28-6 Crucible PT
28-6 Crucible PT
28-6 Crucible PT
Have students sit in small groups of about 4-5 people. Each group should have
someone to record its discussion and someone who will report out orally for the
group.
Present on a projector the video clip of the documentary “He may be a
communist.” (http://www.youtube.com/watch?v=AWeZ5SKXvj8)
After watching the trailer once, ask each group recorder to create two columns
on a piece of paper. In one column, the group will list techniques used in the clips
to promote fear and distrust in the communist party; in the other column, the
group will be asked to list positive images from the clip used to promote anti-
communist fervor.
Have the students watch the trailer one more time while keeping these questions
in mind.
Allow about 5 to 10 minutes for students to work in their small groups to complete
their lists.
Have students report out on their group work, starting with question #1. Repeat
the report-out process with question #2.
To complete the discussion, as a full group briefly talk about any possible
parallels to the witch trials and events in The Crucible.
The Salem Witch Trials and McCarthyism: Parallels in Public Hysteria
Task Overview:
Playwright Arthur Miller had more on his mind than the “witches” of Salem, Massachusetts
when he penned what became one of his most-produced plays, The Crucible. Written in 1953
during the height of what has been called the McCarthy era, the play has many thematic
parallels to the communist hunt spearheaded by Senator Joseph R. McCarthy of Wisconsin
beginning in the 1940s.
You will be examining several resources relating to these two events in U.S. history. After
reading the passages and answering a couple of questions, you will write an explanatory essay
that discusses factors common to both events that contributed to their beginnings as well as
helped them retain momentum.
Part 1:
You will now examine several sources. You can re-examine the sources as often as you like
during your completion of this performance task.
After examining the sources, use the rest of the time in Part 1 to answer three questions about
them. Your answers to these questions will be part of your score for the reading portion of this
assessment. Also, your answers will help you think about the information you have read and
viewed, which should help you write your explanatory essay. Both your margin notes and your
answers to the questions, along with a copy of The Crucible, will be available to you as you work
on your essay.
The McCarthy era’s anti-communist trials destroyed lives and friendships. In this essay published
in 2000, Arthur Miller describes the paranoia that swept America during this period and how it
led to his writing of THE CRUCIBLE.
Notes on my thoughts,
reactions and questions as I
read.
IT WOULD PROBABLY NEVER HAVE OCCURRED TO ME to write a play about the
Salem witch trials of 1692 had I not seen some astonishing correspondences with
that calamity in the America of the late 40s and early 50s. My basic need was to
respond to a phenomenon which, with only small exaggeration, one could say
paralyzed a whole generation and in a short time dried up the habits of trust and
toleration in public discourse.
I refer to the anti-communist rage that threatened to reach hysterical
proportions and sometimes did. I suppose we rapidly passed over anything like a
discussion or debate, and into something quite different, a hunt not just for
subversive people, but for ideas and even a suspect
language. The object was to destroy the least
credibility of any and all ideas associated with
socialism and communism, whose proponents were
assumed to be either knowing or unwitting agents of
Soviet subversion.
An ideological war is like guerrilla war, since
the enemy is an idea whose proponents are not in
uniform but are disguised as ordinary citizens, a situation that can scare a lot of
people to death. To call the atmosphere paranoid is not to say that there was
nothing real in the American-Soviet stand-off. But if there was one element that
lent the conflict a tone of the inauthentic and the invented, it was the swiftness
with which all values were forced in months to reverse themselves...
In 1948-51, I had the sensation of being trapped inside a perverse work of
art, one of those Escher constructs in which it is impossible to make out whether
a stairway is going up or down. Practically everyone I knew stood within the
conventions of the political left of center; one or two were Communist party
members, some were fellow-travelers, and most had had a brush with Marxist
ideas or organizations. I have never been able to believe in the reality of these
people being actual or putative traitors any more than I could be, yet others like
them were being fired from teaching or jobs in government or large
corporations. The surreality of it all never left me. We were living in an art form,
a metaphor that had suddenly, incredibly, gripped the country. And if this seems
crazy now, it seemed just as crazy then, but openly doubting it could cost you.
So in one sense The Crucible was an attempt to make life real again,
palpable and structured. But it is impossible to convey properly the fears that
marked that period. Nobody was shot, to be sure, although some were going to
jail, where at least one, William Remington, was murdered by an inmate hoping
to shorten his sentence by having killed a communist. Some greatly talented
people were driven out of the US to work in England: screenwriters like Carl
Foreman and Donald Ogden Stewart, actors like Charlie Chaplin and Sam
Wanamaker. I no longer recall the number of our political exiles, but it was more
than too many and disgraceful for a nation prideful of its democracy...
In 1956, the House Un-American Activities Committee (HUAC)
subpoenaed me—I was cited for contempt of Congress for refusing to identify
writers I had met at one of the two communist writers' meetings I had attended
many years before. By then, the tide was going out for HUAC and it was finding it
more difficult to make front pages. However, the news of my forthcoming
marriage to Marilyn Monroe was too tempting to be passed. That our marriage
had some connection with my being subpoenaed was confirmed when Chairman
Walters of the HUAC sent word to Joseph Rauh, my lawyer, that he would be
inclined to cancel my hearing if Miss Monroe would consent to have a picture
taken with him.
The offer having been declined, the good chairman, as my hearing came
to an end, entreated me to write less tragically about our country. This lecture
cost me $40,000 in lawyer's fees, a year's suspended sentence for contempt of
Congress, and a $500 fine. Not to mention about a year of inanition in my
creative life.
My fictional view of the period, my sense of its unreality had been, like
any impotence, a psychologically painful experience. A similar paralysis
descended on Salem. In both places, to keep social unity intact, the authority of
leaders had to be hardened and words of skepticism toward them constricted. A
new cautionary diction, an uncustomary prudence inflected our way of talking to
one another. The word socialism was all but taboo. Words had gotten fearsome.
Paranoia breeds paranoia, but below paranoia there lies a bristling,
unwelcome truth, so repugnant as to produce fantasies of persecution to
conceal its existence. The unwelcome truth denied by the right was that the
Hollywood writers accused of subversion were not a menace to the country, or
even bearers of meaningful change. They wrote not propaganda but
entertainment, some of it of a mildly liberal cast, but most of it mindless, or
when it was political, entirely and exuberantly un-Marxist.
In time to come, the notion of equating the red-hunt with the witch-hunt
would be condemned as a deception. There were communists and there never
were witches. The deeper I moved into the 1690s, the further away drifted the
America of the 50s, and, rather than the appeal of analogy, I found something
different to draw my curiosity and excitement.
Anyone standing up in the Salem of 1692 and denying that witches
existed would have faced immediate arrest, the hardest interrogation and
possibly the rope. Every authority not only confirmed the existence of witches
but never questioned the necessity of executing them. It became obvious that to
dismiss witchcraft was to forgo any understanding of how it came to pass that
tens of thousands had been murdered as witches in Europe. To dismiss any
relation between that episode and the hunt for subversives was to shut down an
insight into not only the similar emotions but also the identical practices of both
officials and victims.
Turning to Salem was like looking into a petri dish, an embalmed stasis
with its principal moving forces caught in stillness. One had to wonder what the
human imagination fed on that could inspire neighbors and old friends to
emerge overnight as furies secretly bent on the torture and destruction of
Christians. More than a political metaphor, more than a moral tale, The Crucible,
as it developed over more than a year, became the awesome evidence of the
power of human imagination inflamed, the poetry of suggestion, and the tragedy
of heroic resistance to a society possessed to the point of ruin.
In the stillness of the Salem courthouse, surrounded by the images of the
1950s but with my head in 1692, what the two eras had in common gradually
gained definition. Both had the menace of concealed plots, but most startling
were the similarities in the rituals of defence, the investigative routines; 300
years apart, both prosecutions alleged membership of a secret, disloyal group.
Should the accused confess, his honesty could only be proved by naming former
confederates. The informer became the axle of the plot's existence and the
investigation's necessity.
The witch-hunt in 1692 had a not dissimilar problem, but a far more
poetic solution. Most suspected people named by others as members of the
Devil's conspiracy had not been shown to have done anything, neither poisoning
wells, setting barns on fire, sickening cattle, aborting babies, nor undermining
the virtue of wives... To the rescue came a piece of poetry, smacking of both
legalistic and religious validity, called Spectral Evidence. All the prosecution need
do was produce a witness who claimed to have seen, not an accused person, but
his familiar spirit—his living ghost—in the act of throwing a burning brand into a
barn full of hay. You could be at home asleep in your bed, but your spirit could
be crawling through your neighbor's window to feel up his wife. The owner of
the wandering spirit was obliged to account to the court for his crime. With
Spectral Evidence, the air filled with the malign spirits of those identified by good
Christians as confederates of the Beast, and the Devil himself danced happily
into Salem village and took the place apart.
I spent 10 days in Salem courthouse reading the crudely recorded trials of
the 1692 outbreak, and it was striking how totally absent was any sense of irony,
let alone humor. I can't recall if it was the provincial governor's nephew or son
who, with a college friend, came from Boston to watch the strange proceedings.
Both boys burst out laughing at some absurd testimony: they were promptly
jailed, and faced possible hanging.
I am glad that I managed to write The Crucible, but looking back I have
often wished I'd had the temperament to do an absurd comedy, which is what
the situation deserved. To lose oneself day after day in that record of human
delusion was to know a fear, not for one's safety, but of the spectacle of
intelligent people giving themselves over to a rapture of murderous credulity.
Source 2: Cotton Mather Biography
The following brief biographical sketch of Cotton Mather gives a quick overview of his
contributions to the Salem Witch Trials.
Notes on my thoughts,
reactions and questions as I
read.
Here is a short excerpt from Cotton Mather’s book, referenced in the previous article. Although
the spelling and punctuation are rather archaic, Mather’s message (and its relevance to the
events in Salem as depicted in THE CRUCIBLE) should still come through pretty clearly.
Notes on my thoughts,
reactions and questions as I
read.
Wherefore the Devil is now making one
Attempt more upon us; an Attempt more
Difficult, more Surprizing, more snarl'd with
unintelligible Circumstances than any that we
have hitherto Encountered; an Attempt so
Critical, that if we get well through, we shall
soon enjoy Halcyon Days with all the Vultures
of hell Trodden under our Feet. He has wanted
his Incarnate Legions to Persecute us, as the
People of God have in the other Hemisphere
been Persecuted: he has therefore drawn
forth his more Spiritual ones to make an
Attacque upon us. We have been advised by
some Credible Christians yet alive, that a
Malefactor, accused of Witchcraft as well as Murder, and Executed in this place
more than Forty Years ago, did then give Notice of, An Horrible PLOT against the
Country by WITCHCRAFT, and a Foundation of WITCHCRAFT then laid, which if it
were not seasonably discovered would probably Blow up, and pull down all the
Churches in the Country. And we have now with Horror seen the Discovery of
such a Witchcraft! An Army of Devils is horribly broke in upon the place which is
the Center, and after a sort, the First-born of our English Settlements; and the
Houses of the Good People there are fill'd with the doleful Shrieks of their
Children and Servants, Tormented by Invisible Hands, with Tortures altogether
preternatural. After the Mischiefs there Endeavoured, and since in part
Conquered, the terrible Plague, of Evil Angels, hath made its Progress into some
other places, where other Persons have been in like manner Diabolically
handled. These our poor Afflicted Neighbours, quickly after they become
Infected and Infested with these Daemons, arrive to a Capacity of Discerning
those which they conceive the Shapes of their Troublers; and notwithstanding
the Great and Just Suspicion, that the Daemons might Impose the Shapes of
Innocent Persons in their Spectral Exhibitions upon the Sufferers (which may
perhaps prove no small part of the Witch-plot in the issue), yet many of the
Persons thus Represented being Examined, several of them have been Convicted
of a very Damnable Witchcraft: yea, more than one Twenty have Confessed that
they have Signed unto a Book, which the Devil show'd them, and Engaged in his
Hellish Design of Bewitching, and Ruining our Land. We know not, at least I know
not, how far the Delusions of Satan may be Interwoven into some Circumstances
of the Confessions; but one would think, all the Rules of Understanding Humane
Affairs are at an end, if after so many most Voluntary Harmonious Confessions,
made by Intelligent Persons of all Ages, in sundry Towns, at several Times, we
must not Believe the main strokes wherein those Confessions all agree:
especially when we have a thousand preternatural Things every day before our
eyes, wherein the Confessors do acknowledge their Concernment, and give
Demonstration of their being so Concerned. If the Devils now can strike the
minds of men with any Poisons of so fine a Composition and Operation, that
Scores of Innocent People shall Unite, in Confessions of a Crime, which we see
actually committed, it is a thing prodigious, beyond the Wonders of the former
Ages, and it threatens no less than a sort of Dissolution upon the World.
Source 4: “Enemies from Within”
The following selection is the text of a speech Senator Joseph McCarthy gave in Wheeling, West
Virginia in 1950. The speech is preceded by an introduction that details events leading up to the
delivery of this speech.
Notes on my thoughts,
reactions and questions as I
read.
The final two sources are brief excerpts from the testimony of two men: Giles Corey at his
witchcraft trial in 1692 and that of Paul Robeson before the House Committee on Un-American
Activities in 1956. Notes on my thoughts,
reactions and questions as I
read.
Samuel Braybrook, goodman Bibber, and his daughter, testified that he had told
them this morning that he was frighted in the cow-house. Cory denied it.
This was not your appearance but your person, and you told them so this
morning: why do you deny it? What did you see in the cow-house?
I never saw nothing but my cattle.
Divers witnessed that he told them he was frighted. Well, what do you say to
these witnesses? What was it frighted you?
I do not know that ever I spoke the word in my life.
All the afflicted were seized now with fits, and troubled with pinches. Then the
court ordered his hands to be tied.
What, is it not enough to act witchcraft at other times, but must you do it now in
the face of authority?
I am a poor creature, and cannot help it.
Upon the motion of his head again, they had their heads and necks afflicted.
Why do you tell such wicked lies against witnesses, that heard you speak after
this manner, this very morning?
I never saw any thing but a black hog.
You said that you were stopt once in prayer; what stopt you?
I cannot tell; my wife came towards me and found fault with me for saying living
to God and dying to sin.
Why here are three witnesses that heard you say so to-day.
I do not remember it.
Testimony of Paul Robeson before the House Committee on Un-American
Activities, June 12, 1956
THE CHAIRMAN: The Committee will be in order. This morning the Committee
resumes its series of hearings on the vital issue of the use of American passports
as travel documents in furtherance of the objectives of the Communist conspiracy.
Mr. ARENS: Now, during the course of the process in which you were applying
for this passport, in July of 1954, were you requested to submit a non-
Communist affidavit?
Mr. ROBESON: What is the Communist Party? What do you mean by that?
Mr. SCHERER: I ask that you direct the witness to answer the question.
Mr. ROBESON: What do you mean by the Communist Party? As far as I know it
is a legal party like the Republican Party and the Democratic Party. Do you mean
a party of people who have sacrificed for my people, and for all Americans and
workers, that they can live in dignity? Do you mean that party?
Mr. ROBESON: Would you like to come to the ballot box when I vote and take
out the ballot and see?
Mr. ARENS: Mr. Chairman, I respectfully suggest that the witness be ordered and
directed to answer that question.
Mr. ROBESON: I stand upon the Fifth Amendment of the American Constitution.
Mr. ARENS: Do you honestly apprehend that if you told this Committee
truthfully—
Mr. ARENS: I respectfully suggest the witness be ordered and directed to answer
the question as to whether or not he honestly apprehends, that if he gave us a
truthful answer to this last principal question, he would be supplying information
which might be used against him in a criminal proceeding.
THE CHAIRMAN: You are directed to answer that question, Mr. Robeson.
Mr. ROBESON: Gentlemen, in the first place, wherever I have been in the world,
Scandinavia, England, and many places, the first to die in the struggle against
Fascism were the Communists and I laid many wreaths upon graves of
Communists. It is not criminal, and the Fifth Amendment has nothing to do with
criminality. The Chief Justice of the Supreme Court, Warren, has been very clear
on that in many speeches, that the Fifth Amendment does not have anything to do
with the inference of criminality. I invoke the Fifth Amendment.
Mr. ARENS: Have you ever been known under the name of “John Thomas”?
Mr. ROBESON: Oh, please, does somebody here want—are you suggesting—do
you want me to be put up for perjury some place? “John Thomas”! My name is
Paul Robeson, and anything I have to say, or stand for, I have said in public all
over the world, and that is why I am here today.
1. Select at least three sentences from the Arthur Miller essay (Source 1) that draw a direct
or implied parallel between the Salem witch trials and the communist scare in the
1950s. Highlight (or underline) them in the text of the article.
3. The Miller essay (Source 1) and the biography of Cotton Mather both refer to “spectral
evidence.” Based on how the term is described in the articles, what is spectral evidence
and how was it an important factor during each of the two historical periods?
4. Fill out the table below to identify the primary motivation or goal each of the individuals
that are the subjects or authors of the source material.
Cotton Mather
Giles Corey
Paul Robeson
Using the Salem Witch Trials and the McCarthy Era as examples, write an essay about the
impact of creating and exploiting public hysteria as a means to obtain power and
manipulate people. Use information from the resources you have read as well as from the
text of the play The Crucible. You do not have to use each of the source documents, just
those with information that supports the claim you are making.