The Crucible Analysis
Aristotle’s Poetics, written in 335 B.C., is a codification of the traits of a tragic hero. As he states in his systematization, the tragic hero must be “someone who is highly renowned and prosperous” (Aristotle 17), making his downfall all the more excruciating for him. Additionally, “he must be true to life” (Aristotle 20), in order to “excite pity and fear” (Aristotle 17) from the audience. Finally, Aristotle states "A man cannot become a [tragic] hero until he can see the root of his own downfall" (Aristotle); he can be a hero beforehand, but to become a true tragic hero, he must experience tragedy.
Contrastingly, Miller’s definition of a tragic hero differs from Aristotle’s; he states that if the individual in question is of “high-bred character alone, it is inconceivable that the mass of mankind should cherish tragedy above all other forms, let alone be capable of understanding it.” Furthermore, “the tragic feeling is evoked in us when we are in the presence of a character who is ready to lay down his life, if need be, to secure one thing-his sense of personal dignity. Miller stipulates that “tragedy enlightens-and it must, in that it points the heroic finger at the enemy of man 's freedom” (Miller). That “thrust for freedom is the quality in tragedy which exalts” (Miller). Lastly, “the possibility of victory must be there in tragedy” (Miller), thus making the ultimate fall more devastating.
The characters of Parris and Danforth illustrate the moral corruption at the heart of Salem’s society and witch trials. Parris embodies self-absorption through his constant evaluation of every development in terms of how it affects his power and status. The Crucible opens with Parris, anxious over the unknown illness of his daughter Betty, viciously questioning Abigail on what might have caused Betty’s sudden ailment. Parris discovers that the girls were “dancing like heathen in the forest” (Miller 7). He interrogates Abigail, who resists him and does not tell him
Contrastingly, Miller’s definition of a tragic hero differs from Aristotle’s; he states that if the individual in question is of “high-bred character alone, it is inconceivable that the mass of mankind should cherish tragedy above all other forms, let alone be capable of understanding it.” Furthermore, “the tragic feeling is evoked in us when we are in the presence of a character who is ready to lay down his life, if need be, to secure one thing-his sense of personal dignity. Miller stipulates that “tragedy enlightens-and it must, in that it points the heroic finger at the enemy of man 's freedom” (Miller). That “thrust for freedom is the quality in tragedy which exalts” (Miller). Lastly, “the possibility of victory must be there in tragedy” (Miller), thus making the ultimate fall more devastating.
The characters of Parris and Danforth illustrate the moral corruption at the heart of Salem’s society and witch trials. Parris embodies self-absorption through his constant evaluation of every development in terms of how it affects his power and status. The Crucible opens with Parris, anxious over the unknown illness of his daughter Betty, viciously questioning Abigail on what might have caused Betty’s sudden ailment. Parris discovers that the girls were “dancing like heathen in the forest” (Miller 7). He interrogates Abigail, who resists him and does not tell him
Cited: Miller, Arthur. Tragedy and the Common Man. [S.l.]: [s.n.], 1949. Print. Aristotle, and Gerald Frank Else. Aristotle: Poetics. Ann Arbor: University of Michigan, 1967. Print. Adams, Julie. "The Heroism of John Procter." Readings on the Crucible Ed: Bruno Leone: San Diego: Greenhaven Press: 1999