‘Reputation’ as a Theme studied by VCE Students in The Crucible by Arthur Miller
Themes are the fundamental and often universal ideas explored in a literary work. One of the most important themes in The Crucible is reputation.
Themes are the fundamental and often universal ideas explored in a literary work. One of the most important themes in The Crucible is reputation.
In a theocratic society like Salem, where public and private moralities are one and the same, reputation plays such an important role. Focused on maintaining public reputation, the townsfold of Salem much fear that the sins of their friends and associates will taint their names. Various characters base their actions on the desire to protect their respective reputations. The protagonist John Proctor’s desire to keep his good name leads him to make the heroic choice not to make a false confession and to go to his death without signing his name to an untrue statement.
Quote of John Proctor in Act IV:
“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!”
Explanation of Quote:
Proctor utters these lines at the end of the play, in Act IV, when he is wrestling with his conscience over whether to confess to witchcraft and thereby save himself from the gallows. The judges and Hale have almost convinced him to do so, but the last stumbling block is his signature on the confession, which he cannot bring himself to give. In part, this unwillingness reflects his desire not to dishonour his fellow prisoners: he would not be able to live with himself knowing that other innocents died while he quaked at death’s door and fled.
More important, it illustrates his obsession with his good name. Early in the play, Proctor’s desire to preserve his good name keeps him from testifying against Abigail. Now, however, he has come to a true understanding of what a good reputation means and what course of action it necessitates—namely, that he tell the truth, not lie to save himself. “I have given you my soul; leave me my name!” he rages; this defense of his name enables him to muster the courage to die, heroically, with his goodness intact.
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First performed in 1949, A Streetcar Named Desire sprang from Tennessee Williams’ personal beliefs, reflecting his society as he saw it. In the 1920’s, the American dream of democracy, material prosperity and equality for all had fast disappeared with the Great Depression. This economic crisis began with the 1929 Wall Street Crash, and brought unemployment and great poverty to many. The depression passed, but the idea of such a state of perfection was proved to be unrealistic and unattainable. The characters in the play represent the jaded American dream, and the kind of lives, standards and tensions within which the immigrant population found themselves living.
The ‘Forward’ to the Penguin Books Edition 2000 of the play is written by Tennessee Williams himself and was first published in the New York Times on 8th March 1959. Williams’ own feelings of insecurity and escapism are literally true. At the age of 14 he discovered “…writing as an escape from a world of reality in which I felt acutely uncomfortable. It immediately became my place of retreat, my cave, my refuge”.
Although Williams’ protagonist in A Streetcar Named Desire is the romantic Blanche DuBois, the play is a work of social realism. Blanche explains to Mitch that she fibs because she refuses to accept the hand fate has dealt her. Lying to herself and to others allows her to make life appear as it should be rather than as it is. Stanley, a practical man firmly grounded in the physical world, disdains Blanche’s fabrications and does everything he can to unravel them. In relation to the Context ‘Whose Reality?’, Williams’ text enables the reader to explore this antagonistic relationship between Blanche and Stanley as a struggle between appearances and reality. It propels the play’s plot and creates an overarching tension.
Through character construction we can see how people like Blanche Dubois are doomed in the world. The play highlights the tragedy of one whose world and whose reality have no relationship with what is real. As the play unfolds the audience witness the destruction of one who craves the abstract notion of love. Blanche represents our desires and our capacity to imagine where we would like to be or how we would like to live. As a direct contrast, Stanley Kowalski epitomises the modern world – pragmatic, cruel, heartless and lacking in sensitivity.
Escapism is something we all embrace as a way to unwind and remove ourselves from the hassles of daily life. However, we know we have to face reality and all its complexities. Blanche Dubois’ character suffers one difficulty after another and she is unable to face the harsh realities of her world. Escapism in A Streetcar Named Desire is represented by Blanche Dubois’ character who is unable to face the harsh realities of her world but in the end craves security, love and peace.
When she is raped by Stanley, her ability to distinguish truth from lies and illusion from reality is shattered. Stanley’s declaration before he rapes Blanche, that “We’ve had this date with each other from the beginning!” (Scene 10, p. 215) is a statement of his fundamental need to crush Blanche’s weakness, his “right” to exert his power over her sensitivity. He is the manifestation of a modern and insensitive society that fails to acknowledge those needing support and craving emotional designs rather than materialistic ones. Her rape symbolises society’s inability to tolerate those who fail to fit in to the real world.
Though reality triumphs over escapism and fantasy in A Streetcar Named Desire, Williams suggests that fantasy is an important and useful tool. At the end of the play, Blanche’s retreat into her own private fantasies enables her to partially shield herself from reality’s harsh blows. Blanche’s insanity emerges as she retreats fully into herself, leaving the objective world behind in order to avoid accepting reality. In order to escape fully, however, Blanche must come to perceive the exterior world as that which she imagines in her head. Thus, objective reality is not an antidote to Blanche’s fantasy world; rather, Blanche adopts the exterior world to fit her delusions. In both the physical and psychological realms, the boundary between fantasy and reality is permeable. Blanche’s final, deluded happiness suggests that, to some extent, fantasy is a vital force at play in every individual’s experience, despite reality’s inevitable triumph.
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Topic Question:“It is Lewis’ transformation that is the focus of the drama”. Discuss.
The Lewis that audiences encounter at the end of Louis Nowra’s play Cosi is very different from the Lewis in Act One. Within the context of Australian society undergoing radical social and political changes in the 1970’s, Nowra also charts the radical changes in his protagonist, Lewis. Faced with the daunting job of directing mental patients in an opera, Lewis undergoes transformative personal repercussions. His world views are challenged and enriched by the experience, and he grows in emotional and intellectual ways. His girlfriend’s outburst at him that “Working with these people has changed you!” is quite valid.
Analysis of the Content Features of this Introduction:
I am NOT an on-line free tutoring service. My resources on this website are for general use only. I do not write student’s essays for them or give advice on essay prompts. However, for more intensive tutoring in a specific area of English, I will visit students in their own homes for private tutoring sessions that are paid on an hourly basis.
I am NOT an on-line free tutoring service. My resources on this website are for general use only. However, for more intensive tutoring in a specific area of English, I will visit students in their own homes for private tutoring sessions that are paid on an hourly basis.
Contact me if you need help to prepare your practice text response essays:
Ask yourself the question “If you only read the introduction, would it stand alone explaining your main contention without any other supporting data?”
Use the TEEL structure for all paragraphs:
I am NOT an on-line free tutoring service. My resources on this website are for general use only. I do not write student’s essays for them or give advice on essay prompts. However, for more intensive tutoring in a specific area of English, I will visit students in their own homes for private tutoring sessions that are paid on an hourly basis.