James Bible. I absolutely loved how the dialogues showed in a beautiful way the relationships between the characters, whether they were lovers, family or enemies. Through all the play, I was in Abigail Williams' side. I don't know if it was because Winona did an excellent job in the role, or I just had fun with the way she "sported", to say it in her words, with everyone, and how she controlled the rest of the people. Historically speaking, Abby was a twelve year old orphan that accused town people of witchcraft, contrary to the seventeen year old girl of the play. Miller increased Abigail's age to allow the plot device of the relationship with John Proctor, whose age was decreased from 60 to 30. The story begins with the girls doing some kind of "ritual" in the woods. (this part is just mentioned in the play, but it is shown in the film)The Reverend finds them. Rumors of witchcraft start to fly, when some girls can't wake up. The presence of the Devil in Salem is feared. From there the plot keeps developing, accusations start and town people are arrested. Along the story a lot of people turn their backs at each other to save themselves. At the end of the play the accused citizens remaining are hanged. Even though I absolutely enjoyed reading The Crucible, I wouldn't recommend this to somebody that likes reading teenage love stories or is looking for a light, short book, for it is very dark and complex. If someone wants to read this, I think he or she should read about the subject first or watch some documentary to get familiar with the subject. Watching the film is a great visual help.
I read this book in fourth grade, and I recently read it again. I forogt how interesting it was. I would recommend this book to anyone who wants to read a realistic story about a major event that occured during the 17th century.
Arthur Miller's The Crucible is just about as classic and timeless as American literature gets. It has withstood the test of time and proved itself to be relevant to all times and peoples. Miller's play achieves this great importance through its universal theme of persecution, one of humanity's great, unending problems. The Crucible is set in Salem, Massachusetts, in the year 1692. The Puritan religion rules the people, and Puritan law, believed to be the will of God, is the law of the land. The story centers around a group of young girls in the town who claim to have seen other townspeople with the Devil, which would mean those people are witches. Led by Abigail Williams, the girls convince the paranoid Christian courts that many innocent townspeople are really witches bound to the Devil. The protagonist, John Proctor, is a farmer in Salem. Abigail used to serve him and his wife, and Proctor had an affair with her. Yet, he regrets his unfaithfulness to his wife Elizabeth and is trying to live respectably. It quickly becomes apparent, however, that Abigail's driving force is her bitter love for John and her spite for Elizabeth. Thus, when Elizabeth is arrested on accusations of witchcraft, John Proctor leads a battle against Abigail and the courts in order to save his wife and his friends from being hanged on charges that are completely false. This battle, however, becomes more challenging when Proctor himself is accused of witchcraft and undergoes an inner battle over his own goodness. With The Crucible, Arthur Miller masterfully captures the mindlessness of persecution. The mass hysteria in Salem makes the senseless murders of many innocent people seem righteous to numerous citizens of the town. Miller connected the events in his play with a modern day witch hunt in his time, led by Joe McCarthy, who accused innumerable innocent Americans of being communist spies in the Red Scare of the 1950s. In 2009, the genocide in Darfur and ongoing racial discrimination in the South are just two examples of this same kind of persecution. We may not see it on a large scale every day, but persecution is a part of each of our lives. Arthur Miller teaches us why John Proctor fights against it and why we must fight against it. Thus, The Crucible is not just relevant to Puritans or Americans in the 1950s but to all people.
The Crucible by Arthur Miller was a tale of the the witchcraft trials in Salem, Massachusetts during the late 17th century. It was an interesting way to learn about the witchcraft trials without having the feel of reading a textbook. I feel that this was a wonderfully written piece, and that it wasn't difficult to read like other books about this time period. I would reccommend this to anyone looking for something about the witchcraft trials, or anyone who just wanted a good read.
I found this play to be quite exciting and simply fun to read through. I would read it again in a heartbeat!
When reading the Crucible by Arthur Miller, I found that it was rather interesting to read. Even though that it was not my favorite book, there came a yearning to follow through with the book, to read till the end. The Crucible is a fictional play, based upon the witchcraft which had taken place during the Salem Witch Trials. This is always intriguing when an author takes past events and creates a fictional masterpiece. I was rather pleased with this play, but I will not be reading it any time soon, but it is worth the money to keep in the book case for later use.
The Crucible is an amazing novel and play. The way it captures the events that took place in Salem is astounding and it made me feel as if I was actually there and was one of the accused. I have always loved magic and witch-related shows, books, and plays along with history there for The Crucible was a fantastic find. 10/10 would highly recommend.
My daughter read this book for a summer reading project and she was impressed with the book and enjoyed the read.
Really enjoyed this book. Captures the true wickedness of the Salem Witchfraft Trials. Overall, it is a fantastic read. Would recommend to ages 12 and up. Some parts are a bit violent and intense. xx
Let it be known that I enjoy reading before I go into why this is quite possibly my most hated book ever. In my AP English class, we were forced to read this along with two other books, but we mainly focused on this one, and it was the worst of the bunch. The characters are a bunch of gullible idiots who will believe anything that the antagonist tells them for no adequately explained reason, the only characters I can relate with are unceremoniously killed off, and I don't buy the supposed slow downward spiral into chaos that it seems Miller was going for. Rather than a steady decline, it is more of a plummet, leaving me wondering 'Why did that happen?' and 'How can anyone be so easily deceived?' There is no steady decline of people's morals as the tension grows, but everyone seems to start pointing fingers at the drop of a hat, which is one of my main complaints. The play had so much potential. It could have shown how paranoia and distrust can slowly seep into the fabric of society and eat away at our morals until little remains, but it comes of as clumsy, and the characters' motivations as contrived. I was looking forward to reading this book, and was massively disappointed. Although maybe it's because I'm an atheist, who knows?
Everyone should read this play at least once.
A very good interpretation to an event that's changed dramatically over time. It is NOT a factual piece so if you are reading this for the sake of knowing what happened in the Salem Witch Trials this is not the book you want to start off with. It's still enjoyable if you are looking for a roller coaster ride that brings imagination to 1692 Salem.
This book was intense and weird. It dealt with injustice within a political system and the power of accusations. I personally did not enjoy this book as much as others but at times it was intriguing. The best scene was when they were at trial and everyone went crazy. I felt this book was boring at times with the long speech and I did not particularly like the setting. Overall if you enjoy books that are dated to later centuries and has "witches" then you will enjoy this book
Let me say that this book is not 100% accurate in everyway but, the premise is indeed correct. Well-written for the most part and entertaing for established readers. Not a light read in any fashion. Heavy subject matter dealing with on of the many dark times in the world.
Filled with lots of compassion and questions youll be surprises at how good a history book can be
It was good. I read it for school and it was fun. Easy to undetstand. Ending was a little sad.
I read this book my 8th grade year and found it hard to follow. It was a great book but i think if u r 12 13 or 14 you might have trouble.
It really gives you an insightful view on matters of right and wrong, cowardice and chivalry, and truth and falsehoods. Easy to understand. Just great. The ending makes you feel sad; it pulls at your heartstrings. Watch the movie as well; it's very much like the play.
As a child I was home schooled. One of the things I learned about was romanticism, modernism, and realism. Naturally one of the books we covered was The Crucible. I can remember reading it with my mother, and now that I am reading it in school, I find it even more fascinating. Some would think this was just about Puritan age stuff and about the Salem trials, but I believe it to be a reflection on modern society. Maybe I'm alone in that thought, but I do. If you compare the scandals, the lying, the cheating- all to modern politics, or even your neighborhood, they are quite similar if not the same. I think this is a must read for anyone looking for a quick fix book with some depth.
I read this for my AP Language and Composition class and enjoyed the book overall. It will engage your mind and take you beyond the salem witch trials.
this book is just an amazing book about true events that took place during the salem witch trials. This book shows the use of many scapegoats to avoid persecution. I am a history nut and i know that during this time if you said you were a witch you would be spared and used to find other witches. If u claimed innocence then you would be hung as a withc because you must be lying. I could reccomend this book to anyone who loves history and great plays.
The Crucible is, as a good play should be, poignantly simple and like a gem in its ability to fit a handful of major themes into a single, brief text. It offers brilliant social commentary that, though startlingly true and relevant to its own time, is just as relevant to the 1950s, when it was written, as well as today. Miller not only explores but breathes life and fire into the major themes in this book. The darker recesses of the human mind he exposes to the light, and for this I know that I am all the more richer in experience and knowledge.
Just finished reading this for English class and I loved it. It's a little hard to get into at first but then it's so addicting. If you read this you should also see the movie. Its probably the most accurate movie I;ve seen made about a book.

subset: commoncrawl


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