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crucible paradox. ARTHUR MILLER has said somewhere that "there are really
no characters in a play; there are relationship." Basically ...
... The Crucible starts off giving incite on one of the main characters in the story ...
The Salem tragedy developed from a paradox, a paradox in which some of us still ...
... infiltration from outside sources. It is this paradox that Miller used
to create a major theme of The Crucible. That is, in order ...
Crucible - Events. In the Crucible, Salem was presented as a town in peril. ...
It’s ironic too because Salem’s tragedy originated from a paradox. ...
... In Arthur Miller's The Crucible, John Proctor's stand in a society where opinion
drove ... Proctor was paradox to this - he wished nor believed anything of the sort ...
Submitted by w.s21 on May 12, 2007
Category: English
Words: 1326 | Pages: 6
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ARTHUR MILLER has said somewhere that \\\"there are really no characters in a play; there are relationship.\\\" Basically, there are three relationships, and only three, that from Aristotle onward decreed to make a play dramatic rather than narrative in concept and execution, separating drama from what we understand as literature. First, the hero or the main protagonist\\\'s relationship with his own true self; second, his relationship with his fellow-artists and together to the audiences; third, his commitment (on non-commitment) to the society in which he lives and where it is not possible to dismiss a crucial crisis and live his own private life, ignoring events transpiring all around him.
And it was the nature of the questions asked and answered, rather than the language used — whether verse, ordinary slang, or colourless prose — that determined whether the play had established a relationship and hence whether it was realistic or not. To reflect this reality it was necessary to depict why a man does what he does, or why he nearly did not do it, or \\\"why he simply cannot walk away and say `to hell with it.\\\'\\\" To put it another way, a play must have a social context, some kind of a commitment the main character makes to life, or refuses to make, the kind of challenge he accepts and the kind he can walk away from or turn his back on. The idea in the play lies in the discovery and clarification of the conflict between the hero and the world in which he lives — the less capable the man is of walking away from the central conflict of the play, the more tragic his existence. And vice-versa. Hence, no conflict, no drama. For instance, take Arthur Miller\\\'s \\\"The Crucible\\\".
But first, the genesis and the play itself. As Arthur Miller says in an extended essay \\\"The Crucible in History\\\", published last year, it would probably not have occurred to him to write this play had he not witnessed the post-war climate of suspicion and...
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