Motif Tracking: The Crucible – Doors & Windows
Summary:
Arthur
Miller uses the motif of doors and windows as a symbol of entrapment and restriction.
Closed doors and windows could suggest that characters are confined thus
suggesting their lack of freedom. Moreover, windows and doors could also be
used as a representation of freedom and hope. Open doors and open windows could
suggest a way out, thus implying that there is a way of escape for the
character, however most of the windows and doors in
Quotations:
Page |
Quotation |
Analysis |
13 |
STAGE DIRECTIONS “...narrow window
at the left...” |
This narrow nature of this window,
introduced before any action in the play begins, shows how that this society
has a sense of restriction surrounding it. Nonetheless, the very fact that
there is a window mentioned at tall and that the morning rays are shining
through also suggest that there will be an element of hope for some
characters. But, the hope will be “narrow”. |
18 |
PARRIS [scrambling to his feet in
a fury]: Out of my sight! [She is gone.] Out of my – [He is overcome with
sobs. He clamps his teeth against them and closes the door and leans against
it, exhausted.] Oh. My God! God help me! [Quaking with fear, mumbling to
himself through his sobs, he goes to the bed and gently takes BETTY’s hand.]
Betty. Child. Dear child. Will you wake, will you open up your eyes! Betty,
little one... |
The fact that Parris closes and
then leans against the door symbolizes how desperate he is to hide the
‘truth’ of his daughter’s condition from the other members of Moreover, the closing of the door
reveals to the audience how narrow-minded society’s views are as Parris is
the religious leader of this theocratic society. |
25 |
PARRIS [to ABIGAIL]: If she starts
for the window, cry for me at once. |
Parris is the person who suggests
the idea of leaping out the window and this foreshadows what will happen
later in Act 1. Moreover, it is Parris who first believes that she will
do these things, thus, it reveals his predisposition to believe in the idea
of witches and also the way in which it is the beliefs of people like Parris
and Hale that actually inspire the stories that the girls produce, thus
reflecting how in the 1950s official policy (e.g. the fear of Communism) may
have prompted hysterical / delusional behaviour from the ordinary American
people. On the other hand, this could also
perhaps foreshadow that some characters will make a bolt or leap for freedom,
but will ultimately fail, as society will pull them back in. |
26 |
BETTY: I’ll fly to Mama. Let me
fly! [She raises her arms as though to fly, and streaks for the window, gets
one leg out.] |
Betty is trying to convince Parris
that she is being controlled by a supernatural force. Parris does not realize
that she is simply acting and this undermines Parris and his actions in the
eyes of the audience. Furthermore, as stated tentatively
in the previous quotation analysis, it could have reflections of making a
dash for freedom and failing. |
29 |
ABIGAIL: “...yours
has drawn me to my window...Dou you tell me you’ve never looked up at my
window?” |
Here Abigail’s passionate desire
for Proctor is apparent: the association of both of these characters with a
window may represent how they are both rebels against the rules of their
time. It perhaps also suggests Abigail’s powerful nature, thirst for freedom
and continual pushing of the boundaries of acceptable behaviour for a
Salemite. Proctor lurking outside of her
window reflects not only the desperate nature of his passion, something which
he is himself ashamed of, but also the fact that he is truly an outsider in
this society. |
41 |
PARRIS [quickly]: Will you look at
my daughter, sir? [Leads HALE to the bed.] She has tried to leap out the
window; we discovered her this morning on the highroad, waving her arms as
though she’d fly. |
Parris is clearly concerned by
what is happening to his daughter. Moreover, from a feminist perspective, it
is possible to interpret Betty’s actions as a desperate attempt to break free
from the patriarchal society that is limiting the freedom of women and their
ability to take part in basic activities such as dancing. |
46 |
ABIGAIL: Sometimes I wake and find
myself standing in the open doorway and not a stitch on my body! I always
hear her laughing in my sleep. I hear her singing her |
Abigail is taking advantage of the
situation because she saw how Tituba was able to transform her damnation into
a form of influence and she wants similar power and attention. From a
feminist perspective, this can be seen as her desperate attempt to gain
attention from those who would otherwise dismiss her opinions. |
52 |
PROCTOR: It's winter in here yet.
On Sunday let you come with me, and we'll walk the farm together; I never
seen such a load of flowers on earth. [With good feeling he goes and looks up
at the sky through the open doorway] |
This quotation in a calm tone
implies that Proctor does care and love his wife, Elizabeth. “With good
feeling he goes and looks up at the sky through the doorway” which suggests
that there is a sense of hope as the doorway is open. Additionally, because
both characters are looking outside but are both within the house there is a
feeling of entrapment and longing for freedom as Proctor is imagining all the
things he could do with his wife. Moreover, by wanting to walk out the “open
doorway”, it suggests Proctor’s independence and how he is willing to go
against the rules of |
57 |
MARY WARREN: So many time, Mr.
Proctor, she come to this very door, beggin' bread and a cup of cider-and
mark this: whenever I turned her away empty, she mumbled |
“She come
to this very door” the door could be a representation of the difference
between those who are deemed respectable in |
61 |
[Quite suddenly, as though from
the air, a figure appears in the doorway. They start slightly. It is Mr.
Hale. He is different now-drawn a little, and there is a quality of
deference, even of guilt, about his manner now.] |
The door
could signify uncertainty, as a “figure” appears from the doorway. Once we
realize that it is Hale we see the he is different, before he came through
the door with confidence as well as arrogance. However, now he comes through
the door with a quality of deference and guilt. Thus the door could reflect
the turning point of Hale’s character. |
73 |
PROCTOR: [He rushes
out the door] |
As the door is used
to represent a kind of freedom, Proctor’s dash towards it represents how he is
becoming increasingly independent and increasing certain that he must
challenge the power of the court and attempt to liberate the rest of |
75 |
PROCTOR: Make your peace with it!
Now Hell and Heaven grapple on our backs, and all our old pretence is ripped
away - make your peace! [He throws her to the floor, where she sobs, 'I
cannot, I cannot …' and now, half to himself, staring, and turning to the
open door] |
Proctor is commanding Mary Warren to confess in the
hope of saving his wife, his position near the open door suggests again
Proctor’s independence, his individuality and the fact that he has now
reached a point where he is not afraid to be an outsider as the fact that the
door is open creates a sense of freedom and lack of restraint. Additionally,
he may be looking for a way out of the sin he has committed and his position
on a threshold suggests that he is struggling with something. As we find out
later he is struggling with his own judgement of himself as it will take him
until the end of the play to forgive himself for his affair with Abigail and,
as he says, be able to see some good in John Proctor. |
76 |
[As the curtain rises, the room is
empty, but for sunlight pouring through two high windows in the back wall.
The room is solemn, even forbidding. Heavy beams jut out, boards of random
widths make up the walls. At the right are two doors leading into the meeting
house proper, where the court is being held. At the left another door leads
outside] |
The fact that the sunlight
is pouring through the windows suggests that there is a sense of hope.
However, the two windows are high thus, suggesting that this hope is still
distant, and thus that while John is free and ‘has his goodness now’ everyone
else is still at the mercy of the absurd court and the hysterical accusations
which are plaguing the town. This reflects how, although there may be a few
who have realised how absurd the McCarthy witch hunt is, there is still no
way out of this for the masses. |
91 |
DANFORTH: Mr. Parris, I bid you be
silent! [He stands in silence, looking out the window. Now, having
established that he will set the gait] |
This quotation could imply that
even Danforth, a person who represents authority, law and rules looks out the
window in search of hope, freedom and answers. This is also an indication to
show that everyone within |
108 |
[A cell in |
“High barred Window” and “A
great heavy door” clearly suggests restriction and entrapment as the windows
which are supposed to let in sunlight have been barred. Additionally, the
door, which people use constantly to get in and out, is heavy which
emphasizes the constraint within the cell in |
121 |
DANFORTH: Why for the good
instruction Mister; This we shall post upon the church door [To Parris
urgently] Where is the marshal? |
This quotation clearly
reveals how Danforth believes that a confession from a person such as Proctor
is required to prove to society that their actions have been right; Proctor’s
eventual refusal leaves them vulnerable to be overthrown in a rebellion like
the one in |
Key Moment:
The key moment of this motif is most
definitely the scene where Danforth insists that Proctor’s written confession
is required so that it can be “post upon the church door”. This clearly signifies
how Danforth believes that Proctor’s written confession can be proof to the
rest of society that the actions taken by Danforth were appropriate to handle
the situation and this would spare him from being overthrown in a rebellion
like the one in
Moreover, the urgency with which
Danforth and Parris wanted the written confession reveals how they wanted to
get the document from Proctor before he changed his mind. In the eyes of the
audience, this clearly undermines their characters and the theocratic society
in which they live and by doing this, Miller wants to undermine what is happening
in 1950’s America as well as he believed that the Communist witch hunt was
simply used as a cover to allow people to take revenge against those people did
not like. This key moment is particularly important as it justifies the actions
of Proctor. Proctor believes that by giving them a written confession which
would be put up on the “church door”, he will ruin his “name”. His refusal to
give the written confession is what makes him believe that he is in fact good
enough to die because he is unable to go through the final step which would
make him lie. So, ironically, the fact
that Danforth says this in order to give salvation to Proctor by making him
lie, which would in fact have made him a sinner, Danforth has accidentally
given salvation to Proctor because he has made Proctor realise that he is good
enough to die the same death as others in society such as Giles Corey. There is
also a parallel between Proctor and Miller here as Miller believes that he was
in a similar position during the Communist witch hunt. Thus, by portraying
Proctor as a hero, he wishes to reveal that he considers himself a hero as
well.