Expert answer:Night with the Devil correction
Solved by verified expert:I have this paper. I have done it. but i got a bad grade.
so the professor give me
time to fix it. and i need help with that.it is a theater play. I have attached the play so you can use it
to fix the paper. and also attached my paper with the professor comment on it. and also the same
paper with no comment so you can edit it. and finally the guide that the
professor followed as grading. please i need to get high score in this paper in
order to pass the class.
night_with_the_devil__1_.docx
the_crucible.pdf
the_eassy.pdf
the_guide.pdf
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Night with the Devil
Salem Witch Trials, one of my absolute favorite time periods in American history to
research. The Crucible, a play by Arthur Miller, this production staged at Steppenwolf theater it’s
a good play with some great things, some bad things. Miller is brilliant, I acknowledge it. He
brings suspense, timing and charisma in everything he does in this play. I expected something a
bit different or maybe stronger. Too many scenes were too dry for me. There was a fascinating
exploration of the consequences of unquestioned power, though an awful portrayal of women. I
appreciated Arthur Miller bringing attention to the Salem Witch Trials. I hated how he treated
Abigail and the other female characters in this story as crazy and antagonizing. Yes, Abigail’s
actions posed major problems, but Miller described John Proctor, the man who has illegal
relation with her, as a martyr. Miller grants the men in this play complexity and autonomy; he
relegates women to the role of one-dimensional witches. we could also blame Miller for failing
to seize an opportunity to question the patriarchal standards so salient in Salem.
In my opinion, I guess in the Puritan world, there is no who have no women did not have
any power or voice in the community. Children had even less power than women did, but in
Salem, at that time, the children were heard and they were asked for their opinions and given a
great deal of power. They chose who was accused and who was not. It was an extremely
intoxicating combination. Arthur Miller took a great many liberties while writing the play and
often times confused true reality with his own version.
This play needs to be considered Historical Fiction. It revolves around a real time, a true tragedy,
and highlights humans who lived through the Salem Witch Trials, but Abigail was a girl of about
12 and did not have an affair with John Proctor, almost all of the girl’s ages were advanced for
the story, and much of the scandal around Parris was also exaggerated. Going back to history,
once the girls (and their parents) realized what accusing neighboring land owners of witch craft
could gain them, the accusations ran rampant. Children learned to manipulate situations to garner
more attention from their parents, and parents learned to manipulate their children into accusing
more and more people for increased wealth.
Furthermore, they convince me when they made more than one role to one actor. For
example, when they gave Millie Hurley who played Rebecca Nurse in the beginning of the play
and then another character who is her husband Francis Nurse Also, the moment when they bring
the slave Tituba who played by Echaka and asked her about what happened, and ask her about
the devil, and she said there was a woman then she said they were four and they tell her that
Reverend Parris who played by Peter Moore must be killed. That was great scene that I see in the
ply because I really believed her and how she was afraid and looks innocent.
For the acting, characters are great. You do feel strong emotions towards them. In the
beginning of the play, I did not figure out that the actors are doing two different roles but later, I
just saw the different between the characters. For example, when Kristina Valad -viars does the
first character who is Betty Parris. When she was laying in the bed pretending she is sick that
was her first role, and I really like it then later she appeared in the stage with another role who is
Elizabeth Proctor, and she seemed in good health, and she was older than in the first role. When I
saw her I thought she is the same character, and in the beginning that was confused me, but after
a while. I understood she is the same person but with different role.
My favorite character was John Proctor who was play by Travis A. Knight because the
focus of the story is John Proctor’s struggle to release himself from the horrible guilt he has
suffered since he admitted that he had relation with Abigail who was playing by Naima Hebrail.
This is indeed very moving. In a sense, The Crucible has the structure of a classical tragedy, with
John Proctor as the play’s tragic hero. Honest and upright Proctor is a good man, but one with a
secret, fatal flaw. His problem with Abigail Williams led to their affair, and created Abigail’s
jealousy of his wife, Elizabeth, which sets the entire witch hysteria in motion. Once the trials
begin, Proctor realizes that he can stop Abigail’s rampage through Salem but only if he confesses
to his relation with Abigail. Such an admission would ruin his good name, and Proctor is, above
all, a proud man who places great emphasis on his reputation.
He eventually makes an attempt, through Mary Warren’s testimony, to name Abigail as a
fraud without revealing the crucial information. When this attempt fails, he finally bursts out
with a confession, calling Abigail a “whore” and proclaiming his guilt publicly. Only then does
he realize that it is too late, that matters have gone too far, and that not even the truth can break
the powerful frenzy that he has allowed Abigail to whip up. Proctor’s confession succeeds only
in leading to his arrest and conviction as a witch, and though he lambastes the court and its
proceedings, he is also aware of his terrible role in allowing this fervor to grow unchecked. John
shoes us a lot of good scenes. For example, when he told them in the curt he had relation with
Abigail and Abigail is not good person. Also, John seems that he did not like his wife(Elizabeth).
For example, she judges him for a lie when she told him you like Abigail.
Moreover, I love Naima Hebrail role who is Abigail Williams. I consider her role one of
the major characters, Abigail is the least complex. She is clearly the villain of the play; she tells
lies, manipulates her friends and the entire town, and eventually sends nineteen innocent people
to their deaths. Throughout the hysteria, Abigail’s motivations never seem more complex than
simple jealousy and a desire to have revenge on Elizabeth Proctor. The language of the play is
kind of hard. Nevertheless, it is worth pointing out a few background details that, though they
don’t mitigate Abigail’s guilt, make her actions more understandable.
Abigail is an orphan and an unmarried girl; she thus occupies a low rung on the Puritan
Salem social ladder (the only people below her are the slaves, like Tituba). For young girls in
Salem, the minister and the other male adults are God’s earthly representatives, their authority
derived from on high. The trials, then, in which the girls are allowed to act as though they have a
direct connection to God, empower the previously powerless Abigail. Once avoid and scorned by
the respectable townsfolk who had heard rumors of her affair with John Proctor, Abigail now
finds that she has clout, and she takes full advantage of it.
For the Crucible, the set was great, and also the props were arranged and it seems ready
for the scene and I noticed that the actors who have the responsibility of the props during the
show. I mean they know how and when to use them. For example, the props were in the chairs
that are beside the stage and the characters change and wear their clothes in front of the audience
smoothly and neatly. They never do something that make me feel that they do not know what to
do or even forget something. The actors showed us different roles and ages when they change
their clothes, they go form young to middle and to old age, so I think the props were using
appropriately.
Technical and design were great and I saw a lot of new and fascinating ideas about how
to make your stage look special and different from others stages. The stage was huge, and it has a
big roof made by wood I think, Also, I saw in the stage table with two chairs before the play
start, and around the stage I saw many chairs, I was wonder why these chairs are there, I guess
they are for people, but I found out later they are for the actors. They were setting on them all the
time of the show and they change and wear their clothes in front of the audience which is look
for me wired in the beginning but later I love the idea because it is new for me and this first time
to see that. I love the idea of having two small lights on the front sides of the stage. The stage
looks like a triangle for me. The light was so close to the stage. Also, I love when they hang the
chairs in the theater by using many ropes that came from above the stage that was so smart idea
and I wonder how they could do that in that professional way. Moreover, I noticed that the all
characters were wearing Wight and Black clothes which showed me the play was happening
many years ago.
The high voltage moment for me was when The moment when they came to give
Elisabeth the warrant and he made big problem to not take her and Then the moment when john
took the gun and told them “no one will take my wife”, and all of the them start to scream and
told him not to do it. but he was so angry and upset about that they thought his wife is the guilty
person and she knew something about the devil, and what emphasize that is that when Ezekiel
Cheever who played by Avi Roque found a puppet on the John home and then he found the
needles inside the puppet. Mary who was the person who gave it to her but they thought it is her,
so they judged her and decide to take her to the jail with the other women.
The Crucible
By Arthur Miller
ACT I: Scene 1
SETTING: A bedroom in Reverend Samuel Parris‘ house, Salem, Massachusetts, in the
Spring of the year, 1692. As the curtain rises we see Parris on his knees, beside a bed.
His daughter Betty, aged 10, is asleep in it. Abigail Williams, 17, ENTERS.
ABIGAIL: Uncle? Susanna Wallcott‘s here from Dr. Griggs.
PARRIS: Oh? The Doctor. (Rising.) Let her come, let her come.
ABIGAIL: Come in Susanna.
(Susanna Walcott, a little younger than Abigail, enters.)
PARRIS: What does the doctor say, child?
SUSANNA: Dr. Griggs he bid me come and tell you, Reverend sir, that he cannot
discover no medicine for it in his books.
PARRIS: Then he must search on.
SUSANNA: Aye, sir, he have been searchin‘ his books since he left you, sir, but he bid
me tell you, that you might look to unnatural things for the cause of it.
PARRIS: No-no. There be no unnatural causes here. Tell him I have sent for Reverend
Hale of Beverly, and Mister Hale will surely confirm that. Let him look to medicine, and
put out all thought of unnatural causes here. There be none.
SUSANNA: Aye, sir. He bid me tell you.
PARRIS: Go directly home and speak nothin‘ of unnatural causes.
SUSANNA: Aye, sir, I pray for her. (Goes out.)
ABIGAIL: Uncle, the rumor of witchcraft is all about; I think you‘d best go down and
deny it yourself. The parlor‘s packed with people, sir.–I‘ll sit with her.
PARRIS: And what shall I say to them? That my daughter and my niece I discovered
dancing like heathen in the forest?!
ABIGAIL: Uncle, we did dance; let you tell them I confessed it. But they‘re speakin‘ of
witchcraft; Betty‘s not witched.
PARRIS: Abigail, I cannot go before the congregation when I know you have not been
open with me. What did you do with her in the forest?
ABIGAIL: We did dance, Uncle, and when you leaped out of the bush so suddenly,
Betty was frightened and then she fainted. And there‘s the whole of it.
PARRIS: Child. Sit you down. Now look you, child-if you trafficked with spirits in the
forest, I must know it, for surely my enemies will, and they‘ll ruin me with it…
Abigail, do you understand that I have many enemies?
ABIGAIL: I know it, Uncle.
PARRIS: There is a faction that is sworn to drive me from my pulpit. Do you understand
that?
ABIGAIL: I think so, sir.
PARRIS: Now then-in the midst of such disruption, my own household is discovered to
be the very center of some obscene practice. Abominations are done in the forest…
ABIGAIL: It were only sport, Uncle!
PARRIS: I saw Tituba waving her arms over the fire when I came on you; why were she
doing that? And I heard a screeching and gibberish comin‘ from her mouth…
ABIGAIL: She always sings her Barbados songs and we dance.
PARRIS: I cannot blink what I saw, Abigail-for my enemies will not blink it. And I thought
I saw a….someone naked running through the trees!
ABIGAIL: No one was naked! You mistake yourself, Uncle!
PARRIS: I saw it! Now tell me true, Abigail. Now my ministry‘s at stake; my ministry and
perhaps your cousin‘s life…..whatever abomination you have done, give me all of it
now, for I dare not be taken unaware when I go before them down there.
ABIGAIL: There is nothin‘ more. I swear it, Uncle.
PARRIS: Abigail, is there any other cause than you have told me, for Goody Proctor
dischargin‘ you? It has troubled me that you are now seven months out of their house,
and in all this time no other family has called for your service.
ABIGAIL: They want slaves, not such as I. Let them send to Barbados for that, I will not
black my face for any of them!
(Enter Mrs. Ann Puttnam. She is a twisted soul of forty-five, a death-ridden woman,
haunted by dreams.)
PARRIS: Why, Goody Putnam, come in.
ANN: It is a marvel. It is surely a stroke of hell upon you…
PARRIS: No, Goody Putnam, it is…
ANN: How high did she fly, how high?
PARRIS: No—no, she never flew…
ANN: Why, it‘s sure she did; Mister Collins saw her goin‘ over Ingersoll‘s barn, and
come down light as bird, he says!
PARRIS: Now, look you, Goody Putnam; she never…(Enter Thomas Putnam, a well-todo, hard-handed landowner near fifty.) Oh, good morning, Mister Putnam…
PUTNAM: It is a providence the thing is out now! It is a providence.
PARRIS: What‘s out, sir, what‘s…?
PUTNAM: (Looking down at Betty.) Why, her eyes is closed! Look you, Ann.
ANN: Why, that‘s strange. Ours is open.
PARRIS: Your little Ruth is sick?
ANN: I‘d not call it sick, the Devil‘s touch is heavier than sick, it‘s death, y‘know, it‘s
death drivin‘ into them forked and hoofed.
PARRIS: Oh, pray not! Why, how does your child ail?
ANN: She ails as she must—she never waked this morning but her eyes open and she
walks, and hears naught, sees naught, and cannot eat. Her soul is taken, surely.
PUTNAM: They say you‘ve sent for Reverend Hale of Beverly?
PARRIS: A precaution only. He has much experience in all demonic arts, and I …
ANN: He has indeed, and found by a witch in Beverly last year, and let you remember
that.
PARRIS: I pray you, leap not to witchcraft. I know that you, you least of all, Thomas,
would ever wish so disastrous a charge laid upon me. We cannot leap to witchcraft.
They will howl me out of Salem for such a corruption in my house.
PUTNAM: Now, look you, Mr. Parris; I have taken your part in all contention here, and I
would continue; but cannot if you hold back in this. There are hurtful, vengeful spirits
layin‘ hands on these children.
PARRIS: But, Thomas, you cannot…
PUTNAM: Ann! Tell Mister Parris what you have done.
ANN: Reverend Parris, I have laid seven babies unbaptized in the earth. Believe me,
Sir, you never saw more hearty babies born. And yet, each would wither in my arms the
very night of their birth. And now, this year, my Ruth, my only-I see her turning strange.
A secret child she has become this year, and shrivels like a sucking mouth were pullin‘
on her life, too. And so I thought to send her to your TitubaPARRIS: To Tituba! What may Tituba….?
ANN: Tituba knows how to speak to the dead, Mister Parris.
PARRIS: Goody Ann, it is a formidable sin to conjure up the dead!
ANN: I take it on my soul, but who else may surely tell us who murdered my babies.
PARRIS: Woman!
ANN: They were murdered, Mister Parris! And mark this proof! –mark it! Last night my
Ruth were ever so close to their little spirits, I know it, sir. For how else is she stuck
dumb now except some power of darkness would stop her mouth! It is a marvelous
sign, Mister Parris!
PUTNAM: Don‘t you understand it, sir? There is a murdering witch among us bound to
keep herself in the dark. Let your enemies make of it what they will, you cannot blink it
more.
PARRIS: Then you were conjuring spirits last night.
ABIGAIL: Not I, sir, not I.-Tituba and Ruth.
PARRIS: Now I am undone.
PUTNAM: You are not undone. Let you take hold here. Wait for no one to charge youdeclare it yourself. You have discovered witchcraft….
PARRIS: In my house!? In my house, Thomas?-they will topple me with this! They will
make of it a…
MERCY: Your pardons…I only thought to see how Betty is.
PUTNAM: Why aren‘t you home? Who‘s with Ruth?
MERCY: Her grandma come. She‘s improved a little, I think-she give a powerful sneeze
before.
ANN: Ah, there‘s a sign of life!
PARRIS: Will you leave me now Thomas, I would pray a while alone…
ABIGAIL: Uncle, you‘ve prayed since midnight. Why do you not go down and….?
PARRIS: No-no. I‘ll wait till Mister Hale arrives.
PUTNAM: Now look you, sir-let you strike out against the Devil and the village will bless
you for it! Come down, speak to them-pray with them-they‘re thirsting for your word,
Mister! Surely you‘ll pray with them.
PARRIS: I have no stomach for disputation this morning. I will lead them in a psalm. I
have had enough contention since I came, I want no more. (Putnam crosses L. to above
table, gets hat, crosses and exits.)
ANN: Mercy, you go home to Ruth, d‘ye hear?
MERCY: Aye, Mum. (Ann goes out.)
PARRIS: If she starts for the window, cry for me at once. (Crossing to door.)
ABIGAIL: Yes, Uncle. (He goes out with Putnam.) How is Ruth sick?
MERCY: It‘s weirdish, I know not—she seems to walk like a dead one since last night.
ABIGAIL: Now look you, if they be questioning us tell them we danced—I told him as
much already.
MERCY: And what more?
ABIGAIL: He saw you naked.
MERCY: Oh, Jesus! (Falls back on bed. Enter Mary Warren, breathless. She is
seventeen, a subservient, naïve girl.)
MARY: I just come from the farm, the whole country‘s talking witchcraft! They‘ll be callin‘
us witches, Abby! Abby, we‘ve got to tell. Witchery‘s a hangin‘ error, a hangin‘ like they
done in Boston two years ago! We must tell the truth, Abby!—you‘ll only be whipped for
dancin‘, and the other things!
ABIGAIL: (Betty whimpers.) Betty? Now, Betty, dear, wake up now. It‘s Abigail. (She sits
Betty up, furiously shakes her.) I‘ll beat you, Betty! (Betty whimpers.) My, you seem
improving. I talked to your papa and I told him everything. So there‘s nothing to…
BETTY: (Betty suddenly springs off bed, rushes across room to window where Abigail
catches her.) You drank blood, Abby, you drank blood!
ABIGAIL: (Dragging Betty back to bed and forcing her into it.) Betty, you never say that
again! You will never…
BETTY: You did, you did! You drank a charm to kill John Proctor‘s wife! You drank a
charm to kill Goody Proctor!
ABIGAIL: (Slaps her face.) Shut it! Now shut it! (Betty dissolves into sobs.) 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 can make you wish
you had never seen the sun go down! (Betty cries louder. She goes to Betty, sits L. side
of bed D.S. of Mercy, and roughly sits her up.) Now you… sit up and stop this! (Betty
collapses in her hands.) (Enter John Proctor.)
PROCTOR: Be you foolish, Mary Warren? Be you deaf? I forbid you leave the house,
did I not? Now get you home; (Mary crosses up and out.) my wife is waitin‘ with your
work!
MERCY: (Rising, crossing to entrance. Titillated. Being aware of their relationship.) I‘d
best be off. I have my Ruth to watch… Good morning, Mister Proctor. (Mercy sidles out.
Since Proctor‘s entrance, Abigail has stood abs …
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