A marxist approach to, 'The Crucible'.

Abigail’s social background directly effects her actions and by the reader taking a Marxist approach to Act 1 pg28-30 the concept that Abigail has a more powerful status then John Proctor can be challenged.

On face value it seems that the Play Wright, Arthur Miller, intended Abigail to be perceived as flirtatious and struggling to become dominant over John Proctor, who is light heartedly trying to diffuse a potentially antagonistic situation developing, ‘(his smile widening): Ah, you’re wicked yet, aren’t y’!’. Seemingly, Miller has Abigail instantly take control by opening the section by addressing John Proctor, ‘Gah! I’d almost forgot how strong you are, John Proctor!’, the inclusion of more than one exclamation mark in the opening lines is significant as it suggests to the actor that a considerable amount of emphasise should be used which in turn supports the idea of Abigail trying to gain a higher status from the very beginning. However by taking a Marxist approach to the character analysis of Abigail and considering her social factors a contrasting conclusion can be created. Abigail’s parents are both dead and grotesque imagery is used to portray their death, ‘I saw Indians smash my dear parents’ heads’. Conventionally parents are expected to nurture, love and teach a child morals and enforce order; therefore with the absence of such crucial figures and the life lessons they teach, it is reasonable to suggest the odds are against the outcome of a disciplined and moral citizen. As well as such an event being disturbing to witness arguably the outcome of such a great loss would have a detrimental effect on the child which in turn might explain Abigail’s desire for attention of a considerably older respected man. In a more sensitive approach to the text, including ‘dear’, augments the reflection of a loving paternal relationship as does the intimate setting, ‘on the pillow next to mine’ which is literally [smashed] and leaves Abigail emotionally shattered. Although Abigail is cared for by her Uncle, she still does not feel accepted or loved, ‘Do you begrudge my bed, uncle?’ In the context of the scene could argue that Abigail merely says this in an attempt to emotionally blackmail her Uncle and prevent further interrogation about the suspicious dancing in the forest. However equally her inner turmoil must not be over looked as the stage directions state, ‘With ill-concealed resentment at him’. Re visiting the excessive use of exclamation marks, one could interpret that this highlights an unloved child craving attention, and invites the desired response of caring attention from John Proctor and in fact receives, ‘looking at ABIGAIL now, the faintest suggestion of a knowing smile on his face.’ Taking these factors into consideration, the representation of Abigail being on the surface a manipulative woman trying to seduce an honourable hero can be transformed in to a young impressionable girl, confused and desperate to find a loving father figure.

Coursework

I will be comparing, 'The Crucible', by Arthur Miller with, 'Lord of the flies', by William Golding. I am particuarly interested in the way in which freedom is presented and also how it is prohibited. Abigail and Jack are similar as they are both children who control a group of other children to the extent were the group behaves immorally. I find the the concept of how and why they are dominant fascinating.