FACING OUR FEARS MULTIMEDIA ESSENTIAL QUESTION: How Do We Respond When Challenged by Fear?

544 UNIT

The HollywoodBlacklist

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© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. Focus Period: 1920–1960 Period: Focus T H UNIT Write anArgument W PERFORMANCE Is fear always aharmful emotion? P Argument: Essayand i imes of Q E R

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D ST OBIOGRAPHY Farewell to Farewell IA: V ORY LEARNING S MALL-GROUP MALL-GROUP iD T akei EO s T tening focu A S K S E D A s : SS E SS MEN Is It Foolish to Fear? Foolish It Is A L Jody Gladding 1-800-FEAR POE Robert Hayden Runagate Runagate POE Daley Jason You Kill Know Can You What MAGAZINE AR Akiko Busch Of? Afraid You Are What E Toi Derricotte Afraid Are Who Women Black For Hayden Carruth T Raspberry at Bears PERFORMANCE-B AUNC R Review EvidenceforanArgument SS ime GU T AY T T M RY RY H ENT COLLEC TE LEARNING IN X M T D

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© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 4. 3. 2. 1. Complete thechart. useful to you in this unit as you analyze and write arguments. precisionspeak with and clarity. Hereare words five academic that will be and usingUnderstanding terms academic help can you read, write, and Academic Vocabulary: Argument “end” - ROOT: definitive “move” - ROOT: immutable “sure” - ROOT: certify “raise” - ROOT: re “join” - ROOT: assert WORD

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547 UNIT 5 INTRODUCTION

LAUNCH TEXT | ARGUMENT MODEL

This selection is an example of an argumentative text, a type of writing in which the author presents a claim and organizes evidence and reasons to support that claim. This is the type of writing you will develop in the Performance- Based Assessment at the end of the unit. As you read, notice how the writer uses relevant evidence to develop the claim. Mark the text to answer this question: What is the writer’s position, and what evidence supports it?

Is It Foolish to Fear?

1 ear of falling, fear of flying, fear of snakes and spiders—sometimes NOTES Fit seems that we humans are controlled by our fears. Some of us may seek professional help to rid ourselves of fears. However, fear plays an important role in life. It is not foolish to fear—it is a matter of survival. 2 Fear may feel negative, because it is an emotion that can be painful. The physical responses we have to objects or situations that we fear are often grouped together and characterized as a “fight or flight” instinct. Something alarms you, and instantly your brain causes a number of chemicals to be released into your bloodstream. Those chemicals race through the body, causing your heart to race, your muscles to tense, and your breathing to quicken. Your pupils dilate, so bright light hurts, but you can see more clearly. Your surface veins constrict, making your skin feel cold. 3 Long ago, such responses made it easier for early humans to escape from predators. Dilated pupils meant that they could see better in dim light. Quick breathing and tense muscles allowed them All rights reserved. or its affiliates. Inc., Education, © Pearson to run faster or leap higher than they normally could. Their skin grew cold as blood flowed to the major muscles, letting arms and legs move more rapidly. The entire body became an instrument focused

SCAN FOR 548 UNIT 5 • FACING OUR FEARS MULTIMEDIA ESSENTIAL QUESTION: How do we respond when challenged by fear?

on surviving danger. If flight was possible, the person would run. If it was not, he or she would fight. Either way, fear stimulated the brain NOTES and primed the body for a response. 4 This response to fear was good for everyone who displayed it. The humans who felt and responded to fear most strongly were likely to be the ones who survived, whether the fear stimulus was a tiger, an earthquake, or a violent storm. 5 Today, our fear stimulus might be a dark alley, a swaying rope bridge, or a barking dog. We sense danger, and our bodies react. We may feel foolish when the alley proves to be empty, the bridge safe, and the dog friendly. Nevertheless, that initial rush of fear serves as our protector and should never be ignored. 6 Today, modern psychotherapies may include conditioning—a stimulus-response learning process—that helps people rid themselves of fears. After just a few sessions, nearly anyone can stop being afraid of speaking in public or driving through a tunnel. So why shouldn’t we all condition ourselves to become braver? 7 First, there is a difference between fear and phobia. A phobia is an unnecessary fear of something that is unlikely to cause harm. For example, some people are afraid of clowns, but the odds of a clown’s being harmful are small. Second, without fear, one would be in constant danger. It is important to be afraid of an oncoming car, a flying brick, or the rattling tail at the end of an unfamiliar snake. In such cases, fear is a matter of self-preservation. 8 Few of us enjoy being afraid. It is physically and mentally uncomfortable, and once any danger has passed, we may feel that our fears were unwarranted. It is worth remembering, however, that ever since you were a small child perched at the top of a staircase or toddling near a hot stove, a logical, sensible, inbred fear has protected you from harm. ❧

 WORD NETWORK FOR FACING OUR FEARS

Vocabulary A Word Network is a collection of words related to a topic. As you read the unit selections, identify interesting words related to the idea of fear, alarms calms and add them to your Word Network. For example, you might begin by adding words from FEAR the Launch Text, such as alarms. For each word you add, note a related word, such as a synonym or an antonym. Continue to add © Pearson Education, Inc., or its affiliates. All rights reserved. or its affiliates. Inc., Education, © Pearson words as you complete this unit.

Tool Kit Word Network Model

Is It Foolish to Fear? 549 550 UNIT

UNIT

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INTRODUCTION FACING

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FEARS of tentotwelvefears. display area inyourclassroom, oralargepieceofpaper. Try todeveloparow a volunteerwriteeachfearalongthebottomofchalkboard, another you haveread aboutorseenportrayedinmoviestelevisionshows.Have statement ofyouropinionorananalysis. complete, andaccurateoverviewofatext.Itshouldnotinclude Write asummaryof“IsItFoolish toFear?”A Summary Record “Popular”Fears Activity Launch • • • • come toaconsensus.Write yourconsensusatthetop of yourbargraph. represent thoseofregular people in real life? Discussthesequestions,and portrayed inbooksandentertainment media.Dothesefearsaccurately Based onthegraph,drawaconclusion aboutthefearsthatare commonly the graphyouhaveconstructed. When youhaveallfinishedplacingyournotes,standback andlookat your notesaboveanythatare already there sothatyoubuildcolumns. above afearthatyouthinkactuallyafflicts manypeople.Makesure toplace Take goingtotheboard turns (orotherdisplaylocation).Placeonenoteeach and writeyournameoneachone. Now, worktogethertoconstructabargraph.Take three stickynotes,

As aclass,brainstormforlistoffearsthat summary isaconcise,

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. the prompt. Record yourfirstthoughtshere. Consider classdiscussions,thevideo,andLaunchText asyouthinkabout QuickWrite PROMPT Evidence Logaftereachselection. of theunitbycompleting Based Assessmentattheend Prepare forthePerformance- your initialposition. Foolish toFear?”thatsupports details orevidencefrom “IsIt Evidence Log.Then,record textual one sentencetorecord inyour Summarize yourthoughtsin Review yourQuickWrite.  Evidence LogModel

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© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. Times ofTroubleTimes 1920–1960 Period: Focus PERSPECTIVES HISTORICAL Americans in the grip of fear. grip the in Americans kept many of Communism spread over the however, anxiety war, the After Americans. among determination anew inspired also it but of fears, set anew War World II brought imposed. Depression Great the that hardships economic over the fears gave way to quickly Age Jazz The difficulties. new faced they century, twentieth of the middle the into moved Americans As PERFORMANCE TASK by andletitrunwild. spreadwhich specificcharactersmight havestoppedthe stand than offearrather American community. Afterreading, writeanargument youwill waysin aboutthe The Whole-Classreading anactualcaseofmasshysteriain dramatizes Write an Argument WRITING FOCUS COMPARE actors brings Arthur Miller’s play to life. Arthur brings actors best-known of Hollywood’s of some A cast Works Theatre L.A. Crucible The MEDIA: AUDIO PERFORMANCE Crucible The ANCHOR TEXT: DRAMA Act IV Act III Act II Act I Act

Arthur Miller Arthur is the fear justified? fear the is of witchcraft—but by fears Massachusetts is gripped colonial in A town Overview: Whole-Class Learning CONTENTS

553 HISTORICAL PERSPECTIVES • FOCUS PERIOD: 1920–1960

Times of Trouble Voices of the Period History of the Period “ The only thing we have to fear is fear itself. ” The Roaring Twenties World War I ended —Franklin Delano Roosevelt, in 1918, and in the decade that followed, the 32nd president of the United States nation seemed to go on a binge of building, consumption, and speculation. The economy “ I have learned over the years that when one’s boomed, and skyscrapers rose. Prohibition made mind is made up, this diminishes fear; knowing the sale of liquor illegal, which led to bootlegging and the rise of organized crime. Radio, jazz, and what must be done does away with fear. ” movies helped shape American culture. As people —Rosa Parks, political activist sometimes referred to let go of prewar values, they let the “roar” of the as “the first lady of civil rights” Roaring Twenties drown out the sounds of war and the horror of death. “ If you’re not frightened that you might fail, you’ll The Great Depression The boom, of never do the job. If you’re frightened, you’ll work course, could not last, and in October 1929 like crazy.” the stock market crashed, spurring what is —César Chávez, known as the Great Depression. By mid-1932, political activist and co-founder of the about 12 million Americans—one-quarter of the National Farm Workers Association country’s workforce—were unemployed. Hungry and panicked people waited for food in bread “ Neither a wise man nor a brave man lies down lines and at soup kitchens. The government on the tracks of history to wait for the train of seemed unable to turn the economy around. the future to run over him.” Depression became more than an economic —Dwight D. Eisenhower, fact—it became a national state of mind. 34th president of the United States The New Deal When elected president in 1932, Franklin Delano Roosevelt took action immediately, initiating a package of major economic reforms that came to be known as the New Deal. Many Americans soon found work on huge public projects, including building dams and bridges; conserving land; and recording the past and present in photographs, artwork, and writing. Roosevelt’s leadership and policies helped end the Depression

TIMELINE

1925: F. Scott Fitzgerald’s 1927: Charles Lindbergh The Great Gatsby is flies solo and nonstop published. from New York to Paris.

1922: Egypt The tomb of King 1925: Louis Armstrong and his Tutankhamun is discovered. Hot Five become a headlining act on the radio.

554 UNIT 5 • FACING OUR FEARS ESSENTIAL QUESTIONessential: Howquestion: do we respondWhat does when it take challenged to survive? by fear?

Integration of Knowledge and Ideas Notebook What does the information in the graphs help you understand about the differences between World War I and World War II in terms of military deaths? What factors likely affected the increase of military deaths in World War II?

Military Deaths in World War I Military Deaths in World War II

CENTRAL POWERS AXIS POWERS Austria-Hungary Germany Germany Italy ALLIES Japan United States ALLIES British Empire United States France USSR Russia British Empire

equals 250,000 military deaths equals 500,000 military deaths

and earned him an unprecedented three reelections: isolationism came to a swift end. The United in 1936, 1940, and 1944. States quickly declared war on the Axis Powers: Germany, Japan, and Italy. It took years of World War II Just twenty years after the end bitter fighting in Europe, North Africa, and the of World War I, Germany, under the rule of Pacific before the Allies—the United States, Adolf Hitler, ignited the Second World War Great Britain, France, and the Soviet Union— with its invasion of neighboring countries. The defeated Italy, Germany, and then Japan. Japan dominant mood in the United States, however, surrendered only after the United States dropped was one of isolationism, with most Americans an atomic bomb on the cities of Hiroshima and preferring to stay out of the conflict. This attitude then Nagasaki. Peace—and the Atomic Age—had changed dramatically when Japanese forces arrived. attacked the naval base at Pearl Harbor, Hawaii, on December 7, 1941. With more than 3,000 Face-Off With Communism The threat of American casualties and the destruction of much Communist infiltration and influence became a of the American battleship fleet, neutrality and fixation in the United States after World War II.

1928: China Chiang Kai-shek 1939: Poland An invasion by German 1933: Germany becomes the leader of China’s forces sets off World War II, which Adolf Hitler becomes Nationalist government. will extend across Europe and into Chancellor of Germany. Asia and North Africa.

1929: The stock market 1933: President 1937: Zora Neale Hurston’s crashes in October, Franklin D. Roosevelt Their Eyes Were Watching followed by the Great closes banks; Congress God is published. 1939: John Steinbeck’s Depression of the 1930s. passes New Deal laws. The Grapes of Wrath is published.

Historical Perspectives 555 1940 556

UNIT 5•FACING OUR FEARS became especiallypowerfulinthepostwarera. The Television Age “middle class.” of Americanswere definedasbeinginthe American lives.Bythemid-1950s,sixtypercent almost doubledinthe1950s,transforming consumer societyflourished.Americans’incomes prosperity, itssuburbsexpanded,and the ColdWar, thenationenjoyedwidespread on Earth.Inthe1950s,despitepressures of from World War IIasthemostpowerfulnation Postwar Boom Communists were huntedeverywhere. happen. Schoolsregularly heldair-raid drills,and thinking aboutterriblethingsthatcouldormight Anxiety, asAmericansseemedunabletostop period couldbecharacterizedasanAgeof conflict.Insomeways,thepostwar international new urgencysurrounding the managementof bomb, whichcreated globalfearsaswella was intensified bytheexistence oftheatomic Communist infiltrationathome.ColdWar anxiety spread fearof Joseph McCarthyofWisconsin, Meanwhile, a“RedScare,” ledbySenator Vietnam. another Communistthreat asconflictbeganin news. Bythemid-1950s,countryfaced and diplomaticconflictswere constantlyinthe economic sanctions,treaties, defensemeasures, Soviet aggression marked the period.Espionage, the West—became intense. Fearofunchecked Bloccountriesand competition betweenEastern the riseofSovietUnion,ColdWar— China inKorea from 1950to1953.With The UnitedStatesbattledagainstCommunist HISTORICAL PERSPECTIVES • TIMELINE United StatesintoWorld War II. Pearl Harbor, bringingthe 1941: Japaneseforcesbomb

The UnitedStatesemerged

The influenceoftelevision is signed. the UnitedNationscharter 1945: World War IIends; FOCUS PERIOD: 1920–1960 the 1954landmarkSupreme Courtdecisionin desegregating Americansociety,beginningwith saw thefoundationsofsignificant changein into thepostwardecades.However, the1950s the treatment ofAfricanAmericans continued between Americanidealsandthereality of The AmericanDilemma changing thestructure ofpoliticalcampaigns. 1960 electiondebatestoJohnF. Kennedy,forever million AmericanswatchedRichard Nixonlosethe Earth, whichinitiatedthespacerace.Some70 launch ofthefirstartificial satellitetoorbitthe news broadcasts abouttheSovietUnion’s tolearn the sameentertainment.Manywatchedtelevision of Americanssawthesameadvertisementsand consumerism andmasscommunication.Millions Television spearheadedrevolutions in American home. by 1960,there wasatelevision inalmostevery years later, there were more than400stations; In 1946,thenationhadsixTVstations;ten Arkansas tobusridersinAlabama. a growing numberofprotestors, from studentsin as MartinLutherKing,Jr., andtheparticipationof to buildforce undertheleadershipofpeoplesuch that momenton,aCivilRightsmovementbegan “separate butequal”facilitieswere legal.From theearlierdecisionthat which overturned Brown Union begins. States andtheSoviet between theUnited 1947: TheColdWar v. BoardofEducationTopeka, Kansas of aSalesman 1949: ArthurMiller’s isproduced. 1950–1953: The KoreanWar isfought.

Deep conflicts Death

Korea

Literature Selections ADDITIONAL FOCUS PERIOD LITERATURE Literature of the Focus Period A key selection in this unit was written during the Focus Period and pertains to fear and its effects: Student Edition

The Crucible, Arthur Miller UNIT 1 “The Pedestrian,” Ray Bradbury UNIT 3 Connections Across Time A consideration of fear preceded Brown v. Board of Education: Opinion and followed the Focus Period. Indeed, the theme has shaped of the Court, Earl Warren the work of writers and commentators in various time periods The Poetry of Langston Hughes and locations. UNIT 4 from Farewell to Manzanar, Jeanne Wakatsuki Houston and James “The Rockpile,” James Baldwin D. Houston UNIT 6 “Antojos,” Julia Alvarez “The Jilting of Granny Weatherall,” “What You Don’t Know Can Kill You,” Jason Daley Katherine Anne Porter “Runagate Runagate,” Robert Hayden “1-800-FEAR,” Jody Gladding “Bears at Raspberry Time,” Hayden Carruth “For Black Women Who Are Afraid,” Toi Derricotte “What Are You So Afraid Of?” Akiko Busch

1954: The Supreme Court rules public 1959: Alaska and Hawaii school segregation unconstitutional 1957: USSR The Soviet are admitted to the Union in Brown v. Board of Education. Union launches Sputnik I, as the 49th and 50th states. the first space satellite.

1960 © Pearson Education, Inc., or its affiliates. All rights reserved. or its affiliates. Inc., Education, © Pearson 1950: Thousands are falsely accused of treason following Senator McCarthy’s claims of 1955: Rosa Parks is 1959: Lorraine Hansberry’s Communist infiltration in the arrested, triggering the A Raisin in the Sun is produced. government. Montgomery Bus Boycott.

Historical Perspectives 557 HOW TO READ DRAMA • THE CRUCIBLE

For much of the twentieth century, the theater was the center of American intellectual life. Great plays offered thrilling stories, crackling dialogue, and philosophical truth. As Arthur Miller wrote: “Great drama is great questions or it is nothing but technique. I could not imagine a theater worth my time that did not want to change the world.”

Dramatic literature shares many elements with prose, fiction, and poetry, but is written to be acted out on a stage before an audience rather than read quietly on your own. In a sense, when you read a play, you are not experiencing the work as it was meant to be experienced. You are reading a script, which is only part of the piece. However, you can help bring the drama to life and create the performance in your own imagination by applying the following strategies.

Picture the Action Reading a play without Summarize the Action Most plays are broken envisioning the action is like watching a movie into smaller units called acts. Some plays are then with your eyes shut. Use the stage directions and broken into even smaller sections called scenes. other details to create the scene in your mind. These breaks give you an opportunity to review Consider the situation, characters’ motivations the action. Take the opportunities afforded by and feelings, and how staging or performance these separations to consider various questions: choices might convey those elements. What conflicts are developing or intensifying? What decisions are characters making? Toward Refer to the Cast of Characters The details what outcome does the story seem to be of characters’ relationships are usually conveyed heading? through dialogue, gestures, body language, and action rather than through direct statements. In Be an Actor Consider studying with a group addition, some plays feature numerous characters and acting out scenes that you find difficult. whose relationships to one another are complex. When you inject appropriate emotion into the One way to keep things clear is to refer to the text, the meaning and nuances will often become Cast of Characters list whenever a character clearer. You may also make connections among All rights reserved. or its affiliates. Inc., Education, © Pearson joins—or re-joins—the action. language, imagery, and character that you otherwise might not have noticed.

558 UNIT 5 • FACING OUR FEARS © Pearson Education, Inc., or its affiliates. All rights reserved. room whenSusannaWalcott arriveswitha message from thedoctor. Betty’smysterious ailment.ParrisandAbigailWilliams, cousin,are inthesick Salem, Massachusetts,in1692.Betty,Parris’s youngdaughter, issuffering a Reverend SamuelParris,the ministerofthechurch inthePuritancolonyof annotations ofanexcerptfrom reading aplayratherthan watching itinperformance.Here are twosample Annotating thetextasyouread canhelpyoutacklethechallengesof TextClose Readthe Susanna’s view. Parris seemstobetryingprotect Bettybyphysicallyblocking CONCLUDE: QUESTION: ANNOTATE: Susanna, Parris, hurried girlenters SUSANNA WALCOTT Susanna: unnatural causes. Parris: Abigail: Susanna: unnatural causeshere. There benone. Let himlooktomedicineandputoutallthoughtof Hale ofBeverly, andMr. Hale willsurely confirmthat. unnatural causehere. Tell himIhavesentforReverend Parris, might looktounnaturalthingsforthecauseofit. since heleftyou,sir. Buthebidmetellyou,thatyou Susanna: Parris: discover nomedicineforitinhisbooks. bid mecomeandtellyou,reverend sir, thathecannot eagerly Go directly homeandspeak nothingof his eyesgoingwide Then hemustsearch on. Whatdoesthisstagedirection suggestaboutthesituation? Speak nothin’ofitinthevillage,Susanna. Thisstagedirection isveryspecific. Susannaseemstoregard Bettyasanobjectofcuriosity. craning around Aye, sir. Hebidmetellyou. Aye, sir, hehavebeensearchin’ hisbooks Aye, sir. Iprayforher. : Whatdoesthedoctorsay, child? , . a littleyoungerthanAbigail,nervous,

PARRIS The Crucible, : No—no.There beno

to getalookat essential question: She goesout. ActI.Thesettingishomeof She turnstogo. BETTY : He Howdowerespond whenchallengedbyfear? accusations. afraid ofgossipand he maybeevenmore daughter’s health,but terrified forhis forces. Parrisis of dark,supernatural means thepresence “unnatural causes” Puritans ofSalem, CONCLUDE: reaction inthisway? present Parris’s does theplaywright QUESTION: causes” three times. phrase “unnatural and thenrepeats the Parris reacts physically “unnatural things,” Susanna mentions ANNOTATE: Why When To the How toReadDrama

559 560 high endoftherange. with scaffoldingasneededatthe text complexitybandproficiently, and poems, inthegrades 11–CCR literature, includingstories, dramas, grade 11, readandcomprehend RL.11–12.10  Model Annotation First-Read Guideand

Tool Kit S

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By theendof

opportunity tocompletetheclose-read notesafteryourfirstread. Apply thesestrategiesasyouconductyourfirstread. You willhavean First ReadDRAMA review yourrankings.Mark changestoyouroriginalrankingsasneeded. After completingthefirstread, comebacktotheconceptvocabularyand words inorder from mostfamiliar(1)toleast(3). Before reading, notehowfamiliaryouare witheachword. Then,rankthe You willencounterthefollowingwords asyouread ActIof Concept Vocabulary The Crucible,ActI have already read. already knowandwhatyou the selectiontowhatyou CONNECT they do. why and about, not thoseinvolvedreact as when i ce defamation what vindictive

whom calumny WORD ithappens,and ideas within happens, thestoryis where

the Comprehension Check RESPOND you wanttorevisit. vocabulary andkeypassages ANNOTATE YOUR RANKING by by marking completing completing The Crucible.

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. celebrities in the theater and in Hollywood. socialist leanings but refused to “name names” fellow about like his Crucible The the HUAC hearings parallels the situation in heportrayed HUAC heclaimed underlay “every word in terror personal Miller feltvery as aresult of his dealings with have imagined could altered, be let alone forgotten.” The elemental earlier decencies which ayear would noone two or anew,”born hewrote, even “without of certain amemory of his life. “It was as though country had the whole been “Red Scare” continued period to haunt him for the rest did not him protect from the committee, however, and the of the 1950s. star famousmost Miller’s Hollywood celebrity that skyrocketed soon hemarried when Marilyn Monroe, the as amajorestablished literary figure and celebrity, astatus At the time of his testimony, House Miller was firmly Major Talent Miller Arthur Playwright the About Voice ofConscience In theShadowofMcCarthyism points thatstillresonate today. use arttomakeenormously importantsocialandpolitical never compromised. Heneversoldout.”Millerwasableto ever written.PlaywrightEdward AlbeesaidofMiller, “Arthur Salesman of thetruegiantsAmericantheater. His House Un-American Activities Committee Activities (HUAC). Un-American House the time by Wisconsin and Senator McCarthy by the Joseph “witch hunts” for Communists that were out at being carried content. political mixed in reviews 1953, controversial of largely its because play, His next playwright. American a Pulitzer Prize and elevating him to the status of apremier ofDeath aSalesman establishing Miller as abright new talent. Two later, years Sons of Michigan. atyears the University 1947, In his play

was performed on Broadway on was to performed immediate acclaim, Crucible isoftendiscussedasthegreatest Americanplay . Called before the committee in 1956, Miller,

character Proctor, John to admitted his own Miller writing began plays during his college The Crucible The tuition. tuition. to take to jobs odd raise money for college had bankrupt, gone and Miller was forced in 1932,school his father’s family business the timeBy hegraduated from high and grew up during the Great Depression. Miller Arthur opened on Broadway, on opened earning Miller

Today, Millerisregarded asone (1915–2005) was clearly acomment the on was born in New Yorkwas in New born City

The Crucible The Miller’s experience with with Miller’s experience essential question: The Crucible The Death ofa , opened to, opened All My My All .” Howdowerespond whenchallengedbyfear? the minister’s daughter and several other many were quick to blame witchcraft when of evil. the small In parish of Village, Salem attributed their to misfortunes the power hardship from day to day, many colonists punishing and conditions Enduring harsh inevitable. was perhaps episode witchcraft England the New For colonies, the tens of thousands of executions. hunts through swept Europe, resulting in and seventeenth centuries,sixteenth witch England,New was not unique. During the incident,The though unprecedented for and the jailing of more than 100 others. that resulted in the execution of 20 people was convulsed by awitchcraft hysteria 1692,In the British colony of Massachusetts The Crucible Background for the same—role in history.”the same—role play asimilar—and exactly cases in some there is in noone the drama did who not that of hisis exactly historical model, and then explained, fate “The of each character composite of several historical Miller judges. of Hathorne and Danforth represented a raised Abigail’s age, and that the characters into dramatic one character, that hehad he had fused many historical characters historical accuracy. pointed He out that Miller anote added the play’sArthur about When to asevere suggest trialsymbolically test. or high temperatures.very word is The used in which metals are melted fused or at A factor.contributing fear that also astrong quickly spreads—was strong, irrationalfeel that mass hysteria—a behind the accusations, scholars but most ofa pattern social and economic animosity accused.stood Many historians have seen of the colony’s prominent most citizens A hunt to witches identify spread until some into unconsciousness. girls by seizures were afflicted and lapsed crucible The Crucible The is aheat-resistant container was first published, was first The Crucible,Act I

561 ANCHOR TEXT | DRAMA

The Crucible Act I Arthur Miller

CHARACTERS Reverend Parris Martha Corey Betty Parris Reverend John Hale Tituba Elizabeth Proctor Abigail Williams Francis Nurse Susanna Walcott Ezekiel Cheever Mrs. Ann Putnam Marshal Herrick Thomas Putnam Judge Hathorne Mercy Lewis Deputy Governor Danforth © Pearson Education, Inc., or its affiliates. All rights reserved. or its affiliates. Inc., Education, © Pearson Mary Warren Sarah Good John Proctor Hopkins Rebecca Nurse Giles Corey © Pearson Education, Inc., or its affiliates. All rights reserved. 5 4 3 2 1 6 A bed, evidentlyinprayer. Hisdaughter, As thecurtainrises, rafters are exposed,andthewoodcolorsare rawandunmellowed. the ground Theroom floor. givesoffanairofcleanspareness. Theroof furnishings. Atthebackadooropensonlandingofstairwayto at theright.A chest,achair, anda small tableare theother morning sunlightstreams. A candlestillburnsnearthebed,whichis There isanarrow windowattheleft.Through itsleadedpanesthe Massachusetts, inthespringofyear1692. on thebed,inert. (An Overture) A smallupperbedroom inthehomeof they mustconcentrateeven more uponprayer. celebrate Christmas,and a holidayfrom workmeant onlythat resembling atheateror“vain enjoyment.”Theydidnot novel if onewere handy. Theircreed forbadeanything no novelists—andwouldnothavepermittedanyone toread a out products ofslowlyincreasing quantityandvalue. inhabited byasectoffanaticswho,nevertheless,were shipping the European worldthewhole province wasabarbaricfrontier winter. Salemhadbeenestablishedhardly fortyyearsbefore. To windowed, darkhousessnugglingagainsttherawMassachusetts outward—toward thebayorinland—there were afewsmall- call itavillage.Themeetinghousewasnearby, andfrom thispoint sides, andmouthsshutuntilbiddentospeak. permitted towalkstraight,eyesslightlylowered, armsatthe conceived thatthechildren were anythingbutthankful forbeing and untilthisstrangecrisishe,liketherest ofSalem,never children, ortalentwiththem.Heregarded themasyoungadults, first askinghispermission.Hewasawidowerwithnointerest in meeting, hefeltinsultedif someonerose toshutthe doorwithout went, despitehisbestefforts towinpeopleandGodhisside.In said forhim.Hebelievedhewasbeingpersecutedwherever he history hecutavillainouspath,andthere isverylittlegoodtobe t the time of these events Parris was in his middle forties. In t thetimeoftheseeventsParriswasinhismiddleforties.In His housestoodinthe“town”—butwetodaywouldhardly No onecanreally knowwhat theirliveswere like.Theyhad REVEREND PARRIS ⌘ ⌘ isdiscovered kneelingbesidethe REVEREND SAMUEL PARRIS BETTY PARRIS , agedten,islying , Salem, NOTES The Crucible,Act I MULTIMEDIA SCAN FOR

563 personal lives. yourself inotherpeople’s saying aboutnotinvolving informal twistonafamiliar mark thephrasethatisan Puritans? when appliedtoadiscussionof of thislanguage,especially 564 CONCLUDE: QUESTION: ANNOTATE: CLOSE READ NOTES this casualphrase? 2. 1.

marked withtransverselines. polished board, floor, ortable with thehandalongahighly a coinorotherdiskisdriven shovelboard the holycityofheaven. New Jerusalem

UNIT 5•FACING OUR FEARS WhydoesMilleruse Inparagraph8, Whatistheeffect

n . gameinwhich intheBible, 11 10 9 8 7 was agoodsupplyofne’er-do-wells inSalem,whodalliedat cooked andprobably somepotentciderpassedaround. There assembled to“raisetheroof,” andthere wouldbespecialfoods somber wayoflife. Whenanewfarmhousewasbuilt,friends the shovelboard ways anddeceitfulideas. and the Salem folk believed that the virgin forest was the Devil’s and theSalemfolkbelievedthatvirgin forest wastheDevil’s fellow Christians. At anyrate, veryfewIndianswere converted, they alsopreferred totakelandfrom heathensratherthanfrom responsible fortheirfailure toconverttheIndians. Probably these heathen. and Reverend Parrishadparishionerswholostrelatives to and day, foroutofitIndiantribesmaraudedfrom timetotime, them. Itstood,darkandthreatening, overtheirshouldersnight continent stretched endlesslywest,anditwasfullofmysteryfor possibility, andinunitystilllaythebestpromise ofsafety. matters, theissuewasnotclear-cut, fordangerwasstilla the olddisciplineswere beginningtorankle.But,asinallsuch since thecountrywasreasonably—although notwholly—safe, against, forthetimeofarmedcamphadalmostpassed,and in myopinion,oneofthethingsthataJohnProctor wouldrebel suspicions whichwere tofeedthecomingmadness.Itwasalso, people ofSalem,anditundoubtedlycreated manyofthe minding otherpeople’sbusinesswastime-honored amongthe may beaccordingly proceeded against.”Thispredilection for persons, andtopresent themtothemagistrates,whereby they giving goodaccountthereof, andtotakethenamesofsuch word and ordinances, or that lye at home or in the fields without as eitherlyeaboutthemeetinghouse,withoutattendingto “walk forthinthetimeofGod’sworshiptotakenoticesuch practice ofappointingatwo-manpatrol whosedutywasto fooling around. every grain ofcorn,andnomanhadverymuchtimefor for thepeoplewere forced tofightthelandlikeheroes for the creed, hard workkeptthemoralsofplacefrom spoiling, lest theirNewJerusalem church founditnecessary todenyanyothersectitsfreedom, course, beenpersecutedinEngland.Sonowtheyand their innate resistance, evenof persecution. Theirfathershad,of place onearththatwasnotpayinghomagetoGod. the bestoftheirknowledge American forest wasthelast last preserve, hishomebase andthecitadelofhisfinalstand.To Which isnottosaythatnothingbroke intothisstrictand That there were somejokers,however, isindicatedbythe For thesereasons, among others,theycarriedaboutanairof The parochial snobberyofthesepeoplewaspartly The edgeofthewildernesswascloseby. The American 1 inBridgetBishop’stavern.Probably more than 2 bedefiledandcorrupted bywrong

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 12 15 14 13 large, andtheyhadtobesurvivethelife theyhadchosenor discipline itgavethem.Theywere adedicatedfolk,byand belief, andithashelpedhurtus.Itthemwiththe the candlethatwouldlightworld.We haveinheritedthis royal governmentandsubstitutedajunta taken place,andintheirowntimearevolution hadunseatedthe folk thatarrivedonthe for theconquestofthisspacesoantagonistictoman. their hard-handed justice,were altogetherperfectinstruments denial, theirpurposefulness,suspicionofallvainpursuits, reason andjustification foralltheirsufferings. Sotheirself- by acommonlyheldideologywhoseperpetuationwasthe autocracy byconsent,fortheywere unitedfrom toptobottom autocratic andverydevotedleadership.Itwas,however, an beginning, waslittlemore thananarmedcampwith they combined;setupacommunalsocietywhich,inthe destroyed them.Massachusettstriedtokilloff thePuritans,but ingratiating group thantheMassachusettsmen.ButVirginia England. Theywere abandofindividualists,andmuchmore off thewealthofnewcountryandthenreturn richto motivated mainlybyahuntforprofit. Theyhadthoughttopick south, inVirginia. TheEnglishmen wholandedthere were the oppositecharacteroffirstJamestownsettlement,farther been bornintointhiscountry. frustrations. very longfrom layingon the victimswithallforce oftheir the socialsurface,itistoomuchtoexpectpeopleholdback and when,asinSalem,wondersare brought forth from below but socialdisorder inanyagebreeds suchmystical suspicions, forces. Nohintofsuchspeculationappearsonthecourtrecord, confusion hadbeenbrought uponthembydeepanddarkling easily manycouldhavebeenledtobelievethatthetimeof and complicatedasdoourstoday. Itisnothard toseehow of joint,andtothecommonfolkmusthaveseemedasinsoluble moment inpower. Thetimes,totheireyes,musthave beenout It wasforged foranecessarypurposeandaccomplished that might openittodestruction bymaterialorideologicalenemies. community together, andtoprevent anykindofdisunitythat of stateandreligious power whosefunctionwastokeepthe purposes, thepeopleofSalemdevelopedatheocracy, acombine resolution. Simply, itwasthis:forgoodpurposes,evenhigh live, andthere isnoprospect yetthatwewilldiscoverits developed from aparadox. Itisaparadoxinwhosegripwestill They believed,inshort,thattheyheldtheirsteadyhands But thepeopleofSalemin1692were notquitethededicated valuetothemmaybetakenfrom The proof oftheirbelief’s The Salemtragedy, whichisabouttobegininthesepages, Mayflower . A vastdifferentiation had 3 whichwasatthis NOTES 3.

junta or council.

(HOON tuh) The Crucible,Act I

n . assembly

565 566 NOTES 4.

Lucifer

UNIT 5•FACING OUR FEARS

(LOO suhfuhr) theDevil. 22 21 20 19 18 17 16 The dooropens,andhisNegro slaveenters. does notstironthebed. seems abouttoweep;thenheweeps,praysagain;but hisdaughter words, asenseofhisconfusionhangsabouthim.Hemumbles, then seemed warrantedbythedangersagainstwhichorder was England whentherepressions oforder were heavierthan occupy thesamespace.EvidentlytimecameinNew idea ofexclusionandprohibition, justastwoobjectscannot purpose. Butallorganization isandmustbegrounded onthe PARRIS REVEREND PARRIS Lucifer scores couldbesettledonaplaneofheavenlycombatbetween one’s neighborandfeelperfectlyjustified inthebargain. Old elevated tothearena ofmorality;onecouldcrywitchagainst constant bickeringoverboundariesanddeeds,couldnowbe injunctions. Land-lustwhichhadbeenexpressed before by expressed, andvengeancetaken,despitetheBible’scharitable ordinarily speaksuchthingsinpublic. lighter thanif ithadbeenMarthaherself. Onecould not spirit only, buthissatisfactionatconfessinghimself wasno on hischestand“nearlysuffocated him.”Ofcourseitwasher while hiswife wassleepingathisside,Marthalaidherself down Martha Corey hadcomeintohisbedroom atnight, andthat, became possible—andpatrioticandholy—foramantosaythat under thecoverofaccusationsagainstvictims.Itsuddenly everyone soinclinedtoexpress publiclyhisguiltandsins, also, andasimportantly, along overdue opportunityfor and freedom. repressions, andthebalancehasyettobestruck betweenorder still impossibleformantoorganize hissociallife without can onlypitythemall,justasweshallbepitiedsomeday. Itis turn toward greater individualfreedom. panic whichsetinamongallclasseswhenthebalancebeganto organized. Thewitch-huntwasaperversemanifestation ofthe revenge. toward thehappycouldanddidburstoutingeneral Parris: Tituba, always, trouble inthishouse eventuallylandsonherback. also veryfrightenedbecauseherslavesensehaswarned herthat,as can nolongerbeartobebarred from thesightofherbeloved,butsheis as amerchant before enteringtheministry.Sheentersasonedoeswho The witch-huntwasnot,however, amere repression. Itwas When onerisesabovetheindividualvillainydisplayed, Long-held hatreds ofneighborscouldnowbeopenly brought herwithhimfrom Barbados,where hespentsomeyears 4 Out ofhere! already takingastepbackward and theLord; suspicionsandtheenvyofmiserable isprayingnow, and,thoughwecannothearhis : MyBettybeheartysoon? TITUBA isinherforties.

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 24 23 41 40 39 38 37 36 35 34 33 32 31 30 29 28 27 26 25 a fewsteps Abigail, Parris: Doctor Griggs. Abigail: apprehension andpropriety. endless capacityfordissembling.Nowsheisallworryand seventeen, enters—astrikinglybeautifulgirl,anorphan,with Susanna, Parris, girl enters He isbendingtokneelagainwhenhisniece, Will youwake,willopenupyoureyes!Betty, littleone. and closesthedoorleansagainstit,exhausted Out ofmy— Parris, Tituba, goes tothebedandgentlytakes help me! SUSANNA WALCOTT witchcraft. Betty’snotwitched. and I’llbewhippedif I mustbe.Butthey’re speakin’ of Abigail: the forest? my daughterandnieceIdiscovered dancinglikeheathenin Parris, with people,sir. I’llsitwithher. packed you’d bestgodownanddenyityourself. Theparlor’s Abigail: Susanna: Parris: Abigail: Susanna: put outallthoughtofunnaturalcauseshere. There benone. Mr. Hale willsurely confirmthat.Lethimlooktomedicineand here. Tell himIhavesentforReverend HaleofBeverly, and Parris, things forthecauseofit. you, sir. Buthebidmetellyou,thatyoumightlookto unnatural Susanna: Parris: medicine foritinhisbooks. come andtellyou,reverend sir, thathecannotdiscoverno scrambling tohisfeetinafury Oh? Lethercome,letcome. eagerly pressed, turnsonher Go directly homeandspeak nothingofunnaturalcauses. his eyesgoingwide Then hemustsearch on. backing tothedoor: leaning outthedoortocallSusanna,whoisdownhall Uncle? Uncle, wediddance;letyou tellthemlconfessedit— Uncle, therumor ofwitchcraftisallabout;Ithink Speak nothin’ofitinthevillage,Susanna. Quaking withfear, mumblingtohimselfthrough hissobs,he . : Comein,Susanna. craning around Aye, sir. Iprayforher. Aye, sir. Hebidmetellyou. Aye, sir, hehavebeensearchin’ hisbookssinceheleft He isovercome withsobs.Heclampshisteethagainstthem : Whatdoesthedoctorsay, child? He lookstoher. , a littleyoungerthanAbigail,nervous,hurried

PARRIS : No—no.There benounnaturalcause

: And whatshallIsaytothem? That My Bettynotgoin’die.

BETTY’ SusannaWalcott’s here from

to getalookat She goesout. s : Outofmysight!

hand She turnstogo. . Betty. Child.Dearchild. ABIGAIL WILLIAMS . Oh, my God! God . Oh,myGod!God BETTY : Hebidme She isgone , . extreme emotions. mark detailsthatsuggestParris’s directions inparagraph24, performance? perceptions ofParrisina details affect theaudience’s CONCLUDE: QUESTION: ANNOTATE: CLOSE READ NOTES include thesedetails? The Crucible,Act I WhydoesMiller Inthestage Howwouldthese

567 568 NOTES

UNIT 5•FACING OUR FEARS 43 42 60 59 58 57 56 55 54 53 52 51 50 49 48 47 46 45 44 perhaps yourcousin’slife. Whateverabominationyouhave upon you,fornowmyministry’s atstake,myministryand tell metrue, Abigail. And Iprayyoufeeltheweightoftruth Parris, Abigail, someone nakedrunning through the trees! Parris— Abigail, not blinkit.Isawadress lying onthegrass. Parris: Abigail: She were swayinglikeadumbbeastoverthatfire! And Iheard ascreeching andgibberishcomingfrom hermouth. arms overthefire whenIcameonyou.Whywasshedoingthat? for God’ssaketellittome. pleads Abigail: in theforest? know youhavenotopenedwithme.Whatdiddoher Parris: Parris, Abigail: practice. Abominations are doneintheforest— household isdiscovered tobetheverycenterofsomeobscene Parris: Abigail: pulpit. Doyouunderstandthat? Parris: Abigail: Abigail, doyouunderstandthatIhavemanyenemies? enemies willbringitout.Letmeknowwhatyoudonethere. child isdesperate! Parris: Abigail: it now, forsurely myenemieswill,andtheywillruin mewithit. time. Butif youtrafficked withspiritsintheforest Imustknow Parris: dearly. Abigail, Parris: And there’s thewholeofit. bush sosuddenly, Bettywasfrightened andthenshefainted. : Abigail, if youknowsomethingthatmayhelpthedoctor, pointing at with anger I cannotblinkwhatsaw, Abigail, formyenemieswill There isafactionthatsworntodrivemefrom my Then whycanshenotmoveherself sincemidnight?This Now lookyou,child,yourpunishmentwillcomeinits Child. Sityoudown. Abigail, Icannotgobefore thecongregation whenI Now then,inthemidstofsuchdisruption, myown it isveryhardtosay in terror innocently She alwayssingsherBarbadossongs,andwedance. I haveheard ofit,uncle. But weneverconjured spirits. quavering, asshesits We diddance,uncle,andwhenyouleapedoutofthe It were sport,uncle! I thinkso,sir. : Noonewasnaked! You mistakeyourself, uncle! : Isawit!

BETTY : Adress? Abigail lowershereyes : You callthissport? He movesfrom her. Then,resolved : Aye, adress. And Ithoughtsaw— She issilent : IwouldneverhurtBetty. Ilove her . IsawTituba wavingher . Itmustcomeout—my She lowers her eyes. He She lowershereyes.He : Now

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 62 61 64 63 Parris, Abigail: when Igobefore themdownthere. done, givemeallofitnow, forIdare notbetakenunaware have toldme,foryourbeingdischarged from Goody Parris, be noblushaboutmyname. Abigail, entirely white,isitnot? now givemeuprightanswer. Your nameinthetown—itis given youahome,child.Ihaveputclothesuponyourback— me intheparish,youcompromise myverycharacter. Ihave to me,andnow, justnowwhensomegoodrespect isrisingfor fought here three longyearstobendthesestiff-necked people service? Ihaveheard itsaid,andItellyouasheard it,thatshe to thepoint studies her, thennods,halfconvinced There isnothin’more. Iswearit,uncle. with anedgeofresentment : Abigail, isthere anyothercausethanyou : Why, Iamsure itis,sir. There : Abigail, Ihave 5 Proctor’s Proctor’s NOTES 5. Williams. Ryder portraysAbigail of In the1996filmversion

woman; shortforGoodwife. Goody The Crucible The Crucible,Act I titleusedforamarried , Winona

569 questionable. reputation inSalemmaybe details thatsuggestAbigail’s paragraphs 65–69,mark between ParrisandAbigail, work inSalem? do thesecluessuggestare at 570 CONCLUDE: QUESTION: ANNOTATE: CLOSE READ NOTES the play? Abigail atthispointin include thesedetailsabout

UNIT 5•FACING OUR FEARS WhydoesMiller Inthedialogue Whatconflicts 65 85 84 83 82 81 80 79 78 77 76 75 74 73 72 71 70 69 68 67 66 Parris: providence. Putnam: Oh, good morning,Mr. Putnam. Parris: light asbird, hesays! Mr. Collins barn,andcomedown sawhergoin’overIngersoll’s Mrs. Parris: Mrs. you, Ann. Mrs. Parris: stroke ofhelluponyou. Mrs. although hisworryremains anyone. Parris, ridden woman,hauntedbydreams. Putnam, slave. It’sabitterwoman,lying,cold,snivelingandI Abigail: close tosomethingsoiled.Whatsignified thatremark? comes sorarely tothechurch thisyearforshewillnotsitso MRS. PUTNAM THOMAS PUTNAM Enter have itsaidmynameissoiled!GoodyProctor isagossipingliar! Abigail, Parris: ill-concealed resentment athim Barbados forthat.Iwillnotblackmyfaceanyofthem! Abigail: family hasevercalledforyourservice. seven monthoutoftheirhouse,andinallthistimenoother Parris: will notworkforsuchawoman! Parris: into them,forkedandhoofed. touch isheavierthansick.It’sdeath,y’know, it’sdeathdrivin’ Mrs. Parris,

Putnam,

Putnam, Putnam: Putnam, Putnam, MRS. ANN PUTNAM MRS. ANN What’s out,sir, what’s—? Now, lookyou,GoodyPutnam,shenever— No, no,sheneverflew— as soonthedoorbeginstoopen No, GoodyPutnam.Itis— No—no. She maybe. And yetithastroubled methatyouare now Oh, praynot!Why, howdoesRuthail? shocked He seesher, andacertaindeference springsintohim, in atemper They wantslaves,notsuchasI.Letthemsendto She hatesme,uncle,shemust,forIwouldnotbeher It isaprovidence thethingisoutnow!Ita looking downat

goes tothebed He goesdirectly tothebed. glancingat verypleasedwithit Why, that’sstrange.

: Your Ruthissick? full ofbreath, shiny-eyed with viciouscertainty , awell-to-do,hard-handedlandowner, nearfifty : Mynameisgoodinthevillage!Iwillnot . She isatwistedsoulofforty-five,death- BETTY BETTY: . Why, GoodyPutnam,comein. . : Doyoubegrudge mybed,uncle? : Why, Howhighdidshefly, howhigh? : Why, it’ssure shedid. : I’d not call it sick; the Devil’s : I’dnotcallitsick;theDevil’s To To her eyes : Itisamarvel.surely a PARRIS : No—no.Icannothave : Oursisopen. isclosed!Look Enter With .

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 87 86 97 96 95 94 93 92 91 90 89 88 PARRIS sees naught,andcannoteat.Hersoulistaken,surely. morning, buthereyesopenandshewalks,hearsnaught, Mrs. soon bankrupt. Thomasandhisbrother JohnhadBurroughs funeral, and,sincetheparishwasremiss inhissalary, he was Burroughs, hadtoborrow moneytopayforhis wife’s witchcraft began. Another formerSalemminister, George people around him. he regarded himself astheintellectualsuperiorofmost candidate foroneofitsmore importantoffices, especially since payment thatthevillageshouldsoblatantlydisregard his deeply interested inparishaffairs. Heundoubtedly feltitpoor village. HehadfoughttheIndiansatNarragansett,andwas acceptance, forreasons thatare notclear. a two-thirds voteintothebargain, butafactionstopped his down asministeratSalem.Bayleyhadallthequalifications, and before, hiswife’s brother-in-law, JamesBayley, hadbeenturned grievances, atleastoneofwhichappearsjustified. Sometime A word aboutThomasPutnam.Hewasamanwithmany They willhowlmeoutofSalemforsuchcorruption inmyhouse. disastrous acharge laiduponme.We cannotleaptowitchcraft. know thatyou—youleastofall.Thomas,wouldeverwishso Parris: Putnam: and Iamcertainthere benoelementofwitchcrafthere. Parris: year, andletyouremember that. Mrs. much experienceinalldemonicarts,andI— Parris, Reverend HaleofBeverly? Putnam, public causeinwhichhe tried toforce hisway, hefailedinthis. disproportionate amounttoastepbrother. As withevery other will,whichleft a his attempttobreak hisfather’s village, andhemeanttorightmattershowever could. own nameandthehonorofhisfamilyhadbeensmirched bythe motif ofresentment isclearhere. ThomasPutnamfeltthathis Bayley, ThomasPutnam’sbrother-in-law, hadbeenrejected; the only inthatBurroughs succeeded inbecomingministerwhere jailed fordebtsthemandidnotowe.Theincident is important His Thomas Putnamwastheeldestsonofrichestmanin Another reason tobelieve himadeeplyembittered manwas

Putnam: Putnam:

is struck. vindictive Thomas, Thomas, I pray you, leap not to witchcraft. I Thomas, Iprayyou,leapnottowitchcraft. Now, Goody Ann, theyonlythoughtthatwere awitch, with dwindlingconvictionnow No witchcraft!Nowlookyou,Mr. Parris— as thoughforfurtherdetails Sheailsasshemust—sheneverwakedthis Hehasindeed;andfoundawitchinBeverlylast nature wasdemonstratedlongbefore the : Theysayyou’vesentfor : A precaution only. Hehas NOTES vindictve revenge unreasoning desire for characterized byanintense, (vihn DIHKtihv) The Crucible,Act I

adj.

571 or secret. things thatare unexplainable paragraph 101thatrelate to in Mrs.Putnam’s speechin sense oftensioninthescene? details addtothegrowing 572 CONCLUDE: QUESTION: ANNOTATE: CLOSE READ NOTES understands theworld? ways inwhichMrs.Putnam details suggestaboutthe 6.

the earth. abyss

UNIT 5•FACING OUR FEARS

(uh BIHS) Whatdothese Markdetails Howdothese

n . deepcrackin 108 107 106 105 104 103 102 101 100 112 111 110 109 99 98 Parris Abigail, witchcraft— no onetocharge you—declare ityourself. You havediscovered Putnam: charity! NowIamundone. and then,gazingoff Parris, what theywill,youcannotblinkitmore. at themostopportunejunctures ofthetrials,especiallywhen— supernatural testimony, orthat hisdaughterledthecrying-out name issooftenfoundasawitnesscorroborating the people are inthehandwritingofThomasPutnam,orthathis So itisnotsurprisingtofindthatsomanyaccusationsagainst Putnam— But we’llspeakofthatwhenwecometoit. to he hasonlycontempt,tomovetowardtheabyss witch amongus,boundtokeepherself inthedark. Putnam: marvelous sign,Mr. Parris! except somepowerofdarknesswouldstophermouth?Itisa little spirits;Iknowit,sir. Forhowelseisshestruck dumbnow proof! Markit!LastnightmyRuthwere eversoclose totheir Mrs. Parris, us whatpersonmurdered mybabies? Mrs. Parris: Mrs. Parris: And soIthoughttosendheryourTituba— and shrivelslikeasuckingmouthwere pullin’onherlife too. see herturningstrange. A secret childshehasbecomethisyear, clamored intimations. And now, thisyear, myRuth,only—I very nightoftheirbirth.Ihavespokenothin’,butmyhearthas hearty babiesborn. And yet,eachwouldwitherinmyarmsthe unbaptized intheearth.Believeme,sir, youneversawmore Mrs. Putnam: Parris: spirits layin’handsonthesechildren. I cannotif youholdbackinthis.There are hurtful,vengeful taken yourpartinallcontentionhere, andIwouldcontinue;but

BETTY

Putnam: Putnam: Putnam: Putnam: turns now, withnewfear, andgoesto to But, Thomas,youcannot— horrified Goody Ann, itisaformidablesintoconjure upthedead! To Tituba! WhatmayTituba—? ,

a franticterror risinginhim whispering You are notundone!Letyou takeholdhere. Wait for Ann! Tell Mr. Parriswhatyouhavedone. Don’t youunderstandit,sir?There isamurdering ABIGAIL at themomentheisintentupongetting Tituba knowshowtospeakthedead,Mr. Parris. Reverend Parris,Ihavelaidsevenbabies Theywere murdered, Mr. Parris! And markthis Itakeitonmysoul,butwhoelsemaysurely tell : Woman! : Thenyouwere conjuring spiritslastnight. : Oh, Abigail, whatproper paymentformy : NotI,sir—Tituba andRuth. . Letyourenemiesmakeofit BETTY : 6 Mr. Parris,Ihave ,

looksdownather, PARRIS PARRIS . for whom

turns

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 133 132 131 130 129 128 127 126 125 124 123 122 121 120 119 118 117 116 115 114 113 134 Parris, Abigail: at once. eighteen. Parris: go downand— Abigail: while alone. Parris: the bedtolook. another likeitwillshakeherwitstogether, I’msure. Mercy: Mrs. give apowerfulsneezebefore. Mercy: Putnam: Mercy: voice Mercy: Mrs. I havehadenoughcontentionsincecame;wantnomore. of witchcraftyet.Iwillnotdiscussit.Thecauseisyetunknown. Parris, Surely you’llpraywiththem. them—pray withthem.They’re thirstingforyourword, Mister! and thevillagewillblessyouforit!Comedown,speakto Putnam: Goody Ann . wait tillMr. Halearrives. goes outwith Betty! Situpnow! Abigail, one sincelastnight. Mercy: Abigail, Parris, Enter with this!Theywillmakeofita— Parris: BETTY MRS. PUTNAM : Betty?

doesn’t stir.

Putnam: Putnam: MERCY LEWIS to No—no. Will youleavemenow, Thomas?Iwouldpraya swayed In myhouse?house,Thomas?Theywilltoppleme to I’d fearnomore, GoodyPutnam.Itwere agrandsneeze; Her grandmacome.She’simproved alittle,Ithink—she Your pardons. IonlythoughttoseehowBettyis. Aye, mum. It’s weirdish. Iknownot—she seemstowalklikeadead I will,uncle. Uncle, you’veprayedsincemidnight.Whydoyounot turns atonceandgoesto with hushedtrepidation

Why aren’t youhome?Who’swithRuth? Now lookyou,sir. LetyoustrikeoutagainsttheDevil, PUTNAM ABIGAIL

goes out.

BETTY PUTNAM Ah, there’s asignoflife! Mercy, yougohometoRuth,d’y’hear? : I’llleadtheminapsalm,butletyousaynothing To : Ifshestartsforthewindow, cryforme MERCY , : There isaterriblepower inherarmstoday.

the Putnams’ servant,afat,sly,merciless girlof doesn’t move.Sheshakesher

PUTNAM . comesover. To get : Ihavenoanswerforthatcrowd. I’ll : HowisRuthsick?

MRS. PUTNAM BETTY , and now, withfearinher

to leave . Nowstopthis! : Ifyouwill, She goesto He NOTES The Crucible,Act I

573 574 NOTES to fly. Parris backassheattempts the othergirlsholdBetty film versionof In thisstillfrom the1996

UNIT 5•FACING OUR FEARS The Crucible,

145 144 143 142 141 140 139 138 137 136 135 error, ahangin’liketheydoneinBostontwoyearago!We must Mary Warren: know it. Mercy, callin’ uswitches, Abby! from thefarm;wholecountry’stalkin’witchcraft!They’llbe Mary Warren: lonely girl. Abigail, it wakedherforaminute.Here, letmehaveher. Mercy: Enter Mercy: Abigail: Mercy: the grave. Abigail: Mercy: much already. if theybequestioningus,tellthemwedanced—Itoldhimas MARY WARREN pointingandlookingat clapping herhandstogetherwithafrightenedlaugh Have youtriedbeatin’her?IgaveRuthagoodoneand And whatmore? Aye. And whatmore? holding He sawyounaked. He knowsTituba conjured Ruth’s sisterstocomeoutof Abby, we’vegottotell.Witchery’s ahangin’ What’ll wedo?Thevillageisout!Ijustcome

MERCY , breathless. Sheisseventeen,asubservient,naive,

back : No,he’llbecomin’up.Listen,now:

MARY WARREN : Shemeanstotell.I : Oh, Jesus!

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 163 162 161 160 159 158 157 156 155 154 153 152 151 150 149 148 147 146 164 Abigail: seen somereddish workdone atnight,andlcanmakeyouwish my dearparents’ headson thepillownexttomine,andlhave shudder you. And youknowIcandoit;sawIndians smash some terriblenightandIwillbringapointyreckoning thatwill about theotherthings,andIwillcometoyouinblackof this. Leteitherofyoubreathe aword, ortheedgeofaword, conjured RuthPutnam’sdeadsisters. And thatisall. And mark Abigail: Betty: Abigail, wife! YouProctor’s drankacharmtokillGoodyProctor! Betty: Abigail: Betty: he knowsnow, heknowseverythingwe— Abigail, andstreaks forthewindow, getsone legout. fly, Betty: you, Betty? Your mama’sdeadandburied. But roughly sitsherup you hadneverseenthesungodown! It’s Abigail. Mercy, Mary Warren: Betty! Abigail, and we— Betty, papa andItoldhimeverything.Sothere’s nothingto— Mary Warren, Abigail: other things! tell thetruth, Abby! You’ll onlybewhippedfordancin’,andthe BETTY in frightat courage youhave! for lookin’,aren’t you,MaryWarren? Whatagrandpeeping Enter Abigail, against thewall

BETTY , jo on thebed,whimpers. BETTY collapsing onthebed You did,youdid! You drankacharm tokillJohn You drankblood, Abby! You didn’ttellhimthat! I’ll flytoMama.Letmefly! darts offthebed,frightenedof h moving menacinglytoward Betty? Now lookyou. All ofyou.We danced. And Tituba smashes heracross thefac Betty, youneversaythatagain! You willnever— pulling herawayfrom thewindow starting for Oh, with alarm,asshecautiouslyapproaches n

collapses inherhandsandliesinertonthebed.

BETTY pro

whimpers She sits we’ll c : Iwantmymama! I neverdonenoneofit, Abby. Ionlylooked! with hystericalfright tor . Abby, she’sgoingtodie!It’sasinconjure, She goesto . Now, you—situpandstopthis!

. Onseeinghim,

be whipped!

BETTY MARY . My, youseemimproving. Italkedtoyour : Isayshutit,MaryWarren!

up andfuriouslyshakesher : Mama.Mama!

BETTY ABIGAIL . Now, Betty, dear, wakeupnow. e: Shutit!Nowshut

turnstoheratonce. MARY MARY WARREN : What’sgother? ABIGAIL She raisesherarmsasthoughto She goesto : Oh,you’re agreat one : Itoldhimeverything, , She dissolvesintosobs and flattens herself andflattens

BETTY leapsinfright. BETTY . I’llbeatyou, : Whatails ABIGAIL and

stares . sentences. in paragraph 160, marktheshort intensity ofAbigail’s speech? sentences addtotheemotional NOTES CONCLUDE: QUESTION: ANNOTATE: CLOSE READ speech? short andlongsentencesinthis The Crucible,Act I WhydoesMillermix InAbigail’s speech Howdotheseshort

575 576 calumny NOTES with theintenttoharm making offalsestatements

UNIT 5•FACING OUR FEARS (KAL uhmnee)

n. the 174 173 172 171 170 169 168 167 166 165 178 177 176 175 then goesto though ontiptoe,absorbinghispresence, wide-eyed.He glancesather, of expectantlaughterescapes her, andshedares comecloser, feverishly Proctor, and myuncleleapedinon us.Shetookfright,isall. confidential, wickedair Abigail: morning. Thetown’smumblingwitchcraft. Proctor: Abigail, smile onhisface not easilyled—whocannotrefuse supporttopartisanswithout He wasthekindofman—powerfulbody, even-tempered, and to suggestthathehadasharpandbitingwaywithhypocrites. been apartisanofanyfactioninthetown,butthere isevidence Mercy off. IhavemyRuthtowatch.Goodmorning,Mr. Proctor. Mercy Lewis, Trying toretain ashred ofdignity,shegoesslowlyout. days. Nowgetyouhome;mywife iswaitin’withyourwork! Proctor: Mary Warren: looking foryoumore oftenthanmycows! you leavethehouse,didInot?Whyshallpayyou?am Proctor: Mary Warren: servant, canbarely speakforembarrassmentandfear. confidence andanunexpressed, hiddenforce. Mary Warren, his parlor belowitisamaninhisprimewesee,withquiet appeared onthesurface,andasheentersfrom thecrowded regard himself asakindoffraud.Butnohintthishasyet us. Proctor, respected andevenfeared inSalem,hascometo has helpedtodisciplineusaswellbreed hypocrisyamong away ofsins.Itisanothertraitweinheritedfrom them,andit of decentconduct.Thesepeoplehadnoritualforthewashing against themoralfashionoftime,buthisownvision spring from anuntroubled soul.Heisasinner, asinnernotonly for felt hisfoolishnessinstantly—andaProctor isalwaysmarked presence afool drawing theirdeepestresentment. InProctor’s Proctor, Abigail: But asweshallsee,thesteadymannerhedisplaysdoesnot Proctor wasafarmerinhismiddlethirties.Heneednothave calumny sidles out.Since Gah! I’dalmostforgot how strong youare, JohnProctor! his smilewidening Oh, posh! with anervouslaugh looking at The road pastmyhouseis apilgrimagetoSalemall I’ll showyouagreat doin’onyourarseoneofthese Be youfoolish,MaryWarren? Beyoudeaf?Iforbid BETTY therefore. both afraidofhimandstrangelytitillated : What’sthismischiefhere? I onlycometoseethegreat doingsintheworld. Oh! I’mjustgoinghome,Mr. Proctor. onthebed. ABIGAIL Winningly shecomesalittlecloser, witha . We were dancin’inthewoodslastnight, PROCTOR now : Ah, you’re wickedyet,aren’t y’! : Oh,she’sonlygonesillysomehow. , ’s the faintestsuggestionofaknowing entrance, ABIGAIL hasstoodas : I’dbestbe A trill

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 188 187 186 185 184 183 182 181 180 179 desire destroys hissmile. Abigail: twenty. looking intohiseyes Proctor: Abigail: you more. Proctor: something betterthanhope,Ithink! Abigail, Proctor: waitin’ foryoueverynight. Abigail, mind, Abby.of mischief youruncle’sbrewin’ now. Proctor, I know youbetter. Abigail, Proctor: He takesasteptogo,andshespringsintohispath. Give meaword, John. A softword. You’re surely sportin’withme. now beginningtoanger—shecan’t believeit grasping hishandbefore hecanrelease her tauntingly setting herfirmlyoutofhispath You knowmebetter. Abby, you’llputitoutofmind. I’llnotbecomin’for Abby, Inevergiveyouhopeto waitforme. No, no, Abby. That’sdonewith. . You’ll beclappedinthestocksbefore you’re : You comefivemiletoseeasillygirlfly? With finalemphasis : Icometoseewhat Her concentrated : John—Iam : Ihave : Putitout NOTES pleads withProctor. played byWinonaRyder, Proctor. Here, Abigail, Day-Lewis portraysJohn of In the1996filmversion The Crucible The Crucible,Act I , Daniel

577 and Abigail’s lines. that appearsinbothProctor’s 191, marktherepeated word word affect thewayinwhich Proctor? the audienceviewsAbigailand 578 CONCLUDE: QUESTION: ANNOTATE: CLOSE READ NOTES word? have bothcharactersusethis

UNIT 5•FACING OUR FEARS WhydoesMiller Inparagraphs190– Howdoesthis 203 202 201 200 199 198 197 196 195 194 193 192 191 190 189 206 205 204 and youdonow! I sawyourfacewhensheputmeout,andyoulovedthen dream that?It’ssheputmeout,youcannotpretend itwere you. and sweatedlikeastallionwheneverIcomenear!Ordid Abigail: cannot! You lovedme,JohnProctor, andwhateversinitis,you now youbidmetearthe light outofmyeyes?Iwillnot, by alltheseChristianwomen andtheircovenantedmen! And pretense Salemwas,Inever knewthelyinglessonsIwastaught sleep andputknowledgeinmyheart!Ineverknew what Abigail, A psalmisheardbeingsungbelow. Proctor, her! Letherturnyoulikea— lies aboutme!Sheisacold,snivelingwoman,and youbendto Abigail: Elizabeth! Proctor, may letsuchasicklywife be— Abigail, Proctor: Abigail: out ofmind.We nevertouched, Abby. will cutoff myhandbefore I’lleverreach foryouagain.Wipe it Proctor: Abigail, firmly Proctor, him desperately as thoughI’dfindyoucomin’through somedoor. dreamin’; Icannotdream butIwakeandwalkaboutthehouse I know you,John.I Abigail, Proctor: window? loneliness. Doyoutellmeyou’veneverlookedupatmy to mywindow, andIhaveseenyoulookingup,burninginyour Abigail: I Proctor: nights. think. Ihaveseenyousincesheputmeout; Abigail: Proctor: : Child— now softening A wildthingmaysaythings.Butnotsowild,I I knowhowyouclutchedmybackbehindyourhouse in tears She isblackeningmynameinthevillage!telling with abitteranger Aye, butwedid. ofanger with aflash shaking her angered—at himselfaswell gently pressing herfrom him,withgreat sympathybut I mayhavelookedup. I havehardly steppedoff myfarmthissevenmonth. Abby, that’sawildthingtosay— Aye, butwedidnot. Abby, Imaythinkofyousoftlyfrom timetotime.ButI haveasenseforheat,John,andyourshasdrawnme . : IlookforJohnProctor that tookmefrom my : Doyoulookforwhippin’? know : And youmust. You are nowintryman. you. : Oh,Imarvelhowsuchastrong man : Howdoyoucallmechild! She isweeping : You’ll speaknothin’of . Icannotsleepfor She clutches

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 225 224 223 222 221 220 219 218 217 216 215 214 213 212 211 210 209 208 207 The singinghasstoppedinthemidstofthis,andnow you? Stopthatwailing! Proctor, hands down,calling“Betty!” Mrs. Abigail: her earssuddenlyandwhinesloudly. at thebed,keepslightlyslapping screaming rushes tothebed,crying Parris: suddenly cannotbeartoheartheLord’s— Parris, to hearthenameof— Mrs. of witchcraftafoot,GoodyNurse,aprodigious sign! with curiosity,andher happened here! Parris: the Lord’s name! Mrs. screamin’. Abigail: tries togetup. Gentleness exudesfrom her. Everything isquiet. Putnam: word. Isshegoingtoflyagain? Ihearsheflies. Giles: keep thequiet. Rebecca: inquisitive, andstillpowerful. Rebecca. Rebeccawasthe wife ofFrancisNurse,who, from all The words“goinguptoJesus”are heardinthepsalm.and John, pityme,me! love meyet! REBECCA NURSE REBECCA GILES COREY Putnam, her walking-stick And whiletheyare soabsorbed,wemayputaword infor

Putnam: Putnam: Putnam: I’ve notsaidaword. Noone here cantestify I’vesaida What happened?are youdoingtoher?Betty! trembling No. Godforbid.Mercy, run tothedoctor!Tell himwhat’s simplystandsoverthechild,whograduallyquiets. Betty? She heard yousingin’andsuddenlyshe’sup growing unnerved . Man, bequietnow! pointing atthewhimpering There ishard sicknesshere, GilesCorey, sopleaseto PROCTOR , eighty-three, enters.Heisknottedwithmuscle,canny, He turnsabruptlytogoout.Sherusheshim , Markitforasign,markit! Mymothertoldmethat!Whentheycannotbear Thepsalm!Shecannotbeartohear seventy-two, enters.Sheiswhite-haired, leaningupon She hurriesto . MERCY LEWIS : Rebecca,gotoher, we’re lost.She

REBECCA goes to , “Betty, Betty!”

BETTY : What’sshedoing?Girl,whatails BETTY THOMAS PUTNAM walksacross theroom tothebed.

rushes out BETTY BETTY

isquietlywhimpering,eyesshut. as ABIGAIL ,

who isnowsittingupand BETTY ’s face,whileshemoansand . MRS. PUTNAM : Thatisanotorioussign istryingtopullher

and

MERCY PARRIS

enters, feverish

LEWIS BETTY rushesin. . . PARRIS claps He , NOTES The Crucible,Act I

579 580 NOTES

UNIT 5•FACING OUR FEARS 229 228 227 226 233 232 231 230 and whenitcomeonthem theywillrun theDevilbowlegged grandma, andIhaveseen themallthrough theirsilly seasons, yourselves. Ihaveelevenchildren, andIamtwenty-sixtimesa Rebecca, if youcanwakeher? Putnam, Parris, time ofthedelusion,theyhadthree hundred acres, andtheir also enjoyedthehighopinionmostpeoplehadforhim.By disputes asthoughhewere anunofficial judge,andRebecca argument hadtohaverespect. Hewascalledupontoarbitrate accounts, wasoneofthosemenforwhombothsidesthe REBECCA Mrs. that hadmore truth initthanMrs.Putnamcouldknow. accused Rebecca’sspiritof“temptinghertoiniquity,” acharge who isnowstaringatthebewitchedchildonbed—soon pointed toRebeccaasherattacker. To topitall,Mrs.Putnam— daughter wastheonewhofellintoafitathearingand first complaintagainstRebecca;andThomasPutnam’slittle disbelief. ItwasEdward andJonathanPutnamwhosignedthe Nurse factionabsentedthemselvesfrom church inprotest and indicated bythefactthat,assoonitbegan,thisTopsfield- independent entitywhoseexistencewasresented byoldSalemites. the SalemtownauthorityandsetupTopsfield, anewand with theNursefarmorclosetoit,combinedbreak awayfrom Nurses bybloodorfriendship,andwhosefarmswere contiguous Bayley’s takingoffice. Inaddition,certainfamiliesalliedtothe was Bayley. TheNurseclanhadbeeninthefactionthatprevented of thattime. to layhandsonher—wemustlookthefieldsandboundaries out forawitch—andmore, howadultscouldbringthemselves character wassohighthattoexplainhowanyonedared cryher two days. As forRebeccaherself, thegeneralopinionofher between partisansofbothsides,anditissaidtohavelastedfor This squabblegrew totheproportions ofabattleinthewoods war hefoughtwithhisneighbors,oneofwhomwasaPutnam. against Rebecca,andinferentially againstFrancis,istheland social status,there were thosewhoresented hisrise. theory hasitthat,ashegraduallypaidforandraisedhis estate. However, Francishadoriginallyrented theland,andone children were settledinseparatehomesteadswithinthesame As we have seen. Thomas Putnam’s man for the Salem ministry As wehaveseen.ThomasPutnam’smanfortheSalemministry Another suggestiontoexplainthesystematiccampaign That theguidinghandbehindoutcrywasPutnam’sis

Putnam, wondrous andrelieved , inthought,nowleavesthebedsideandsits. eagerly sitting

astonished : GoodyNurse,willyougotomyRuthandsee : Ithinkshe’llwakeintime.Praycalm : Whathaveyoudone? : Whatdoyoumakeofit.Rebecca?

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 250 249 248 247 246 245 244 243 242 241 240 239 238 237 236 235 234 251 itself comeback. running after it;youmuststandstill,and,forlove,itwillsoon tires ofit. A child’sspiritislikeachild,youcannevercatchitby keeping upwiththeirmischief.Ithinkshe’llwakewhenshe Rebecca: bewildered, Rebecca;shecannoteat. Mrs. Proctor: swing around yourhead,Mr. Putnam. Proctor: Putnam: Proctor: Parris: devils? consult thewardens before youcalledthisministertolookfor Proctor: may beamongus,andIwouldsatisfythemthattheyare wrong. Parris: heard promise ofthatoutside. are notdecidedtogoinsearch ofloosespirits,Mr. Parris.I’ve Putnam: it, Ifearit.Letusratherblameourselvesand— There isprodigious dangerintheseekingofloosespirits. Ifear Rebecca: Mrs. doctor now, andgoodprayer. thought tohavepeacethisyear. Ithinkweoughtrely onthe This willsetusalltoarguin’ againinthesociety, andwe I think you’dbestsendReverend Halebackassoonhecome. Rebecca: Proctor: without hehaveameeting? Putnam: meeting before you—? Putnam, within wheelsinthisvillage, andfires withinfires! grandchild either, andIburyallbutone?There are wheels think itGod’sworkyoushouldneverloseachild, nor Mrs. Rebecca: one childleftofeight—andnowsheshrivels! the Putnamseedhavepeopledthisprovince. And yetIhavebut proceed tolookforsignsofwitchcrafthere.

Putnam: Putnam, Putnam: He isnotcomingtolookfordevils! A wideopinion’srunning intheparishthatDevil Aye, that’sthetruth ofit,Rebecca. I seennonedyin’.Thissocietywillnotbeabagto Then what’shecomingfor? Then letyoucomeoutandcallthemwrong. Didyou He mayturnhishead,butnottoHell! There bechildren dyin’inthevillage,Mister! to How mayweblameourselves?Iamoneofninesons; I amsickofmeetings;cannotthemanturnhishead Perhaps sheisnothungered yet. I cannotfathomthat. If soheis,thenletusgotoGodforthecauseofit. Pray, John,becalm.

PARRIS Thisisnosillyseason,Rebecca.MyRuth Rebecca, the doctor’s baffled! Rebecca,thedoctor’s

with agrowing edgeofsarcasm : WhenReverend Halecomes,youwill Pause. Hedeferstoher To

PARRIS : ButImust! You To

PARRIS : Didyoucalla . Mr. Parris, : Ihopeyou NOTES The Crucible,Act I

581 business matters. to property, salaries,andother 261–271, markdetailsrelated suggesting simmeringconflicts? of thesedetails,particularlyin CONCLUDE: QUESTION: ANNOTATE: CLOSE READ the characters? business relationships among include detailsaboutthe 582 NOTES

UNIT 5•FACING OUR FEARS WhydoesMiller Inparagraphs Whatistheeffect 267 266 265 264 263 262 261 260 259 258 257 256 255 254 253 252 270 269 268 own themeetinghouseitself; thelastmeetingIwere atyou Proctor: Parris: the deedtothishouse— Proctor: otherwise. the Devilbeinitsomewhere; Icannotunderstandyoupeople there beahowlingriotof argument. Ihaveoftenwondered if why amIpersecutedhere? Icannotoffer oneproposition but business intheBarbadostoserveLord. Idonotfathomit, pound ayear!Iamnotusedtothispoverty;left thrifty Parris: Giles: Harvard College. preaching farmerwithabookundermyarm;Iamgraduateof Parris: Proctor: little enoughwithoutIspendsixpoundonfirewood. Parris: Mr. Parris. Giles: some Londonbeggar! and eveninNovemberIhadtoshowmyfrostbitten handslike with allmyfirewood. IamwaitingsinceNovemberforastick, Parris: Putnam: Parris: Rebecca: ministry. children whoare unmindfuloftheirobligationstoward this Parris: their children— Rebecca: Parris, these daysbecauseyouhardly evermentionGodanymore. Mr. Parris.There are manyotherswhostayawayfrom church him preach onlyhellfire andbloodydamnation.Take ittoheart, Proctor: snow flew. Mr. Proctor. IdonotthinksawyouatSabbathmeetingsince Putnam: name inthissociety, notbyacreage. Proctor, Aye, andwellinstructed inarithmetic! You are allowedsixpoundayeartobuyyourwood, Where ismywood?Mycontractprovides Ibesupplied I shouldsaythebetterhalf ofSalemvillage— I donotpreach forchildren, Rebecca.Itisnotthe now aroused Man! Don’taministerdeserve ahousetolivein? Mr. Corey, youwilllookfarforamanofmykindatsixty The salaryissixty-sixpound,Mr. Proctor! Iamnotsome I regard thatsixpoundaspartofmysalary. Iampaid to I havetrouble enoughwithoutIcomefivemiletohear To live in,yes.Buttoaskownershipislikeyoushall Mr. Parris, youare thefirstministereverdiddemand Sixty, plussixforfirewood— And more thanthat! I neverheard youworriedsoonthissociety, Are there really thoseunmindful? It’s somewhattrue; there are manythatquailtobring

PUTNAM : You cannotcommandMr. Parris.We voteby : Why, that’sadrasticcharge!

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 292 291 290 289 288 287 286 285 284 283 282 281 280 279 278 277 276 275 274 273 272 271 fault thatamancannotsay yougoodmorningwithoutclap approaching theedgeofGiles’s tolerancewiththis Proctor, pit. Ihavebeensixtimeincourtthisyear— everybody else?Thinkonitnow, it’sadeepthing,anddarkas these years. Giles: Parris, your pardon. Ineverthought youhadsomuchiron inyou. Giles: Giles, let’sfindtheparty. Hesaysthere’s aparty. preacher insevenyears.Idonotwishtobeputoutlikethecat Parris: auction. spoke solongondeedsandmortgagesIthoughtitwere an Parris, Proctor: Parris: again? IamsickofHell! Proctor: Hell isburning! Parris: Putnam: minister isnottobesolightlycrossed andcontradicted— comprehend thataministeristheLord’s manintheparish;a whenever somemajorityfeelsthewhim. You peopleseemnotto angrily tothedoorandturns Proctor: are anotherkind,John.Clasphishand,makeyourpeace. Rebecca: “authority.” Proctor: Putnam: Rebecca: There isshockamongtheothers. Proctor: Putnam: Proctor: not blind;there isafactionandparty. Parris— Proctor: here yet,Mr. Proctor. And youmaytellthattoyourfollowers! I’ve changedmyopinionofthisman,John.Mr. Parris,Ibeg It suggeststothemindwhattrouble beamongusall surprised I wantamarkofconfidence,isall!amyourthird in afury It isnotforyoutosaywhatgoodhear! There iseitherobedienceorthechurch willburnlike now he’s outwithit Imeanitsolemnly, Rebecca;Ilikenotthesmellofthis familiarly, withwarmth,although heknowsis I mayspeakmyheart,think! Can youspeakoneminutewithoutwelandinHell I haveacrop tosowandlumberdraghome. Why, thenImustfinditandjoinit. Against you? My followers! Aye! He confesseditnow! Against himandallauthority! No, youcannotbreak charitywithyourminister. You He doesnotmeanthat. To all : What,are weQuakers? : Why, thankyou,Giles! : Thinkonit.Wherefore iseverybodysuing : There isapartyinthischurch. Iam

COREY

with asmile 7 We are notQuakers : Is it the Devil’s : IsittheDevil’s . Whatsayyou, He goes NOTES 7.

or priesthood.Unlikethe has noformalcreed, rites, seventeenth centuryandthat was foundedinthemid- Christian religious sectthat the SocietyofFriends,a Quakers words oftheirministers. were expectedtoheed the rigid codeofconductand Quakers, thePuritanshada The Crucible,Act I membersof

583 statements through themakingoffalse someone’s goodreputation 584 defamation NOTES shuhn)

UNIT 5•FACING OUR FEARS

n. unjust injuryto (dehf uhMAY

306 305 304 303 302 301 300 299 298 297 296 295 294 293 whose uniqueknowledgehasatlastbeenpublicly calledfor. here toascertainwitchcraft hefelttheprideofspecialist intellectual. Thisisabelovederrandforhim;onbeingcalled And hisbeliefisnotto discredit. Bettermindsthan Hale’s many-faced lieutenants. underworld ortheexistence ofLucifer’s never raisedadoubtinhis mindastothereality of the few daysofrest inhisown house.However, thatexperience normal behaviorafterHalehadgivenherhiskindness anda and thechildshehadallegedlybeenafflicting recovered her however, turnedintoamere pestunderhissearching scrutiny, encountered awitchinhis parishnotlongbefore. Thatwoman, pondering theinvisibleworld,especiallysincehe had himself Like almostallmenoflearning,hespentagooddeal oftime on! Giles: it home! Putnam: will toworkcomingon. name toit.Let’sgetyourlumberhome,John.Ifeelasudden pasture butheknewI’dbreak hisfingersbefore he’dsethis Giles: belonged tohim,if Imaysayitplain. Proctor: willthatallthelandbetweenriverand— grandfather’s Putnam: from GoodyNurse’shusbandfivemonthsago. Enter Putnam: collected fourpounddamagesforyoupubliclysayin’Iburned Giles well asyoudid. him for Proctor: Mr. Proctor. anarchy is this?Thattractisinmybounds,it’s Putnam: Proctor: draggin’, if Imayaskyou? Putnam: along, Giles,andhelpmedragmylumberhome. for it,soIhopecancallyoudeafwithoutcharge. Nowcome Proctor, the roof off yourhouse,andI— Mr. Haleisnearingforty, atight-skinned,eager-eyed He turnsto — REVEREND JOHNHALE Aye, andwe’llwintoo,Putnam—thisfoolI.Come That’s God’struth; henearlywilledawaymynorth he cannotbecrossed defamation laughing Your grandfatherhadahabitofwillinglandthatnever In yourbounds! My lumber. From outmyforest bytheriverside. He hadnorighttosellit.Itstandsclearinmy You loadoneoakofmineandyou’llfighttodrag I’ll havemymenonyou,Corey! I’llclapawritonyou! Why, weare surely gonewildthisyear. What A moment,Mr. Proctor. Whatlumberisthatyou’re PROCTOR :

I neversaidnosuchthing,butI’vepaidyou ? You’re old,Giles,andyou’re nothearin’so

and ofBeverly. Indicating : JohnProctor, Ihaveonlylastmonth starts out.

REBECCA : Iboughtthattract

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 308 307 resistance ofanyimportislinkedtothetotallymalign capitalist diabolism. Inthecountries oftheCommunistideology, all England hasheldbackbefore thetemptationsofcontemporary teats. At thiswriting,only history whichstillsucksattheDevil’s that theuniversityofficials, likemostofus,are thechildren ofa to myknowledge,officially scoffed atforthis,thereason being The Devilisprecise.” Evidentlyweare notquitecertaineven it ishisassurancethat“We cannotlooktosuperstitioninthis. never yetraisedalaughinanyaudiencethathasseenthisplay: beyond ourken.Onecannothelpnotingthatoneofhislineshas were—and stillare—convinced thatthere isasocietyofspirits enthralled. Luther relied nolessupontheOldBoytokeephumanmind cultivating Lucifer asthearch-fiend, buttheChurch’s enemies Catholic Church, through itsInquisition,isfamous for antagonists butbyourownside,whateveritmaybe.The that heiscalledupanddamnednotonlybyoursocial political inspirationoftheDevilisdueingreat parttothefact men intoasurrender toaparticularchurch orchurch-state. designed andusedtimeagainineveryagetowhip of theDevilmaybecomeevidentasaweapon,weapon the ideaofman’sworthlessness—untilredeemed—the necessity we seethesteadyandmethodicalinculcationintohumanityof and essentiallyfriendlytomandespiteoccasionallapses;when was neverregarded asahostilearea, thatallgodswere useful When itisrecalled thatuntiltheChristianeraunderworld sciences andtothefewwhohavegraspedhistoryofideas. phenomenon—such aconceptisstillreserved tothephysical relative, ever-changing, andalwaysjoinedtothesame are attributesofthesameforce, inwhichgoodandevilare absolutes. Theconceptofunity, inwhichpositiveandnegative the worldisstillgrippedbetweentwodiametricallyopposed horns,but change haswipedoutGod’sbeard andtheDevil’s of anearthwithout“sky.” Since 1692agreat butsuperficial impossible formostmentoconceiveofamoralitywithoutsinas and actionsare ofGod,andtheiroppositesare ofLucifer. Itisas Ours isadividedempire inwhichcertainideasandemotions the Devilasanecessarypartofrespectable viewofcosmology. no accidentthatweshouldbesobemused. now whetherdiabolismisholyandnottobescoffed at. And itis and communeintheclassroom withErasmus. way—used toassemblehisgraduatestudents,draw theshades, further, hebelievedthathadcontactwiththeDeviland and heinturnaccusedhisenemies.To complicatematters my ownuniversityaprofessor ofhistory—aLutheran, had argued theologywith him.Iamnotsurprisedatthis,for Our difficulty inbelievingthe—forwantofabetter word— Like Reverend Haleandtheothersonthisstage,weconceive 8 washimself accusedofalliancewithHell, 10 Hewasnever, 9 bythe NOTES 10. 9. 8.

theologian. humanist, scholar, and (1466?–1536), Dutch Erasmus founded byMartinLuther. Protestant denomination Lutheran Protestant Reformation. theologian wholedthe (1483–1546), German Luther The Crucible,Act I MartinLuther DesideriusErasmus memberofthe

585 586 NOTES 16. 15. 14. 11. 13. 12.

Dionysiac frenzied, sensuous. wine andrevelry; thus,wild, part ofspeechGreek godof characteristic ofDionysus,add succubi have magicalpower. fetishes gatherings. klatches congerie n pile. abrogation sleeping men. demons thoughttolieon

. abolishment. UNIT 5•FACING OUR FEARS

(SUHK yuhby)

n (KON juhree)

. objectsbelievedto (dy uhNIHSeeak) . informal

(ab ruh GAY(ab ruh shuhn)

n n . female . heap;

adj.

311 310 309 with fetishes, daughters ofthetownswouldassembleatnightand,sometimes children. Eventhelaxity ofdivorce regulations intheearlyyears tremendous responsibility onthefatherforcare ofhis American Baptistwoulddesire. Thedivorce lawslaya fashions, forinstance,are asprudent andall-coveringasany enforced bytheCommunistsinRussia,where women’s there are nomore puritanicalmores intheworldthanthose they continuedtobeinSalem,andare today. From allaccounts long before. Sex,sin,and the Devilwere earlylinked,andso becomes acongerie malevolence. Oncesuchanequationiseffectively made,society with moralright,andoppositiontoitdiabolical customs ofcivilizedintercourse. A politicalpolicyisequated who were knowntohaveindulgedinsorceries with her. Reverend Parris,andanotheristhebehaviorofchildren certain evidenceofthisistheconfessionTituba, the slaveof regular andconventionalizedpropitiation ofthedarkspirit.One known inthiscase,asitisothers,weshoulddiscovera worshiping, theDevilinSalem,andif thewholetruth couldbe no doubtthatpeople a snobbishobjectionandnotatallwarrantedbythefacts.Ihave spies ofeachsideare atworkunderminingtheother. Butthisis and capitalistsnow, andineachcampthere iscertainproof that that, whilethere were nowitchesthen,there are Communists beautiful inHeaven. and, until anhourbefore hefell,evenGodthoughthim nature ofaman.TheDevil,asReverend Halesaid,isawilyone, however, actions are theleastimportantmanifests ofthetrue ministers, priests,andrabbistodealwith.Whendiabolismrises, in judging.Thesecret intentofanactionwaslefttothe actions anddeedsofamanwere allthatsocietyfeltcomfortable inflicted, andnotalwayseveninthatdepartment.Normally, the they everwere, exceptsometimesinthedegree ofcruelty scourge ofGod. role ofgovernmentchangesfrom thatofthearbiterto rightly, asaresurgence oftheDionysiac life, condemnedtheseorgies aswitchcraftandinterpreted them, sharp-eyed asitmustbewhengodslongdeadare brought to themselves tolove,withsomebastardly results. The Church, which thenjustifies theabrogation Political opposition,thereby, isgivenaninhumaneoverlay views isopentothecharge ofalliancewiththeRedhell. succubi, The analogy, however, seemstofalterwhenoneconsiders The results ofthisprocess are nodifferent nowfrom what There are accountsofsimilar 11 andin America anymanwhoisnotreactionary inhis 15 sometimeswithaselectedyoungman,give 13 ofplotsandcounterplots,themain were communingwith,andeven klatches 12 ofallnormallyapplied 14 16 inEurope, where the forces ithadcrushed

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 323 322 321 320 319 318 317 316 315 314 313 312 324 citizens, cannotlongtoleratetheatomizationoffamily. And reasons, astatesopowerful,jealousoftheuniformity ofits consequent hypocrisythatdevelopedfrom it.Iffornoother Old Boy. Hale: Parris, with authority. Hale, some books Parris, Hale: He appearsloadeddownwithhalfadozenheavybooks. to facewhatmaybeabloodyfightwiththeFiendhimself. by minuteexaminationsofenormoustracts,isfinallycalledupon knows theexaltationofblessedwhoseintelligence,sharpened churches. Hisgoalislight,goodnessanditspreservation, andhe Europe—kings, philosophers,scientists,andecclesiastsofall precise science.Hefeelshimself alliedwiththebest mindsof make himsmileattheignoranceofyeomanryinthismost busy thismorning,andhehaspassedahundred rumors that now tobeputuseatlast.Theroad from Beverlyisunusually armory ofsymptoms,catchwords, anddiagnosticprocedures are much asayoungdoctoronhisfirstcall.Hispainfullyacquired and frighten. gains bothitsattractivesensualityandcapacitytoinfuriate and itisfrom thisunconsciousconvictionthatdemonology burlesque show. Ouroppositesare alwaysrobed insexualsin, shocked attheveryideaofawoman’sdisrobing herself ina working again,justasheiswithintheSlavwho the Russianattitudetoward womenislascivious.IttheDevil yet, in American eyesatleast,there remains theconvictionthat Hale: look toyoucomeour houseandsaveourchild. Putnam, Hale: his goodwife Ann. Parris: charities inBeverly. such agoodsoulshould.We haveallheard ofyourgreat Hale: Rebecca: nineteenth-century Victorian of therevolution wasundoubtedlyarevulsion from the Coming intoSalemnow, Reverend Haleconceivesofhimself

Putnam! Ihadnotexpectedsuchdistinguishedcompany, sir. setting downhisbooks We shallneedhard studyif itcomestotrackingdownthe Pray you,someonetakethese! Your childailstoo? It’s strangehowIknewyou,butsupposeyoulook as a littlescared delighted Do youknowthisgentleman?Mr. ThomasPutnam. And Noticing pleased : My, they’re heavy! I am,sir. Doyouknowme? : Mr. Hale!Oh!it’sgoodtoseeyouagain! : Itdoesnotseemtohelp us today, Mr. Hale.We

REBECCA : Well, youdocomeprepared! : You cannotbeRebeccaNurse? : Theymustbe;theyare weighted 17 immobilityofmarriageandthe Taking paragraphs 313–318. in thedialogueandactionof paragraph 312thatare reflected or readers? characters, andontheaudience does Halemakeonother ANNOTATE: CLOSE READ NOTES CONCLUDE: QUESTION: include thesedetails? 17.

hypocrisy. respectability, prudery,and an eraassociatedwith of England(1837–1901), wasqueen time whenVictoria Victorian The Crucible,Act I WhydoesMiller Markdetailsin Whatimpression characteristicofthe

587 respond toHale. that reveals howcharacters 339–344, markpunctuation should convey? delivered andtheemotionsthey in whichtheselinesshouldbe punctuation suggesttheways 588 CONCLUDE: QUESTION: ANNOTATE: CLOSE READ NOTES this punctuation?

UNIT 5•FACING OUR FEARS WhydoesMilleruse Inparagraphs Howdoesthis 346 345 344 343 342 341 340 339 338 337 336 335 334 333 332 331 330 329 328 327 326 325 Proctor, Giles Corey: Parris: Do youmenhaveafflicted children? Parris: Now, sir, whatwere yourfirstwarningofthisstrangeness? you’ll leavesomeofitinSalem. Proctor: questions ofmyowntoaskthisfellow. Giles: Will youcome,Giles? the dead? Rebecca, child—she shouldlearnfrom Tituba whomurdered hersisters. Mrs. Hale: Putnam: and yetshewalks. Mrs. PROCTOR Parris, last night. niece andtenortwelveoftheothergirls,dancinginforest Parris, conjurin’, sir. Mrs. Parris: Hale, Hale: judgment. Parris: if Ishouldfindnobruise ofhelluponher. all thatIshallnotproceed unlessyouare prepared tobelieveme marks ofhispresence are definiteasstone,andImust tellyou cannot looktosuperstitioninthis.TheDevilisprecise; the Hale, that’s asure signofwitchcraftafloat. Putnam: Hale, she’d fly. her thismorningonthehighroad, wavingherarmsasthough the bed

Putnam, Putnam: Putnam, Good then. Cannot eat! surprised holding uphishands narrowing hiseyes . Shehastriedtoleapoutthewindow;wediscovered No—no, John,Ithinknot.havesomefewqueer No, no,theseare farmers.JohnProctor— Why, sir—Idiscovered her— to No, no,itwere secret— It isagreed, sir—itisagreed—we willabidebyyour quickly goes to

I’ve heard youtobeasensibleman,Mr. Hale.Ihope She cannoteat. She cannotbeartoheartheLord’s name,Mr. Hale; MRS. PUTNAM horrified

HALE . Hedon’tbelieveinwitches. HALE

Hersoul,hersoulseemsflownaway. Shesleeps

: Will youlookatmydaughter, sir? frightened, verysoftly unable towait : You permitdancing? : Ineverspokeonwitchesonewayortheother. He goestothebed,looksdownat standsembarrassedforaninstant. : Goody Ann! You sentachild toconjure up Thinks onit.Then,to : We cannotbesure ofthat,Goody Ann— : Tries tofly. : No,no.Nowletmeinstruct you.We : Mr. Parris’sslavehasknowledgeof : Iknowit,sir. Isentmy indicating

PROCTOR

ABIGAIL

and BETTY

Leads GILES COREY . To —and my

HALE PARRIS

: to to :

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 368 367 366 365 364 363 362 361 360 359 358 357 356 355 354 353 352 351 350 349 348 347 Parris: to losesevenchildren before theyliveaday? Hale: make of that? found herinacorner, readin’ ofabook.Nowwhatdoyou Giles: Hale: Giles: Hale: what signifies thereadin’ ofstrangebooks? Giles: Putnam, of moralsuperiority Rebecca: we gotoSatanhere! Parris, Rebecca: boil ofallourtroubles today! Parris, Rebecca: to ripandteargetherfree. Hale: Rebecca: shown hisface! come amongus,andImeantocrush himutterlyif hehas of theday. Havenofearnow—weshallfindhimoutif hehas that gobyland,air, andbysea;yourwizards ofthenightand Silence Mrs. Hale: not haveyoujudgingmeanymore! Mrs. REBECCA your familiarspirits—yourincubi the Devilstandsstrippedofallhisbrute disguises.Here are all invisible world,caught,defined,andcalculated.Inthesebooks Hale, Mrs. Parris, opens one,turnspages,thenreads. Allwait,avidly

Putnam, Putnam: Putnam: I cannot tell. If she is truly in the Devil’s grip we may have I cannot tell. If she is truly in the Devil’s Why, that’snotnecessarily— Who doesthis? What books? Seven deadinchildbirth. with atastyloveofintellectualpursuit . Martha, mywife. Ihavewaked atnightmanyatimeand I cannottell;shehidesthem. Mr. Hale,Ihavealwayswantedtoaskalearnedman— Sssh! with trepidation striving forconviction hushed HALE , with great pain,turnsherfaceaway.There isapause abruptly IthinkI’llgo,then.amtoooldforthis. I wishknew. Let ushopeforthat.IgotoGodyou,sir. Will ithurtthechild,sir?

is impressed : Whatbookisthat?

LetGodblameme,notyou,you.Rebecca!I’ll What’sthere, sir? softly He startsforthebed : Come,Mr. Hale,let’sgeton.Sityouhere. . : Aye. Slight pause — . and resentment She goesout PARRIS Her voicebreaks: shelooksupathim. : Why, Rebecca,wemayopenupthe

looks tohim.Hegoeshisbooks, . 18 . andsuccubi,yourwitches ; To they feelresentful ofhernote : Ihopeyoudonotmean

HALE : Here isallthe : Isitanaturalwork . She rises . . NOTES 18.

incubi sleeping women. or demonsthoughttolieon

The Crucible,Act I (IHN kyuhby)

n . spirits

589 590 NOTES

UNIT 5•FACING OUR FEARS 378 377 376 375 374 373 372 371 370 369 closer, ready-handed mind you,oraman.Perhaps somebird invisibletoothers Hale: Parris, Giles: minister? bad? ItisthebestDevilwants,andwhobetter thanthe Hale: the village! my housetostrike?We haveallmanneroflicentiouspeoplein Parris, two littlegirlsinBeverly? Beverly. Ihavecometohelpyou,dear. Doyouremember my breathlessly hands could prayagain! book and walksoutofthehouse,andsuddenly—markthis—I tried and couldnotsaymyprayers. And thenshecloseher Giles: case sheflies.Now, Betty, dear, willyousitup? please tokeepyourwitsaboutyou.Mr. Putnam,stand closein her youwillwitnesssomefrightfulwondersinthisroom, so Hale: She’ll notanswerme,y’see. admire toknowwhatbooksshereads andwhyshe hidesthem. Giles: further onthatwithyou. Hale: not knowthatIeverspokeword inmylife.” everything buttheword “frighted,”andinstantlyreplied, “Ido shape.“What frightedyou?”hewasasked.Heforgot animal’s of ahogandhadthensaidheknewittobetheDevilinan it were true thathehadbeenfrightenedbythestrangebehavior deeply innocentandbraveman.Incourt,once,hewasaskedif stumble overthem.Hewasacrankandnuisance,butwithal learned anyprayersanditdidn’ttakemuchtomakehim very probable, butheforgot tosaythathe’donlyrecently bother muchwiththechurch. Thatshestoppedhisprayeris only inhislastyears—afterhehadmarriedMartha—did arson tohisdoor. Hedidn’tgiveahootforpublicopinion,and Corey’s house;afire blazingupatnightbrought suspicionof If acowwasmissed,thefirstthoughttolookforheraround hero inthehistory. Nomanhaseverbeenblamedforsomuch. was inhisearlyeightiesatthistime,andthemostcomical be soremarkable andsodifferent from thatofalltheothers.He Old Gilesmustbespokenfor, if onlybecausehisfatewasto . Hmmm. Does someoneafflict you,child?Itneednotbeawoman, What victorywouldtheDevilhavetowinasoulalready Aye, we’lldiscussit. Ah! Thestoppageofprayer—thatisstrange.I’llspeak That’s deep,Mr. Parris,deep,deep! It discomfitsme!Lastnight—markthis—Itriedand I’m notsayin’she’stouchedtheDevil,now, butI’d infright with resolution now . Canyouhearme?IamJohnHale,ministerof :

He observeshercarefully. Theotherswatch How canitbetheDevil?Whywouldhechoose . HALE

sits : Betty! Answer Mr. Hale!Betty! She doesnotstirinhishands To all

BETTY : Nowmarkme,if theDevilisin

up , but shehangslimpinhis PUTNAM .

comes in

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 403 402 401 400 399 398 397 396 395 394 393 392 391 390 389 388 387 386 385 384 383 382 381 380 379 405 404 Parris: Hale: Parris, Abigail: Did youcalltheDevillastnight? Hale: Abigail: Hale: Abigail: Hale: Abigail: of thebrew inthatkettle? Hale: Betty! Abigail: sudden coldwind,perhaps? A trembling belowtheground? Hale: Abigail: Hale: ad infernos. toward her, heintones In silencehelaysherbackonthepillow. Now, holdingouthishands there somefigure bidsyoufly? comes toyou—perhaps apig,mouse,oranybeastatall.Is Hale, Parris: Abigail: Hale, Abigail: the soup. Parris, the kettle? A mouse,perhaps, aspider, afrog—? Hale: Abigail: Hale: Abigail: where theywere dancing. Parris: Abigail: her intheforest? narrowing Why are youconcealing?Havesoldyourself toLucifer? I shouldliketospeakwithTituba. Did youfeelanystrangenesswhenshecalledhim? A How didshecallhim? Did Tituba askyoutodrink it? Did youdrinkit? You cannot evademe, Abigail. Didyourcousindrinkany grasping quickly Mr. Parris,youdidnotnotice,you,anylivingthingin What sortofsoupwere inthiskettle, Abigail? Goody Ann, willyoubringherup? blanched Afrog, Abby! fearfully I thinkloughttosaythatI—Isawakettleinthegrass Why—commondancingisall. I nevercalledhim!Tituba, Tituba . She tried,butIrefused. No, sir! She neverdrankit! I didn’tseenoDevil! I knownot—shespokeBarbados. Why, averylittlefrog jumped— That jumpedin,weneverputitin! Why, itwere beans—andlentils,Ithink,and— That were onlysoup. . Abigail, whatsortofdancingwere youdoingwith 19 : Whatjumpedin?

She doesnotstir. Heturnsto

ABIGAIL : I—dobelievethere were somemovement—in : ShecalledtheDevil? : InnomineDominiSabaothsuifiliiqueite : Abigail, itmaybeyourcousinisdying. Shaking The childremains limpinhishands.

BETTY

ABIGAIL MRS. PUTNAM : Betty, wakeup. , his eyes

exits . NOTES 19.

filiique iteadinfernos In nomineDominiSabaothsui (Latin). get theetothelowerworld” the Lord ofHostsandhisson, ihn FURnohs) SOO eeFEEleekway EEtay ahd mee nay DOHmeeneeSAB ay oth The Crucible,Act I “Inthenameof

(ihn NOH

591 592 NOTES

UNIT 5•FACING OUR FEARS 434 433 432 431 430 429 428 427 426 425 424 423 422 421 420 419 418 417 416 415 414 413 412 411 410 409 408 407 406 Hale: Tituba: Hale, Tituba: tempting mewith— laughing inmysleep.IhearhersingingBarbadossongsand doorway andnotastitchonmybody!Ialwayshearher Abigail: Tituba: always makingmedream corruptions! Parris: him Idon’tdesire toworkforhim,sir. Tituba, and hanged! Putnam: you toyourdeath,Tituba! Parris: Tituba: When didyoucompactwiththeDevil? at MRS. PUTNAM Abigail: Abigail: Tituba: Abigail: Parris: laugh atprayer! Abigail: not? Are yougatheringsoulsfortheDevil? Hale: Tituba: Hale: Tituba: Hale: Tituba: Mrs. Parris: Abigail: Tituba, Abigail: TITUBA

Putnam: You most certainlydo,andyouwillfree herfrom itnow! resolved now You havesentyourspiritoutuponthischild,you Why canshenotwake? Are yousilencingthischild? Woman, haveyouenlistedthesechildren fortheDevil? The Devil? You willconfessyourself or Iwilltakeyououtandwhip Blood!! She haveoftenlaughedatprayer! terrified, fallstoherknees I don’tcompactwithnoDevil! I havenopoweronthischild,sir. Mister Reverend. Inever— Why yousaythat, Abby? I lovemeBetty! No, no,sir, Idon’ttruck withnoDevil! No, no,chickenblood.Igivesheblood! shocked andangry You beg . Sometimes Iwakeandfindmyself standingintheopen I neversoldmyself! I’magoodgirl!proper girl! She sendsherspiritonmeinchurch: shemakesme She makesmedrinkblood! She mademedoit!Betty Don’t lie! She comestomeeverynightgoanddrinkblood! This womanmustbehanged!Shetaken

enters with Mybaby’sblood? me : Tituba, Iwantyoutowakethischild. To toconjure! Shebeg

HALE

TITUBA : Abby! : ShecomestomewhileIsleep:she’s , and instantly : No,no,don’thangTituba! Itell me makecharm—

ABIGAIL

points

© Pearson Education, Inc., or its affiliates. All rights reserved. 435 Hale: Then you saw him! TITUBA weeps. Now Tituba, I know that when we bind ourselves to Hell it is very hard to break with it. NOTES We are going to help you tear yourself free—

436 Tituba, frightened by the coming process: Mister Reverend, I do believe somebody else be witchin’ these children.

437 Hale: Who?

438 Tituba: I don’t know, sir, but the Devil got him numerous witches.

439 Hale: Does he! It is a clue. Tituba, look into my eyes. Come, look into me. She raises her eyes to his fearfully. You would be a good Christian woman, would you not, Tituba?

440 Tituba: Aye, sir, a good Christian woman.

441 Hale: And you love these little children?

442 Tituba: Oh, yes, sir, I don’t desire to hurt little children.

443 Hale: And you love God, Tituba?

444 Tituba: I love God with all my bein’.

445 Hale: Now, in God’s holy name—

446 Tituba: Bless Him. Bless Him. She is rocking on her knees, sobbing in terror.

Arthur Miller wrote the screenplay for the 1996 film version of The Crucible and was pleased at the film’s ability to “open wide enough to contain a whole society and move in close enough to see into a girl’s heart.” One way in which the film “opened wide” was to show this scene of the girls dancing in the forest, which is merely described in dialogue in the play. © Pearson Education, Inc., or its affiliates. All rights reserved. or its affiliates. Inc., Education, © Pearson

The Crucible, Act I 593 594 NOTES

UNIT 5•FACING OUR FEARS 473 472 471 470 469 468 467 466 465 464 463 462 461 460 459 458 457 456 455 454 453 452 451 450 449 448 447 Four? Howmany? Hale, Tituba, Tituba, andGodwillprotect you. utterly, Tituba, turnyourbackonhimandfaceGod—faceGod, Tituba, youare chosentohelpuscleanseourvillage.Sospeak agentamongus. Youhands todiscovertheDevil’s are selected, Hale, Tituba, a wishtocomeHeaven’sside. And wewillblessyou,Tituba. Hale: Tituba, overcome aminister. You knowthat, doyounot? you understand?We willprotect you.TheDevilcannever Hale: T light shineonyou. Hale: Tituba: Hale: Now Tituba: Parris: round andcarryin’on— Tituba: Parris: Tituba: Parris: Tituba: Parris: Or Osburn? Putnam: Parris: person inthevillage?Someoneyouknow. another person? Hale: Tituba: you, Mr. Parris! Tituba, Parris, Tituba: it u ba

HALE

kindly with risingexaltation You haveconfessedyourself towitchcraft,andthatspeaks Tituba. You musthavenofeartotelluswhotheyare, do When theDevilcometoyoudoesheevercome—with Open yourself, Tituba—open yourself andletGod’sholy And toHisglory— pants, andbeginsrocking back andforthagain,staringahead You couldseehim,whyyounother? What woman? A woman,yousaid.Whatwoman? Was itmanorwomancamewithhim? Who camewithhim? You meanoutofSalem?Salemwitches? pressing inonher suddenly burstingout joining withhim deeply relieved kisses Well, theywasalwaystalking;runnin’ It wasblackdark,andI— Man orwoman.Was—was woman. Oh, blesstheLord. Eternal glory. BlessHim—blessGod. I believeso,yes,sir. There wasfour. There was four. Sarah Good?DidyoueverseeGoodwithhim?

takes herhand.Sheissurprised : WhocametoyouwiththeDevil?Two? Three?

HALE She stares upintohisface ’s

hand : Oh,Godblessyou,Mr. Hale! : Oh,God,protect Tituba! : Who?Theirnames, theirnames! : : You are God’sinstrument putinour Aye : Oh,howmanytimeshe bidmekill , sir, oh,Ido. . . Perhaps another .

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 491 490 489 488 487 486 485 484 483 482 481 480 479 478 477 476 475 474 As sheisspeaking, Bridget BishopwiththeDevil! Good withtheDevil!IsawGoodyOsburn wrote inhisbook;IgobacktoJesus;kissHishand.sawSarah want thesweetloveofJesus!IdancedforDevil;sawhim: enraptured, asthoughinapearlylight Abigail: Putnam: Abigail: Bellows withtheDevil! Betty, Hale: Parris: Goody HowewiththeDevil! Betty, picks upthechant. God willblessyouforyourhelp. and preying onherlikeabeastuponthefleshofpure lamb. soul issotender;wemustprotect her, Tituba: theDevilisout bid meriseoutofmybedandcutyourthroat! goodly man.Mr. Parrismeanmanandnogentleman,he Tituba, Parris: P A indicating you beartoseethischildsuffering? Lookather, Tituba. Hale: in herhands! to callOsburnbecauseIfeared her. Mybabiesalwaysshriveled three times.Ibeggedyou,Thomas,didnot?himnot Mrs. Tituba, Parris: there wasGoodyGood. “Look! Ihave you lie!” And thenhecomeonestormynighttome,andsay, and yougoneflybacktoBarbados!” And Isay, “You lie,Devil, you pretty dress towear, andputyouwayhighupintheair, But hesay, “You workforme,Tituba, andImakeyoufree! Igive tell him“No!Idon’thatethatman.wantkillman.“ The curtainbeginstofall Betty: a bigail rr is

Putnam:

Glory toGod!Itisbroken, theyare free! Take courage,youmustgiveusalltheirnames.Howcan is shoutingaprayerofthanksgiving

calling outhystericallyandwithgreat relief staring too I saw Alice Barrow withthe Devil! She speaks! Kill me! Sarah Good! rises, staringasthoughinspired, andcriesout rocking andweeping in afury I sawGoodySibberwiththeDevil! I wanttoopenmyself!

The marshal,I’llcallthemarshal! BETTY Iknewit!GoodyOsburnwere midwife tome white

on thebed : HesayMr. Parrismustbekill!Mr. Parrisno : IsawGeorge JacobswiththeDevil!Isaw BETTY peoplebelongtome.” And Ilook—and He rushestoembrace isrisingfrom thebed,afeverinhereyes,and . . LookatherGod-giveninnocence; : Aye, sir, andGoodyOsburn. They turntoher, startled.Sheis . IwantthelightofGod.

. BETTY It isrisingtoagreat glee . Shespeaks! They gasp : IsawMartha . He is . ButI . frenzy. suggest theescalatingemotional 481–489, markdetailsthat end ofActI? this heightenedlanguageatthe NOTES CONCLUDE: QUESTION: ANNOTATE: CLOSE READ this language? The Crucible,Act I WhydoesMilleruse Inparagraphs Whatistheeffect of

595 Complete thefollowingitemsafteryoufinishyourfirstread. Check Comprehension NOTES 596 Research to Clarify Research RESEARCH 6. 5. 4. 3. 2. 1. that detail. what In way the information does I? you of learned shed light Act an on aspect

UNIT 5•FACING OUR FEARS important eventsmentionedinthetextthatoccurbefore theactionofplaybegins. To confess? whatdoesTituba What isasource ofdisagreement betweenProctor andPutnam? What conflictexistsbetweenAbigailandProctor? What doesMrs.Putnambelievehappenedtoherbabies? Why doesParrissendforReverend Hale?

Notebook

Write atimelineofthekeyeventsinActI

Choose unfamiliar at one least Briefly research detail from the text. 496 495 494 493 492 Abigail: Betty: Abigail: On theirecstaticcries— Hale, as I sawGoodyBibberwiththeDevil!

PUTNAM I sawGoodyBoothwiththeDevil! I sawGoodyHawkinswiththeDevil!

goes out The Curtain Falls : Letthemarshalbringirons! The Crucible . Include

Close Read the Text Reread paragraphs 165–166 in which Miller introduces readers to John Proctor. Mark details that describe Proctor’s character. How do Proctor’s actions in the following scene with Abigail reflect key points made in this description? THE CRUCIBLE, ACT I

Cite textual evidence Analyze the Text to support your answers. Notebook Respond to these questions. 1. (a) What is Betty’s condition when the play opens? (b) What does Abigail Tool Kit say she and Betty were doing in the forest? (c) Make Inferences What Close-Read Guide and seems to be the main reason for Reverend Parris’s concern about the girls’ Model Annotation behavior in the forest? Explain. 2. (a) What do Abigail, Betty, Mercy, and Mary discuss after Parris leaves his daughter’s room? (b) Predict What events does this scene suggest may occur later in the play? 3. (a) Who is Reverend Hale? (b) Evaluate Do you think he is fair and impartial in his actions so far? Explain. 4. (a) Connect What evidence suggests that sharp divisions exist among the people of Salem? (b) Apply Name two other characters who may be accused of witchcraft by the end of the play. Explain your choices.

language development Concept Vocabulary

vindictive calumny defamation

Why These Words? The three concept vocabulary words are all used to describe speech or actions intended to harm others, particularly their reputations. What other words in Act I relate to this concept?  WORD NETWORK Practice Add words related to fear from the text to your Word Notebook Use each concept vocabulary word in a sentence that Network. demonstrates its meaning. Word Study Notebook latin Root: -fama- The Latin root -fama-, meaning “reputation,” is found in many words that relate to the idea of public opinion. For example, defamation involves discrediting someone’s reputation through untruthful statements. That idea is at the very heart of the action of The Crucible.

© Pearson Education, Inc., or its affiliates. All rights reserved. or its affiliates. Inc., Education, © Pearson 1. Use library or online resources to find the legal definition of “defamation of character.” Explain how this meaning relates to the Latin root -fama-.  Standards L.11–12.5 Demonstrate 2. Explain how the root -fama- helps you determine the meanings of the understanding of figurative language, words famously, infamy, and euphemism. Use a college-level dictionary to word relationships, and nuances in check your definitions. word meanings.

The Crucible, Act I 597 making meaning

Analyze Craft and Structure Structural Elements of Drama Most plays are written to be performed, not read. When reading drama, it is important to identify the text structures that provide information about the setting, characters, and conflicts. Dramatic text structures include the following. THE CRUCIBLE, ACT I • Dialogue is the words actors speak—their lines. • Stage directions are notes included in a play to indicate how the work is meant to be performed or staged. Stage directions may describe sets, costumes, lighting, sound, props, and—in some cases—the ways in  Standards which actors should move and deliver their lines. These instructions may RL.11–12.3 Analyze the impact of be printed in italics, set in brackets, or otherwise visually differentiated the author’s choices regarding how from the dialogue. Reading stage directions can help you picture to develop and relate elements of a story or drama. the action and imagine how characters might look and sound in performance. RL.11–12.5 Analyze how an author’s choices concerning how • Dramatic exposition refers to the prose commentaries, or brief essays, to structure specific parts of a text inserted by the playwright to provide information about the characters or contribute to its overall structure situation. Dramatic exposition is a common element in twentieth-century and meaning as well as its aesthetic impact. American drama.

CITE TEXTUAL EVIDENCE Practice to support your answers.

Notebook Respond to these questions. 1. Give two examples of stage directions that are essential to understanding the action in Act I. Explain each choice. 2. Use the chart to examine how two specific events or characters described in the play’s opening dramatic exposition are carried into the action of Act I.

Event/Character Description ACTION

3. (a) According to the opening dramatic exposition, how did most of the members of Salem feel about the vast forest that surrounded them? (b) How might these attitudes have affected the girls’ actions in the forest as well as Parris’s reaction to

what he saw there? All rights reserved. or its affiliates. Inc., Education, © Pearson 4. In Act I, what seeds of conflict exist between Rebecca Nurse, Reverend Parris, and the Putnams? Explain, citing details from all three text structures—dialogue, stage directions, and dramatic exposition—that support your response.

598 UNIT 5 • FACING OUR FEARS © Pearson Education, Inc., or its affiliates. All rights reserved. 3. 2. 1. reflect standard usage, andexplainthereasons foryourchoices. replacing repeated nounswithpersonalpronouns. Decidewhetherornotto Personal Pronouns C Write It 2. 1. Read It nonstandard pronouns inTituba’s dialogue. personalpronouns.stylistic choicetousemodern Healsochoosestouse such as The Crucible The chartprovides examples ofpersonalpronouns according tocase. the word’s functioninasentence. pronouns takedifferent formsdependingongender, number, and grammatical senseoffirstperson,secondandsoon.Suchpersonal noun phrase. a personspokenabout. Third-person pronouns to the personspokento. to the Second-person pronouns the personspeaking. the First-person pronouns

• • • onventions andStyle onventions forgiveness. done if thepeopleofSalemhopetoreceive thepeopleofSalem’s rightful Hale: Tituba: to regain Proctor’s respect. Proctor each examplereflects standard usage. paragraphs 413–417.Identify andclassify eachpronoun. Note whether Connect toStyle b. a. person ofeachpronoun. Mark thepronouns ineachexcerptfrom theplay.Labelcaseand

Notebook Possessive Case: Objective Case: Nominative Case:

L to youcomeourhouseandsavechild. Putnam, my enemieswill,andtheywillruinmewithit. if youtrafficked withspiritsintheforest Imustknowitnow, forsurely Parris: A thee ThepeopleofSalemmust confess whatthepeopleofSalemhave

NG Tituba loves Betty. Betty has always treated Tituba kindly. lovesBetty.Bettyhasalwaystreated Tituba Tituba

to Abigail: issetin1692,whenpeoplecommonlyusedpronoun forms and Nowlookyou,child,yourpunishmentwillcomeinitstime.But Personal pronouns

pleased: Rewrite eachlineofdialoguetosoundmore realistic by thou GE

Thepronoun istheobject ofaverborpreposition.

AbigailmustchangeAbigail’s behaviorif Abigailhopes Thepronoun expresses ownership. Reread the dialogue between Tituba andHalein Reread thedialoguebetweenTituba thatare nowarchaic. However, Millermakesthe A Thepronoun isthesubject ofthesentence. Itdoesnotseemtohelpustoday,Mr. Hale.We look

refer to pronoun refer to DEVELO refer isaword thatsubstitutesforanounor are thosethatreflect “person”inthe Nomi he, she, it, they you I, we PM n ative EN T O him, her, it,them you me, us bjectiv E case, his, hers,its,theirs your, yours mine, ours Possessive or or comprehend for contexts, language of L.11–12.3 and of understanding L.11–12.1.a writing English of L.11–12.1  Crucible. fromlearned ActIof Log andrecord whatyou Act II,gotoyourEvidence Before movingonto 

language convention, the listening.

S meaning

ta conventions The Crucible,Act I sometimes

evidence log or grammar

functions n speaking.

make

Apply to dards Demonstrate or more

Apply

can that understand style,

and

contested. effective

fully knowledge change

of in usage

the and

standard usage different

when

command

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600 high endoftherange. with scaffoldingasneededatthe text complexitybandproficiently, and poems, inthegrades 11–CCR literature, includingstories, dramas, grade 11, readandcomprehend RL.11–12.10  Arthur Miller Playwright

tandards UNIT 5•FACING OUR FEARS making meaning

By theendof opportunity tocompletetheclose-read notesafteryourfirstread. Apply thesestrategiesasyouconductyourfirstread. You willhavean First ReadDRAMA review yourrankings.Mark changestoyouroriginalrankingsasneeded. After completingthefirstread, comebacktotheconceptvocabularyand words inorder from mostfamiliar(1)toleast(3). Before reading, notehowfamiliaryouare witheachword. Then,rankthe You willencounterthefollowingwords asyouread ActIIof Concept Vocabulary The Crucible,ActII have already read. already knowandwhatyou the selectiontowhatyou CONNECT as theydo. why and about, notice thoseinvolvedreact when condemnation proceedings magistrates what whom WORD it happens, and ithappens,and

ideas within ideas within happens, the story is thestoryis where

selection. writing abriefsummaryofthe Comprehension Checkandby you wanttorevisit. vocabulary andkeypassages A NNOT R E SP YOUR RANKING ON A TE D

by marking by marking by completing the by completingthe The Crucible.

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 3 2 1 of salt,anddrops itintothepot.Asheistastingagain, her footsteps tastes. Heisnotquitepleased. Hereaches toacupboard, takesapinch swings apotoutofthefire and smellsit.Thenheliftsouttheladleand continues ontothefireplace, leansthegunagainstwallashe fireplace carrying hisgun.Heglancesabouttheroom ashecomestowardthe The commonroom of growing numbersoftheaccused. you read, paycloseattentiontothenature oftheaccusationsand made andacceptedagainstagrowing number ofSalem’s citizens.As end toamasshysteria,inwhichaccusationsofwitchcraftwere being activities inthewoodsnightbefore—had swelledbytheact’s reaction thatmayhavestemmedfrom guiltyfeelingsabouther overthestrangebehaviorofBetty—a What hadbegunasconcern As ActIdrawstoaclose,Salemisinthegripofmountinghysteria. REVIEW ANDANTICIPATE A fireplace isattheleft,andbehinditastairwayleadingupstairs.It At therightisadooropeningonfieldsoutside. rises, theroom isempty.From above, the low, dark,andratherlonglivingroom ofthetime.Ascurtain to thechildren. Presently thedoor opensand , thenhaltsforaninstantashehearshersinging.He

PROCTOR’S

house, eightdayslater. ELIZABETH JOHN isheardsoftlysinging

PROCTOR enters, Crucible The NOTES Arthur Miller Arthur ANCHOR TEXT TEXT ANCHOR The Crucible,Act II Act II Act MULTIMEDIA SCAN FOR | DRAMA

601 602 NOTES

UNIT 5•FACING OUR FEARS 30 29 28 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 He getsup,goestoher, kissesher Elizabeth Proctor, Elizabeth: would thatpleaseyou? Proctor: Elizabeth, Elizabeth, droppin’ seedsinit. Proctor: his back. A Elizabeth, Proctor, disappointment, hereturns to thetable basin andwasheshishandsface. are heardonthestair. Heswingsthepotintofireplace andgoestoa p Elizabeth: Elizabeth: fields soon. Proctor: Elizabeth, Proctor: She sitsandwatcheshimtasteit. Elizabeth: Proctor: her sittin’inthecornerlikeshecometovisit. Elizabeth: Proctor, food Elizabeth: Proctor: Elizabeth: Proctor: to ladleupstewinadish. Elizabeth: Proctor: Elizabeth: Proctor: Elizabeth: r ye! o ct :

Shegetsupandgoespoursaglassforhim.Henow arches I o t isarabbit. r

withagrin eats, thenlooksup as gentlyhecan going tothetable T I Oh, that’sagoodsignwalkin’in. A Pray nowforafairsummer. A I A I — f thecrop isgood were plantingfarouttotheforest edge. t’s wellseasoned. his farm’sacontinentwhenyougofootby ye, thefarmisseeded. ye. re youwelltoday? coming withthecider with asenseofreprimanding herselfforhavingforgot A No, shewalkedintothehousethisafternoon; I A T Oh, you’re donethen. What keepsyousolate? T blushing withpleasure Pray God. am. I it ishardtosay hey willbesoon. hat’s well. t’s warmasbloodbeneaththeclods. ye, itwould. ye. He eats She bringstheplatetotable,and,indicating : I meantopleaseyou, . I She watcheshim. t hurtmyhearttostripher, poorrabbit. : Oh,isit! . : : C I I knowit,John. ’ll buyGeorge Jacob’sheifer. ider? And shegoestothefireplace . : She receives it : I t mustbe. I T tookgreat care. She’stender? elizabeth I he boysasleep? . n Jonathan’strap? I t’s almostdark.

I thinkwe’llseegreen E enters. lizabeth. . With acertain , proceeds I H found ow :

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 33 32 31 51 50 49 48 47 46 45 44 43 42 41 40 39 38 37 36 35 34 too, shesays. it Proctor: Elizabeth: ought tobringsomeflowersinthehouse. Proctor, the jailnow, shesays. Elizabeth: Proctor, Province. General Court,andattheheadsitsDeputyGovernor ofthe four judgesoutofBoston,shesays,weighty Elizabeth: Proctor: go toSalem,GoodyProctor; Iamanofficial ofthecourt!” up herchinlikethedaughterofaprinceandsaystome,“Imust Elizabeth: Proctor: Elizabeth: fault, Elizabeth—you’re themistress here, notMaryWarren. Proctor, Elizabeth: Salem anymore! Proctor: Elizabeth: Proctor Elizabeth: Proctor: late Ithoughtyou’dgonetoSalemthisafternoon. Elizabeth— Proctor: watches her. A senseoftheirseparation rises. them tothebasin.Herbackisturnedhim.Heturnsherand Instead, now, shetakesuphisplateandglassforkgoeswith absorbing thenight.Itisasthoughshewouldspeakbutcannot. There isapause.Shewatchinghimfrom thetableashestandsthere Elizabeth: spring! the smellofnightfall,Ithink.Massachusettsisabeautyin sky through the flowers ontheearth. me, andwe’llwalkthefarmtogether;Ineverseesuchaloadof . And they’llbetried,andthecourthavepowertohang them — drinks alongdraught,then,puttingtheglassdown holding backafull astonished It’s winterinhere yet.OnSundayletyoucomewith Court! Whatcourt? How maythatmousefrightenyou,Elizabeth? You— Why’d youlether? You heard meforbidhergoto Why? IhavenobusinessinSalem. I thinkyou’re sadagain. Are you? he knowswhatshemeans It isamousenomore. Iforbidhergo,andsheraises She frightenedallmystrength away. I couldn’tstopher. Mary Warren’s there today. You didspeakofgoing,earlierthisweek. Aye, itis. Oh! Iforgot! Iwilltomorrow. I wouldtoGodshewere. There befourteenpeoplein Aye, itisaproper courttheyhavenow. They’vesent she doesn’t wantfriction

open doorway. : Why, she’s mad. With goodfeelinghegoesandlooksupatthe p r octo condemnation Lilacshaveapurplesmell.Lilacis r

simply looksather, unabletograsp : Ithoughtbetterofitsince. , and yetshemust ofher magistrates : Itisafault,it : You comeso : You ofthe magistrates n. NOTES condemnation powers ofajudge officials whohavesomeofthe very strong disapproval The Crucible,Act II (MAJ uhstrayts) (kon dehmNAY shuhn)

603

conviction. conviction. relate tothought,belief,or through 66,markdetailsthat experiencing? struggle theProctors are details suggestaboutthe 604 CONCLUDE: QUESTION: ANNOTATE: CLOSE READ NOTES repeat thesesortsofreferences? 1.

Egyptians intoCanaan. Israelites toescapefrom the the RedSeatoenable leader oftheIsraelites,topart God commandedMoses,the part like . . . Israel

UNIT 5•FACING OUR FEARS WhydoesMiller In paragraphs 55 In paragraphs55 Whatdothese In theBible, 53 52 74 73 72 71 70 69 68 67 66 65 64 63 62 61 60 59 58 57 56 55 54 Abigail, andIthoughtshewere asaint,tohearher. Abigail confess, John.Thetown’sgonewild,Ithink.Shespeakof Elizabeth: Proctor, crowd willpartliketheseaforIsrael. brings theothergirlsintocourt,andwhere shewalksthe Elizabeth: Elizabeth: Proctor, Elizabeth: a room alone—I prove she’s me, Proctor: She standsandstartstowalkoutoftheroom. Elizabeth, Proctor, Elizabeth, Proctor: Elizabeth: must. Itisawondertheydobelieveher. Proctor, you keepthatfrom thecourt,John.Ithinktheymustbetold. Elizabeth, Proctor, house. Shesaidithadnaughttodowithwitchcraft,didshenot? And tellhimwhatshesaidtoyoulastweekinheruncle’s Elizabeth: Proctor, I think so. You musttellthemitisafraud. Elizabeth: Proctor, the person’sclappedinjailforbewitchin’them. before them,andif theyscream andhowlfalltothefloor— Proctor: Elizabeth, any more. Proctor: wish, then. Elizabeth, soon after. Proctor,

Elizabeth. If the girl’s asaintnow,Elizabeth. Ifthegirl’s Ithinkitisnoteasyto scoffing butwithoutconviction quietly in thought thinking beyondthis wide-eyed his angerrising stubbornly angering I’ll nothaveit! Woman. I amonlywonderinghowmayprove whatshetold I’ll thinkonit. The DeputyGovernorpromise hangin’if they’llnot quietly, fearingtoangerhimbyprodding Let yougotoEzekielCheever—heknowswell. I thinkyoumustgotoSalem,John. a littleloftily quietly Why, then,itisnotasyoutoldme. You were alonewithher? hurt, andverycoldly with hercouragenow I wouldgotoSalemnow, John—letyougotonight.

She startstoturn fraud, andthetowngonesosilly. Shetoldittomein ,

struggling withhisthought have noproof forit. : Iknowcannotkeepit.saywillthinkonit! — : Oh,itisablackmischief. She turnstohim : Aye, shedid,did. : Foramomentalone,aye. she hassuddenlylostallfaithinhim : Ihaveno— : Foramoment,Isay. Theotherscomein . : Aye, itis,issurely. : Good,then,letyouthinkonit. : You cannotkeepit,John. . I’llnothaveyoursuspicion 1 : Ah, they’dneverhang— And folksare brought Now, apause : Aye, theymust, He turnstoher : Godforbid : Doasyou . .

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 77 76 75 89 88 87 86 85 84 83 82 81 80 79 78 proceedings allday, sir. weakness me not. Mary Warren: Strangely, shedoesn’t resist him,buthangslimplybyhisgrip. you if youdare leavethishouseagain! Salem whenIforbidit?Doyoumockme? directly toher that youmustgotohurt,wouldfalternow?Ithinknot. Elizabeth, Proctor, Elizabeth: the door freeze beer! Proctor, with asmile that judgesyou.Ineverthoughtyoubutagoodman,John— Elizabeth: and judgemenot. remember it!Letyoulooksometimesforthegoodnessinme, you forGodthatday. Butyou’re not,you’re not,andletyou I confessed. Confessed!Somedream Ihadmusthavemistaken you toldmeyoursuspicion.ButIwilted,and,likeaChristian, Proctor: Elizabeth— Proctor: crowd, yousaid.Nowyou— Elizabeth: I come intothishouse! moment judgedforlies,asthoughIcomeintoacourtwhen round yourheart.Icannotspeakbutamdoubted,every I think topleaseyou,andstillaneverlastingfuneralmarches since sheisgone.Ihavenotmovedfrom there tothere without charity, woman.Ihavegonetiptoeinthishouseallsevenmonth Proctor: Elizabeth: I have forgot Abigail, and— improvement before yougotojudgeyourhusbandanymore. Abigail, andIwillthinkonit.Letyoulooktoyourown Elizabeth. Ihavegoodreason tothinkbefore Icharge fraudon Proctor, Elizabeth: Proctor:

as Her strangenessthrows him off,andherevident . with aviolentundertone laughing bitterly with solemnwarning No more! Ishouldhaveroared youdownwhenfirst I’ll pleadmyhonestynomore, Elizabeth. Spare me! You forget nothin’andforgive nothin’.Learn Now lookyou— He frees her m —only somewhatbewildered. I donotjudgeyou.Themagistratesitsinyourheart John, youare notopenwithme. You sawherwitha And I. I seewhatsee,John. with asmile,tokeepherdignity Then letyounotearnit. a now shewouldjustifyherself He turnssuddenlytowardasoundoutside

r and grabsherbythecloak,furious y Iamsick, w a rr . en M

enters y insidesare allshuddery;Iaminthe : Oh.Elizabeth,yourjusticewould : You willnotjudgememore, . As soonasheseesher, hegoes : You doubtmeyet? M r. Proctor. Pray, pray, hurt : John,if itwere not Abigail : John.Iamonly— Shaking her . Howdoyougoto .

He startsfor pallor and . I’llwhip NOTES The Crucible,Act II

605 events inacourtoflaw 606 proceedings NOTES 2.

poppet

UNIT 5•FACING OUR FEARS n. (pruh SEEdihngz) (pruh

doll.

n. 107 106 105 104 103 102 101 100 113 112 111 110 109 108 90 99 98 97 96 95 94 93 92 91 not whollywell? house, asyouare paidninepoundayeartodo—andmywife of these Proctor, Elizabeth: Elizabeth: Mary Warren: Proctor: all todeath. Mary Warren: tell themthat? Proctor: Pause forevermore. till God’sthrown down—and weallmustworship book—with herblood—andboundherself totormentChristians made acompactwith Mary Warren: Proctor: not SarahGood.ForGoodconfessed,y’see. Mary Warren: Proctor: Mary Warren, Proctor: There isashockedpause,whileshesobs. Mary Warren: Elizabeth: breaks offandsobssitsdown,exhausted. Mary Warren: arrested? Proctor: starts off morning andcleanthehouse. Mary Warren, Elizabeth, each othernow, GoodyProctor. Mary Warren, As thoughtocompensate, poppet. Elizabeth, to sitlonghoursinachair, andpassedthetimewithsewing. Mary Warren: small ragdoll. . 2 . proceedings with draininganger M H B Confessed! T H ut—surely youknowwhat ajabberer sheis.Didyou he DeputyGovernorwillpermitit? ow, choked you? ang! amazed atherstrangeness Oh, Why, she’sweepin’!Whatailsyou,child? perplexed, lookingatthedoll ary.

Shesentherspiritout. GoodyOsburn—willhang!

N glancing attheroom with atrembling, decayedvoice M T H through herweeping I M She halts madeagift foryoutoday, GoodyProctor. He callsintoherface hat she— o, sir. e sentencedher. r. Proctor, inopencourtsheneartochokedus ary, T here? Whenwillyouproceed tokeepthis M o what? L T

ucifer, andwrote hernameinhisblack . ary, surely you— m here bethirty-ninenow— I a s ittrue? in horror atthememory ry — wa his curiosityisdrainingit I mustsleepnow. rren H : : Aye. T I . : Aye, indeedwemust. e must. ’ll getupearlyinthe H here befourteenwomen

goes to : Why, thankyou,it’safair ang, y’say? T

: We mustalllove eliz o ameliorateit: a —she sometimes She turnsand beth She suddenly H

ell : And what : And with a I had B ut

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 126 125 124 123 122 121 120 119 118 117 116 115 114 Mary Warren: Elizabeth: times, GoodyProctor! Mary Warren, she condemnedherself. doubt strained Mary Warren, condemned her? Proctor: and theyhadherinaflatlie! never knewnocommandments, could notsayasingleone.She toward them— commandments!”— Hathorne say, “Recite for us your Mary Warren: answer. Elizabeth: commandments,” saysshe! curse atall.Ionlysaymycommandments;hopemay she replies— that thisgirlmustfallsickafterturningyouaway?” And then her so.“GoodyOsburn,”sayshe,“whatcursedoyoumumble Mary Warren: Elizabeth: you remember it? away, andIthoughtmygutswouldburstfortwodaysafter. Do Goody Proctor. Lastmonth—aMonday, Ithink—shewalked Mary Warren: Elizabeth: away empty, she bread andacupofcider—andmarkthis:wheneverIturnedher many time,Mr. Proctor, shecometothisverydoor, beggin’ Mary Warren, Proctor: remembered everythingshedonetome! screamin’ voice,anditwere myvoice—andallatonceI cannot breathe air;andthen— skull begintocreep, andIfeelaclamparound myneckandI feel amistycoldnessclimbin’upmyback,andtheskinon poor. Butthen—thenshesitthere, denyinganddenying,I accuse thiswoman,forshesleepinditches,andsoveryold before. WhenshecomeintothecourtIsaytomyself, Imustnot : Why, theymustwhen , seeing hisstubborn And so Why? Whatdidshedotoyou? And that’sanupright Why—I do,Ithink,but— Mumbled! Shemaymumbleif she’shungry. Why, Ineverheard youmentionthatbefore. mimicking anoldcrone and ofallthetenshe Ineverknewitbefore. Ineverknewanything Aye, butthenJudge And soItoldthattoJudgeHathorne,andheasks But

with anindignantedge like oneawakened now alittle mumbled what leaning does shemumble? You mustremember, .

avidly entranced

to amarveloussecret insight —“Why, yourexcellence,no : Shetriedtokillmemany —I hearavoice, : So to newknowledgeorawareness. 116–118, markdetailsthatrelate situation inSalemare changing? in whichthecharactersand details suggestabouttheways CONCLUDE: QUESTION: ANNOTATE: CLOSE READ NOTES include thesedetails? The Crucible,Act II WhydoesMiller Inparagraphs Whatdothese

607 608 NOTES

UNIT 5•FACING OUR FEARS 141 140 139 138 137 136 135 134 133 132 131 130 129 128 127 145 144 143 142 Silence Mary Warren: Elizabeth: seeing Idolivesocloselywithyou,theydismissed it. see nosignyoueversentyourspiritouttohurt one,and Mary Warren, Elizabeth, only hopeyou’llnotbeso sarcastical nomore. Fourjudgesand Mary Warren, reaches outforher, andshestreaks awayandyells Proctor: Proctor: wemustdiscoverwhere he’shiding! striving Mary Warren, you’ll stayathome— Proctor, proof. It’shard proof, hard asrock, thejudgessaid. Mary Warren, Proctor: Elizabeth, Elizabeth, I’ll notstandwhippinganymore! Mary Warren, whip hangingthere. Proctor: edging towardoffstage I’m—I amanofficial ofthecourt,theysay, andI— it’s God’sworkwedo.SoI’llbegoneeverydayforsometime. the innocentchild.Butbethatnotamarvel? You mustseeit,sir, husband either!Butshe’ssafe,thankGod,forthey’llnothurt full tothebrim. And smokin’apipealltheseyears,andno Mary Warren: Elizabeth: pregnant! and here’s awonderforyou:thinkonthis.GoodyGoodis confess. SarahGoodwillonlysitinjailsometime— Mary Warren: girl tohangoldwomen! Proctor: I amamazedyoudonotseewhatweightyworkwedo. Mary Warren: Mary Warren. . , His whipcomesdown striving forherway pauses aninstant,then I’ll whiptheDeviloutofyou! What workyoudo?It’sstrangeforaChristian But theproof, theproof! I’ll official you! Who accusedme? softly Pregnant! Are theymad?The woman’sneartosixty! hurriedly, as Iamboundbylaw, Icannottellit.

TheyhadDoctorGriggsexamineher, andshe’s But,Mr. Proctor, theywillnothangthemif they Imusttellyou,sir, Iwillbegoneeverydaynow. terrified,butcomingerect, strivingforherauthority quaking pointing at backing from him with greater impatiencewithhim : Iamaccused? . : Somewhatmentioned.ButIsaidnever

p ro He stridestothemantel

el ct : The Devil’s looseinSalem,Mr.: TheDevil’s i . z or ab : You willnotgotocourtagain, ,

butkeepinghererect posture, e approaches t h : Isavedherlife today! With whipraisedhe : Mary, promise now : Itoldyouthe . , takes downthe To She hasbeen

recalling p ro ct or — : I :

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 167 166 165 164 163 162 161 160 159 158 157 156 155 154 153 152 151 150 149 148 147 146 Mary Warren, Proctor, I wouldhaveyouspeakcivillytome,from thisout. the King’sdeputysattodinnerwithusbutanhourago.I— p goes out.Wide-eyed, both Mary Warren: Proctor, Mary Warren: Proctor: single! no more, Mr. Proctor! Iameighteenandawoman,however A Proctor, to help isneedednow, Ithink.Would youfavormewiththis?Go Elizabeth: said itwere allsport. Proctor: indeed! Elizabeth, trying to Proctor: Elizabeth: Proctor: they takeme! Elizabeth: her say— Proctor, to this! Elizabeth: Proctor: Elizabeth, then totakemyplace. may doteonitnow—Iamsure shedoes—andthinkstokillme, Elizabeth: Proctor, bed— understanding ofyounggirls.There isapromise madeinany Elizabeth, roc bigail? A bigail. t or’

s keep hiswits in horror in anger his soulhardeningashesenses without conviction striving againsthisanger angerisrising;hecannotspeak. Do youwishtositup?Thenup. Fear nothing.I’llfind I saysitdown! Sit youdown. There’ll benonoose. Spoke orsilent,apromise issurely made. delicately John, withsomanyintheJail,more than with sarcasm She wantsmedead,John,youknowit! A She wantsmedead.Iknewallweekitwouldcome quietly nd whatoftomorrow? Shewillcrymeoutuntil

Goodnight. Iwishtogobed! with astampofherfoot : Goodnight,then! , : muttering indisgustather O : John—grantmethis. You haveafaulty . Nowwemustbewise, h, thenoose,nooseisup! , p and asenseofbeinglost She sits,trembling roc : Theydismissedit. You heard Dissatisfied, uncertainofherself,she t or E and : Whatpromise! zekiel el : I’llnotbeordered tobed .:WhathaveItosay i zabe C heever. I’lltellhimshe . He speaksquietly t : Gotobed. h E standstaring. : lizabeth. O h, indeed, C A heever’s heever’s nd she , behavior. and othersthatrelate tomature that relate tochildishbehavior, dialogue andstagedirections 146–151, markdetailsinboth her motivations? characterizing MaryWarren and of thesedetails,particularlyin CONCLUDE: QUESTION: ANNOTATE: CLOSE READ NOTES include thesedetails? The Crucible,Act II WhydoesMiller Inparagraphs Whatistheeffect

609 610 NOTES

UNIT 5•FACING OUR FEARS 185 184 183 182 181 180 179 178 177 176 175 174 173 172 171 170 169 168 188 187 186 Hale: his mannernow. drawn alittle,andthere isa qualityofdeference, evenofguilt,about call out such a farmer’s wife butthere bemonstrous profit init. call outsuchafarmer’s in ditches,norOsburn,drunk andhalf-witted. She’ddare not danger incallingsuchaname—IamnoGoodyGoodthatsleeps thousand names:whydoesshecallmine?There beacertain Elizabeth: doorway. Theystartslightly.Itis Quite suddenly,asthoughfrom theair, afigure appearsinthe arrow inyouyet,JohnProctor, andyouknowitwell! know thatIwillbeyouronlywife, ornowife atall!Shehasan Elizabeth, my life, andIwillnevertear itfree! no more! Iseenowyourspirit twistsaround thesingleerror of Proctor: break it? Elizabeth: promise thatastalliongivesmare Igavethatgirl! Proctor: Elizabeth: Proctor: Elizabeth: the oldestcinderinhell.Butpray, begrudge menotmyanger! Proctor, Elizabeth, Proctor, promise shemaysense—break it.John,break it. Elizabeth: would havecrackedforshamethissevenmonth! Proctor: am there, andshesoclose. Elizabeth, Proctor: Elizabeth: Proctor: you willblush— somewhat ofcontempt?Shecannotpassyouinthechurch but Elizabeth, Proctor: She thinkstotakemyplace,John. Good evening. turning on her, rifle inhand turningonher, rifle between histeeth When willyouknowme,woman?Were Istone And whatseeyou?Whatyou,Elizabeth? I mayblushformysin. She cannotthinkit! Because itspeaksdeceit,andIamhonest!ButI’llplead Then howdoyoucharge mewithsuchapromise? The Woman, amIsobase?Doyoutruly thinkmebase? Then goandtellhershe’sawhore. Whatever “ I thinksheseesanothermeaninginthatblush. “ It isherdearest hope,John,Iknowit.There bea crying out Then whydoyouangerwithmewhenIbid I nevercalledyoubase. Your anger!Ionlyaskyou— tremblin conceding reasonably g, : You’ll tearitfree—when you cometo fearfully ”: Ithinkyoubesomewhatashamed,for ”: John,haveyouevershownher : Good,then.I’llgo. Heknowsitistrue : Oh,howunwillingly! mr. h : Iwillcurseherhotterthan a l e . Heisdifferent now— He startsforhisrifle . .

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 198 197 196 195 194 193 192 191 190 189 Proctor looks abouttheroom room She does,neverlettinghimoutofhersight.There isapauseas Hale: down, sir? visitors afterdark,butyou’re welcomehere. Will yousit Elizabeth: Elizabeth: Hale, sir. Comein,comein. Proctor, Proctor, Hale, Proctor: Hale: . And I will. nods You are Goodwife Proctor. to , tobreak thesilence Elizabeth:Ihopedonotstartleyou. still inhisshock setting downhisgun Aye, Elizabeth.

p , No, no,it’sonlythatIheard nohorse— ro then He sits c tor : Ihopeyou’re notoff tobedyet. , . . to explainhisnervousness L et yousit,Goodwife Proctor. : Why, Mr. Hale!Goodeveningtoyou, : Will youdrinkcider, Mr. Hale? : No,no. ha l e

comes furtherintothe : We are notusedto

ha l e

NOTES Reverend Hale. Rob Campbell portrays of In the1996filmversion The Crucible The Crucible,Act II , actor

611 612 NOTES

UNIT 5•FACING OUR FEARS 213 212 211 210 209 208 207 206 205 204 203 202 201 200 199 217 216 215 214 Proctor: long, butIhavesomebusinesswithyou. alone? Hale: come tochurch orstayathome.Mywife were sick thiswinter. Proctor: rare. Will youtellmewhyare soabsent? Hale: Proctor: church onSabbathDay. of record thatMr. Hale: Proctor, character ofthishouse,if you’llpermitme. Pause However, sheisfarfrom accused,andIknowshewillnotbe. Hale: seventy yearofsuchgoodprayer. bitchafter to thinksopiousawomanbesecretly aDevil’s Proctor, agree, sir? this village. the powersofdarkare gathered inmonstrous attackupon Hale: Proctor, Hale: I hope, that Elizabeth, mentioned somewhat. Hale: Elizabeth, and— from housetohouse—Icomenowfrom before thecourt. And sothisafternoon,andnowtonight,Igo I find ithard todrawaclearopinionofthemthatcomeaccused Hale: entirely amazed. Proctor: wife’s nameis—mentionedinthecourt. Hear me. Hale: yet tonight.Sityoudown,sir. Hale: . Ithought,sir, toputsomequestionsasthe God forbidsuchaonebecharged. Sheis,however— I amastrangerhere, asyouknow. And inmyignorance No—no, Icomeofmyown,withoutthecourt’sauthority. So Iamtold.Butyou,Mister, whycouldyounotcome T Good, then. Aye. ButtheDevilisawilyone,youcannotdenyit. T Woman, itispossible. No, itrebels mystomach;Ihavesomefurthertraveling wenty-six timeinseventeenmonth,sir. Imustcallthat his isastrangetime,Mister. Nomanmaylongerdoubt evading coldly taken aback We knowit,sir. Business ofthecourt? Mr. Hale, Ineverknewmustaccounttothatmanfor No, sir, youare mistaken. He wetshis with anattemptatalaugh shocked R T ebecca trafficked withtheDevil. here istoomuchevidencenowtodenyit. You will , resentful : I—havenoknowledgeinthatline.Butit’shard P : He makeshimselfmore comfortable R arris keeps,Inotethatyouare rarely inthe : Surely youcannotthinkso.

ebecca’s charged! lips : Why, we—havenofearofquestions,sir. . Iknownotif youare aware, butyour O ur MaryWarren toldus.We are proctor : You willneverbelieve,

sits R . Iwillnotkeepyou ebecca Nurse’shouse . Inthebook C hristian

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 236 235 234 233 232 231 230 229 228 227 226 225 224 223 222 221 220 219 218 must tellyouthat. Hale: prayed inthishouse. Proctor: Christian woman. no markofblameuponmy life, Mr. Hale.Iamacovenanted Elizabeth, Elizabeth? administering Hale, Parris. Ithinkso.Butsure weneverlovedtheDevilhere. Elizabeth: your record, sir, asoftness. Hale, religion. Ithinkthat’sinyour mind,isitnot? book, butyoucannotthinkweeverdesired thedestruction of Proctor: Hale: Proctor: Hale: suspicion, Mr. Hale? Proctor, man’s ordained, therefore thelightofGodisinhim. Hale: baby. IseenolightofGodinthatman.I’llnotconcealit. this Proctor, Hale: Proctor: must beinchurch. Hale, clapboard meetin’houses. prayer. Ithink,sometimes,themandreams cathedrals,not money glaringathiselbows—ithurtmyprayer, sir, ithurtmy night, andItellyoutrue, whenIlooktoheavenandseemy until hehadthem.Ilabortheearthfrom dawnofdaytoblink and fortwentyweekhepreach nothin’butgoldencandlesticks and asweeterhandnevertouchedthemetal.ButParriscame, candlesticks uponthealtar;FrancisNursemadethemy’know, Proctor: Hale: pray toGodwithouthehavegoldencandlesticksuponthealtar. Proctor: : IlikeitnotthatMr. Parrisshouldlayhishanduponmy nods not altogethergivingway Oh, didyou!That’sagoodsign,then. No, no,Ihaveno— I mustsayit,Mr. Proctor; thatisnotforyoutodecide.The How comesitthatonlytwoare baptized? thinks What goldencandlesticks? Mr. Proctor, yourhouseisnotachurch: yourtheology flushed with resentment buttryingtosmile flushed starts tospeak I surely didcomewhenIcould,andcouldnot It maybeIhavebeentooquicktobringtheman I nailedtheroof uponthechurch, Ihungthedoor— Aye. Boys. Since webuiltthechurch there were pewter It does,sir, itdoes;andtellsmethataministermay , without hesitation I think,maybe,wehavebeentoohard withMr. deliberating this ,

then a secret test : And yet,Mister, aChristianonSabbathDay Pause , then stops : DoyouknowyourCommandments, . Tell me—youhavethree children? . Then , even eagerly : I—have—there isasoftness in , , with thevoiceofone then , as though : Isurely do.There be

unable torestrain : What’syour and Proctor. in theconversationbetweenHale item thatappearsseveraltimes 220–222, markthenameof after hearingthisexchange? the audiencefeelsaboutParris CONCLUDE: QUESTION: ANNOTATE: CLOSE READ NOTES important? The Crucible,Act II Whyisthisitem Inparagraphs Howdoyouthink

613 614 NOTES

UNIT 5•FACING OUR FEARS 252 251 250 249 248 247 246 245 244 243 242 241 240 239 238 237 257 256 255 254 253 define thisman Slight pause Elizabeth Hale: Elizabeth, know themall. of thecourt.Iprayyoubothgoodhealthand fortune. judge you.MydutyistoaddwhatImaythegodly wisdom Hale, you are suspectingmesomewhat? Are younot? Elizabeth, bid yougood at asmileonhisface,butmisgivingsare clear Hale: Proctor: deep thought accounted small. Hale: fault. Hale, Proctor, Hale: John: them, if youwill. grin itaway Proctor, Elizabeth, Proctor, Hale: thee anygravenimage. his fingers,knowingoneismissing. Thou shaltnotbearfalsewitness. holy. hesitation vain; thoushalthavenoothergodsbefore me. graven image.ThoushaltnottakethenameofLord in goods,normakeunto theeany not covetthyneighbor’s Proctor, Hale: Proctor, Hale: Proctor: Goodnight,sir. Pause. Then What’s that? obviously disturbed—andevasive I prayit,itdearly. Theology, sir, isafortress; nocrackinafortress maybe glances atheropenface And you,Mister? You havesaidthattwice,sir. Aye. Aye. a trifle unsteadily a trifle lost looking off,beginningtosweat as thoughasecret arrow hadpainedhisheart : Thoushaltremember theSabbathDayandkeepit counting onhisfingers There benoloveforSataninthishouse,Mister. The Commandments. , restraining acall with anoteofdesperation unable torestrain herself delicately — . . : Aye. h

to al . night. pro

h h e al : Thoushalthonorthyfatherandmother.

al He rises;heseemsworriednow looks questioninglyat He is ct e e : Adultery,John.

: You see,sir, betweenthetwo ofuswedo or only looksat He startsout

grows more uneasy flailing : I—amsure Ido,sir. : Will youtellhim? , then at

: Thoushaltnotsteal. for it He lookstobothofthem,anattempt

pro : Ithinkyoumusttellhim, . : Mr. Thou shaltnotmakeunto He isstuck

. John, ct : Goody : Thoushaltnotkill.

j or ohn H

, ale. then . Ithinkitbeasmall deep inhisattemptto . He turns . Well, then—I’ll : Letyourepeat . P . He countsbackon roctor, Idonot He pacesalittle,in With some : Aye . Idothink . Trying to

John. To

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 277 276 275 274 273 272 271 270 269 268 267 266 265 264 263 262 261 260 259 258 with Proctor— belief thatthere mayeven bewitchesintheworld.Isthattrue, sir? now, forIhavearumor thattroubles me.It’ssaidyouholdno Hale, somewhat, Mister;Iamnofool. lied, andcannot,theworldknowsshecannot! Imayfalter minded ministerasyouwillsuspicionsuchawoman thatnever credited insuchacourt.Idowonderonit,whensteady- Proctor: Hale: I will. Proctor: testify tothisincourt? among usnow. witches intheworld—although Icannotbelievetheycome have said,Imaysaidit.wondered if there be Hale, naught todowithwitchcraft. except myword betaken.ButIknowthechildren’s sicknesshad Proctor, it Hale: you neverthoughtofthat? are themthatwillsweartoanythingbefore they’ll hang; have Proctor: the Devil.Theyhave Good, andnumerous othersthathaveconfessedtodealingwith Hale: with thisnonsense. Proctor: Hale, Proctor: with witchcraft! Hale, Proctor: Hale: Proctor, Hale: Pause were startledandtooksick. Proctor: . He glancesat

h . stopped suspiciously a Do youfalterhere? quietly I have.I—Ihaveindeed. Nonsense! Mister, Ihavemyself examinedTituba, Sarah his eyeswide Abigail. Who toldyouthis? le with difficulty hesitates I falternothing,butmaywonderif mystorywillbe I—had notreckoned withgoin’intocourt.Butif Imust And whynot,if theymusthangfordenyin’it?There I neverknewuntiltonightthattheworldisgonedaft She toldmethedayyoucame,sir. Aye. Mr. Parrisdiscovered themsportin’inthewoods.They

and withhimselfforevenanswering he knowsthisiscritical,andstrivingagainsthisdisgust — , struck it hasimpressed him

el , : Why—whydidyoukeepthis? i z then : Abigail Williams toldyouithadnaughttodo ab : Naughttodo—? confessed e : Abigail Williams.: Abigail : I—Ihavenowitnessandcannotprove it, t h , then at it. It ishisownsuspicion

: Proctor, letyouopenwithme joh n . And you—wouldyou : Iknownotwhat , but heresists

exclamations. 268–274, markquestionsand this scene? of thesesentencetypesin ANNOTATE: CLOSE READ NOTES CONCLUDE: QUESTION: here? use exclamationsandquestions The Crucible,Act II WhydoesMiller Inparagraphs Whatistheeffect

615 616 NOTES portrays ElizabethProctor. of In the1996filmadaptation

The Crucible UNIT 5•FACING OUR FEARS , JoanAllen 289 288 287 286 285 284 283 282 281 280 279 278 myself! Elizabeth: Proctor: Hale: Elizabeth: Hale: must tellyou,sir, Idonotbelieveit. work intheworld,andyetbesecretly boundtoSatan,thenI good woman,Iknowit;andif youbelieveImaydoonlygood soul, Mr. Hale: and Iwillnotdenythem. Proctor: Hale: Elizabeth, Elizabeth, Proctor: Hale, Elizabeth: You surely donotflyagainsttheGospel,Gospel— But, woman,youdobelievethere are witchesin— shocked And you,woman? Then youdonotbelieve— She believeintheGospel,everyword! Elizabeth, youbewilderhim! I havenoknowledgeofit;theBiblespeakswitches, H Question Abigail Williams abouttheGospel,not If youthinkthatIamone,thensaythere are none. to I—I cannotbelieveit. ale, whenshekeepsanuprightway, asIhave.ama

: Youcannot! h a l e : IcannotthinktheDevilmayownawoman’s

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 310 309 308 307 306 305 304 303 302 301 300 299 298 297 296 295 294 293 292 291 290 311 Francis: justice ofthecourt;courtwillsendherhome.I knowit. stop thewholegreen worldfrom burning. Mr. Francis, Elizabeth: see them. only nowcomefrom thejail,andthey’llnotevenletusinto Francis: Devil fell,Godthoughthim beautiful in Hale, Proctor, wherever theaccusingfinger points! Devil isaliveinSalem,andwedare notquailtofollow friendships. Ihaveseentoomanyfrightfulproofs incourt—the subtle weshouldbecriminaltoclingoldrespects andancient flinch: theseare newtimes, sir. There isamistyplotafoot so Hale, Mr. Francis: Hale: Deputy Governor?I’msure hemistakesthesepeople— keep asolemn,quietwayamongyou.Ithink— and goyouwithoutfaileachSundaytoSabbathprayer; Hale: think it.ThisbeaChristianhouse,sir, aChristianhouse. Proctor: Giles: Proctor: Giles: hale fran gi Proctor, Giles: Hale, do, Mr. supernatural murder ofGoodyPutnam’sbabies.” WhatamIto charged! Francis, Hale: woman closeryettoGodthanMartha. le s N H

cis

c stares ather urse, if ale— in great pain pleading Pray calmyourself, Mr. God keepyouboth;letthethird childbequicklybaptized, turns from H orey They takemywife. John! A nur H ow is nd his Y going to A My wife istheverybrickandmortarofchurch. with amocking angered to She donotmeantodoubttheGospel,sir, youcannot Giles! What’sthematter? Mockingly quotingthewarrant ale? ou cannotmeanshewillbetriedincourt! ye, Cheevercomeandtakeherinhiswagon.We’ve

indicating They’ve surely gonewildnow, Mr. appears indoorway s fran e

R enters R : ebecca N R ebecca charged, Mr. cis

: .

fran ebecca! hale urse, thoughourheartsbreak, wecannot H : Man,remember, untilanhourbefore the : ow maysuchawomanmurder children? . R

gi ebecca’s inthe cis : N R le , , urse betainted,thennothing’sleftto half-hearted laugh everend

s deeply troubled —and MarthaCorey, there cannotbea . N urse. H ale! Canyounotspeaktothe N jail urse? : “ , ! then F H : F or themarvelousand eaven. L or murder, she’s : Believeme, et yourest uponthe H ale! NOTES The Crucible,Act II

617 618 NOTES 3.

as lief

UNIT 5•FACING OUR FEARS (leef)

adv. rather. 327 326 325 324 323 322 321 320 319 318 317 316 315 314 313 312 332 331 330 329 328 Elizabeth: Elizabeth: Proctor: keep here? house. Sowillyouhandmeanypoppetsthatyour wife may The courtbidmesearch yourhouse,butIlikenottosearch a Cheever, Proctor: Cheever: Proctor: Cheever: know that,Giles. Cheever: Heaven mustburninHell. You’ll burnforthis,doyouknowit? Giles: shamefaced atthemoment Hale: Proctor, wife. my backtonight. me, Proctor, howheavybethelaw, allitstonnageIdocarryon wife? Hale: she were reading books! Giles: Enter them withherbooks! alive formore thanfourweeksbecausemyMarthabewitch court andclaimsthatfrom thatdaytothishecannotkeepapig properly, you’llnotlivetoownmany,” shesays.Nowhegoesto says tohim.“Walcott, if youhaven’tthewittofeedapig So hecomedancin’inforhismoneyback.myMartha,she pig ofmywife fourorfiveyearago,andthepigdiedsoonafter. Giles: it. Hell. Ilikenotthesoundofit,tellyou: Enter Cheever: Proctor: Cheever: Proctor: Cheever: He fears

m ezek I knownothin’ofit. Mr. Corey, exactlywhatcomplaintwere madeonyour It’s apity, That bloodymongrel Walcott charge her. Y’see, hebuya I neversaidmywife were awitch,Mr. Hale:Ionlysaid ar to Poppets? O Who charged her? I hopeyoucomenotonbusinessofthecourt. Why, Mr. Cheever. Goodevening. sh looking abouttheroom i

Why, I amgivensixteenwarranttonight,sir, andsheisone. You knowyourself ImustdoasI’mtold. You surely I do,Proctor, aye.Iamclerkofthecourtnow, y’know. Good evening,all.Mr. Hale. Good eveningtoyou,Proctor. el p Hale: You saidshewere notcharged! n whatproof, whatproof? I neverkeptnopoppets,not sinceIwere agirl. ro al ch ct h eever err A or E He takesouta A bigail Williams charge her. zekiel, that an honest tailor might have gone to zekiel, thatanhonesttailormighthavegoneto , ic nd I’daslief but startstoreach insidehiscoat . k A shockedsilence , a maninhisearlythirties . To

: Mr. Proctor, Ihavelittletime. warrant

eever 3 you’dnotbesendingmeto : Whenwere shecharged? . . Ihaveawarrantforyour , who issomewhat . Nowbelieve

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 352 351 350 349 348 347 346 345 344 343 342 341 340 339 338 337 336 335 334 333 353 takin’ thisforproof, Proctor: with me? poppet maysignify— Cheever: poppet? Proctor: this house? Cheever, text inpoppetsnow? Proctor: it were yourwife’s familiar spiritpusheditin. To calamity. this—I hadmydoubts,Proctor. Ihadmydoubts,buthere’s Cheever, Proctor, Hale: her howshecometobesostabbed,she— the fleshofherbelly, hedrawaneedleout. weep tohear. a struck beast,hesays,andscreamed ascream thatabullwould tonight, andwithoutword norwarnin’shefallstothefloor. W Cheever, warren’s Cheever, herr Cheever, Elizabeth: Elizabeth needle! Cheever: Proctor, widen inastonishedfear may signify thatshe— Cheever, Hale: upstairs Cheever, out ofmind, Proctor, leave herfrom mysight.

illiams, sir. hale ic W W k ,

. H comes towardhim hy? hat signifies apoppet, showing theneedle

angrily reaching forthepoppet pushing hisarmaway poppet S N W errick, , handingittohim carefully holdingthepoppet his handsshaking wide-eyed embarrassed shyly turning thepoppetoverinhishands ineptly reaching toward W W he willnot! o, northisoneeithertilltonight. Oh! hy, she doneitherself! hy, apoppet— hy— W M S A he sattodinnerin hat meanin’hasit? : Goingforit ister. Fetch : Ispyapoppet,GoodyProctor. nd hegoestosaveher, and,stucktwoinchesin , W bewildered H He drawsoutalongneedlefrom thepoppet ould youpleasetogiveitme? errick, itisaneedle! , trembling M , N . To glancing he hasliftedthepoppet’s skirt,andhiseyes ister! W ow, woman,willyoupleasetocome

. el hy, this,this— : : : M : Y , i he gingerlyturnsthepoppetover W W zabeth A asks ou seeit,sir, itisaneedle! ary, : : nd whatsignifies aneedle! hy, thisis hy, thisgohard withher, Proctor, : T Y

toward themantelwhere sits W M ou’ll leaveheroutofsightand he girl,the

el hale E r. Cheever? hat’s there? R lizabeth. : Fetch i To zabeth everend Parris’shouse : Doyoukeepanyothersin

: hale H M as thecourtdiscovered a M : to ary’s. : Ihopeyou’re not N W : el

A ary here. p W W o, no,Iamforbidto r illiams girl, nd demandin’of i zabeth oc hat signifies a hy, theysayit t o r now—

goes —it isa A

—a mary testify bigail L ike

of thedinnerscene. and dramatoCheever’s account mark detailsthataddvividness this description? NOTES CONCLUDE: QUESTION: ANNOTATE: CLOSE READ lines? Cheever thesestrong, descriptive The Crucible,Act II WhydoesMillergive Inparagraph352, Whatistheeffect of

619 620 NOTES

UNIT 5•FACING OUR FEARS 373 372 371 370 369 368 367 366 365 364 363 362 361 360 359 358 357 356 355 354 380 379 378 377 376 375 374 Proctor, poppet’s that,sir? Mary Warren, house? Proctor: Hale, Proctor, Mary Warren: Proctor, Mary Warren, Hale: Proctor, Or better think. Mary Warren: you evennowtosaythis? your naturalmemory?Mayitbe,perhaps thatsomeoneconjures draws herbythearmto Cheever: Hale, Proctor, the court,sir, and—giveittoGoodyProctor tonight. Mary Warren, Proctor: Mary Warren, Proctor: Mary Warren, poppet, thispoppet. Enter such proof ofHell,andIbidyouobstruct menot,forI— a needle’sstuck.Itellyoutrue, Proctor, Ineverwarrantedtosee Proctor keeps.Ihavefoundit,sir. must berippedoutofthe world! Elizabeth, Hale: Elizabeth: into herbelly— Hale: Mary Warren: Hale: Elizabeth: settled now. E struck bytheproof, issilent. Mary Warren, aneedlehavebeenfoundinsidethispoppet. watching A A Mary—you charge acold and cruel murder on L l et youask i ye. bigail were stabbedtonight; aneedlewere foundstuck

zabe still impatiently to quickly to to Here now!Mary, howdidthispoppetcomeintomy A It isyourpoppet,itnot? ’Tis hard proof!

nd howdiditcomeintothishouse? her breath knockedout A What signifies aneedle? h h h : th B ale ale ale nd shecharges me? A id himout,Mr. Hale. frightenedforherself,hervoiceverysmall I—IbelieveIdid,sir, I—

evasively Murder! Icharge no— sk with C bewildered glancing aboutattheavidfaces not understandingthedirection ofthis m : , : Whatsayyounow? : of onjures me?Why, no,sir, Iamentirely myself, I ary Y N A S ou stuckthatneedleinyourself?

ow, sir—doyouhaveit? bby. usanna Walcott—she sawmesewin’itincourt. c , Mary Warren. h w points atthedollin eever arren Hale , A looking atit : Why, Imeantnoharmbyit,sir. bby satbesidemewhenImadeit. To . :

B closely

Hale: id himbegone. : Why—!Thegirlismurder!

Proc Ifindhere apoppetGoody A : : Why, I—Ithinkitismine. C nd inthebellyofpoppet hild, youare certainthisbe t

c or h , seeing eever’s : Why—Imadeitin Y our mindissurely

hand Mary Warren : It—is,sir. : What : This A bigail. S , he

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 402 401 400 399 398 397 396 395 394 393 392 391 390 389 388 387 386 385 384 383 382 381 Proctor: Hale: to visitsomeonesick. room Elizabeth, E Proctor: Elizabeth: Proctor: She cannotgoon witchcraft—it willfrightenthem. Cheever, with you. Proctor, binds me,John. Herrick: Proctor: Elizabeth: to vengeance! writes thelaw! are janglingthekeysofkingdom,andcommonvengeance what wealwayswere in what’s walking they bornthismorningascleanGod’sfingers? be innocent,or Proctor: Hale: Proctor: Hale: Proctor: Cheever: Proctor, Cheever: weeping. daughter—you oweme bake, in look ather Elizabeth: of this! Proctor, of theworld! lizabeth. , as though Proctor, thecourtisjust— Proctor, if sheisinnocent,thecourt— Now, Proctor, Proctor!

the afternoon. To to ripping thewarrant suddenly snatchingthewarrantoutof I Pontius Pilate! I l willbringyouhome.soon. You willnotgo! I Get y’gonewiththem! You are abroken minister. Damn theDeputyGovernor!Outofmyhouse! . Mary, there isbread enoughforthemorning;youwill haveninemenoutside. You cannotkeepher. pointing at willfalllikeanoceanonthatcourt!Fearnothing, f You’ve warrant,man! rippedtheDeputyGovernor’s Proctor, youdare nottouchthewarrant.

with great fear Oh, John,bringmesoon! I John— she hale pro ’ll go,John— H isinnocent!Whydoyouneverwonderif Parris

ct to fixitinhermind A T errick, youheard it! . , S I his warrant’svengeance! or cannotbudge. ready tobreak him bigail? alem—vengeance iswalking I think : When

elizabeth H 4

I that, andmuchmore. Godwillnotletyouwashyourhands : S elp Mr. Proctor asyouwere his s theaccuseralwaysholynow?Were I I mustgowiththem. alem, butnowthelittlecrazychildren

willfearnothing. the children wake,speaknothingof : Outwithyou! : You’ve heard that,sir!Rippedout . : Will youseehertaken? T ell thechildren I ’ll notgivemywife

cheeve She looksaboutthe She isfightingher S He cannotbearto alem. We are I ’ll tellyou I r havegone ’s

hands T he law : Out

NOTES 4.

responsibility forJesus’death. show thatherefused totake hands before thecrowd to crucified. Pilatewashedhis who condemnedJesustobe Pontius Pilate The Crucible,Act II Roman governor Roman governor

621 622 NOTES

UNIT 5•FACING OUR FEARS 409 408 407 406 405 404 403 W Giles: bursts intotearsandsitsweeping. uncertainty, turnsfrom thedoortoavoidsight I I Herrick, Proctor: Proctor: heard There are othermen’s voicesagainsthis them! From outside She walksoutthedoor herrick proctor moment, am gone! must chainthemall. hat keepsyou,man? . I A ’ll nothaveit! .

nd yetsilent,minister? is halfbraced,pushedintotheroom bytwodeputiesand proctor panting I H ’ll payyou, errick! He goesoutwithhisdeputies. : Damnyou,man,youwillnotchainher! :

watches from thedoorway I n H G errick, don’tchainher! . I herrick od’s name,John, H willnothaveherchained! N errick. ow letyoukeepinsidethishousetill and I willsurely payyou! I giles corey t isfraud,youknowitfraud!

cheever . hale I cannothelpmyself. .

, The clankofchainis behind her callsto in afeverofguiltand He rushesoutthedoor :

mary warren hale . For a O . ff with

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 429 428 427 426 425 424 423 422 421 420 419 418 417 416 415 414 413 412 411 410 430 toward her. Francis, Mary Warren, Mary Warren: how thatpoppetcomehere andwhostucktheneedlein. Proctor, Mary Warren: it inthecourt. Proctor: they’ll lethercomehomeoncethey’re givenproper evidence. way, whensuchconfusionstrikesupontheworld. to discoverit.Forthere’s yourway, believeit,there isyouronly that stinkstoHeaven? never brought tolight? Abomination? Somesecret blasphemy cause proportionate. Were there murder done,perhaps, and in Salemnow—andhangin’spromised. Man,wemustlookto such apettycause. Hale: own tears,youare acoward now! Proctor: vengeance ofalittlegirl. goes mad,anditprofit nothingyoushouldlaythecauseto guilty orinnocent—Iknownot. will notfeartotestify incourt.Godhelpme.Icannotjudgeher Hale: Proctor: Hale, are heard. ha G proctor gi thundering wrathuponyouall.IshallprayGodopenupoureyes. your villageandwhatmayhavedrawnfrom heavensuch Giles: Proctor: Giles: Proctor: Giles, leave me. Proctor, Proctor— Salem. i le le le s s

and core goes out in great uncertainty P C Good night,then. L shaken roctor, IcannotthinkGodbeprovoked sograndlyby harity,

et youthinkonit.We’ll comeearly, eh? stands there, gulpingair. Horsesandawagoncreaking

struck by moving menacinglytowardher halting Fr You’re comingtothecourtwithme,Mary. You willtell You are acoward! O Aye. Gonow, Giles. Go homenow, Giles.We’ll speakonittomorrow. y he hasbeenreached by

Abby’ll ut ofmysight! a goes out nc . : John—tellme,are welost?

She’llkillmeforsayin’that! Icannotcharge murder on Abigail. P is in afearfulsqueakofvoice : She’stoldyou! roctor, charity. WhatIhaveheard inherfavor, I .

L ha

. et youcounselamongyourselves;thinkon charge lechery T After amoment le’ he jailsare packed—ourgreatest judgessit s T

mood hink oncause,man,andletyouhelpme : Mr. T hough youbeordained inGod’s : Ineverheard nomurder donein P

roctor— ha O 5 le’ nly thisconsider:theworld onyou,Mr. : s words : You willtellthecourt : Mr. : proctor L eave me,Francis, P P roctor, verylikely roctor! He goesto

continues

relate tocausesandeffects. mark words andphrasesthat this speech? CONCLUDE: QUESTION: ANNOTATE: CLOSE READ NOTES seeming expression oflogic? include thisspeechwith 5.

Puritan community. serious aswitchcraftinthis adultery—a chargealmostas lechery The Crucible,Act II WhydoesMiller (LEHCH uhree) Inparagraph415, Whatistheeffect of

n. lust;

623 624 Complete thefollowingitemsafteryoufinishyourfirstread. Check Comprehension NOTES and witches. Salem convict example, you may want to learn the Court about of and Oyer Terminer, to established try Research to Explore Research RESEARCH 4. 3. 2. 1.

UNIT 5•FACING OUR FEARS What evidenceofElizabeth’s guiltdoesCheeverfind? hanging? What dosomeoftheaccused,suchasSarahGood,tosavethemselvesfrom Why doesHalevisittheProctors’ home?

Notebook

Write asummaryofActII

Conduct you find of interesting. research the text an on aspect For 438 437 436 435 434 433 432 431 And sheisoverandagainsobbing,“Icannot,Icannot.cannot”as the opensky. were, butnakednow. providence, now, halftohimself,staring,andturningtheopendoor He throws where hertothefloor, shesobs.“Icannot.Icannot. . .”And backs, andallouroldpretense isrippedaway—makeyourpeace! M Proctor, Mary Warren, into yourmouthbutthatgoodnesswillnotdieforme! Proctor: I cannot!” saintliness isdonewith. Proctor, I know shewill. Mary Warren: proc Mary Warren, together intoourpit;youwilltellthecourtwhatknow. ake your peace with it! Now Hell and Heaven grapple on our ake yourpeacewithit!NowHellandHeavengrappleonour t or

hesitating strides andcatchesher grasping herbythethroat asthoughhewouldstrangleher M The Crucible y wife willneverdieforme!Ibringyourguts

A and nogreat change;weare onlywhatwealways ye, naked!

Ihaveknownit,sir. She’llruin youwithit.

struggling toescapehim in terror , and withdeephatred ofhimself Hewalksasthoughtowardagreat horror, facing . The : Icannot,they’llturnonme— A mary nd thewind,God’sicywillblow! C urtain Falls ,

backs from him and sheisrepeating : Icannotdoit.cannot! . We willslide : Good.Thenher , “ : I cannot.

P eace . It is a It isa :

Close Read the Text Reread paragraphs 334–339. Mark Cheever’s answers to the question “What signifies a poppet?” What do his replies indicate about his knowledge of the significance of the poppet?

THE CRUCIBLE, ACT II

Cite textual evidence Analyze the Text to support your answers. Notebook Respond to these questions. 1. (a) Interpret How does news of the arrest of Rebecca Nurse affect the Proctors? (b) Connect What does this news suggest about Abigail Williams’s changing status in Salem? Explain. 2. Evaluate Is Hale a good person? Why, or why not? 3. Infer Did Mary Warren know how the poppet she gave Elizabeth would be used? Explain. 4. Predict What does the dialogue of Cheever and Herrick suggest will happen to Elizabeth? What chance does she have to prove her innocence? language development Concept Vocabulary

condemnation magistrates proceedings

Why These Words? The three concept vocabulary words are all related to  WORD NETWORK courts of law. What other words in Act II relate to this concept? Add words related to fear Practice from the text to your Word Notebook Write a paragraph about a court case, real or imaginary, Network. that uses all three concept vocabulary words. Make sure the context of the paragraph demonstrates each word’s meaning.

Word Study  Standards Notebook Technical Words Most professions have specialized L.11–12.4.c Consult general and vocabulary—words that are particular to the field, or that have specific specialized reference materials, both print and digital, to find the meanings when used in that context. In The Crucible, Arthur Miller uses legal pronunciation of a word or determine terminology, such as magistrates and proceedings. Magistrates applies only or clarify its precise meaning, its to the field of law. However, proceedings, when used without the final s, part of speech, its etymology, or its standard usage. has a general meaning in everyday speech. It is a form of the verb proceed, meaning “continue a course of action.” L.11–12.6 Acquire and use accurately general academic 1. Find two more words in Act II that are examples of legal terminology. and domain-specific words and Write those words and their definitions. phrases, sufficient for reading, writing, speaking, and listening at © Pearson Education, Inc., or its affiliates. All rights reserved. or its affiliates. Inc., Education, © Pearson the college and career readiness 2. Use a legal dictionary to locate three other words used in the field of law. level; demonstrate independence Write those definitions. If any of the terms also have meanings in general in gathering vocabulary knowledge speech, write those definitions as well. when considering a word or phrase important to comprehension or expression.

The Crucible, Act II 625 MAKING MEANING

Analyze Craft and Structure Literary Elements in Drama All narrative writing is driven by conflict, or a struggle between opposing forces. The conflict is introduced, developed, and resolved through the plot, or the story’s sequence of related events. The plot unfolds over a series of stages, often referred to as the “dramatic arc.” THE CRUCIBLE, ACT II These stages include the rising action, climax, falling action, and resolution. There are two broad categories of conflict that are explored in literature. In a complex narrative like this play, there are often numerous conflicts, and most characters experience both types:

• External conflict occurs between a character and an outside force, such as another person, society as a whole, nature, or even fate. • Internal conflict occurs within the mind of a character who is torn between conflicting values or desires. In the rising action of a play, the central conflicts are introduced and begin to build. These conflicts then intensify, and they often lead to other conflicts. It is important to note that characters’ internal conflicts can be just as crucial to the plot as the external conflicts.

CITE TEXTUAL EVIDENCE Practice to support your answers. Answer these questions. 1. (a) What external conflict confronts the people who are charged with witchcraft? (b) Describe the internal conflict that the accused face.

2. (a) What conflicts do Elizabeth and John Proctor struggle with in their marriage? (b) Which of these conflicts are internal and which are external? Explain.

3. Proctor knows that Abigail Williams is a fraud. What conflicts cause him to hesitate about revealing this knowledge?

 Standards RL.11–12.3 Analyze the impact of 4. What profound conflict does Proctor note when he the author’s choices regarding how confronts Hale with these words? to develop and relate elements of a “I’ll tell you what’s walking Salem—vengeance is walking story or drama. Salem. We are what we always were …but now the little RL.11–12.5 Analyze how an crazy children are jangling the keys of the kingdom …” All rights reserved. or its affiliates. Inc., Education, © Pearson author’s choices concerning how to structure specific parts of a text contribute to its overall structure and meaning as well as its aesthetic impact.

626 UNIT 5 • FACING OUR FEARS © Pearson Education, Inc., or its affiliates. All rights reserved. Speaking and 2. 4. 3. 1. EVALUATION GUIDE 5 (demonstrated). Rate eachstatementonascaleof1(notdemonstrated)to reviewing Act II. Then, follow to steps these II. preparereviewing Act for the discussion. defend condemn or Elizabeth by in Refresh court. Proctor your memory Participate in a Assignment

reminders oftextualevidence youmightrefer toduringthediscussion. and reasons shemaytellthe truth.Foreachreason youlist,jotdown about Mary’s character. Use thecharttonotereasons shemaylieincourt Think abouthowthesecircumstances mightaffect Mary. thoughts aboutthesituationinSalemoneveningofElizabeth’ do andwhy. evidence thatsuggestsshewilllie.Makeaprediction astowhatshewill stronger—the evidencethatsuggestsMarywilltellthetruthor Participate intheDiscussion Prepare fortheDiscussion Analyze MaryWarren’s Character Consider theSituation evaluation guidetoconsiderthequalityofdiscussion. when presented withevidenceyouhadnotpreviously considered. Usethe to yourclassmates.RememberyoucanchangeviewpointofMary REASONS MARY MAYLIEINCOURT

with relevantwith information. Students whowere respectfully notspeakinglistened andresponded Students spokeclearlyandexpressively. Students supportedpredictions evidencefrom with ActsIandII. Students presented aclearprediction aboutMaryWarren. E FF EC T whole-class discussion whole-class IVE

L E istening XPR

Review yournotesfrom ActII.Jotdownyour E

Review yournotes.Decidewhichis SS

During thediscussion,listencarefully ION

REASONS MARY MAYTELLTHETRUTH about whether Mary Warren whether Mary about will Scan ActsIandIItofinddetails s arrest. reasoned exchangeofideas. issue tostimulateathoughtful, well- and otherresearchonthetopicor by referringtoevidencefromtexts explicitly draw onthatpreparation researched materialunderstudy; prepared, havingreadand SL.11–12.1.a  The Crucible. fromlearned ActIIof Log andrecord whatyou Act III, gotoyourEvidence Before movingonto 

S The Crucible,Act II

tandards evidence log

Come todiscussions

627 628 high endoftherange. with scaffoldingasneededatthe text complexitybandproficiently, and poems, inthegrades 11–CCR literature, includingstories, dramas, grade 11, readandcomprehend RL.11–12.10  Arthur Miller Playwright

tandards UNIT 5•FACING OUR FEARS making meaning

By theendof You willencounterthefollowingwords asyouread ActIIIof Concept Vocabulary The Crucible,ActIII opportunity tocompletetheclose-read notesafteryourfirstread. Apply thesestrategiesasyouconductyourfirstread. You willhavean First ReadDRAMA review yourrankings.Mark changestoyouroriginalrankingsasneeded. After completingthefirstread, comebacktotheconceptvocabularyand words inorder from mostfamiliar(1)toleast(3). Before reading, notehowfamiliaryouare witheachword. Then,rankthe have already read. already knowandwhatyou the selectiontowhatyou CONNECT they do. why and about, notice those involved react as those involvedreact as when what remorseless effrontery whom callously it happens, and ithappens,and WORD

ideas within ideas within happens, the story is thestoryis

where

you wanttorevisit. vocabulary andkeypassages A the selection. by the Comprehension Checkand NNOT R writing E SP YOUR RANKING ON A TE a brief summary of a briefsummaryof D

by marking by marking by completing by completing The Crucible.

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 2 1 4 3 corey judge hathorne’ Through thepartitioningwall attherightwehearaprosecutor’s voice, snugged uptoit. a ratherlongmeetingtable,withstoolsandconsiderable armchair There isaplainbenchatthe left,andanotherattheright.Incenter where thecourtisbeingheld. Attheleftanotherdoorleadsoutside. walls. Attherightare twodoors leadingintothemeetinghouseproper, forbidding. Heavybeamsjutout,boardsofrandomwidths makeupthe through twohighwindowsinthebackwall.Theroom is solemn,even As thecurtainrises,room isempty,butforsunlightpouring anteroom oftheGeneralCourt. The vestryroom oftheSalemmeetinghouse,nowserving asthe reading. Mary handlesthistrickyanddangerous situation asyoucontinue aware ofAbigail’s ploys,isterrified ofexposingher. Findouthow demands thatMaryWarren tellthecourttruth;Mary,though JohnProctorto jailasaresult oftheschemingAbigailWilliams. Act IIendsasElizabethProctor isaccusedof witchcraft andcartedoff REVIEW ANDANTICIPATE ’ s, replying. s

, askingaquestion;thenwoman’s voice, martha Crucible

The NOTES Arthur Miller Arthur ANCHOR TEXT TEXT ANCHOR The Crucible,Act III Act III Act MULTIMEDIA SCAN FOR | DRAMA

629 adj. 630 remorseless NOTES relentless; cruel

UNIT 5•FACING OUR FEARS (re MAWRS lihs)

33 32 31 30 29 28 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 Enter Herrick: Giles: Herrick: Giles: in hissixties,ofsomehumor andsophisticationthatdoesnot,however, Giles: Hale: Giles: Hale: Martha Corey’sMartha Voice: the reading offortunes.Doyoudenyit? evidence inourhandstoshowthatyouhavegivenyourself to Hathorne’s Voice: ju h The dooropensand evidence? Giles’s Voice: Hathorne’s Voice: A roaring goesupfrom thepeople Giles’s Voice: Danforth’s Voice: Giles’s Voice: Danforth’s Voice: Voices oftownspeopleriseinexcitement Giles’s Voice, Corey’sMartha Voice: Hathorne’s Voice: Corey’sMartha Voice: witch? Hathorne’s Voice: what awitchis. Enter me daft! Giles: you gonedaft,Corey? Hathorne: Salem judge. and e d rric ge parri hathorn ha d A moment,sir, amoment. Pray becalmamoment. k Out ofmyway, Herrick!Ibringevidence— Hands off, damnyou,letmego! They’ll behangin’mywife! You, Mr. Hale,gointhere anddemandIspeak. You’re notaBostonjudgeyet,Hathorne. You’ll notcall e . p le s u You cannotgointhere, G . Onhisappearance,silence falls. ty

iles, from thecourt. How doyoudare comeroarin’ intothiscourt! Are g You’re hearinglies,lies! ThomasPutnamisreaching outforland! Ihaveevidence.Whywillyounothearmy o e roaring ve

G enters iles! rnor You willkeepyourseat! g Whydoyouhurtthesechildren? Howdoyouknow, then,thatyouare nota Now, MarthaCorey, there isabundant Arrest him,excellency! Remove thatman,Marshal! i les : Ihaveevidenceforthecourt! .

He isinhissixties,abitter, dan ishalfcarriedintothevestryroom by ldonothurtthem.Iscornit! IfIwere, Iwouldknowit. Iaminnocenttoawitch.knownot f orth .

and, behindhim, G iles; it’sacourt! . dan f orth remorseless ezek isagraveman i el

ch eeve

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 35 34 51 50 49 48 47 46 45 44 43 42 41 40 39 38 37 36 Hale: Francis: Danforth: cannot beheard. Francis: Herrick: You are certainlyaware ofour procedure here, Mr. down to interfere withanexactloyaltytohispositionandcause.Hecomes herri Danforth: Danforth: I Hale: respectfully silent answer it! Giles, Parris: charity withher. weeping of it,d’y’see,butitwere nowitch wife thatbesotakenwithbooks,and Giles, Danforth, for— readin’ books,sir, andtheycometakeheroutofmyhouse Giles, you knowit? highest courtofthesupreme governmentofthisprovince, do Danforth: Giles: court shallbelieveandwhatitsetaside? Danforth: sir, Giles, out ofjailforthis. contemptuous riot? Danforth: condemning now. hundred acres, andtimberinaddition. through hisstrain Danforth, Danforth, thinkthatinalljusticeyoumust— I — c H E k to through helplesssobs beginning toweep Your beginning toplead G : Clearthisroom. xcellency, heclaimshard evidenceforhiswife’s defense. . giles is wife’s

I F We are desperate,sir;wecomehere three daysnowand parris Come now, iles Corey, sir, andamore contentious— havebroke charitywiththewoman, rancis To To Who isthisman? T mystified D D A looking directly at E hen lethimsubmithisevidenceinproper affidavit. , whoawaitshiswrath. isrespect indeed! o youtakeituponyourself todeterminewhatthis nd howdoyouimaginetohelphercausewithsuch danforth xcellency, wemeannodisrespect for— : I . Hecovershisface : MynameisCorey, sir, amaskedthequestion,and N R ebecca thatwere condemnedthismorning. urse, Your He indicatesthecourtroom : Books!Whatbooks? N G ow begone. Your oldagealonekeepsyou , iles. : Your : who impresses himandtowhomhesmiles T : hey betellin’liesaboutmywife, I He gentlypushes

t ismythird wife, sir: giles E E I xcellency. t isdisruption, Mister. xcellency, : Whoisthisman? , I ashamed blamedherfor. I thoughttofindthecause I t ismywife yoube G I iles Corey. onlysaidshewere .

. danforth c ore I amoldenoughto I havebroke y

out I neverhadno H He isopenly .

I ale. is T havesix

his isthe To

1. nonstandard English. 42–46, markexamplesof of GilesCorey? audience’s understanding particularly onthe effect ofthislanguage, NOTES CONCLUDE: QUESTION: ANNOTATE: CLOSE READ language here? Miller usethistypeof

affidavit under oath. written statementmade The Crucible,Act III (af uhDAY viht) Whydoes Inparagraphs Whatisthe

n .

631 632 NOTES

UNIT 5•FACING OUR FEARS 54 53 52 75 74 73 72 71 70 69 68 67 66 65 64 63 62 61 60 59 58 57 56 55 Proctor, bend closetoherface Parris, p w Danforth, Danforth, Hathorne: I haveonlygoodreport ofyourcharacter, Mr. Nurse. Danforth: da Francis: Danforth: you shutthemtoit.Thegirls,sir, thegirlsare frauds. Francis: I will— Enter judge, butyouare deceived. Francis: signature? Danforth: Francis: the jailsfrom MarbleheadtoLynn, anduponmysignature? Danforth: be whatyouare. Francis: Mr. Nurse? Danforth: Hathorne: Danforth, Danforth, Governor. motion of protectiveness Herrick: Mary Warren were sickinbed? Hale, Parris: Proctor: Danforth: she comesnowtotellthetruth ofthistoyou. Giles: court lastweek,shesaidwere sick. roc arr n for t en or gile excitedly S t with on seeingher Beware thisman, he hasbeenstrivin’withhersoulallweek.

h has herelbowasthoughshewere nearcollapse. We haveproof ofit,sir. Theyare alldeceivingyou. Excellency, wehaveproof foryoureyes:Godforbid I— I surely do,sir, andIthinkyoumustbeawisejudgeto Excellency, Ineverthoughttosayitsuchaweighty pressing S John Proctor, sir. ElizabethProctor ismywife.

s cor is shocked he were, to Indeed! Iamamazedtofindyouinsuchuproar. What’s that? A Peace, Judge A shocked bythis Who isthis? I thinktheymustbothbearrested incontempt,sir. This iscontempt,sir, contempt! nd doyouknowthatneartofourhundred are in nd seventy-twocondemnedtohangbythat p fra roc : Ithinkyoumusthearthe girl,sir, she— e y

n from left p t c arr or. i , . Whatare youabouthere? Y , s: but studying in shock our Letyouwriteyourplea,andinduetime i m s :

ary S away from herwithagentlebutfirm H he wouldspeakwiththe , H . Y turns to All tumtoseeashebeckons athorne. our Excellency, thismanismischief. onor. WhenIgotofetchherthe

is keepinghereyestotheground; : MaryWarren!

fra

h D e n rr o youknowwhoIam, c i i ck s . : D He goesdirectly to id younottellme D Y

eputy in our

m ary H

onor;

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 77 76 98 97 96 95 94 93 92 91 90 89 88 87 86 85 84 83 82 81 80 79 78 raises ahandtoward to Danforth, Mary Warren: others? Danforth: Proctor: Danforth: Mary Warren: sending theirspirits,againstyou? A Proctor W Danforth, Danforth, Proctor: Danforth, Proctor: of the entire contentionofthestateinthesetrialsisthatvoice Danforth: Parris: Proctor: have Danforth: Danforth: vile aliebespread inopencourt! Parris, Proctor: the truth? A tenderness maydrivehimtoextravaganceindefense ofawife. Danforth: Proctor: this. decide whetherIshallhearyouornot,itismyduty totellyou dare comehere withsuchatale. Danforth, Danforth, calculating this;heturnsfrom herto Danforth, Proctor, Giles, spirits!

nd you, re youcertaininyourconscience, arren? study H eaven isspeakingthrough thechildren? W

you givenoutthisstoryinthevillage? eagerly e burnahotfire here; itmeltsdownallconcealment. T in asweat looksather, butshecannotspeak.

T p hey’ve cometooverthrow thecourt,sir! reaching intohisjacket roctor It were pretense, shesays. She neversawnospirits,sir. I knowthat,sir. W It is. I knowthat,sir. hey are alsopretending? M thinks,staringat instantly wide-eyed A I cannothearyou. with great alarmandsurprise I prayyou, Indeed not,butitstrikehard uponmethatshewill L who hasbecomeveryinterested in e havenot. ary et mecontinue.Iunderstandwell,ahusband’s h? : A N Itwere pretense, sir. A A nd youwillsurely knowit. ’s W ever. ye, sir.ye, : nd theothergirls?Susanna face E arren, howcomeyoutocryoutpeoplefor

xcellency, yousurely cannotthinktoletso : hale : Indeed. N . o, no.Iacceptnodepositions. M : Peace. r. Parris.Doyouknow,

p roctor Pause : Shehassignedadeposition,sir— W N

p hat wouldyoutellus, ow, . , roctor He is baffled bythis. He isbaffled M then turnsto ister, thatyourevidenceis , M to r. Proctor, before I mary

. mary warren T ell me, W : alcott, and—the N

M mary warren T ever sawno r. Proctor, that his manis— M He israpidly r. Proctor,

He turns and only M ary :

NOTES The Crucible,Act III

633 634 NOTES

UNIT 5•FACING OUR FEARS 122 121 120 119 118 117 116 115 114 113 112 111 110 109 108 107 106 105 104 103 102 101 100 126 125 124 123 99 not denyit,John. Danforth, Danforth, Proctor: open courtbefore thepublic? Danforth: Cheever: Danforth: Cheever, Proctor, your spirit,anydesire tounderminethiscourt? Danforth: Proctor: so doing? Danforth: Danforth: Cheever: I surely love. Proctor: Danforth, a month! Parris: Proctor: Danforth: Proctor: Danforth, Proctor: Danforth, Proctor: Hale, Danforth: Parris: he damnedthecourtandrippedyourwarrant. such evidence. Hale: truth beknown. Giles: children, sir, anduntillastyearmylandgivelittle. Proctor: official ofthecourt,Icannot keepit. Cheever, takes abreath Your You’ll findotherChristiansthatdoplowonSundayif the Now youhaveit! Such aChristianthatwillnotcometochurch butoncein with thefaintestfaltering Why, I—Iwouldfree mywife, sir. I thoughtwould,aye—withyourpermission. It were atemper, sir. Iknewnotwhatdid. I—I haveonceortwiceplowedonSunday. Ihavethree I—I havenoloveforMr. I am,sir. No, sir. Aye, sir. apologetically clears histhroat I thinkitbemyduty, sir— H Mr. Cheever. There lurksnowhere inyourheart,norhidden his eyesnarrowing And youthoughttodeclare thisrevelation inthe H P restrained You are inallrespects aGospelChristian? straight intohiseyes studying him H e plowonSunday, sir. low onSunday! e didthat,Mr. onor, Icannotthinkyoumayjudgethemanon To : Aye, hedid.

— d an he iscurious : Ithinkitbeevidence,John.aman : Mr. for , awakening H t : Now, sir, whatisyourpurposein P h ale? roctor. : : Whenwecometotakehiswife, H : Why, no,sir. ave youeverseenthe : Notcometochurch? P : I—Your Excellency. arris. Itisnosecret. ButGod Kindly, to

pro ct or : You’ll D evil?

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 143 142 141 140 139 138 137 136 135 134 133 132 131 130 129 128 127 145 144 It isdonenow. is savedatleastthisyear, andayearislong.Whatsayyou,sir? You sayyouronlypurposeistosavewife. Good, then,she daggers. Ihaveuntilthis by spirits;I marvels tries tomeethisgaze. upright man,andyethedidkill Abel. Parris: Proctor: Parris: and— these womenhavelivedsolongwithsuchuprightreputation, Proctor: understand mymeaning? suspect thatthechildren maybe what sayyoutothat? shall haveherlivingyetanotheryearuntilsheisdelivered— another month;andif shebegintoshowhernatural signs,you H Danforth: Proctor: Danforth: woman willneverlie,Mr. Danforth. Proctor: Danforth: Proctor: in whichshestatesthatispregnant now. Danforth: Hathorne: Proctor: Parris: your purposeissomewhatlarger. Danforth, Proctor: Will youdrop thischarge? Danforth: Danforth: da Proctor: in to you. on them?Itisthechildren only, andthisonewillswearshelied R ebecca owever, if Ishouldtellyounowthatwillletherbekept , nforth and hespeaksinhisear I thinknot,oryoushouldsurely knowthat Do youread theGospel,Mr. H

in thiscourt.Ihaveseenpeoplechokedbefore myeyes N I read theGospel. Excellency, doesitnotstrikeupon youthatsomanyof N But if shesayispregnant, thenshemustbe! My wife pregnant! T e’s cometooverthrow thiscourt, Your I—I thinkIcannot. Aye, Godtellsusthat.

considers, thenbeckons nowanalmostimperceptible hardnessinhisvoice urse murdered sevenbabiesbysendingoutherspirit hese are myfriends. We havethoughtittooconvenienttobecredited. She willnot? T Mr. I judgenothing. ever, sir, never.

Aye, she’stheone. have seenthemstuckbypinsandslashed here benosignofit—wehaveexaminedherbody. P In conflict roctor, thismorning,yourwife sendmeaclaim I tellyoustraight,Mister—Ihaveseen john proctor . ,

moment nottheslightestreason to h proctor a Pause thorn

T h To

heir wivesare alsoaccused— . deceiving me.Doyou a

He keepswatching

e thorn glances at da

nods is strucksilent P nforth roctor? 2 . e

to him

fr : Butwhotellsus a nc . H . h is onor! C a

C thorn ome now. proctor and ain were an gi : l e T T es

hen hat leans , . who 2. Cain. . . Abel voice. description ofDanforth’s and theadjectivein 143, marktheadverb directions inparagraph character? portrayal ofDanforth’s these modifiers addtothe NOTES CONCLUDE: QUESTION: ANNOTATE: CLOSE READ Miller usethesemodifiers? Eve, killedhisbrother Abel. the oldestsonofAdamand The Crucible,Act III Whydoes Inthestage Howdo IntheBible,Cain,

635 636 NOTES

UNIT 5•FACING OUR FEARS 161 160 159 158 157 156 155 154 153 152 151 150 149 148 147 146 166 165 164 163 162 Parris, Proctor, will. Danforth: Proctor sky, andhonest. you haveforus,Mr. Proctor? And Ibegyoubeclear, open as the Parris, Francis: Danforth, Danforth, Danforth, Proctor: I am ready tohearyourevidence. Danforth, pa d d Marshal. Danforth— man allmylife. Itisagoodman,sir. Herrick: prisoners are tobekeptinthebuilding. And letthemgotothetavern,if theywill. All witnessesand Judge StoughtonandSewalldeclare recess foronehour. word noharmwouldcome tothemforsigningthis. Francis, looks Hale, Parris: Danforth: Danforth: Hathorne: one ofthem,whatdiscontentsthemwithyou! directly courts inSalem!Thesepeopleare gloomyforit. Parris: upon thecourt? sign theyhaddealingswiththe sir—they’ve knownthewomenmanyyearsandneversawno church. Proctor: opinion of It’s asortoftestament.Thepeoplesigningitdeclare theirgood an an rr for for is

up athimquestioningly

to nervously movesoverandreads over : And Ithinkyouwillwant toknow, from eachandevery t t to enlist sweating This isaclearattackuponthecourt! All innocentand Delicately,tryingtopointoutaparagraph , ashetakesoutseveralpapers h h pa Ninety-one, Your trembling withanger handing Aye, sir. I comenottohurtthecourt:only— These are alllandholdingfarmers,membersofthe herr

goes onreading, and looks downatthepaper. rr The pure inheartneednolawyers.Proceed asyou glancing downalonglist cutting himoff with asuddenbrisknessofmanner It isnotnecessarilyanattack, Ithink. Yet— R I thinktheyoughttobeexamined, sir. it is the reflection onhimselfheresents it isthereflection ebecca, andmywife, andMartha is i , ck

d trying tocontainhimself : Thesepeopleshouldbesummoned. C an

d nods Very deferentially an noone—? an for for , t then goesout h t : Marshal,gointothecourtandbid C ’s h hristian peopleare happy forthe

E sarcasm . a paper xcellency. F : Mr.

p or questioning. roc D D : Will youread thisfirst,sir? t : IfImaysayit,sir. Iknowthis evil. : : Theirgoodopinion!But or . Now, whatdepositiondo anforth, Igavethemallmy H : Iamnolawyer, soI’II—

ow manynamesare here? is heartened : Iseverydefenseanattack d an : Ijudgeyounot,sir. for C : Ifyou’llnotice, : Iamsure ofit, t orey. To h . ’s

d shoulder. an d an for for t h

t h

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 185 184 183 182 181 180 179 178 177 176 175 174 173 172 171 170 169 168 167 Proctor: sobs window withit other informationdoyouhaveforus? these—arrest forexamination. Proctor: Giles: c Danforth: Francis: m be thirty-fiveyearago,Ithink. have them. You know, yourfathertriedacaseofmine—might Giles: Danforth: court inmylife. Giles, training, Mr. Corey? boy Tobias. hand praise it.Ihopeyouwillbeoneofthose. the shiningsunisup,andthemthatfearnotlightwillsurely itself withgoodandbefuddledtheworld.Now, byGod’sgrace, time—we live no longer in the dusky afternoon when evil mixed there benoroad between.Thisisasharptime,now, aprecise person iseitherwiththiscourtorhemustbecountedagainstit, are ofgoodconscience.Butyoumustunderstand,sir, thata Danforth: Francis: horrified Danforth: Danforth: Mr. Corey’s deposition. Danforth: Danforth: Mary Warren: thee.” Proctor: Mary Warren, Danforth, Danforth, Giles: Hathorne, him andreads withhim. bring himin? compliments. Mr. heever arshal herr . , S quietly he’s nothearty, Isee. John, mydeposition,givehimmine. I amneverput-upon:know myrights,sir, andIwill very pleased You knowIneverhired alawyerinmylife,

. You maysit,Mr. Nurse. the paper These are allcovenantedChristians,sir. I havebrought trouble onthesepeople;Ihave— No, she’snot,sir. A “Do thatwhichisgood,andnoharmshallcometo ye. Then Iamsure theymayhavenothingtofear. O No, oldman,youhavenothurtthesepeopleif they O Come, man,wewaityou. finishing thereading 3 suspiciously

: Nowremember whattheangel R h, thenyou’re muchput-upon. h? ic . emember it. ha He hands

k A hardly audible parr He looksdownatit

A ye. t returns, andtakeshispostatthedoor. . Mr. Cheever, havewarrantsdrawnforallof hor : Ihavethebest,sir—Iamthirty-three timein nd alwaysplaintiff, too. P i arris, if Mr. s

n goes intothecourt e :

W takes thedeposition a n hat lawyerdrew this,Corey? To for :

A m : Itisverywellphrased.My t ye. To ar P h utnam isinthecourt,willyou

. y another paper pro Now , bending toher ct . You havenolegal

fra or ha m : Now, Mister, what t , nci ar hor and walkstothe y R s

. Thisis warre n is stillstanding, aphael saidtothe e

, comes behind holding her H n athorne.

suddenly Hands

3. Raphael. . . Tobias NOTES Bible, Tobias isguidedbythe of blindness. from Saraandcures hisfather aid, Tobias exorcises thedevil Raphael’swedding days.With her sevenhusbandsontheir demon thathaskilledeachof a womanwhoisafflicted by a lost his sight. The other is Sara, despondent becausehehas Tobias’s father, Tobit, whois to die.Oneofthetwois two peoplewhohaveprayed archangel Raphaeltosave The Crucible,Act III Inthe

637 638 NOTES

UNIT 5•FACING OUR FEARS 204 203 202 201 200 199 198 197 196 195 194 193 192 191 190 189 188 187 186 208 207 206 205 Giles: Danforth: Giles: Danforth: pu this fellowcometoborrow themare— a fairjudge,yourfather. Y’see, Ihadawhitemare thattime,and Hathorne: Hathorne: in jailif Igivehisname! Giles, Hathorne: Giles, Hathorne: Giles, Hathorne: cried outonJacobs,hesaidshe’dgivenhimafairgift ofland. an honestmanwhoheard Giles, Danforth: killing hisneighborsfortheirland! but a witchheforfeituphisproperty—that’s law! Giles: Danforth: what Isaytothat! Giles, What sayyoutothat? hearing. Giles: contempt ofthiscourt,doyouknowthat? Danforth: once andI’llburninhelllongenoughforthat.Istand mute. Giles: Danforth Danforth, Danforth, Putnam: to crywitcheryupon against you.Hestatesthatyoucoldlyprompted yourdaughter Danforth: there heis. tn P am utnam withthecointobuysogreat apiece.This manis That’s strange,hegavemeninepounddamages.Hewere He neverspoketoyouofit? M furious This isahearing;youcannotclapmeforcontempt ofa I willnotgiveyounoname.mentionedmywife’s name hesitates, thenburstsout hesitates, then taken aback pointing athisdeposition . When he y proof isthere! It isalie. , toavoidthat No. Icannotrecall it. Indeed. What proof doyousubmitforyourcharge, sir? In thatcase,Ihavenochoicebuttoarrest youfor But proof, sir, proof. turning to M This iscontemptofthecourt, A The manthatgiveyouthisinformation. A r. nd whynot? nd thenameofthisman? , his fistsclenched P utnam, Ihavehere anaccusationby

: Whatname? sees : Why, I—Icannotgiveyouhisname.

g pu G : You willsurely tellusthename. i les eorge Jacobsthatisnowinjail. tn Pointing tothepaper : am, g P M utnam sayit!Thedayhisdaughter r. : You knowwellwhynot!He’lllay : : Theproof isthere! Ihaveitfrom i A P les utnam statesyourcharge isalie. fartonThomas ’s ease goes Enter M r. Danforth!

; parr . IfJacobshangsfor he ishard A nd there isnone i P s

utnam, thatis with M .

r. Corey th A ye, omas

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 228 227 226 225 224 223 222 221 220 219 218 217 216 215 214 213 212 211 210 209 229 him Proctor, Putnam. I’llkillyouyet! Danforth: Danforth: Giles, the courtinfullsessionhere? Orwillyougivemegoodreply? Danforth: m Giles: d g Parris: sir, andhe— Proctor, record. Thecourtisnowinsession.Iaskyou,Mr. Corey— Danforth, Danforth, Hathorne: Without confidencesthere could benoconspiracy, Your Honor! playin’ you!Hemeanstohangusall! Proctor: Giles, N Danforth: Hale: plot totoppleChristinthecountry! country; there isfearinthecountrybecausethere is amoving Danforth, country nevertheless. Hale: you afraidtobequestionedhere? Danforth: court inthecountry— Hale: Danforth: Hale: Mr. ThomasPutnamacommonmurderer. central church demandofyouthenamehimwhoreported anonymity Imustknowwhy. him comehere openlylikeadecentman.Butif hehidein be setinthejailuntilyoudecidetoanswerallquestions. N i anf ar les one! ow sityoudownandtakecounselwithyourself, oryouwill . We’ll prove ourselves. y o

co w r But itdoesnotfollowthateveryoneaccusedispartofit. I mayonlyfearthe We cannotblinkitmore. There isaprodigious fearofthis E To faltering S over arren th re The Devillivesonsuchconfidences! xcellency— ay nothin’more, John.

breaking in forcing himintoachair N y . g

i You are afoolisholdman.Mr. Cheever, beginthe Oh, itisaproper lawyer!Doyouwishmetodeclare to N angered now Then there isaprodigious guiltinthecountry. Mr. Hale. makes arushfor p o, les I thinkitmustbebroken, sir. r

o uncorrupted manmayfearthiscourt.Mr. Hale! bursts intosobs. octo g G : You are underarrest incontemptofthiscourt. i : Icannotgiveyounoname,sir, Icannot. les iles! : Oldman,if yourinformanttellsthetruth let r ’s shoulder at : Your Honor—hehasthestoryinconfidence, : R eproach menotwiththefearin

L p u ord, sir, butthere isfearinthe N t na ow wewill. N : Peace, Pointing at

m p ow sir, thegovernmentand u . p t r na octo m G : I’llcutyourthroat, iles, peace. r

He startstoturn d lunges andholdshim anf To To o d r anf th : He’sonly Releasing o r th : A

re . to fear. 218–222, markreferences central disagreement? to thisword capture their and Danforth’s reactions ANNOTATE: CLOSE READ NOTES CONCLUDE: QUESTION: so manytimes? Miller repeat theword The Crucible,Act III Whydoes Inparagraphs HowdoHale’s fear

639 640 effrontery NOTES n . shamelessboldness

UNIT 5•FACING OUR FEARS

(ih FRUHN tuhree)

241 240 239 238 237 236 235 234 233 232 231 230 242 consider, now— confounded were Icalled upontodefendthesepeople. have beenthirty-twoyearatthebar, sir, andIshouldbe learning youare mostbewildered—I hopeyouwillforgive me.I Danforth: to you. with awound!Iprayyou,sir, N Hale: Danforth: may doubtit. there beaproof soimmaculatenoslightestqualmof conscience am aministerofthe Hale: Danforth, again withalawyer— In God’sname,sir, stophere; sendhimhomeandletcome all justice,sir, aclaimsoweightycannotbeargued byafarmer. Hale: Danforth, matter. Hale: accused? likewise. Inanordinary crime, howdoesonedefendthe A any spirit,vagueorclear, thatSatanmayhavesenttohurther. Proctor: Danforth: tried towinhersoulaway, andthenwhensherefused— she eventestified thatSatan,intheformofwomennowjail, her scream, shehowled,swore familiarspiritschokedher; reasonably, restraining allhisfears,anger, were nodifferent thantheotherchildren are today. remember, sir, whileyouread it,thatuntiltwoweekagoshe prove itallnow. Proctor: here! Danforth: p dan there isyourrock. R to roc emember theangel,whathesaytoboy. Holdtoit,now;

nd shedeclares herfriendsare lyingnow. urse, dan f t or or E I havethismorningsignedawaythesoulof E I cannotsayheisanhonestman;knowhimlittle.Butin f th or Y xcellency, amoment.Ithinkthisgoestotheheartof xcellency, Ihavesignedseventy-twodeathwarrants;

starts tohand our Honor. I’llnotconcealit,myhandshakesyetas Forgive him,sir, forhisoldage.Peace,Giles,we’ll A . ThisisMaryWarren’s deposition.I—Iwouldaskyou th O ye, sir. SheswearsnowthatsheneversawSatan;nor Mr. Hale, believeme:foramanofsuchterrible Mr. Hale,yousurely donotdoubtmyjustice. patiently with deepmisgivings We knowallthis. This isacourtoflaw, Mister. I’llhaveno ne callsupwitnessestoprove hisinnocence.But

in atrembling state. To He liftsup

m p : roc ary N L

dan ord, andIdare nottakealife without ow lookyou,Mr. Hale—

t quiets or f

or m

and theothers ary th . this : Itsurely does. He takesoutapaper, andturnsto

the deposition,and ’s chin argument letlawyerspresent . Y ou cannotweep,Mary. : A

his anxiety nd Ibidyoualldo

h ale R He is speaking He isspeaking . effrontery ebecca Y

ou saw saw ou comes up L et you

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 256 255 254 253 252 251 250 249 248 247 246 245 244 243 Mary Warren, evidence? lying, whenyouknewthatpeoplewouldhangby your Danforth: Mary Warren: Danforth, Mary Warren, Danforth: Mary Warren: Mr. Proctor threatened youforthis dutiful. judge reassuringly witchcraft is p p Mr. Proctor. Danforth: Hale, ma here? Mr. out thewindow clear starts reading hands pressed together her victims—andtheydotestify, thechildren certainlydotestify. witch willaccuseherself: granted?Therefore, wemustrely upon The witchandthevictim.Noneother. Nowwecannothopethe crime, isitnot?Therefore, whomaypossiblybewitnesstoit? What more mayyouaskofme?Unlessdoubtmyprobity? Danforth: are not— Hale: out? Ithinkhavemademypoint.Havenot? their confessions.Therefore, whatisleftforalawyertobring As forthewitches,nonewilldenythatweare mosteagerforall Danforth— question— Parris, thought towardthewindow kerchief andblowshisnose. roc roc ry C : t t

. MaryWarren, how , or or Mr. Parris, heever, c defeated But thischildclaimsthegirlsare nottruthful, andif they reads too h hardly abletocontainhisangerandfear , m hands ittohim eever then proceeds toread a She doesnot ry Then youtellmethatsatinmycourt, sensing aweakening Has heeverthreatened you? And letyouputyourhearttorest. Herdeposition, That isprecisely whatIamabouttoconsider, sir. . his firstreal outburst Presently .

ipso facto wa will yougointothecourtandbringchildren : Isurely donot,sir. Letyouconsiderit,then.

pa gets upandgoesoutupstage . . No,sir. weaker No,sir. almost inaudibly Now, having p rr

rre roc I bidyoubesilent! i s n

t comes tohisotherside

. or sobs once

: No,sir. , c d

4 . answer. onitsfaceandbynature, aninvisible h an

hath glances at eever

. came youtothisturnabout?Has The othersstandasideashemovesin for

established thathewillsetthegait . or th hal

. : Hashethreatened you? Answer me! waits placidly : Idid,sir. n jo ,

lifts hiseyes,standsup,takesouta e in whichhiscontemptfor hn e

g rises,

gets up il

Hestandsinsilence,

deposition? p es. fr roc

goes beside t . . an , or d d finds positionnearthe an , an c touches herhead the sublimeofficial : Ishouldliketo i s for for

prays silently th

th d an

looks at now turnsto for callously

looking

P th a rr

jo , : and i hn s ,

5. probity 4. 4. NOTES callously without sympathy;coldly ipso facto complete honesty;integrity. “therefore” (Latin). “by that veryfact”;

The Crucible,Act III (KAL uhslee)

(PROH buhtee)

(ihp sohFAK toh)

adv

n . .

641 642 NOTES 6. augur(AW guhr)bit for boringholes. point ofanaugur, atoolused

UNIT 5•FACING OUR FEARS sharp 266 265 264 263 262 261 260 259 258 257 270 269 268 267 very augurbit Mary Warren: that youlie? know thatGoddamnsallliars? Danforth: a and enter But shebreaks intosobsatthethoughtofit,andrightdooropens, with God. Mary Warren: lightly sayyoulied,Mary. Doyouknowthat? have committedperjuryandyouwillgotojailforit. You cannot lying now, oryouwere lyinginthecourt,andeithercaseyou Danforth, Mary Warren: Danforth: Pause your pretense, foraquickconfessionwillgoeasierwithyou. if shespeaktrue, Ibidyounowdrop yourguileandconfess distract oursacred purpose.Ifso,herneckwillbreak forit. W deposition maybedevisedtoblindus;itwellthatMary witness. likewise, children, thelawand of witchcraft,anddescribedeathasthepenaltythereof. B Now, children, thisisacourtoflaw. well thatnoneofyouhaveseenthesethingseither. spirits, apparitions,noranymanifest oftheDevil. deposition. Inwhichsheswearsthatneversawfamiliar Silently Danforth: children. Cheever: Danforth, Danforth, Abigail: or doyouforce metohard questioning? honesty isproved. Mary Warren, Danforth, Danforth, Abigail: truth inthis? b ible, andthe arren hasbeenconquered by igai . Abigail l. c

they sit Slight pause h I havenaughttochange,sir. No, sir. sus eever R containing himself You are withGodnow. How were youinstructed inyourlife? Doyounot T to thinks, glancesat uth anna hese willbesufficient.

ma B 6 Icannotlienomore. IamwithGod. Aye,sir. No,sir—IamwithGodnow.

W . Your friend,Mary faintly willnowbeturnedintoyoursoulsuntil comesto P ible, writby Almighty God,forbidthepractice r illiams, rise. y utnam’s notinthecourt,sir, northeother w : You wouldstillgoonwiththis? W a . Nowthen.Itdoesnotescapemethatthis lc : Aye,sir. ill eitherofyouchangeyourpositionsnow, o tt, dan m

ma : Iwilltellyouthis—youare either erc f o a r rt b y B y igai S She cannotspeak

lew h ible damnallbearers offalse atan, whosendsherhere to then backto . W S l

it youdown,children arren, hasgivenusa i T slowly s, bett S he law, baseduponthe he lies. y

rises p

a a b rr igai . Isthere any . Orisitnow i s , andfinally l S : he claimsas Slight pause C hildren, a B ut . B

ut .

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 291 290 289 288 287 286 285 284 283 282 281 280 279 278 277 276 275 274 273 272 271 292 murder yourwife? Danforth, Danforth, house forlaughterduringprayer. congregation shewere twicethisyearputoutofmeetin’ Proctor: into itforsafe-keeping.Whatsayyoutothat? saw hermakeitandwitnessedhowsheherself stuckherneedle you satbesideherinthecourtwhenshemadeit,andthat house,stabbedbyaneedle.MaryWarrenProctor’s claimsthat Danforth, Danforth, Proctor: cool plottomurder, doyouunderstandthat? Danforth: What mayMaryWarren gainbuthard questioningandworse? Proctor: one haseverseen. Parris: my house,butnoonehaseverseenit. Proctor, one eversawthem? Parris: never sawnopoppetsinmyhouse,noranyoneelse. Proctor: Hathorne: Proctor: poppets whenshewere agirl. said sheneverkeptnopoppets. Cheever: Danforth: Cheever: Warren confessesitwasherpoppet. Proctor: Abigail: did youseepoppetsinthathouse? Danforth, Abigail, Danforth, Danforth, Giles: but sheissolemnnow. Parris: during—! A We are here, Your Honor, precisely todiscoverwhatno Why couldthere nothavebeenpoppetshidwhere no Excellency, shewere underTituba’s poweratthattime, ye, nowsheissolemnand goestohangpeople! G with aslightnoteofindignation furious Mr. Danforth,whatprofit thisgirltotumherself about? I I I She hasnotbeenagirlthesefifteen years, Your Honor. Your Honor, mywife neverkeptnopoppets.Mary t isnotachild.Nowhearme,sir. do,sir. t willkeepif itiskept,butMaryWarren swearsshe When Your Excellency. oody Proctor alwayskeptpoppets. shocked, turningto pointing at You are charging Mr. Cheever. after aslightpause turning to B ut apoppetwillkeepfifteen years,willitnot? : There mightalsobeadragonwithfivelegsin I spokewith I believeshemeanstomurder.

abigail

abigail : : WhileyouworkedforMr. Proctor, A ,

A incredulously abigail G bigail Williams withamarvelous poppetwere discovered inMr. oody Proctor inthathouse,she B ut shesaiddidkeep : What’sthis? : I t isalie,sir. : Thischildwould I n thesightof L aughter paragraph 289. the first sentenceof to refer toAbigailin pronoun Proctor uses language? the effect ofthisuse NOTES CONCLUDE: QUESTION: ANNOTATE: CLOSE READ Abigail inthisway? Miller haveProctor refer to The Crucible,Act III Whydoes Markthe Whatis

643 stating theirthoughts. characters are notfully punctuation thatindicates 297 to304,markthe bits ofdialogue? effect oftheseabbreviated 644 CONCLUDE: QUESTION: ANNOTATE: CLOSE READ NOTES happening inthescene? this punctuationsuggestis

UNIT 5•FACING OUR FEARS Whatdoes Inparagraphs Whatisthe 312 311 310 309 308 307 306 305 304 303 302 301 300 299 298 297 296 295 294 293 316 315 314 313 Danforth: Danforth: blackening myname.He— Parris, woods. Proctor: Mr. Proctor. remorselessly their spiritscameoutof bodiesandchokedyou— of witcheryconfronted youincourt,wouldfaint, saying Hathorne, Mary Warren agents. Devil’s threatened orafflicted byanymanifest oftheDevil orthe Hathorne: Danforth, Mary Warren surprised w to Danforth of night! Proctor, Parris: Y Proctor, Danforth: Danforth: charges contemplationofmurder. Hathorne: Danforth: Danforth, Danforth, Parris, Danforth: Parris: Danforth: told methat. Hale: Hathorne: Hathorne: on Danforth: and thismanis— Parris: our Honor, andtheyhavedancedthere naked— a

pa rr pa rri en rri Excellency, when unwillingly s . instantly Y I I s : Mr. Parris— donot,sir, but canonlysay, sir, that , . our Honor, this— at once taking itrightup T Mary. Nowtellthe —it isgrowing intoanightmare he pointsat W here’s the“child”sheis! I with great worry Aye. Quiet, man. as thoughwithneweyes B Do youdenyit,Mr. Parris? B with agleamofvictory Y Surely ithavenobearingonthequestion,sir. He Excellency, willyoupermitme? n amoment,sir. hat isthisdancing? . ut shehavedanced? ut youdiscovered themdancinginthewoods? ou sayyouneversawnospirits,Mary, were never Then, appealingto , : very faintly I : Mr. Parrisdiscovered themhimself inthedead : Excellency, since — He studies She glancesat : Aye,sir.

a big I I neversawanyofthemnaked. firstarrivedfrom : Abigail leadsthegirlstowoods. a : No,sir.

il a : Pray, proceed. big . Abigail? To To G I a overnor howyoudancedinthe

neverfoundanyofthemnaked, p ma a il ro : And yet,whenpeopleaccused big

, for amoment, ry w I c looks at cometoSalemthismanis tor a il a , : Mr. Proctor— rr , who isstaringdownather and heturns en

a big B , He pointsat everly, Mr. Parris sternly, and a

then il . : Continue, , astonished,

ma ry Eyes

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 343 342 341 340 339 338 337 336 335 334 333 332 331 330 329 328 327 326 325 324 323 322 321 320 319 318 317 Mary Warren, many times. Parris: Mary Warren: spirits madeyoufaint! Parris: her head Mary Warren, faint byyourownwill,asyouclaim. Parris: Mary Warren: loose, butinthecourtthere were some? Danforth: Mary Warren: Danforth: to faint Mary Warren: Proctor, them? Hathorne: Mary Warren: Danforth: because I—IthoughtIsawspirits. Mary Warren: Parris: Mary Warren: Parris: Mary Warren Danforth: Mary Warren turns to cold now, letherpretend sheisattackednow, letherfaint. none inthisroom isaccusedofwitchcraft.Soletherturnherself Parris: Proctor: Hathorne: all marvelouspretenders. Proctor: Danforth: up manytimes,andyourskinwere icy. Mr. Danforth,you— . I—havenosenseofitnow, I— A Then youwillconfess,not?Itwere attacking Then seenospiritsnow, andprove tousthatyoucan Your Excellency, thisisatricktoblindthecourt! But youdidturncold,not?Imyself pickedyou Why not?Nowthere are nospiritsattackingher, for

: m

I—cannot doit. ye, faint.Prove toushowyoupretended inthecourt so alarmed, quietly Now? She onlypretended tofaint, Your Excellency. They’re ar Might itbethathere wehavenoafflicting spirit Why? Whatislackingnow? Thought I cannothearyou. I sawthatmanytimes. How couldyouthink sawthemunlessyou Then canshepretend tofaintnow? y

w : Pretense, sir. : Thatwere pretense, sir. Faint? Ineversawnospirits. I—cannottell,sir, I— I— ButIdidnot, Your Honor. It’snotatrick! No,sir. I— arr looking to stares, searching fortheemotionofit,andthenshakes She looksaboutasthoughsearching forthepassion en yousawthem! . Faint! :

p C roc an younotpretend it? t She stands or : I—cannotfaintnow, sir. . I—Iusedtofaint He

NOTES The Crucible,Act III

645 646 NOTES

UNIT 5•FACING OUR FEARS 358 357 356 355 354 353 352 351 350 349 348 347 346 345 344 363 362 361 360 359 Mary Warren: Abigail Susanna Walcott: Mary Warren: shadow onme? Mercy Lewis, her! Parris, Hathorne, Proctor: Mercy Lewis, Mary Warren, Danforth, Danforth, simple lie. Mr. Danforth,Ionlythoughtsawthembutdidnot. then thewholeworldcriedspirits,andI—Ipromise you, believe them,andI—Itwere onlysportinthebeginning,sir, but other girlsscreaming, andyou, Your Honor, youseemedto Mary Warren: m d eyes fallon though cold Abigail, Danforth, her faceturns,looking wits? you tobesomightythatthepowerofHellmaynotturnyour Abigail, Danforth, reward? people—andthisismy done mydutypointingouttheDevil’s runnin’ out!Ihavebeenneartomurdered everydaybecauseI Abigail: Danforth: Abigail: cross yourmindwhen— spirits youhaveseenare illusiononly, somedeceptionthatmay them thattakelife withoutcause.Isitpossible,child,thatthe G search yourheartandtellmethis—andbeware ofit,child,to anfort ar od everysoulisprecious andHisvengeanceisterribleon y warren B smiling eware ofit! , shivering,visibly h T I havebeenhurt,Mr. Danforth;Ihaveseenmyblood W looking aboutintheair in anopenthreat T

o bemistrusted, denied,questionedlikea— peers ather. weakening hey’re pretending! m touching : I—Iknownot. turning worriedlyto Child, Iwouldhaveyouconsiderit— apprehensively hy, this—this—isabasequestion, sir. ar ’ s

, through chatteringteeth shivering

I—Icannottellhow, butIdid.I—Iheard the y story A L terrified, pleading but nervousbecause warren ord, saveme! bby, don’t dothat! Ifreeze, Ifreeze! T : Surely Your

here is— : Child,Idonotmistrust you— into theairabove—itistrulyfrightened. i ga : Your Honor, Ifreeze! . : : : Itisawind,wind! i L W l ’ A et s hat isit,child?

wind,acoldhascome. hand Suddenly from anaccusatoryattitude, you

, ab clasping herarmsaboutas : A i beware, Mr. Danforth. E ga : Sheiscold, Your Honor,

bby! xcellency isnottakenbythis d anfort i l : Mary, doyousendthis : A bigail. Ibidyounow h

seems tobestruckby T hink Her touch

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 371 370 369 368 367 366 365 364 Herrick: Without warningorhesitation shadow! Abigail, I Mary Warren, catches her Proctor: Danforth, Danforth, h p dan and grabbing With ahystericalcry do youwitchher? cannot— roctor errick

f p ort arris

’ breaks h

s her bythehair crying toHeaven John! How doyoucallHeaven!Whore! Whore!

roaring voice call. . astonished, cries himself engagedandentered by

“Take yourhandsoffher!”andout ofitallcomes almost collapsing roctor I saytoyou,doyousendyourspiritout?

m . ,

ary from her. pulls hertofeet. : , “Whatare youabout?” O w arren h, HeavenlyFather, takeawaythis , p roctor : L

et mego,Mr. Proctor, starts torun

leaps at

abigail

She screams inpain

abigail . : MaryWarren, Proctor and and,

I at cannot,

h orne

NOTES The girlsreact toa by Mary Warren. possible “bewitchment” The Crucible,Act III

647 648 NOTES

UNIT 5•FACING OUR FEARS 385 384 383 382 381 380 379 378 377 376 375 374 373 372 388 387 386 starts forthedoor Abigail, is innocent,exceptsheknewawhore whenshesawone! of mygoodname—youwillbelieveme,Mr. Danforth!Mywife Proctor: Danforth, Danforth, set myself entirely inyourhands.Iknowyoumustseeitnow. such sweat.Butitisawhore’s vengeance,andyou mustseeit;I of with meonmywife’s grave! though tocryoutishisonlymeansofspeechleft himself, heturnsawayfrom the overcome A took thisgirlsoonafter, sir, sir, Ibegyou—seeherwhatsheis.Mywife, mydeargoodwife, God sleeps,butseeseverything,Iknowitnow. Ibegyou, He hastoclamphisjawkeepfrom weeping some eightmonthspast.Sheusedtoservemeinmyhouse,sir. place—where mybeastsare bedded.Onthelastnight ofmyjoy, Proctor, Danforth, name. You surely knowthat. Abigail: Danforth, Proctor, Danforth: might knowme! Proctor: Francis, Danforth: sir. Ihaveknownher. Proctor, Danforth: but— Proctor: d d back again! Abigail: scrap andtittleofthis? a a nd beingwhatsheis,alumpof

nfo nfo her softly. Godhelpme,Ilusted,andthere r r t t h h horrified . Excellency, forgive me,forgive me. stepping upto Mr. Danforth,heislying! If Imustanswerthat,willleaveandnotcome his voiceabouttobreak, andhisshamegreat trembling, hislifecollapsingabouthim breathless I havemadeabellofmyhonor!rung thedoom Oh. Francis,Iwishyouhadsomeevilinthat Mark her!Nowshe’llsuckascream tostabmewith, cannotspeak seems unsteady blanched dumfounded You—you are alecher? You willprove this!Thiswillnotpass! dumfounded Man! Man,whatdoyou— . : John,youcannotsaysucha— To

and inagony ,

d in horror a . I’llnothavesuchlooks!

: In—inwhattime?Inplace? : Youcharge—? nfo d a . nfo r t

and putheroutonthehighroad. h , r

A : turning to go t A : Itisawhore! h nd wellshemight,forIthought v : Whatlookdoyougiveme? manwillnotcastawayhisgood e

vanity, sir— r no r

for amoment a big . A a manmaythink : Shethinksto Angrilyagainst : Ihaveknownher, i l is He isbeing : You denyevery She turnsand apromise in : Intheproper . Then,as

dance

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 404 403 402 401 400 399 398 397 396 395 394 393 392 391 390 389 husband. lips tostallfortime Elizabeth, A and youneednohelptogiveitme.Whydid dismiss only and Danforth: Danforth: Cheever: testimony inallexactness. Danforth: Danforth: Proctor: Danforth: Proctor: her outforaharlot? Danforth: have paidmuchtolearnit,sir. cannot sing,andthemthatweep—mywife cannotlie. Proctor: Elizabeth: Elizabeth: dismissed yourservant, Danforth: Elizabeth, only. Then Danforth: Danforth: Danforth: p enter. word ofwhat’sbeenspokenhere. stands alone swamp. T raise agesture ayeornay. Goody Proctor. Nooneinthisroom istospeakoneword, or with indignant Parris, court andbringGoodwife Proctor out. path. Shecomesupshort,fire inhereyes Danforth, Danforth, knock were forharlotry, mayGodspread your back. roctor he dooropens. bigail Williams? . eliza p He callstothedoor. arris objecting ’ s To

A A I

not atyourhusband. back n herlife, sir, shehaveneverlied. b R

ye, sir, sheknewherforaharlot. ye, sir. C Good then. A A We are giventounderstandthatatonetimeyou For whatcausedidyoudismissher? You willremain where youare! sharply to eth To not knowingwhattosay,sensingasituation,wettingher T faintly p , eady, sir.

roctor goes out her eyeslookingfor ome here, woman. hat istrue, sir. nd knewherforaharlot? nd whensheputthisgirloutofyourhouse,

p . slowness

roctor tries toglanceat L : Your ook atmeonly, notatyourhusband. eliza : Good,sir. : S : Your wife, yousay, isanhonestwoman. . Nowweshalltouchthebottomofthis

he—dissatisfied me. p arris : Dolikewise. b H . Nowletneitherofyouturntoface To eth onor, thisisalla— A

H a

: Bringherout! bigail Williams. He turns enters with b A old! i g re youready? ail

p p T To roctor eliza roctor : he answerisinyourmemory A

a A

nd if shetellme,child,it toward thedoor b H Both turntheirbacks— nd letyouknockbefore you i b g

. Mr. Parris,gointothe is mercy onyou! p eth ail arris . Mr. . You willlookinmyeyes

: Pause comes tohim A T herrick . urn yourback. C nd tellhernotone T p arris heever, report this here are themthat . A Slight pause nd my nd ,

leaves her calls steps intoher , I There isa glancing at n myeyes : E nter! a T b . . urn i g She ail I

NOTES The Crucible,Act III

649 650 NOTES brought inforquestioning. Elizabeth Proctor is

UNIT 5•FACING OUR FEARS 408 407 406 405 415 414 413 412 411 410 409 Danforth: Danforth: Danforth: Danforth: Elizabeth, Danforth: my wits.Ithink,andputheroutonthehighroad. Elizabeth: Danforth: Elizabeth: Danforth: Elizabeth: Danforth: somewhat turningfrom me. sick aftermylastbaby, andIthoughtsawmyhusband his work. some are, norwastin’histimeattheshovelboard, but alwaysat husband isagoodandrighteousman. Elizabeth: slovenly? B L Woman, lookatme? T Your husband—didheindeedturnfrom you? What of L In whatwaydissatisfiedyou? in agony I cametothinkhefanciedher. A She were— Your ut inmysickness—yousee,sir, Iwere alongtime azy? Whatdisturbancedidshecause? ook atme. hen hedidnotturnfrom you. ye, sir. H onor, I—inthattimeIwere sick. : Myhusband—isagoodly man,sir. A A bigail Williams? bigail Williams— She glancesat A nd thisgirl— el i zabeth

proctor She breaks off. H e isneverdrunk as

does A nd soonenightIlost She turnsto

for acue . Were she A . nd I—My

ab i ga i l.

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 439 438 437 436 435 434 433 432 431 430 429 428 427 426 425 424 423 422 421 420 419 418 417 416 abigail Danforth: Danforth: lechery? own knowledge,hasJohn Danforth Hale: Danforth: before we— Heaven, Ibelievehimnow, andIprayyoucallbackhiswife From thebeginningthismanhasstruck metrue. Bymyoathto more—private vengeanceisworkingthrough thistestimony! before anotheriscondemned!Imayshutmyconsciencetoitno Hale: Proctor: Elizabeth: Proctor, Danforth: Proctor: Danforth: Elizabeth, question! Isyourhusbandalecher! c Elizabeth, Elizabeth, Danforth, Danforth, Mercy Lewis, you—? whimpering tension inhisvoice lowers hiseyesfrom theceiling Proctor, Danforth: Proctor: Abigail Proctor: Abigail: Danforth: Danforth: Abigail: girls are doingthesame—andnow raising struck mefalse!Shehas— hee v e I believehim! Excellency, itisanaturallieto tell;Ibegyou,stopnow

r , up herfrightened

, totheceiling , with aweird Why—? You willnot!Begone!Begone,Isay! he In acrisisofindecisionshecannot crying out to She onlythoughttosavemyname! Elizabeth, tellthetruth! Mr. Hale— Where’s abird? Iseenobird! , reaches outandholdsherface

Be quiet! She spokenothingoflechery, andthismanhaslied! She hasspoken. R looking up Be quiet! What isit,child? , O faintly starting toglanceat rr hale open-mouthed, agapeattheceiling. emove her, Marshal. h, God! i

ck pointing : , and D : No,sir. . She gulps.

: Elizabeth,Ihaveconfessedit! C o youseeabird? , hild! Pointing at : Myface? : Where! wild, chillingcry,

The doorclosesbehindher d : It’sonthebeam!Behindrafter! anf eyes, She istransfixed ort P Whydoyoucome,yellowbird? R roctor evercommittedthecrimeof But , her awedface,towardtheceiling emove her! h and nowheisfrightened

proctor

abigail do thesame

abigail ha t h

or screams uptotheceiling. , : He— : then , T ne pointing with

— his girlhasalways speak. , . What’sthere? : Lookatme! with allthegirls hale Girls!Whydo . Answer my , put ; nam

there isreal fear , T , He o your is now , — she is the NOTES The Crucible,Act III

651 652 NOTES

UNIT 5•FACING OUR FEARS 461 460 459 458 457 456 455 454 453 452 451 450 449 448 447 446 445 444 443 442 441 440 468 467 466 465 464 463 462 the exacttoneof Abigail, Mary Warren: Mary Warren: Danforth: Girls Mary Warren: them! Danforth, Girls: Mary Warren, t Abigail andAll Mary Warren, Girls, feet Mary Warren, Girls: Mary Warren: Proctor: Danforth, Girls: Mary Warren, you cannotwanttotearmyface. though tryingtotalkitoutofattackingher Abigail, Mary Warren, hurt me! Abigail, Proctor: Susanna Walcott: down. will swoopdownmomentarily Abigail— Proctor, Mary Warren: mouth; it’sGod’sworkIdo. black arttochangeyourshape.No,Icannot,cannotstopmy Abigail, Abby! Danforth, Danforth, : Abby, stopit! , cuttingheroff stamping theirfeet They’re sporting! Never, never! I’m here, I’mhere! frantically now staringfullfront asthoughhypnotized backing further, eyesstillfixedabove unperturbed to theceiling Give meawhip—I’llstopit! Lies, lies. now shetakesabackwardstep,asthoughinfearthebird growing hysterical Have youcompactedwiththeDevil?you? horrified to ma Mr. Danforth! Sheseesnothin’! They’re sporting.They—! Never, never! pleading Abby,I’m

to allthegirls turning onthemallhystericallyandstampingher to on herfeetwithaspring, ma ry w

he Girls dan ry w Herclaws,she’sstretching herclaws! : They’re pretending, Mr. Danforth! : Mary : Mr. Danforth! a , , f rr continuing tothe“bird” in agenuineconversationwiththe“bird,”as a o : Abby, you mustn’t! rr : Abby, stopit! en r th , here! en : W all transfixed : I’mnothurtingher! W : I’mhere, I’mhere! : Oh,please, ’ arren! Drawbackyourspiritoutof : s W hy doessheseethisvision?

cry hy cantheyonlyrepeat you?

: Sheseesnothin’! Envy isadeadlysin,Mary.

and horrified, : Abby, you mustn’t! : But

Mary! Don’tcome : Mary, pleasedon’t : Oh,Mary, thisisa

God mademyface; , and mimicking

pleading :

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 482 481 480 479 478 477 476 475 474 473 472 471 470 469 Proctor: Girls: Mary Warren, you afflict others;where didyoufindthispower? Danforth: she does. half raised,powerless,andallthegirlsbeginwhimperingexactlyas her fists Mary Warren, Girls: Mary Warren: abigail mary warren Girls, Hale, have seentheDevil,younot? Danforth: made compactwith Danforth, Proctor, Mary Warren: indicating I Stop it! raising theirfists ’ havenopower. : Stopit!! s — sensing herweakening They’re gulling and the pounding itintoher A W littlewhileagoyouwere afflicted. , hy didyouturnaboutthispasttwoweeks? utterly confounded,andbecomingoverwhelmedby

Stopit!

staring at screaming itoutatthetopofherlungs, I

— abigail girl L s’—utter conviction,startstowhimper, hands ucifer, haveyounot? : Stopit!!

and the

abigail 7 you, : :

Y girl M M : ou haveseentheDevil,you I ary, ister! —have nopower. s :

Y G ou cannotbelievethem! od damnsallliars! N ow itseems

and raising Y ou

7. gulling power andpowerlessness. dialogue thatrelate to both stagedirections and 471–481, markdetailsin details emphasize? in thecourtroom dothese CONCLUDE: QUESTION: ANNOTATE: CLOSE READ NOTES concepts inthisscene? Miller highlightthese she claimsisMaryWarren’s spirit. Abigail “sees”theyellowbird

The Crucible,Act III v . fooling. Whydoes Inparagraphs Whatchange

653 654 NOTES

UNIT 5•FACING OUR FEARS 499 498 497 496 495 494 493 492 491 490 489 488 487 486 485 484 483 505 504 503 502 501 500 Danforth, Danforth, Mary Warren: Proctor, Girls: Parris: He isstoppedinhistracks. Proctor, girls halt Mary Warren: screaming inhorror. word out,when,seeinghimcomingforher, sherushesoutof hisreach, Proctor: Mary Warren, m Proctor: pro Danforth: Danforth: watching the though cornered, theyletoutagiganticscream, and She andallthegirlsruntoonewall,shieldingtheireyes.Andnow, as Abigail, We’ll saveyou,Mary, onlystandfastagainsthimand— Parris: Girls: Mary Warren, Danforth: Abigail: Speak! Danforth: Hale: Mary, please,don’t,don’t—! Abigail, good and— Proctor: will hangif youdonotopenwithme! turns her unintelligibly. infected, openshermouthandscreams withthem.Gradually and thegirlsleaveoff,untilonly “bird,” screaming madly.Allwatchher, horrifiedbythisevidentfit. ary ct

or utters somethingunintelligible I P I seenothing, cannot! P Cast theDevilout! raise God!

numbed strides toher

raise God! at thedoor. She’s goingtocomedown!walkingthebeam! pointing upward looking up astonished roughly tofacehim. Mary, telltheGovernorwhatthey— God damnsliars,Mary! Mary, remember theangel to I Will youspeak! Do youconfessthispower! cannothearyou.Whatdoyousay? “bird” above.

m Y

Don’ttouchme—don’tme!

ary ou willconfessyourself oryouwillhang! I pointing at staring inhorror ’ll nothangwithyou! : Mary, how—? : He bid you do the Devil’s work? : HebidyoudotheDevil’s : : Mary! L Y . ook out!She’scomingdown! our Honor! : Thewings!Herwingsare spreading!

pro L Doyouknowwho ook himintheface!Trample him! ct m : or I ary cannot! : , Y staring at isleftthere, staringupatthe ou’re the Devil’s man! ou’re theDevil’s R aphael—do thatwhichis I He isaninchfrom herface. loveGod.

abi He hashardlygota I g am? m m ail Atwhichthe ary ary I loveGod. , who keeps , asthough

I utters again sayyou abi He g ail

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 525 524 523 522 521 520 519 518 517 516 515 514 513 512 511 510 509 508 507 506 526 Danforth, Danforth, the doortooutsidebehindhim. Hale: Proctor: Hale, Danforth: and wewillburn,burntogether. black heartsthatthisbefraud—Goddamnsourkind especially, have quailed,andasyouquailnowwhenknow inallyour Danforth! boot of Proctor, Parris: Proctor, that blackallegianceyet?Whatsayyou? Will youconfessyourself befouledwithHell,ordoyoukeep Proctor, Hale: sign . eyes were likecoalsandhisfingersclawmyneck,Isign, Mary Warren, his Proctor, Danforth’s hangs! We mustgoandoverthrow thecourt,”hesays! name, hewantmyname.“I’llmurder you,”hesays,“if mywife Mary Warren, Parris: Danforth: night andeverydaytosign,to— Mary Warren, Danforth: Danforth: Hale: Mister? have seenyourpower;youwillnotdenyit!Whatsayyou, her, andthenlooksupto A out ofherinfinitecharity,reaches outanddrawsthesobbing Danforth, Danforth, no more. IloveGod.bless Mary Warren, bby,

anger I denouncetheseproceedings, Iquitthiscourt! staring across tothedoor E E A Hear it,hearit! T xcellency, thischild’sgonewild! xcellency— L bby, I’llneverhurtyoumore! . he Devil’s book?Hecomewitha he Devil’s ucifer. Iseehisfilthyface! laughs insanely,then his mindwild as turning, appealingto Y Y F ou are pullingHeavendown andraisingupawhore!

ou are combinedwithanti- calling tohiminafury Marshal! Sign what? I willhavenothingfrom you,Mr. Hale! to head jerkstoward d or themthatquailtobringmenoutofignorance,asI

anfort proctor

her sobsbeginning hysterically, pointingat hysterically, indicating screaming athim h T ’ : Whatare you? ake himand s ,

breathless d wide eyespouronhim anfort

proctor

: h : Idenouncetheseproceedings! A ale : h fire, afire isburning!Ihearthe : Isay—Isay—Godisdead! N : Mr. Hale!Mr. Hale! : Hewakemeeverynight,his . Sobbing, sherushesto : Mr. Hale! o, IloveGod;goyourway C A , orey withhimtothejail!

proctor

shock andhorror inhisface nd itismyface,andyours, proctor proctor C They allwatch,as hrist, : Mary, Mary! : Hecomeatmeby 8 T

, are younot?I is beyondspeechin he fearful ofhim C To urtain

proctor He slams ab

m ig ig ary a : My F a i l alls i

l . to : , . paragraphs 504and515. repeated sentencein effect ofthisrepetition? CONCLUDE: QUESTION: ANNOTATE: CLOSE READ NOTES 8. anti-Christ Miller repeat thissentence? universal evil. in apersonwhowillspread to beembodiedsomeday of oppositiontoChristianity, The Crucible,Act III Whydoes Markthe Whatisthe IntheBible,aspirit

655 656 Complete thefollowingitemsafteryoufinishyourfirstread. Check Comprehension Abigail and the other accusers. example,For you may want to reasons medical learn the possible for the behavior of Research to Explore Research RESEARCH 5. 4. 3. 2. 1.

UNIT 5•FACING OUR FEARS Why isElizabethProctor brought intotheCourt? Warren ofpretending? What appearstohappenAbigailandtheothersgirlsaftertheyare accusedbyMary girls are frauds? At thebeginningofActIII,what“hard evidence”doGilesandFrancisprovide thatthe Where doestheactionofAct IIItakeplace?

Notebook

Write asummaryofActIII

Conduct you find of interesting. research the text an on aspect The Crucible.

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 2. 1. connotation. beyond mere callousness. but example, both can havesimilarconnotationsthatvarymainlyindegree, orintensity.For emotional connectionsthataddmeaningbeyonditsliteral definition.Words 1. TextAnalyze the would thiscreate foranaudience? Why doesMillerpresent theactioninthisway?Whateffect Reread paragraph368,and markthetextinquotations. TextClose Readthe Word Study Practice Why Concept Vocabulary 4. 3. 2. of disregard forothers.Whatotherwords inActIIIrelate tothisconcept? demonstrates theword’s meaning.

connotation andwhichhas theleastintenseconnotation. For eachtrioofwords from item1,indicatewhichhasthemostintense Write twosynonymsforeachofthesewords: remorseless the accusers? (b) (a) (b) (a) brought intoargueProctor’s case? Make asks whetherProctor hastold thestorytovillage?Explain. has adepositionfrom Mary? (a)

N N N remorseless WhattermdoesDanforthusetodescribeAbigailandthegirls? otebook otebook otebook

T MAKING MEANING I D A A nterpret hese Words? raw Conclusions nalyze nalyze I nferences remorseless

isamore extreme word. Itsuggestsaharshnessthatgoes

What doeshisuseofthistermshowaboutviews What doeshisconfessionreveal abouthischaracter? Respond tothesequestions. Connotation Use eachconceptvocabularyword inasentence that Why doesProctor confess to theaffair withAbigail?

Why doyouthinkHaleissoinsistentthatlawyersbe

The conceptvocabularywords refer todifferent kinds effrontery

Unfeeling and How doesDanforthreact to thenewsthatProctor

callously (b) The

A , ontheotherhand,hasalessintense l connotation nalyze ang havesimilarnegativeconnotations, WhydoyouthinkDanforth u callously age denounce, eager, fraud,coldly. ofaword refers to to supportyouranswers. Cite textualeviden

deve l o p ment c e denotations. the meaningofwordswithsimilar L.11–12.5.b word meanings. word relationships, andnuances in understanding offigurative language, L.11–12.5  THE CRUCIBLE, ACT III Network. from thetexttoyourWord Add words related tofear 

S The Crucible,Act III ta

WORD NETWORK WORD nd

Demonstrate

Analyze nuancesin ar d s

657 658 in atextfromwhatisreallymeant. distinguishing whatisdirectlystated which grasping pointofviewrequires RL.11–12.6 story ordrama. to developandrelateelementsofa the author’s choicesregardinghow RL.11–12.3 

ta UNIT MAKING MEANING nd

THE CRUCIBLE,ACTIII Analyze acasein Analyze theimpactof 5 ar

•

d FACING s

OUR

FEARS characterization. In in whichawriterreveals acharacter’s personality.There are twotypesof drive humanbehavior, buttheymaybemaskedorhidden. greed, guilt,love,loyalty,pride, andrevenge are someoftheforces that people inreal life, charactersinplaysare notalwayswhattheyseem.Fear, their Understanding charactersthrough characterizationisthekeytounlocking types ofdetails: characterization, in stagedirections, butmost dramaticliterature requires what acharacterislike.Aplaywrightmightusedirect characterization Character Development Analyze CraftandStructure • • • 3. 2. 1. Practice 4.

other characters’reactions other characters’comments the character’s words, actions,andappearance evasion suggestabouthercharacter, herfeelingsforhusband, Considering Elizabeth’s beliefthatlyingisasin,whatdoesher about Abigail’s dismissalfrom theProctor household? (a) readers Mary Warren’s personality. (a) of direct characterization.Explainyourchoices. characterization—in dialogueorinaction—thatamplify theexamples Corey instagedirections. (a) the endofActIII? court? (a) and herunderstandingofthecourtproceedings? motivations Notebook WhatmotivatesHaletodenouncetheproceedings andquitthe WhatisElizabeth’s motivationforevadingDanforth’s questions Identify three examplesofindirect characterizationthatreveal Identify twoexamplesofdirect characterizationofGiles (b)

learn HowdoesHale’s characterchangefrom thebeginningto

—the reasons theyfeel,think, andbehaveastheydo.Like inwhichcharacters’traitsare revealed through various about her. Respond tothesequestions. direct characterization,

The term (b) (b) Identify twoexamplesofindirect Foreachexample,explainwhat characterization theauthorsimplytellsreaders to supportyouranswers. CITE TEXTUALEVIDENCE refers totheways indirect (b)

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. Write It dramatic irony andverbalirony. often useirony tobuildsuspense andcreate tension.Two typesofirony are and reality, orbetweenwords andmeaning, not alwayswhattheyseem.Whenthere isacontrastbetweenexpectation Author’s Choices:LiteraryDevices Author’s Style all examples,analyzetheeffect ofthediscrepancy. not. Forexamplesofverbalirony, writewhat eachspeakerreally means.For what theaudienceunderstandsorknowsthatcharactersthemselvesdo examples ofverbalirony inActIII.Forexamples ofdramaticirony, describe Complete thischartbyrecording twoexamplesofdramaticirony andtwo Read It E • • xample Notebook “honourable men.”Hedoesnotreally meanthis. Antony refers toBrutusand therest ofCaesar’s murderers as EXAMPLE: InActIII,Sceneii,ofShakespeare’s another. Verbal irony death, butthatsheisaliveandwillawaken. to bedead.Theaudienceknowsthatshehastakenapotionmimics EXAMPLE: InShakespeare’s understands andwhattheaudienceknowstobetrue. Dramatic irony

In whatwaysisElizabeth Proctor’s testimonyironic? occurswhenacharactersaysonethingbutmeans isthediscrepancy between whatacharacterbelievesor T ype of Romeo andJuliet I rony essential question:

Like characters,situationsare also irony , theCapuletsbelieveJuliet Julius Caesar isatwork.Playwrights A nalysis Howdowerespond whenchallengedbyfear? , Mark Crucible. fromlearned ActIIIof Log andrecord whatyou Act IV, gotoyourEvidence Before movingonto  The Crucible,Act III

evidence log The

659 660 end oftherange. scaffolding asneededatthehigh complexity bandproficiently, with poems, inthegrades 11–CCRtext including stories, dramas, and 11, readandcomprehendliterature, RL.11–12.10  Arthur Miller Playwright

tandards UNIT 5•FACING OUR FEARS making meaning

By theendofgrade You willencounterthefollowingwords asyouread ActIVof Concept Vocabulary The Crucible,ActIV opportunity tocompletetheclose-read notesafteryourfirstread. Apply thesestrategiesasyouconductyourfirstread. You willhavean First ReadDRAMA review yourrankings.Mark changestoyouroriginalrankingsasneeded. After completingthefirstread, comebacktotheconceptvocabularyand words inorder from mostfamiliar(1)toleast(3). Before reading, notehowfamiliaryouare witheachword. Then,rankthe have already read. already know andwhatyou the selectiontowhatyou CONNECT they do. why and about, NOTICE those involvedreact as when what conciliatory disputation adamant whom WORD it happens, and ithappens,and ideas within ideas within happens, the story is thestoryis where

you wanttorevisit. vocabulary andkeypassages ANNOTATE the by writingabriefsummaryof the Comprehension Checkand RESPOND selection. YOUR RANKING by marking by marking by completing by completing The Crucible .

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 1 5 4 3 2 other benches. Herrick: a bundleofragslyingonit. He isnearlydrunk,andheavy-footed.goestoabench andnudges marshal herrick corridor beyondthewall,keysrattle,anddoorswings open. bars. Itappearsempty.Presently footstepsare heardcomingdowna The placeisindarknessbutforthemoonlightseepingthrough the Along thewallsare twobenches. At thebackisahighbarred window; nearit,agreat, heavydoor. A cellinSalemjail,thatfall. see if yourpredictions are correct. will be?Whosurvive,andwhoperish?Readthefinalactto join thelistofthoseaccused.Whatdoyouthinkfinaloutcome Salem. Inpursuingjustice,theirefforts backfire, andtheirownnames like JohnProctor andGilesCorey againstthemountinginjusticesin counted againstit.”Suchremarks stress thepowerlessnessofpeople Danforth observes,“Apersoniseitherwiththiscourtorhemustbe “Is everydefenseanattackuponthecourt?”HaleasksinActIII. REVIEW ANDANTICIPATE Crucible The Sarah, wakeup!SarahGood! Arthur Miller Arthur Act IV Act enterswithalantern.

He thencrosses tothe NOTES ANCHOR TEXT TEXT ANCHOR The Crucible,Act IV MULTIMEDIA SCAN FOR | DRAMA

661 each reference totheDevil. paragraphs 18–24, mark effect ofthesedetails? 662 CONCLUDE: QUESTION: ANNOTATE: CLOSE READ NOTES Devil byvariousnames? refer totheand Tituba Miller haveSarahGood

UNIT 5•FACING OUR FEARS Whydoes In In Whatisthe 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 his lanternonthewall. Herrick: Tituba, he’shere, HisMajesty’s come! Sarah Good, goin’, Tituba! NowyoutellhimSarahGoodisgoin’too! Sarah Good, home! Tituba, cow withahatfulofmilk.Comealongnow, outwithyou! Herrick, Tituba, Herrick, Hopkins: as Sarah Good: Sarah! tituba Barbados hejustassweetand— here forthatOldBoy. Hefreeze hissoulinMassachusetts,but you folks—yourileshimup’round here; itbetoocold ’round man inBarbados,himbesingin’anddancin’Barbados.It’s Tituba: into Hell. Herrick: Marshal. Tituba: you’ll neverriseoff theground. Comealongnow. Herrick to drinkagain. us! Oh,itbeagrandtransformation,Marshal. Sarah Good: Herrick: gits here withthefeathersandwings. Tituba Herrick away? devil comin’forus.CouldIhaveasipofcidermegoin’ Sarah Good: place. Herrick, the marshal. Tituba: hopkins, Hedrinks,and , Thatdon’tlooktomelikeHisMajesty; Oh,itbenoHellinBarbados.Devil,himpleasure I’llspeaktohimforyou,if youdesires tocomealong, leaps up , , as calling tothewindow resisting him Oh? A happyvoyagetoyou. Gotothenorthcell;thisplaceiswantednow. I’dnotrefuse it,Tituba; it’stheproper morningtofly taking the flask from herlips taking theflask handing hertheflask taking outaflask pulling hertothedoor grabbing The Deputy Governor’s arrived. TheDeputyGovernor’s sarah a guard,enters. A pairofbluebirds wingin’southerly, thetwoof Oh,isityou,Marshal!Ithoughtsure youbethe I’mhere, Majesty! following theshouting rising inherrags

and callstothewindow drinks tituba: Comealong,comealong. sarah good :

No, hecomin’forme.Igoin’home! tituba : We goin’toBarbados,soontheDevil : Getalongwithyounow, clearthis : : And where are youoff to,Sarah?

Take mehome,Devil!Take me sits up : :

That’s notSatan,justapoorold Oh, Majesty!Comin’,comin’! A They hurriedlypickuptheirrags comes andpeersupintohisface.

bellowing cowisheard,and tituba : .

You’d bestgivemethator :

Aye, sir!That’shim,

out :

She raises the flask She raisestheflask Tell himI’m He hangs

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 26 47 46 45 44 43 42 41 40 39 38 37 36 35 34 33 32 31 30 29 28 27 They are ingreatcoats andwearhatsagainstthebittercold.Theyare footsteps, heturns,andenter returns andbeginstopusholdragsstrawintoacorner. Hearing take mehome!”and In thecorridoroutside surprised hehavebeenpreaching in Andover Hathorne: goes out.There isapause. danforth, Herrick: Danforth: Herrick: Danforth: Herrick: Danforth, Herrick: Danforth: Herrick: Marshal. Whyhaveyoulethimin? Danforth: with him. with them.HesitsGoodyNursenow. And Mr. Parris Herrick: Danforth Herrick: arrive? Danforth: Herrick Danforth: Herrick: box containinghiswritingmaterials. followed in Danforth: days. interested. so continuously withtheprisoners.danforth Hathorne: toward thewindow, andlooksout prays withhim.That’sstrange. Danforth:

: I’llfetchhim. Aye,sir. Ihaveonlynowcleared thepeopleoutforyou. No,sir;itisabitternight,andIhavenofire here. Why, Mr. Parriscommandme,sir. Icannot denyhim. Hegoesamongthemthatwillhang,sir. And heprays Itwere toward midnight,Ithink. Goodmorning,Excellency. Aye, sir. ,

I think,sometimes,themanhasamadlookthese Beware hard drink,Marshal. There isaprodigious stenchinthisplace. Are youdrunk, Marshal? Indeed.Thatmanhavenoauthoritytoenterhere, Marshal.herrick Where isMr. Parris? Mad? We’ll cometothat;speaknothingof Andover. Parris by suspiciously LetyouquestionHale, Excellency, Iwonderif itbewisetoletMr. Parris containing hisanger in dissatisfaction,turnshisback cheever,

He waitsaninstantforfurtherorders.But hopkins’s tituba :

He startsforthedoor. What isheabouthere? who carries a dispatch case and a flat wooden who carriesadispatchcaseandflat danforth danforth calls on—“Take mehome.Devil; Devil stops. voice ordershertomoveon. :

Fetch Mr. Parris. .

He blowsonhishands,moves

Excellency; Ishouldnotbe When didReverend Hale stands inthought. and

on judge hathorne. him, and 1

turns tohim, lately. herrick herrick NOTES 1.

quickly subsided. situation, andthehysteria questioning thereality ofthe people of Andover soonbegan escape death.However, the witchcraft andconfessedto were accusedofpracticing There, manyrespected people the nearbytownofAndover. similar hysteriabroke outin the terror a inSalemVillage, Andover The Crucible,Act IV Duringtheheightof

663 community. that isgoingoninthe as hedescribesaconflict word thatCheeverrepeats paragraph 52, markthe effect ofthisdialogue? repeated word addtothe 664 CONCLUDE: QUESTION: ANNOTATE: CLOSE READ NOTES this word? Miller haveCheeverrepeat

UNIT 5•FACING OUR FEARS Whydoes In In Howdoesthis 49 48 67 66 65 64 63 62 61 60 59 58 57 56 55 54 53 52 51 50 Danforth: it isnotwellthevillageseeshimsounsteady. I bid himgoodmorning—andheweptandwenthisway. Ithink Hathorne: Danforth: but— Parris: Danforth: with. Myniece,sir, myniece—Ibelieveshehasvanished. Parris: Danforth: I hadthoughttoputaquestion,sir, andIhopeyouwillnot— we mightthinkonwhetheritbenotwise,to— Parris: they soften? Danforth: with them,confesstheircrimesandsavelives. sister andMarthaCorey andtwoorthree others,and hepleads three monthsinceshecame.Nowsitswithhim,andher Parris, Danforth, Nurse providence. Reverend Halehasreturned tobringRebecca Parris, Danforth: Hathorne: Parris: Danforth: morning, JudgeHathorne. for coming.Ibegyourpardon wakin’yousoearly. Good Parris, enters. Heisgaunt,frightened,andsweatinginhisgreatcoat. someone comingupthecorridor. for contention. Contention makehimweep,sir;itwere alwaysamanthatweep yesterday—there isgreat contention,sir, aboutthecows. will belongtonow. IknowMr. Parrisbearguin’ withfarmersall their mastersare inthejails,andmuchdisagreement whothey Cheever: Danforth: cows, sir. Cheever,

Ihadthoughttoadviseyouofitearlierintheweek, There isnews,sir, thatthecourt—thecourtmustreckon Notyet,notyet.ButIthoughttosummonyou,sir, that Excellency, amoment. to God. to sitting prayerfully holdinguphishands

There besomanycowswanderin’thehighroads, now danforth, stamping hisfeetagainstthecold Reverend Halehavenorighttoenterthis— Cows? Perhaps hehavesomesorrow. Why?Howlongisshegone? Vanished! Mr. Why—thisisindeedaprovidence. And theysoften, What’shisbusinesshere? Imethimyesterday comingoutofhishouse,and Doyouleavehimalonewiththeprisoners? surprised :

Hear me.Rebeccahavenotgivenmeaword this Parris, beplain,whattroubles you? He turns,asdo

He bidsherconfess?

instantly : hathorne He hurriesbackandshutsthedoor.

danforth Oh, goodmorning,sir, thankyou :

Excellency, hearme.Itisa

and raises hisheadas I thinkitbethe danforth He

dares notsayit.

hearing parris

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 68 82 81 80 79 78 77 76 75 74 73 72 71 70 69 she wouldsleepin does notreturn, IsendtoMr. Lewistoinquire. Mercy toldhim would stayanightwithMercy Lewis. And nextday, whenshe Parris: in thetown.LetRebeccastandupongibbet were notso,Excellency, but that drankhisfamilytoruin. Bishop before shemarried him.JohnProctor isnotIsaacWard now. RebeccaNurseisnoBridgetthatlivedthree year with Parris: high satisfactioninthetown. Hathorne: there willberiothere. a factionhere, feedingonthatnews,andItellyoutrue, sir, Ifear the court,theysay, andwillhavenopartofwitchcraft.There be Parris: Danforth: Andover, andit— Parris: Friday, andwillresume examinations. Danforth: broken here— knowledge ofthetown,andsincenews Andover has Salem anymore. I cannot thinktheywouldrun off excepttheyfeartokeepin Parris: thought, deeplyworried. Danforth: face andsobs. Parris: Hathorne, keep backtears. strongbox isbroke into. speaking ofshipslastweek,andtonightIdiscovermy—my stands agape. Parris: they be? Danforth Parris, Danforth: on you. some righteousprayer, andIfearshe’llwakeavengeance Itellyouwhatissaidhere, sir. Andover havethrown out Iamsure ofit,sir. Buttherumor here speaksrebellion in Excellency, itprofit nothingyoushouldblameme. Thirty-onepoundisgone.Iampenniless. Thisbethethird night. You see,sir, shetoldme JudgeHathorne—itwere anothersortthathangedtill Excellency. Ithinktheybeaboard aship. in fearofhim , There isnorebellion in Andover! Andover isremedied. Thecourtreturns there on Mr. Parris,youare abrainlessman! Theyare bothgone?! alarmed Riot!WhyateveryexecutionIhaveseennaughtbut astonished Mydaughtertellsmehowsheheard them He ispleading. :

I willsendapartyforthem.Where may my :

They are, sir. :

She haverobbed you?

house foranight. He presses hisfingersagainsteyesto

these peoplehavegreat weight yet To To Mark it,sir. Abigail hadclose

danforth: IwouldtoGod it

He walksin 2 andsendup danforth He covershis

NOTES 2.

gibbet The Crucible,Act IV

(JIHB iht)

n . gallows.

665 tawr ee) 666 conciliatory NOTES bring aboutagreement intended tomakepeaceand

UNIT 5•FACING OUR FEARS

adj.

inamanner (kuhn SIHLeeuh 101 100 85 84 83 99 98 97 96 95 94 93 92 91 90 89 88 87 86 Parris: To Danforth, Hathorne not just. these whentwelveare already hangedforthesamecrime.Itis Danforth, herrick will notbudge. Hale, gladdened toseeyoureturned toyourgoodwork. Danforth: is reverend hale for me.Idare notstepoutsideatnight! Now dagger clattered totheground. Parris: Danforth: quietly Parris, hope for? Danforth: Parris: the listto brought toGod?Iwillmyself strivewithhimtilldawn. Danforth: Parris: Danforth I think, and— hardly thirtypeoplecometohearit.Thatspeakadiscontent, excommunicationthere were congregation forJohnProctor’s Parris: cheever me Danforth, for them,andourgoodpurposeislostintheirtears. innocence, doubtsare multiplied,manyhonestpeoplewillweep all linkedtoHell.Thisway, unconfessed andclaiming others inthepubliceye,andnonemaydoubtmore thattheyare bring evenoneofthesetoGod,thatconfessionsurely damnsthe Parris: Danforth:

steeped insorrow, exhausted,andmore direct thanheeverwas. parris: Howdoyoupropose, then?

the list. parris

coming to : Itcannotbeforgot, sir, thatwhenIsummonedthe NowMr. Hale’sreturned, there ishope,Ithink—forif he Excellency, Iwouldpostpone these hangin’sforatime. Tonight, whenIopenmydoortoleavehouse—a There isnotsufficient timetilldawn. Excellency—

not evenglancingatthelistnow, andinaquaveringvoice, Excellency—a dagger—

enters, waits. parris, opens thedispatchcase,searches. , : Excellency, sheiscondemned a witch.Thecourthave— There willbenopostponement. Accept mycongratulations. Reverend Hale;weare Whatdoyousay? Ishalldomyutmost.Whichofthemyouhave Now, sir—whichoftheseinyouropinionmaybe studying thelist after thinkingamoment in deepconcern,raisingahandto conciliatory

cries out danforth

enters. Theylookathimforaninstantinsilence.He who merely glancesatit. :

You cannothangthissort.There isdanger :

You misunderstand,sir;Icannotpardon :

There willbenopostponement. now :

He chokesup Silence. You mustpardon them.They , then goingto

danforth hathorne: Prayyou. . cheever: Give absorbs this.

He hands

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 118 117 116 115 114 113 112 111 110 109 108 107 106 105 104 103 102 119 Danforth: Danforth: more time. Hale: Parris, to stopthissunfrom rising, Danforth: mercy onyourpart,notfaltering. town thatyouare striving fortheirconfessions,thatspeak Hale: Herrick: let youbringhimup. Danforth, Herrick: again? Danforth, months. Ishouldsummonher. Parris: knowledge ofthisman;mightherpresence softenhim? Danforth: Herrick: well onwithchildnow. Danforth, except hewilltakefoodfrom timetotime. Herrick: Danforth, Hale: spoken withthemall,Mr. Hale? and helpme,asyouare boundbyHeaventodo.Haveyou resolution ofthestatutes.Nowdrawyourselvesuplikemen rise againstthelaw, andanoceanofsalttearscould your fear, knowthis—Ishouldhangtenthousand law, Iwillnotcrackitsvoicewithwhimpering.Ifretaliation is upon theguiltofthemthatdiedtillnow. WhileIspeakGod’s floundering onmypart;reprieve see themdiethismorning.Postponementnowspeaksa names ofthesesevenare givenout,andthevillageexpectsto that willnotconfesshang.Twelve are already executed:the not town? Danforth, Mr. Danforth, youare mistaken! Hale, perfection oftheirpunishment.

receive asinglepleaforpardon orpostponement.Them Thesunwillriseinafewminutes.Excellency, Imusthave Excellency, if youpostponeaweekandpublishtothe All butProctor. Heisinthedungeon.

harder now Itispossible,sir. Hehavenotlaideyesonherthesethree with failingheart Aye,sir. Hecannot,sir, heischainedtothewallnow. Sheis,sir. Hesitslikesomegreat bird: you’dnotknowhelived Whatthinkyou,Mr. Parris? You havecloser Mr. Hale,asGodhavenotempowered melikeJoshua

after thinkingonit to after thinkingamoment to instantly Now hearme,andbeguileyourselvesnomore. Iwill herrick: Isheyet waynow? herrick: What’sProctor’s :

herrick If youthinkGodwillstoraiserebellion,

You haveheard rebellion spoken inthe

Rebecca willnotconfess? goes. There is 3 : soIcannotwithholdfrom themthe

Fetch GoodyProctor tome.Then adamant

or pardon mustcastdoubt His wife—his wife mustbe

silence. ? Hashestruck atyou

that dared to

not meltthe

NOTES adamant persuaded unrelenting; refusing tobe or decisiveness. other detailsrelated tostrength to confusionorweakness.Mark mark words andphrasesrelated On readers? this speechonParrisandHale? CONCLUDE: QUESTION: ANNOTATE: CLOSE READ character? details showaboutDanforth’s 3.

granted. a battle,andhisrequest is the moonstandstillduring God tomakethesunand after thedeathofMoses,asks Joshua, leaderoftheIsraelites Joshua . . . The Crucible,Act IV

(AD uhmuhnt) Whatdothese Inparagraph104, Whatistheeffect of

rising IntheBible,

adj.

667 668 NOTES

UNIT 5•FACING OUR FEARS 133 132 131 130 129 128 127 126 125 124 123 122 121 120 137 136 135 134 spoke? Betteryoushouldmarvelhowtheydonotburnyour harlot’s crywillendhislife—and youwonderyetif rebellion’s rotting crops hangseverywhere, andnomanknowswhenthe house; abandonedcattlebellowonthehighroads, thestinkof Hale: confidence, itdied;andwhere Iturnedtheeyeofmy great faith, holy lawIbrought, andwhatItouchedwithmybright his beloved,bearinggifts ofhighreligion; theverycrowns of I mistookmyown.cameintothisvillagelikeabridegroom to Hale, Danforth: Hale: Hathorne: damnation’s doubledonaministerwhocounselsmen tolie. into thewilderness.IhavesoughtaChristianway, for Hale: Elizabeth: his murderer. Doyouunderstandme? would saveyourhusband’slife, forif heistakenIcountmyself court? Hale: Elizabeth, morning. Hale: you speakwiththewoman? uncertain howtoplead,forheisnotaccustomedit. Danforth: time. Elizabeth, are hearty? Danforth, pale andgaunt. chain, which herrick Parris: on myhead!! collapses. to counselChristianstheyshouldbeliethemselves. Hale: Danforth: Hale: Danforth: province! Why, work.Icome itisallsimple.IcometodotheDevil’s ThankGodtheyhavenoneedofmein Andover. Excellency, there are orphanswanderingfrom houseto Itisalie!Theyare innocent! GoodyProctor, Ihavegonethisthree monthlikeourLord GoodyProctor, yourhusbandismarkedtohangthis continuing to You know, doyounot,thatIhavenoconnectionwiththe

Hush! She enters with There isbloodonmyhead!Canyounotseethe Pause. You baffle me,sir. Whyhaveyoureturned here? Mr. Hale,haveyoupreached in Andover thismonth? I’llhearnomore ofthat!

Whatdoyouwantofme? Itisnolie,youcannotspeakoflies. very politely seems todoubtit. Pray beatyourease,wecomenotforlife. We— as quietly herrick

a warningreminder For hehasheardfootsteps.Theyallfacethedoor. herrick :

I haveheard it. elizabeth: Letyounotmistakeyourdutyas elizabeth. now removes. Herclothesare dirty :

Goody Proctor. goes out. I comeofmyown,GoodyProctor. I Her wristsare linkedbyheavy :

I amyetsixmonthbefore my She issilent. Mr. Hale,will I hopeyou His sarcasm ; herfaceis

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 150 149 148 147 146 145 144 143 142 141 140 139 138 you, woman,prevail uponyourhusbandtoconfess.Lethim principle, howeverglorious,mayjustify thetakingofit.Ibeg sacrifice. Life, woman,life isGod’smostprecious gift; no when faithbringsblood.Itismistakenlawthatleadsyouto blood flowedup.Beware, GoodyProctor—cleave tonofaith safe distance,offers stands andfollows. Danforth Hale, proctor your wife, andmayGodhelp youturnyourbackonHell. elizabeth. Iseelightinthesky, Mister;letyoucounselwith been notified, haveyounot? proctor Danforth, Hale: to anyone from speakingforaninstant.Now sight of overgrown them.Hehalts another man,bearded,filthy,hiseyesmistyasthoughwebshad herrick A sound—thesibilanceofdraggingfeetonstone.Theyturn.A pause. Elizabeth: Danforth: Parris, Elizabeth, nothing sheshouldspeaktohim! any tearofpityinyou? very apewouldweepatsuchcalamity!Havethedevildriedup be sufficient evidencethatyoudelivered upyoursoul toHell! A no otherproof ofyourunnaturallife, yourdryeyesnowwould him? it? He willdiewiththesunrise. Your husband.Doyouunderstand here for Danforth, Elizabeth: we are asswine!We cannotread Hiswill! Hale, Elizabeth, to another. for pride.Will youpleadwithhim?Icannotthinkhewilllisten well beGoddamnsaliarlessthanhethatthrows hislife away give hislie.Quailnotbefore God’sjudgmentinthis,foritmay danforth She Pray, leavethemExcellency. She quietly with aclimacticdesperation

only looksathim elizabeth. with hope disputation

enters with is silent,staringat is silent. Will youpleadforhisconfessionorwillnot? brushes past Ipromise nothing.Letmespeakwithhim. quietly Icannotdisputewithyou,sir;lacklearningforit. going toher pressing quietly :

and speaks Excellency, let— :

You’ll strivewithhim? : : : Are youstone?Itelltrue, woman,hadI

hathorne Let mespeakwithhim,Excellency. argument. I thinkthatbetheDevil’s The emotion flowing betweenthem The emotionflowing hale john proctor. . Bethere nowifely tendernesswithinyou? : hale

. Whatsayyou?Will youcontendwith Goody Proctor, youare notsummoned

quietly. She issilent. inside thedoorway,hiseyescaught impatiently aside elizabeth. and walksout. behind. :

Woman, before thelawsofGod His wristsare chained.Heis Take herout.Itprofit herrick is silent,staringat hale, : She

Mr. Proctor, youhave hale

hesitates. visibly affected,goes goes. follows. parris,

prevents cheever

by the from a

disputation NOTES debate orargument The Crucible,Act IV

(dihs pyu TAY shuhn)

669 n.

Proctor are toldtodo. playing JohnandElizabeth mark eachactionthatactors of thisdescription? 670 CONCLUDE: QUESTION: ANNOTATE: CLOSE READ NOTES actions? description ofthecharacters’ provide suchaspecific

UNIT 5•FACING OUR FEARS WhydoesMiller Inparagraph 152, Whatistheeffect 171 170 169 168 167 166 165 164 163 162 161 160 159 158 157 156 155 154 153 152 151 176 175 174 173 172 Alone, palms toward proctor Parris: stand mute,anddiedChristian underthelaw. And sohissons they’d hanghimsurely, andauction outhisproperty. Sohe answer ayeornaytohisindictment;forif hedeniedthecharge Elizabeth, Proctor: He looks Elizabeth: Proctor: Elizabeth: Proctor: may hurthermore. Elizabeth: Proctor: is one;IsaiahGoodkindone.There bemany. Elizabeth: Proctor: Elizabeth: Proctor: Pause. Elizabeth: that threatens her. Proctor: Elizabeth: Proctor: downs it. Elizabeth: Proctor: Elizabeth: Proctor: Elizabeth: Proctor: weak, hesits.Thenshesits,facinghim. throat. Hepatsherhand.Shecovershishandwithhers.Andthen, a strangesoftsound,halflaughter, halfamazement,comesfrom his as thoughtowardanembodimentnotquitereal, andashetouchesher, spinning world.Itisbeyondsorrow, aboveit proctor Ifyoudesire acupofcider, Mr. Proctor, Iamsure I—

at herincredulously. You are a—marvel,Elizabeth. You havenotseenthem? There isnoword oftheboys? Thechild? Whenwere hehanged? Ihearnothin’,where Iam kept. Giles? And Rebecca? Whoare they? None—haveyetconfessed? Aye. turns anicystare athim,andhebreaks off. You—have beentortured? Ihavenot. They’re well.Rebecca’sSamuelkeepsthem. Itgrows. Gilesisdead. You havenotheard ofit? NotRebecca.SheisonefootinHeavennow;naught There beahundred ormore, theysay. GoodyBallard There bemanyconfessed. Iknowit. quietly, factually proctor. Godleadyounow. parris Pause. Shewillnotletherselfbedrowned inthesea walks toher, halts.Itisasthoughtheystoodin They comeformylife now. She catchesaweakeninginherselfand :

He were nothanged.Hewould not . He reaches outhishand parris goes out. raises his

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 189 188 187 186 185 184 183 182 181 180 179 178 177 Elizabeth, Proctor: wizard withoutheanswertheindictment,ayeornay. will havehisfarm.Itisthelaw, forhecouldnotbecondemneda confessed? Proctor, living, John.That’ssure. Elizabeth: Proctor, Pause. Elizabeth: nothing. been thinkingIwouldconfesstothem,Elizabeth. Proctor, Pause. Elizabeth: Proctor, them buttwowords. “More weight,”hesays. And died. aye ornay. Elizabeth: Proctor: Whatsayyou?IfIgivethemthat? pauses, then with a flailing ofhope pauses,thenwithaflailing withgreat force ofwill,butnotquitelookingather Press? Thenhowdoeshedie? simply—a pure question numbed—a thread toweaveintohisagony confess tosavehislife. discuss whetherheshould John andElizabethProctor As theplayreaches itsclimax, Icannotjudgeyou,John. Aye. Itwere afearsomeman,GilesCorey. Great stonestheylayuponhischestuntilheplead gently As youwill,Iwouldhaveit. With atendersmilefortheoldman :

They press him,John. :

What wouldyouhavemedo? Slight pause :

Giles’s wife? Haveshe :

They sayhegive :

“More weight.” She shows :

I wantyou :

I have NOTES The Crucible,Act IV

671 “longing.” that modifies JohnProctor’s 199, marktheadjective playing JohnProctor? performance ofanactor how mightitguidethe effect ofthisword, and 672 CONCLUDE: QUESTION: ANNOTATE: CLOSE READ NOTES Miller usethisword?

UNIT 5•FACING OUR FEARS Whydoes Inparagraph Whatisthe 205 204 203 202 201 200 199 198 197 196 195 194 193 192 191 190 208 207 206 Elizabeth: Proctor: Pause. Elizabeth: be nohigherjudgeunder HeaventhanProctor is!Forgive me, Elizabeth: him asthoughtoplead,hervoicequaking. Proctor, Hathorne: I kept! I neverknewhowshouldsaymylove.Itwere acoldhouse honest lovecouldcometome!Suspicionkissedyou whenIdid; Elizabeth: Proctor, Elizabeth: Proctor: Elizabeth, Proctor, count. Itneedsacoldwife toprompt lechery. heart thisthree month,John. it. for Iknowitnow:Whateveryouwilldo,isagoodmandoes difficult tosay,andsheisontheverge oftears. rising tohis soul, John,itisyours. yourself. to naughtthatIshouldforgive you,if you’llnotforgive Elizabeth wind. vanity thatwillnotblindGodnorkeepmychildren outofthe never lieddienowtokeeptheirsouls.Itispretense forme,a Proctor: Elizabeth: your forgiveness, Elizabeth. dogs. Proctor: goodness inyou. Elizabeth: were notrotten longbefore. no goodman.Nothing’sspoiledbygivingthemthisliethat not thatman. Proctor: He turnshisdoubting,searching gazeupon Pause, forthefirsttimeheturns Pause. In fright,sheswerves,as

I’dhaveyouseesomehonestyinit.Letthemthat Spiteonlykeepsmesilent.Itishard togivealie Icannotmountthegibbetlikeasaint.Itisfraud.am Itisapretense, Elizabeth. Iwillnothearit!knowyou! his chestheaving,stares, turns in agony in great pain Now heturnsawayalittle,in , Itisnotformetogive,John,Iam— And yetyou’venotconfessedtillnow. Thatspeak Whatis? Shewillnot. Dowhatyouwill.Butlet nonebeyourjudge.There John,Icountedmyself so plain,sopoorlymade,no You takemysinsuponyou,John— Whatsayyou,Proctor? The sunissoonup. upon

now feet withagreat immortallongingtofindhisanswer. Itis What sayyou? She is

pouring outherheart

a heavingsobthatalwaysthreatens :

No. Itakemyown,own!

silent. :

Enough, enough— He stands,asthoughinphysicalpain,slowly My honestyisbroke, Elizabeth;Iam Pause. hathorne :

I havesinsofmyownto directly toher. Better youshouldknowme!

great agony. to elizabeth. enters.

her. Only besure ofthis, I haveread my :

It isnotmy John, itcome I wouldhave She comesto

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 224 223 222 221 220 219 218 217 216 215 214 213 212 211 210 209 hollow. proctor covers herface,weeping. forgive me,John—Ineverknewsuchgoodnessintheworld! really dictating to thepoint,forMr. sake. Cheever’s Danforth: Parris, Where isthemarshal? this weshallpostuponthechurch door! Danforth: written? Proctor, him. has hurriedtothebenchwithpen,ink,andpaper. praise toGod;youshallbeblessedinHeavenforthis.cheever Danforth, ice hadbeenbroken. parris, andhale. hathorne it isevil,andIdoit! of fire were singeingyouwouldnot!Itisevil. Good, then— ever givethemthis? Proctor: release Elizabeth: suppressed excitement. me itisfraud! denied thishecallsangrilyather I think itishonest,Ithinkso;amnosaint. moves asan God inHeaven,whatisJohnProctor, whatisJohnProctor? Proctor: Elizabeth, In great painheturnsbacktoher. Proctor, down thecorridor providence! Hathorne, Proctor: Hathorne Proctor: Now then,letushaveit. Are youready, Mr. Cheever? :

Do asyouwill,dowill! runs

Would yougivethemsuchalie?Sayit.Would you Thenwhowilljudgeme? Iwillhavemylife. Iwantmylife. with acold,coldhorror attheir efficiency with acry,ashestridestothedoor turns from herto

Now, then,Mister, willyouspeak slowly, and Why, forthegoodinstruction ofthevillage.Mister; Iamnotyourjudge,cannotbe. in electrified, surprised with great relief andgratitude

with amysticaltone enters with

animal, and to thedoorandcallsdowncorridor He rushesoutthedoor, and terror, weeping

to Voices are heardin : cheever,

He willconfess!Proctor willconfess! It isabusinesslike,rapidentrance,asthoughthe She cannotanswer.

danforth,

a furyisridingin hathorne; who writes. :

I cannotjudgeyou,John.cannot! : :

You’ll confessyourself?

God bepraised!Itisa Let Rebeccagolikeasaint;for It isevil,itnot?evil.

the hall,speakingtogetherin and, withthem, Suddenly claspinghishands He isonrecord now, andis he isofftheearth,hisvoice

Mr. Proctor, haveyouseen his voiceisheardcalling :

You wouldnot;if tongs

Praise toGod,man, him, atantalizedsearch. : To To

Why doyoucryit? parris, As thoughshehad As thoughgivinghim proctor :

: Why mustitbe

Marshal! Hurry! cheever, urgently watches

directly

: He

: She

NOTES The Crucible,Act IV

673 the room. after RebeccaNurseenters that JohnProctor takes 231–240, marktheactions directions inparagraphs effect ofthesedetails? 674 CONCLUDE: QUESTION: ANNOTATE: CLOSE READ NOTES directions? Miller includethesestage

UNIT 5•FACING OUR FEARS Whydoes Inthestage Whatisthe 241 240 239 238 237 236 235 234 233 232 231 230 229 228 227 226 225 246 245 244 243 242 Proctor: this news.DidyouseetheDevil? light inthesky;townwaitsatscaffold; Iwouldgiveout the Devilinyourlife? proctor’s see anyonewiththeDevil? Danforth, Proctor: Corey withtheDevil? Danforth Proctor: Devil? Danforth: table, andpicksupasheet—thelistofcondemned. danforth, Proctor take courage—didyoueverseeherwiththeDevil? Rebecca Nurseinhis Danforth: I cannot, Icannot. Rebecca: Danforth: Rebecca: this conspiracyanyfurther. Will youconfessyourself withhim? Danforth: Proctor Rebecca service? Nurse! Sayon,Mr. Proctor. Didyoubindyourself totheDevil’s example thatshemaycometoGodherself. Nowhearit,Goody Danforth: proctor then, eh? Rebecca her. Sheisbarely abletowalk. turns Danforth: Proctor: upon theearth? proctor Danforth: Parris: , as PraiseGod! , , Hedid. Idid. Ididnot. No,Ididnot. rebecca nurse , , almost inaudibly through histeeth,faceturnedfrom turns hisfacetothewall. is silent. , Why, itisalie,lie;howmayIdamnmyself? Oh,John—Godsendhismercy onyou! brightening asshesees astonished Courage,man,courage—letherwitnessyourgood And youboundyourself tohisservice?danforth And whenhecometoyou,whatwere his Didyoueverseehersister, MaryEasty, withthe Mr. Proctor. WhentheDevilcametoyoudidsee Isay, willyouconfessyourself. GoodyNurse? Now, woman,yousurely seeitprofit nothin’tokeep his eyesnarrow on realizing, slowlyputtingthesheetdown now sensingtrouble, danforth :

Why, John!

company? proctor enters,with : No. proctor: Didyoueversee Martha Come in,comewoman! helps.

glances at proctor: Ah, John! You are well, jaws Did hebidyoutodohiswork herrick

lock. john is silent. Come, man,there is rebecca: Idid. helping tosupport and goestothe : Didyouever Come, man,

demand?

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 254 253 252 251 250 249 248 247 person withtheDevil.proctor trade yourlife foralie. You havemostcertainlyseensome Danforth: Proctor: and youwillprove itswhitenessoryoucannotliveina out uponMaryWarren. Your soulaloneistheissuehere, Mister, unnatural murder ofchildren, andyouforsendingyourspirit matter nothingwhatshethought—sheisconvictedofthe Danforth: work. Devil’s Proctor go likesaints? Danforth names. Proctor: say itif yoursoulistruly purged ofanyloveforHell! Danforth: Proctor: Devil. people havealready testified theysawthiswomanwiththe , Theythinktogolikesaints.Inotspoiltheir Thenitisproved. WhymustIsayit? Ididnot. evading , Lookyou,sir. Ithinkyoumistakeyourdutyhere. It Why“must”yousayit!Why, youshouldrejoice to Proctor, youmistakeme.Iamnotempowered to inquiring, incredulous : Thiswomanneverthoughtshedonethe : Mr. Proctor, doyouthinkthey is silent. Mr. Proctor, ascore of John Proctor makeshis final defense. NOTES The Crucible,Act IV

675 676 NOTES

UNIT 5•FACING OUR FEARS 269 268 267 266 265 264 263 262 261 260 259 258 257 256 255 274 273 272 271 270 proctor Proctor: knowledge wasRebeccaNurseever— company?proctor with youintheDevil’s Christian country. Will youtellmenowwhatpersonsconspired is noconfession,Mister! Danforth: Proctor: Danforth: it—it isenough. Proctor it. proctor, your testimony. Danforth it. Thesunisup,Excellency! will strike thevillagethatProctor confess.I beg you,lethimsign Parris himself. Lethimsignit,letit. Hale out, withhatred Parris: You havenoneedforthis. Proctor: I must have— Danforth Proctor: please, sir. Danforth him, andaboundlessanger paper. But proctor Parris: It isenough! church! Godseesmyname;knowshowblack mysinsare! it bepublic?Goddoesnot needmynamenaileduponthe Proctor: Danforth: confessed Proctor: Danforth: my nameonthis!Itisenough! Proctor: Come,man,signit. , quickly to , Proctor, thevillagemusthaveproof that— PraisebetotheLord! feverishly

, now laysthepaperdownandsignshisname. You haveallwitnessedit;whatmore isneeded? Ispeakmyownsins:cannotjudgeanother. Ihaveconfessedmyself! Is there nogoodpenitencebut Damnthevillage!IconfesstoGod,andGodhasseen No,no.Ihavesignedit. You haveseenme.Itisdone! No. after glancingattheconfession You cametosavemysoul,didyounot?Here! Ihave has justfinishedsigningwhen proctor , , asthough ,

the confessionandapen Doyousportwithme? You willsignyournameorit You willnotsignit? You havenotcon— No,sir, itis— myself: itisenough! considers; thenwithdissatisfaction perplexed : Ihavenotongueforit. danforth: Excellency. Itisenoughheconfess : Itisagreat service,sir. Itisaweightyname;it To To cheever: Giveittohim.cheever , snatches itup,andnowawildterror isrisingin proctor but politelyextendinghishand His breast heavingwithagonizedbreathing . didnotunderstand

in hand. danforth : You haveallwitnessed proctor : Come,then,sign is silent. : Mr. Proctor, : reaches forthe

If you does notlookat To your goes to Crying

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 293 292 291 290 289 288 287 286 285 284 283 282 281 280 279 278 277 276 275 294 that youshoulduseme! I am JohnProctor! You willnotuseme!Itisnopartofsalvation Proctor: Danforth: that Ican. You havemadeyour magicnow, fornowIdo think Proctor Hale: Proctor! Parris Danforth: crumples it,andheisweepinginfury,buterect. His breast heaving,hiseyes staring, Mister? from therope. proctor me yourhonestconfessioninmyhand,orIcannot keepyou I will notdealinlies,Mister!proctor document alie?IfitislieIwillnotacceptit!Whatsayyou? Danforth you mysoul;leavemename! them thathang!HowmayIlivewithoutmyname?havegiven myself tolies!BecauseIamnotworththedustonfeetof Because Icannothaveanotherinmylife! BecauseIlieandsign Proctor let— Danforth: Proctor: are free? Danforth: say andwhatIsigntoisnotthesame! Proctor— you signtoit? Danforth, like awoman;saywhatyouwill,butmynamecannot— them I Proctor: you— Danforth: nailed tothechurch theverydaytheyhangforsilence! Proctor: Danforth: like menintheworld,andIsoldmyfriends? Proctor: Danforth: Man,youwillhang! You cannot! ,

hysterically confessed myself; sayProctor broke hiskneesandwept , , Imeantodenynothing! Beguilemenot!Iblackenallofthemwhenthisis Ihavethree children—how mayIteachthemtowalk You willnotuseme!IamnoSarahGoodorTituba. his eyesfulloftears with acryofhiswholesoul You are thehighcourt,yourword isgoodenough!Tell , he knowsitisinsane Thenexplaintome.Mr. Proctor, whyyouwillnot Why?Doyoumeantodenythisconfessionwhen Mr. Proctor, Imusthavegoodandlegalproof that You havenotsoldyourfriends— Idonotwishto— Mr. Proctor— Marshal! pointing attheconfessionin with suspicion , as thoughthetearingpaperwere hislife : Itisthesame,itnot?IfIreport itor does notreply. : Ican. And there’s yourfirst marvel, : No,itisnotthesame!Whatothers proctor : Becauseitismyname! proctor’s Whatwaydoyougo, is motionless. tearsthepaperand hand You willgive : Isthat :

Proctor,

mark therepeated words. this repetition? NOTES CONCLUDE: QUESTION: ANNOTATE: CLOSE READ words? Miller hasProctor repeat these The Crucible,Act IV Whydoyouthink Inparagraph288, Whatistheeffect of

677 678 NOTES taken totheirfate. Proctor andothersare

UNIT 5•FACING OUR FEARS 299 298 297 296 295 304 303 302 301 300 then goesbacktoher. Hale: Again, ashortburstofdrums. fate. Parris: jerks abouttowardthewindow. From outsideadrumroll strikestheair. There isyettime! Parris, elizabeth herrick Herrick: Rebecca: glances upathimapologetically. lead weeps forcorruption! Danforth: Rebecca: lifted her, andkisseshernowwithgreat passion. honor now, showastonyheartandsinkthemwithit! against hishand. dogs. elizabeth, weave abannerwith,butwhiteenoughtokeepitfrom such I see someshred ofgoodnessinJohnProctor. Notenoughto rebecca, Proctor! Proctor! Woman, pleadwithhim! Gotohim! in deadlyfear, to Come,man. escorts themout I’vehadnobreakfast. Letyoufearnothing! Another judgmentwaitsusall! Hangthemhighoverthetown!Whoweepsforthese, stands staringattheemptydoorway. who almostcollapses,but Givethemnotear!Tears pleasure them!Show in aburstofterror He rushesoutthedoor Woman! Itispride,itvanity elizabeth:Gotohim,GoodyProctor! He sweepsoutpastthem. , hathorne He startstorushoutthedoor, and , rushes tohimandweeps and parris proctor , cheever as thoughtoholdbackhis isstartled. herrick catches her, andshe behind them. . Sheavoidshis elizabeth He has starts to

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. Complete thefollowingitemsafteryoufinishyourfirstread. Check Comprehension 306 305 example, you may want to learn more the play’s about reception during era. the McCarthy Research to Explore Research to Clarify Research RESEARCH 5. 4. 3. 2. 1. that detail. what In way the information does you of learned shed light the play? an on aspect away! Shall thewormsdeclare histruth? Gotohim,takehisshame helper!—What profit himtobleed?Shallthedustpraisehim? eyes, drums rattlelikebonesinthemorningair. frantic prayer, andthenewsunispouringinuponherface, The finaldrumroll crashes,thenheightensviolently. I takeit window, andwithacry Elizabeth

What doesDanforthwantJohnProctor todo? What doesParrissayAbigailhasrecently done? Why hasReverend HalereturnedtoSalem? As ActIVopens,whatistotakeplaceatdaybreak?

Notebook and movestothewindow. Hedrops tohisknees.

from him! , supporting herselfagainstcollapse,gripsthebarsof

Write asummaryofActIV

Choose unfamiliar at one least Briefly research detail from the text. Conduct you find of interesting. research the text an on aspect For :

He havehisgoodnessnow. Godforbid The Curtain Falls The Crucible hale Behis weeps in . NOTES The Crucible,Act IV

679 making meaning

Close Read the Text Reread Parris’s remarks about the executions, beginning with paragraph 82. Mark references to the “sort” who were hanged previously. What does Miller want his audience to infer about the people who are about to die? THE CRUCIBLE, ACT IV

Cite textual evidence Analyze the Text to support your answers. Notebook Respond to these questions. 1. (a) When Hale urges Danforth to pardon the prisoners, why does Danforth refuse? (b) Analyze What does Danforth’s attitude reveal about his sense of justice and the legitimacy of the executions? 2. (a) When urged by Hale to persuade her husband to confess, how does Elizabeth Proctor characterize Hale’s argument? (b) Interpret What does Elizabeth mean by characterizing Hale’s argument in this way? 3. Interpret Why does Proctor confess and then retract his confession? 4. Essential Question: How do we respond when challenged by fear? What have you learned about how people respond to fear from reading this play?

LANGUAGE DEVELOPMENT Concept Vocabulary

 WORD NETWORK conciliatory adamant disputation Add words related to fear from the text to your Word Why These Words? The concept vocabulary words relate to arguments Network. and people’s attitudes when engaged in them. What other words in Act IV relate to this concept? Practice Notebook Write a one-paragraph summary of Act IV that uses all three concept vocabulary words.

Word Study  Standards Notebook Etymology The origin and development of a word is its RL.11–12.2 Determine two or more etymology. The word adamant comes from the Greek word adamas, which themes or central ideas of a text and refers to the hardest metal in the world. It is also the name of a character analyze their development over the course of the text, including how they from Greek mythology. In contemporary English usage, adamant is most interact and build on one another to often used in a figurative sense. produce a complex account; provide an objective summary of the text. 1. Write a definition of adamant based on your understanding of its

etymology. Check your answer in a college-level dictionary. All rights reserved. or its affiliates. Inc., Education, © Pearson L.11–12.4.c Consult general and specialized references, both print 2. Use an etymological dictionary to research the Greek origins of the words and digital, to find the pronunciation of a word or determine or clarify its tantalize and cereal. Explain your findings. precise meaning, its part of speech, its etymology, or its standard usage.

680 UNIT 5 • FACING OUR FEARS © Pearson Education, Inc., or its affiliates. All rights reserved. Author’s Choices:LiteraryForms Analyze CraftandStructure meanings. on twolevelsofmeaning:aliteralmeaningandoneormore symbolic Communist hunts. jobs. Aftermanylife-ruining againstthe accusations,the publicturned Those targetedbyHUACinvestigationwere oftenblacklistedandlosttheir being Communists,intentonoverthrowing the UnitedStatesgovernment. Un-American ActivitiesCommittee(HUAC)accusedmanyAmericansof fears. Atthattime,SenatorJosephMcCarthyandtheseparateHouse way thatthe1950s“RedScare” encouragedandpreyed uponAmericans’ The Crucible • • 3. 2. 1. Practice theme Understanding anallegory’s symbolicmeaningcanreveal the focus readers oneventsor ideasthatare notpartoftheliteralnarrative. Characters maybesymbolsforreal people,andtheconflictsmay a representative level—adeepermeaningthatreaders mustinfer. The other storiesorsituations. The literalstoryiscompleteandcanbeunderstoodwithoutreference to The

Explain howtheseideasare developedineachactof could beproved onlyinprecisely thesameway—by namingformerconfederates.” membership inasecret disloyalgroup; shouldtheaccusedconfess,hishonesty investigations: “Three hundred yearsapart,bothprosecutors were alleging Miller haswrittenaboutsimilaritiesbetweentheSalem trialsandtheHUAC stood fastagainstHUAC? decision. Isittherightdecision?Explain. (a) speech inparagraph104ofActIV. both theliteralstoryandMiller’s allegory.BeginwiththetwistedlogicofDanforth’s Use thecharttocitespecific passagesfrom theplayandexplaintheirimportanceto Notebook P Act IV, paragraph104 Danforth’s speechin ASSA Attheendofplay,JohnProctor, RebeccaNurse, andothersmakethenoble symbolic meaning literal meaning —the work’s messageorinsight.

isanallegorythatArthurMillerwrote tocommentonthe G E

Respond tothesequestions. presents thecharactersandconflictsatfacevalue. interprets thecharactersand conflictsat L iteral Meanin

essential question: An allegory (b) g WhatisMillersayingaboutthosewho isanarrativethatworks The Crucible Howdowerespond whenchallengedbyfear? ALLE G . ORI C AL M to supportyouranswers. CITE TEXTUALEVIDENCE EANIN The Crucible,Act IV G

681 682 research. support analysis, reflection, and literary orinformationaltextsto W.11–12.9 beautiful. is particularlyfresh, engaging, or multiple meaningsorlanguagethat and tone, includingwordswith specific wordchoicesonmeaning meanings; analyzetheimpactof including figurative andconnotative as theyareusedinthetext, meaning ofwordsandphrases RL.11–12.4  Determine whateachallusionmeans.Then,explainitreveals aboutthecharactersorsituation. Some oftheallusionsMillerusesin Practice

S like ourLordlike wilderness.”(Source: intothe Luke4:1) Act IV, paragraph133:“GoodyProctor, three Ihavegonethis month Genesis 4:1–8) Cainwerethat Abel.”(Source: kill anuprightman,andyethedid not,oryoushouldsurelyAct III,paragraph131:“Ithink know (Source:hands ofthis!” 27:22–26) Matthew notletyouwashyour Pilate!Godwill Act II,paragraph396:“Pontius (Source: Exodus14:21–22) and where crowd the shewalks seaforIsrael.” the partlike will court, girlsintothe other Act II,paragraph53:“Abigailbringsthe BIBLICAL ALLUSION

tan UNIT 5•FACING OUR FEARS m a

Draw evidencefrom THE CRUCIBLE,ACTIV Determine the ar king me d s a ning Biblical Allusions Analyze CraftandStructure that Danforthseeshisworkasamissionfrom God. confessions from thecondemned.TheBiblicalallusionreinforces theidea sun’s movement,soDanforthcannot(orwillnot)delayhisquesttoobtain and thecontextmakesitsmeaningclear:JustasJoshuacouldnotdelay their punishment.”Anoteinthetextidentifies thesource ofthisallusion, stop thissunfrom rising,soIcannotwithholdfrom themtheperfectionof Danforth says,“Mr. Hale,asGodhavenotempowered melikeJoshuato to portrayindividualcharacters.Forexample,inActIV, paragraph117, beliefs onwhichthePuritancommunityisbased.Allusionsalsohelp Biblical allusionsremind characters—andtheaudience—ofreligious unexplained references topeople,places,oreventsfrom theBible. their wayoflife. Itisalsorevealed through is revealed, inpart,through thecharacters’actionsanddescriptionsof religious worldviewthatdominates theSalemcommunity.Thatworldview The Crucible appearinthechart.

Some oftheconflictsin MEANING INCONTEXT Biblical allusions The Crucible CITE TEXTUALEVIDENCE to supportyouranswers. ariseoutofthe —passing or

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. valuable inaplaybasedon actual historicalevents? the storyof plot, anddialogue—are presented inwaysthatmirror real life. experienced. Alltheelementsofarealistic drama—includingthesetting, details ofeverydaylife, showingthemastheyactuallyare (orwere) seenand Realism Author’s Style Write It textual detailscreate oremphasizetherealistic quality. each dramaticelementthatispresented ina realistic way.Explainwhich Review theopeningsceneofActIV. Identify anddescribeoneexampleof Read It Dialogue Plot Event Setting ELEMENT • • •

Notebook These choicesreflect theircircumstances andpersonalities. Characters mayuseslang,regionalisms, dialect,orformallanguage. the waysinwhichpeopleactuallyspeakordidapastera. The these eventsare authentic andplausible. either didhappenorcouldinreal life. Characters’reactions to The playwrightbasesthe clothing from real life. backdrops, andcostumesthat are recognizable asobjects,places,and This settingmayberepresented onstagewithhistoricallyaccurateprops, in thereal world.Itmaybe anactuallocationorhistoricalplaceandtime. The setting dialogue

In visualartandliterature, The Crucible

, or place and time in which the drama unfolds, is like a place , orplaceandtimeinwhichthedramaunfolds,islikea In aparagraph,explainwhy youthinkMillerchosetotell EXAMPLE , orconversationbetweenandamongcharacters,reflects inarealistic way.Whymightrealism beespecially plot , oractionoftheplay,oneventsthat Realism essential isthepresentation ofthe qu estion : Howdowerespond whenchallengedbyfear? HOW MILLERMAKESITSEEMREAL The Crucible,Act IV

683 684 volume, andclearpronunciation. appropriate eyecontact, adequate of formalandinformaltasks. Use to purpose, audience, andarange substance, andstyleareappropriate and theorganization, development, opposing perspectivesareaddressed, line ofreasoning, alternativeor such thatlistenerscanfollowthe perspective andalogicalargument, conveying aclearanddistinct findings, andsupportingevidence, SL.11–12.4 standards Reading W.11–12.9.a sufficient evidence. valid reasoningandrelevant and substantive topicsortexts, using support claimsinavnanalysisof W.11–12.1 

STANDARDS

UNIT Eff

Write argumentsto

THE CRUCIBLE,ACTIV Present information,

5 Apply e

• toliterature. ctiv

FACING grades 11–12 e

OUR Expr

FEARS e concept vocabularywords. 3. 2. 1. After youhavewrittenyourargumentativeessay,answerthesequestions. on YourReflect Writing Vocabulary Connection and evidencethatdevelopsupportit. When youwriteanargument,takeapositionandthenpresent reasons Writing to ssion Include these elements in your elements Include these essay: your claimSupport and your evidence theme with chosen from the text. even more than it once did. or—perhaps—matters theme still matters, write an atheme from Identify Assignment

Why TheseWords? in youressay?Howdidtheseitemshelpyoubuild argument? Which reasons andformsofevidencedoyouseeasthemostpersuasive appreciation of In whatwaysdidwritingyouressayincrease yourunderstandingand conciliatory writing. Whichwords didyouusetomakeyouressaymore persuasive? • • • • textual evidencefrom theplaythatsupportsyourreasons reasons thatsupporttheclaim a clearclaimabouttherelevance ofthethemetotoday’s world a clearexplanationofthemeexpressed in argumentative essay argumentative S The Crucible? adamant ources The Crucible The

The words youchoosemakeadifference inyour

In youressay,considerincludingsomeofthe in which you make aclaim as to why this disputation that is relevant to today’s world. Then, The Crucible

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 3. 1. Speaking andListening 5. 2. 4. E 5 (demonstrated). Rate eachstatementonascaleof1(notdemonstrated) to Prepare a Assignment assignment. of dialogue fromsections the play. to steps these Follow complete the Crucible

valuation Guide these questions: locate three piecesofdialogue thatclearlyillustratetheme.Consider Evaluate Analyses Prepare Your Delivery Craft anIntroduction Locate Examples Identify aTheme presentations. carefully. Useanevaluationguideliketheoneshowntoassesstheir present ittoafriendorfamilymember. Keepthesesuggestionsinmind: theme thatyouthinkmightbeeffectively illustratedwithdialogue. readings. chose, andhowyouwilltransitionfrom your explanationtothedramatic • • • •

The speakerusedeffective gestures andfacial expressions. The speakerusedavarietyofvocaltonesandpitches. well. the theme The speakerchosethree examplesfrom illustrated playthat the The speakerclearlyintroduced theme. the understanding ofMiller’s text. listeners understandwhythethemeyouchoseiscentraltoan of theplay?Connectingideasacross thewhole playmayhelpyour Is itpossibletofindexamplesfrom three different sectionsoracts presentation more interesting. characters? Thevarietycanstrengthen yourmainideaandmake Is itpossibletofindexamplesofdialoguefrom three different emotions andmeaning. Use facialexpressions andgestures tohelpconveycharacters’ volume, whendeliveringyourintroduction. portray. Speaknaturally,butwithattentiontoyourenunciationand Vary yourintonation(toneandpitch)toreflect eachcharacteryou , introduce and it, illustrate it adramatic with reading of three thematic analysis thematic

Once youhavechosenatheme,scantheplayto Review yournotesontheplay,andchooseone

As yourclassmatesdelivertheiranalyses,listen

Decide howyouwillintroduce thethemeyou Practice yourpresentation infront ofamirror or in which theme one from you choose essential question: Howdowerespond whenchallengedbyfear? The The The Crucible, fromwhat youlearned Evidence Logandrecord new selection,gotoyour Before movingontoa  The Crucible,Act IV

evidence Act IV. l og

685 686 well. as performances live radio public inweekly performances airs also country. LATW the across libraries from borrowed or streamed, downloaded, be actors. best-known of Hollywood’s Collection, Theatre Audio inits 250 plays the 1974 in Founded plays. contemporary and of classic performances dedicated a Works Theatre L.A. Company About the Theater needed atthehighendofrange. band proficiently, withscaffoldingas in thegrades textcomplexity 11–CCR including stories, dramas, andpoems, 11, readandcomprehendliterature, RL.11–12.10 

nonprofit

organization S

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FEARS their listen, considerthechoicesactorsmakein listen toanaudioperformanceofActI.Asyou Now thatyouhaveread thetextof Comparing Text toMedia The Crucible. Apply First ReviewMEDIA:AUDIO audio performances. words will usefulThese be to you as you analyze, discuss, and write about VocabularyMedia The Crucible(audio) written versions. the written in whichthetheatricalproduction interprets indicates specificemotion indicates expression: voice pitch andtoneinaperson's inflection: non-print recorded form non-visualand or another produced podcast, forradio, performance ofadrama audio play:

portrayals.

these speaking, LISTEN read, you’ve experienced,texts audio toothermedia CONNECT and how

the rise and fall of riseandfall the text

or strategies tone of voice that toneofvoicethat theatrical theatrical

and note images

they’re and what You ideas in the ideas inthe

compare will

you’ve they’re

as saying who

then you is is

seen.

saying,

it.

listen the analyze • • • • •

audio The to suggest effects to Audio playsmayincorporatesound were popularontheradio. Before thearrivaloftelevision,audioplays character’s The expression inavoicemayhintat actor’s interpretation ofa character. Inflection conveysemotion,andispartofan produced, and tonerefers tothequalityofsound

to The Crucible

the ways the pitch

and

audio

of add

interesting NOTE the

such mood. unspoken

a RESPOND

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information, voice , performance

as elements that you find elements thatyoufind

is whisper

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want

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feelings. revisit.

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© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. L.A. Theatre Works CrucibleThe Dreyfuss asReverend HaleandStacyKeachasJohnProctor. adaptation of As partoftheL.A.Theatre Works series,MartinJenkinsdirected aradioplay BACKGROUND NOTES The Crucible in1988.You willlistentoActI.Thecastfeatures Richard MEDIA | AUDIO PERFORMANCE The Crucible(audio) MULTIMEDIA SCAN FOR

687 688 Complete the following items after you finish your first review. your first you finish after following the items Complete Comprehension Check to deliver as babies, it was in practiced colonial America. example, you may want to learn the practice of about midwifery, the profession of helping Research to Explore Research to Clarify Research 5. 4. 3. 2. 1. audio performance of audio performance that detail. what In way the information does you of learned shed light the an on aspect

UNIT 5•FACING OUR FEARS What specific accusationsendthisexcerptof theaudioperformance? How doesTituba’s storychangeasshe isquestioned? What storydoesAbigailinsisttheothergirlstellabouttheiractivitiesinwoods? Why hasParriscalledforReverend Hale? As theplayopens,whatiswrong withReverend Parris’s daughterBetty?

The Crucible?The Choose unfamiliar at one least Briefly research detail from the text.

Conduct you find of interesting. research the text an on aspect For

Close Review Listen to the audio performance again. Write down any new observations that seem important. What questions do you have? What can you conclude?

THE CRUCIBLE (audio)

Analyze the Media Notebook Respond to these questions. 1. (a) What does Abigail try to convince the other girls to say? (b) Make Inferences Why do the others seem willing to follow Abigail’s wishes? Explain. 2. (a) What does Reverend Hale carry when he enters the scene? (b) Analyze How are the objects he carries symbols that help audiences understand his character and social position? 3. (a) What circumstances lead to Tituba’s confession? (b) Draw Conclusions Is Tituba’s confession likely to be trustworthy? Why or why not? 4. (a) Interpret What is each character in Act I afraid of? (b) Evaluate Which character feels the deepest fear? Explain the reasons for your choice. 5. Essential Question: How do we respond when challenged by fear? What have you learned about the nature of fear from listening to this audio performance?

language development

Media Vocabulary

audio play inflection expression

1. (a) What are the first and last sounds the audience hears at the beginning and end of Act I of this radio play? (b) What theme is emphasized by the director’s choice to highlight these sounds? Explain.

2. (a) What choices do the actors make that emphasize the emotional intensity of the situation in Act I? Cite specific examples. (b) What production techniques add to the intense atmosphere? Cite specific choices.

© Pearson Education, Inc., or its affiliates. All rights reserved. or its affiliates. Inc., Education, © Pearson  Standards 3. What acting choices do the performers make in this radio play to help RL.11–12.1 Cite strong and audiences distinguish characters? thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text, including determining where the text leaves matters uncertain. The Crucible (audio) 689 690 ELEMENT Reading standards Reading W.11–12.9.a interprets thesourcetext. poem, evaluating howeachversion interpretations ofastory, drama, or RL.11–12.7  P C P P ortrayal ofAction resentation of ortrayal of reation ofMood

STANDARDS UNIT effective expression

5 THE CRUCIBLE(audio)

Analyze multiple

• Apply

C FACING toliterature. haracters THE CRUCIBLE S grades 11–12 etting

OUR

FEARS performance, followthesesteps.Usethecharttocapture yourobservations. and directors makechoices thatreveal theirinterpretations. Ifyouhaveread The performanceofaplayisnotsimplyreading ofthetext.Instead,actors You haveread Writing to Analyze theTexts Prewriting a play,youare inagoodposition toevaluatethosechoices. surprised you?Ifso,are these goodsurprisesordisappointingones? NOTEWORTHY CHOICES general audiences. the L.A.Theatre Works production tostudentsstudyingtheplayor In yourconclusion,statewhetheryouwouldornotrecommend The Crucible Write a Assignment • • • Notebook • • choice communicates. Consider whythedirector oractorsmadecertain choicesandwhateach be cutoradded.Considerreasons forthese changes. Find otherportionsthatdepartfrom thetext. Forexample,dialoguemay Find portionsoftheaudioperformancethatfollowtextexactly. the play? Is theinterpretation effective andinsightful,ordoesitmisinterpret events? Howdoesitestablishamood? How doestheperformancepresent thesetting,characters,and critical review . Inyourreview, considerthesequestions. The Crucible

Does theperformancebringout elementsofthetextthat C

ompare To conductacomparisonofthetextand oftheL.A.Theatre Works production ofActI , andyouhavelistenedtoaperformanceofActI. EFFECTIVENESS OFCHOICES

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. Then, record quotations,passages,orparaphrasesthatsupportit. each oneseparately.To doso,express eachnoteinacompletesentence. supported withevidence.Markorhighlightthosenotes,andthendevelop notes. Decidewhichofyourinsightsare mostcompellingandcanbebest Organize Ideas Develop Your Ideas Drafting to correct anylingeringspellingandpunctuationerrors. grammar, sentencestructure, andword choice.Finally, proofread your review paragraphs andmajorsections. Edityourworktoeliminateerrors in performance tofindusefulevidence.Checkforlogical transitions between more support,andthenreturn toyournotes,theoriginalplay,or When youhavefinisheddrafting,revise yourwork.Markideasthatneed Review, Revise,andEdit work beingreviewed aswell asabriefstatementofthereviewer’s opinion. evidence. Notethatacriticalreview oftenbeginswithasummaryofthe Conclusion reason andevidence supporting Develop mainideawith Body: Paragraph reason andevidence supporting Develop mainideawith Body: Paragraph reason andevidence supporting Develop mainideawith Body: Paragraph Introduction: • • • • Restate main performance. opinion ofthe mainidea—your State the the workand ofthe title State the insight amemorableimageor End with

production

Use theoutlinetoorganizeyourideasandsupporting idea

being

Before youbeginwriting,go overyourPrewriting Outline forCriticalReview

reviewed . essential question: Howdowerespond whenchallengedbyfear? The

Crucible

Crucible. performance ofActI L.A. Theatre Works audio fromwhat youlearned the Evidence Logandrecord new selection,gotoyour Before movingontoa  •

The

evidence log

Crucible

(audio)

691 The Argument 692 purposes, andaudiences. time frames forarange of tasks, extended timeframes andshorter W.11–12.10 sufficient evidence. valid reasoningandrelevant and substantive topicsortexts, using to supportclaimsinananalysisof W.11–12.1.a–f  Student As youcraftyour V A definitive immutable certify relevant assert the beginningofunit. in vocabulary youlearned some oftheacademic argument, considerusing • • oca ca

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FEARS to writeyourownargument. opportunity toreview theseelementsasyouprepare of aneffective argumentinthetext.You willhavean Fear?” Challengeyourself tofindalloftheelements argument, seetheLaunchText, “IsItFoolishto to it.You havealsolistenedtoanaudioperformanceofActI of thatplay, You havejustread aplayaboutmasshysteriaandcommunity’s response Write Model Argument An effective argumentativeessaycontainstheseelements: a textanditsmeaningorimportance. argumentative essayaboutliterature maychangereaders’ understandingof to embraceotherwritings,humanbehavior, orworldevents.Awell-written text asawhole,anelementofthetext,orideasthatextendbeyond of atextthatleadstoconclusionorclaim.Thisanalysismayinvolvethe an issue.Oneformofargumentistheresponse toliterature, adeepanalysis An Elements ofanArgument which brought thecharacters andtheircollectivefearstolife. secondary sources. examples from thetext,as wellasinformationaboutmasshysteriafrom a claim.Then,developandsupportthatclaimwithquotations As youprepare towriteyouressay,firstchooseapositionandstate this argumentative essay in thecommunity.Useyourknowledgeof In Assignment • • • • • • • argument The Crucible, error-free grammar, includingcorrect use ofindefinitepronouns formal andobjectivelanguagetone a concludingstatementorsectionthatlogicallycompletestheargument valid reasoning andrelevant andsufficient evidence counterclaim, reasons, andevidence logical organizationthatmakesclearconnectionsamongclaim, of theirstrengths andweaknesses consideration ofcounterclaims, oropposing positions, andadiscussion a precise claim

question: more hysteriainSalem? toendthe charactersin Could anyofthe

t an isalogicalwayofpresenting aviewpoint,belief, orstandon ing focus rumors spread across Salem and the result is mass hysteria

Argument For amodelofwell-crafted inwhichyoustateanddefendyourpositionon The Crucible The Crucible towriteabrief havedone LIT17_SE11_U05_LT.indd 548 548 NOTES UNIT and whatevidencesupportsit? What isthewriter’s position, text toanswerthisquestion: to developtheclaim.Mark writer usesrelevantevidence As youread, the unit. Based Assessmentattheendof develop inthePerformance- the typeofwritingyouwill to supportthatclaim.Thisis organizes evidenceandreasons author presentsaclaimand type ofwritinginwhichthe of an This selectionisanexample LAUNCH TEXT

UNIT 5•FACING OURFEARS argumentative text 5 LAUNCH TEXT INTRODUCTION noticehowthe |

Is It Foolish to Fear? ARGUMENT MODEL , a 3 2 1 move more rapidly. Theentire bodybecameaninstrument focused cold asbloodflowedtothemajormuscles,lettingarmsandlegs to run fasterorleaphigherthantheynormallycould.Theirskingrew better indimlight.Quickbreathing andtensemusclesallowedthem escape from predators. Dilatedpupilsmeantthattheycouldsee veins constrict,makingyourskinfeelcold. dilate, sobrightlighthurts,butyoucanseemore clearly. Your surface your musclestotense,andbreathing toquicken. Your pupils Those chemicalsracethrough thebody, causingyourhearttorace, causes anumberofchemicalstobereleased intoyourbloodstream. or flight”instinct.Somethingalarmsyou,andinstantlyyourbrain we fearare oftengrouped togetherandcharacterizedasa“fight painful. Thephysicalresponses wehavetoobjectsorsituationsthat survival. plays animportantrole inlife. Itisnotfoolishtofear—itamatterof m F ay seekprofessional helptoridourselvesoffears.However, fear Long ago,suchresponses madeiteasierforearlyhumansto Fear mayfeelnegative,becauseitisanemotionthatcanbe it seemsthatwehumansare controlled byourfears.Someofus ear offalling,fearflying,snakesandspiders—sometimes MULTIMEDIA SCAN FOR

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 1. Use thefollowingquestionsasastartingpointforyourowninquiry. about thetopic.Your answerstothequestionswillhelpyoufocusyourresponse. Ask Questions Prewriting /Planning topic ofmasshysteria.Noteyourideashere. Make alistofthetypessources youmightusetofindinformationaboutthe Gather Evidence 2. Whichcharacterorcharactersin writer usesresearched factstounderscore ideasaboutfear. some research onthetopictosupportyourclaim.InLaunchText, the evidence willderivefrom thetextitself. However, theprompt asksyoutodo Now, writea How mightsomeoneputanendtomasshysteriainasituationliketheonethatunfolds surface veinsconstrict,makingyourskinfeelcold. dilate, sobrightlighthurts,butyoucanseemoreclearly.Your muscles totense,andyourbreathingquicken.Your pupils chemicals racethroughthebody,causingyourhearttorace, of chemicalstobereleasedintoyourbloodstream.Those Something alarmsyou,andinstantlyyourbraincausesanumber claim

One waytostartwritinganargumentisaskandanswerquestions

In anargumentaboutaworkofliterature, most ofyour , orthepositionyouwillargueinyouressay,basedonanswerstothesequestions. The Crucible essential question:Howdowerespond whenchallengedbyfear? wouldbemostcapableofendingthehysteria?Why? —“Is It Foolish toFear?” —“Is ItFoolish Performance Task: Write anArgument reasons, andevidence. sequences claim(s), counterclaims, create anorganizationthatlogically alternate oropposingclaims, and distinguish theclaim(s)from the significanceofclaim(s), knowledgeable claim(s), establish W.11–12.1.a  argument. may wanttociteinyour and identify keydetailsyou Review yourEvidenceLog  S

tandards evidence log The Crucible

Introduce precise,

? 693

694 and endnotes. for citationincludingfootnotes and followingastandardformat overreliance onanyonesource of ideas, avoidingplagiarism and selectively tomaintaintheflow integrate informationintothetext of thetask, purpose, andaudience; limitations ofeachsourceinterms effectively; assessthestrengthsand sources, usingadvanced searches authoritative printanddigital information frommultiple W.11–12.8 values, andpossiblebiases. audience’s knowledgelevel, concerns, in amannerthatanticipatesthe strengths andlimitationsofboth for eachwhilepointingoutthe supplying themostrelevant evidence counterclaims fairlyandthoroughly, W.11–12.1.b 

Standard

UNIT Performance Task: Wri cite a particular source.cite aparticular writer doesnotneedto broad the enoughthat ofitsusearedescription of definition the that Notice

conditioning Gather relevant

Develop claim(s)and

•

FACING s and the andthe

OUR

FEARS always bestrengthened by research. Usethelibraryorcredible online resources tolocatespecific informationthatsupportsyourclaim. Using Research ENRICHING WRITINGWITHRESEARCH Evaluating Sources forResearch way toridourselvesoffear, whyshouldn’tweuseit? about fearthatcouldbeusedaspartofacounterclaim—if there isa found duringresearch. Inthiscase,thewriterlocatedaninteresting fact This excerptfrom theLaunchText provides anexampleofevidence Read It dependable evidence. will allowyoutocross-check informationtobesure thatyouare using Always usemore thanonesource asyouresearch yourtopic.Doingso up-to-date information. be credible. Lookforadateonthepagetoensure thatyouare reading respected andtheinformationthere magazinesandjournals, islikelyto on siteswiththosedomains.Otherwebsitesmaybeaffiliated with agencies.Yougovernment are likelytofindreliable factsandfigures as .eduor If youare consultingawebsite,consideritsdomain.Domainssuch Consider thesequestionsbefore usingasource. information, examinethemcarefully. Notevery resource istrustworthy. LAUNCH TEXTEXCERPT • • • • ourselves tobecomebraver? through atunnel.Sowhyshouldn’tweallcondition can stopbeingafraidofspeakinginpublicordriving themselves offears. After justafewsessions,nearlyanyone stimulus-response learningprocess—that helpspeoplerid Today, modernpsychotherapiesmayincludeconditioning— details? Is informationinthearticlesupportedbyconvincingfactsand that theyare current. Is thearticleuptodate?Checkdateonallsources tomakesure thoughtfully considered andsupported? one person’s opinion?Ifitisastatementofopinion,thatopinion Is thearticleobjective—neutralandunbiased—ordoesitrepresent resource withareputation forreliability andcredibility. out. You mayalsolookupthepublicationtoensure thatitisasolid Is theauthoranexpertinfield?Lookuphisorhernametofind t

.gov indicatesitesthatare affiliated withcollegesor ing focus

Argumentative orexplanatorywritingcanalmost

As youlocatesources of

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. organize yourfindings. argument. Considerthesesentencesfrom theLaunchText. Effective writersseamlessly integratedifferent kindsofinformationintoan Write It Record Information Use InformationFrom Sources with researched evidence. argument, worktosequencesentenceslogically,integratingyourownideas sentences are sequencedtoformacompleteidea.Whencraftingyour and example,butthesentenceinbetweenisaresearched definition.The In thisexample,thefirstandlastsentencesstatewriter’s ownreason decide where itmightfitintoyourwriting.Askyourself thesequestions: LAUNCH TEXTEXCERPT • • • TERMS RESEARCH THATDEFINES Did Ifindafactordetailthataddresses apossiblecounterclaim? Can Iintroduce afactfrom historythatwillhelptosupportmyclaim? Is there atermthatIshoulddefineformyreader? a clown’sbeingharmfulare small. For example,somepeopleare afraidofclowns,buttheodds cause harm. A phobiaisanunnecessaryfearofsomethingthatunlikelyto First, there isadifference betweenfearandphobia.

As youcompleteyourresearch, usethischartto

As yougatherinformationfrom research, MY CLAIM RESEARCH THATSUPPORTS essential q uestion : Howdowerespond whenchallengedbyfear? Performance Task: Write anArgument COUNTERCLAIM RESEARCH THATADDRESSESA CollegeandCareerReadiness when citingsources. Use punctuationcorrectly CONVENTIONS • • chapters, oressays. around titlesofarticles, Use quotationmarks orwebsites. journals, newspapers, magazines, the titlesofbooks, Underline oritalicize an example. The writeroffers research. froma definition The writergives counterargument. rebuttals ofthe firstoftwo the The writerpresents

695 696 presented. from andsupportstheargument statement orsectionthatfollows W.11–12.1.e reasons, andevidence. sequences claim(s), counterclaims, create anorganizationthatlogically alternate oropposingclaims, and distinguish theclaim(s)from the significanceofclaim(s), knowledgeable claim(s), establish W.11–12.1.a 

tandards UNIT 5•FACING OUR FEARS Performance Task: Wri

Provide aconcluding Introduce precise, to present astrong caseforyourclaim. Present Your Reasoning Drafting Write aFirstDraft todraftyourargument. Use oneofthesepatterns and supportaclaimabouttheusefulnessoffearforsurvival. based onaseriesoffacts.Factsaboutthehumanresponse tofearlead In theLaunchText, thewriterusesinductivereasoning topresent aclaim claim, andaddsinterest toyourwriting. Write aconclusionthatfollowslogicallyfrom yourargument, supportsyour performance oftheplaywithevidencefrom yourresearch on masshysteria. your pointsclearlyandeffectively. Blendevidencefrom thetextandaudio where possible.Useformallanguageandanobjectivetonetocommunicate first draft.Makesure toincludeaprecise claimandtoaddress counterclaims inductive reasoninginductive reasoningdeductive TYPE OFREASONING DEDUCTIVE State a claim. t examples. ing focus Find

Use inductiveordeductivereasoning towriteyour Confirm your claim. DEFINITION conclusion to leadageneral specific factsused instance orsituation toaspecific applied a general conclusion

You mayuse INDUCTIVE deductive examples. Find EXAMPLE prevent bicycleinjuries. will helpourcommunity Therefore, ahelmetlaw a helmetlawwaspassed. Oaktown decreasedwhen Bicycle injuryratesin injured lastmonth. would nothavebeen helmet law, AliciaMartinez If wehadastronger shown toreduceaccidents. Helmet lawshavebeen or Look fora pattern. inductive Establish a claim. reasoning

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. people orthingsthatare unspecified, general,oruniversal. These sentencesfrom the Launch Text useindefinitepronouns torefer to Read It may does notrefer toaspecific person,place,thing,oridea.Indefinitepronouns a noun,nounphrase,oranotherpronoun. However, anindefinitepronoun An Make Effective Choices:IndefinitePronouns LANGUAGE DEVELOPMENT: CONVENTIONS most, none, antecedents, A fewindefinitepronouns maybesingularorplural,dependingontheir agreement whenyouuseindefinitepronouns. As youdraftyourargument,besure toobserve proper subject-verb Write It • • • • • somebody, someone,something one nobody, noone,nothing much little, everybody, everyone,everything either, neither each anybody, anyone,anything another, other SIN Few speaking inpublic.. After justafewsessions,nearly (all people) This responsetofearwasgoodfor chemicals tobereleased.. Something (an unspecified number) Some indefinitepronoun,

G be singularorplural. ULA ofusenjoy ofusmayseekprofessionalhelptoridourselvesfears. R IN and D thewords thattheyreplace. Theseinclude

E alarms you,andinstantlyyourbraincausesanumberof some. F INITE being PR likeanypronoun, isaword thattakestheplaceof ONOUNS

afraid. (any unspecified person)

(an unspecified thing)

(an unspecified smallnumber)

anyone essential question:Howdowerespond whenchallengedbyfear? P several others many few both everyone LU R AL canstopbeingafraidof

IN D E whodisplayedit. F INITE all, any,more, PR Performance Task: Write anArgumentativeEssay ONOUNS

these examples. of speechyouare using.Study Be sure youknowwhichpart may also be used as adjectives. Certain indefinitepronouns USAGE writing orspeaking. English grammar andusagewhen of theconventionsstandard L.11–12.1  • • (adjective) to attendtheparty. Neither the party.(pronoun) Neither S tan

d studentplans planstoattend Demonstrate command a rd s

697 698 which theyarewriting. and conventionsofthedisciplinein tone whileattendingtothenorms maintain aformalstyleandobjective W.11–12.1.d counterclaims. evidence, andbetweenclaim(s) and and reasons, betweenreasons and the relationshipsbetweenclaim(s) text, createcohesion, and clarify to linkthemajorsectionsof and clausesaswellvaried syntax W.11–12.1.c   your argument. from yourWord Networkin Include interesting words FOCUS ANDORGANIZATION

WORD NETWORK tandards

UNIT Performance Task: Wri Uses words, phrases,andclausesto alogicalorganizationEstablishes Provides follows aconclusionthat claimfrom the Distinguishes Provides anintroduction that among ideas. relationshipsclarify the betweenand throughout argument. the and developsaprogression from argument. the opposing claims. apreciseestablishes claim.

Use words, phrases, Establish and

•

FACING

OUR

FEARS or phraseslikethesetoclarify therelationships betweenideas? claim, counterclaim, reasons, andevidence.Couldyouaddtransitional words appropriate toyourtaskandmayaddtheformaltoneofessay. character, setting,scene,conflict,dialogue,antagonist, consider usingvocabularyspecific tothestudyofliterature. Words suchas Use thischecklisttoevaluatetheeffectiveness ofyourfirstdraft.Then,use Evaluating Your Draft Revising Use ofSource Material Vocabulary andTone Revising forEvidenceandElaboration Clarifying Relationships Revising forFocusandOrganization your evaluationandtheinstructiononthispagetoguiderevision. for thefirsttime.Askyourself thesequestions: • • • similarly instead of for example the play? Does myevidencefrom research blendwellwithmyexamplesfrom Do Icorrectly citeexamplesfrom the playandothersources? Does everypointthatImakehavesupportingexamples? EVIDENCE ANDELABORATION t

ing focus Establishes andmaintainsaEstablishes Uses vocabularyandword Provides adequateexamples claimbyDevelops the formal styleandobjective purpose. and audience for the arechoices that appropriate for eachmajoridea. and reasons. provide relevant evidence using factsanddetailsthat tone. for this reasonfor this however in addition

When youwriteanargumentaboutaliterarytext,

Reread youressayasthoughyouwere seeingit Be sure toprovide clearconnectionsamong especially furthermore nevertheless CONVENTIONS

Attends to the norms tothe Attends pronouns. useofindefinitein the especiallydiscipline, oftheand conventions andsoonmaybe meanwhile consequently because

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. differently? the play?Ifyouhadtostartthisassignmentoveragain, whatmightyoudo difficult toweaveevidencefrom research intotheevidenceyoufoundfrom bywritingyourargumentative essay.WasReflect onwhatyoulearned it Reflecting your classmates’essays. make constructivecomments.Try toread andcommentonatleastthree of Attach anindexcard tothefoldersothatclassmates canread yourworkand Create afinaldraft,printit,andplaceitinfoldertheclassroom library. andPresentingPublishing Proofread forAccuracy Edit forConventions andProofreadingEditing examples. the playandtocapitalizespellcharacters’namescorrectly asyoucite spelling andpunctuation.Makesure tounderline oritalicizethenameof pronouns. Correct errors ingrammarandword usage.Lookforcorrect useofindefinite and Exchange essayswithaclassmate.Usethechecklisttoevaluateyourclassmate’s argument PEER REVIEW 1. 4. 3. 2.

Does thewriterstateaclearclaim? What isthestrongest partofyourclassmate’s essay?Why? Are elementsfrom research wovenintotheessay?Are thecitationsclear? Does thewriteroffer ampleevidencefrom theplay?

provide supportivefeedback.

yes yes yes

no no no

Reread yourdraftforaccuracyandconsistency.

Read yourdraftcarefully, lookingforerrors in Ifno,suggestwhatyourclassmatemightadd. If no,tellwhatyouthinkmightbemissing. If no,explainwhatconfusedyou. e ss e nt i al qu e st i on: Howdowerespond whenchallengedbyfear? Performance Task: Write anArgumentativeEssay for aspecificpurposeandaudience. addressing whatismostsignificant trying anewapproach, focusingon revising, editing, rewriting, or writing asneededbyplanning, W.11–12.5  S tanda

Develop andstrengthen r ds

699 700 Clarify Support Participate Prepare STRATEGY

UNIT

OVERVIEW: SMALL-GROUP LEARNING this unique government, force reactions Small-Group work Review continue Throughout Small-Group Learning Strategies From Text toTopic power As challenged by fear? How do we respond when QUESTION: ESSENTIAL

others 5

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© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. PERFORMANCE TASK adrive into the countryside? during woman a imagined—threaten or dangers—real What AlvarezJulia Antojos SHORT STORY Present an Argument what we can learn fromwhat wecanlearn fearfulencounters. a nation’s fears.Afterreading, yourgroup create will andpresent adebateabout children—becomes itssmallest experience, acommunity—including focusof the inareal-life Inastory,womanissweptawaybyherfearofothers; perspectives. The Small-Group readings explore unreasonable fearfrom twodifferent SPEAKING ANDLISTENINGFOCUS COMPARE is imprisoned as a threat to America. threat is imprisoned as a kindergarten for enough yet not old A child TelevisionArchive of American Takei George With Interview MEDIA: VIDEO James D.James Houston Jeanne Wakatsuki Houston and from AUTOBIOGRAPHY neighbors into strangers, friends into enemies? into friends neighbors into strangers, turn of war, atime In suddenly fear can how Farewell to Manzanar

Overview: Small-Group Learning CONTENTS

701 702

UNIT 5•FACING OUR FEARS OVERVIEW: SMALL-GROUP LEARNING 1. Working aTeam as 5. 3. 2. 4.

may addorrevise rulesbased onyourexperiencetogether. you worktogether. Samplesare provided; addtwomore ofyourown.You Our group’s decision: use onlinecollaborationtools,orscheduleasetofvideo chats. with oneanother. Forexample,youmightdiscussthetopicduringlunch, Take aPosition Create aCommunication Plan Name Your Group Apply theRules • • • • List Your Rules which youhaveevaluatedthesefears. After allgroup membershaveshared, discusssomeofthecriteriaby sharingyourpositions,provideAs youtaketurns reasons foryourchoice. from anothermemberofyourgroup. notes onandbeprepared toshare withtheclassonethingthatyouheard aboutfear.learned Makesure eachpersoninthegroup contributes.Take Our group’s name: Remind Encourage Explain. apossibility? is danger that feeling the or tomay pass, come you suspect that adanger about, you know that a danger situation: frightening most the creates you think do Which

everyone

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listen to

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© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. the tasks. your with group, and activities and maketexts aschedule for completing find out the dueFirst, Then, dates preview the for the activities. small-group Schedule a Making Here are some possible roles;Here are possible some your add ideas. own for roles, one and choose each group member. discuss the necessary project, role.a specific require Different different projects Before roles. beginning a your together, groupAs works you’ll has if each person find it more effective Working Group Projects on Antojos Interview With George Takei from SELECTION Recorder: Researcher: Project Manager: MULTIMEDIA SCAN FOR Farewell to Manzanar

takes notesduringgroup meetings

organizes research activities

monitors thescheduleandkeepseveryoneontask ACTIVITIES ESSENTIAL QUESTION: Howdowerespond whenchallengedbyfear? Overview: Small-Group Learning DUE DATE DUE

703 704 and mathematicalterminology. concerning themeaningofscientific roots andaffixestodraw inferences of Greek, Latin, and Anglo-Saxon parts ofspeech. Apply knowledge indicate differentmeaningsor use patternsofwordchangesthat L.11–12.4.b range ofstrategies. content on meaning wordsandphrases based meaning ofunknownandmultiple- L.11–12.4 end oftherange. scaffolding asneededatthehigh complexity bandproficiently, with nonfiction inthegrades 11–CCRtext 11, readandcomprehendliterary RI.11–12.10  several worksindependently. Each authorhasalsowritten collection ofrelated essays. autobiography, butalsoa 2009) co-wrote notonlythis James D.Houston Houston Jeanne Wakatsuki About the Authors

grades and 11–12reading STANDARDS

UNIT 5•FACING OUR FEARS , choosingflexiblyfroma MAKING MEANING MANZANAR from

(b. 1934) and FAREWELL TO FAREWELL Determine orclarifythe

Identify andcorrectly By theendofgrade (1933– complete the first-read and close-read activities for for activities complete and the first-read close-read Takei. George the actor with interview you will First, autobiography this youIn will lesson, compare an excerpt from the Comparing Text to Media for the comparing task. your with do group this on title will help prepare you the excerpt from opportunity toconductacloseread afteryour firstread. Apply thesestrategiesasyouconductyourfirstread. You willhavean First ReadNONFICTION the meaningsofunfamiliarwords youencounterduringyourfirstread. Apply yourknowledgeofbasewords andothervocabularystrategiestodetermine Base Words will encounterthesewords. As youperformyourfirstread oftheexcerptfrom Concept Vocabulary from word. Studythisexample. “inside” word, alongwithcontext,toidentify themeaningofunfamiliar whether itcontainsabaseword youknow. Then,useyourknowledgeofthe insupportable Conclusion: Familiar “Inside”Word: insupportable and otherburdensome restrictions imposedbytheBritishtobe Context: collaborator have already read. already knowandwhatyou the selectiontowhatyou CONNECT Who the text. NOTICE Farewell to Manzanar isinvolved? By1775,manyAmericancolonistsconsidered thetaxes

Farewell to Manzanar to Farewell If thesewords are unfamiliartoyou,analyzeeachonesee the generalideasof The taxesandrestrictions are saidtobeburdensome, so What mightmean“unbearable”or“intolerable.”

Farewell to Manzanar to Farewell . ideas within isitabout? conspirators

support , meaning“bear”or“carry”

and a video video a and . The work you work you . The espionage the selection. by writingabriefsummaryof the Comprehension Check and vocabulary andkeypassages ANNOTATE you wanttorevisit. RESPOND Farewell toManzanar GEORGE TAKEI INTERVIEW WITH by marking by completing , you

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 2 1 to to Farewell from homemade stillhekeptbehind thedoor, brews thatsmelled sobad fruit theyserved.Hewouldsavethisup andconcoctbrews ina mess hall. great dealofthetime,and Mamahadtobringhismealsfrom the he didn’tgooutsideformonths.Hesatinthere, orpaced,alonea himself, hisdark,bitter, brooding presence. Oncemovedin,itseemed to Mama’s.Butthatwasnotwhatcrowded theroom. ItwasPapa W Inu of havingaidedtheenemy. Manzanar, camp,afterhisdetention onfalsecharges onesuchinternment camps. Asthisexcerptopens,JeanneWakatsuki’s fatherarrivesat Americans toleavetheirhomesandliveinfacilitiesknownasinternment prejudices, ordered thefederalgovernment about120,000Japanese included Japan.AfraidofJapanesesympathizers,anddrivenbyracial During World War II,theUnitedStatesfoughtAxispowers, which BACKGROUND He made her bring him extra portions of rice, or cans of the syrupy He madeherbringhimextra portionsofrice,orcansthesyrupy Manzanar brought inanotherarmy bunk andtickmattress, upnext ith Papabackourcubiclewasfilledtooverflowing. Woody

Jeanne Wakatsuki Houston and James D.Houston and from Farewell to Manzanar NOTES Autobiogr MULTIMEDIA SCAN FOR a

705 phy 706 MEANING: collaborator helped youdeterminemeaning. another strategyyouusedthat Mark basewordsorindicate NOTES tuhr)

n. UNIT 5•FACING OUR FEARS

(kuh LAB uhray (kuh LAB 5 4 3 7 6 terrified allofus,lurching around thetinyroom, cursinginJapaneseand Island latrine together. Bythistimethestallswere partitioned.Two Terminal his isolation.IfirstsenseditonenightwhenMamaandwenttothe him becausehebrewed hisownfoul-smellingwineinourbarracks. them forthefirsttimeinhislife. Itoldmyself theywhispered about better thantheywere andwasangryatbeingforced tolivesoclose went outandneverassociatedwithothersbecausehethoughtwas but threats andabuseforherattemptstocomfort him. swinging hisbottleswildly. No one couldpacify him.Mamagotnothing 4. 3. 2. Isseis thathelaterusedtobuyhisrelease. was that,asaninterpreter, hehadaccesstoinformationfrom fellow Department foundnoreason todetainhimanylonger. Buttherumor families throughout thewar. After investigatinghisrecord, theJustice men, manyofwhomhadtoremain upthere separated from their yet havethestrength toresist it.Heexiledhimself, likealeper, happened tohim,wassimplymore thanhecouldbear. Hedidnot he drank. 1. in akabuki passed out.Inthemorninghewouldwakeupgroaning likethedemon sip hisricewineorapricotbrandy, siptillhewasblinddrunk and Mama wasashamedtoletinanyvisitors.Dayafterdayhewould he hadbeenreleased from FortLincolnearlierthan mostoftheIssei information totheWar DepartmentandtotheFBI. inu, who cooperatedwithcampauthoritiesinanywaycouldbelabeled helped thearmyarrangeapeacefulandorderly evacuation.Men Japanese American CitizensLeaguewere beingcalled learned that bad manners,orworse,breaches offaithandloyalty. Years laterI be muchmore cuttingthanmere vulgarity. Theyhavetodowith never socialized. and Ithoughtatthetimetheywere backbitinghimbecausehe us tohear. Theykeptusingtheword “inu.”Iknewitmeant“dog,” hear themwhisperingaboutPapa,deliberately, justloudenoughfor in. Theylingered bythedoorway, andfrom insidemy stallIcould

out of fear of contagion. of fear of out aleper like Issei Issei interned. were inhabitants the after destroyed Terminal Island kabuki kabuki All ofthiswaspartlytrue. Butthere were deeper, uglierreasons for I turnedeightthatfall.remember tellingmyself thathenever This whispered charge, addedtotheshameofeverythingthathad For thewomeninlate-nightlatrinePapawasan Spoken Japaneseisfullofdisrespectful insultwords thatcan aswellthosegenuineinformersinsidethecampwhorelayed (EE say) (EE 2 womenaboutMama’sagewere leavingjustaswewalked (kuh BOO kee) BOO (kuh 1

drama; he would vomit and then start sipping again. He drama;hewouldvomitandthenstartsippingagain.He

Historically, individuals with the disease leprosy were isolated from society, society, from isolated were leprosy disease the with individuals Historically, inu first-generation Japanesefirst-generation Americans, who have emigrated from Japan.

Japanese American community in Los Angeles that was entirely entirely was that Angeles Los in community American Japanese alsomeant

n. n. stylized form of classical Japanese theater. Japanese classical of form stylized collaborator * orinformer. Membersofthe inu inu forhaving because 4 and 3

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 10 12 11 9 8 Yes Yes No No to die,youwon’tfightwell. And if youdon’tfightwellwill do notbelieve,youwill bewillingtodie.Ifyouare notwilling else. Buttodothat,youmust courageous warriors.Theyare prepared todie.Theyexpectnothing believing heisnevercomingback.Thiswhythe Japaneseare such from bunktobunk,waving hiscane. rather, Woody wouldlistentoPapa lecture himon sat sniffling whilethearguments wenton. room, upagainstthefarwall andbackintoherchair, andwhere she disgracing Mamaallthetime.Oncehejustshoved Grannyacross the her toshutup,thenGrannywouldinterrupt andorder himtoquit threats. Mamawouldtrytocalmthemendown.Papatell of hisconcoctions.Theirvoicesgraduallywouldrisetoshoutsand over thetableawhile,mutteringlike would cometotalkPapaandmybrothers. Theywouldhuddle knew there wasnopeaceinourcubicleforweeks.Blockorganizers him outofthebarracksandintocirculation again. months ofself-imposed isolation,thisdebatewaswhatfinallyforced than theriot,becausenoonecouldavoidit.NotevenPapa. After five it out.Thissoonbecamethemostdivisiveissueofall.Itcutdeeper Oath appeared. Everyoneseventeenandoverwasrequired tofill seemed, hadjustbegun.EarlyinFebruary thegovernment’sLoyalty was drunk. Bettertimeswere alongwayoff, andthedifficulties, it year. Thepresents were makeshift, thewindwasroaring, Papa times tocome. that hadleduptotheriot,apromise ofbettertreatment andbetter appointed andthiswashisgesture ofapologyforallthedifficulties Christmas tree hauledinfrom theSierras. A newdirector hadbeen States oncombatduty, wherever ordered? 27. foreign government,power, ororganization? of allegianceorobediencetotheJapaneseemperor, oranyother all attackbyforeign ordomesticforces, andforswearanyform of America andfaithfullydefendtheUnitedStatesfrom anyor 28. At thetime,Iwastooyoungtounderstandproblem. Ionly It wasanhonestgesture, butitwasn’tmuchofaChristmasthat Later inDecembertheadministrationgaveeachfamilya “Listen tome,Woodrow. Whenasoldiergoesintowarhemustgo If theorganizers weren’t there, Papawouldargue with Woody. Or Will youswearunqualified allegiancetotheUnitedStates Are youwillingtoserveinthe Armed Forces oftheUnited (yes) (yes) believe

—from the Application forLeaveClearance, 1943 inwhatyou’re fightingfor. Ifyou conspirators (no) (no) War RelocationAuthority , sippingteaorone true loyalty, pacing from Farewell to Manzanar tuhrz) NOTES conspirators helped youdeterminemeaning. another strategyyouusedthat Mark basewordsorindicate MEANING:

(kuhn SPIHRuh

707 708 NOTES

UNIT 5•FACING OUR FEARS 14 13 26 25 24 23 22 21 20 19 18 17 16 15 6. 5. submissive smile. So tellme,howcanyouthinkofgoingoff tofight?” probably bekilledstupidly, forthewrong reason, andunheroically. ill-fated “oath.” together with thesearch for“loyal”soldiers,hadgivenrisetothe it washoped,mightsavesometimeandalotofred tape.This, and securityclearances. A loyaltystatementrequired ofeveryone, down inpaperwork.Itwastakingmonthstoprocess applications were beginningtotrickleoutofcamp.Buttheprogram wasbogged a jobandsponsorsomewhere inland,awayfrom the westcoast, relocation the infantry, thesecondbackacross thePacific. Thethird, called itself, withnoexitsaveviathree narrow gates.Thefirstledinto it andaround it. son wastositandlistenPapathrashhiswayaround itandaround pointless tobegintheargument again.Itwasacircle. Hisdutyasa that whenthetimecamehewouldjoinarmy, andhe knew itwas shrugged, stillsmilinghisboyishsmile,anddidnotargue. Heknew fool wouldvolunteer.” feel aboutit.Thatiswhytheyare givingustheoathtosign.” with allthoseother answer no over, thesooneryouandMamawillbeoutofhere.” Lake Cityandpassedaresolution pledgingNisei it actuallyhadtodealwith.Thispartofwouldhave beencomicalif a clearer ideaofexactlyhow manyagentsandJapanesesympathizers figured itcouldsimultaneously weedoutthe“disloyal”andthusget this unitandspeedinguptherelocation program, thegovernment its plantoformanall-Niseicombatregiment. Whilerecruiting for the campsformilitaryservice.InJanuarygovernment announced

Nisei JACL United States. A circle, oryoumighthavecalleditacorral,likeManzanar Two weeksbefore theDecemberRiot,JACL Papa stared hard atWoody, makingthisachallenge.Woody “No! Thatisnottrue! Theyare lookingforvolunteers. And onlya “But if Iansweryeswillbedraftedanyway, nomatterhowI “Do youthinkthatiswhatI’mtellingyou?Ofcoursecannot “You wantmetoanswerno “Do youthinkIwouldrisklosingasonforthat?” “The more ofuswhogointothearmy, thesoonerwarwillbe “But lookwhere theyhaveputus!” “I aman American citizen. America isatwar.” “In thiswar?Howisitpossible?” “I willfightwell,Papa.” Woody alwaysanswered softly, respectfully, withaboyishand

( Japanese Citizens American League. nee , wasjustopeningup:Internedcitizenswhocouldfind say)

. Ifyousaynono;willbeshippedbacktoJapan second-generation Japanese Americans, who weresecond-generation born in the bakatare !” , Papa?” 5 leadersmetinSalt

6 tovolunteeroutof

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 32 31 30 29 28 27 anti-American. final goadthatprodded manyonce-loyalcitizenstoturnmilitantly itself—appearing attheendofthatfirstchaoticyear—became would willinglyadmithewasdisloyal. Yet theveryideaofoath the results were notsogrotesque. Noself-respecting accepted theformwouldbeshippedoutofcamp:no of noncooperationorthrough themistakenfearthat resistance. Otherswantedtoboycotttheoathaltogetherinashow forces were tryingtoorganize anovotebyblocks,inmassive Anti-American feelingincampranstronger thanever. Pro-Japan our family. more, amovetoTule Lakecouldmeanafurthersplittingupof he’d endured, thatif hehadafuture itstilllayinthiscountry. What’s believed America wouldwinthewar, andheknew, evenafter all had noreason toreturn toJapan.Hewastoooldstartover. He most peoplebelievedwouldbeeventualrepatriation toJapan.Papa California where allthe“disloyal”were tobeassembledforwhat If hesaidno he mightstillhavetherightsofacitizen.Thealternativewasworse. denying hisconnectionswiththeonecountryinworldwhere allegiance tothegovernmentthathadsenthimFortLincolnand He agreed withWoody onthismuch,eventhoughitmeantswearing Japan, theyes was nearlygonenow, buthecarriedhiscaneandwentstaggering He shavedandtrimmedhismustacheputon a silktie.Hislimp time heheard aboutithepurposelydranknothingstronger thantea. “heads ofhouseholds”onlyandheinsistedongoingalone.From the sucked intosuchadecisionwithouthavinghisownopinionheard. camp intoitwasquiteanother. At theveryleasthedidn’twanttobe Saying noasanindividualwasonething,bullyingtheentire to speakhismindbefore thenocontingentcarried theblock. comments. yeswasjustwhattheyexpectedofan knew thatmerely showinghisfacewoulddrawstares andmuttered and racialhate. as if afire hadbroken out.TheloudestvoicewasPapa’s, cursing. heard agreat commotion inside themesshall,menshoutingwildly, with almostnowarning.Iwashurryingbacktothe barrackswhenI wind thatcouldbringanoceanofsandintocamp at anymoment Mount Whitney. Nowawindwasrising,thekindofbiting,steady three othergirls.Itwaswinter, thesunhadalready dropped behind packed earthinfront ofhim. off downthenarrow walkwaybetweenthebarracks,punchingat About fouro’clockIwasplayinghopscotchinthe firebreak with A meetingtodebatethematterwascalledinourmess hall.Papa This wasahard choicetomake,andevenharder to holdto. From thebeginningPapaknewhisownanswerwouldbeyesyes. “Eta! Woody wantedtogowithhim,butPapasaiditwasameetingfor (trash) Eta!Bakayaro! Bakayaro!” , hecouldbesenttoTule Lakecampinnorthern s intoan American societyfullofwartimehostility anyone espionage inu . Buthehad who s backto agent from Farewell to Manzanar NOTES espionage helped youdeterminemeaning. another strategyyouusedthat Mark basewordsorindicate MEANING: n.

(EHS peeuhnozh)

709

710 NOTES

UNIT 5•FACING OUR FEARS Internees atManzanarlineup forlunchatamesshall. 33 34 He letgoofhiscaneashelandedontheman’sback,andtheyboth behind him,inaflyingleap,bellowinglikewarrior, “Yaaaaaah!” ground. Hedidn’tgetfar. Papacamethrough thedoorwayright tearing out.Hejumpedoff theporch, running ashisfeethitthe opponent outofreach. sending windblownburstsofittoward theknotofmendragginghis head withrage.Whiletheypinnedhisarms,hekickedatthesand, them apart.Ihadneverseenhimsolivid,yellingandoutofhis the throat andwouldhavestrangledhim,butsomeothermenpulled aloud. Papawentforhim.Now, outsideinthedirt,Papahadhimby tableand madethecharge man thenjumpedupatthespeaker’s murmurs of“ as theykickedandpummeledthrashedeachother. with atideofsandpouringtoward us.Thedustbillowedandspun tumbled intothedirt.Thewindwasrising.Half theskywasdark At themeeting,whenPapastooduptodefendyesposition, The doorofthemesshallflewopenandashort,beefymancame Inu, inu ” begantocirculate around themesshall.This

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 36 35 39 38 37 down some. The fightingagainstthewindandsandtogetthere calmedhim night. Everyoneranforcover. Two menhustledPapatoourbarracks. poem, whosewords gobacktotheninthcentury: or avictorysong,thewaymanynationalanthemsare. Itisreally a American kidspledgeallegiancetotheflag.Itisnotamartialsong, morning asaschoolboyinJapan.Theystillsingitthere, theway and incomprehensible. some hiddencorneroftheroom. Thiswasalwaysmysterious Then wewouldjuststare quietly—asIdidthatnight—from except forthoserare timeswhenPapabeganto weep atthelyrics. hold ourearsandgiggle.Itwasalwaysagreat jokebetweenus, plucking itandwhiningoutoldJapanesemelodies.We would his “pinko-pinko.”We wouldlaughtogetherwhenweheard him him. He playedthethree-stringed he wassingingorwhensomeoneelsesangasongthatmoved the stove’ssmallglow, tearsbeganrunning downhisface. Papa, thatnight,itwasadeep-throated lament. Almost invisiblein can beaheartyorplaintivetune,dependingonyourmood.From hummed alongwhilePapaandtheotherwomansangwords. It anthem, glow. After awhilePapasangthefirstlineofJapanesenational their handsoneithersideofthestove,facingeachotherinits went tobedsheandPapabegansingsongsinJapanese,warming the way. ShehadstudiedinJapan forseveralyears. About thetimeI stove whileMamaandWoody andChizubegantotalkabouttheday. camp. Itwasacold,lonelynight,andwehuddledaround ouroil stayed black.Thestormhadknockedouttheelectricityallover listened tothewindhowl.Whensanddieddown,skyoutside into thesand.Mamakeptpouringhimlittletricklesoftea.We for alongtime.Onecheekbonewasrawwhere ithadbeenmashed A youngwomancamein,afriendofChizu’s,wholivedacross A fewmomentslaterthesandstormhit.Theskyturnedblackas The nationalanthem,Ilaterlearned,iswhathehadsungevery I hadseenhimcryafewtimesbefore. Itonlyhappened when Back insidehesatbythestoveholdinghisteacupanddidn’tspeak Kimi gayowachiyoni Will coveritdeepandthick. Into amassiverock, andthe moss Until thistinystonewillgrow May itlastforthousandsofyears, May thypeacefulreign last long. na-ri-te ko-kenomusumade. yachiyoni sa-za-re i-shinoi-wa-o to Kimi gayo . Woody, Chizu,andMamaknewthetune,sothey samisen , whichKiyoandIcalled from Farewell to Manzanar NOTES

711 712 details withyourgroup. Complete thefollowingitemsafteryoufinishyourfirstread.Reviewandclarify Check Comprehension Research to Clarify Research RESEARCH 5. 4. 3. 2. 1. the text? that detail. what In way the information does you of learned shed light an on aspect

UNIT 5•FACING OUR FEARS On whattypeofoccasiondoesPapacry,according toJeanneWakatsuki Houston? Why doesn’tWoody arguewithPapa? the internees? According toJeanneWakatsuki Houston,whatisthemostdivisive issueamong Identify twomeaningsfortheJapaneseword

Notebook

Confirm yourunderstandingofthetextbywritingasummary.

Choose unfamiliar at one least Briefly research detail from the text. 40 my father’s housethere stoodoneofthosestonelanterns,withfour my father’s even from arock. InJapan,before theturnofcentury, outside can beaman’slife. Themossisthegreenery that,intime,willspring personal credo forendurance.Thestonecanbethekingdomorit sprinkled inamongstthegreen. to acertaintypeofmossylichenwithexquisitelytinywhiteflowers stone. As aboyhewastaughtthatthelastlineofanthemrefers after severalyearsaskinoflivingvegetationbegantoshowonthe the householdwouldpourabucketfulofwateroverhislantern,and stubby legsandasmallpagoda-likeroof. Eachmorningsomeonein It isapatrioticsongthatcanalsoberead asaproverb, asa inu .

❧

Close Read the Text With your group, revisit sections of the text you marked during your first read. Annotate what you notice. What questions do you have? What can you conclude?

from FAREWELL TO MANZANAR

Cite textual evidence Analyze the Text to support your answers. Notebook Complete the activities. 1. Review and Clarify With your group, reread paragraphs 4 and 5 of the excerpt from Farewell to Manzanar. What do the authors suggest about the obstacles and challenges confronting Papa?

2. Present and Discuss Now, work with your group to share the passages from the text that you found especially important. Take turns presenting your passages. Discuss what you noticed in the selections, what questions you asked, and what conclusions you reached.

3. Essential Question: How do we respond when challenged by fear? What has this text taught you about people’s responses to fear? Discuss with your group.

language development Concept Vocabulary

collaborator conspirators espionage

Why These Words? The three concept vocabulary words from the text are  WORD NETWORK related. With your group, determine what the words have in common. Write Add words related to fear your ideas, and add another word that fits the category. from the text to your Word Network. Practice Notebook Confirm your understanding of these words by looking up their definitions in a dictionary. Then, use the words to write a short narrative paragraph. Include context clues that hint at each word’s meaning.

 STANDARDS Word Study L.11–12.4.b Identify and correctly use patterns of word changes that Latin Suffix: -or The suffix -or can be used to form nouns from verbs. indicate different meanings or For example, the words collaborator and conspirators are formed from parts of speech. Apply knowledge of Greek, Latin, and Anglo-Saxon collaborate and conspire, respectively. Reread paragraphs 2 and 8 of the roots and affixes to draw inferences © Pearson Education, Inc., or its affiliates. All rights reserved. or its affiliates. Inc., Education, © Pearson selection. In each paragraph, find one noun formed from the suffix -or. Write concerning the meaning of scientific the nouns and their meanings; then, list the verb used to form each noun. and mathematical terminology. L.11–12.4.d Verify the preliminary determination of the meaning of a word or phrase.

from Farewell to Manzanar 713 714 from

UNIT MAKING MEANING MAKING

FAR 2. 1. Practice chart. Then, share your responses with your group. with share your Then, responses chart. 3. EWELL T

Episod (paragraphs 36–40) Papa singing songs (paragraphs 29–35) hall mess the at Meeting (paragraphs 1–10) Return to Manzanar 5

(a) (b) (a) the text.Then,usethosedetailstomakeinferences abouthisfeelings. Use thecharttorecord detailsaboutPapa’s behaviorduringimportantepisodesin this issuegivereaders insightabouthisvalues andpriorities?

Notebook •

FACING

Howdotheiropinionsaffect Houston’s perceptions ofherfather? What doesPapa’s Why dotheotherJapaneseAmericansincampviewPapaasatraitor? O M e

Z OUR ANAR

Work independently to answer the questions and complete the and complete the questions the to answer Work independently

FEARS yes opinions presented inthetext. nonfiction, compare andcontrastdescriptive details,statements,facts,and To fullyunderstandthepeopleandtheirmotivationsinworksofnarrative indirect. and direct of characterization: types tools the to use same real writers describe people. are There nonfiction two characterization Development of Complex Ideas Analyze CraftandStructure • •

yes her fatherwasneitherlikednorrespected. recalls thatotherpeoplecalled herfather“inu,”readers caninferthat what otherpeoplesayabouthimorher. Forinstance,whenHouston physical appearanceandbehavior, quotehisorherstatements,report readers toinferwhatpeople are like.Awritermightdescribeaperson’s With father wasunhappyandsullen. presence.” Here, JeanneWakatsuki Houstonsimplytellsreaders thather is like—forexample,“ItwasPapahimself, hisdark,bitter, brooding With positionreveal abouthim? P indirect characterization direct characterization apa’s B apa’s to show what imaginary characters are like. Narrative e havior (b) , awriterexplicitlystateswhatperson

, writersprovide detailsthat allow Howdoeshisstanceon Fiction writers use the use tools writers of Fiction I nf e r e nc e CITE TEXTUALEVIDENCE to supportyouranswers.

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. Author’s Point of View Author’s Author’s Style 1. It Read me girl. of use The account back as ayoung events on in she experienced which the author looks learned.” At other though, points, the narrative is implied. shift signals anarrative clues with such shift as “at the time” and “years later I insights fromoffers and an reflections adult perspecti ofrelates ayoung child. events from the perspective At other narrative the author isbecause recalling they events after happened, years these the event as a child and it now. how you understand to highlight how you the perspectives the experienced differences between point of to view childhood. tell first-person Use your story, but shift Write It 2. paragraphs 39–40 paragraphs 28–29 paragraphs 9–10 PASSAGE

column. write a comment in the right-hand shift or the on narrative perspective identified Reread in each the left-hand column. passage selection. Then, thisUse to chart in compile the your notes shifting on perspectives conflicts? your Explain answer. in the selection? Houston’s clarify shifts such Do shifts principal issues and , and and ,

Notebook LANGUAGE DEVELOPMENT LANGUAGE Notebook unfolds levels. At at two on least times, Jeanne Wakatsuki Houston my , tells that readers the author is first-person point of view point first-person

Write a short narrativeWrite ashort account of an event from your

Connect to Style Connect COMMENT(S) ON NARRATIVE PERSPECTIVE/SHIFT NARRATIVE ON COMMENT(S)

Farewell to Manzanar to Farewell

What is the overall of narrative effect relating , signaled by pronouns such as is an autobiographical her own story. her own However, ve. Sometimes, Houston Houston ve. Sometimes, times, she she times, I, I, from persuasiveness, orbeautyofthetext. content contributetothepower, effective, analyzinghowstyleand in whichtherhetoricisparticularly point ofvieworpurposeinatext RI.11–12.6 over thecourseoftext. ideas, oreventsinteract anddevelop and explainhowspecificindividuals, set ofideasorsequenceevents RI.11–12.3 uncertain. where thetextleavesmatters from thetext, includingdetermining explicitly aswellinferencesdrawn analysis ofwhatthetextsays thorough textualevidencetosupport RI.11–12.1  Farewell to Manzanar

STANDARDS

Determine anauthor’s Analyze acomplex Cite strongand

715 716 internment experience. by his inspired a musical in appeared has also He programs. television and of films indozens participated original Sulu inthe Hikaru portraying for known career.his Best acting made and in theater interested became he college, In Angeles. inLos family American into aJapanese born Takei George About the Interviewee expression. important tocomprehensionor when consideringawordorphrase in gatheringvocabularyknowledge level; demonstrate independence the collegeandcareerreadiness writing, speaking, andlistening at phrases, sufficientforreading, and domain-specificwords accurately general academic L.11–12.6 needed atthehighendofrange. proficiently, withscaffoldingas 11–CCR textcomplexityband literary nonfictioninthegrades grade 11, readandcomprehend RI.11–12.10 

tan UNIT Making Meaning TO MANZANAR from Star Trek Star

d Acquire anduse FAREWELL

5 ar By theendof

• (b. 1937)(b. was

d FACING , Takei has s Allegiance

OUR

, FEARS Television. Watch andlistentotheinterview. Then, War II, on theactor’s experienceduringWorld internment This interviewwithGeorgeTakei, whichfocuses Comparing Text toMedia opportunity tocompleteaclosereview after yourfirstreview. Apply thesestrategiesasyouperformyourfirstreview. You willhavean First ReviewMEDIA:VIDEO video interviews. words will usefulThese be to you as you analyze, discuss, and write about VocabularyMedia George TakeiInterview With people whoexperiencedsimilarhardships. compare andcontrastthe points ofviewtwo in the foregroundin the border surrounds image the anenclosing visual sothat Framing: at anevent someone whowaspresent givenby description Eyewitness Account: events record orreport ofreal providesfilm that afactual Documentary:

say, and CONNECT WATCH or imagesyou’veseen. experienced, textsyou’veread, video was composinga

drawn

to other how who program or ideas in the ideas inthe

from theysayit. speaks,

media

the

you’ve what

Archive • • • • • • they they

Eyewitness testimonyisvaluableforits between theinterviewerandinterviewee. formats andallowdifferent typesofinteractions Interviews maytakeplaceinavarietyof on certaineventsortopics. with peoplewhoare uniquelyqualified toreport Documentaries mayconsistlargelyofinterviews which nobackground isvisible. withclose-upviews,in Framing mayalternate between foreground andbackground images. Framing mayoffer acounterpointorcontrast partially trustworthy. Eyewitnesses, however, maybebiasedandonly immediacy andpresumed credibility.

American interesting andwanttorevisit. the Comprehension Check. NOTE RESPOND

elements that you find elements thatyoufind GEORGE TAKEI INTERVIEW WITH by completing completing

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. Interview George With Takei during World War II. attwodifferentinterned California— camps—oneinArkansasandonenorthern describes howheandhisfamilywere forced from theirhomeinLosAngelesand only officially repealed andapologizedforin1976.Inthisinterview, GeorgeTakei However, ExecutiveOrder was 9066,whichestablishedthepolicyofinternment, ofJapaneseAmericanslastedfromThe internment March 1942toMarch 1946. BACKGROUND NOTES Interview With GeorgeTakeiInterview With MULTIMEDIA MEDIA |VIDEO MEDIA SCAN FOR

717 details withyourgroup. Complete thefollowingitemsafteryoufinishyourfirstreview. Reviewandclarify Comprehension Check 718 7. 6. 5. 4. 3. 2. 1.

UNIT 5•FACING OUR FEARS northern California? northern Why were Takei andhis familytransferred from acampinArkansastoTule Lakein How didTakei’s parents respond tothekeyquestions?Whatreasons didtheygive? What were thetwokeyquestionsposedbygovernment’s loyaltyquestionnaire? As ayoungchild,howdidTakei camps? feelabouttheinternment of their home? What doesTakei remember aboutthedaythatheandhisfamilywere ordered out How oldwasTakei atthetimeofattackonPearlHarbor? comments aboutthesignificance oftheloyaltyquestionnaire.

Notebook

Confirm yourunderstanding oftheinterviewbysummarizingTakei’s

Close Review With your group, revisit the video interview and your first-review notes. Record any new observations that seem important. What questions do you have? What can you conclude? INTERVIEW WITH GEORGE TAKEI

Analyze the Media Notebook Complete the activities. 1. Present and Discuss Choose the interview segment you find most interesting or powerful. Share your choice with the group, and discuss why you chose it. Explain what you noticed in the segment, what questions it raised for you, and what conclusions you reached about it. 2. Review and Synthesize How does Takei reveal his perspective on the treatment of Japanese Americans during the war? Consider his tone of voice and facial expressions in addition to the details he shares.

3. Essential Question: How do we respond when challenged by fear? What have you learned about people’s responses to fear from watching this interview?

language development Media Vocabulary

documentary eyewitness account framing

Use the vocabulary words in your responses to the questions. 1. Why is George Takei qualified to present a factual report on the internment camp experience?

 Standards SL.11–12.3 Evaluate a speaker’s 2. (a) How does Takei’s perspective offer a different way of seeing America’s point of view, reasoning, and use of involvement in World War II? (b) What is the value of considering evidence and rhetoric, assessing the stance, premises, links among ideas, alternative perspectives on historic events? word choice, points of emphasis, and tone used.

L.11–12.6 Acquire and use accurately general academic and domain-specific words and 3. What effect is created by having Takei talk in the foreground of a scene phrases, sufficient for reading, writing, speaking, and listening at © Pearson Education, Inc., or its affiliates. All rights reserved. or its affiliates. Inc., Education, © Pearson set in a comfortably furnished room? the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression.

Interview With George Takei 719 INTERVIEW WITH GEORGE TAKEI from 720 nonfiction. standards Reading W.11–12.9.b organization, andanalysisofcontent. through theeffectiveselection, information clearlyandaccurately convey complexideas, concepts, and explanatory textstoexamineand W.11–12.2 problem. to addressaquestionorsolve formats aswellinwordsorder presented indifferentmediaor multiple sourcesofinformation RI.11–12.7 

S FAREWELL TO MANZANAR

tan UNIT EFFECTIVE EXPRESSION

d Write informative/

Integrate andevaluate 5

ar Apply

• toliterary

d FACING s grades 11–12

OUR

FEARS two textswithyourgroup. Considerthefollowing questions. of interned JapaneseAmericansduringWorldof interned War II.Deepen your George Takei provide primary-source informationabouttheexperiences Both theexcerptfrom Writing toCompare Analyze the Texts the Analyze Prewriting perspectives theyexpress. understanding ofbothsources bycomparingthetwoaccountsand 2. 1. FAREWELL TO MANZANAR compare-and-contrast essay Choose oneofthesethree prompts, andrespond toitina Assignment

• • Japanese Americansduring World War II? What dothesetwotextssuggest abouttheuniversalexperienceof How dothepointsofviewdiffer, ingeneral? Notebook Notebook experiences of interned Japanesedothetwotextspresent?experiences ofinterned What similaranddifferent informationandinsightsaboutthe “no” responses? Whatconsequencesfolloweachdecision? responses toit?Whatargumentsare usedtosupportboth“yes”and How doeseachselectiondescribetheLoyaltyOathandpeoples’

What eventsdoHoustonandTakei emphasizeintheirrespective Consider Houston’s andTakei’s reactions totheirparents’ decisions. How are Papa’s andWoody’s understandingsoftheLoyaltyOathand choices, andtheirtones. different? Considerthedetailsonwhichtheyfocus,theirword accounts? Howare theirtreatments ofthoseeventssimilarand How are theyalikeanddifferent? Takei’s parents’ positiononthesametopic? its implicationsin

Respond tothesequestions. Record yourideasduringthegroup discussion.

Before youchooseaprompt toaddress, discussthe Farewell toManzanar Farewell toManzanar . INTERVIEW WITHINTERVIEW GEORGE TAKEI andtheinterviewwith similartoanddifferent from

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. checkmark inthebox Your answerstothesequestionsshouldhelpyouchooseatopic. Placea First, review yourPrewriting notes. Proofread toeliminateerrors inspellingandpunctuation. revising, edittoimprove grammar, word choice,andsentencestructure. logical transitionsasyoushift attention from oneselectiontothe other. After Make sure yourtreatment ofthetwoselectionsisbalanced.Then,checkfor then useyourpeers’suggestionsandownideasto revise yourdraft. Read yourdraftaloudtogroup. Askforfeedback,takenotes,and follow. Then,draftyouressay. and thentheirdifferences. Makeashortoutlinetosetupstructure to about theotherone,orwhetheryouwilldiscusstwo texts’similarities selections. Decidewhetheryouwillwriteaboutoneselection firstandthen essay, developyourthesiswithdetails,quotations,orother supportfrom the a one-ortwo-sentenceresponse totheprompt. Then,inthebodyof Review, Revise,andEdit Draft First a Write Select Evidence Write aThesisStatement Choose a Question Drafting and refine yourideas. statement here. You mayadjustorevenchangeitaltogetherasyoudraft chosen prompt inoneortwo sentences.Write afirstversionofyourthesis use inyouressay. support eachperson’s thesis.Usethecharttolistevidenceyouplan to choose evidencefrom boththeautobiography andtheinterviewthatwill are workingfrom thesameprompt. Then,worktogethertodiscussand EVIDENCE FROM AUTOBIOGRAPHY • • ______Thesis Statement: Which aspectoftheautobiographyorinterviewdoyoufindmost What strikesyouasthemostpowerfuldifference betweenthetwo? interesting orimportant?

Share yourthesisstatementsothergroup memberswho

Begin youressaywithathesisstatementthatoffers next toyourchoice. Work independentlytoplan andwriteyouressay. ______

Your thesisstatementshouldrespond toyour ESSENTIAL QUESTION: from

Farewell EVIDENCE FROM INTERVIEW FROM EVIDENCE Howdowerespond whenchallengedbyfear? to

Manzanar

•

Interview  with GeorgeTakei. Manzanar the excerptfrom fromwhat you’velearned Evidence Logandrecord new selection,gotoyour Before movingontoa

With EVIDENCE LOG EVIDENCE

George andtheinterview

Farewell to Takei

721 About the Author 722 to themeaningofawordorphrase. L.11–12.4.a range ofstrategies. content on meaning wordsandphrases based meaning ofunknownandmultiple- L.11–12.4 end oftherange. scaffolding asneededatthehigh complexity bandproficiently, with poems, inthegrades 11–CCRtext including stories, dramas, and 11, readandcomprehendliterature, RL.11–12.10  for inspiration. and her Caribbeanheritage her personalexperiences Alvarez oftendrawsupon to understandyourself,” Calling writing“away her decisiontobeawriter. considers foundationalto discovered—a movethatshe dictator RafaelTrujillo was in aplottooverthrow the her father’s participation to theUnitedStateswhen She andherfamilyreturned in theDominicanRepublic. spent muchofherchildhood inNewYorkborn Citybut Julia Alvarez

grades and 11–12reading STANDARDS

UNIT 5•FACING OUR FEARS , choosingflexiblyfroma MAKING MEANING

Determine orclarifythe

Use contextasaclue By theendofgrade (b.1950)was the strategy. help youdeterminetheirmeanings.Here isanexampleofhowtoapply clues first read. determine themeaningsofunfamiliarwords youencounterduringyour Apply yourknowledgeofcontextcluesandothervocabularystrategiesto opportunity tocompleteacloseread afteryour firstread. Apply thesestrategiesasyouconductyourfirstread. You willhavean First ReadFICTION Context Clues following words. As youperformyourfirstread of“Antojos,”youwillencounterthe Concept Vocabulary Antojos mean somethingoppositeto“lacking”—perhaps“filled.” are incontrastoroppositiontotheword Conclusion: characters. Context: Unfamiliar Word: cantina —other words andphrases thatappearinthesurrounding text—to have already read. already knowandwhatyou the selectiontowhatyou CONNECT they do. why and about, NOTICE

thoseinvolvedreact as when Althoughthestorylacksaction,itisreplete withinteresting what Theword whom

ithappens,and cabana If thesewords are unfamiliartoyou,tryusing ideas within happens,

replete thestoryis

Although where machetes indicatesthatthewords

replete. Replete, the Comprehension Check. you wanttorevisit. vocabulary andkeypassages ANNOTATE RESPOND by marking then,must lacks action by completing context

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 2 1 F setting of “Antojos.” climate of fearcreated byTrujillo persistedintothe 1980s,flavoringthe police from 1930untilhewasassassinatedin 1961.Despitehisdeath,the who ruledthecountrywithsupportofmilitaryandhissecret foreign domination.OneofthemostruthlessdictatorswasRafaelTrujillo, however, thecountrysuffered through severaldictatorshipsandfrequent after asuccessfulrebellion againstHaitianrule.Inthecenturythatfollowed, Alvarez’s homeland,theDominicanRepublic,wonindependencein1844 BACKGROUND right sideoftheroad. into thecar, lockedthedoor, and pulled off theshoulder, hugging her She madeoutanundertow ofmen’svoices.Quickly, she gotback motor, approaching, apainedroar asif theenginewere fallingapart. with herfamilyinthecapital. over outofasensehomecoming:Everyothervisit shehadstayed Once herownenginewasoff, sheheard thesoundofanother shoulder ontheleftsideofnarrow road. Shepulledthecar or thefirsttimesince Yolanda hadreached thehills,there wasa Antojos Julia AlvarezJulia NOTES MULTIMEDIA SCAN FOR SHORT STORY Antojos

723 724 NOTES

UNIT 5•FACING OUR FEARS 6 5 4 3 8 7 regulation gray. Thepassengerssawheronlyatthelastmoment,and the official namebrushed overwithpaintthatdidn’tquitematchthe warning withaseriesofblastsonhishorn.Itwasanoldarmybus, obscuring herviewwithabelchingofexhaust,thedriversalutingor here toeat—exceptforguavas. of themarch keptdiscussingontheradio.There seemedtobeplenty spread before her, itwashard tobelievethepovertyorganizers told thattouristssometimesdidpassbyhere. Lookingatthestores stalls. An occasionaldisplayofstrawhatsandbasketshammocks Strips ofmeat,buzzingwithflies,hungfrom thewindowsofbutcher with astring,thecolorofwhichtoldwhatfillingwasinsidebar. cashews andbarsofmilkfudgewrappedinwaxedpapertied from bruising eachother. There were littlebrown packetsofroasted their richsap,andsmallcashewfruits strung onarope tokeepthem so manyyears:pinkish-yellowmangoes,andtamarindpodsoozing north. Piledhighonwoodenstandswere fruits shehadn’tseenin down andkeptaneyeoutforguavas,supposedlyinseasonthisfar Left andright,roadside standsbeganappearing. Yolanda slowed the capitalcitywhere revolutions alwaysbroke out. car becausetheyknewshe’dbefarsaferonthenorthcoastthanin It crossed hermindthatfamilyhadfinallyagreed toloanhera passed busesandtruckloads ofmen,drinkingandshoutingslogans. In fact,earlierontheroad whenshehadfirstsetout, Yolanda had passed hadbeendelayedbybreakdowns onitswaytothecapital. ago today. A hugeturnoutwasexpected.Shebetthatbusshe hadjust scheduled ontheanniversaryoffailedrevolution nineteenyears been worriedthattrouble wouldbreak out,forthemarch hadbeen coast tohearnewsofthehungermarch inthecapital.Herfamilyhad here onthesummithills.Shewouldhavetowaituntilshegot gratifying soundafterthehullabalooofbus. compact climbingeasilyupthesnakeyhighway, itswell-oiledhuma and beckoningtoher. Shespeededupandleftthembehind,thesmall hooting andyelling,wavingpurplepartyflags,holdingoutbottles all upanddownhersideofthebus,menpokedoutwindows, after somanyyearsaway. “Anylittle 1. it? An years away, theirniecewaslosingherSpanish. antojo she forgot where shehadcomefrom. “Whatexactlydoesitmean, They wantedtospoilher, soshe’dstayoninhernativelandbefore

of the word. of the antojo A cousinblewouthercheeks. “Calories.” —Just intimetoo. A buscamelurching around thecurve, In thecapital,herauntshadpliedwithwhatshe mostcraved The hillsbegantoplaneoutintoahighplateau,theroad widening. She triedtheradioagain,butallshecouldtunetowasstaticeven “An ?” Yolanda asked.Herauntswere proven right: After somany antojo antojo

(ahn hoh) TOH islikeacravingforsomethingyouhavetoeat.’’ —” Theauntsexchangedquizzicallooks.“Howto put “craving” (Spanish). The story explores additional connotations connotations additional explores “craving” story (Spanish). The antojo , 1 youmusttellus!”

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 10 14 13 12 11 9 Yolanda wondered.) Shefelteventhirstierandgrimier lookingatthis seeming ecstasy, hermouthopenedinawordless cry. (“Palmolive?” a blondewomanundersprayingshower, herheadthrown backin poster forPalmolivesoaptackedononeofthepostswithapicture of by severalposts.Insteadofamenu,there wasayellowing,grimy the coast. Yolanda pulledupata and slightly(herauntshadwarned“very”)dangerous descentto good placetostretch herlegsbefore whatshe’dheard wasasteep house. Itwasalittleclusterofhousesoneithersidetheroad, a woman’s skirt. Asking himhisnamejustdrove himfurtherintothefoldsofold who keptduckingbehindherwhenever Yolanda smiled athim. buttoning upatornhousedress, andfollowedcloselybyalittleboy, lathered beautyafterherhotdayontheroad. 4. 3. A avoid thetroubles inthecapital? the ownershadcomeuptotheircountryhomeforweekend glass. Parkedatthedoorwasachocolate-brown Mercedes. Perhaps stopped abruptly atahighconcrete wall,toppedwithbroken bottle compound verymuchlikeherfamily’sinthecapital.Theunderbrush their air-conditioned cars. had ledsuchsheltered lives,ridingfrom onesafeplace toanotherin kidnappers. “AndMartians?” Yolanda wantedtoteasethem.They tartly. Inthecountrysidesome word from before “yourUnitedStateswasthoughtof,”sheadded 2. possession byanislandspiritdemandingitsdue. were talkingtochinadolls. they cameupwithboogeymenstoriesthatmadeherfeelasif she “Anything canhappen.”When Yolanda challengedthem,“What?” road! “ThisisnottheStates.”Heroldauntshadtriedtodissuadeher. guavas herself whenshewentupnorthinafewdays. this opportunitytoinformherauntsofplans:Shecouldpickthe pick herupsomeonhiswaybackfrom someerrand. Yolanda took hotter lowlandsofthesouth.Maybeupnorth,chauffeur could wasn’t sosure. Guavaswere nolongerinseason,atleastnotthe to herheart’scontent.Butwhenthegardener wassummoned,he ago. Well, onthistrip,herauntspromised, Yoyo couldeatguavas hadn’t hadherfavorite

l Haitian hougans ceramic ware. dolls china campesinos An oldwomanemerged at lastfrom ashackbehindthe An Just beyondtheestate, Yolanda cameuponasmallvillage— She hadleftthefruit standsbehindherandwasapproaching a Her islandspiritcertainlywasapatientsoul, Yolanda joked.She —She wasgoingupnorth?Byherself? A womanaloneonthe tami antojo r a inripplinglettersonthecorrugated tinroof ofthefirst

old-fashioned, delicate dolls made of fragile, high-quality porcelain or or porcelain high-quality fragile, of made dolls delicate old-fashioned, , oneoftheolderauntscontinued,wasaveryoldSpanish (kahm pay SEE nohs) SEE pay (kahm

(oo GAHNZ) (oo antojo voodoo priests or cult leaders. cult or priests voodoo 3 Haitianhougans “poor farmers; simple rural dwellers” (Spanish). dwellers” rural simple “poor farmers; , guavas,sinceherlasttripsevenyears campesinos cantina , thethatchedroof heldup 2 stillusedtheword tomean 4 andCommunist cabana , NOTES MEANING: cabana MEANING: cantina helped youdeterminemeaning. another strategyyouusedthat Mark contextcluesorindicate

(kuh BAN uh) (kan TEEnuh) Antojos

n. n.

725 726 NOTES

UNIT 5•FACING OUR FEARS 15 25 24 23 22 21 20 19 18 17 16 5. 6. occurred to Yolanda thatthere wasawaytomakethistreat allthe around thecar. Eachoneclaimedtobeguarding itfor the doña.It seeing hercountryonown. had turnedintothelongarmofherfamily, keepingherawayfrom Yolanda’s voicehadanedge,forsuddenly, itwasasif thewoman José wouldgetthedoñaasmanyguavasshewaswanting. head. Thedoñawouldgethot,herniceclothesalldirty. grandmother, unsure ofwhattothink.Theoldwomanshookher back. Shewantedtogoalongtoo.Thelittleboylookedtowards his path onthehillside,butbefore Josécouldfollow, Yolanda calledhim scatting alittleanimal.“Getthedoñasome.” whole grove ofthem.”Behindhim,hislittlecompanionsnodded. towards thesummitofwesternhills.“Iknowwhere there’s a mention ofguavas,hesprung forward, pointingacross theroad boasting howmanyautomobilestheyhadriddenin. At Yolanda’s boys whohadcomeoutofnowhere andwere milling around thecar, can’t sayasI’veseenany.” and thoughttoherself asecond.“Why, they’re allaround, doña.ButI you mighthavesomeguavasaround?” gave thetree linebeyondthewoman’sshackaglance.“You think three liberatorsofthecountry! little boy, buttheycertainlywere momentous:thesurnamesof know-nothing isJoséDuarteSánchezyMellaGarcía.“ but hervoicebetrayedpridewhenshespokeupforhim.“Thislittle boy mumbledattheground. “Speakup!”theoldwomanscolded, woman repeated, asif Yolanda hadn’taskedhiminSpanish.Thelittle through Altamira tothebeachesoncoast.“Your name,”theold not thepeopleinvillage,butwithmoneywhodrove to beingamongpeople.”But Yolanda knewtheoldwomanmeant, way around. “Whatdoyou saywetakethecar?” direction ofthebighouse. Manyworkerstookthatshortcuttowork. all thewaytocoffee barns.Thewomanpointedsouthinthe follow awaysandthencross overontotheroad thatwaspaved the doñainsistedongoing.There wasadirtroad upaheadshecould

doña Sí, Sí, Sí A fewboysdashedacross theroad anddisappeared upasteep Yolanda laughed.Notonlywere thosealotofnamesforsuch “You mustexcusehim,doña,” The fewboyswhohadstayedbehindwithJosécongregated “But theytastesomuchbetterwhenyou’vepickedthemyourself.” “Go on,then!”Hisgrandmotherstampedherfootasif shewere “With yourpermission—”JoséDuartehadjoinedagroup oflittle The oldwoman’sfacescrunched up.“Guavas?”shemurmured “Can Iservethedoñainanyway?’’ thewomanasked. Yolanda “ The oldwomanhushedthembutagreed thatwasnotabadideaif Sí,

(DOH nyah)

(see) ” “Yes, Yes, Yes” (Spanish). Yes” Yes, “Yes, 6 theboysscreamed inariot ofexcitement. “madam” (Spanish). 5 sheapologized.“He’snotused

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 26 27 sides andpebblespeltedtheundersideofcar. Yolanda wanted climbed upintowilder, more desolatecountry. Branchesscraped the bumpy road off thehighway, whichgotbumpierandbumpier, and co-pilot inthepassengerseatbeside Yolanda. Theyturnedontoa surprised byheroddhunger. devouring thecrunchy, sweetwhitemeat.Theboyswatchedher, on thespot,relishing theslightlybumpyfeelofskininherhand, gotten outofthetrunk, withtheexceptionofonessheateright grove, thebestofpickgoingintobeachbasket Yolanda had in season. branches andshakingloosearainofguavas.Thefruit wasdefinitely the boyswhohadgoneaheadonfootwere already pullingdown On eithersideoftheroad were groves ofguavatrees. Among them, them, thecarburstforthontosmoothpavementandlightofday. across thewindshield,asif thecountrysidewere loathtorelease Finally, withagreat snappingoftwigsandthrashingbranches to turnback,butthere wasnoroom tomaneuverthecararound. They piledintothecar, half adozenboysintheback,andJoséas For thenexthourorso, Yolanda andhercrew scavengedthe NOTES Antojos

727 728 NOTES

UNIT 5•FACING OUR FEARS 28 35 34 33 32 31 30 29 brim. Finally, itwasacaseofabandoning thetreasure inorder tocart the basketcausedaspillfrom thestashalready piledhighabovethe entangled inthethickcanopyofbranchesoverhead. Eachadditionto through thegrove. Soontheywere bentdoubletoavoidgetting life. Thiswaswhatshehadbeenmissingwithoutreally knowing there alightflickered onthe hills,a leaves, sotheywhispered likevoices,somethingindistinct. Here and purple sky. A breeze wasblowingthrough thegrove, rustling the one oftheturningsroad. as wellandwalkeddownapace,untiltheboyhad disappeared in was headedatarun toward theMirandaplace. Yolanda climbedout mouth fellopen.Innotime,hehadshotoutofhis side ofthecarand here, I’llgiveyou”—sheheld uponefinger—“adollar.” Theboy’s was almostsixthirty. “Ifyou’re backbythetimethishand isover she saidtotheboy. “I’lltellyouwhat.”Shepointedtoherwatch.It probably goandcomebackmuchquickerwithouther. “Allright,” the Mirandaplace. wait inthecarandhewouldbebacknotimewithsomeonefrom paved road. “Thisgoesdirectly tothebighouse.”Thedoñacouldjust her car. tended tothebrown Mercedes wouldknowhowto changethetire on to townandsendforhelpdowntheroad tothebighouse.Whoever She explainedtoJoséthattheyhadaflattire andhadtohikeback set andnightwouldfallswiftly, nolingeringduskasintheStates. of road. Thethingtodonowwasactquickly. Soonthesunwould tell hedidn’tknowhowtochangeaflattire either. inside ofthecarforaclueastowhatcouldhavehappened,she wheel, thenglancedoveratJosé.Thewayhiseyeswere searching the hobble. Yolanda closedhereyesandlaidheaddownonthe the carhadnotgoneafootbefore itlurched forward withahorrible even thegreediest islandspiritforlife! left behindontheshoulderofroad. Enoughguavastoappease back tothecar, where theyfoundaheapofguavastheotherboyshad dangerous mountainroads whileitwasstilllight.ShehurriedJosé make thenorthcoastbynightfall,butatleastshecouldgetoff the must havegonetoround upthegoats,”Joséobserved. on thewesternhorizon.There wasnosignoftheotherboys.“They toward thecar. parting thewayward branchesinfront ofthem,theyheadedback some ofithome.With Joséhuggingthebaskettohimself and Yolanda Yolanda andJosé,partners,wandered farfrom thepaththatcut Yolanda glancedatherwatch:Itwaspastsixo’clock.She’dnever Suddenly, thecountrysidewassoveryquiet.Shelooked upatthe She didnotliketheideaofstayingbehindincar, but Josécould “With yourpermission,’’ Joséoffered meekly. Hepointeddownthe It wasnouseregretting havingbrought thecarupthatbadstretch They packedtheguavasintrunk quicklyandclimbedin,but When theycleared thethicketofguavabranches,sunwaslow campesino livingouthissolitary

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 41 40 39 38 37 36 places liketheseveryhills,andlivehere onherownterms. independence didn’thavetobeexile.Shecouldcomehome,home so shecouldafford herownlife andnotberun byherfamily. But in theStates,never, thoughsheknewwasluckytohaveajob, that shewasmissingitalltheseyears.Shehadneverfeltathome 7. Then theshorter, darkeronespokeupagain.“Señorita, felt asif it’dbeenstuffed inhermouthlikearagto keep herquiet. tried tocarryheroff. Butshefoundcouldnotspeak.Hertongue knew where shewas,someonewouldcomelookingforherif they before dinneratthebighouse,sothatthesemenwouldthinksomeone beneath her. Shethoughtofexplainingthatshewasjust outforadrive her legsseemedsuddenlytohavebeenhammered intotheground the Mirandas’.Notthatshecouldhavemoved,for quite capableofcatchingherif shemadearun for looked themupanddownaswell—were strong and her ontheroad, blockingherescape.Both—shehad down withinterest. Theywere nowbothinfront of up again.Thetalleronewaslookingherand would itbehere inthemiddleofnowhere? her, eventhen,asanabsurd question.Whoelse’s car. “Yours?” thedarkermanspokefirst.Itstruck at thesightofher. Theylookedbeyondheratthe hung from theirbelts. were drawnandtired. Yolanda’s glancefellonthe wore raggedworkclothesstainedwithpatchesofsweat;theirfaces side ofthegrove from theonesheandJoséhadscavenged.They slender, light-skinnedmanemerged from afootpathontheopposite thrust aside, twigssnapped.Suddenly, ashort,darkman,andthen in thegrove. CouldJosébebackalready? Brancheswere being something notyetcompletelycarvedoutofapiece ofwood.His impression ofbeingquite large, forhewasbroad andsolid,like an expression. Hewasnotallerthan Yolanda, buthegavethe growing darknessoftheeveningmadeitdifficult todistinguish all right?”Hepeered ather. Thedarknessofhiscomplexioninthe appeared likegashesoneithersideofhismouth.“ her off herguard. darker byseconds,hisgoodlooksseemeddangerous, alure tocatch extremely attractive,buthere onalonelyroad, withtheskygrowing honey-brown eyes. Anywhere else, Yolanda wouldhave foundhim companion wastallandofarichhoney-brown colorthatmatchedhis

Señorita The menexchangedalook—itseemedto Yolanda ofcollusion. ‘‘Is there someproblem?” thedarkermanspoke The men’sfacessnappedawakefrom theirstupor Heading backtothecar, Yolanda stopped.Shehadheard footsteps The handsomeonesmiledknowingly. Two long,deepdimples “Can wehelpyou?”theshortermanrepeated.

(say nyoh REE tah)(say REE nyoh “Miss” “Miss” (Spanish) . Americana machetes 7 are you that ,” blocking herescape. front ofherontheroad, They were now bothin machetes helped youdeterminemeaning. another strategyyouusedthat Mark contextcluesorindicate NOTES MEANING:

(muh SHEHTeez) Antojos

729

n. 730 NOTES

UNIT 5•FACING OUR FEARS 43 42 48 47 46 45 44 “ understand.” he said totheotherinSpanish,pointingtocar. “Shedoesn’t Yolanda wasrelieved. As shehadwaited,watchingthe two menhard Yolanda herkeys.There wasstillnosignofJoséand theMirandas. the deflatedtire intothetrunk and putawaythetools.Theyhanded the bleedingstop. perspiration. Buthewaveditawayandsuckedhis knucklestomake offered himthetowelshekeptdrapedonhercarseattoabsorb any bloodwere goingtobe spilledtonight,itwouldbehers.She pavement. his handwasbloodywhere hisknuckleshadscrapedagainstthe wheel hungsuspended.Whenthemancameoutfrom underthecar, by holdinghimdowntheankles.Slowly, thecarrose untilthe of thecar. There, hepumpedvigorously, hisfriendbracinghim underneath andplacedthemechanismdeeperunderbowels but thecarwouldnotrise.Theshortermansquirmedhisway darkness. Above thesmallgroup, theskywaspurple withtwilight. Yolanda turnedontheheadlightstohelpthemseeingrowing They laidtheirmachetesdownonthesideofroad, outoftheway. the jack,unpackingtoolsfrom thedeeperhollowsoftrunk. its sunkennest—thensettowork,fittingtheinterlockingpiecesof led themtotherear ofthecar, where themenlifted thespare outof side,conversinginlowtones. Yolandasquatted bythepassenger’s men kickingatitasif punishingitforhavingfailedtheseñorita.They feet forward tothecar. free ofthesoiltheyhadclungto,shefoundcouldmoveherown pulling andatroots, shehadfinallymanagedtoyankthem Yolanda wavedforthemtofollowher. And suddenly, asif after lady. Buthiscompanionshrugged, baffled aswell.“I’llshowyou.” the other, whohadshownbetterluckatunderstandingtheforeign “Language ispower.” Itwasheronlydefensenow. to herwhenasayoungimmigrantgirlshewaslearningEnglish, not understand.Shethoughtofsomethingherteacherusedtosay enough, itsoothedhertohearherself speakingsomethingtheycould uncomprehendingly, rendered docilebyhergibberish.Strangely her neverhavinglearnedtochangeaflat.Thetwomenstared ather, came thatshewasonabackroad byherself, hercravingforguavas, admission itself loosenedhertongue,sheexplainedinEnglishhowit she couldfeelherpoundingheart—andnodded.Then,asif the a road wasopeningbefore her. Shelaidherhandonchest— Americana? Yolanda pointedtotheman’shand.Shehadbeensure thatif Yolanda madethemotionsofpumping.Thedarkermanlookedat Once theflathadbeenreplaced withthespare, thetwomenlifted There wasaproblem withthejack.Itsqueakedand labored, The smallgroup stoodstaringatthesaggingtire amoment, thetwo She hadbeentoofrightenedtocarryoutanystrategy, butnow The darkermannarrowed hiseyesandstudied Yolanda amoment. ” heaskedherasif notquitesure whattomakeofher.

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 57 56 55 54 53 52 51 50 49 with tears. overhead lightcameon;she sawthattheboy’sfacewasstreaked where hewasgoing. walking alone,listlessly, asif hedidnotparticularlywanttoget grove. view mirror, theyhaddisappeared intothedarknessofguava effort intheirnativetongue.Whenshelookedforthemherrear- called, andtheywaved,appreciatively, attheforeign ladymakingan if Ididn’tstoptellingstories, hewasgoingtowhipme.” bay. Hehadlosthischanceatawholedollar. “Andtheguard, hesaid believe me.”Hetooklittlebreaths betweenwords tokeephistearsat 10. to tryandrepay them,handsomely, fortheirtrouble. thought hersurvivalwasontheline.Theleastshecoulddonow she hadtrickedthem,toexplaindonesoonlybecause men wouldrealize shespokeSpanish.Itwastoolatetoadmitthat at work,shehadbeguntodread theboy’sreturn withhelp.Thetwo señorita. Nuestro placer see where thebloodhaddrieddarkstreaks onhispalm. them tothemen.Theshortermanhelduphishand. Yolanda could on hertongue.Sherolled upacoupleof American billsandoffered she’d retrieved from thetrunk. The Englishwords soundedhollow poking herheadoutthewindowbefore speedingup.“ the shouldertoseeif thetire wouldhold, Yolanda drove afewyards, able toescape. of branchessosecurely andtightlyinalldirections, shewouldnotbe if theguavagrove hadovergrown intotheroad andwovenitsmat was leftofday, shecouldbarely makeouttheroad ahead.Itwasas Yolanda lookedinthedirection ofhishand.Inthefaintlightwhat the bighouse.“ shoulders likesoldierstheirguns.Thetallmanmotionedtowards pocket. felt thepovertyofherresponse andstuffed thebillsquicklyintohis had observedinJoséofcountrypeoplenotwantingtooffend. She him. Buthetoolookeddownattheground withthebashfulnessshe pliant thanhissternercompanion.“Please,”sheurged thebillson 8. 9.

Yolanda leanedoverandopenedthedoorforhim.Thesmall Yolanda turnedtotheotherman,whohadstruck herasmore “What didyoutellhim,José?” The boyswallowedhard. “Theywouldnotcome.Theydidn’t “Why, what’swrong, José?” Just ahead,herlightsdescribedthefigure ofasmallboy:Joséwas “I’d liketogiveyousomething.”Shebeganreaching forthepurse But finally, shewasoff! Whilethetwomenwaitedamomenton The twomenpickeduptheirmachetesandraisedthemto Gracias Nuestro placer Directo, directo Directo,

(GRAH see ahs) see (GRAH

Directo, directo

(noo AYS troh plah SAYR) (noo plah AYS troh (dee REHK toh) REHK (dee “ .” Thank you” Thank 8 Ourpleasure. “Straight, straight” (Spanish). .”

9 (Spanish). Heenunciatedthewords carefully. “Our pleasure” (Spanish). Gracias! “No, no, ” 10 she NOTES Antojos

731 732 NOTES

UNIT 5•FACING OUR FEARS 59 58 60 to theirdooratnightfallwithsomestoryaboutaladyonbackroad the trouble inthecountry, theywouldbesuspiciousofaboycoming fixing it.” as if shewere callingsomeoneoveragreat distance. woman’s skinshone;herheadwasthrown back,hermouthopened waving goodbye. Above thepicnictableonanearpost,Palmolive out thefigure oftheoldwomaninblacksquare ofherdoorway, his promised dollar. Intheglowofheadlights, Yolanda made except abashfulthankyouwhenshelefthimoff atthecantinawith him hislittle he mostcraved,thinkingthatonasubsequenttrip,shemightbring distract himbyaskingwhathewouldbuywithhismoney, what any immediatepleasure hemightfeelinheroffer. Yolanda triedto shirt. “You canstillhaveyourdollar. You didyourpart.” She couldfeelthebonyshoulderthrough thethinfabricofhisworn with abroken car. “Don’tyouworry, José.” Yolanda pattedtheboy. She shouldhavegonealongwithJosétotheMirandas’.Givenall “I toldhimyouhadbroken yourcarandyouneededhelp But theshameofbeingsuspectedlyingseemedtohaveobscured antojo . But José Duarte Sánchez y Mella said nothing, DuarteSánchezyMellasaidnothing, . ButJosé

❧

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. with your group. Complete theseitemsafteryoufinishyourfirstread.Reviewandclarify details Check Comprehension example, you may want and to culture learn the history about of the Dominican Republic. Research to Explore Research to Clarify Research RESEARCH 6. 5. 4. 3. 2. 1. the story? that detail. what In way the information does you of learned shed light an on aspect

of key events. What doesYolanda pretend whensheisapproached bythetwomen? As Yolanda andJoséstarttoleavetheguavagrove, whathappenstothecar? What are Whom doesYolanda meetataroadside cantina? What politicaleventistakingplaceinthecityasYolanda drivesintothehills?

Notebook antojos

Confirm yourunderstandingofthetextbycreating astoryboard ?

Choose unfamiliar at one least Briefly research detail from the text.

Conduct you find of interesting. research the text an on aspect For Antojos

733 MAKING MEANING

Close Read the Text With your group, revisit sections of the text you marked during your first read. Annotate what you notice. What questions do you have? What can you conclude?

ANTOJOS

CITE TEXTUAL EVIDENCE Analyze the Text to support your answers. Notebook Complete the activities. 1. Review and Clarify With your group, reread paragraphs 1–4 of “Antojos.” What do these paragraphs suggest about the country’s political situation and the economic issues that shape the story?

2. Present and Discuss Now, work with your group to share the passages from the selection that you found especially important. Take turns presenting your passages. Discuss what you noticed in the selection, what questions you asked, and what conclusions you reached.

3. Essential Question: How do we respond when challenged by fear? What have you learned about people’s responses to fear from reading this story? Discuss with your group.

language development Concept Vocabulary

 WORD NETWORK cantina cabana machetes Add words related to fear from the text to your Word Why These Words? The three concept vocabulary words are Network. related. With your group, determine what the words have in common. How do these word choices enhance the impact of the text?

Practice Notebook Confirm your understanding of the concept vocabulary  Standards words by using them in sentences. Include context clues that hint at each RL.11–12.3 Analyze the impact of word’s meaning. the author’s choices regarding how to develop and relate elements of a story or drama. RL.11–12.5 Analyze how an author’s choices concerning how Word Study to structure specific parts of a text Notebook Loanwords A loanword is a word that one language contribute to its overall structure borrows from another language and makes its own. The English language and meaning as well as its aesthetic impact. is rich with loanwords; for instance, cantina, cabana, and machetes are all L.11–12.4.c Consult general and borrowed from Spanish. Use a dictionary to look up these loanwords from specialized reference materials, paragraph 5 of “Antojos”: plateau, mango, hammock. For each word, All rights reserved. or its affiliates. Inc., Education, © Pearson both print and digital, to find the write down its meaning and the language from which it is borrowed. pronunciation of a word or determine or clarify its precise meaning, its part of speech, its etymology, or its standard usage.

734 UNIT 5 • FACING OUR FEARS © Pearson Education, Inc., or its affiliates. All rights reserved. heighten suspense,andaddinterest andexcitement tothisstory. Alvarez usesalloftheseplot devicestoprovide background information, suspense. devices thatplaywiththeorder ofevents,thushelpingtobuildinterest and chronological order a seriesofeventsandcontinueinstraightforward timesequenceknownas Author’s Choices:NarrativeStructure Analyze CraftandStructure • • • as a group to complete the chart. the to agroup complete as Work together in story. this devices of plot Alvarez’s use Analyze Practice paragraph 26 paragraphs 6–11 paragraphs 1–3 Passage that contributetoaparticularmoodoratmosphere. suggest eventsthathaveyettooccur. Foreshadowing oftenseedsdetails Foreshadowing: character’s memory,astorytoldbycharacter, oradream ordaydream. the present actionofastory. Awritermaypresent aflashbackas Flashback: are andwhathasalready happenedare omitted. Introductory segments,or exposition, thattellthereader whocharacters story begins In

medias

res: Aflashbackisascenefrom thepastthatinterrupts in mediasres ThistermisLatinfor“inthemiddleofthings.”Whena . However, somewritersuseavarietyofdifferent plot Foreshadowing istheplacing oftextualcluesto PLOT D E , thereader isdropped directly intotheaction. VIC E essen

Many storiesbeginatthestartof ti a l ques Si gn tio i f ic n: an Howdowerespond whenchallengedbyfear? t De t a il s E ffe ct CITE TEXTUALEVIDENCE to supportyouranswers. Antojos

735 736 writing orspeaking. English grammar andusagewhen of theconventionsstandard L.11–12.1 

tan UNIT 5•FACING OUR FEARS LANGUAGE DEVELOPMENT

d Demonstrate command a rd s ANTOJOS Pronouns andAntecedents andStyle Conventions sure thattheantecedentforeachpronoun isclear. family member. Useatleast fivepersonalpronouns inyourparagraph. Make Write aparagraphdescribingtriporvoyageyou’vetakenwithfriend Write It 2. 1. Read It antecedents are clearintheserevised sentences: tryrepeatingAlternatively, theantecedentforclarity.Noticethat the sentencesothatpronoun andantecedentare closertogether. When younoticeanambiguouspronoun inyourwriting,tryrestructuring or Malik? traveling inItaly:MayaorGloria?Whowouldbeelectedcaptain:Kirk In eachsentence,theantecedentofpronoun isunclear. Whowas is cleartothelistenerorreader. Considerthesesentences: cumbersome. However, apronoun shouldbeusedonlywhenitsantecedent the repetition ofnounsand nounphrases,whichmaybeawkward or Pronouns are usefulbecausetheyallowspeakersandwriterstoavoid person (first,second,orthird), andgender(feminine,masculine,orneuter). A pronoun anditsantecedent mustagree innumber(singularorplural), a nounphrase,oranotherpronoun—known asthepronoun’s

Connect toStyle identify theirantecedents. pronouns andantecedents.Markthree pronouns intheparagraph,and Reread paragraph38of“Antojos,”andnotethemultipleswitches the careful useofpronouns helpsmaketheeventsofthisstoryclear. annotations. Then,workingindividually,explaininafewsentenceshow pronouns, andidentify theirantecedents.Asagroup, compare your Kirk toldMalikthat During Maya’striptoItaly, Kirk toldMalikthat Maya sentGloriaanemailduring

he he Reread paragraphs44–46.Markthepersonal wouldbeelectedteamcaptain. , Kirk,wouldbeelectedteamcaptain. she

A sentGloriaanemail. pronoun her triptoItaly. isaword thatstandsforanoun, antecedent .

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. Research Research Plan necessary tocompletethework. group, decidehowyouwilldivideuptheresearch andwritingtasks accomplish asyourgroup progresses your through theassignment.With INFORMATION NEEDED Choose oneofthefollowing Assignment setting, andconflictsdepictedin“Antojos”byJuliaAlvarez. you researched contributestoyourunderstandingofthecharacters, In yourreport, includeasectioninwhichyouexplainhowtheinformation

Field-Guide Entry Map Timeline EFFECTIVE EXPRESSION where it grows. Psidium guajava mountains toAltamira,togetherwithadescriptionofthatroute. Yolanda mayhavetraveledtogetfrom SantoDomingothrough the the Betancourtassassinationattempt,andTrujillo’s assassination. Parsley Massacre, Hurricane SanZenón,theBatistaimprisonment, years 1930–1961.Eventsthatyoumaywanttoincludeare the of Rafael Trujillo intheDominicanRepublic,covering

Create amapoftheDominican Republicindicatingtheroute

Create atimelineofthekey eventsofthedictatorship Use thecharttorecord thetasksyouwillneedto , includingfactsanddiagramsabouthow

Create afield-guideentryfor theguavaplant, NEEDED IMAGES OR MEDIA research project options. SOURCES TO USE SOURCES as moresustainedresearchprojects W.11–12.7  subject underinvestigation. demonstrating understandingofthe multiple sourcesonthesubject, inquiry whenappropriate;synthesize problem; narroworbroadenthe to answeraquestionorsolve COMPLETE TASKS TO WRITING  “Antojos.” fromwhat youlearned Evidence Logandrecord new selection,gotoyour Before movingontoa

tandards EVIDENCE LOG EVIDENCE

Conduct shortaswell Antojos

737 738 and creativeperspectives. conclusions; andpromotedivergent clarify, verify, orchallengeideasand range ofpositionsonatopicorissue; evidence; ensureahearingforfull questions thatprobereasoningand by posingandrespondingto SL.11–12.1.c  The Antojos Interview from TITLE • • •

ANTOJOS GEORGE INTERVIEW MANZANAR from STANDARDS

UNIT 5•FACING OUR FEARS PERFORMANCE TASK: LISTENING AND SPEAKING FOCUS most

Farewell FAREWELL SOURCES

TAKEI

With logical Propel conversations

WITH

TO George

Manzanar examples

Takei

support for yoursideofthedebate. which detailsandexamplesfrom thetextsprovide themostrelevant support telling thestoriesandthoseofpeopleorcharacterstheydescribe.Decide selections respond totheirfears.Considerboth theactionsofpeople yoursubgroup,response. discuss howthepeopleandcharactersin With the “yes”response tothe question, andtheotherwillsupport“no” Present Analyze thePrompt YourPlan With Group Gather EvidenceandMediaExamples subgroup makesuggestionsandcontributetothediscussion. experiences oranecdotesfrom yourownlife. Makesure allmembersofyour relevant andyouare comfortablesharing,youmayalsorefer topersonal Choose theevidencethatbestsupportsyourassigned position. Iftheyare your personalopinionmaynotthebesameas one youwillargue. interview thatyouwillciteinsupportofyoursidethe debate.Notethat Assignment debate fortheclass. the textsthatyoucancitetosupportyourideas.Then,conduct Divide intoteamsonoppositesidesoftheargument.Findexamplesfrom question: their own.Work withyour group toplanandpresent a story aboutpeoplewhoare eitheraffected byotherpeople’s fearsorface You haveread anautobiography,watchedinterview, andread ashort

of WHO

Do people usually learn from their fear? from their learn usually people Do our

side

EXPERIENCES

are:

Divide intotwosubgroups. Onewillsupport

Argument

FEAR?

Find detailsfrom thetextsand HOW

THEY debate

RESPOND? onthis

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. improvements. sessions. Then,useyourevaluationandtheinstructionshere toguide use thischecklisttoevaluatetheeffectiveness ofyourgroup’s practice Practice WithYour Group Your With Rehearse Group Organize Your Debate requirements onthechecklist. As youwatchothergroups debate,thinkabouthowwelltheymeetthe build oneachother’s pointstosupportyourclaimandrefute counterclaims. As youpresent yourdebate,workasagroup. Supportyourteammatesand EvaluatePresent and Brush UponYour Presentation Techniques Improve Your DebateForm Fine-Tune theContent the otherteamsaysandrespond thoughtfully. responding totheopposition’s ideas.Remembertolistencarefully towhat locate more evidence. evidence tosupporthisorherclaim?Ifnot,workwithyoursubgroup to support yourpoints. If needed,return to thetextsandlookformore detailsandexamplesto as youdebatethetopic.Refutecounterargumentsclearlyandrespectfully. how youmightrespond to eachcounterargument. counterarguments thattheothersidemayusetorefute yourpoints.Decide corresponding evidenceevenly amonggroup members.Brainstormsome and otherevidencetosupporteachpoint.Dividethesepoints points insupportofyourgroup’s claim,aswellalistofdetails,examples, CONTENT

Learning. Small-Group in texts the from evidence with supported are ideas main The aclaim. defend and present speakers The

Does eachspeakerfrom yoursidehavesufficient Work togethertocomeup withalistofmain

As youprepare toparticipateinthedebate,

Keep yourlanguageformalandobjective EFFECTIVENESS

acknowledge speakers The audience and purpose. appropriate for the and chosen well is used language The counterarguments. refute and ESSENTIAL QUESTION

A keypartofadebateis : Howdowerespond whenchallengedbyfear? PRESENTATION TECHNIQUES

Performance Task: Present anArgument tone, eye contact, vocal use speakers The emphasize key points. key points. emphasize to language body and respectfully. to one another clearly and respond The speakers enunciate volume, andclearpronunciation. appropriate eyecontact, adequate of formalandinformaltasks. Use to purpose, audience, andarange substance, andstyleareappropriate and theorganization, development, opposing perspectivesareaddressed, line ofreasoning, alternativeor such thatlistenerscanfollowthe perspective andalogicalargument, conveying aclearanddistinct findings, andsupportingevidence, SL.11–12.4 

STANDARDS

Present information,

739 740 Take notes learned have you what Practice aschedule Create STRATEGY

UNIT 5•FACING OUR FEARS OVERVIEW: INDEPENDENT LEARNING INDEPENDENT OVERVIEW: interesting andappealingto you? one if thistextdoesn’tmeetyourneeds. your to own each category. you take can actions to practicethem during Independent Learning. Add ideas of to rely to yourself on learn and work your on strategies own. these Review and the Throughout your life, in school, in your community, and in your career, you will need Learning StrategiesIndependent Look Inside Look Ahead Look Back follow steps. text, these related to the topic. You’ll then share what you learn classmates. with To a choose will complete your of to study responses fear by an exploring additional selection individuals? it akey of Is acommunal part national or identity? you this In section, the wayIs in which we respond to fear of each an essentialof part our identities as challenged by fear? How do we respond when QUESTION: ESSENTIAL you wanttoknowaboutthetopicoffear?

Think abouttheselectionsyouhavealready studied.Whatmore do

Take afewminutestoscanthetextyouchose.Choosedifferent Preview thetextsbyreading thedescriptions.Whichoneseemsmost • • • • • • • • • • ACTION PLAN clarify meaning. referenceConsult sources canhelpyou that information foradditional topic. the After youread, evidencetohelpyouunderstand usefulnessofthe evaluatethe Use first-read andclose-read strategiestodeepenyourunderstanding. Make aplanforwhattodoeachday. Understand yourgoalsanddeadlines. Review yournotesbefore preparing toshare agroup. with Record importantideasandinformation. MULTIMEDIA SCAN FOR

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. Choose oneselection.Selectionsareavailableonlineonly. These poems address fears of both real and imagined dangers. imagined and real of both fears address poems These among enslaved Africans fleeing to the North. to the fleeing Africans enslaved among of capture terror the overrides freedom for hunger The Jason Daley Jason YouWhat You Kill Don’t Can Know ARTICLE MAGAZINE PERFORMANCE-BASED ASSESSMENT PREP ASSESSMENT PERFORMANCE-BASED direction? wrong the in of fear, us origins pointing the they are are and What Akiko Busch You Are What So Afraid Of? ESSAY Afraid Women Are For Who Black Time Raspberry at Bears 1-800-FEAR POETRY Runagate Runagate POETRY things? wrong of the scared simply we Are Review Evidence for an Argument synthesizing the information you haverecorded. information the synthesizing and whatyouhave learned unitbyevaluating Complete yourEvidenceLogforthe MULTIMEDIA SCAN FOR

COLLECTION

Jody Gladding Jody

Robert Hayden

Hayden Carruth Hayden

Toi Derricotte CONTENTS Independent Learning

741 742 Anchor ReadingStandard 10: 

STANDARD this text. abouttheunittopicasyoufirstreadlearned NOTICE

knowledge andtheselectionsyouhaveread. CONNECT UNIT 5•FACING OUR FEARS Selection Title: Selection Use thispagetorecordyourfirst-readideas. Guide First-Read LEARNING INDEPENDENT new informationorideasyou ideas withintheselectiontoother

Read andcomprehendcomplexliterary andinformationaltextsindependently andproficiently. passages youwanttorevisit. the selection. ANNOTATE RESPOND by writingabriefsummaryof by markingvocabularyandkey Model Annotation First-Read Guideand

Tool Kit

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. Selection Title: Selection Use thispagetorecordyourclose-readideas. Guide Close-Read Anchor ReadingStandard 10: 

Pick aparagraphfrom thetextthatgrabbedyourinterest. Explainthepowerofthispassage. QuickWrite conclude? questions and your firstread. Readthesesectionsclosely Revisit sectionsofthetextyoumarkedduring Close Read the Text STANDARD annotate aboutthetext.Whatcanyou Write downyourideas. whatyounotice.Askyourself

Read andcomprehendcomplexliterary andinformationaltextsindependently andproficiently. ESSENTIAL QUESTION: Howdowerespond whenchallengedbyfear? Analyze the Text about whatthischoiceconveys. the text.Selectoneandrecord yourthoughts structure, techniques,andideasincludedin Think abouttheauthor’s choicesofpatterns, Independent Learning Model Annotation Close-Read Guideand

Tool Kit

743 Magazine Article

What You Don’t Know Can Kill You

Jason Daley

About the Author

SCAN FOR Jason Daley’s work has been anthologized in The Best American Science MULTIMEDIA and Nature Writing and has won many awards, including a Lowell Thomas Award for Environmental Travel Writing. He specializes in natural history, the environment, science, and travel and writes regularly for numerous national magazines.

BACKGROUND On March 11, 2011, a major earthquake caused a 33-foot tsunami that struck the east coast of Japan, killing more than 19,000 people. The tsunami also disabled the cooling systems at the Daiichi Fukushima nuclear power plant, resulting in a nuclear meltdown and the release of radioactive material. Currents have carried radioactive water and countless household items from the area across the Pacific Ocean, but scientists have determined that the radiation levels are not harmful.

1 ast March, as the world watched the aftermath of the Japanese NOTES L earthquake/tsunami/nuclear near-meltdown, a curious thing began happening in West Coast pharmacies. Bottles of potassium iodide pills used to treat certain thyroid conditions were flying off the shelves, creating a run on an otherwise obscure nutritional supplement. Online, prices jumped from $10 a bottle to upwards of $200. Some residents in California, unable to get the iodide pills, began bingeing on seaweed, which is known to have high iodine levels. 2 The Fukushima disaster was practically an infomercial for iodide therapy. The chemical is administered after nuclear exposure because it helps protect the thyroid from radioactive All rights reserved. or its affiliates. Inc., Education, © Pearson iodine, one of the most dangerous elements of nuclear fallout. Typically, iodide treatment is recommended for residents within a ten-mile radius of a radiation leak. But people in the United States

IL1 UNIT 5 Independent Learning • What You Don’t Know Can Kill You © Pearson Education, Inc., or its affiliates. All rights reserved. 5 4 3 6 United Stateswasequivalentto1/100,000theexposure onewould estimated thatthedoseofradiationreached thewestern Japanese reactors. ExpertsattheEnvironmental Protection Agency who were poppingpillswere atleast5,000milesaway from the neocortex (thethinkingpart ofthebrain)wasaware aspearwas core) takeoveratthefirstsignofdanger, millisecondsbefore the functions. Lettingtheamygdala(partofbrain’s emotional hungry beastsandwarringclans,where theyservedimportant are lesslikelytothinkglobalwarmingisathreat. been floatinginapoolallday. Ifthedayiscoldandsnowy, you assess theriskofdyinginafire higherthanwillsomeonewhohas news coverageofwildfires inTexas nonstop,chancesare youwill dozens ofsubconsciouscalculations.Ifyouhave beenwatching assess therisksubjectively, mentallycalibratingtheriskbased on the chancesofdyinginafire, whichare 1in1,177—peoplewill emotional associationsandmentalshortcuts. conflicting advice,butweare alsoatthemercy ofdeep-seated and instinct,ortheheadgut—thatsometimesgiveus gauging risk.Notonlydowehavetwodifferent systems—logic the early1970s,isthathumanshaveahelloftimeaccurately What theyfound,andwhathavecontinuedteasingoutsince researchers investigatingtheemerging fieldofriskperception. interest whengivenaccurate information—waskneecappedby vision of or statisticaltable.Butinthelate1960sandearly1970s,that would makerationaldecisionsif onlyithadtherightpiechart scientists assumedthiswastrue too.Thepublic,theybelieved, good partofthe19thand20thcenturies,economistssocial decisions onthebasisofhard dataandnotonwhim.Fora focused ontheradiation.” earthquake andtsunamitookallthelives,ofourattentionwas risk assessmentattheUniversityofOregon. “Eventhoughthe psychologist PaulSlovic,anexpertondecisionmakingand emotion thatcomesfrom theradiationinJapan,”sayscognitive Now that’ssomethingtokeepyouupatnight.“There’s alotof man-made threat associatedwithGodzillaandthree- things seeminevitable,acceptedasactsofGod.Butaninvisible, shows thatitisparforthecourse.Earthquakes?Tsunamis? Those reactions), 40yearsofresearch intothewaypeopleperceive risk side effects includeskinrashes,nausea,andpossibleallergic nonexistent threat seemsridiculous(andcouldevenbeharmful— get from around Although spending$200oniodidepillsforanalmost Our hardwired gutreactions developedinaworldfullof Even if ariskhasanobjectively measurableprobability—like We liketothinkthathumansare supremely logical,making homo economicus trip internationalflight. —a personwhoactsinhisorherbest UNIT 5 Independent Learning •WhatYouUNIT 5Independent Learning Don’tKnow Can KillYou eyed fish? NOTES

IL2 IL3 NOTES

UNIT 5 Independent Learning •WhatYouUNIT 5Independent Learning Don’tKnow Can KillYou 8 7 9 where risksare presented inparts-per-billion statisticsorasclicks flattened bybusesordropping abrickonourtoes.Butinworld today thosenano-pausesandgutresponses saveusfrom getting headed forourchest,wasprobably averyusefuladaptation.Even 1. researcher George Loewenstein,whoseseminal the threat atacognitivelevel,”saysCarnegieMellonUniversity automobiles, smoking,andunsafesex,evenwhentheyrecognize evolution hasnotprepared themfor, suchasguns,hamburgers, with littlefeartocertaintypesofobjectivelydangerous riskthat from aplateoffattymac’n’cheese.“Peopleare likely toreact mountain lionsmakesitunlikelythatwewilleverrun screaming on aGeigercounter, ouramygdalaisoutofitsdepth. flying, butwhilewedownbeta-blockers A wholeindustryhasboomedaround conqueringthefearof single frenzied callformandatory life veststostopthecarnage. Drowning, ontheotherhand, takes3,400livesayear, withouta count from cattle,whichgore orstomp20 Americans peryear. American annually, onaverage.Thatislessthanthedeath country, eventhoughsharkskillagrandtotalofaboutone News coverageofasharkattackcanclearbeachesalloverthe while virtuallyignoringthetrue risksthatinhabitourworld. failed. himself from flinchingwhenthesnakestruck theplateglass.He the puff adderenclosure attheLondonZooandtriedtokeep risk perception. As anexperiment,heplacedhisfaceupagainst Even CharlesDarwinfailedtobreak theamygdala’siron gripon at acognitivelevel,theyare recognized tobeharmless,”hesays. spiders, snakes,orheights,evokeavisceralresponse evenwhen, that peopleare evolutionarilyprepared tofear, suchascaged of riskoruncertaintyrelies largely onreason. “Types ofstimuli as Feelings,”debunkedtheoriesthatdecisionmakingintheface exposure kills21,000 Americans annually. According totheEnvironmental Protection Agency, radon uranium decayinrocks, buildsupinhomes,causinglungcancer. odorless, radioactivegas,whichformsasaby-product ofnatural been betteroff spending$10onaradontestingkit.Thecolorless, All thosepeoplebiddingupthecostofiodide?They wouldhave there are more than30,000automobile fatalitieseachyear. give littlethoughttodrivingthegrocery store, eventhough to beoneofthe48averageannualairlinecasualties,wetypically 2.

prevent attacks. heart seminal beta-blockers A risk-perception apparatuspermanentlytunedforavoiding The result isthatwefocus ontheone-in-a-millionbogeyman In short,ourriskperception isoftenatdirect oddswithreality.

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(BAY tuh BLOK uhrz) BLOK (BAY tuh adj. adj. important and influential. and important

n. drugs that lower high blood pressure to help to help pressure blood high lower that drugs 2 incoach,prayingnot 1 2001paper, “Risk

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 10 13 12 11 “Even perfectinformationperfectlyprovided thataddresses Match theFacts, author of give risetosuchbiases—thatdomuchoftheheavy lifting in events. crashes andradiationburns—are inherently more riskythanother could result inparticularly painfulorgruesome deaths,likeplane believe thateventscausingdread—the technicaltermforrisksthat to fearman-maderisksmore thanwefearnaturalones,andto conform ouropinionstothoseofthegroups weidentify with, contradictory tothoseopinions.We alsohavetendenciesto up ourcurrent opinionsand feelingsandtodiscountinformation then. Confirmationbiasleadsustoprefer informationthatbacks now, soitisfinetoblowoursavingsonaboat—we’llpayoff facts mightsuggest.We assumewewillberichertenyearsfrom optimism biasgivesusarosier viewofthefuture thancurrent in alightingstorm. uses whenstaringdownabearordecidingtofinishthe18thhole psychometric paradigm,thatdescribesallthelittletricksourbrain into playwhenpeoplefacerisk.Theydevelopedatool,calledthe Lichtenstein beganinvestigatinghowtheseleapsoflogiccome sciences atCarnegieMellonUniversity, andpsychologistSarah and hiscolleaguesBaruch Fischhoff, nowaprofessor ofsocial on whichthebrainrelies tomakechoices.Later, PaulSlovic identifying anumberofbiasesandmentalshortcuts,orheuristics, in 1996,beganinvestigatingthewaypeoplemakedecisions, Princeton University, and Amos Tversky, whopassedaway difference betweenourfearsandthefacts.” “Risk communicationcan’ttotallyclosetheperception gap,the fluoride inthedrinkingwaterisnotaCommieplot,”hesays. don’t causeautism,orthatglobalwarmingisreal, orthat people’s concernswillnotconvinceeveryonethatvaccines like animmediatethreat, althoughwehaveonly a 1- never bethesubjectofasummerthriller. Theeffect? Twisters feel one, andthedrawn You probably cannotconjure manybreaking in movies.Nowtryimaginingsomeonedyingof heartdisease. see everyspringonthenews,andalltime reality TVand to imagineatornadorippingthrough ahouse;thatisscenewe a scenarioistoconjure, themore commonitmustbe.Itiseasy risk perception. The“availability”heuristicsaysthattheeasier David Ropeik,aconsultantinriskcommunicationandthe But itisheuristics—thesubtlementalstrategiesthatoften Many ofourpersonalbiasesare unsurprising.Forinstance,the In theearly1970s,psychologistsDanielKahneman,nowat How RiskyIsIt,Really?WhyOurFearsDon’t Always hasdubbedthisdisconnecttheperception gap. out process ofatherosclerosis willmostlikely UNIT 5 Independent Learning •WhatYouUNIT 5Independent Learning Don’tKnow Can KillYou -news imagesforthat in- 46,000 NOTES

IL4 IL5 NOTES

UNIT 5 Independent Learning •WhatYouUNIT 5Independent Learning Don’tKnow Can KillYou 18 17 16 15 14 4. chance ofbeingkilledbyacataclysmic 3. eventually killsoneineverysixpeoplethiscountry, and800,000 500 tornadofatalities.Heartdisease,ontheotherhand,which tornado seasonliketheonelastspringtypicallyyieldsfewerthan experience. The goodoutweighsthebad,whichtheyneverfullyexpectto the risks.Instead,it’sallaboutshort-term“hedonic”pleasure. exposure toantismoking campaigns, theyhardly everthinkabout showed thatwhenpeopledecidetostartsmokingdespiteyearsof correlations makeusthinkanactionisriskier. OnestudybySlovic with achoicetendtomakeusthinkithasmore benefits.Negative creeps intoourdecisions.Simplyput,positivefeelingsassociated heuristic. Sloviccallsaffect a“faintwhisperofemotion”that in ourbrain,themostinfluentialassessingriskis“affect” to fitthecommonstereotype. mathematician? An engineer?Hisattributestakentogetherseem glasses, isquiet,andcarriesacalculator. Johnistherefore .a probable if itispartofaknownsetcharacteristics. Johnwears annually, hardly evenrateswithourgut. nuclear crisis,manynuclear-energy boosterswere quicktocite fear thatisaninstinctualreaction totheirtechnologies. tried toframeriskpurely intermsofdata,withoutaddressing the did nothelp. Yet oneofthebiggestobstacleswasthatindustry Horrific incidentslikethoseatLoveCanalandThree MileIsland resistance stemmedfrom areasonable mistrust ofindustryspin. helped spawnoppositiongroups thatexisttothisday. Partofthe were safe.Buttheinformationdrop wasanepicbackfire and and pesticideswouldconvincethepublicthattheseindustries argued thatreleasing detailedinformationaboutnuclearpower 1970s, manystillclungtothe understand thiscentralaspectofournature. Inthe1960sand scientists haveonlyjustbeguntosystematicallydocumentand merited evenanafter-school special. with crack,yetitwasonlyrecently thatprescription drug abuse 1970s and1980s.Lawenforcement andthemediawere obsessed killed more peoplethancrack andheroin combineddidinthe Drug Control Policyreports that prescription drug overdoses have policy andmassactionare alsoatstake.TheOffice ofNational influences more thanjust our personallifestyle choices.Public

illusory cataclysmic Our fixationonillusory But ofallthementalrules ofthumbandbiasesbangingaround The “representative” heuristicmakesusthinksomething is The strategypersistseventoday. IntheaftermathofJapan’s Despite themanyobviouslyirrationalwayswebehave,social

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adj. based on something that is not real or true. or real not is that something on based

4 adj. threats attheexpenseofreal ones causing great destruction or damage. or destruction great causing homo economicus 3 storm.Evenaterrible model.They

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 22 21 20 19 in theUnitedStateseachyear, whilenuclearpowerhasnever responsible for13,000premature deathsand20,000heartattacks Task Force. Thestudyshowedthatpollutionfrom coalplantsis a studycommissionedbytheBoston-basednonprofit Clean Air Cognition Project at Yale Law Schoolandcoauthored byPaul has beenanuphillbattle. A 2007studyconductedbytheCultural stoking theskepticismandfearsofsomeconsumers. they were includingzincoxidenanoparticlesintheir products, to incidentsinwhichsunblockmakersdidnotinform thepublic have beenverysmallhintsofthatinnanotechnology.” Hepoints technology bybigcorporations,andtheydidn’t like it.There Nanotechnologies. Michigan andaneditorofthe Maynard, director oftheRiskScienceCenteratUniversity modified foodirrespective ofthetechnology,” says Andrew perspective. “InEurope, people madedecisionsaboutgenetically can deformfishembryos. of products, includingjeans, babybottles,andwashingmachines, nanoscopic particlesofsilverusedasanantimicrobial inhundreds another study, scientistsattheUniversityofUtahfoundthat might interactwiththebodysamewayasbestosdoes.In that couldbeusedineverythingfrom bicyclestoelectricalcircuits, Edinburgh suggestedthat carbonnanotubes,apromising material risks. In2008astudyledbyresearchers attheUniversityof extremely remote, butthescienceisobviouslynotwithoutreal last G.I.Joemovie). and delightfullybadHollywoodactionflicks(see,forinstance,the Soon graygoowasturningupinvideogames,magazinestories, robots thatgrow intocloudsof“graygoo”anddevourtheworld. Drexler putforththeterrifying ideaofnanoscaleself-replicating 1980s, thebook are oftensmallerthan1/100,000,000,000ofameter. Inthelate defining it,dealswithmaterialsanddeviceswhosecomponents fears. Nanotech,afieldsobroad thatevenitsbackershavetrouble this process, sinceeveninitsinfancyithasfacedhigh-profile nanotechnology worldinparticularhastakenakeeninterest in savvy inunderstandingthewaypublicperceives risk.The anxious citizensofJapan.Seaweed,anyone? workers cladinradiationsuitswavingGeigercountersoverthe the specterofradiation.Justthinkallthosealarmingimages of be, numbersalonecannotexplainawaythecolddread causedby been implicatedinasingledeaththiscountry. True asthatmay At leastafewtechnologypromoters havebecomemuchmore For Maynard andhiscolleagues,influencingpublicperception The nanotechcommunityiseagertoputsuchrisksin The oddsofnanotechnology’skillingoff humanityare Engines ofCreation “Peoplefelttheywere beingbulliedintothe International HandbookonRegulating UNIT 5 Independent Learning •WhatYouUNIT 5Independent Learning Don’tKnow Can KillYou bythenanotechnologistK.Eric NOTES

IL6 IL7 NOTES

UNIT 5 Independent Learning •WhatYouUNIT 5Independent Learning Don’tKnow Can KillYou 26 25 24 23 percent ofallrespondents saidtheyhadanopinion onwhether or verylittleaboutnanotechnologybefore startingthesurvey, 89 nanotech. Eventhough81percent ofparticipantsknewnothing Slovic surveyed1,850peopleabouttherisksandbenefitsof memory inthepopulation,” saysGeorge Burgess, curatorofthe there’s suchoverwhelmingmediaattention,it’sgoing toleavea were animminentthreat. the “availability”heuristicwasscreaming atthemthatsharks were seeingsomanysharksontelevisionandreading aboutthem, 11 attacksknocked sharksoff thecable newschannels. the third-most-covered storyofthesummeruntilSeptember analysis byhistorian April EismanofIowaStateUniversity, itwas the Shark,”asitcametobeknown.By August, according toan There wasalmostround-the-clock coverageofthe“Summer Then alifeguard inNew York claimedhehadbeenattacked. bitten justsixmilesfrom the beachwhere Jessiehadbeenmauled. put allitsmusclebehindthestory. Ten dayslater, asurferwas the surfofSantaRosaIsland,nearPensacola,Florida,cablenews shark onFourthofJulyweekendwhilethechildwasplayingin year-old Jessie Arbogast’s armwassevered byaseven-footbull predators hadbandedtogether totakeonhumanity. After eight or pickedupanewsmagazine,youmightthinktheocean’stop du jour. Inthesummerof2001,if youswitchedonthetelevision particular cablenews—everdecidetomakenanotechtheirfear conversation remains tobe seen.” up to themarketinanewway,” Maynard says.“Whetherallthe this hasbeenagrandexperimentinhowtointroduce aproduct such asacloudofrobots eating theEiffel Tower. “Inmanyways, images wecanassociatewithitare frighteningmoviescenes, much ofitisdifficult toseeorimagine;andtheonly available fear buttonsinthepsychometricparadigm:Itisaman-maderisk; common welfare,” thestudyconcluded. nanotechnology risks,muchlessaconsensusthatpromotes their will allowmembersofthepublictoreach aconsensuson it cannotbeassumedthatsimplysupplyingaccurateinformation to drawdifferent factualconclusionsfrom thesameinformation, opinions. “Becausepeoplewithdifferent valuesare predisposed reaction tonuclearpower, more informationdidlittletounite any knowledgeaboutthetechnologyitself. And aswithpublic made ariskjudgmentbasedonfactorsthathadlittletodowith nanotech’s benefitsoutweigheditsrisks.Inotherwords, people All thatmediacreated asortoffeedbackloop.Becausepeople “Certainly anytimewehaveasituationlikethat where That jobwillbeimmeasurablymore difficult if themedia—in It shouldcomeasnosurprisethatnanotechhitsmanyofthe front effort hasgottenustoaplacewhere wecanhaveabetter

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 30 29 28 27 there’s acontinuedmediainterest invilifying “Perception problems havealwaysbeenthere withsharks,and History, whofielded30to40mediacallsadaythatsummer. International Shark Attack FileattheFloridaMuseumofNatural 5. outlook thatisextreme even byRussianstandards. hypochondria, alcoholism,asenseofvictimhood,andfatalistic about thefuture hasledto widespread anxiety, depression, date,” pointingoutthatfearofcontaminationanduncertainty of Chernobylisthelargest problem unleashedbytheaccidentto In thesamereport, theWHO statesthat“thementalhealthimpact cement sarcophagus who are literallyworryingthemselvessick. comfort forthepeoplelivinginshadowofreactor’s 1 percent. from themeltdownisexpected toincrease cancerrateslessthan less contaminatedareas of Ukraine,Russia,andBelarus, radiation fatal cancerrelated toChernobyl. Forthe5millionpeoplelivingin estimates thatupto4,000ofthem,or0.7percent, willdevelopa residents whoreceived asignificant doseofradiation,theWHO those exposed. Among the600,000recovery workersandlocal health effects ofthelevel 7 nucleardisasterandfuture risksfor a report compiledbyapanel of100scientistsonthelong-term (WHO) andtheInternational Atomic Energy Agency released plant wasencasedincement,theWorld HealthOrganization years afterreactor number4attheChernobylnuclearpower meltdown havelearned,doubtisdifficult toundo. In2006,20 data. As scientistsstudyingthesocietalimpactofChernobyl generalized confirmationbiasesanderode publictrust inscientific is especiallytoxictoriskperception becauseitcanreinforce risks—like theriskofgettingreal word wrong. Misinformation requires scientistsandconservationiststogetthereal word out.” there’s abigsharkevent,youtakecouplestepsbackward, which be continuallyworkedontobreak downstereotypes. Anytime a situationwhere theriskperceptions ofthepopulace haveto and slippedbehindthewheel instead.Whiletheycrisscrossed the September 11 attacks,millionsof Americans opted outofairtravel happen whenwegetriskwrong. Duringtheyearfollowing will result inabout270,000cancersand93,000fatalcases. response totheWHOreport predicts thattheChernobyldisaster are disputed. An analysiscommissionedbyGreenpeace in a gripontheaftereffects ofthedisaster, andeventhosenumbers especially whenittook20yearsforthescientific communitytoget

vilifying It ishard tofaulttheChernobylsurvivorsforworrying, Even thoughthepercentages are low, thenumbersare little Then again,gettingoutthereal word comeswithits own Chernobyl isfarfrom theonlychillingillustrationofwhatcan

(VIHL uh fy ihng) fy uh (VIHL

v. making abusive statements against something. something. against statements abusive making UNIT 5 Independent Learning •WhatYouUNIT 5Independent Learning Don’tKnow Can KillYou 5 them.Itmakes NOTES

IL8 IL9 NOTES

UNIT 5 Independent Learning •WhatYouUNIT 5Independent Learning Don’tKnow Can KillYou 33 32 31 7. fatalities bynearly1,600. Airlines, ontheotherhand,recorded no concrete risk. All thoseextracarsontheroad increased traffic extremists, andHomelandSecurity, theyfacedamuchmore country, listeningtobreathless newscoverageofanthraxattacks, 6. think more holistically people beginningtoacceptthisandrealize thatsocietyneedsto Ropeik. “We can’tundothis.WhatIheard atthatmeetingwas both, inescapably, downattheverywiringofourbrain,”says perception isnotemotionandreason, orfactsand feelings. It’s how riskperception andcommunicationimpactsociety. “Risk bringing togetherscientists,policymakers,andotherstodiscuss and othershostedaconference onriskinWashington, D.C., beginning topercolate intosociety. Earlierthisyear, DavidRopeik reactions torisk.Butafullerunderstandingofthescienceis fatalities. unless theyoptout. further andpresuming that peoplewanttodonatetheirorgans feelings candecline.Somelawmakerspropose goingonestep licenseapplication.Thosewithstrong donation ontheirdriver’s choice,” inwhichpeoplemustcheck“yes”or“no”toorgan communication. “Ourriskperception isflawedenoughtocreate about, andthatisthenextstepinriskperception andrisk policy thatRopeikistryingtogettheadministration tothink and nudgeustoward apositivesocietalgoal.Itisthistypeof gruesome event,thepolicy would short as aroutine medicalpracticeinsteadofarare, important,and could besaved.Sunsteinsuggests—controversially—”mandated the exchange. As aresult, toofewpeoplefocusonthelivesthat being harvestedfrom abody giveadefinitenegativeaffect to funeral (bothfalse). And thegorymental imagesoforgans to savethem,orthattheywon’tbeablehaveanopen-casket organs. Peopletendtobelieve thatdoctorswon’tworkashard die eachyearbecauseothersare toofearfuloruncertaintodonate He pointstotheorgan donor crisisinwhichthousandsofpeople Decisions AboutHealth,Wealth, andHappiness, suggests afewwaystodothisinhisbook of theWhiteHouseOffice ofInformationandRegulatory Affairs, Sunstein, aHarvard lawprofessor whoisnowtheadministrator perception systeminstead oftryingtoreason withit.Cass statistics andstartmakingpoliciesthatmanipulateourrisk

mandated apart. just than rather holistically It isunlikelythatourintellectcaneverpaperover gut In theend,Sunsteinargues, bynormalizingorgan donation Ropeik sayspolicymakersneedtostopissuingreams of

(MAN day tihd) day (MAN (hoh LIHS tihk uh lee) uh tihk LIHS (hoh

adj. 6 aboutwhatriskmeans.” compulsory.

adv. in a way that relates to the whole of a system asystem of whole to the relates that away in -circuit ourfearreactions Nudge: Improving publishedin2008. 7

retransmission of this Content without express written permission is prohibited. is permission written express without Content this of retransmission or redistribution, copying, printing, The States. United the of Laws Copyright the by protected and From • Total, anycause:1in • Fireworks: 1in386,766 • Flood:1in175,803 • Earthquakeorotherearthmovement:1in148,756 • Dogattack:1in120,864 • Legalexecution:1in96,691 • Bee,hornet,orwaspsting:1in71,623 • Cataclysmicstorm:1in46,044 • Heatexposure: 1in12,517 • Electrocution: 1in9,943 • Air transportaccident:1in7,032 • Firearm discharge: 1in6,309 • Pedalcyclistaccident:1in4,717 • Fire: 1in1,177 • Accidental drowning: 1in1,123 • Motorcycle accident:1in770 • Pedestrianaccident:1in649 • Assault byfirearm: 1in306 • Caroccupantaccident:1in303 • Fall:1in171 • • Intentionalself-harm: 1in112 • Motorvehicleaccident:1in88 • Stroke: 1in28 • Cancer:1in7 • Heartdisease:1in6 substance: 1in130 Accidental poisoningby, orexposure to,noxious Discover, HOW YOUWILLDIELIFETIMERISK October 3, 2011 © 2011 Discover Media. All rights reserved. Used by permission permission by Used reserved. 3, 2011 rights All ©2011 October Media. Discover UNIT 5 Independent Learning •WhatYouUNIT 5Independent Learning Don’tKnow Can KillYou

NOTES

IL10 Poetry

Runagate Runagate

Robert Hayden

Meet the Poet

SCAN FOR Robert Hayden (1913–1980) was born into a poor MULTIMEDIA family and left to be raised by foster parents. His nearsightedness resulted in an interest in books rather than sports, and he became a celebrated poet and English professor, as well as the first African American to be appointed as consultant on poetry to the Library of Congress. Much of his poetry is based on his extensive study of black history.

BACKGROUND In this poem, Robert Hayden paints a portrait of the African American abolitionist Harriet Tubman. In 1849, Tubman escaped slavery in Maryland. She returned to the South numerous times and earned the nickname “Moses” for leading hundreds to freedom on the Underground Railway—a secret network of safe houses that eventually spread all the way to Canada. Tubman also served as a scout and spy during the Civil War, guiding a raid that freed more than 700 enslaved people in South Carolina.

I Runs falls rises stumbles on from darkness into darkness NOTES and the darkness thicketed with shapes of terror and the hunters pursuing and the hounds pursuing and the night cold and the night long and the river 5 to cross and the jack-muh-lanterns1 beckoning beckoning and blackness ahead and when shall I reach that somewhere morning and keep on going and never turn back and keep on going © Pearson Education, Inc., or its affiliates. All rights reserved. or its affiliates. Inc., Education, © Pearson

1. jack-muh-lanterns (JAK muh LAN tuhrnz) also called jack o’lanterns; evil spirits seeking to do harm.

IL11 UNIT 5 Independent Learning • Runagate Runagate © Pearson Education, Inc., or its affiliates. All rights reserved. 10 35 30 25 20 15 Many thousandsriseandgo 2. Rises from theiranguishandpower, II I’ll beburiedinmygrave And before I’llbeaslave lash forme no more driver’s No more auctionblockforme some insilksandshackles some incoffins andsomeincarriages Some goweepingandsomerejoicing many thousandscrossing over

Runagate

and ohSusyannadon’tyoucryforme I’m boundforthefreedom, freedom-bound North starandbonanzagold turn intoscorpionswhenyoutrytocatchthem. plunge intoquicksand,whirlpools,mazes, They’ll dartunderground whenyoutrytocatchthem, Catch themif youcan,butitwon’tbeeasy. catch themif youcanandnotify subscriber. branded Eontherightcheek,Rleft, if youseemy Anna, likelyyoungmulatto new breeches, plainstockings, negro shoes; If youseemyPompey, 30yrsofage, Rise andgoorfare youwell Runagate

(RUH nuh gayt) nuh (RUH Runagate 2 runaway slave. runaway Runagate Runagate O star-shaped yonderBiblecity Runagate O mythic North UNIT 5 Independent Learning •Runagate UNIT 5Independent Learning NOTES

IL12 IL13 NOTES

UNIT 5 Independent Learning •Runagate UNIT 5Independent Learning 40 70 65 60 55 50 45 3. shadow ofavoiceinthetalkingleaves: Shadow ofafaceinthescaryleaves, five timescallingtothehantsinair. Hoot-owl callingintheghostedair, Wanted Reward Deador Alive Armed andknowntobeDangerous Garret DouglassThoreau JohnBrown In leaguewithGarrison Alcott Emerson alias MosesStealerofSlaves Wanted HarrietTubman aliasTheGeneral

jaybird-talk

you keepongoingnowordie,shesays. Dead folkscan’tjaybird-talk glinting inthemoonlight: and she’sturneduponus,leveledpistol we’ll nevermakeit. And fearstartsa-murbling,Nevermakeit, hound dogsbellinginbladedair. the cryupandpatterollers riding, Moon sobrightandnoplacetohide, way wejourneyedfrom Can’ttoCan. And thiswasthewayofit,brethren brethren, Come ride-amytrain First stopMercy andthelastHallelujah. Midnight Specialonasabertrackmoveringmovering, over trestles ofdew, through cavesofthewish, through swampandsavannamoveringmovering, Oh thattrain,ghost-storytrain Come ride-amytrain mailed Jehovahcomingtodeliverme? Tell me,Ezekiel,ohtellmedoyousee

(JAY (JAY Mean meantobefree. buhrd TAWK) buhrd Mean tobefree a summoning,shining woman ofearth,whipscarred, Harriet Tubman, Southern slang meaning “foolish words, silly talk.” silly words, “foolish meaning slang Southern Hush thatnow, 3 , shesays;

1-800-FEAR

Jody Gladding

Meet the Poet Jody Gladding (b. 1955) is the author of three books of SCAN FOR poetry, and her work has been featured in countless MULTIMEDIA journals and anthologies. Gladding has also translated numerous works from French into English. She has won numerous awards and fellowships and lives in Vermont, where she teaches writing at Vermont College of Fine Art.

BACKGROUND This poem is an example of a prose poem. A prose poem appears to be prose but retains many of the attributes of a poem, and it reads like poetry. Although earlier examples do exist, prose poetry emerged as a form in nineteenth-century French symbolist poetry.

We’d like to talk with you about fear they said so NOTES many people live in fear these days they drove up all four of them in a small car nice boy they said beautiful dogs they said so friendly the man ahead 5 of the woman the other two waiting in the drive I was outside digging up the garden no one home I said what are you selling anyway I’m not interested I said well you have a nice day they said here’s our card there’s a phone number you can call anytime 10 any other houses down this road anyone else live here we’d like to talk to them about living in fear © Pearson Education, Inc., or its affiliates. All rights reserved. or its affiliates. Inc., Education, © Pearson

UNIT 5 Independent Learning • 1-800-FEAR IL14 Poetry Bears at Raspberry Time

Hayden Carruth

Meet the Poet SCAN FOR Hayden Carruth (1921–2008) was born in Connecticut and attended both MULTIMEDIA the University of North Carolina and the University of Chicago. He wrote more than 30 books, including books of poetry, essays, literary criticism, and a novel. He was awarded the National Book Critics Circle Award, the National Book award, and the Carl Sandburg Award, among numerous others.

BACKGROUND Until recently, black bears were the largest mammals in New York State. (Several moose recently arrived in the state). There are between 6,000 and 8,000 bears in the state, some reaching weights of more than 600 pounds. Most of a bear’s diet is plant material, but bears also eat insects and occasionally prey on smaller mammals such as deer and beaver. In late summer, raspberries are an important fruit for the bears.

Fear. Three bears NOTES are not fear, mother and cubs come berrying in our neighborhood

5 like any other family. I want to see them, or any distraction. Flashlight poking across the brook

into briary darkness, 10 but they have gone, © Pearson Education, Inc., or its affiliates. All rights reserved. or its affiliates. Inc., Education, © Pearson noisily. I go to bed. Fear. Unwritten books

IL15 UNIT 5 Independent Learning • Bears at Raspberry Time © Pearson Education, Inc., or its affiliates. All rights reserved. 15 45 40 35 30 25 20 they’ll bestrung upbythepaws soon, italwayshappens, idiot willshootthebears already titled.Some except poemsaboutbears? to writenothingatall Fear. Wouldn’t itbegreat pleading formeatydollars. nuzzles mykneemutely, be sure. Thedarkhouse Are they.Ican’t moves, andthenanother. what isit?—adarkshape in moonlightlikediamonddust, of rough grassstrewn and nearby, inthewaste dressed insilverleaves, bright innewmoonlight, The plumisserene and even dreams factual? Is middleagewhatmakes down totheorchard. go tothewindow, look leaves. Iwaken,late, summer crop ofwithered before yieldingitsusual serenely, translucently last springitflowered orchard: howforamoment twisted, gauntinthe plum tree, little,black, At lastIdream. Our with abroken imagination. for workyettobedone— measured, andI’llbepaid maple tobeadmired and in someone’sfrontyard UNIT 5 Independent Learning •BearsatRaspberry Time UNIT 5Independent Learning NOTES

IL16 Poetry

For Black Women Who Are Afraid

Toi Derricotte

Meet the Poet

SCAN FOR Toi Derricotte (b. 1941) kept her writing a secret until MULTIMEDIA she was twenty-seven years old. She is the author of five collections of poetry and winner of numerous awards and prizes; more than one thousand of her poems have been published in magazines and journals. Derricotte is a professor of English at the University of Pittsburg.

BACKGROUND Much of Toi Derricotte’s writing deals with subjects such as racism and identity, based on her own experiences as a light-skinned black woman. Her work can be brutally honest, as in her poems that illuminate her insights into being too black or not black enough. A black woman comes up to me at break in the writing

NOTES workshop and reads me her poem, but she says she can’t read it out loud because there’s a woman in a car on her way 5 to work and her hair is blowing in the breeze and, since her hair is blowing, the woman must be white, and she shouldn’t write about a white woman whose hair is blowing, because maybe the black poets will think she wants to be 10 that woman and be mad at her and say she hates herself, and maybe they won’t let her explain that she grew up in a white neighborhood and it’s not her fault, it’s just what she sees. © Pearson Education, Inc., or its affiliates. All rights reserved. or its affiliates. Inc., Education, © Pearson But she has to be so careful. I tell her to write 15 the poem about being afraid to write, and we stand for a long time like that, respecting each other’s silence.

IL17 UNIT 5 Independent Learning • For Black Women Who Are Afraid Essay What Are You So Afraid Of?

Akiko Busch

About the Author Akiko Busch (b. 1953) has published numerous books SCAN FOR and articles about design, culture, and the natural MULTIMEDIA world. She writes a regular blog and has appeared on radio shows, given lectures, and directed workshops. Busch lives in the Hudson Valley in New York and teaches at the School of Visual Arts.

BACKGROUND About one-half of American adults fear snakes. That’s more than those who fear public speaking, or any other category of phobia. Some scientists believe that ophidiophobia—the fear of snakes—is a legacy from the distant past, when our survival depended on avoiding them. Some believe that certain primate characteristics, such as sharp eyesight, are the result of being on the lookout for snakes.

Oct. 25, 2014 NOTES

1 A time of year when we celebrate and indulge in what frightens us may be a good moment to consider how fear begins. It could be anything: a sound, a dog’s bark or bite, some infant terror of being left alone, darkness, a taste, some memory, the unknown, the unseen, the known, the seen. Almost always, its origins are unclear. 2 My own fear of snakes might have started when I was 3, in a garden in Bangkok, in the klong, a rainwater ditch where I © Pearson Education, Inc., or its affiliates. All rights reserved. or its affiliates. Inc., Education, © Pearson was playing. A highly venomous, six-foot banded krait glided alongside me. My mother, watching from a balcony above, was unable to reach me, but she called for my older brother, who

UNIT 5 Independent Learning • What Are You So Afraid Of? IL18 IL19 NOTES

UNIT 5 Independent Learning •WhatAreUNIT 5Independent Learning You SoAfraidOf? 7 6 5 4 3 8 of eventhesmallestgartersnakeingrassisbasedonsome of this.Butmymothertoldmethestory. picked meupandlifted meoutofthetrench. Iremember nothing 1. absurd hierarchy, sense asnearandpresent danger. All thesame,itobservesitsown in ourtracksortakeflight,itisabiologicalresponse towhatwe personal experience,isvitaltooursurvival.Whenwefreeze, stop of allthese? humans havehadofthereptile world?Orisitsomecombination is itpossiblysomegeneticinheritanceofthefearthat centuriesof suppressed memoryoftheevent,oronstoryevent.Or 2. electrical sockets—because,hesays,“ourspecies hasnotbeen not fearthemore likelyinstruments ofdanger—knives,guns,cars, snakes, spiders,darkness,openspacesandclosedspaces,wedo Dynasty.” costumes: zombies,werewolves, andcastmembersfrom “Duck as thecharactersbehindsomeofthisseason’stoptrending scary They are allthingsthathave aboutasmuchchanceofharmingus ordinary fearssuchasheights, publicspeaking,insects,reptiles. to choosewhatbescared of. threatening usnowissofull, itwouldseemwehardly knowhow first order: damp,dark,andmusty, withdirt floors,vastcitiesof old farmhouse,Ifindthatitis,asalways,ahorror chamber ofthe likely tofollowsensibleinstruction. changes ourhabitsandactions,isnotsomething onwhichweare avoidance.” Whichistosay, fear, real fear, deepfear, thekindthat to haveacquired thepredisposing genesthatensure automatic exposed totheselethalagentslongenoughinevolutionary time that putsoursecurityatrisk.Thearchive genetically modified food,institutionalfinancialmisconduct in thecarboncycle,rateofspeciesextinction,extreme weather, Participants inthereal paradeofhorrors includeradicalchanges suggests areluctance torecognize genuinethreats topublichealth. Americans whoare notfullyattentivetotheneedfor flushots habit. And surely therecent alarmovertheEbolavirus among chain smokeraswell,andhaslittleworryaboutherpack-a-day become whiteandshakeatthesightofbroken glass.Butsheisa the wrong things. A childhoodaccidentcausesafriendofmineto

hierarchy archive At thistimeofyear, whenIventure intothebasementofour Fear, arrivinginlayerswhichgeneticlegacyconverges with I wonderif myenduringpanichalf acenturylaterattherustle The biologistE.O.Wilson hasobservedthatwhilewefear Except thatwedochoose,andwhatchooseare generallythe We havecleardirectives aboutwhatisreally worthourfear.

(AHR kyv) (AHR

(HY uh rahr kee) rahr uh (HY n. 1 collection of records or documents or records of collection inwhichweoftenharboranabidinganxietyfor n. n. arrangement of items by order of importance. of order by items of arrangement 2 ofveryreal menaces .

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. 9 nor thebehemoth its ravenouscravingforfuelthatcausesmethemomentofpanic, cobwebs andblackalcoves. Yet it’snotthedecrepit furnacewith 3. threats around us. And thatmaybethescariestthingofall. rogue impulsethatalltoooftenremains indifferent tothegenuine likely tomeisthepossibilitythatfearsimplyanunpredictable in somefundamentalandstrategicway. Yet whatseemsmore to thinkitispossibletapintohumanfearchangebehavior of suchsocial,politicalandenvironmental urgency, Iwouldlike pointless detours,are surely worthconsideringnow. At amoment looms: HowcanIgetoutofhere asfastpossible? garter snake.Noneofwhichare poisonous.Still,thequestion moment seemtobe:blackratsnake,milkgrass wall behindtheboiler. Themore dire menacesatthatparticular of pearlysnakeskinthatflashesintheancientstonefoundation set myheartracingare, instead,thesuddenrustle andtheglint cost tofillit.ThoughIamloathadmitit,thelethalagents that

behemoth The pathsthathumanfearcantake,anditsoftenridiculous

(bih HEE muhth) HEE (bih 3 oiltank,noreventheinsanityofsoaring adj. adj. of enormous, monstrous size and power. and size monstrous enormous, of UNIT 5 Independent Learning •WhatAreUNIT 5Independent Learning You SoAfraid Of?

❧ NOTES

IL20 from thetextyouread. and record whatyoulearned Go toyourEvidenceLog 744 persuasively. expressing theirownclearlyand issues, on discussions withdiversepartners effectively inarange ofcollaborative SL.11–12.1  

grades 11–12topics, texts, and

Standard

ev buildingonothers’ideasand UNIT 5•FACING OUR FEARS INDEPENDENT l i dence

Initiate andparticipate s l og e Prepare toShare Share Your IndependentLearning understanding ofthetopicfear. these writinganddiscussionactivities.Explainhowthisideaaddstoyour Review yournotes,andmarkthemostimportantinsightyougainedfrom Reflect fromLearn Your Classmates unit. Inyournotes,considerwhythistextbelongsin text youexplored independently,andwritenotesaboutitsconnectiontothe to grow whenyoushare withothers.Reflectonthe whatyouhavelearned Even whenyouread something independently,yourunderstandingcontinues As you talk with your classmates, jot down ideas that you learn fromAs youtalkwithyourclassmates,jotdownideasthatlearn them. ar DiscussIt nin Is fearalwaysaharmfulemotion? g

Share yourideasaboutthetextyouexplored onyourown.

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. unit. Hasyourpositionchanged? Review yourEvidenceLogandQuickWrite from thebeginningof At thebeginningofthisunit,youtookapositiononfollowingquestion: Review EvidenceforanArgument Evaluate theStrength of Your Evidence Identify apossiblecounterclaim: State yourpositionnow: evidence torefute acounterclaim? Ifnot,makeaplan. Do youhaveenoughevidencetosupportyourclaim? youhaveenough 3. 2. 1. convinced you to change your mind. your to change you convinced that evidence of pieces three least at Identify 

Other: Reread aselection Do more research

PERFORMANCE-BASED ASSESSMENT Is fearalwaysaharmfulemotion? Yes EVIDENCE LOG EVIDENCE

Ask anexpert Talk withmyclassmates

Consider yourargument. 2. 1. 3. reinforced your original position. original your reinforced that evidence of pieces three least at Identify

NO prep Performance-Based AssessmentPrep reasons, andevidence. sequences claim(s), counterclaims, create anorganizationthatlogically alternate oropposingclaims, and distinguish theclaim(s)from the significanceofclaim(s), knowledgeable claim(s), establish W.11–12.1.a  S ta n dards

Introduce precise,

745 746 purposes, andaudiences. time frames forarange of tasks, extended timeframes andshorter W.11–12.10 sufficient evidence. valid reasoningandrelevant and substantive topicsortexts, using to supportclaimsinananalysisof W.11–12.1.a–f  choices. word your to vary help Network your essay, your Word use and revise you write As  • • • s selection independent- small-group Whole-class

W tandards UNIT 5•FACING OUR FEARS performance-based assessment OR sources

D N D Write routinelyover

Write arguments

selections selections LEARNING LEARNING TW OR K as itcouldbe,revise youressaytoaddorstrengthen thatcomponent. against therubric.Ifoneormore oftheelements ismissingornotasstrong read theArgumentRubric.Onceyouhavecompletedyourfirstdraft,checkit Review theElementsofEffective Argument Vocabulary Academic Reread theAssignment the words here inorder tocompletetheassignmentcorrectly. presented atthebeginningofunit.Besure youunderstandeachof understand it.Thetaskmayreference someoftheacademicwords between groups ofpeople. readers toquestiontherole fearplaysonalargerlevelincommunitiesand and react toit.Inthesetexts, fearmovesbeyondapersonalemotion,leading In thisunit,youread aboutcharactersandreal peoplewhoexperiencefear Writing to Part 1 Part your claim you presented. evidence and the tone, and end your argument aconclusion with that naturally flows from argument clearly and definitively. formal Use language and an objective Organize your evidence in way alogical that helps your you structure from this unit, as well as from your experience, that own to claim. support aclaim.Begin by asserting Cite relevant evidence from at three least texts Write an Assignment relevant assert Is fear always a harmful emotion? aharmful always fear Is

argumentative essay argumentative

S ources: Argument immutable certify

Review theassignmenttobesure youfully

that to responds this question: definitive

Before youbeginwriting,

© Pearson Education, Inc., or its affiliates. All rights reserved. © Pearson Education, Inc., or its affiliates. All rights reserved. Argument Rubric 2 3 4 1 The introduction clearly and effectively effectively and clearly introduction The Focus and Organization the claim. the support or from follow not does that aconclusion includes it or conclusion, a include not does argument The among ideas.connections organizational or make clear structure alogical follow not does Writing counterclaims. acknowledge not does essay The claim. a state not does introduction The claim. the supports and from follows somewhat that aconclusion includes argument The among ideas.connections organizational and makes structure logical asomewhat follows Writing counterclaims. acknowledges essay The aclaim. states introduction The claim. the supports and from follows mostly that aconclusion includes argument The amongclear ideas. connections organizational and makes structure alogical follows mostly Writing them. refute to evidence and reasons uses and counterclaims acknowledges essay The claim. precise a states clearly introduction The claim. the supports and from follows that aconclusion includes argument The amongclear ideas. connections organizational and makes structure alogical follows always Writing them. to refute evidence and reasons sufficient uses and counterclaims acknowledges clearly essay The claim. logical aprecise, states essential question: Evidence and Elaboration The argument mostly uses uses mostly argument The formalmostly and objective. is argument the of tone The evidence. sufficient and relevant include and reasoning valid use mostly paragraphs Body audience. and purpose the for appropriate is that language uses always argument The objective. and formal always is argument the of tone The evidence. sufficient and relevant include and reasoning valid use always paragraphs Body purpose and audience. audience. and purpose the for appropriate not is that language uses argument The informal or inappropriate. is argument the of tone The to claims. support evidence or reasoning valid use not do paragraphs Body audience. and purpose the for inappropriate is that language uses occasionally argument The objective. and formal sometimes is argument the of tone The evidence. relevant and reasoning valid use sometimes paragraphs Body audience. and purpose the for appropriate is that language How dowerespond whenchallengedbyfear? Performance-Based Assessment pronouns correctly. Writing mostly uses indefinite mechanics. and usage English standard of conventions the follows mostly argument The effectively. andpronouns correctly indefinite uses always Writing mechanics. and usage English standard of conventions the follows accurately and The argument consistently pronouns correctly. indefinite use not does Writing mechanics. and usage English standard of conventions the follow not does argument The indefinite pronouns correctly. uses sometimes Writing mechanics. and usage English standard of conventions the follows The argument sometimes Language Conventions

747 748 supports theargumentpresented. provides aconcludingstatementthat to createcohesionandclarity; major sectionsofthepresentation assertions; usesvaried syntaxtolink uses rhetoricaldevicestosupport claims, counterclaims, andevidence; claim; providesalogicalsequencefor argument that: supportsaprecise SL.11–12.4.b  1 2 3

Standard

UNIT performance-based assessment her ideas. her or his to support evidence chosen well- use not does speaker The claim. clear a present not does speaker The ideas. her or his to support evidence chosen well- some uses speaker The aclaim. presents speaker The ideas. her or his to support evidence chosen well- uses always speaker The claim. effective and aclear presents speaker The Content

Plan andpresentan •

FACING s

OUR

FEARS Review theRubric Follow thesestepstomakeyourspeechdynamicandinteresting. Speaking andListening:Speech you are prepared. appear inthisrubric.Reviewthesecriteriabefore presenting toensure that Part 2 Part • • • of your afinal essay, completing draft After a prepare Assignment effectively communicate to your your ideas audience. effectively to and gestures your your argument.present voice, Use facial expressions, clearly, andvaryyourvolumetoadddrama. When youdeliveryourspeech,usepauseseffectively, speakslowlyand with youraudiencewillhelpthemfeelmore engaged. remember tolookupfrom yourpaperoccassionally.Makingeyecontact may wanttobeginorendwithmore dramaticlanguage.Asyouread, wording tomakeyourtext more effective asaspeech.Forexample,you Practice reading youressayaloudseveraltimes.Considerrevising emphasize. Review yourargument,andmarktheideasevidenceyouwantto Effectiveness Language is not appropriate appropriate not is Language points. key her or his of most emphasizes speaker The task. and audience the for appropriate mostly is Language points. key her or his of all emphasizes speaker The task. and audience the for appropriate always is Language points. key her or his emphasize not does speaker The task. and audience the for

The criteriabywhichyourspeechwillbeevaluated Presentation Techniques contact with the audience. the with contact eye make not does speaker The voice or body language effectively. of tone use not does speaker The contact. eye effective maintains mostly speaker The effectively. language body and voice of tone uses mostly speaker The contact. eye effective maintains speaker The effectively. language body and voice of tone uses always speaker The speech in which you you which in

Reflect on the Unit Now that you’ve completed the unit, take a few moments to reflect on your learning. Use the questions below to think about where you succeeded, what skills and strategies helped you, and where you can continue to grow in the future.

Reflect on the Unit Goals Look back at the goals at the beginning of the unit. Use a different colored pen to rate yourself again. Think about readings and activities that contributed the most to the growth of your understanding. Record your thoughts.

Reflect on the Learning Strategies Discuss It Write a reflection on whether you were able to improve your learning based on your Action Plans. Think about what worked, what didn’t, and what you might do to keep working on these strategies. Record your ideas before joining a class discussion.

Reflect on the Text Choose a selection that you found challenging, and explain what made it difficult.

Explain something that surprised you about a text in the unit.

Which activity taught you the most about responding to fear? What did you learn?  Standards SL.11–12.1.a Come to discussions prepared, having read and © Pearson Education, Inc., or its affiliates. All rights reserved. or its affiliates. Inc., Education, © Pearson researched material under study; explicitly draw on that preparation by referring to evidence from texts and other research on the topic or issue to stimulate a thoughtful, well-reasoned exchange of ideas.

SCAN FOR MULTIMEDIA Performance-Based Assessment 749