Motifs are recurring structures, contrasts, and literary devices that can help to develop and inform the text’s major themes.
Empowerment
The witch trials empower several characters in the play who are previously marginalized in Salem society. In general, women occupy the lowest rung of male-dominated Salem and have few options in life. They work as servants for townsmen until they are old enough to be married off and have children of their own. In addition to being thus restricted, Abigail is also slave to John Proctor’s sexual whims—he strips away her innocence when he commits adultery with her, and he arouses her spiteful jealousy when he terminates their affair. Because the Puritans’ greatest fear is the defiance of God, Abigail’s accusations of witchcraft and devil-worship immediately command the attention of the court. By aligning herself, in the eyes of others, with God’s will, she gains power over society, as do the other girls in her pack, and her word becomes virtually unassailable, as do theirs. Tituba, whose status is lower than that of anyone else in the play by virtue of the fact that she is black, manages similarly to deflect blame from herself by accusing others.
Accusations, Confessions, and Legal Proceedings
The witch trials are central to the action of The Crucible, and dramatic accusations and confessions fill the play even beyond the confines of the courtroom. In the first act, even before the hysteria begins, we see Parris accuse Abigail of dishonoring him, and he then makes a series of accusations against his parishioners. Giles Corey and Proctor respond in kind, and Putnam soon joins in, creating a chorus of indictments even before Hale arrives. The entire witch trial system thrives on accusations, the only way that witches can be identified, and confessions, which provide the proof of the justice of the court proceedings. Proctor attempts to break this cycle with a confession of his own, when he admits to the affair with Abigail, but this confession is trumped by the accusation of witchcraft against him, which in turn demands a confession. Proctor’s courageous decision, at the close of the play, to die rather than confess to a sin that he did not commit, finally breaks the cycle. The court collapses shortly afterward, undone by the refusal of its victims to propagate lies.
