Arthur Miller's The Crucible (Bloom's Modern Critical by Harold Bloom

By Harold Bloom

The Crucible, Arthur Miller's vintage play concerning the witch-hunts and trials in seventeenth-century Salem, Massachusetts, is returning to Broadway. To mark the celebration, Penguin is happy to supply this pretty hardcover version. "A robust drama." (Brooks Atkinson, the recent York occasions)

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Additional resources for Arthur Miller's The Crucible (Bloom's Modern Critical Interpretations)

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Alan S. Downer. Chicago, 1965. Blau, Herbert. ” Twentieth-Century Interpretations of The Crucible: A Collection of Critical Essays. Ed. John Ferres. Englewood Cliffs, New Jersey, 1974. Driver, Tom. ” Arthur Miller: A Collection of Critical Essays. Ed. Robert Corrigan. Englewood Cliffs, NJ, 1969. Levin, David. In Defense of Historical Literature: Essays on American History, Autobiography, Drama, and Fiction. New York, 1967. Martin, Robert A. ” Modern Drama 20 (1977). Miller, Arthur. ” The Theater Essays of Arthur Miller.

No two persons are alike. Every event is in some way unique. And yet the only reason we are capable of vicarious experience is because history does in some sense repeat itself, because all persons are alike. In seeking to broaden our experience through art or through history we have to identify with people who think differently, talk differently, act differently; and we want to know precisely what was different about them. At the same time, we have to be able to recognize their humanity, we have to be able to put ourselves in their situation, identify with them, see in them some of the same weaknesses and strengths we find in ourselves.

The punch [against America] is threatened; and then pulled. ” The play, concludes Bentley, represents a “dangerous” “liberalism” (The American Drama 197–99). 38 E. Miller Budick See also Robert Warshow, “The Liberal Conscience in The Crucible,” who charges that in the final analysis what the play presents is “the astonishing phenomenon of Communist innocence” (200–201).  . his almost contemptuous lack of interest in the particularities—which is to say, the reality—of the Salem trials” (192); “Miller has nothing to say about the Salem trials and makes only the flimsiest pretense that he has” (196).

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