Before even getting into the introduction of the essay, the guiding question itself has narrowed down the general idea of what Arthur Miller’s The Crucible is all about. The story sets in the midst of Salem Village in the year 1692 where the population was still under the strong conviction that the mythical stories of witchcraft had existed. The story throughout the entire book recounts the story of how the mini-civilization of Salem Village in Massachusetts ruined and shattered itself apart by falsely pointing fingers at innocent inhabitants of the same village of practicing witchcraft. Comprehensively the story consisted of various allegorical aspect that may well be adopted and interpreted in a similar situation in the United States circa 1950’s where the general society in almost every part of the country was on its sturdiest feet cautiously protecting themselves and family from the infamous hunt versus communism. In the period of the 1950’s, the infamous phenomenon in the United States of the communist witch hunt initiated Arthur C. Miller to compose The Crucible, picturing a similar situation of that happened in the 1692 hunt for witchcraft in Salem Village, Massachusetts. At the peak of false accusations that happened in the 1950’s, charges pressed against convicts could only be a matter of the slightest link or connection to communism, almost as easy as pointing black ink on a white piece of paper. Individuals who have happened to read a communist newspaper encountered oneself with a communist meeting and/or movement, or even mentioning communism in a discussion could put themselves in the danger of becoming convicted. Unfortunately, even in some situations, an accusation is legitimate enough to bring one as a convict and to be put behind bars. A symbolic character in the 1950’s communist witch hunt that can also be found in the 1962 Salem witch hunt is Hollywood correspondent Billy Wilkerson and Abigail Williams. In both cases, the act of false and blunt accusations was as challenging as for one to challenge that the sky is not blue – in other words alleging innocent and non-affiliated individuals into a disgraceful practice that is known sacred and harmful for the society. As lengthy of a gap between the two manifestations, the consequences to the ones that were pointed fingers at were quite severe, when the convicts of Salem Village would be hanged to death if one simply would not tarnish their name by way of doing something that they did not. There are many examples that can be adopted from the story and play, one of them was the last death and scene of the play where John Proctor had already sacrificed his name and reputation to the public, yet nobody had seemed to understand that it was all just a game of revenge played by the mastermind, Abigail Williams while John Proctor still sought to propel a message to his society even though his sufferings paid too much to what he was fighting for. Similarly to the situation of the 1950’s communist witch hunt, the booming convicts that had the media attention, scandals and not to mention controversies was the act of blacklisting talented and even well-renowned screenwriters and movie directors of Hollywood at that time. Some would recall the union of ‘The Hollywood Ten,’ both the movie and the pact. The group consisted of ten screenwriters, playwrights, and movie directors heavily involved in Hollywood movie industry at that time that were firstly questioned by House of Un-American Activities Committee (HUAC). Some say that they were involved, others say that they felt dishonored being in question in such manners as the question until now remains unanswered. An example of the reason why they were questioned was a movie created in 1944 entitled the Song Of Russia, where workers shouted ‘tovarich!’, translated as a comrade, being one of the more common phrases used by the communists as one of its symbols are the comradely solidarity. The self-titled movie of the pact had the aims of denouncing McCarthyism and his theories of fighting communism – also a solid weapon of the arts to become the voice for the oppressed, similar if not the same intentions and objectives as Arthur Miller writing his piece The Crucible.In the norms of today, accusations and pointing fingers hardly had the same level of trustworthy in comparison to the accusations done in both Salem witch-hunt or communist witch hunt, where the only legitimate source of evidence can only be told by one voice and its followers. The analogous scenario that is in the story of The Crucible was when Abigail Williams started to convince the judge in court that the devil’s soul of Mary Warren had unstably sparked a peculiar yet deathful reaction towards Abigail and convinced her fellow village girls to follow her lead. This had grabbed the attention of the judges largely that essentially completed the journey of John Proctor’s voice, where now all his stories are going to be twisted from another trusted source of the judge, and his voice will no longer have the power to make any difference to his unfortunate fate. So to evaluate, Arthur Miller’s The Crucible was considered as a deadly weapon for the HUAC considering its priceless value of being precisely being a voice for the oppressed moreover to compare the situation at the time of Joe McCarthy’s excessive and cruel accusations to share parallel attributes to the Salem witch hunt in 1692. He intended to create the form of expression for the people who were unjustly done one-on-one in front of a fixed court situation that carried no value towards a law that carries honest justice. Correspondingly in the book John Proctor was a voice of the accused, may as well say as much as they can to live the moment for a hope of justice and to free the oppressed. 

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