Strong Females in the Work of Miller, and Williams
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The theatrical theories of Arthur Miller are filled with ideas that relate to the common man in his struggle to achieve his rightful place in the world. Miller believed that the tragic hero is any character that would die before they lost their dignity, or maybe its better to say before their dignity was taken from them. The tragic hero, according to Miller, is a character that doesnt lie back and take it, when the world attacks them they fight back, and they at least attempt to stand up to the greater powers that be. Miller felt that the struggle of these characters should affect the audience/reader into examining their own lives. Millers characters, and other characters written by other playwrights that followed Millers theories tend to be (on some level) relatable to the average person. Their struggles are our struggles, death, failure, love, family, etc. These are ideas that we can easily grasp and sympathize with. Miller felt as though the death of these tragic heroes shouldnt be mourned or pitied, but instead examined and respected because the tragic hero attempts to reach his goals, he breaks through barriers, and they try to achieve a sense of contentment in their lives. Millers work/theories reflect the notion that indignity is one of the greatest struggles of todays people. In The Crucible, John Proctor struggles with the indignity of not only being accused of practicing witchcraft, but also the terrible truth about his affair with Abigail Williams. Willy Loman in Death of a Salesman deals with the indignity of not achieving what he feels is his true potential, as well as the hardships of projecting his ideas of success on his sons. Lastly, in Tennessee Williams Cat on a Hot Tin Roof, Brick has to deal with the indignities of alcoholism, being a closeted gay man, and a loveless marriage. The theories of Miller were used to create strikingly vivid accounts of the common men and women, who are struck by tragic circumstances. The plays force the viewer/reader to inspect their personal believes and goals, they create an opportunity for the viewer/reader to question their own ability to stand up and fight for their own personal goals.
In Millers The Crucible the protagonist John Proctor starts his long journey towards dignity early on in the play. In scene one act one, Abigail tries to seduce John into rekindling their affair. From this point on John has to struggle with the indignity of being a lecher, he has to fight for the dignity that was lost in his marriage to Elizabeth. Proctor says;
PROCTOR: Abby, I may think softy of you from time to time. But I will cut off my hand before I ever reach for you again. Wipe it out of mind. We never touched, Abby. (Act 1 Scene 1)
In this line Proctor is really showcased as a tragic hero. He admits he still has feelings for Abby, but hes not willing to pursue them. Abby is acting as a personification of one of his tragic flaws, lust. However the line is also showing that hes trying to set things right, trying to gain his dignity back. The scene this line is in is really a struggle between the two characters. Abby wants to rekindle a flame, and Proctor is trying to avoid the temptation.
Later, in act two scene once Proctor returns home only to learn that Abby and her friends have accused fourteen people of witchcraft. I think this scene between Elizabeth and John paints an accurate picture of the troubles in their home, and how theyve affected both husband and wife. Within the first two pages of dialogue Proctor says to his wife “I mean to please you, Elizabeth” (Miller, Act Two). Now for the first time we see Proctor in the home, trying to regain the dignity that he had lost. However the scene isnt full of Proctors gentle apologetic conversation. Instead the conversation turns heated when the subject of Abigail is mentioned.
Proctor: You will not judge me more, Elizabeth. I have good reason to think before I charge fraud on Abigail, and I will think on it. Let you look to your own improvement before you go to judge your husband anymore. I have forgot Abigail, and-
Elizabeth: And I.
Proctor: Spare me! You forget nothin and forgive nothin. Learn charity, woman. I have gone tiptoe in this house all seven months since she is gone. I have not moved from there to there without I think to please you, and still an everlasting funeral marches round your heart. I cannot speak but I am doubted, every moment judged for lies, as though I come into a court when I come into this house!
Elizabeth: John you are not open with me. You saw her with a crowd, you said. Now you-
Proctor: Ill plead my