Common Mod Flashcards
Introduction Thesis
Composers employ the art of storytelling to form an entertaining reflection of broader humanity, evoking the audience to resonate with and reflect on the fraught conflict between individual lives and collective cultures amidst their contextual realm.
Introduction Context
Arthur Miller’s 1953 play The Crucible forms a sophisticated discourse on the complexity of innate human responses to widespread adversity, drawing on his contextual concerns of 1950s American McCarthyism, characterised by the pervasive fear of communism and erosion of civil liberties in the allegorical setting of the Salem Witch Trials.
Introduction Link
Thus, Miller effectively captures the complex interplay between innate humanity, personal morality and anomalous responses to collective adversity and culture, prompting the audiences to consider the individual and collective motivations influencing the zeitgeist of their contextual milieu.
P1 - Thesis
Texts effectively employ the art of storytelling to skilfully capture innate human qualities underpinning individual and collective lives, often allowing for a sophisticated exploration of humanity’s inclination for conformity in hopes of self-preservation amidst significant turmoil.
P1 - Context
Miller reflects on the political crisis of 1953 McCarthyistic America - characterised by a pervasive distrust and erosion of community - in the allegorical power structures of theocratic Salem, highlighting the innate, trans-temporal human responses to the cycles of social unease.
P1 - Evidence 1
Foreshadowing such experiences, Miller utilises Mrs Putnam’s declarative conduplication, “There are wheels within wheels… and fires within fires”, to illustrate the spiralling perpetuation of hysteria. As such, the allegorical statement communicates the multifaceted intricacies of society’s collective and individual machinations.
P1 - Evidence 2
Utilising the characterisation of Mary Warren, Miller extrapolates this tendency through her exclamation, “Witchery’s a hangin’ error… like they done in Boston!” drawing on the historical parallel between Salam and Boston to ignite the idea that unjust justice systems transcend time and location.
P1 - Evidence 3
Thereby, Miller illuminates the broader Egoist traits underpinning humanity’s inclination towards self-preservation surpassing moral integrity, consolidated by Abigail’s high modality exclamative, “I saw Sarah Good with the Devil!” Miller’s use of the motif of sight in Salem’s accusations portray conformity as a means for the girls – and greater society – to reclaim power within their situation.
P1 - Evidence 4
By reflecting on his contextual experience of uncontrolled accusations, Miller uses the stage directions, ‘As though infected, Mary Warren… screams with them’, to cement his portrayal of the transtemporal inclinations to hysteria and conformism underpinning individual and collective experiences of adversity.
P2 - Context
Miller draws on his contextual experiences of opportunist fearmongering and the institutional legitimation of fear in the ‘Red Scare’ through the allegory of Salem to subtly challenge the pervasive surveillance and protectionary policies permeating the 1950s’ witch-hunt’ of communism, serving as a powerful critique of the persistent collective culture of seeking control and authority amidst crisis.
P2 - Thesis
Additionally, storytelling can reflect broader, trans-temporal conflicts through their microcosmic settings, seen in the portrayals of individuals in power aligning with their egoist motivations regardless of collective benefit.
P1 - Link
Ultimately, Miller’s exploration into the human tendency for self-preservation in response to adversity ignites a deep understanding of the innate human tendency to conform to the collective culture, employing the art of storytelling to simultaneously entertain and prompt the audience’s consideration of the enduring implications of primal humanity on their individual experiences.
P2 - Evidence 1
Miller’s characterisation of Reverend Parris embodies this concept in the oxymoronic statement, “My ministries at stake… and perhaps your cousin’s life”, highlighting the power of innate fears of vulnerability overrides morality as he prioritises power over paternity.
P2 - Evidence 2
The increasing demoralisation out of fear further manifests in his assertion, “Any man who is not reactionary… is open to the charge of alliance with the Red hell.” Millers’ use of satanic imagery hereby exemplifies the moral ambiguity of politicians as Parris employs fearmongering tactics to enforce conformity and social dependence on his leadership. Thus, Miller strengthens his link between the Salem Witch trials and The Red Scare, positioning the audience to acknowledge and challenge the historical pattern of politicians manipulating public hysteria in the hopes of personal gains.
P2 - Evidence 4
Miller employs the synecdoche, “to challenge [authority] anywhere is to threaten it everywhere”, rationalising Parris and Hathorne’s drastic actions to draw on the universal opposition to slight deviations from society’s collective culture.
P2 - Evidence 3
Finally, Miller highlights the inconsistent tendencies of those who fear their loss of control in Act IV, as Parris submits all morality to his desperation for power, highlighted in the emotive stage directions, Parris, hysterically… “Proctor!” drawing on the innate egoism underpinning the human condition.
P2 - Link
By exploring the human tendency to forgo ethics in hopes of retaining control during times of adversity, Miller instigates reflections on trans-historical power structures, prompting the audience to consider the implications of a society’s collective culture on the motivations and actions of individuals.
P3 - Context
Miller parallels his experiences with communist accusations and persecution during the ‘Red Scare’ through John Proctor’s character arc, highlighting the significance of anomalous individuality in challenging innate collective conformity to catalyse significant social change.
P3 - Thesis
The significance of texts in resolving the conflict between an individual and their society is conveyed by composers’ alignment with Joseph Campbell’s The Hero’s Journey, illustrating the capabilities of individualist actions - triggered by moral integrity - to ignite collective cultural change.
P3 - Evidence 1
John Proctor’s biblical allusion, “All our old pretences ripped away. God’s icy wind will blow”, effectively encapsulates the innate human struggle between good, evil, morality and conformity whilst opposing the institutional binaries that serve to condemn unconventionality.
P3 - Evidence 2
By presenting humanity as metaphorically “naked” without such pretences, Miller employs crude imagery to illustrate the futility of prioritising reputation over morality and connectedness, prompting the audience to consider the value of authenticity despite the collective culture.
P3 - Evidence 4
He consolidates this ideology by examining the social implications of anomalous sacrifice as characters who accept the double entendre of the “weight” accompanied by challenging collective hysteria and moral decay, initiating the restoration of ethical society.
P3 - Evidence 3
Miller further conveys the tense conflict between egoist and moral motivations through the rhetorical question, “How may I live without my name?” employing biblical symbolism to highlight the transtemporal moral dilemma faced universally as individuals navigate between authenticity and conformity.
P3 - Link
Overall, Miller underscores the complex interplay between individual qualities and collective culture as anomalous characters highlight the significance of extending beyond the status quo and sustaining morality to catalyse positive change.
