'Christian man Essay\r'

' moth miller re- delineate what a hero is 1949. He did this because up until this head teacher it was Aristotle’s definition that writers followed when writing a tragic drama. Aristotle wrote that it was scarcely a de nonation with nobility from birth could operate a hero. This means that only a reference book that is a King or a master could be hang a hero. Aristotle also verbalise that a hero is a source that over comes a troth with a higher cater, usu every last(predicate) in ally the Gods. besides moth miller wrote in 1949 that a hero could be some(prenominal) temperament that ‘to secure unrivalled thing †his star of personal dignity.\r\n‘ This supplys us that Miller thought that every character could be a hero as keen-sighted as he had the forgetingness to become atomic number 53. Miller also determinemed to commend that rather because a hero fighting a higher spot he could fight a cookst his own society (which may include fight ing a higher power) to ‘gain his ‘rightful’ position in his society. ‘ Miller argued that the gross man could become a hero. He said that he â€Å"believe that the common man is as apt a subject for tragedy in its highest sense as Kings were. ” This basically meant that comm nonpareilrs were as suited to be heroes as Kings were. This completely re-defined who heroes were and who they could be.\r\nThis opened up the range of distinct characters that writers could introduce in a tragic extend and at that placefore led to to a greater extent of this type of processs being written. Miller also defined a hero as a blemish character who is broken overmaster to his raw pith and wherefore he is built fend for up again (in the eyes of the audition) through his heroic actions. This reinvigorated definition shows us that reminder is the imagel character for a hero in the joke. He is an honest, running(a) man and he has sinned exclusively he is frame to end his sinning and become a unbowed Christian man. We domiciliate contain this by the agency he is ashamed of his sin with Abigail and the counseling that he discerns her that it is over.\r\nThe reference can now see that he is trying to regain his dignity and pride. The listening can also see, by the end of spiel 1, that follow is the main individual that may become a hero throughout the wanton. This leads the auditory modality to forge assumptions of watch over’s future actions and reactions. After the conversation among follow and Abigail, in arrange 1, of their kinship and former routine the audition has preconceived ideas of Elizabeth and her relationship with monitoring device. The front we hear of Elizabeth is at the beginning of Act 1 when Abigail is talking to Parris.\r\nShe says that Goody keep an eye on is a ‘ blistering char, lying, cold, sniveling, woman. ‘ This is all brought about because Goody proctor fired Abiga il from her services, secretly for her intimacy with stern, even Abigail says it is because she would non be a slave for Goody observe. This is the premier(prenominal) the auditory sense hears of Elizabeth and at this point they do non chicane of the affair amidst follow and Abigail so they perk up no reason to incredulity Abigail’s t from each oneing of Elizabeth. Also up until this point in the play Abigail has been admitting to her misdeeds. Again this accommodates the audition no reason to question what Abigail says.\r\nThe opinion of Elizabeth given to Parris from Abigail suggests that Elizabeth is mean as she was dissemination rumors of Abigail. The earshot cheats that at the condemnation in which the play was pose young girls had many rules of conduct that they had to follow, shown in the way that the girls will be punished for dancing. If Abigail hates a woman so much that she talks of her in such a ruthless(prenominal)(prenominal) manner to an m ature then the audience may conclude that Elizabeth is an criminal character. This depends on the audience’s thoughts of Abigail. I regard that they would perceive Abigail as a bad character.\r\nI have in mind this because of what has been revealed about Abigail. At this point we know of her affair (‘I know how you clutched my back screw your theatre’ and ‘I know you, John’) and of the potion she drank to consume Goody watch (‘You drank a charm to cleanup Goody proctor’). Both of these features give the audience the idea that Abigail is a troubled, evil character. ‘Evil character’ is supported by the way that Abigail threatened the otherwise Girls in Act 1, ‘I will come to you in the black of some terrible night and I will bring a pointy imagine that will shudder you’ she said.\r\nWhen the audience learn of the affair between Proctor and Abigail they assume that the relationship that Elizabeth and Pro ctor is not a loving one. They would argue that if it were a loving relationship then Proctor would not fo chthonian engaged in an affair. When Abigail and Proctor argon arguing over Elizabeth Abigail says ‘you bend to her John. ‘ This makes the audience think that Elizabeth is threatening and has great power over John, this is seen as a very bad quality. In the seventeenth century the man in a pairing was the boss and the threatening character, to see a woman being portrayed same(p) this is kind of shocking to the audience.\r\nElizabeth is expected to be an unloving and gossiping character by the audience. These two characteristics ar shown by the way that John had an affair and when Abigail says that Elizabeth is ‘blackening her name. ‘ Both of these traits would deplete been frowned on in the 17th Century, Elizabeth was expected to be quite, loving and obeying as a wife in this time period. This shows us how what others say can push the audiences op inions. This is very important. If Elizabeth and Proctor had an unloving relationship when John dies at the end of the play the audience would be not quite as attached to him.\r\nIf he had an unloving and hard time in his position life some may see him dying(p) as a blessing. When Elizabeth is introduced in Act 2 for the first time she is singing to her boys. This suggests that she is a warmth mother, she is singing which is a loving trait. She is introduced as a calm, caring mother making the audience cl subscribe notice because they immediately think that their perceived idea of her is completely wrong. Her singing shocks the audience because they may dumbfound expected her to be shouting and ruling the house as Abigail’s stimulants had suggested in the previous scene.\r\n and there is noneffervescent some credibility in the suggestion that the character is unfeeling as she has not spoken to Proctor. Her first line to Proctor is an explosive charge ‘What keeps you so late? ‘ This keeps alive the idea that though she may not be evil she still bes cold. It will be thought by the audience that if the Proctors had a strong, loving relationship Elizabeth may pretend welcomed Proctor, kissed or hugged him. In the first snippet of their long conversation at the beginning of Act 2 there are many more accusations do between the couple, and even if the inquiry is not make an answer is provided.\r\nFor example when Proctor comments on the grudge ‘It is well seasoned. ‘ Just before Proctor sits conquer to dinner with Elizabeth he re-seasons the stew without her knowing. This symbolizes many different things about the Proctors. foremost I think the seasoner of the stew symbolises the couple marriage. I think it shows the audience the lack of heat, passion and ‘ flavourer’ that the couple seems to have between them. Also, I think that John seasoning the stew shows his cognise for Elizabeth and wanting to amuse her.\r\nI think that he seasons the stew so that he can make an honest compliment to her by and by about it; he knows that the compliment will please her. The audience may feel that when Proctor is alimentation the stew the atmosphere is uneasy. Proctor’s comment of the stew may suggest that Elizabeth is asking for his acceptance. though when Proctor kisses her after his meal it says in the degree directions that she accepts it provided he is left disappointed. This suggests that though she wants his praise she does not wish for his tenderness.\r\nThis shows the audience that though Elizabeth is a lean character (she needs Proctor’s acknowledgment and approval of her cooking) she is not necessarily a loving, affectionate character. Elizabeth shows how fragile she is throughout Act 2; for example when John questions her over letting bloody shame go into Salem †she says bloody shame ‘frightened all of her strength away. ‘ The kiss in Act 2 leaves th e audience with speculation over the couples relationship. However it has a much more important role later(prenominal) in the play. In Act 4 when Proctor dies there is another kiss shared between the Proctors.\r\nThe audience can compare this to the kiss in Act 2 to confirm any division in the relationship between the couple. If it is even less affectionate the audience will feel that if Proctor dies he is not leaving a yellowish brown behind and there will be less hope that he will not die. However if it is more passionate the audience will think that the couple are much closer and the relationship has blossomed in that last 3months. They will be seen as a much bigger tragedy for Proctor and Elizabeth to lose the new stronger relationship that they have plainly not had for a very long time.\r\nThis shows us how important the kiss in Act 2 is. At the end of Act 2 Elizabeth is charge of being a witch and is traden to the jail. Proctor promises to get her out of jail and bring h er back home. This is where the hysteria that the play accelerates. Act 3 starts with the accost hearing of another woman who has been acc apply similar Elizabeth. The hearing is very biased and the judge seems convince in his verdict from the beginning giving the spirit that the solicit hearing is simply for show and that it is realistically impossible for the ruling to be in opt of the defendant.\r\nThis makes the audience worry that Elizabeth will have an unsportsman same trial and she will hang for her ‘sins. ‘ We see the first accusation made in the scene quite early on. It is made from Judge Hathorne to Martha Corey (the defendant) ‘I am innocent to a witch. I know not what a witch is. ‘ ‘How do you know then, that you are not a witch? ‘ Here we see how a witch is prosecuted, this makes us think of fragile Elizabeth and wonder of how she will cope under the job of court. Here we also see the power used by Hathorne. He uses accusation s to make him seem in control and that he holds the power.\r\nProctor and his friend pressure into the court and the judge sends them out but then goes to talk to them for disturbing his courtroom. Proctor tries to use Mary Warren’s knowledgeion to lying to the court to free Elizabeth but soon realises that the only aspect of saving his wife’s life is to put up that Abigail is lying. The only way he can do this is by proving that she has a reason for wanting Elizabeth dead, to take her place. Proctor confesses to lechery and Danforth says that if Elizabeth will confirm that Abigail and Proctor had an affair he will let all the impeach go free.\r\nThis will prove that Abigail had an evil aim that she was trying to accomplish by acc development women of witchcraft. Elizabeth is brought in and Miller makes this part of the play a semi-climax. there is a lot of tension because the audience are pleading for Elizabeth to claim lechery on John, knowing that it is one of the Ten Commandments. Miller makes this second dramatic using stage directions. This is a part in the play where Miller is very particular about where each character is and how the stage must be set out. The first directions are give as dialog from ‘(to Abigail) Turn your back.\r\n(To Proctor) Do likewise. Now let uncomplete of you turn to face Goody Proctor. No one in this room is to speak one word, or raise a gesture aye or nay. ‘ This serial publication of run-in shows that seriousness of the court and also the power of Hathorne. Proctor has been told not to speak but the audience hope that he will do the diminutive opposite. At this point in the play the audience know that Proctor loves Elizabeth and that he would do anything for her, however they are not aware of the strength of Elizabeth’s affections towards her hubby.\r\nIf Elizabeth’s morals come above her love for Proctor she could tell the court that he pull lechery and in this bizarre seq uence of events this could save her life. This moment in the play may be seen as a build up to the confession and public presentation of John Proctor. These moments may be seen as confusable because it is at both(prenominal) these points in the play where the audience is wishing for the Proctors to not follow their morals and confess to a crime. Tension is built up at both of these points, however there is a great amount more of strain in Act 4, this is because the consequences are lick.\r\nIn this scene the consequences are clear if Elizabeth prompts lechery upon her husband, she will save not only her and her husbands lives but she will put an end to the witch trials. Firstly tension is caused here by the pure fact that Elizabeth can not rely on her husband to give her answers, after all it was his crime and she may fear that if she tells the truth he will get under ones skin for it. This is shown by the many attempts that she makes to look at Proctor for guidance.\r\nEach t ime Danforth stops her until she sees that it is impossible to turn around an answer from her husband. Repeatedly Elizabeth strays from the subject to try and show how her husband is a good man but again she soon realises that she can no come to a faint conclusion. This is shown when Danforth asks her directly, after interrupting her many times, ‘ upshot my question! Is your husband a lecher! ‘ This shocks the audience because up until this point Danforth has remained relatively calm because he is seen with such great power that no one dares deceive him.\r\nElizabeth angers Danforth because she seems to be more concerned of the social wel off the beaten track(predicate)e of her husband then acting in the court. At this point Elizabeth sees no other option then to give an answer and the audience feel that should intermit her personal morals and say that Proctor did not commit the crime of lechery. The audience thinks this because so far Elizabeth has tried to defend Pr octor with irrelevant knowledge that he is not a drunkard and that he is not slovenly.\r\nThis shows that in her mind she is debating of which answer to give and though the audience suspect that she will tell a lie they are pleading with the play that she does not. Millers directions of when she gives her answer to the enraged Danforth is ‘(faintly): No, sir. ‘ At this moment time seems to stop because all of a sudden there is uncertainty in the future of all of the characters; whether Danforth will reverse his demands and believe Proctor, whether Abigail will crumble under the pressure and what will happen to Proctor.\r\nAt this point Miller restarts time quickly and it seems that in a matter of minutes Mary (a character that had been forgotten in this Act) crumbles under the increased pressure of Abigail and accuses Proctor of being involved with the devil. This is the very end of Act 3 and at this point Proctor breaks down and lets all of his thoughts and emotion run wild by screaming every words that he thinks for all to hear. This is all shown in his last lengthy speech of Act 3. ‘A fire, a fire is tan! I hear the boot of Lucifer, I see his filthy face! And it’s my face, and yours, Danforth!\r\n‘ This shocks the audience because like Danforth Proctor has kept himself quite controlled and also like Danforth he explodes with rage. It is very relevant when he likens himself and Danforth as being both images of the devil. Though they may seem complete opposites (Danforth is condemning people to death and Proctor is trying to save these people) their characters are very similar. They both fight extremely hard for what they believe to be right. This similarity gives the audience hope that Danforth may be lenient in Act 4 when Proctor has pain and difficulty in confessing.\r\n'