Common Module: Texts and Human Experiences - The Crucible Notes PDF

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Description of Module A and notes on Arthur Miller's 'The Crucible' (quotes, analysis, etc)...

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English Notes Common Module: Texts and Human Experiences Plot summary of The Crucible: https://www.sparknotes.com/lit/crucible/summary/ https://dc.edu.au/texts-and-human-experiences-the-crucible-study-guide/ Themes - Fear and hysteria - ABIGAIL: Now look you. All of you. We danced. And Tituba conjured Ruth Putnam’s dead sisters. And that is all. And mark this. Let either of you breathe a word, or the edge of a word, about the other things, and I will come to you in the black of some terrible night and I will bring a pointy reckoning that will shudder you. And you know I can do it; I saw Indians smash my dear parents’ heads on the pillow next to mine, and l have seen some reddish work done at night, and l can make you wish you had never seen the sun go down! ‘It's ironic that Abigail, who encouraged the witchcraft in the first place, is the one who goes around accusing everybody else. As ringleader, she excites the other girls into a frenzy of emotion, which allows them to condemn as witches the people they know and love. She riles up the entire village’s hatred of witches, just like her 20th-century counterpart Sen. Joseph McCarthy riled up Americans’ hatred of communists. Abigail's main skill seems to be finding people's flaws, their weaknesses, and their prejudices... and then mercilessly manipulating them to her advantage.’ (Shmoop) ‘What begins as a simple act of self-preservation quickly turns into an opportunity to achieve power — and, ultimately, John Proctor.’ (CliffsNotes) - Also links to: power, manipulation - ABIGAIL: I want the light of God. I want the sweet love of Jesus! I danced for the Devil; I saw him: I wrote in his book; I go back to Jesus; I kiss His hand. I saw Sarah Good with the Devil! I saw Goody Osburn with the Devil! I saw Bridget Bishop with the Devil! ‘This outburst arrives at the end of Act I, after Tituba, Rev. Parris’s slave, has confessed to witchcraft. Abigail sees Tituba’s false confession as a way out of her own dilemma: if she also admits she’s a witch, she will be forgiven for casting charms in the woods with Tituba and her friends. Thus, she falsely confesses to witchcraft. Abigail’s so-called confession begins the long series of events that will lead to Abigail condemning both the Proctors to death.’ (SparkNotes) - Personal integrity/reputation - PROCTOR: You are the high court, your word is good enough! Tell them I confessed myself, say Proctor broke his knees and wept like a woman, say what you will, but my name cannot… Here there is a peculiar contrast or perhaps even paradox that occurs in reference to human characteristics that are typically regarded as weak, as can be seen in the statement 'say Proctor broke his knees and wept like a woman'. These generally negative connotations that come with qualities such as fragility refer to a physical state of being, rather than an emotional or social state of mind. As a result John's public image/social standing can be put aside from his physical condition, despite the fact that John as a character and as a person encompasses both physical and social components. - PROCTOR: No, it is not the same! What others say and what I sign to is not the same! This is in reference to a clear division between public and private - it is a question of his own integrity versus the rumours of those living in Salem. Although the statement is plainly directed at Danforth, the use of first person pronouns can be seen as a way for Proctor to help himself understand the situation that he has found himself in and help him to know which path to take: 1) bending the truth to fulfill the law's ideal or: 2) keep his integrity by not falsely admitting to a crime. - PROCTOR: Because it is my name! Because I cannot have another in my life! Because I lie and sign myself to lies! Because I am not worth the dust on the feet of them that hang! How may I live without my name? I have given you my soul; leave me my name! ‘The repetition of ‘name’ is used to emphasise the importance of it to Proctor, being symbolic of his power over his own identity. Proctor wants to remain his own man, with his own morals and beliefs, being who he wants to be. Signing his name over to the church is symbolic of surrendering everything that makes

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him Proctor, and he cannot accept that loss of self, on pain of death. It can be assumed that Miller, particularly in this scene has projected his struggles of protecting himself, as well as his reputation from UAAC and accusations of communism onto Proctor’s character. In this scene Anaphora is also used to emphasise the strength of Proctor in this scene, repelling the destructive ideals of puritan society, and keeping true to his own ideals and morals. He has finally gained control over his life in spite of the church, only to be unjustly killed for it moments later, further highlighting the unjust nature of the church. Power in the crucible had different effects on each character’s persona, and their emotions in response to their own human experiences.’ ABIGAIL: She is blackening my name in the village! She is telling lies about me! She is a cold sniveling woman and you bend to her! Let her turn you like a— The tone in this sentence becomes immediately accusatory with the use of non first person pronouns (she) as an attempt from Abigail to place the blame for her actions onto someone else. This accusatory, angry tone is also accentuated by the structure of the quote -truncated sentences and repeating the non first person pronouns to emphasise her supposed innocence. Combining the word 'lies' with more non first person pronouns can be seen as Abigail trying to (put most simply) make herself look better, and her trying to transfer her ideal private personality onto her public image to influence John to change his mind based on her suddenly positive temperament. - Also links to: revenge on Elizabeth Proctor, obsession PROCTOR: No, Francis, it is true, it is true. (Back to Danforth.) She will deny it, but you will believe me, sir; a man… a man will not cast away his good name, sir, you surely know that— One again we see the concept of how John's 'name' defines him and the sheer amount of obsession he has for his reputation. The words 'a man' are a metaphor for himself - using a placeholder allows him to effectively translate his internal conflict without revealing his true thoughts. PROCTOR: A man may think God sleeps, but God sees everything, I know it now. I beg you, sir, I beg you—see her what she is. . . . She thinks to dance with me on my wife’s grave! And well she might, for I thought of her softly. God help me, I lusted, and there is a promise in such sweat. But it is a whore’s vengeance, and you must see it now. ‘This quotation is taken from Act III, when Proctor finally breaks down and confesses his affair with Abigail, after trying, in vain, to expose her as a fraud without revealing their liaison. Proctor knows from the beginning that the witch trials constitute nothing more than a “whore’s vengeance”—Abigail’s revenge on him for ending their affair—but he shies away from making that knowledge public because it would lead to his disgrace. This scene, in the Salem courtroom, marks the climax of the play, in which Proctor’s concern for justice outstrips his concern for his reputation. This re-prioritization of values enables him to do what is necessary. But he finds, to his horror, that his actions come too late: instead of Abigail and the witch trials being exposed as a sham, Proctor is called a liar and then accused of witchcraft by the court. His attempt at honesty backfires and destroys him.’ (SparkNotes) PARRIS: Now look you, child, your punishment will come in its time. But if you trafficked with spirits in the forest I must know it now, for surely my enemies will, and they will ruin me with it. + PARRIS: Abigail, I have fought here three long years to bend these stiff-necked people to me, and now, just now when some good respect is rising for me in the parish, you compromise my very character. I have given you a home, child. I have put clothes upon your back—now give me upright answer. Your name in the town—it is entirely white, is it not? ‘At first the audience might feel bad for him. But then they'd quickly realize that Parris is just worried about his reputation. He's afraid that if people think there's witchcraft in his household, he'll lose his position as minister of Salem.’ (Shmoop) PROCTOR: Since we built the church there were pewter candlesticks upon the altar; Francis Nurse made them y’know, and a sweeter hand never touched the metal. But Parris came,and for twenty week he preach nothin’ but golden candlesticks until he had them. I labor the earth from dawn of day to blink of night, and I tell you true, when I look to heaven and see my money glaring at his elbows—it hurt my prayer, sir, it hurt my prayer. I think, sometimes, the man dreams cathedrals, not clapboard meetin’ houses.. +

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Proctor: Mr. Parris, you are the first minister ever did demand the deed to this house— ‘Parris is also motivated by selfishness, though he camouflages his actions with a facade of holiness. For example, he once wanted his church to have gold candlesticks. Therefore, according to John Proctor, the reverend preached only about the candlesticks until he attained them. In addition, Proctor once mentions that Salem's previous ministers never owned property. Parris, on the other hand, demands to have the deed to his home. This is a power play as well, as he fears that the residents may cast him out of the town and, therefore, wants an official claim to his property.’ (ThoughtCo)

- Jealousy - ABIGAIL: I look for John Proctor that took me from my sleep and put knowledge in my heart! I never knew what pretense Salem was, I never knew the lying lessons I was taught by all these Christian women and their covenanted men! And now you bid me tear the light out of my eyes? I will not, I cannot! You loved me, John Proctor, and whatever sin it is, you love me yet! ‘Abigail Williams utters these words in an Act I conversation with John Proctor, clueing the audience in to her past affair with him. For Proctor, we quickly realize their relationship belongs to the past—while he may still be attracted to her, he is desperately trying to put the incident behind him. Abigail, on the other hand, has no such sense of closure, as this quote makes clear. As she begs him to come back to her, her anger overflows, and we see the roots of what becomes her targeted, destructive romp through Salem. First, there is her jealousy of Elizabeth Proctor and her fantasy that if she could only dispose of Elizabeth, John would be hers. But second, and perhaps more important, we see in this quotation a fierce loathing of the entire town—“I never knew what pretense Salem was, I never knew the lying lessons. . . .” Abigail hates Salem, and in the course of The Crucible, she makes Salem pay.’ (SparkNotes) - Also links to: power, manipulation, love/obsession - Authority and power - ‘Abigail's ruthless, manipulative tactics might also be a result of her low social position. She does have it pretty bad. She's an orphan. She's an unmarried teenager. And worst of all (in the patriarchal Puritan society), she's female. The only person lower than her is probably the black slave, Tituba. On top of all that, Elizabeth Proctor has been going around dropping hints that Abigail is sleazy, lowering Abby's social status even more. With all this in mind, it's understandable that Abigail might seize any chance to gain power.’ (Shmoop) - ‘Abigail, on the other hand, faces an uphill battle towards more power over her situation. She is clearly outspoken and dominant, but her initial position in society is one of very little influence and authority. One path to higher standing and greater control would be in becoming John Proctor’s wife. When she can’t get John to abandon Elizabeth for her, she decides to take matters into her own hands and gain control through manipulating the fears of others.’ (PrepScholar) - ELIZABETH: Abigail brings the other girls into the court, and where she walks the crowd will part like the sea for Israel. Representation of Abigail’s power over the girls, and the crowd in the courtroom. Common Module - Texts and Human Experiences - Rubric In this common module students deepen their understanding of how texts represent individual and collective human experiences. They examine how texts represent human qualities and emotions associated with, or arising from, these experiences. Students appreciate, explore, interpret, analyse and evaluate the ways language is used to shape these representations in a range of texts in a variety of forms, modes and media. Students explore how texts may give insight into the anomalies, paradoxes and inconsistencies in human behaviour and motivations, inviting the responder to see the world differently, to challenge assumptions, ignite new ideas or reflect personally. They may also consider the role of storytelling throughout time to express and reflect particular lives and cultures. By responding to a range of texts they further develop skills and confidence using various literary devices, language concepts, modes and media to formulate a considered response to texts. Students study one prescribed text and a range of short texts that provide rich opportunities to further explore representations of human experiences illuminated in texts. They make increasingly informed judgements about how aspects of these texts, for example context, purpose, structure, stylistic and grammatical features, and form shape

meaning. In addition, students select one related text and draw from personal experience to make connections between themselves, the world of the text and their wider world. By responding and composing throughout the module students further develop a repertoire of skills in comprehending, interpreting and analysing complex texts. They examine how different modes and media use visual, verbal and/or digital language elements. They communicate ideas using figurative language to express universal themes and evaluative language to make informed judgements about texts. Students further develop skills in using metalanguage, correct grammar and syntax to analyse language and express a personal perspective about a text. Texts and Human Experiences Rubric statement #4 "In this common module students deepen their understanding of how texts represent individual and collective human experiences. They examine how texts represent human qualities and emotions associated with, or arising from, these experiences." A less conceptual approach to this idea of "human qualities" is to consider generic elements of human behaviour that cannot be classified as emotions. For example, the following concepts would also be relevant to a study of human experience: • Ambition • Arrogance • Faithfulness • Modesty • Determination • Idealism • Imagination • Realism • Cynicism • Optimism. • Representation: The way ideas are portrayed and represented in texts, using language devices, forms, features and structures of texts to create specific views about characters, events and ideas. Representation applies to all language modes spoken, written, visual and multimodal • Representing: The language mode that involves composing images in visual or multimodal texts. These images and their meaning are composed using codes and conventions. The term can include such activities as graphically presenting the structure of a novel, making a film, composing a web page or enacting a dramatic text • Human Qualities. This is the main focus of the Module and the most complicated aspect of it. Asking, "What are "human qualities"? is the equivalent to asking "What makes us human?" Neither English literature or philosophy- the discipline that has historically pondered this question - give us clear answers. For you, this is good. It means that the Module, and by extension your teachers and markers, cannot require a certain type of understanding from you and they, too, must embrace the ambiguity that the vague phrase "human qualities" suggests. With this ambiguity in mind, here are some potential human qualities discussed by philosophy that you may find useful for your analysis: • A soul • A capacity for rational thinking (practical reason) • Ideas and memory • Complex language

• Emotions: You will be able to feel confident discussing and exploring this point because it is readily reflective of human experience. If you struggle with some of the more complex or obscure ideas associated with "human qualities," you should start with this syllabus point by focusing on your own emotional experiences and understanding as this is a very accessible window into what it means to be human. Rubric statement #5 "Students explore how texts may give insight into the anomalies, paradoxes and inconsistencies in human behaviour and motivations." When you read texts, you are engaging with a composer's ideas and insights into human behaviour and human motivations. In your study, you need to consider what insights the text gives you. Anomalies, paradoxes, and inconsistencies are good places to start as they illustrate the complex nature of being human. Think about it, we are often full of contradictory emotions and ideas. Being human can be hard at times, while it can be exhilarating at others. To help you get your head around these contradictions, consider the following definitions • Anomaly n. something that deviates from what is standard, normal or expected. • Paradox n. 1 A seemingly absurd or contradictory statement or proposition which when investigated may prove to be well founded or true, 2. A statement or proposition which, despite sound (or apparently sound) reasoning from acceptable premises, leads to a conclusion that seems logically unacceptable or self-contradictory; 3. A person or thing that combines contradictory features or qualities. • Inconsistent adj. 1. Not staying the same throughout, 2. Not compatible or in keeping with To nail this syllabus point, you will need to have a complex understanding of the characters in the text and their narrative arcs, the role of the narrator, and your role as the reader. You will need to contrast your emotional experience of reading with the emotions reflected and manipulated by the composer in the text. These questions will require a specific and detailed knowledge of your text. They will not be the kinds of questions that you can memorise an essay for and recite on the day. NESA has provided some generic criteria for a Band 6 response: • Expresses deep understanding of complex ideas about human experiences represented in texts • Presents a skilful response with detailed analysis of well-chosen textual references from the prescribed text • Writes a coherent and sustained response using language appropriate to audience, purpose and context. Unpacking this marking criteria, a Band 6 essay will require • You to demonstrate a detailed understanding of the Module and the complexities of human experience. You must demonstrate your understanding of how these complex ideas are conveyed in the text you have studied. • Your response must be logically structured and systematically answer the question. Your choice of evidence must be consistently relevant to the question. You must discuss your examples in detail and convey their importance to your argument. • You need to produce a sustained argument. A sustained argument requires you to answer the question consistently and use signposting throughout to orientate your reader. Your response needs to demonstrate exemplary mastery of grammar and spelling. from Matrix Education Individual and collective human experiences

Potential question: Human experiences can be both unique and universal. How does studying your prescribed text and ONE other related text deepen your understanding of this notion? Rubric statement from which the question is derived from: “In this common module students deepen their understanding of how texts represent individual and collective human experiences. Any engaging story should have the ability to explore timeless concerns that humanity has always faced yet still illustrate unique perspectives of...