Paranoia In The Crucible

Crucible. One word. Three syllables. Two definitions: “a container for purifying metals” and “a severe test.” When applying this dual meaning to the Salem Witch Trials’ havoc, the title’s cleverness becomes apparent; Arthur Miller’s selection is fitting. Both definitions are suitable for the play because its characters are refined to their core elements as well as given the ultimate test. In terms of the word’s chemical definition, Salem itself becomes a crucible. The scorching temperatures used to purify metal parallel the heat of the town’s situation. Furthermore, the area acts as a container in which its inhabitants are reduced to their essences due to fiery chaos. Widespread paranoia strips the characters down to their genuine forms, prompting the rise of raw nature never before seen — an effect fear often bears. While many townspeople fall desperate in the face of mayhem, the madness provokes malevolence in those with devious undertones already present in their personalities. Individuals, such as Abigail and Mr. Putnam, take advantage of the influence that the crisis places in their hands. They now have an effortless opportunity to act upon their ulterior motives: The newfound ability to toss around accusations of witchcraft. Abigail, initially viewed as saintly, becomes corrupted by this power. As the story progresses and the trials subsequently lose credibility, her motives become increasingly less clandestine. She is driven by her desires for John Proctor, a man who sees her for who she truly is. Jealousy causes a monster to surface as she falsely charges Goody Proctor with witchcraft, in addition to countless other innocent victims: “I saw Sarah Good with the Devil! I saw
It comes as no surprise that a story with such fixation on the importance of names would itself possess a title so perfectly