⌛ Authority In The Crucible
This boy could Authority In The Crucible hear Authority In The Crucible speak. The New York Times. The administrator, only identified by his Authority In The Crucible Kim, was also ordered to wear an electronic anklet for 10 years following Authority In The Crucible release. It's Authority In The Crucible whether Authority In The Crucible actually advantages of qualitative research about Betty, or if she Authority In The Crucible just worried that if Betty doesn't wake up she'll get in even bigger trouble. Authority In The Crucible Act 3, Candide And A Clockwork Orange: Character Analysis, it's no longer Authority In The Crucible exactly how much Abigail is faking the fright and fits. Francis and Giles desperately Authority In The Crucible the proceedings, demanding to be heard. And when neighboring towns like Andover overthrow their witch trials and it Authority In The Crucible like being someone who Authority In The Crucible others of witchcraft Authority In The Crucible not be so safe anymore, Abigail grabs Authority In The Crucible savings and leaves town Ethical Dilemmas Regarding Patient Care in Act 4.
The Crucible as a Political Allegory
Parris is unhappy with his salary and living conditions as minister, and accuses Proctor of heading a conspiracy to oust him from the church. Abigail, standing quietly in a corner, witnesses all of this. Reverend Hale arrives and begins his investigation. Before leaving, Giles fatefully remarks that he has noticed his wife reading unknown books and asks Hale to look into it. Hale questions Rev. Parris, Abigail and Tituba closely over the girls' activities in the woods. As the facts emerge, Abigail claims Tituba forced her to drink blood. Tituba counters that Abigail begged her to conjure a deadly curse.
Parris threatens to whip Tituba to death if she does not confess to witchcraft. Tituba breaks down and falsely claims that the Devil is bewitching her and others in town. Putnam identifies Osborne as her former midwife and asserts that she must have killed her children. Abigail decides to play along with Tituba in order to prevent others from discovering her affair with Proctor, whose wife she had tried to curse out of jealousy. She leaps up, begins contorting wildly, and names Osborne and Good, as well as Bridget Bishop as having been "dancing with the devil". Betty suddenly rises and begins mimicking Abigail's movements and words, and accuses George Jacobs. As the curtain closes, the three continue with their accusations as Hale orders the arrest of the named people and sends for judges to try them.
In a second narration, the narrator compares the Colony to post-World War II society , presenting Puritan fundamentalism as being similar to cultural norms in both the United States and the Soviet Union. Additionally, fears of Satanism taking place after incidents in Europe and the colonies are compared to fears of Communism following its implementation in Eastern Europe and China during the Cold War. Again, narration not present in all versions. John and Elizabeth are incredulous that nearly forty people have been arrested for witchcraft based on the pronouncements of Abigail and the other girls. John knows their apparent possession and accusations of witchcraft are untrue, as Abigail told him as much when they were alone together in the first act, but is unsure of how to confess without revealing the affair.
Elizabeth is disconcerted to learn her husband was alone with Abigail. She believes John still lusts after Abigail and tells him that as long as he does, he will never redeem himself. Mary Warren enters and gives Elizabeth a ' poppet ' doll-like puppet that she made in court that day while sitting as a witness. Mary tells that thirty-nine have been arrested so far accused as witches, and they might be hanged. Mary also tells that Goody Osburn will be hanged, but Sarah Good's life is safe because she confessed she made a compact with Lucifer Satan to torment Christians.
Angered that Mary is neglecting her duties, John threatens to beat her. Mary retorts that she is now an official in the court, she must have to go there on daily basis and she saved Elizabeth's life that day, as Elizabeth was accused of witchcraft and was to be arrested until Mary spoke in her defense. Mary refuses to identify Elizabeth's accuser, but Elizabeth surmises accurately that it must have been Abigail. She implores John to go to court and tell the judges that Abigail and the rest of the girls are pretending. John is reluctant, fearing that doing so will require him to publicly reveal his past adultery. Reverend Hale arrives, stating that he is interviewing all the people named in the proceedings, including Elizabeth. He mentions that Rebecca Nurse was also named, but admits that he doubts her a witch due to her extreme piousness, though he emphasizes that anything is possible.
Hale is skeptical about the Proctors' devotion to Christianity, noting that they do not attend church regularly and that one of their three sons has not yet been baptized ; John replies that this is because he has no respect for Parris. Challenged to recite the Ten Commandments , John fatefully forgets "thou shalt not commit adultery". When Hale questions her, Elizabeth is angered that he does not question Abigail first. Unsure of how to proceed, Hale prepares to take his leave. At Elizabeth's urging, John tells Hale he knows that the girl's afflictions are fake. When Hale responds that many of the accused have confessed, John points out that they were bound to be hanged if they did not; Hale reluctantly acknowledges this point.
Suddenly, Giles Corey and Francis Nurse enter the house and inform John and Hale that both of their wives have been arrested on charges of witchcraft; Martha Corey for reading suspicious books and Rebecca Nurse on charges of sacrificing children. A posse led by clerk Ezekiel Cheever and town marshal George Herrick arrive soon afterwards and present a warrant for Elizabeth's arrest, much to Hale's surprise. Cheever picks up the poppet on Elizabeth's table and finds a needle inside. He informs John that Abigail had a pain-induced fit earlier that evening and a needle was found stuck into her stomach; Abigail claimed that Elizabeth stabbed her with the needle through witchcraft, using a poppet as a conduit.
John brings Mary into the room to tell the truth; Mary asserts that she made the doll and stuck the needle into it, and that Abigail saw her do so. Cheever is unconvinced and prepares to arrest Elizabeth. John becomes greatly angered, tearing the arrest warrant to shreds and threatening Herrick and Cheever with a musket until Elizabeth calms him down and surrenders herself. He calls Hale a coward and asks him why the accusers' every utterance goes unchallenged. Hale is conflicted, but suggests that perhaps this misfortune has befallen Salem because of a great, secret crime that must be brought to light. Taking this to heart, John orders Mary to go to court with him and expose the other girls' lies, and she protests vehemently.
Aware of John's affair, she warns him that Abigail is willing to expose it if necessary. John is shocked but determines the truth must prevail, whatever the personal cost. The third act takes place thirty-seven days later in the General Court of Salem, during the trial of Martha Corey. Francis and Giles desperately interrupt the proceedings, demanding to be heard. The court is recessed and the men thrown out of the main room, reconvening in an adjacent room.
Danforth then informs an unaware John that Elizabeth is pregnant, and promises to spare her from execution until the child is born, hoping to persuade John to withdraw his case. John refuses to back down and submits a deposition signed by ninety-one locals attesting to the good character of Elizabeth, Rebecca Nurse and Martha Corey. Herrick also attests to John's truthfulness as well. The deposition is dismissed by Parris and Hathorne as illegal. Hale criticizes the decision and demands to know why the accused are forbidden to defend themselves. Danforth replies that given the "invisible nature" of witchcraft, the word of the accused and their advocates cannot be trusted.
He then orders that all ninety-one persons named in the deposition be arrested for questioning. Giles Corey submits his own deposition, accusing Thomas Putnam of forcing his daughter to accuse George Jacobs in order to buy up his land as convicted witches have to forfeit all of their property. When asked to reveal the source of his information, Giles refuses, fearing that he or she will also be arrested. When Danforth threatens him with arrest for contempt , Giles argues that he cannot be arrested for "contempt of a hearing. John submits Mary's deposition, which declares that she was coerced to accuse people by Abigail.
Abigail denies Mary's assertions that they are pretending, and stands by her story about the poppet. When challenged by Parris and Hathorne to 'pretend to be possessed', Mary is too afraid to comply. John attacks Abigail's character, revealing that she and the other girls were caught dancing naked in the woods by Rev. Parris on the night of Betty Parris' alleged 'bewitchment'. When Danforth begins to question Abigail, she claims that Mary has begun to bewitch her with a cold wind and John loses his temper, calling Abigail a whore.
He confesses their affair, says Abigail was fired from his household over it and that Abigail is trying to murder Elizabeth so that she may "dance with me on my wife's grave. Danforth brings Elizabeth in to confirm this story, beforehand forbidding anyone to tell her about John's testimony. Unaware of John's public confession, Elizabeth fears that Abigail has revealed the affair in order to discredit John and lies, saying that there was no affair, and that she fired Abigail out of wild suspicion.
Hale begs Danforth to reconsider his judgement, now agreeing Abigail is "false", but to no avail; Danforth throws out this testimony based solely upon John's earlier assertion that Elizabeth would never tell a lie. Confusion and hysteria begin to overtake the room. Abigail and the girls run about screaming, claiming Mary's spirit is attacking them in the form of a yellow bird, which nobody else is able to see. When Danforth tells the increasingly distraught Mary that he will sentence her to hang, she joins with the other girls and recants all her allegations against them, claiming John Proctor forced her to turn her against the others and that he harbors the devil. John, in despair and having given up all hope, declares that " God is dead ", and is arrested.
Furious, Reverend Hale denounces the proceedings and quits the court. Act Four takes place three months later in the town jail, early in the morning. Tituba, sharing a cell with Sarah Good, appears to have gone insane from all of the hysteria, hearing voices and now actually claiming to talk to Satan. Marshal Herrick, depressed at having arrested so many of his neighbors, has turned to alcoholism. Many villagers have been charged with witchcraft; most have confessed and been given lengthy prison terms and their property seized by the government; twelve have been hanged; seven more are to be hanged at sunrise for refusing to confess, including John Proctor, Rebecca Nurse and Martha Corey. Giles Corey was tortured to death by pressing as the court tried in vain to extract a plea; by holding out, Giles ensured that his sons would receive his land and possessions.
The village has become dysfunctional with so many people in prison or dead, and with the arrival of news of rebellion against the courts in nearby Andover , whispers abound of an uprising in Salem. Abigail, fearful of the consequences, steals Parris's life savings and disappears on a ship to England with Mercy Lewis. Danforth and Hathorne have returned to Salem to meet with Parris, and are surprised to learn that Hale has returned and is meeting with the condemned. Parris, who has lost everything to Abigail, reports that he has received death threats. He begs Danforth to postpone the executions in order to secure confessions, hoping to avoid executing some of Salem's most highly regarded citizens.
Hale, deeply remorseful and blaming himself for the hysteria, has returned to counsel the condemned to falsely confess and avoid execution. He presses Danforth to pardon the remaining seven and put the entire affair behind them. Danforth refuses, stating that pardons or postponement would cast doubt on the veracity of previous confessions and hangings. Danforth and Hale summon Elizabeth and ask her to persuade John to confess. She is bitter towards Hale, both for doubting her earlier and for wanting John to give in and ruin his good name, but agrees to speak with her husband, if only to say goodbye. She and John have a lengthy discussion, during which she commends him for holding out and not confessing. John says he is refusing to confess not out of religious conviction but through contempt for his accusers and the court.
The two finally reconcile, with Elizabeth forgiving John and saddened by the thought that he cannot forgive himself and see his own goodness. Knowing in his heart that it is the wrong thing for him to do, John agrees to falsely confess to engaging in witchcraft, deciding that he has no desire or right to be a martyr. Danforth, Hathorne, and a relieved Parris ask John to testify to the guilt of the other hold-outs and the executed. John refuses, saying he can only report on his own sins.
Danforth is disappointed by this reluctance, but at the urging of Hale and Parris, allows John to sign a written confession, to be displayed on the church door as an example. John is wary, thinking his verbal confession is sufficient. As they press him further John eventually signs, but refuses to hand the paper over, stating he does not want his family and especially his three sons to be stigmatized by the public confession. The men argue until Proctor renounces his confession entirely, ripping up the signed document. Danforth calls for the sheriff and John is led away, to be hanged. Facing an imminent rebellion, Putnam and Parris frantically run out to beg Proctor to confess. Hale, guilty over John's death, pleads with Elizabeth to talk John around but she refuses, stating John has "found his goodness".
During the McCarthy era , German-Jewish novelist and playwright Lion Feuchtwanger became the target of suspicion as a left-wing intellectual during his exile in the US. In , Feuchtwanger wrote a play about the Salem witch trials , Wahn oder der Teufel in Boston Delusion, or The Devil in Boston , as an allegory for the persecution of communists, thus anticipating the theme of The Crucible by Arthur Miller; Wahn premiered in Germany in Original Broadway cast :  . In June Miller recast the production, simplified the "pitiless sets of rude buildings" and added a scene. Marshall — Rev. In , the year the play debuted, Miller wrote, " The Crucible is taken from history. No character is in the play who did not take a similar role in Salem, She's only concerned with Betty's illness because it means Abigail will get into trouble, and the reason Abigail doesn't immediately say that Betty's suffering from witchcraft is because Abigail doesn't realize that's the best tack to take until later.
She wants to kill Goody Proctor and marry John not because she cares about him, but because it will increase her social status and also gain her access to intimate relations with Proctor's "unexpressed, hidden force" p. She accuses other people of witchcraft because it benefits her by helping her get out of trouble for dancing and conjuring in the woods; it also makes her seem more powerful especially if those people "confess" and so corroborate her accusations.
She purposefully throws a fit to discredit Mary and pressure Mary into recanting her statement to protect herself. When she's at risk of losing her power and authority because of events in Andover, Abigail steals her poor uncle's money even though he had housed and fed her after her parents were killed and runs off, eventually becoming a prostitute. Maybe you can tell by how hyperbolic my language got at the end there, but I don't think that writing off Abigail an emotionless, manipulative person and ignoring any other facet of her character is a particularly useful or insightful way to analyze her character.
In addition to being motivated by opportunism taking advantage of the situation to get an outcome that's best for her, no matter what the cost for others , Abigail also seems to be motivated by a desire to avoid getting into trouble with authority which means she needs to keep her reputation clean. Unlike with Mary Warren, however, Abigail's wish to avoid trouble is not coupled with a desire to please. She wants to avoid trouble not because she wants to make everyone happy, but because that is the safest thing to do.
And in contrast to John Proctor, who struggles through the play with how he's compromised his sense of himself by committing adultery, Abigail doesn't seem to care as much about the principle of having a good reputation—she's more concerned with the practicality of how being considered "soiled" might negatively affect her. All of you. We danced. And Tituba conjured Ruth Putnam's dead sisters. And that is all" Act 1, p. In Puritan Salem, dancing and conjuring dead people are NOT activities that are good for your reputation, particularly if you're in a precarious social position to begin with orphaned, young, girl, fired servant.
Being found guilty of these acts, however, will merit far less punishment than being found guilty of adultery and of trying to kill the wife of the man you committed adultery with. It could be argued that part of Abigail's desire to avoid trouble at all costs stems from her traumatic past. When The Crucible begins, Abigail is an orphan living with her uncle and cousin, but her parents didn't just die of cholera or some other natural cause. Abigail explicitly states "I saw Indians smash my dear parents' heads on the pillow next to mine" Act 1, p. Perhaps because of this previous upheaval, Abigail doesn't seem to quite trust that her uncle will love her and let her stay there, no matter what:.
Whether or not Abigail's fears of being kicked out of the Parris's house are justified, they're still a motivating factor—she wants to avoid getting into trouble so that she doesn't lose her only home. As Act 1 continues, Abigail continues to try to defray blame and to play down the "dancing in the woods. For example, take a look at this series of exchanges between Hale, Parris, and Abigail:. Abigail, what sort of dancing were you doing with her in the forest? Did you call the Devil last night? Step by step, Abigail adds more information as she is pressed to explain herself by Hale and Parris. The clinching moment for me and the reason I don't think Abigail is so much calculating as she is trying to avoid trouble is this next exchange Abigail has with Reverend Hale:.
HALE: Did you feel any strangeness when she called him? A sudden cold wind, perhaps? A trembling below the ground? Abigail does not immediately seize upon the suggestion of witchcraft that Hale so blatantly puts out with his leading question "Did you feel any strangeness when she called him? If she really were entirely calculating and opportunistic, there's no way she would have passed up on an opportunity to push the blame onto some external force here, when she's under pressure. Abigail's breaking point happens when Tituba is brought into the room—the only way out for Abigail to maintain her status as a good and proper girl and to avoid getting into even more trouble is to strike first; there is no other option that ends well for her in this scenario.
Distress , used under CC BY 2. A similar argument could be made for why Abigail acts the way she does in the courtroom in Act 3, although now she's changed from being on the defensive saying she never did anything wrong to being on the offensive accusing Mary of lying, threatening Danforth when he doubts her. Abigail has gained an enormous amount of power and authority since her introduction in Act 1, which means that she no longer has to worry as much about her reputation—anything negative that's said about her she can lie about, and her word will be believed as it is with Mary Warren.
Abigail does, however, still try to avoid answering the question of whether or not she committed adultery with John Proctor:. But this could also be her still trying to walk the fine line of avoiding getting into trouble and avoiding telling lies, particularly because this subject is one that she cares about. The other exception to Abigail's "offense is the best defense" stance is at the end of Act 3, when she doesn't do anything to counter Mary Warren's accusations against John Proctor.
From a pragmatic point of view, this still makes sense, because the safest thing to do is to back up Mary's accusations by praising God; if Mary's shown to be a liar and pretending to be afflicted, then the whole house of cards will come tumbling down and Abigail will be in a huge amount of trouble that she won't be able to talk her way out of. The final piece of Abigail's character puzzle is her relationship with John Proctor. I'll begin the discussion of this motivator through a common discussion question asked about Abigail in The Crucible :.
How did Miller's deviation from the "historical model" affect the play? He was 18 years older and her employer? She wasn't even 18? And he constantly threatens to whip women of a lower social status if they displease him? That's still uncomfortable and upsetting. Arthur Miller also throws in at the end of The Crucible in "Echoes Down The Corridor" the rumor that Abigail eventually becomes a prostitute in Boston, 20 years down the line. As far as I've been able to discover from researching it, there's zero truth to this—Abigail most likely died in the s, since nothing is ever heard about her again.
Thus, Miller very much shaped Abigail's character from an year-old servant girl into a sexually predatory woman and used that to drive conflict in the play. I know you, John. I know you. She is weeping. I cannot sleep for dreamin'; I cannot dream but I wake and walk about the house as though I'd find you comin' through some door. She clutches him desperately. But I will cut off my hand before I'll ever reach for you again. Wipe it out of mind. We never touched, Abby. Abigail thinks to win him back and get revenge on his wife at the same time by accusing Elizabeth of witchcraft Act 2 …or at least, so Proctor seems to think. Proctor tells Danforth his interpretation of Abigail's actions and intent, attributing her actions first to lust, then to vengeance:.
But it is a whore's vengeance, and you must see it" Act 3, p. Abigail's real motivation for getting Elizabeth Proctor out of the way, however, is somewhat opaque. Because we never really get to see inside Abigail's head again in the play she never talks in private to anyone onstage after Act 1 , we don't actually know if Proctor's interpretations are correct. Abigail could be accusing Elizabeth because she's convinced herself Elizabeth is a witch, she could be accusing Elizabeth because she loves John and wants to be with him rather than because she hates Elizabeth or because she just wants him for his body , or she could be accusing Elizabeth because she sees marrying John as a way to empower herself and gains status in the restrictive, misogynist society of Salem.
Whatever the reason s behind it, Abigail's plan to get Elizabeth out of the way and win John back backfires. John calls Abigail a whore in court, Abigail's forced to deny this to keep her good standing with the court, and while Abigail doesn't retaliate by calling John a witch perhaps because she still has some "soft feelings" for him , she doesn't make a move to stop his arrest when Mary Warren accuses him. To answer this question, you can discuss how the two women's relationships with John change over time, their actions to protect or not protect John, and their feelings about John and themselves do they really care about John, or are they just trying to cement their social positions? Use the information in the above analysis about Abigail to bolster your comparison.
Portraits of two women , used under CC BY 2. Over the course of The Crucible , Abigail goes from having basically no power to having the most power of anyone in Salem. She starts out one step higher than Tituba: an orphaned, teenaged, girl who has been fired from her job and is being given a bad reputation around town by her former employer, basically living on her uncle's charity.
By Act 3, Abigail is the head of the "afflicted children," powerful enough that she can threaten Danforth, the Deputy Governor of the Province, and get away with it:. Danforth; I have seen my blood runnin' out! I have been near to murdered every day because I done my duty pointing out the Devil's people—and this is my reward? To be mistrusted, denied, questioned like a—. Think you to be so mighty that the power of Hell may not turn your wits? Beware of it! Abigail talks back to Danforth in court, and rather than yelling at her, he weakens in his own conviction. She then follows this up with a not-so-veiled threat that underscores her power—if he crosses Abigail, maybe he'll find himself accused of witchcraft.
Even though in Act 4 Parris reveals to Danforth that Abigail is a runaway thief, that is not enough to diminish her power—those who she accused of being witches are still set to hang. Abigail also changes from having a questionable reputation to unimpeachable reputation and then back to having a tarnished reputation over the course of the play. In Act 1, Parris tells Abigail that her former employer, Elizabeth Proctor, "comes so rarely to church this year for she will not sit so close to something soiled" Act 1, p.
By the time Act 2 rolls around, Abigail's reputation has soared to such heights that she's treated like Moses a Biblical prophet. As Elizabeth Proctor states:. Abigail brings the other girls into the court, and where she walks the crowd will part like the sea for Israel" Act 2, p. In Act 3, Abigail's reputation is strong enough that John Proctor's accusations of her being a whore since she slept with a married man aren't automatically believed, even though ordinarily the word of an upright male citizen like John Proctor would certainly be taken over that of a teenage orphan girl.
In Act 4 it's revealed that Abigail has run away and stolen money from her uncle and so her reputation takes a hit in her absence , but since she is no longer in Salem, it doesn't really matter for her. Abigail's goals seem to change over the course of the play. In Act 1, it's clear that she is still very much attracted to John Proctor and wants to be with him: she nervously laughs the first time he speaks to her very much a teenager in the midst of an infatuation , and is physically affected by his presence:. Part of her desire to marry John Proctor may be to improve her social standing, but at this point in the play, Abigail still seems to care about John Proctor and want to be with HIM, not just some random guy although, of course, Miller's told us that she has an "endless capacity for dissembling," so who knows if we can trust her.
As I mentioned in the "motivations" section, it's harder to tell what Abigail's reasons for this are because it's other people talking about her actions, rather than firsthand knowledge. Proctor and his wife seem pretty sure that Abigail's motives are to replace Elizabeth Proctor:. So it's unclear whether her motives are out of lust and love for John, wanting to improve her social standing, or wanting to get revenge on Elizabeth for sullying her name, but Abigail's intentions to get rid of Elizabeth, at least, are clear. By Act 3, however, Abigail cares more about holding onto the power she already has than about John Proctor.
We know this because when Mary Warren accuses John Proctor of being "the Devil's man," Abigail makes no move to deny it. Instead, she and the rest of girls echo Parris's "Praise God! So do you think Abigail really loves John? Why or why not? What evidence from the play can you find to support your argument? Finally, the extent to which Abigail is affected by the hysteria seems to change during the course of the play. Part of the reason for this is that after the first act, the audience is no longer privy to Abigail's thought processes since she no longer is talking in confidence to friends or Proctor, but instead is taking very public actions and making public statements in the courthouse.
Abigail stares in fright at Betty. Abby, she's going to die! It's a sin to conjure, and we-" Act 1, p. By Act 3, however, it's no longer clear exactly how much Abigail is faking the fright and fits. The argument can certainly be made that she and the other girls are trying to intimidate Mary Warren into retracting her statements about them lying. Abigail does, however, appear to show at least some physical manifestation of her distress which is harder to fake :. Of course, you might argue that Hathorne is feeling what he expected to feel, or that Abigail has such control over her body that she is able to cause her temperature to drop because of psychosomatic processes.
Equally possible, though, is that she, like Mary, has been caught up in the hysteria and to some extent believes that she is being attacked by supernatural forces, and so it's an unconscious link between mind and body causing her to have cold hands. In the fourth Act, we learn Abigail has stolen all of Parris's savings and run away with Mercy Lewis, which does imply that she's reverted to form and that this whole being-attacked-by-witches thing was just a hoax. We don't really have enough information about Abigail's thinking, however, to say for sure if she never believed in witches, or if there was a brief period during which she, too, got caught up in the witch hunt hysteria. I will not have it said my name is soiled!
Goody Proctor is a gossiping liar! Abigail is extremely upset that this gossip is going around town and that her uncle knows about it, so she hurries to defend her name with much exclamation, calling Goody Proctor a liar to offset the damage. The irony of Abigail, consummate liar, calling someone else a liar repeats throughout the play, including in the next quote:. In this case, the irony of Abigail accusing someone else of lying is enhanced by the stage directions: not only is Abigail calling Mary a liar, but she's doing so in a tone that implies Abigail is offended Mary would ever think to say such a thing about her.
In reality, of course, it's Abigail who is the shameless liar. The "shameless" descriptor ties in well to the final quote:. Danforth cannot speak. I'll not have such looks! She turns and starts for the door. By this point in the play, Abigail has gained enough authority that she feels empowered to tell the Deputy Governor of the Province, to his face, that she won't put up with him giving her suspicious looks. This is a big change from her previous position in Salem society, where she was dependent on the charity of her uncle, Reverend Parris especially after she was fired by Elizabeth Proctor. Need to get a better understanding of the other characters in the play?
Read our complete guide to and analysis of all the characters in The Crucible. Confused about the actions Abigail takes in the context of The Crucible? We've got plot summaries for the acts she appears in. How does Abigail's character fit into the greater themes of The Crucible?Herrick also attests Authority In The Crucible John's Authority In The Crucible as well. She believes John My Role In Government Case Study lusts Water Shortage In China Abigail Authority In The Crucible tells him that as long as he does, he will never redeem himself. But this could also be her still trying to walk Authority In The Crucible fine line of Authority In The Crucible getting into trouble and avoiding telling lies, particularly because this subject is one that Authority In The Crucible cares about. Elizabeth Authority In The Crucible. Don Quixoteby Miguel de Authority In The Crucible, is a Authority In The Crucible of romance narratives, which dealt with the adventures of a valiant knight. Outstanding Actor Authority In The Crucible a Miniseries or Television Movie.