The United States and the World

part 2

7 Three Flags, 1958. Jasper Johns. Encaustic on canvas, 30 /8 x 45 x 5 in. Fiftieth Anniversary Gift of the Gilman Foundation, Inc., The Lauder Foundation, A. Alfred Taubman, an anonymous donor, and purchase 80.32

“We must be the great arsenal of democracy.”

—Franklin D. Roosevelt, radio broadcast, 1940

967 Collection of Whitney Museum of American Art, NY, Photography by Geoffrey Clements, NY

0967 U6P2-845481.indd 967 4/14/06 4:30:33 AM BEFORE YOU READ

War Message to Congress

MEET FRANKLIN DELANO ROOSEVELT

ranklin D. Roosevelt was an intensely competitive and social person. His charis- Fmatic demeanor, rich voice, and wide smile expressed confidence and optimism and gave him the power to be very persuasive. In the dark days of the Great Depression and World War II, his buoyant leadership was one of the United Franklin Roosevelt was again active in the States’ greatest assets. Democratic Party and was elected governor of New York. While governor, he gained great popularity by cutting taxes for farmers, reducing the rates charged by public utilities, and giving aid to unemployed “Let me assert my firm belief that New Yorkers. the only thing we have to fear is fear Roosevelt’s popularity paved the way for his presi- itself—” dential win in 1932. Many people in the United States applauded Roosevelt’s use of power to help —Franklin D. Roosevelt people in economic distress. In the first three First Inaugural Address months of his presidency, Congress passed fifteen major acts to provide economic relief to the nation, later known as the First New Deal. Roosevelt’s pop- Roosevelt was a distant cousin of Theodore ular relief programs helped him win reelection Roosevelt, the twenty-sixth president of the United three times. He has the remarkable legacy of being States. He was born into a wealthy New York family the only president to serve more than two terms. and educated at Harvard University and Columbia Law School. While at Harvard, he became Tension in Europe Meanwhile, World War II acquainted with Theodore Roosevelt’s niece, Eleanor. officially began when Germany invaded Poland on Soon afterward, Franklin and Eleanor were married. September 1, 1939. After the horrors of World War I, most U.S. citizens were in favor of remain- Political Gains and Personal Setbacks Shortly ing neutral during the war. On December 7, 1941, after leaving law school, Roosevelt entered politics Japanese fighter pilots made a surprise attack and won a seat in the New York State Senate. He on Pearl Harbor. The damage was severe and earned a reputation as a progressive reformer will- crippling. Roosevelt quickly changed his mind ing to stand up to the party bosses. In 1921, he about the war. The following day, he delivered his contracted a fever and soon felt numbness in his famous “War Message to Congress.” But President legs. He had contracted the disease known as Roosevelt did not live to see victory; he died from polio. Although there was no cure, Roosevelt a stroke just months before the war’s end. refused to give up and began a vigorous exercise Franklin D. Roosevelt was born in 1882 and program to restore some of his muscle control. died in 1945. While recovering from polio, Roosevelt depended on his wife to keep his name prominent in the New York Democratic Party. Eleanor Roosevelt became an effective orator, and her efforts during this time kept her Author Search For more about husband’s political career alive. By the mid-1920s, Franklin D. Roosevelt, go to www.glencoe.com.

968 UNIT 6 FROM DEPRESSION TO COLD WAR Bettmann/CORBIS

0968-0972 U6P2APP-845481.indd 968 4/14/06 4:34:28 AM LITERATURE PREVIEW READING PREVIEW

Connecting to the Speech Reading Strategy Distinguishing Fact Can you imagine having to make a decision that would and Opinion affect an entire country? In President Roosevelt’s “War A fact is a statement that can be verified or proved. An Message to Congress,” he informs the nation of the attack opinion is a personal judgment. Opinions cannot be on Pearl Harbor and requests permission from Congress verified or proved true, because they are expressions to declare war. Think about the following questions: of a person’s beliefs or feelings. Different people might • Have you ever had to make a difficult decision that have different opinions on the same issue. affected other people such as friends or family? • What possible consequences did you weigh as you Reading Tip: Taking Notes As you read, create a chart made your decision? like the one below to record examples of facts and opinions you find throughout “War Message to Congress.” Building Background Prior to the attack on Pearl Harbor, U.S. intelligence had Detail Fact or Opinion decoded Japanese communications that made it clear that Japan was preparing to attack the United States. “a date which opinion However, no one knew when or where the attack would will live in occur. Japan’s surprise attack on December 7, 1941, sank infamy” or damaged 21 ships of the U.S. Pacific Fleet. The attack also destroyed 188 airplanes and killed 2,403 Americans. Another 1,178 were injured. Following the president’s speech, the Senate voted 82 to 0 and the House voted Vocabulary 388 to 1 to declare war on Japan. infamy (infə me¯) n. a reputation as something Setting Purposes for Reading evil or harmful; p. 970 The Ku Klux Klan gained infamy for its racism. Big Idea The United States and the World diplomatic (dip´lə matik) adj. negotiating in a As you read, think about both the political and human peaceful manner; p. 970 Tyl e r and I tried to be consequences that President Roosevelt had to con- diplomatic when we debated who could use the car sider before asking Congress to declare war. Friday night.

Literary Element Author’s Purpose implication (im´plə ka¯shən) n. an effect or con- sequence; p. 971 Not brushing your teeth can have An author’s purpose is his or her intent in writing a severe implications, such as cavities and tooth decay. piece of literature. Authors typically write to accomplish one or more of the following purposes: to persuade, premeditated (pre¯ m e də ta¯t´əd) adj. thought to inform, to explain, to entertain, or to describe. You about beforehand; p. 971 The bank robbery can begin to figure out an author’s purpose by thinking turned out to be premeditated, as the criminal had critically about the form, the tone, and the content of developed the plan weeks before. the first few paragraphs. As you read, decide what inevitable (i nevə tə bəl) adj. certain to happen; Roosevelt’s purpose is in his “War Message to Congress.” p. 971 Once the black clouds appeared overhead, • See Literary Terms Handbook, p. R2. we feared rain was inevitable.

Interactive Literary Elements Handbook To review or learn more about the literary elements, go to www.glencoe.com.

OBJECTIVES In studying this selection, you will focus on the following: • distinguishing fact and opinion • relating literature to a historical period • analyzing public documents • evaluating author’s purpose FRANKLIN D. ROOSEVELT 969

0968-0972 U6P2APP-845481.indd 969 1/10/07 11:28:30 AM FRANKLIN D. ROOSEVELT, WAR MESSAGE TO CONGRESS, DECEMBER 8, 1941

Yesterday, December 7, 1941—a date which negotiations, it contained no threat or hint of war will live in infamy—the United States of or of armed attack. America was suddenly and deliberately attacked by naval and air forces of the Empire of Japan. It will be recorded that the distance of Hawaii The United States was at peace with that nation from Japan makes it obvious that the attack was and, at the solicitation of Japan, was still in conver- deliberately planned many days or even weeks sation with its Government and its Emperor look- ago. During the intervening time the Japanese ing toward the maintenance of peace in the Pacific. Government has deliberately sought to deceive Indeed, one hour after Japanese air squadrons had the United States by false statements and expres- commenced bombing in the American Island of sions of hope for continued peace. Oahu, the Japanese Ambassador to the United The attack yesterday on the Hawaiian Islands States and his colleague delivered to our Secretary has caused severe damage to American naval and of State a formal reply to a recent American military forces. I regret to tell you that very many message. And, while this reply stated that it American lives have been lost. In addition seemed useless to continue the existing diplomatic American ships have been reported torpedoed on the high seas between San Francisco and Honolulu. Vocabulary

infamy (in fə me¯ ) n. a reputation as something evil or harmful Reading Strategy Distinguishing Fact and Opinion diplomatic (dip´ lə mat ik) adj. negotiating in a Which parts of this statement are based on factual peaceful manner information? Which parts are formed by opinions?

970 UNIT 6 FROM DEPRESSION TO COLD WAR Bettmann/CORBIS SYGMA

0970-0971 U6P2SEL-845481.indd 970 4/14/06 4:40:59 AM States have already formed their opinions and well understand the implications to the very life and safety of our nation. As Commander in Chief of the Army and Navy I have directed that all measures be taken for our defense. Always will our whole nation remember the character of the onslaught against us. No matter how long it may take us to overcome this premeditated invasion, the American people in their righteous might will win through to absolute victory. I believe that I interpret the will of the Congress and of the people when I assert that we will not only defend ourselves to the uttermost but will make it very certain that this form of treachery shall never again endanger us. Hostilities exist. There is no blinking at the fact that our people, our territory, and our interests are in grave danger. With confidence in our armed forces— with the unbounding determination of our people—we will gain the inevitable triumph. So help us God. President Franklin D. Roosevelt signs the declaration of war against Japan, I ask that the Congress declare that December 8, 1941. since the unprovoked and dastardly attack by Japan on Sunday, December Yesterday the Japanese Government also 7, 1941, a state of war has existed between the launched an attack against Malaya. United States and the Japanese Empire.  Last night Japanese forces attacked Hong Kong. Last night Japanese forces attacked Guam. Big Idea The United States and the World How Last night Japanese forces attacked the does Roosevelt use rhetoric to make the nation feel Philippine Islands. confident of victory? Last night the Japanese attacked Wake Island. And this morning the Japanese attacked Vocabulary Midway Island. implication (im´ plə k¯a shən) n. an effect or conse- Japan has, therefore, undertaken a surprise quence offensive extending throughout the Pacific premeditated (pre¯ med ə t¯at´ əd) adj. thought about area. The facts of yesterday and today speak beforehand for themselves. The people of the United inevitable (i nev ə tə bəl) adj. certain to happen

FRANKLIN D. ROOSEVELT 971 CORBIS

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RESPONDING AND THINKING CRITICALLY Respond Analyze and Evaluate 1. What was your reaction to Roosevelt’s speech? 5. (a)What does Roosevelt mean when he says, “The people of the United States have already formed Recall and Interpret their opinions”? (b)What do you think he is trying 2. (a)Why, according to Roosevelt, was the United States to accomplish with this statement? unprepared for the attack on Pearl Harbor? (b)How 6. (a)How does Roosevelt assure the public of a war do you think this information might have influenced victory? (b)Why do you think he does this? Congress? 3. (a)Why does Roosevelt claim it was obvious that Connect the attack on Pearl Harbor was planned “many 7. Big Idea The United States and the World days or weeks ago”? (b)How do you think this Explain whether you feel the president did an accu- influenced the president’s reaction to the attack? rate job of addressing both the political and human 4. (a)Which places does Roosevelt say Japan has consequences of declaring war on Japan in “War attacked? (b)What effect does Roosevelt seem to Message to Congress.” want this information to have on his audience?

LITERARY ANALYSIS READING AND VOCABULARY

Literary Element Author’s Purpose Reading Strategy Distinguishing Fact An effective speaker such as Franklin D. Roosevelt makes and Opinion every word count by supporting his or her arguments and Roosevelt includes both fact and opinion in his “War appealing to the hearts and minds of his or her audience. Message to Congress.” Return to the chart you created 1. What, in your opinion, is the purpose of Roosevelt’s on fact and opinion on page 969. Be aware that a speech? writer shows bias when he or she demonstrates a strong, personal, or sometimes unreasonable opinion. 2. Roosevelt uses the rhetorical device of repetition. Bias is most often present in editorials, documenta- Find an example of this device and explain how it ries, and advertisements. helps him influence and persuade his audience. 1. How does Roosevelt use both fact and opinion in his speech? Interdisciplinary Activity: U.S. History 2. How is bias present in Roosevelt’s speech? Debate When World War II began, many people in the United States favored neutrality because it would keep U.S. troops out of harm’s way. Others believed that tak- Vocabulary Practice ing sides was a requisite step in protecting the United Practice with Connotation and Denotation States. Form two small groups. Have one group take The words in each pair below have similar denotations, the pro-neutrality side. Have another group take the or literal meanings. Indicate which word in each pair pro-involvement position. Stage a debate between the has a more negative connotation, or implied meaning. two groups and invite the rest of the class to decide which side presented the stronger case. 1. a. infamy b. disgrace 2. a. diplomatic b. smooth 3. a. inevitable b. certain 4. a. implication b. allegation Web Activities For eFlashcards, Selection Quick Checks, and other Web activities, go to www.glencoe.com.

972 UNIT 6 FROM DEPRESSION TO COLD WAR

0968-0972 U6P2APP-845481.indd 972 4/14/06 4:36:31 AM Vocabulary Workshop Word Parts

Understanding Unfamiliar Math and Science Terms º Vocabulary Terms “Indeed, one hour after Japanese air squadrons had commenced bombing… Many math and science Oahu, the Japanese Ambassador to the United States and his colleague delivered terms come from the Latin to our Secretary of State a formal reply to a recent American message.” language, as do many of the word parts at the left. —Franklin Delano Roosevelt, from “War Message to Congress” º Test-Taking Tip Connecting to Literature Squadron is related to the Latin word quadrum, When you are asked for meaning “square.” Several math and science terms come from the Latin quadrum: the meaning of a word quadrangle, quadrant, quadruped, and quadratic, for example. You have probably that appears in a reading figured out that quadru- or quadr- means “four.” passage, knowledge of some common word parts Examples can help you. Use your You can figure out many math and science terms if you know some common prior knowledge to help word parts such as those below. Study this group of word parts and their you recall similar words. definitions. º Reading Handbook astro- star; celestial body; -pede foot For more about interpret- astr- outer space ing unfamiliar math and -gon a figure having a specified science terms, see milli- thousand kind or number of angles Reading Handbook, p. R20. hydro- water; liquid -nomy body of knowledge about a hydr- specific field

poly- more than one; many; much -sphere a celestial body, such as a planet or star penta- five eFlashcards For eFlashcards and other vocabulary activities, go to www.glencoe.com. Exercise Answer the following questions by combining two word parts from the list above. Consult a dictionary to check your answers. Write the answers on a piece of paper. 1. What is the word for a small animal that has an external skeleton and numerous feet? 2. What is the word for the scientific study of the planets and stars in outer space? OBJECTIVES • Use word parts to help 3. What is the word for a closed plane figure bounded by straight lines? you understand math and 4. What is the word for water vapor in Earth’s atmosphere? science terms. • Verify word meanings by 5. What is the word for a five-sided polygon? using a dictionary.

973

0973 U6P2APP-845481.indd 973 1/11/07 10:23:24 PM BEFORE YOU READ

The Death of the Ball Turret Gunner

MEET RANDALL JARRELL He exhibited particular sensitivity to the vic- timization of women andall Jarrell’s influence on other writers in and children. the mid-twentieth century was enormous. RHis work as a critic, teacher, novelist, and When the war ended, poet helped define poetry’s path during the 1950s Jarrell taught for a year and early 1960s. Jarrell’s longtime friend and fel- at Sarah Lawrence low poet Robert Lowell observed, “His gifts . . . College. He later trans- were wit, pathos, and brilliance of intelligence.” lated his teaching experiences at the Jarrell was born in Nashville, Tennessee, but spent women’s academy into most of his youth in Long Beach, California. Jarrell’s the satirical novel interest in poetry began during his time at Vanderbilt Pictures from an University. There he studied under notable southern Institution. After a year writers John Crowe Ransom and Robert Penn at Sarah Lawrence, Jarrell took a professorship at the Warren, who nurtured Jarrell’s skills as a poet and University of North Carolina in Greensboro. From critic. After earning BA and MA degrees from 1956 until 1958, he served as poetry consultant to the Vanderbilt, Jarrell began a career as a professor Library of Congress. of English literature, first at Kenyon College and then at the University of Texas. Critical Acclaim In the two decades after World War II, Jarrell produced several collections of verse and commentary. His criticism was some of the most “If I can think of it, it isn’t what I want. shrewd and acerbic of its day. Jarrell could be brutal, and he often lambasted mediocre poetry. As many I want . . . I want a ship from some have noted, however, the fierceness of Jarrell’s reviews near star was not a display of aggression but, rather, a measure To land in the yard” of his love for poetry. He was a passionate advocate for verse that met his high standards. Robert Frost, —Randall Jarrell, “A Sick Child” William Carlos Williams, and Walt Whitman all met these standards and therefore received revitalized acclaim as a result of Jarrell’s critical attention. Military Life In 1942, when Jarrell published his In 1965, Jarrell was struck and killed by a car. It is first book of poems, Blood for a Stranger, the United unclear whether his death was accidental or whether States had just entered World War II. That same year, Jarrell, like so many poets of his generation, chose he joined the war effort by enlisting in the Army Air suicide. Whatever the cause of his death, his impor- Forces. He served as a control tower operator and tance is unquestionable. Jarrell’s poetry captured what trained B-29 bomber pilots. World War II had a pro- poet Karl Shapiro called “the common dialogue of found effect on Jarrell, inspiring him to write with Americans,” a dialogue that modulates from weariness great rancor, pity, and drama about the evils of war. to terror, from hopefulness to ecstasy. Many of his greatest poems appear in Little Friend, Randall Jarrell was born in 1914 and died in 1965. Little Friend (1945) and Losses (1948). Both books deal extensively with themes of dehumanization, war, and violence. Jarrell also displayed great compassion Author Search For more about in his portraits of people trapped in meaningless lives. Randall Jarrell, go to www.glencoe.com.

974 UNIT 6 FROM DEPRESSION TO COLD WAR AP/Wide World Photos

0974-0977 U06P2APP-845481.indd 974 4/14/06 4:45:00 AM LITERATURE PREVIEW READING PREVIEW

Connecting to the Poem Reading Strategy Visualizing Can you imagine the horrors of war? What is it like to face To visualize is to use the imagination to picture the death? In Jarrell’s poem, a gunner aboard a U.S. bomber setting, characters, and action in a work of literature. relates his own death in eerie, dreamlike terms. As you As you read, pay close attention to sensory details and read the poem, think about the following questions: descriptions. Do the circumstances of someone’s death change • Reading Tip: Taking Notes In a web diagram, record the meaning of that person’s death? powerful images and other images connected to them. • What is your view of war? Can war be justified? Building Background The aircraft that Jarrell mentions in his note were long- range bombers that the U.S. Army used in bombing raids over Europe and the Pacific during World War II. The B-17 was called the Flying Fortress, because it could withstand severe damage and still remain aloft. The B-24, known as the Liberator, was developed a few years later. Its wing- span was slightly longer than that of the B-17, and it had a greater range. Both the B-17 and B-24 had Plexiglas ball turrets that housed machine gunners. Although both were Vocabulary powerful aircraft, these ball turrets made them vulnerable turret (turit) n. a small, rotating domelike to attack. In his poem, Jarrell describes the life and death structure that is mounted with guns and of a turret gunner aboard one of these aircraft. Although attached to the body of an aircraft; p. 976 The Jarrell himself was not a crew member of a U.S. bomber, turret turned and the gunner began firing on the he had a great sense of compassion and love for the approaching enemy planes. men that he trained. Plexiglas (pleksi las´) n. a light and very Setting Purposes for Reading durable transparent plastic; p. 976 Due to its low cost and light weight, Plexiglas is often used in Big Idea The United States and the World manufacturing. As you read, consider how Jarrell’s “The Death of the gunner ( ) n. an airman or a soldier who Ball Turret Gunner” represents the human story of unər operates a gun; p. 976 The gunner aimed at the World War II. enemy aircraft and fired, scoring a direct hit.

Literary Element Imagery fetus (f¯etəs) n. an unborn child that has been in utero for at least eight weeks; p. 976 The Imagery is the “word pictures” that writers create to family breathed a collective sigh of relief after learn- evoke an emotional response. In creating imagery, writing that the fetus was perfectly healthy. ers use sensory details, or descriptions that appeal to one or more of the five senses. Imagery is often an integral part of modern and contemporary poetry. As you read “The Death of the Ball Turret Gunner,” examine how Jarrell uses imagery to establish his setting and generate emotion. Interactive Literary Elements Handbook To review or learn more about the literary elements, • See Literary Terms Handbook, p. R9. go to www.glencoe.com.

OBJECTIVES In studying this selection, you will focus on the following: • visualizing • analyzing literary periods • expanding vocabulary • interpreting imagery RANDALL JARRELL 975

0974-0977 U06P2APP-845481.indd 975 1/10/07 12:01:18 PM Randall Jarrell

From my mother’s sleep I fell into the State, And I hunched in its belly till my wet fur froze. Six miles from earth, loosed from its dream of life, I woke to black flak1 and the nightmare fighters. When I died they washed me out of the turret with a hose.

NOTE FROM THE AUTHOR: 1. Flak is the fire of antiaircraft guns. A ball turret was a plexiglass sphere set into the Literary Element Imagery Which other images does this belly of a B-17 or B-24, and inhabited by two image align with to convey the overall meaning of the poem? What do these images suggest? .50 caliber machine guns and one man, a short small man. When this gunner tracked with his Vocabulary machine guns a fighter attacking his bomber

turret (turit) n. a small, rotating domelike structure from below, he revolved with the turret; hunched that is mounted with guns and attached to the body of upside down in his little sphere, he looked an aircraft like the fetus in the womb. The fighters which Plexiglas (spelling corrected; pleksi las´) n. a light attacked him were armed with cannon firing and very durable transparent plastic explosive shells. The hose was a steam hose. gunner (unər) n. an airman or a soldier who operates a gun fetus (f¯etəs) n. an unborn child that has been in utero —Randall Jarrell for at least eight weeks

976 UNIT 6 FROM DEPRESSION TO COLD WAR Baldwin H. Ward/CORBIS

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RESPONDING AND THINKING CRITICALLY Respond Analyze and Evaluate 1. Which phrase or image was the most potent for 5. What is ironic about Jarrell’s comparison of the ball you? Why? turret gunner and a fetus in the womb? Recall and Interpret 6. Critics have characterized Jarrell as a master of plain speech and clear, stark language. Do these 2. (a)What happens to the speaker in the first two apply to this poem? Explain. lines? (b)What do these lines suggest about his attitude toward the situation? What do they suggest 7. (a)How would you describe the personality of the about the poet’s view of the gunner? gunner? (b)Do you think his personality is suffi- ciently well established? Explain. 3. (a)Where is the speaker in line 3? (b)What do you think he means by “loosed from its dream of life”? Connect

4. (a)What happens to the speaker in line 4? (b)What 8. Big Idea The United States and the World In does the dream of life entail? What realization does what ways has this poem helped to develop your the gunner have in line 4? understanding of World War II?

LITERARY ANALYSIS READING AND VOCABULARY

Literary Element Imagery Reading Strategy Visualizing Imagery can have a profound impact on the mood of a Visualizing is a useful method of comprehending a literary work. The mood is the emotional quality or atmo- text. Try to visualize the actions, characters, and set- sphere of a piece. Each image in a poem or piece of fic- tings of each line in relation to the piece as a whole. tion acts like a color in a painting—the darker the image, 1. Briefly describe how the image in line 1 functions the darker the literary work will be. Sometimes when in the poem as a whole. images with highly contrasting moods are juxtaposed, the results can be jarring, ironic, or even humorous. 2. What other images are easier to understand once they are placed in context? Explain. 1. What is the mood of “The Death of the Ball Turret Gunner”? What images in this poem contribute to its mood? Academic Vocabulary 2. Identify imagery in this poem that causes contrasts in mood. How does this imagery alter the poem? Here are two words from the vocabulary list on page R86. These words will help you think, write, and talk about the selection. Writing About Literature internal (in turnəl) adj. existing or situated Analyze Tone Information can be conveyed in different inside something else ways, depending on the writer’s attitude toward the subject and the audience. Gather into groups of four or five invest (in vest) v. to endow with certain pre- and read the poem and the note from the author, focus- dominant qualities ing on the tone. Then use the basic information from these texts to write an official report of the event. Then Practice and Apply discuss your work with your classmates. 1. What does Jarrell compare the internal part of the turret to in “The Death of the Ball Turret Gunner”? 2. What characteristics does Jarrell invest the Web Activities For eFlashcards, bomber with? Selection Quick Checks, and other Web activities, go to www.glencoe.com.

RANDALL JARRELL 977

0974-0977 U06P2APP-845481.indd 977 1/10/07 12:52:16 PM Comparing Literature Across Time and Place

Connecting to the Reading Selections How do you respond to tragic events in life? Many people prefer to bury the memories of these types of events, rather than confront them. In the following selections, Elie Wiesel, Garrett Hongo, and Art Spiegelman show the value of confronting the horrors of the past—both to understand the present and to ensure that the disasters of history do not repeat themselves.

Elie Wiesel from All Rivers Run to the Sea ...... memoir ...... 981 The Holocaust—an unfathomable tragedy

Poland, 1940s

Garrett Hongo from Kubota ...... memoir ...... 990 Bringing Japanese American internment to light

Hawaii, 1940s

Art Spiegelman from Maus: A Survivor’s Tale ...... graphic novel ...... 995 Picturing a father’s memories

Poland, 1940s

COMPARING THE Big Idea The United States and the World World War I was supposed to be the “war to end all wars.” In the 1930s, however, the Nazis began a brutal campaign of violence against Jews. Wiesel and Spiegelman show the horrible tragedy of the Holocaust and a world that could not find the resources to stop it. Hongo addresses a byproduct of World War II: the wartime paranoia that led to Japanese American internment in the United States.

COMPARING Reflections Wiesel, Hongo, and Spiegelman reflect on the past in these selections. Wiesel looks back on his own experiences; Hongo and Spiegelman learn about history through the memories of their elders. The reflections presented in these selections show both the significance of personal experience and the importance of learning about history through firsthand accounts.

COMPARING Cultures Cultures can be a source of pride as well as a target for hatred. The Jewish communities presented in Wiesel’s memoir and Spiegelman’s graphic novel must band together to survive the atrocities of the Nazis. Hongo expresses his hope that Japanese American culture can overcome its lingering discomfort from the legacy of internment and finally fully express itself.

978 UNIT 6 FROM DEPRESSION TO COLD WAR (t)Bettmann/CORBIS, (c)CORBIS, (b)Aaron Horowitz/CORBIS

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from All Rivers Run to the Sea

MEET ELIE WIESEL

s a Holocaust survivor, Elie Wiesel has a vision of a future with deep ties to past Agenerations. Called the “conscience of the Holocaust,” Wiesel believes that memory can be a powerful foundation for unity. This notion echoes his personal struggle with the past and illustrates his attempt to transform his struggle into a universal fight against oppression and indifference. Wiesel gave a stir- Giving Voice to Memory After the liberation, ring speech at the U.S. Holocaust Memorial Museum Wiesel vowed to keep silent about the horrors he had dedication in 1993. His famous words are engraved in witnessed. He evacuated to France, where he contin- stone at the museum’s entrance, encouraging future ued his education. While studying in Paris, he began generations to recognize this collective duty: work as a journalist, writing stories for the Yiddish newspaper Zion in Kamf and the Israeli newspaper Yedi’ot Akharonot. Journalism put him in contact with a crucial figure, French writer François Mauriac. In “For the dead and the living, we must 1954, at Mauriac’s behest, Wiesel broke his silence bear witness.” and finally gave voice to his memories. Wiesel wrote and published his Yiddish memoir, Un Di Velt Hot —Elie Wiesel Geshvign (“And the World Kept Silent”), in 1956. Under Mauriac’s guidance, Wiesel revised the text and translated it into French under the title La Nuit The Holocaust Wiesel spent his childhood in in 1958; in 1960 this seminal work was translated into Sighet, Romania, where he gained a deep understand- English as Night. ing of Jewish identity. Synagogues, day schools, and Wiesel moved to the United States in 1956 and was Jewish newspapers flourished in Sighet during Wiesel’s naturalized as a citizen in 1963. As a result of his pro- youth, reflecting a vibrant Jewish community. Wiesel lific writing and lecturing, Wiesel has become one of began attending kheder (religious elementary school) the most visible and renowned Holocaust survivors, when he was three years old. He studied secular sub- eventually winning the Nobel Peace Prize in 1986. In jects, played the violin, and eventually found a local his Nobel acceptance speech, Wiesel acknowledged scholar with whom he could study Kabbalah, a mystical the problem of oppression, but even more so, the interpretation of Hebrew Scriptures. danger of indifference: “we must always take sides. In the spring of 1944, Wiesel’s life changed forever. Neutrality helps the oppressor, never the victim. Fifteen-year-old Wiesel and his family were deported Silence encourages the tormentor, never the tor- from Sighet to the death camp Auschwitz-Birkenau mented. Sometimes we must interfere.” By con- in Poland. Wiesel was separated from his mother and fronting and exploring his own horrific past, Wiesel sisters—his mother and youngest sister were immedi- has transformed his experiences into collective ately gassed to death. Wiesel remained with his father understanding, dialogue, and action. at Auschwitz and later at Buchenwald, another con- Elie Wiesel was born in 1928. centration camp. Tragically, his father died just months before the liberation of the camp in 1945. Wiesel survived the horrors of the concentration Author Search For more about camps and was later reunited with his older sisters. Elie Wiesel, go to www.glencoe.com.

ELIE WIESEL 979 AFP/Getty Images

0978-0998 U6P2APP-845481.indd 979 4/14/06 4:49:04 AM LITERATURE PREVIEW READING PREVIEW

Connecting to the Memoir Reading Strategy Activating Prior What events have defined your life thus far? Perhaps an Knowledge ancestor’s immigration to the U.S., the neighborhood Reading is an interactive process. When you read, you your parents chose to live in, or a tragedy changed your bring your prior knowledge and past experiences to life. In his memoir, Wiesel reflects on the repercussions the task. For example, to fully understand Wiesel’s of the Holocaust on his life. As you read, think about memoir, you must attempt to draw on your knowledge the following questions: of modern history and life in general. • How do your memories impact your everyday life? • Why do you think large-scale acts of evil still occur Reading Tip: Taking Notes On a piece of paper, list in today’s world? the prior knowledge or personal experiences that help you to understand each event or statement in this selection. Building Background All Rivers Run to the Sea is Wiesel’s memoir of his years Prior Knowledge Event in Selection growing up, both directly before and after the Holocaust and World War II. In the following excerpt, from the chap- Many people are Nazis treat Jews as ter entitled “Darkness,” he reflects on his experience of prejudiced toward subhuman. being torn from his home and taken to the most notori- particular cultural ous Nazi concentration camp, Auschwitz-Birkenau. Nazi or ethnic groups. forces rounded up Jews in Poland and Germany and brought them by train to the camps. Most Jews did not realize what lay ahead at Auschwitz, though many suspected the worst. Many attempted to flee. In the camps, Vocabulary Nazis performed inhumane medical experiments on pris- ineffably (in efə ble¯ ) adv. to a degree that is oners and executed millions of innocent Jews. impossible to express; indescribably; p. 981 James was ineffably sad when he said goodbye to his family Setting Purposes for Reading and boarded the train for Chicago.

Big Idea The United States and the World succumb (sə kum) v. to give in or submit to; After World War I, many countries isolated themselves p. 984 The marathon runner insisted that she to avoid the kinds of complex military alliances that would finish the race and not succumb to fatigue. had spurred that war. As you read, consider how premonition (pre¯ ´mə nish ən) n. a warning, or Wiesel explores the question of why the world foreboding about the future; p. 985 Jane had a neglected its responsibility to stop the Nazi campaign. premonition that something bad would happen later that afternoon. Literary Element Narrator trepidation (trep´ə da¯ shən) n. a feeling of The narrator is the person who tells a story. The narrator alarm or apprehension; dread; p. 986 Bill turned may be a character in the story or someone from the down the darkened alley with trepidation. outside looking in. As you read this excerpt from All Rivers Run to the Sea, note how the perspective of the curt (kurt) adj. rudely brief, or short; terse; narrator affects your understanding of the selection. p. 986 The curt reply Mr. Jenkins gave to Lydia’s question suggested he didn’t want to be bothered. • See Literary Terms Handbook, p. R12.

OBJECTIVES In studying this selection, you will focus on the following: Interactive Literary Elements • relating literature to a historical period Handbook To review or learn more about the literary elements, • analyzing a narrator go to www.glencoe.com. • activating prior knowledge

980 UNIT 6 FROM DEPRESSION TO COLD WAR

0978-0998 U6P2APP-845481.indd 980 1/11/07 10:27:19 PM of death, I didn’t dare raise my voice. This was where my childhood and my adolescence, my prayers, studies, and fasting had led. These moments would remain forever etched within me. Wherever life took me, a part of me would always remain in that street, in front of my empty house, awaiting the order to depart. I see my little sister, I see her with her ruck- sack, so cumbersome, so heavy. I see her and an immense tenderness sweeps over me. Never will her innocent smile fade from my soul. Never will her glance cease to sear me. I tried to help her; she protested. Never will the sound of her voice leave my heart. She was thirsty, my little sister was thirsty. Her lips were parched. Pearls of sweat formed on her clear forehead. I gave her a little water. “I can wait,” she said, smiling. My little sister wanted to be brave. And I wanted to die in her place. I seldom speak of her in my writing, for I dare not. My little sister with her sun-bathed golden hair is my secret. I never even talked to Marion2 or to my son Elisha about her. It mor- tifies me to talk about her in the past tense, for she is present. Her presence is more real to me than my own. My little sister Tsiporah, my little angel scorched by a darkened sun, I cannot picture you as death’s hostage. You will remain on our street, on the pavement in front of our house. I gazed at the house—we all did—with anguish. Here we had lived a Jewish family life that was now gone forever. The laughter and Elie Wiesel laments, the peace of Shabbat, the prayer of the God of Abraham whispered by my mother and my grandmother, the festival of Sukkoth, Our turn came on Tuesday, May 16. “All Jews the songs of Rosh Hashana, the Passover out!” the gendarmes1 screamed, and we found meals, the community gatherings, my grandfa- ourselves in the street. There was another heat ther’s visits.3 The stories of beggars and of refugees, wave. My little sister was thirsty, and my grandmother too. They didn’t complain, but I did, not openly, but it amounted to the same thing. I felt queasy, ill. I was suffering, but didn’t know 2. Marion is Wiesel’s wife. 3. Shabbat refers to the “Sabbath” or holy day for Jews, from what. I was ineffably sad. As in the presence which occurs each week from sunset on Friday to the following night. In the Bible, Abraham is considered a patriarch, or father figure, to the Hebrew people. Sukkoth 1. Gendarmes are police officers. is a Jewish harvest festival. Rosh Hashana is the Jewish Vocabulary new year.

ineffably (in efə ble¯) adv. to a degree that is impossible Reading Strategy Activating Prior Knowledge What to express; indescribably memories are forever etched in your mind?

ELIE WIESEL 981 Nathan Benn/CORBIS

0981-0987 U6P2SEL-845481.indd 981 4/14/06 4:54:33 AM the forbidden broadcasts of Radio London and sky, the pitiless sky that numbs us with an unsea- Radio Moscow that we listened to at night, sonable and stifling heat. And the sun? Will it keep curtains drawn and shutters closed. I picture its secret? The night before, very late, like make- myself sitting under an acacia tree, a book in my shift gravediggers, we had dug a dozen holes under hands, talking to the clouds. Tsipouka is playing the trees to bury what remained of our jewelry, pre- with a hoop. “Come and play with me,” she says, cious objects, and money. I buried the gold watch I but I don’t feel like it. And now, as I write these had been given as a bar mitzvah7 present. words, my heart is pounding. I should have For years I dreamed of returning to my native closed my book and stopped my dream, dropped town. It was an obsession. It took two decades, and everything to play with my little sister. Other that trip has now been added to my obsessions. It images rise up: the sleigh in winter, the horse was night. There was a sleeping town and a sleeping and carriage in summer; a cousin’s funeral (a for- house which hadn’t changed: the same gate, same tune-teller is said to have foretold her death); garden, same well. Choked with fear, as though Bea sick with typhus:4 she lies in a room of her caught in a whirlwind of hallucinations, I wondered own, feverish and contagious, hovering between whether it had all been a dream, whether our Jewish life and death. My grandmother asks me to go neighbors were still there, and my parents and my with her to the synagogue. It is night. She opens sisters too. Terror swept me away and carried me the Holy Ark5 and sobs, “Holy Torah, intercede back. I waited for a window to open and for a boy on behalf of Batya, daughter of Sarah. She is who looked like the child I had been to call out to young and can still accomplish many good deeds me: Hey, mister, what are you doing in my dream? for your glory. Tell the Lord, blessed be His But strangers were living in my house. They name, to let her live. She will be more useful to had never heard my name. Inside, nothing had Him than I.” She closes the Ark and backs changed: the same furniture, the same tile stove slowly to the door. There she stops and says, “If I my father had borrowed money to buy; the beds, have any years to live, Lord, give them to her. I tables, and chairs were ours, still in the same exchange my future for hers. Let that be my gift.” places. My feverish eyes wandered left and right, When Bea takes a few steps, I glance at my up and down. Was it possible that not a single grandmother. She has offered her life. What will trace of us remained? But there was one, just one. become of her now? I picture our house and see On the wall above my bed had been a photograph Hilda inside, Hilda the oldest of the children, of my beloved master, Rebbe Israel of Wizhnitz. I whose radiant beauty drew all the matchmakers6 remember it well: I had hung it there the day he of the region. died, the second day of the month of Sivan.8 I can I see the people who came through that door day see myself standing there, a heavy hammer in my and night to consult with my father—my father hand, driving in the nail and hanging the frame. who now, bent under the weight of his pack, knows As I write these words, I suddenly realize that my not to whom he might turn for advice. And my mother died eight years later on exactly the same mother, always gracious and brave, afraid to look at day, along with my little sister and Grandma us, afraid to see the house, afraid to burst into tears Nissel. I cried for the Rebbe’s death as I hung his only to find she can never stop. So she looks at the photograph above my bed. The nail was still there. A huge cross was hanging from it. “We must go now,” my mother said. “We must 4. Typhus is a disease characterized by high fever and stay together.” delirium. 5. The Holy Ark is a cabinet in a synagogue where the scrolls of the Torah, or the first five books of the Hebrew scriptures, 7. A bar mitzvah is a celebration of a Jewish boy’s thirteenth are stored. birthday, marking the beginning of his adult and religious duties. 6. Matchmakers are people who set up marriages. 8. Rebbe means “Rabbi,” a Jewish spiritual teacher. Sivan is the ninth month in the Jewish year. Big Idea The United States and the World What effect do you think international news can have on acts of injustice Literary Element Narrator What do you know about the carried out by a government? narrator at this point? What type of perspective does he have?

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0981-0987 U6P2SEL-845481.indd 982 4/14/06 4:54:37 AM It was Tuesday afternoon. We were still in Sighet.9 One night they could not bear to be separated. Our convoy would not leave for several days. When the roll was called, the SS11 Blockführer We had been temporarily transferred to the smaller counted and recounted the prisoners and ordered: ghetto, whose inhabitants had just been driven out. “Let the prisoner who does not belong in this bar- We moved into the home of Mendel, my father’s racks show himself.” Mendel’s son took a few steps brother. My mother cooked forward. “Closer!” the officer our favorite dish, latkes, shouted. My young cousin potato pancakes. This time The Germans, obeyed, halting when he there was no rationing; we reached the SS man. The offi- ate all we wanted. however, did not cer slowly drew his revolver Mendel was my silent shrink from killing a and shot my cousin in the uncle. He had married Golda, head, point-blank. My uncle, daughter of my maternal father and son that sweet and timid man, uncle Israel. He was pious10 together, without a hurled himself onto his son’s and shy. They had three body, as if to protect him in children. Their photograph second thought, as death. The SS man stared at lies before me, saved by a one would step on him for a long moment and relative. then shot him in the head too. Sacred books were scat- two insects. “Ever since then,” my witness tered on the floor. Someone said, “I see Mendel and his son must have removed them in my dreams.” from his bag at the last And I, I think of the bibli- minute. The table was set, cal law that, out of compas- and there was food on the sion for animals, forbids the plates. They had been slaughter of an ox and his calf taken away in the middle of a meal. This was on the same day. The Germans, however, did not what remained of a family. shrink from killing a father and son together, After the war I questioned every survivor of the without a second thought, as one would step on second transport I could find, seeking news of Uncle two insects. Mendel and his family. I thought I found the answer Fishel and Voïcsi, my cousins from Antwerp,12 in 1988, when an elderly man called out to me in later gave me a different version of their deaths. the lobby of a Miami Beach hotel. He was, like me, What is certain, though, is that the enemy anni- of Romanian-Hungarian origin, from a small village hilated my Uncle Mendel’s family. near Sighet, and he told me he had stayed in the And what happened to my Aunt Zlati, my smaller ghetto until its evacuation. In fact, he had father’s younger sister? I search my memories of been in the same camp with my uncle. “Really?” I the ghetto for her, but she is not there. exclaimed. “You knew my uncle?” “Knew him!” he She was married to Nahman-Elye. I don’t said. “For years I’ve seen him, even in my sleep.” remember their two very young children, nor do And then he told me. At first Mendel and his son I recall their presence during the weeks before had been spared, like my father and me, and had the transport. Nahman-Elye, it seems, was been sent to a camp where conditions were rela- among those the Hungarian army released from tively tolerable. But they were in different barracks the labor battalions to be locked up in the and saw each other only during the day, at work. ghetto. It seems he was deported with the first

9. Sighet is a town in Romania and the birthplace of Wiesel. 10. Pious means “seriously or devoutly religious.” 11. SS refers to the Nazi paramilitary forces. 12. Antwerp is a city in Belgium. Reading Strategy Activating Prior Knowledge How does Wiesel’s account of his family’s experience add to your Literary Element Narrator How does Wiesel shape his understanding of the Holocaust? account of the Holocaust?

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0981-0987 U6P2SEL-845481.indd 983 4/14/06 4:54:40 AM put these questions to American presi- dents and generals and to high-ranking Soviet officers. Since Moscow and Washington knew what the killers were doing in the death camps, why was nothing done at least to slow down their “production”? That not a single Allied military aircraft ever tried to destroy the rail lines converging on Auschwitz remains an outrageous enigma to me. Birkenau was “processing” ten thousand Jews a day. Stopping a single convoy for a single night—or even for just a few hours—would have prolonged so many lives. At the least it would have been a warning to the Germans: Jewish lives do matter. But the free world didn’t Survivors at Buchenwald concentration camp care whether Jews lived or died, remain in their barracks after liberation by Allies on whether they were annihilated one day or the April 16, 1945. Elie Wiesel, the Nobel Prize-winning next. And so the sealed trains continued to author, is on the second bunk from the bottom, sixth from the left. shatter the silence of Europe’s flowering land- scapes. transport and later succumbed to the pressures Meanwhile, our world contracted15 steadily. The and temptations of the camp life and became country became a city, the city a street, the street a a cruel and murderous kapo.13 It seems he was house, the house a room, the room a sealed cattle tried, sentenced to death, and executed by for- car, the cattle car a concrete cellar where . . . mer deportees. My uncle in the enemy’s service? No, let us go no further. Decency and custom A kapo? My uncle a torturer of his brothers in forbid it. I said it earlier, when speaking of my misfortune? I don’t want to believe it. grandfather: In Jewish tradition a man’s death But yes, that’s the way it was. belongs to him alone. Let the gas chambers remain closed to prying eyes, and to the imagina- We arrived at the station, where the cattle cars tion. We will never know all that happened were waiting. Ever since my book Night I have behind those doors of steel. They say the victims pursued those nocturnal trains that crossed the fought among themselves for a breath of air, for devastated continent. Their shadow haunts my one more second of life, that they climbed on writing. They symbolize solitude, distress, and the shoulders of the weakest in the so-called the relentless march of Jewish multitudes Todeskampf, the final struggle among the dying. toward agony and death. I freeze every time I Much has been said when silence ought to have hear a train whistle. prevailed. Let the dead speak for themselves, if Why were those trains allowed to roll they so choose. If not, may they be left in peace. unhindered into Poland? Why were the tracks leading to Birkenau14 never bombed? I have

15. Here, contracted means “shrunk, or made smaller.” 13. Kapo refers to a prisoner who has been appointed by the enemy to police his or her own people. Big Idea The United States and the World How does 14. Birkenau refers to Auschwitz-Birkenau, the most notorious Wiesel argue that international monitoring of human rights of the Nazi concentration camps. is necessary?

Vocabulary Literary Element Narrator What qualities make Wiesel succumb (sə kum) v. to give in or submit to an effective storyteller of the Holocaust?

984 UNIT 6 FROM DEPRESSION TO COLD WAR CORBIS

0981-0987 U6P2SEL-845481.indd 984 4/14/06 4:54:44 AM It is unbelievable how fast people adapt. It hurts My new friend the physics professor died one to admit it, but within hours of first breathing night in June 1991. A suicide, rumor had it. I the cattle car’s nauseating air, we began to feel was struck by the date. I realized that he too at home. “Home” was the edge of the wooden had died on the second day of the month of plank I sat on as I dreamed of the Jewish exiles Sivan, exactly forty-seven years after his missed of antiquity and the Middle Ages. More curious appointment with death in Birkenau. than afraid, I thought of myself as their brother. Life in the cattle cars was the death of my Mixed into my sadness there was undeniable adolescence. How quickly I aged. As a child I excitement, for we were living a historic event, a loved the unexpected: a visitor from afar, an historic adventure. The main thing was that we unforeseen event, a marriage, a storm, even a were still together. Had we been told that this disaster. Anything was preferable to routine. journey would last for weeks or even years, we Now it was just the opposite. Anything was would have replied: May God grant that it be so, preferable to change. We clung to the present, for nothing is worse than the unknown, and that we dreaded the future. was our destination—the unknown. I remember Hunger, thirst, and heat, the fetid16 stench, the clinging to the thought that nothing is unknown hysterical howling of a woman gone mad—we to God, while nothing is truly known to man. were ready to endure it all, to suffer it all. So much A rumor spread through the train. The Jewish so that a “normal,” structured social life soon took doctors and their families, until recently allowed shape in the car. Families stayed together, sharing to live outside the ghetto, had been ordered to whatever came their way: hard-boiled eggs, dried return to the ghetto the night before the trans- cakes, or fruit, respecting strict rules about drinking port and to join us that morning at the station. water, allowing each member a turn near the barred But we had seen no sign of them. It was now said openings or at the waste pail shielded by blankets. that they had gathered at one of their homes the People adjusted with disconcerting rapidity. night before and decided to kill themselves. The Morning and evening we said our prayers together. rumor was apparently false, for in Birkenau I ran I had brought some precious books along in my into our family doctor, Dr. Fisch, who had helped pack: a commentary by Rabbi Haim David Azoulai deliver Tsipouka. But thirty years later I found (the Hida), the K’dushat Levi of the Berdichever that the story was true after all. I was lecturing at Rebbe. I opened them and tried hard to concen- a large university near Boston when a member of trate. A phrase of the Zohar, a major work of the the physics department came up to me. “You’re Kabala,17 haunted me: When the people of Israel from Sighet, aren’t you?” he asked. “So am I.” set out into exile, God went with them. And now? He introduced himself, and the name gave me a I wondered. How far would God follow us now? start: he was the son of a famous surgeon. In On the last day, when the train stopped Sighet we had evolved in different circles, but near the Auschwitz station, our premonitions we had been brought to Auschwitz in the same resurfaced. A few “neighbors” devoured more convoy. We had a long talk about our town, and than their rations, as though sensing that their at one point I asked him about the rumor. He

confirmed it. The doctors had indeed agreed on 16. Fetid means “having a bad odor.” a collective suicide pact. “But why? Since at the 17. The Kabala, also spelled “Kabbalah,” is a book of mystical time we didn’t know where they were taking us.” teachings based on the Jewish faith. It turned out that his father did know. He had Reading Strategy Activating Prior Knowledge What do operated on a German officer who told him you know about the way people tend to react in a crisis? everything. Afterward he had summoned his col- How does Wiesel’s experience compare and contrast with leagues to discuss what to do. The majority voted your expectations? not to board the trains, deciding they might as well die at home. Some of the suicides did not Vocabulary succeed. They were carried to the cattle cars on premonition (pre¯´mə nish ən) n. a warning, or fore- stretchers. boding about the future

ELIE WIESEL 985

0981-0987 U6P2SEL-845481.indd 985 4/14/06 4:54:48 AM days were numbered. My mother kept entreat- overshadow all received ideas. There was a burst ing us: Stay together at all costs. Someone, I of noise and the night was shattered into a thou- can’t remember who, asked, “What if we can’t? sand pieces. I felt myself shaken, pulled to my What if they separate us?” My mother’s answer: feet, pushed toward the door, toward strange “Then we’ll meet again at home as soon as the shouting beings and barking dogs, a swelling war is over.” throng that would cover the earth. Certain images of the days and nights spent In Night I tell of the wrath of the “veterans.” on that train invade my dreams even now: antic- They swore at us. “What the hell are you ipation of danger, fear of the dark; the screams of Schweinehunde19 doing here?” I was puzzled. poor Mrs. Schechter, who, in Did they think we had her delirium, saw flames in the come to this hell volun- distance; the efforts to make tarily, out of curiosity? her stop; the terror in her little I see myself sitting Only years later did I boy’s eyes. I recall every hour, understand. Two of their every second. How could I for- there, haggard and former companions, Rudolf get? They were the last hours I disoriented, a shadow Vrba and Alfred Wetzler, spent with my family: the mur- among shadows. had managed to escape mured prayers of my grand- from Birkenau in 1944 to mother, whose eyes saw beyond warn Hungarian Jews of this world; my mother’s ges- what was awaiting them. tures, which had never been That’s why they were so more tender; the troubled face enraged. They thought we of my little sister, who refused to show her fear. should have known. Some of them even hit us. Yes, my memory gathered it all in, retained it all. Where were we going? It mattered little, for There was sudden trepidation that gripped us it was the same everywhere. All roads led to when, toward midnight, the train lurched for- the enemy; it was he who would throw open ward again after stopping for several hours. I can the invisible black door that awaited us. “Stay still hear the whistle. Elsewhere I have told of together,” my mother said. For another minute what happened next—or rather, I have tried to we did, clinging to one another’s arms. tell it. But it feels like yesterday. It feels like now. Nothing in the world could separate us. The Through the cracks in the boards I see barbed entire German army could not take my little wire stretching to infinity. A thought occurs to sister from me. Then a curt order was issued— me: The Kabala is right, infinity exists. men on one side, women on the other—and I see myself sitting there, haggard and disori- that was that. A single order, and we were sep- ented, a shadow among shadows. I hear my little arated. I stared intently, trying desperately not sister’s fitful breathing. I try to conjure up my to lose sight of my mother, my little sister with mother’s features, and my father’s. I need some- her hair of gold and sun, my grandmother, my one to reassure me. My heart thunders in deafen- older sisters. I see them always, for I am still ing beats. Then there is silence, heavy and looking for them, trying to embrace them one complete. Something was about to happen, we last time. We were taken away before I could could feel it. Fate would at last reveal a truth tell my mother goodbye, before I could kiss her reserved exclusively for us, a primordial truth, an hand and beg her forgiveness for the wrongs I ultimate postulate18 that would annihilate or must have done her, before I could squeeze

18. A postulate is a truth, or basic principle. 19. Schweinehunde, meaning “pig dogs,” is a German word expressing a stereotypical insult. Vocabulary Vocabulary trepidation (trep´ə da¯ shən) n. a feeling of alarm or apprehension; dread curt (kurt) adj. rudely brief, or short; terse

986 UNIT 6 FROM DEPRESSION TO COLD WAR

0981-0987 U6P2SEL-845481.indd 986 4/14/06 4:54:51 AM Tsipouka, my little sister, to my heart. What perhaps the same. Uncomplaining, unprotesting, remains of that night like no other is an irre- asking no one’s pity, it is as if they have had mediable20 sense of loss, of parting. My mother enough of living on a planet so cruel, so vile and and my little sister left, and I never said good- so filled with hate that their very innocence has bye. It all remains unreal. It’s only a dream, I brought their death. Do not deny it, I forbid you told myself as I walked, hanging on my father’s to deny it. Know, then, that the world that let arm. It’s a nightmare that they have torn me the killers annihilate a million and a half Jewish from those I love, that they are beating people children bears its guilt within itself. to death, that Birkenau exists and that it har- That night someone within me, my other bors a gigantic altar where demons of fire self, told me it was impossible that these atroc- devour our people. It’s in God’s nightmare that ities could be committed in the middle of the human beings are hurling living Jewish chil- twentieth century while the world stayed dren into the flames. silent. This was not the Middle Ages. My very I reread what I have just written, and my hand last resistance broken, I let myself be pulled, trembles. I who barely weep am in tears. I see the pushed, and kicked, like a deaf and mute flames again, and the children, and yet again I sleepwalker. I could see everything, grasp it tell myself that it is not enough to weep. and register it, but only later would I try to put It took me a long time to convince myself I in order all the sensations and all the memo- was not somehow mistaken. I have checked with ries. How stunned I was, for example, to dis- others who arrived that same night, consulted cover another time outside time, a universe documents of the Sonderkommandos,21 and yes, parallel to this one, a creation within Creation, a thousand times yes: Unable to “handle” such a with its own laws, customs, structures, and lan- large number of Hungarian Jews in the cremato- guage. In this universe some men existed only ria, the killers were not content merely to incin- to kill and others only to die. And the system erate children’s dead bodies. In their barbarous functioned with exemplary efficiency: tormen- madness they cast living Jewish children into tors tormented and crushed their prey, tortur- specially tended furnaces. ers tortured human beings whom they met for And if I bear within me a nameless grief and the first time, slaughterers slaughtered their disillusionment, a bottomless despair, it is victims without so much as a glance, flames because that night I saw good and thoughtful rose to heaven and nothing ever jammed the Jewish children, bearers of mute words and mechanism. It was as if it all unfolded accord- dreams, walking into darkness before being ing to a plan decreed from the beginning of consumed by the flames. I see them now, and I time. still curse the killers, their accomplices, the And what of human ideals, or of the beauty of indifferent spectators who knew and kept innocence or the weight of justice? And what of silent, and Creation itself, Creation and those God in all that? who perverted and distorted it. I feel like I didn’t understand, though I wanted to. Ask screaming, howling like a madman so that that any survivor and you will hear the same thing: world, the world of the murderers, might know it above all, we tried to understand. Why all these will never be forgiven. deaths? What was the point of this death fac- To this day I am shaken when I see a child, for tory? How to account for the demented mind behind him I glimpse other children. Starving, that devised this black hole of history called terrified, drained, they march without a back- Birkenau? ward glance toward truth and death—which are Perhaps there was nothing to understand. 

20. Irremediable means “impossible to correct.” Big Idea The United States and the World What do 21. Sonderkommandos refers to “special commandos,” a you think is Wiesel’s purpose in spreading the blame for the group of Jewish prisoners whose job was to maintain and atrocities of the Holocaust? clean the crematoria, or gas chambers.

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RESPONDING AND THINKING CRITICALLY Respond 6. Why do you think Wiesel decides not to describe the gas chambers? 1. How did you react to Wiesel’s account of the Holocaust? 7. How do the interludes in which Wiesel describes conversations with fellow Holocaust survivors add Recall and Interpret to his memoir? 2. (a)How does Wiesel’s family handle the order to 8. How do you reconcile Wiesel’s final statement in this leave their home? (b)What do you think their selection, “Perhaps there was nothing to understand”? response shows about them? 3. (a)How has Wiesel’s home changed when he Connect

returns to it years later? (b)What does this suggest 9. Big Idea The United States and the World about the power of memory? Wiesel describes the concentration camp as a 4. (a)When is Wiesel separated from his sister and his world of its own, operating on a system of values mother? (b)What does this say about the nature of totally foreign to the outside world. How does he life for Jewish people during this era? respond to this environment? Analyze and Evaluate 5. What does Wiesel’s report of the differing accounts he has heard about the fate of his Uncle Mendel demonstrate?

LITERARY ANALYSIS

Literary Element Narrator 1. How does Wiesel’s memoir All Rivers Run to the Sea differ from a traditional autobiography? Think In a memoir such as Wiesel’s, the writer is the narrator. about Wiesel’s use of flashback. This creates a first-person point of view that offers the reader a distinct insight into the narrator’s experiences. 2. Do you think that Wiesel wrote this memoir for himself or for others? Explain. 1. (a)How does Wiesel offer a unique perspective on the Holocaust? (b)What does he leave out of his account? Partner Activity All Rivers Run to the Sea hinges on Wiesel’s skillful melding of childhood recollec- 2. (a)What method of storytelling does Wiesel employ tions with reflections as an adult on the past. Both as a narrator? (b)How does this method contribute contribute to a picture of Wiesel as a person. Meet to the selection? with another classmate to discuss your impressions of Wiesel’s character and personality. Then present Review: Autobiography your findings to the class. As you learned in Unit One, an autobiography is the story an author writes about his or her own life. Literary Criticism A memoir is a specific type of autobiography—an Group Activity Brad Hopper of Booklist wrote in a account of an event or a period in the author’s life review of All Rivers Run to the Sea, “[Wiesel] cease- that emphasizes the author’s personal experience. lessly pricks the conscience of a world that thinks it is All Rivers Run to the Sea is a memoir in that it reex- possible to have heard ‘enough’ about the Holocaust.” amines Wiesel’s holocaust experience and its reper- Do you agree with this statement? Meet with a few of cussions on his life and on the world. your classmates to write three blurbs—short descriptions from reviews that might appear on a book jacket for All Rivers Run to the Sea.

988 UNIT 6 FROM DEPRESSION TO COLD WAR

0978-0998 U6P2APP-845481.indd 988 4/14/06 4:49:31 AM READING AND VOCABULARY WRITING AND EXTENDING

Reading Strategy Activating Prior Writing About Literature Knowledge Respond to Theme and Craft In All Rivers Run to You derive meaning from literature by activating prior the Sea, Wiesel writes, “This was where my childhood knowledge, or combining what you already know with and my adolescence, my prayers, studies, and fasting the information provided in the text. Even if you have had led. These moments would remain forever etched not endured the same experiences as the writer or within me.” Write a brief essay explaining how this character, there are many experiences you have had statement informs and drives Wiesel’s narrative. Use that can help you understand the text. evidence from the memoir and examples from your own experience to explain your response. Pay particu- 1. Cite two examples of details in the text that you lar attention to the way that Wiesel comes back to this were instantly able to connect with given your prior moment during various parts of his life and how he knowledge or experience. weaves details from different times in his life into a 2. Memoirs are narrated from the first-person point of cohesive narrative. view and often include very personal details from As you draft, write from start to finish. Follow the writ- the writer’s life. Do you think that this makes it eas- ing path shown here to help you organize your essay ier or more difficult to connect with the speaker? and keep on track. Explain. Partner Activity What prior knowledge did you acti- START Present your interpretation of vate as you read Wiesel’s memoir? Meet with another ▲ classmate to discuss your experience of reading about Introduction the quotation and the position

➧ you plan to defend. the atrocities of the Holocaust. ▲ Body Add supporting evidence. Paragraph(s) Vocabulary Practice ➧

Briefly summarize your

Practice with Word Parts Below are three ▲ groups of words. Each group consists of a vocabu- Conclusion position and consider offering a related insight. lary word from All Rivers Run to the Sea, followed by three other words that share a word part. For FINISH each group, explain the meaning of the shared part. Use a dictionary if you need to. After you complete your draft, meet with a peer reviewer to evaluate each other’s work and to suggest 1. ineffably revisions. Then proofread and edit your work for errors incapable inability inadequate in spelling, grammar, and punctuation. 2. premonition preconceived premature preview Interdisciplinary Activity: Government 3. trepidation instigation congratulation manifestation The Danger of Propaganda Hitler and the Third Reich used propaganda to gather support for their brutal campaign against the Jews. Their techniques included scapegoating and stereotyping. By blaming Jews for all the problems in Germany, the Nazis used them as scapegoats and rallied support. By stereotyping the Jews as “subhuman,” the Nazis attempted to convince the public that the Jews did not deserve rights. Research Nazi propaganda, including the persuasive techniques Web Activities For eFlashcards, Selection Quick Checks, and other Web activities, go to that this propaganda employs. www.glencoe.com.

ELIE WIESEL 989

0978-0998 U6P2APP-845481.indd 989 4/14/06 4:49:36 AM Garrett Hongo S11-222-01C-635423 Kent BEFORETypewriter YOURegular READ, Optima U7 T11

Building Background Although Garrett Hongo was born in Hawaii in 1951, the United States to enter World War II. Although his family moved to southern California when he was Hongo was not alive during this attack, his family was six. On the mainland, he interacted with many groups deeply affected by it. During the war, more than of immigrants, each with rich, diverse cultures. His 120,000 Japanese Americans were forced to live in town of Gardena, California, had the largest Japanese internment camps set up by the U.S. government. American population of any other city except for Decades later the government apologized for this Honolulu, Hawaii. Hongo’s poetry frequently touches injustice and paid reparations. on the difficulties immigrants face in U.S. society and Garrett Hongo was born in 1951. the bitterness of prejudice.

Hongo’s memoir Kubota addresses the Japanese Author Search For more about military attack on Pearl Harbor in Hawaii that prompted Garrett Hongo, go to www.glencoe.com.

It was a Monday night, the day after Pearl Harbor, air station near the fishing grounds my grandfa- and there was a rattling knock at the front door. ther loved and destroyed a small gun battery Two FBI agents presented themselves, showed there, killing three men. Kubota3 was known to identification, and took my grandfather in for have sponsored and harbored Japanese nationals questioning in Honolulu. He didn’t return home in his own home. He had a radio. He had whole- for days. No one knew what had happened or what sale access to firearms. Circumstances and an was wrong. But there was a roundup going on of all undertone of racial resentment had combined those in the Japanese-American community sus- with wartime hysteria in the aftermath of the pected of sympathizing with the enemy and worse. tragic naval battle to cast suspicion on the loyal- My grandfather was suspected of espionage,1 ties of my grandfather and all other Japanese of communicating with offshore Japanese subma- Americans. The FBI reached out and pulled rines launched from the attack fleet days before hundreds of them in for questioning in dragnets the war began. Torpedo planes and escort fight- cast throughout the West Coast and Hawaii. ers, decorated with the insignia of the Rising My grandfather was lucky; he’d somehow been Sun, had taken an approach route from north- let go after only a few days. Others were not as west of Oahu directly across Kahuku Point and fortunate. Hundreds, from small communities in on toward Pearl. They had strafed2 an auxiliary Washington, California, Oregon, and Hawaii, were rounded up and, after what appeared to be routine questioning, shipped off under Justice 1. Espionage means spying. 2. Strafed means “attacked with machine guns from low-flying aircraft.” 3. Kubota (koo¯¯¯ bot¯ a )

990 UNIT 6 FROM DEPRESSION TO COLD WAR

0990-0994 U6P2-845481.indd 990 4/14/06 4:58:36 AM Department orders to holding centers in Leuppe Once, in the mid-sixties, after a dinner during on the Navaho reservation in Arizona, in Fort which, as always, he had been silent while he Missoula in Montana, and on Sand Island in worked away at a meal of fish and rice spiced Honolulu Harbor. There were other special with dabs of Chinese mustard and catsup camps on Maui in Ha’iku and on Hawaii—the thinned with soy sauce, Kubota took his own Big Island—in my own home village of Volcano. dishes to the kitchen sink and washed them up. Many of these men—it was exclusively the He took a clean jelly jar out of the cupboard— Japanese-American men suspected of ties to the glass was thick and its shape squatty like an Japan who were initially rounded up—did not old-fashioned. He reached around to the hutch see their families again for more than four years. below where he kept his bourbon. He made him- Under a suspension of due process4 that was only self a drink and retired to the living room where after the fact ruled as warranted by military I was expected to join him for “talk story,” the necessity, they were, if only temporarily, “disap- Hawaiian idiom for chewing the fat. peared” in Justice Department prison camps scat- I was a teenager and, though I was bored lis- tered in particularly desolate areas of the United tening to stories I’d heard often enough before at States designated as militarily “safe.” These were holiday dinners, I was dutiful. I took my spot on grim forerunners of the assembly centers and the couch next to Kubota and heard him out. concentration camps for the 120,000 Japanese- Usually, he’d tell me about his schooling in American evacuees that were to come later. Japan where he learned I am Kubota’s eldest grandchild, and I remem- judo along with mathemat- ber him as a lonely, habitually silent old man ics and literature. He’d who lived with us in our home near Los Angeles learned the soroban there— for most of my childhood and adolescence. It the abacus, which was the Visual Vocabulary was the fifties, and my parents had emigrated original pocket calculator On an abacus the from Hawaii to the mainland in the hope of a of the Far East—and that, positions of beads better life away from the old sugar plantation. along with his strong, judo- stand for numbers. After some success, they had sent back for my trained back, got him his grandparents and taken them in. And it was my first job in Hawaii. This was the moral. “Study grandparents who did the work of the household ha-ahd,” he’d say with pidgin7 emphasis. “Learn while my mother and father worked their sala- read good. Learn speak da kine good English.” ried city jobs. My grandmother cooked and The message is the familiar one taught to any sewed, washed our clothes, and knitted in the children of immigrants: succeed through educa- front room under the light of a huge lamp with tion. And imitation. But this time, Kubota a bright three-way bulb. Kubota raised a flower reached down into his past and told me a differ- garden, read up on soils and grasses in gardening ent story. I was thirteen by then, and I suppose books, and planted a zoysia lawn in front and a he thought me ready for it. He told me about dichondra5 one in back. He planted a small Pearl Harbor, how the planes flew in wing after patch near the rear block wall with green wing of formations over his old house in La’ie in onions, eggplant, white Japanese radishes, and Hawaii, and how, the next day, after Roosevelt8 cucumber. While he hoed and spaded the loam- had made his famous “Day of Infamy” speech less, clayey earth of Los Angeles, he sang partic- about the treachery of the Japanese, the FBI ularly plangent6 songs in Japanese about plum agents had come to his door and taken him in, blossoms and bamboo groves.

7. Pidgin (pij ən) is a hybrid language that is a mixture of two 4. Due process is the administration of the law according to or more languages and that has a simplified vocabulary and prescribed procedures. grammatical structure. 5. Zoysia (zoi zhə) is a type of grass. Dichondra (d¯ kan drə) 8. President Franklin D. Roosevelt (1882–1945) addressed is a type of herb used for lawns. Congress the day after the bombing of Pearl Harbor on 6. Plangent (plan jənt) can mean either “mournful” or “loud December 7, 1941, saying it was “a date which will live in and echoing.” infamy.”

GARRETT HONGO 991 Richard Hutchings/PhotoEdit

0990-0994 U6P2-845481.indd 991 4/14/06 4:58:40 AM Barracks, Tule Lake, California, 1945. Taneyuki Dan Harada. Oil on canvas, 27 x 31 in. Collection of Michael D. Brown.

hauled him off to Honolulu for questioning, and about the evacuation and relocation for very held him without charge for several days. I long. It wasn’t in our history books, though we thought he was lying. I thought he was making were studying World War II at the time. It up a kind of horror story to shock me and give wasn’t in the family albums of the people I his moral that much more starch. But it was knew and whom I’d visit staying over weekends true. I asked around. I brought it up during with friends. And it wasn’t anything that the history class in junior high school, and my family talked about or allowed me to keep teacher, after silencing me and stepping me off bringing up either. I was given the facts, told to the back of the room, told me that it was sternly and pointedly that “it was war” and that indeed so. I asked my mother and she said it “nothing could be done.” “Shikatta ga nai”11 is was true. I asked my schoolmates, who laughed the phrase in Japanese, a kind of resolute and and ridiculed me for being so ignorant. We determinist pronouncement on how to deal lived in a Japanese-American community, and with inexplicable tragedy. I was to know it but the parents of most of my classmates were the not to dwell on it. Japanese Americans were nisei9 who had been interned10 as teenagers busy trying to forget it ever happened and were all through the war. But there was a strange having a hard enough time building their new silence around all of this. There was a hush, as lives after “camp.” It was as if we had no his- if one were invoking the ill powers of the dead tory for four years and the relocation was some- when one brought it up. No one cared to speak thing unspeakable. But Kubota would not let it go. In session after session, for months it seemed, he pounded 9. The Japanese word nisei (ne¯ sa¯) refers to children of away at his story. He wanted to tell me the Japanese immigrants; that is, the first generation of Japanese Americans born in the United States. 10. Interned means “confined or restricted to a particular place, especially during war.” 11. “Shikatta ga nai” is pronounced (she¯ ka ta a n¯ ).

992 UNIT 6 FROM DEPRESSION TO COLD WAR Collection of Michael D. Brown

0990-0994 U6P2-845481.indd 992 4/14/06 4:58:44 AM names of the FBI agents. He went over their was re mem bering the de bates before the first sena- questions and his responses again and again. torial election just before Hawaii was admitted to He’d tell me how one would try to act friendly the Union as its fiftieth state. “You tell story,” toward him, offering him cigarettes while the Kubota would end. And I had my injunction.15 other, who hounded him with accusations and The town we settled in after the move from threats, left the interrogation room. Good cop, Hawaii is called Gardena, the independently bad cop, I thought to myself, already superfi- incorporated city south of Los Angeles and north cially streetwise from stories black classmates of San Pedro harbor. At its northern limit, it bor- told of the Watts12 riots and from my having ders on Watts and Compton, black towns. To the watched too many episodes of Dragnet and The southwest are Torrance and Redondo Beach, Mod Squad.13 But Kubota was not interested in white towns. To the rest of L.A., Gardena is pri- my experiences. I was not made yet, and he was marily famous for having legalized five-card draw determined that his stories be part of my mak- poker after the war. On Vermont Boulevard, its ing. He spoke quietly at first, mildly, but once eastern border, there is a dingy little Vegas-like into his narrative and after his drink was down, strip of card clubs with huge parking lots and his voice would rise and quaver with resentment flickering neon signs that spell out “The and he’d make his accusations. He gave his tes- Rainbow” and “The Horseshoe” in timed timony to me and I held it at first cautiously in sequences of varicolored lights. The town is only my conscience like it was an heirloom too deli- secondarily famous as the largest community of cate to expose to strangers and anyone outside Japanese Americans in the United States outside of the world Kubota made with his words. “I of Honolulu, Hawaii. When I was in high school give you story now,” he once said, “and you there, it seemed to me that every sansei16 kid I learn speak good, eh?” It was my job, as the dis- knew wanted to be a doctor, an engineer, or a ciple of his preaching I had pharmacist. Our fathers were gardeners or electri- then become, Ananda to his cians or nurserymen or ran small businesses cater- Buddha,14 to reassure him ing to other Japanese Americans. Our mothers with a promise. “You learn worked in civil service for the city or as cashiers speak good like the for Thrifty Drug. What the kids wanted was a Dillingham,” he’d say good job, good pay, a fine home, and no troubles.

Visual Vocabulary another time, referring to No one wanted to mess with the law—from either Daniel K. Inouye the wealthy scion of the side—and no one wanted to (in o¯ ye´) (born grower family who had once mess with language or art. 1924), was the ﬁ rst run, unsuccessfully, for one They all talked about get- Japanese American to serve in congress of Hawaii’s first senatorial ting into the right clubs so as a U.S. Senator seats. Or he’d then invoke a that they could go to the from Hawaii. magical name, the name of right schools. There was a one of his heroes, a man he certain kind of sameness, thought particularly exemplary and righteous. an intensely enforced sys- “Learn speak dah good Ing-rish like Mistah tem of conformity. Style Inouye,” Kubota shouted. “He lick dah Dillingham was all. Boys wore mocca- Visual Vocabulary even in debate. I saw on terre-bision myself.” He sin-sewn shoes from Flagg A bouffant (boo¯¯¯ fant) Brothers, black A-1 slacks, is a hairstyle in which and Kensington shirts with the hair is puffed out. 12. Watts, a section of Los Angeles, was the site of severe high collars. Girls wore racial violence in 1965. their hair up in stiff bouffants solidified in hair- 13. Dragnet and The Mod Squad were popular television spray and knew all the latest dances from the police shows. 14. Buddha (563?–483? B.C.) was the title given to Siddhartha Gautama (si dar tə ou tə mə), the founder of Buddhism. Ananda (a nan da ) was his cousin and 15. An injunction is a command or an order. “Beloved Disciple.” 16. The sansei (san sa¯ ´) are the children of the nisei.

GARRETT HONGO 993 (l)Terry Ashe/The Liaison Agency, (r)Corry/Hulton Archive

0990-0994 U6P2-845481.indd 993 4/14/06 4:58:49 AM Japanese Americans interned at Santa Anita. Viewing the Photograph: What insights into the Japanese American internment do you get from this photograph?

slauson to the funky chicken. We did well in They were mainland-born. Their parents had chemistry and in math, no one who was Japa- been in camp, had been the ones to suffer the nese but me spoke in English class or in his- complicated experience of having to distance tory unless called upon, and no one talked themselves from their own history and all things about World War II. The day after Robert Japanese in order to make their way back and Kennedy was assassinated, after winning the into the American social and economic main- California Democratic primary, we worked on stream. It was out of this sense of shame and a calculus and elected class coordinators for the fear of stigma I was only beginning to understand prom, featuring the 5th Dimension.17 We that the nisei had silenced themselves. And, for avoided grief. We avoided government. We their children, among whom I grew up, they avoided strong feelings and dangers of any wanted no heritage, no culture, no contact with a kind. Once punished, we tried to maintain a defiled history. I recall the silence very well. The concerted emotional and social discipline and Japanese-American children around me were bur- would not willingly seek to fall out of the nar- dened in a way I was not. Their injunction was row margin of protective favor again. silence. Mine was to speak.  But when I was thirteen, in junior high, I’d not understood why it was so difficult for my class- Quickwrite mates, those who were themselves Japanese American, to talk about the relocation. They had Is Kubota right to urge his grandson to discuss what cringed, too, when I tried to bring it up during our happened to Japanese Americans during World War II? discussions of World War II. I was Hawaiian-born. Why do you think some people seem to disagree with this stance? Write a short response in which you explain your position. Support your argument with 17. The 5th Dimension was a popular music group in the details from the selection and historical information. late 1960s.

994 UNIT 6 FROM DEPRESSION TO COLD WAR CORBIS

0990-0994 U6P2-845481.indd 994 4/14/06 4:58:53 AM Art Spiegelman

BEFORE YOU READ

Building Background Art Spiegelman learned to read by reading comics and, Spiegelman portrays not only his father’s experiences in turn, has taught a generation of readers that the comic but also his relationship with his father, both when he book, or graphic novel, format can be as powerful as any was a child and when he was an adult. Throughout the other form of literature. He observes, “There’ve been books, Spiegelman represents the Jews as mice and lots of rotten novels and paintings, and zillions of rotten the Nazis as cats. Other groups are represented by comics. But in the hands of someone who knows how different animals. In 1992 Spiegelman was awarded a to use their medium, great things can happen.” Born in Pulitzer Prize for Maus, the first time a graphic-novel Stockholm, Sweden, Spiegelman came to the U.S. as a artist had received this award. child. In high school he studied cartooning. At sixteen, There are several unfamiliar terms and people mentioned he started drawing professionally, and, after leaving in the excerpt that follows. The German word gemeinde college, he soon became an important figure in the refers to a Jewish committee within the community. underground comics movement of the late 1960s. Richieu is the first son of Vladek and Anja, Spiegelman’s Born in Poland, Spiegelman’s Jewish parents were both parents. Richieu was sent to live with relatives during sent to Auschwitz by the Nazis. Though they survived, the war, but he did not survive the Holocaust. Lolek Spiegelman’s mother, Anja (to whom Maus is dedicated), and Lonia are cousins of the Spiegelmans. Tosha and eventually committed suicide in 1968. During the 1970s, Wolfe are Anja’s older sister and her husband. Spiegelman began to create comics based on his Art Spiegelman was born in 1948. father’s (Vladek’s) memories of the Nazi occupation of Poland. Between 1980 and 1986, these efforts grew into Maus: A Survivor’s Tale, a full-length graphic Author Search For more about Art novel. He published a sequel, Maus II, in 1991. Spiegelman, go to www.glencoe.com.

ART SPIEGELMAN 995 CORBIS

0995-0997 U06P2SEL-845481.indd 995 1/10/07 6:06:17 PM 996 UNIT 6 FROM DEPRESSION TO COLD WAR

0995-0997 U06P2SEL-845481.indd 996 4/14/06 5:01:37 AM Discussion Starter Graphic novels combine words and pictures. In the work of some comic artists, graphic elements dominate; in the work of others, words have greater importance. Look over these panels from Maus to determine the balance between words and pictures in Art Spiegelman’s work. With a group of classmates, discuss how the imagery and words work together and how one panel transitions into the next.

ART SPIEGELMAN 997

0995-0997 U06P2SEL-845481.indd 997 4/14/06 5:01:40 AM Wrap-Up: Comparing Literature Across Time and Place

• from All Rivers Run • from Kubota • from Maus: A to the Sea Garrett Hongo Survivor’s Tale Elie Wiesel Art Spiegelman

COMPARING THE Big Idea The United States and the World Group Activity Multiculturalism is an increasingly important and respected feature of U.S. society. With a group of classmates, discuss the following questions.

1. In what ways do Wiesel and Spiegelman address the need to tell the truth about the establishment of concentration camps by the Nazis in the 1930s and 1940s? 2. What does Kubota hope to accomplish by asking Hongo to tell his story about Japanese American internment? 3. Evaluate the statements about history and personal expression made in these selections. Which of them did you find most powerful? Explain.

COMPARING Reflections Writing Activity The stories in these works explore the lives of people who have survived particularly difficult experiences. Read the following quotations from the selections. Then write a brief essay, evaluating how the quotes exemplify the way these selections explore the significance of personal experience.

“I freeze every time I hear a train whistle.” —Elie Wiesel, All Rivers Run to the Sea

“I brought it up during history class in junior high school, and my teacher, after silencing me and stepping me off to the back of the room, told me that it was indeed so.” —Garrett Hongo, Kubota

“Well . . . It’s enough for today. Yes, Artie?” Children liberated from a Nazi concentration camp show the numbers tattooed on their arms. —Art Spiegelman, Maus

COMPARING Cultures Visual Display The horrors of World War II had a great impact on various cultures in different ways. From the selections you have read, create a three-panel collage of images—one for each selection—that illustrates the experiences of these cultures during the war.

OBJECTIVES • Compare and contrast authors’ messages. • Evaluate narrators. • Analyze historical context.

998 UNIT 6 FROM DEPRESSION TO COLD WAR CORBIS

0978-0998 U6P2APP-845481.indd 998 1/24/07 4:28:01 PM BEFORE YOU READ

from Hiroshima

MEET JOHN HERSEY

ohn Hersey spent his adult life bearing witness to some of the pivotal events of the Jtwentieth century. Hersey was born in China to missionary parents, but he spent most of his life writing about the United States’ military influence in other countries. After Hersey’s father died from an illness he Although much was written about the event at the contracted in China, the family settled in New time, most of those articles were recitations of facts York. Hersey attended Yale University, where he and statistics. Hersey wanted to alert the public to studied English literature and began his profes- the nightmarish aftermath of the bombing and its sional career working for the Yale Daily News. His human and moral consequences. first job after college was as private secretary to the Nobel Prize-winning writer Sinclair Lewis. Hersey spent several weeks interviewing people in Japan and writing about the devastation he witnessed in Hiroshima. A few months later, the New Yorker, a publication renowned for its literary quality, devoted “Journalism allows its readers to all of its editorial space to Hersey’s piece. The work witness history; fiction gives its readers created an unprecedented amount of interest in the publishing world. The book’s publication not an opportunity to live it.” only established Hersey’s literary reputation but also —John Hersey originated a new type of literary journalism that went beyond mere reporting of events to capture the human toll of a wartime incident. Hiroshima’s focus on the human costs of war prompted years of discussion On the War Front Between 1937 and 1946, about nuclear weapons and their moral implications. Hersey worked for Time and Life magazines as a Truth as Fiction Hersey wrote that he believed foreign correspondent in the Pacific. To write that fiction better allowed him to depict reality. his first book, Men on Bataan, he combined his “It makes truth plausible,” he wrote. Hersey con- own experience with other sources, including tinued to write books that dealt with important letters, speeches, and memos written by the sol- issues of his times: war, education, racism, and pol- diers stationed in the Pacific. One aspect of the itics. Hersey was such an important literary figure book that captured the attention of critics was that his death in 1993 was front-page news. New Hersey’s ability to combine fictional tech- York Times writer Richard Severo described him niques—such as characterization, description, “not only as a first-rate reporter but also as a story- and foreshadowing—with factual reporting. His teller who nurtured the idea that writers had to later experiences in Italy were reshaped into his pursue a moral goal.” first novel, A Bell for Adano, for which Hersey was awarded the 1945 Pulitzer Prize for fiction. John Hersey was born in 1914 and died in 1993.

Hiroshima In 1945, the nuclear age began when United States forces dropped atomic bombs on Author Search For more about Hiroshima and Nagasaki, two Japanese cities. AuthorJohn Hersey, Name, go go to to www.glencoe.com www.literature.glencoe.com. .

JOHN HERSEY 999 Bettmann/CORBIS

0999-1012 U6P2APP-845481.indd 999 4/14/06 5:03:02 AM LITERATURE PREVIEW READING PREVIEW

Connecting to the Story Reading Strategy Drawing Conclusions Hersey wrote about ordinary people and war’s effect About Author’s Beliefs on their lives. As you read the excerpt, think about the When you draw conclusions, you use a number of following questions: clues to make a general statement about something. • Under what circumstances, if any, do you think the Often, by looking at the types of details that an author dropping of an atomic bomb would be necessary? includes and omits, you can draw some conclusions • What does this selection show about the effects of about that author’s beliefs. war on ordinary civilians? Reading Tip: Chart Clues Use a graphic organizer to Building Background record details that you will use to draw conclusions In 1945, the United States and Japan were adversaries in about the author’s beliefs. World War II. As the war dragged on, casualties mounted

on both sides. The Japanese had been warned that they Detail Detail Detail would face “utter destruction” if they did not surrender, but many officials predicted that the island nation would continue to fight. On August 6, a B-29 aircraft named the Enola Gay dropped the first atomic bomb ever used in wartime. Conclusion Setting Purposes for Reading Big Idea The United States and the World As you read this selection, think about why the world came to see nuclear warfare as something to be Vocabulary avoided at all costs. evacuate (i vak¯u a¯ t´) v. to vacate or leave a place; p. 1001 Citizens were told to evacuate the Literary Element Point of View city if they heard a siren. Point of view is the perspective from which the narrator volition ( ) n. act of choosing or tells the story. In first-person point of view, the narrator vo¯ lishən deciding; p. 1001 They were in the right place by is a character in the story and uses “I” or “me” to tell the accident rather than volition. story. In third-person point of view, the narrator is not a character but describes the action and the characters debris (də br¯e) n. large number of fragments from outside the story. In third-person omniscient point or broken pieces; p. 1005 The explosion filled the of view, the narrator is all-knowing. In third-person streets with debris. limited, the narrator describes only what one character xenophobic (zen´ə fo¯ bik) adj. having an could know. In objective point of view, the narrator extreme fear of foreigners or strangers; p. 1007 The knows only what can be heard and seen about the char- people were xenophobic and trusted no newcomers. acters. As you read the excerpt, examine how point of view affects your understanding of the narrative. terminus (turmə nəs) n. one end of a travel route or the station placed there; p. 1008 When • See Literary Terms Handbook, p. R14. the train entered the terminus, the passengers collected their belongings and prepared to disembark. Interactive Literary Elements Handbook To review or learn more about the literary elements, go to www.glencoe.com.

OBJECTIVES In studying this selection, you will focus on the following: • using word origins to expand vocabulary • understanding literary conventions, such as point of view • writing in a voice and style appropriate to your audience • drawing conclusions about author’s beliefs and purpose

1000 UNIT 6 FROM DEPRESSION TO COLD WAR

0999-1012 U6P2APP-845481.indd 1000 1/11/07 10:36:48 PM John Hersey

At exactly fifteen minutes past eight in the young member of the surgical staff of the city’s morning, on August 6, 1945, Japanese time, large, modern Red Cross Hospital, walked along at the moment when the atomic bomb flashed one of the hospital corridors with a blood specimen above Hiroshima, Miss Toshiko Sasaki, a clerk for a Wassermann test2 in his hand; and the in the personnel department of the East Asia Reverend Mr. Kiyoshi Tanimoto, pastor of the Tin Works, had just sat down at her place in Hiroshima Methodist Church, paused at the door of the plant office and was turning her head to a rich man’s house in Koi, the city’s western suburb, speak to the girl at the next desk. At that same and prepared to unload a handcart full of things he moment, Dr. Masakazu Fujii was settling down had evacuated from town in fear of the massive B- cross-legged to read the Osaka Asahi on the porch 29 raid which everyone expected Hiroshima to suf- of his private hospital, overhanging one of the fer. A hundred thousand people were killed by the seven deltaic1 rivers which divide Hiroshima; atomic bomb, and these six were among the survi- Mrs. Hatsuyo Nakamura, a tailor’s widow, stood vors. They still wonder why they lived when so by the window of her kitchen, watching a many others died. Each of them counts many small neighbor tearing down his house because it items of chance or volition—a step taken in time, lay in the path of an air-raid-defense fire lane; Father Wilhelm Kleinsorge, a German priest 2. A Wasserman test is a blood test once widely used to of the Society of Jesus, reclined in his under- diagnose syphilis. wear on a cot on the top floor of his order’s three-story mission house, reading a Jesuit Literary Element Point of View Based on your reading of magazine, Stimmen der Zeit; Dr. Terufumi Sasaki, a the first paragraph, what kind of point of view does Hersey use?

Vocabulary

1. Deltaic refers to a delta that forms at the mouth of a river. evacuate (i vaku¯ a¯t´) v. to vacate or leave a place The city of Hiroshima straddles six channels and several volition (vo¯ lish ən) n. act of choosing or deciding islets that make up the delta at the mouth of the Ota River.

JOHN HERSEY 1001 Time Life Pictures/Getty Images

1001-1009 U6P2SEL-845481.indd 1001 4/14/06 5:08:04 AM a decision to go indoors, catching one streetcar belonged to a rayon manufacturer in Koi, two miles instead of the next—that spared him. And now from the center of town. The rayon man, a each knows that in the act of survival he lived a Mr. Matsui, had opened his then unoccupied estate dozen lives and saw more death than he ever to a large number of his friends and acquaintances, thought he would see. At the time, none of them so that they might evacuate whatever they wished knew anything. to a safe distance from the probable target area. Mr. Tanimoto had had no difficulty in moving The Reverend Mr. Tanimoto got up at five o’clock chairs, hymnals, Bibles, altar gear, and church that morning. He was alone in the parsonage, records by pushcart himself, but the organ because for some time his wife had been commuting console and an upright piano required some aid. with their year-old baby to spend nights with a A friend of his named Matsuo had, the day friend in Ushida, a suburb to the north. Of all the before, helped him get the piano out to Koi; in important cities of Japan, only two, Kyoto and return, he had promised this day to assist Mr. Hiroshima, had not been visited in strength if Matsuo in hauling out a daughter’s belongings. That B-san, or Mr. B, as the Japanese, with a mixture of is why he had risen so early. respect and unhappy familiarity, called the B-29; Mr. Tanimoto cooked his own breakfast. He and Mr. Tanimoto, like all his neighbors and friends, felt awfully tired. The effort of moving the piano was almost sick with anxiety. He had heard uncom- the day before, a sleepless night, weeks of worry fortably detailed accounts of mass raids on Kure, and unbalanced diet, the cares of his parish—all Iwakuni, Tokuyama, and other nearby towns; he combined to make him feel hardly adequate was sure Hiroshima’s turn would come soon. He had to the new day’s work. There was another thing, slept badly the night before, because there had been too: Mr. Tanimoto had studied theology at Emory several air-raid warnings. Hiroshima had been get- College, in Atlanta, Georgia; he had gradu- ting such warnings almost every night for weeks, for ated in 1940; he spoke excellent English; he at that time the B-29s were using Lake Biwa, north- dressed in American clothes; he had corre- east of Hiroshima, as a rendezvous point, and no sponded with many American friends right up to matter what city the Americans planned to hit, the the time the war began; and among a people Superfortresses streamed in over the coast near obsessed with a fear of being spied upon—per- Hiroshima. The frequency of the warnings and the haps almost obsessed himself—he found himself continued abstinence of Mr. B with respect to growing increasingly uneasy. The police had Hiroshima had made its citizens jittery; a rumor was questioned him several times, and just a few days going around that the Americans were saving some- before, he had heard that an influential acquain- thing special for the city. tance, a Mr. Tanaka, a retired officer of the Toyo Mr. Tanimoto is a small man, quick to talk, Kisen Kaisha steamship line, an anti-Christian, laugh, and cry. He wears his black hair parted in the a man famous in Hiroshima for his showy philan- middle and rather long; the prominence of the fron- thropies3 and notorious for his personal tyran- tal bones just above his eyebrows and the smallness nies, had been telling people that Tanimoto of his moustache, mouth, and chin give him a should not be trusted. In compensation, to show strange, old-young look, boyish and yet wise, weak himself publicly a good Japanese, Mr. Tanimoto and yet fiery. He moves nervously and fast, but with had taken on the chairmanship of his local a restraint which suggests that he is a cautious, tonarigumi, or Neighborhood Association, and thoughtful man. He showed, indeed, just those to his other duties and concerns this position qualities in the uneasy days before the bomb fell. Besides having his wife spend the nights in Ushida, Mr. Tanimoto had been carrying all the portable 3. Philanthropies are good works designed to benefit people. things from his church, in the close-packed residen- Literary Element Point of View How does the point of tial district called Nagaragawa, to a house that view affect your understanding of Mr. Tanimoto?

Reading Strategy Drawing Conclusions About Big Idea The United States and the World Why are the Author’s Beliefs Which words and phrases show the people of Hiroshima so worried about the Americans? author’s disdain for certain personality traits?

1002 UNIT 6 FROM DEPRESSION TO COLD WAR

1001-1009 U6P2SEL-845481.indd 1002 4/14/06 5:08:07 AM had added the business of organizing air-raid morning was still; the place defense for about twenty families. was cool and pleasant. Before six o’clock that morning, Mr. Tanimoto Then a tremendous started for Mr. Matsuo’s house. There he found that flash of light cut across the their burden was to be a tansu, a large Japanese cab- sky. Mr. Tanimoto has a inet, full of clothing and household goods. The two distinct recollection that it men set out. The morning was perfectly clear and so traveled from east to west, warm that the day promised to be uncomfortable. A from the city toward the few minutes after they started, the air-raid siren hills. It seemed a sheet of went off—a minute-long blast that warned of sun. Both he and Mr. approaching planes but indicated to the people of Matsuo reacted in terror— Hiroshima only a slight degree of danger, since it and both had time to react sounded every morning at this time, when an (for they were 3,500 yards, Comparisons of Hiroshima Before American weather plane came over. The two men or two miles, from the and After Atomic Bomb. Hiroshima pulled and pushed the handcart through the city center of the explosion). on April 13 and August 11, 1945. streets. Hiroshima was a fan-shaped city, lying Mr. Matsuo dashed up the front steps into the mostly on the six islands formed by the seven estu- house and dived among the bedrolls and buried arial rivers that branch out from the Ota River; its himself there. Mr. Tanimoto took four or five main commercial and residential districts, covering steps and threw himself between two big rocks in about four square miles in the center of the city, the garden. He bellied up very hard against contained three-quarters of its population, which one of them. As his face was against the stone, had been reduced by several evacuation programs he did not see what happened. He felt a sudden from a wartime peak of 380,000 to about 245,000. pressure, and then splinters and pieces of board Factories and other residential districts, or suburbs, and fragments of tile fell on him. He heard no lay compactly around the edges of the city. To the roar. (Almost no one in Hiroshima recalls hear- south were the docks, an airport, and the island- ing any noise of the bomb. But a fisherman in studded Inland Sea.4 A rim of mountains runs his sampan5 on the Inland Sea near Tsuzu, the around the other three sides of the delta. Mr. man with whom Mr. Tanimoto’s mother-in-law Tanimoto and Mr. Matsuo took their way through and sister-in-law were living, saw the flash and the shopping center, already full of people, and heard a tremendous explosion; he was nearly across two of the rivers to the sloping streets of Koi, twenty miles from Hiroshima, but the thunder was and up them to the outskirts and foothills. As they greater than when the B-29s hit Iwakuni, only five started up a valley away from the tight-ranked miles away.) houses, the all-clear sounded. (The Japanese radar When he dared, Mr. Tanimoto raised his head operators, detecting only three planes, supposed that and saw that the rayon man’s house had col- they comprised a reconnaissance.) Pushing the lapsed. He thought a bomb had fallen directly on handcart up to the rayon man’s house was tiring, it. Such clouds of dust had risen that there was a and the men, after they had maneuvered their load sort of twilight around. In panic, not thinking for into the driveway and to the front steps, paused the moment of Mr. Matsuo under the ruins, he to rest awhile. They stood with a wing of the dashed out into the street. He noticed as he ran house between them and the city. Like most that the concrete wall of the estate had fallen homes in this part of Japan, the house consisted over—toward the house rather than away from it. of a wooden frame and wooden walls supporting In the street, the first thing he saw was a squad of a heavy tile roof. Its front hall, packed with rolls soldiers who had been burrowing into the hillside of bedding and clothing, looked like a cool cave opposite, making one of the thousands of dugouts full of fat cushions. Opposite the house, to the in which the Japanese apparently intended to right of the front door, there was a large, finicky resist invasion, hill by hill, life for life; the sol- rock garden. There was no sound of planes. The diers were coming out of the hole, where they should have been safe, and blood was running

4. The Inland Sea lies between the Japanese islands of Kyushu, Shikoku, and Honshu, where Hiroshima is located. 5. A sampan is a small boat.

JOHN HERSEY 1003 John Van Hasselt/CORBIS SYGMA

1001-1009 U6P2SEL-845481.indd 1003 4/14/06 5:08:11 AM all to no purpose, to the East Parade Ground, she decided that in spite of the instructions on the radio, she simply could not face starting out all over again. She put the children in their bedrolls on the floor, lay down herself at three o’clock, and fell asleep at once, so soundly that when the planes passed over later, she did not waken to their sound. The siren jarred her awake at about seven. She arose, dressed quickly, and hurried to the house of Mr. Nakamoto, the head of her People hurry past a fire burning in the wake of an atomic explosion. Hiroshima, Japan. August 1945. Neighborhood Association, and asked him what she should do. He said that she should from their heads, chests, and backs. They were remain at home unless an urgent warning—a silent and dazed. series of intermittent blasts of the siren—was Under what seemed to be a local dust cloud, sounded. She returned home, lit the stove in the day grew darker and darker. the kitchen, set some rice to cook, and sat down to read that morning’s Hiroshima At nearly midnight, the night before the bomb was Chugoku. To her relief, the all-clear sounded at dropped, an announcer on the city’s radio station eight o’clock. She heard the children stirring, said that about two hundred B-29s were approach- so she went and gave each of them a handful of ing southern Honshu and advised the population of peanuts and told them to stay on their bedrolls, Hiroshima to evacuate to their designated “safe because they were tired from the night’s walk. areas.” Mrs. Hatsuyo Nakamura, the tailor’s widow, She had hoped that they would go back to who lived in the section called Noboricho and who sleep, but the man in the house directly to the had long had a habit of doing as she was told, got south began to make a terrible hullabaloo of her three children—a ten-year-old boy, Toshio, hammering, wedging, ripping, and splitting. an eight-year-old girl, Yaeko, and a five-year-old The prefectural government,6 convinced, as girl, Myeko—out of bed and dressed them and everyone in Hiroshima was, that the city walked with them to the military area known as would be attacked soon, had begun to press the East Parade Ground, on the northeast edge with threats and warnings for the completion of the city. There she unrolled some mats and the of wide fire lanes, which, it was hoped, might children lay down on them. They slept until about act in conjunction with the rivers to localize two, when they were awakened by the roar of the any fires started by an incendiary7 raid; and the planes going over Hiroshima. neighbor was reluctantly sacrificing his home As soon as the planes had passed, Mrs. to the city’s safety. Just the day before, the pre- Nakamura started back with her children. They fecture had ordered all able-bodied girls from reached home a little after two-thirty and she immediately turned on the radio, which, to her distress, was just then broadcasting a fresh warn- 6. Prefectural refers to the forty-seven geopolitical divisions ing. When she looked at the children and saw within Japan known as prefectures, which are governed by how tired they were, and when she thought of governors and assemblies similar to state and local government in the United States. the number of trips they had made in past weeks, 7. Here incendiary means “designed to deliberately start fires.”

1004 UNIT 6 FROM DEPRESSION TO COLD WAR Hulton Archive/Getty Images

1001-1009 U6P2SEL-845481.indd 1004 4/14/06 5:08:17 AM the secondary schools to spend a few days help- move. As Mrs. Nakamura started frantically to ing to clear these lanes, and they started work claw her way toward the baby, she could see or soon after the all-clear sounded. hear nothing of her other children. Mrs. Nakamura went back to the kitchen, looked at the rice, and began watching the man In the days right before the bombing, Dr. next door. At first, she was annoyed with him for Masakazu Fujii, being prosperous, hedonistic, making so much noise, but then she was moved and at the time not too busy, had been allowing almost to tears by pity. Her emotion was specifi- himself the luxury of sleeping until nine or cally directed toward her neighbor, tearing down nine-thirty, but fortunately he had to get up his home, board by board, at a time when there was only the morning the bomb was dropped to see so much unavoidable destruction, but undoubtedly a house guest off on a train. He rose at six, and she also felt a generalized, community pity, to say half an hour later walked with his friend to the nothing of self-pity. She had not had an easy time. station, not far away, across two of the rivers. Her husband, Isawa, had gone into the Army just He was back home by seven, just as the siren after Myeko was born, and she had heard nothing sounded its sustained warning. He ate breakfast from or of him for a long time, until, on March 5, and then, because the morning was already hot, 1942, she received a seven-word telegram: “Isawa undressed down to his underwear and went out died an honorable death at Singapore.” She learned on the porch to read the paper. This porch—in later that he had died on February 15th, the day fact, the whole building—was curiously con- Singapore fell, and that he had been a corporal. structed. Dr. Fujii was the proprietor of a Isawa had been a not particularly prosperous tailor, peculiarly Japanese institution: a private, and his only capital was a Sankoku sewing machine. single-doctor hospital. This building, perched After his death, when his allotments stopped com- beside and over the water of the Kyo River, and ing, Mrs. Nakamura got out the machine and began next to the bridge of the same name, contained to take in piecework herself, and since then had sup- thirty rooms for thirty patients and their kin- ported the children, but poorly, by sewing. folk—for, according to Japanese custom, when a As Mrs. Nakamura stood watching her neigh- person falls sick and goes to a hospital, one or bor, everything flashed whiter than any white she more members of his family go and live there had ever seen. She did not notice what happened with him, to cook for him, bathe, massage, and to the man next door; the reflex of a mother set read to him, and to offer incessant familial sym- her in motion toward her children. She had taken pathy, without which a Japanese patient would a single step (the house was 1,350 yards, or three- be miserable indeed. Dr. Fujii had no beds— quarters of a mile, from the center of the explo- only straw mats—for his patients. He did, how- sion) when something picked her up and she ever, have all sorts of modern equipment: an seemed to fly into the next room over the raised X-ray machine, diathermy apparatus, and a fine sleeping platform, pursued by parts of her house. tiled laboratory. The structure rested two-thirds Timbers fell around her as she landed, and a on the land, one-third on piles over the tidal shower of tiles pummeled her; everything waters of the Kyo. This overhang, the part of became dark, for she was buried. The debris did the building where Dr. Fujii lived, was queer- not cover her deeply. She rose up and freed her- looking, but it was cool in summer and from the self. She heard a child cry, “Mother, help me!,” porch, which faced away from the center of the and saw her youngest—Myeko, the five-year- city, the prospect of the river, with pleasure old—buried up to her breast and unable to boats drifting up and down it, was always refreshing. Dr. Fujii had occasionally had anx- ious moments when the Ota and its mouth Big Idea The United States and the World How do these details show the power of the bomb?

Reading Strategy Drawing Conclusions About Vocabulary Author’s Beliefs Hersey includes many details about debris (də bre¯) n. large number of fragments or bro- Japanese life and culture. Why do you think it is important to ken pieces the author to include this information?

JOHN HERSEY 1005

1001-1009 U6P2SEL-845481.indd 1005 4/14/06 5:08:20 AM branches rose to flood, but the piling8 was appar- he was healthy, convivial, and calm, and he ently firm enough and the house had always held. was pleased to pass the evenings drinking whis- Dr. Fujii had been relatively idle for about a key with friends, always sensibly and for the month because in July, as the number of sake of conversation. Before the war, he had untouched cities in Japan dwindled and as affected brands imported from Scotland and Hiroshima seemed more and more inevitably a America; now he was perfectly satisfied with target, he began turning patients away, on the the best Japanese brand, Suntory. ground that in case of a fire raid he would not Dr. Fujii sat down cross-legged in his under- be able to evacuate them. Now he had only wear on the spotless matting of the porch, put on two patients left—a woman from Yano, injured his glasses, and started reading the Osaka Asahi. in the shoulder, and a young man of twenty- He liked to read the Osaka news because his wife five recovering from burns he had suffered was there. He saw the flash. To him—faced away when the steel factory near Hiroshima in from the center and looking at his paper—it which he worked had been hit. Dr. Fujii had seemed a brilliant yellow. Startled, he began to six nurses to tend his patients. His wife and rise to his feet. In that moment (he was 1,500 children were safe; his wife and one son were yards from the center), the hospital leaned living outside Osaka, and another son and two behind his rising and, with a terrible ripping daughters were in the country on Kyushu. A noise, toppled into the river. The doctor, still in niece was living with him, and a maid and a the act of getting to his feet, was thrown forward manservant. He had little to do and did not and around and over; he was buffeted and mind, for he had saved some money. At fifty, gripped; he lost track of everything, because things were so speeded up; he felt the water. Dr. Fujii hardly had time to think that he was 8. Piles are long, columnar timbers or poles that have one end anchored in the ground and are grouped into pilings to hold dying before he realized that he was alive, squeezed up buildings or other structures. tightly by two long timbers in a V across his chest,

Rain falls on buildings reduced to rubble by an atomic bomb blast a few months after the U.S. attack that led to the end of World War II. October 1945.

1006 UNIT 6 FROM DEPRESSION TO COLD WAR Time Life Pictures/Getty Images

1001-1009 U6P2SEL-845481.indd 1006 4/14/06 5:08:23 AM like a morsel suspended between two huge chop- Thanksgiving, the siren sounded. He stopped the sticks—held upright, so that he could not move, service and the missionaries retired across the com- with his head miraculously above water and his pound to the bigger building. There, in his room on torso and legs in it. The remains of his hospital were the ground floor, to the right of the front door, all around him in a mad assortment of splintered Father Kleinsorge changed into a military uniform lumber and materials for the relief of pain. His left which he had acquired when he was teaching at shoulder hurt terribly. His glasses were gone. the Rokko Middle School in Kobe and which he Father Wilhelm Kleinsorge, of the Society of wore during air-raid alerts. Jesus, was, on the morning of the explosion, in After an alarm, Father Kleinsorge always went rather frail condition. The Japanese wartime diet out and scanned the sky, and in this instance, had not sustained him, and he felt the strain of when he stepped outside, he was glad to see only being a foreigner in an increasingly xenophobic the single weather plane that flew over Hiroshima Japan; even a German, since the defeat of the each day about this time. Satisfied that nothing Fatherland,9 was unpopular. Father Kleinsorge had, would happen, he went in and breakfasted with at thirty-eight, the look of a boy growing too fast— the other Fathers on substitute coffee and ration thin in the face, with a prominent Adam’s apple, a bread, which, under the circumstances, was espe- hollow chest, dangling hands, big feet. He walked cially repugnant to him. The Fathers sat and talked clumsily, leaning forward a little. He was tired all awhile, until, at eight, they heard the all-clear. the time. To make matters worse, he had suffered for They went then to various parts of the building. two days, along with Father Cieslik, a fellow-priest, Father Schiffer retired to his room to do some from a rather painful and urgent diarrhea, which writing. Father Cieslik sat in his room in a straight they blamed on the beans and black ration bread chair with a pillow over his stomach to ease his they were obliged to eat. Two other priests then liv- pain, and read. Father Superior LaSalle stood at ing in the mission compound, which was in the the window of his room, thinking. Father Kleinsorge Noboricho section—Father Superior LaSalle and went up to a room on the third floor, took off all Father Schiffer—had happily escaped this affliction. his clothes except his underwear, and stretched Father Kleinsorge woke up about six the morning out on his right side on a cot and began reading the bomb was dropped, and half an hour later—he his Stimmen der Zeit. was a bit tardy because of his sickness—he began to After the terrible flash—which, Father Kleinsorge read Mass in the mission chapel, a small Japanese- later realized, reminded him of something he had style wooden building which was without pews, read as a boy about a large meteor colliding with since its worshipers knelt on the usual Japanese the earth—he had time (since he was 1,400 yards matted floor, facing an altar graced with splendid from the center) for one thought: A bomb has silks, brass, silver, and heavy embroideries. This fallen directly on us. Then, for a few seconds or morning, a Monday, the only worshipers were Mr. minutes, he went out of his mind. Takemoto, a theological student living in the mis- Father Kleinsorge never knew how he got sion house; Mr. Fukai, the secretary of the diocese;10 out of the house. The next things he was Mrs. Murata, the mission’s devoutly Christian house- conscious of were that he was wandering keeper; and his fellow-priests. After Mass, while around in the mission’s vegetable garden in Father Kleinsorge was reading the Prayers of his underwear, bleeding slightly from small cuts along his left flank; that all the building round about had fallen down except the 9. Fatherland refers to Germany, which had surrendered to Jesuits’ mission house, which had long before Allied forces a few months before the attack on Hiroshima. 10. A diocese is a district within the Roman Catholic church. been braced and double-braced by a priest named Gropper, who was terrified of earth- Big Idea The United States and the World What do quakes; that the day had turned dark; and these details show about the horrors of nuclear war? that Murata-san, the housekeeper, was nearby,

Vocabulary

xenophobic (zen´ə fo¯ bik) adj. having an extreme fear Literary Element Point of View How would this passage of foreigners or strangers read differently if it was in the first-person point of view?

JOHN HERSEY 1007

1001-1009 U6P2SEL-845481.indd 1007 4/14/06 5:08:26 AM crying over and over, “Shu Jesusu, awaremi tamai! Our Lord Jesus, have pity on us!”

On the train on the way into Hiroshima from the country, where he lived with his mother, Dr. Terufumi Sasaki, the Red Cross Hospital surgeon, thought over an unpleasant nightmare he had had the night before. His mother’s home was in Mukai-hara, thirty miles from the city, and it took him two hours by train and tram to reach the hospital. He had slept uneasily all night and had wakened an hour earlier than usual, and, feeling sluggish and slightly feverish, had debated whether to go to the hospital at all; Atomic bomb damage to Nagasaki, Japan. his sense of duty finally forced him to go, and he had started out on an earlier train than he took most his customary train that morning, and if he had mornings. The dream had particularly fright- had to wait a few minutes for the streetcar, as ened him because it was so closely associated, often happened, he would have been close to on the surface at least, with a disturbing actu- the center at the time of the explosion and ality. He was only twenty-five years old and would surely have perished.) He arrived at the had just completed his training at the Eastern hospital at seven-forty and reported to the chief Medical University, in Tsingtao, China. He surgeon. A few minutes later, he went to a room was something of an idealist and was much on the first floor and drew blood from the arm distressed by the inadequacy of medical facili- of a man in order to perform a Wassermann ties in the country town where his mother test. The laboratory containing the incubators lived. Quite on his own, and without a permit, for the test was on the third floor. With the he had begun visiting a few sick people out blood specimen in his left hand, walking in a there in the evenings, after his eight hours at kind of distraction he had felt all morning, the hospital and four hours’ commuting. He probably because of the dream and his restless had recently learned that the penalty for prac- night, he started along the main corridor on his ticing without a permit was severe; a fellow- way toward the stairs. He was one step beyond doctor whom he had asked about it had given an open window when the light of the bomb him a serious scolding. Nevertheless, he had was reflected, like a gigantic photographic flash, continued to practice. In his dream, he had in the corridor. He ducked down on one knee been at the bedside of a country patient when and said to himself, as only a Japanese would, the police and the doctor he had consulted “Sasaki, gambare! Be brave!” Just then (the burst into the room, seized him, dragged him outside, and beat him up cruelly. On the train, he just about decided to give up the work in Reading Strategy Drawing Conclusions About Mukai-hara, since he felt it would be impossi- Author’s Beliefs Based on this detail, what aspect of ble to get a permit, because the authorities Japanese culture made an impression on Hersey? would hold that it would conflict with his duties at the Red Cross Hospital. Vocabulary At the terminus, he caught a streetcar at terminus (tur mə nəs) n. one end of a travel route or once. (He later calculated that if he had taken the station placed there

1008 UNIT 6 FROM DEPRESSION TO COLD WAR CORBIS

1001-1009 U6P2SEL-845481.indd 1008 4/14/06 5:08:31 AM building was 1,650 yards from the center), the a whole day’s meals for her mother and the baby, blast ripped through the hospital. The glasses he in time for her father, who worked in a factory was wearing flew off his face; the bottle of blood making rubber earplugs for artillery crews, to crashed against one wall; his Japanese slippers take the food by on his way to the plant. When zipped out from under his feet—but otherwise, she had finished and had cleaned and put away thanks to where he stood, he was untouched. the cooking things, it was nearly seven. The Dr. Sasaki shouted the name of the chief sur- family lived in Koi, and she had a forty-five- geon and rushed around to the man’s office and minute trip to the tin works, in the section of found him terribly cut by glass. The hospital was town called Kannon-machi. She was in charge in horrible confusion: Heavy partitions and ceil- of the personnel records in the factory. She left ings had fallen on patients, beds had overturned, Koi at seven, and as soon as she reached the windows had blown in and cut people, blood was plant, she went with some of the other girls spattered on the walls and floors, instruments from the personnel department to the factory were everywhere, many of the patients were auditorium. A prominent local Navy man, a for- running about screaming, many more lay dead. mer employee, had committed suicide the day (A colleague working in the laboratory to which before by throwing himself under a train—a Dr. Sasaki had been walking was dead; Dr. Sasaki’s death considered honorable enough to warrant a patient, whom he had just left and who a few memorial service, which was to be held at the moments before had been dreadfully afraid of tin works at ten o’clock that morning. In the syphilis, was also dead.) Dr. Sasaki found himself large hall, Miss Sasaki and the others made suit- the only doctor in the hospital who was unhurt. able preparations for the meeting. This work Dr. Sasaki, who believed that the enemy took about twenty minutes. had hit only the building he was in, got ban- Miss Sasaki went back to her office and sat down dages and began to bind the wounds of those at her desk. She was quite far from the windows, inside the hospital; while outside, all over which were off to her left, and behind her were a Hiroshima, maimed and dying citizens turned couple of tall bookcases containing all the books of their unsteady steps toward the Red Cross the factory library, which the personnel department Hospital to begin an invasion that was to had organized. She settled herself at her desk, put make Dr. Sasaki forget his private nightmare some things in a drawer, and shifted papers. She for a long, long time. thought that before she began to make entries in her lists of new employees, discharges, and depar- Miss Toshiko Sasaki, the East Asia Tin Works tures for the Army, she would chat for a moment clerk, who is not related to Dr. Sasaki, got up at with the girl at her right. Just as she turned her head three o’clock in the morning on the day the away from the windows, the room was filled with a bomb fell. There was extra housework to do. blinding light. She was paralyzed by fear, fixed still Her eleven-month-old brother, Akio, had come in her chair for a long moment (the plant was 1,600 down the day before with a serious stomach yards from the center). upset; her mother had taken him to the Tamura Everything fell, and Miss Sasaki lost conscious- Pediatric Hospital and was staying there with ness. The ceiling dropped suddenly and the wooden him. Miss Sasaki, who was about twenty, had to floor above collapsed in splinters and the people up cook breakfast for her father, a brother, a sister, there came down and the roof above them gave and herself, and—since the hospital, because of way; but principally and first of all, the bookcases the war, was unable to provide food—to prepare right behind her swooped forward and the contents threw her down, with her left leg horribly twisted and breaking underneath her. There, in the tin fac- Big Idea The United States and the World How does this excerpt show that people were unprepared for the true tory, in the first moment of the atomic age, a extent of atomic warfare? human being was crushed by books. 

Reading Strategy Drawing Conclusions About Author’s Beliefs How does this sentence help you under- Big Idea The United States and the World What does this stand how Hersey feels about the bombing? suggest about Hersey’s attitude toward the atomic age?

JOHN HERSEY 1009

1001-1009 U6P2SEL-845481.indd 1009 4/14/06 5:08:35 AM AFTER YOU READ

RESPONDING AND THINKING CRITICALLY Respond Analyze and Evaluate 1. (a)What was your initial reaction to Hersey’s 5. Which characters did you find most sympathetic unemotional retelling of the events? (b)What was and why? your response to the number of details that he 6. Do you think that Hersey’s detailed style was the included about the people who lived in Hiroshima best way to recount what happened, or would and their culture? some other way have been more effective? Explain. Recall and Interpret 7. What are some details that show Hersey’s interest in 2. (a)What were the professions of the six people? exploring morality as well as in traditional reporting? (b)Why would Hersey choose to focus on these people? Connect 8. Why do you think people still read Hiroshima six 3. (a)Does Hersey ever explain why the atomic bomb decades after it was first written? was dropped on Hiroshima? (b)How does this affect the narrative? 9. Big Idea The United States and the World 4. (a)Even before the bomb dropped, how had the In what ways is Hiroshima written not only for the war affected people? (b)Why do you think Hersey United States but also for the world? might have included this information?

PRIMARY SOURCE QUOTATION

On August 6, 1945, President Harry Truman Group Activity Discuss the following questions announced that the United States had bombed with classmates. Refer back to the quotation and the city of Hiroshima. Read the following excerpt cite evidence from Hiroshima for support. from President Truman’s speech, keeping in mind what you have already learned about the bombing 1. After reading the excerpt from Hiroshima, of Hiroshima. how would you respond to President Truman’s statement? 2. How do you think President Truman would “Sixteen hours ago an American airplane dropped respond to Hersey’s narrative? Explain. one bomb on Hiroshima, an important Japanese army base. That bomb had more power than 20,000 tons of T.N.T. It had more than two thousand times the blast power of the British ‘Grand Slam’ which is the largest bomb ever yet used in the history of warfare. “The Japanese began the war from the air at Pearl Harbor. They have been repaid many fold. And the end is not yet. With this bomb we have now added a new and revolutionary increase in destruction to supplement the growing power of our armed forces.” —President Harry Truman

The Enola Gay. The B-29 bomber, which dropped the first atomic bomb on Japan, stands on the runway at Tinian following the raid. August 1945. 1010 UNIT 6 FROM DEPRESSION TO COLD WAR CORBIS

0999-1012 U6P2APP-845481.indd 1010 4/14/06 5:03:08 AM LITERARY ANALYSIS READING AND VOCABULARY

Literary Element Point of View Reading Strategy Drawing Conclusions The excerpt from Hiroshima is written with a third- About Author’s Beliefs point of view, person objective which reports on During wartime, many people, including writers, tend to how people respond to a disastrous event. The use view wartime opponents as “the enemy.” Hersey does of pronouns such as he, she, and they also indicate not do this; instead, each person is described as an third-person point of view. ordinary human being, with hopes and fears. As a result, While stories told in first-person point of view are readers can draw certain conclusions about the author’s limited to only one perspective, narratives told in beliefs. third-person objective point of view can reveal 1. How do you think Hersey felt about the citizens of many perspectives on one topic. Much nonfiction Hiroshima? List details to support your answer. journalistic writing, like Hiroshima, is told in third- person objective point of view in order to give a 2. Which character or characters do you think he felt more complete account of events. special sympathy for? Give reasons for your answer. 1. Why do you think Hersey uses the third-person objective point of view to narrate Hiroshima? Vocabulary Practice 2. Are there points where Hersey veers from a Practice with Word Origins A word’s origins, or completely objective point of view? Explain. history, often give clues to its meaning. For example, xenophobic comes from the Greek roots xenos, meaning “stranger,” and phobos, meaning Review: Author’s Purpose “fear.” Thus, xenophobic means “fear of strangers.” Author’s purpose is an author’s intent in writing a piece of literature. Authors often write to persuade, to Match each vocabulary word with its corresponding inform, to explain, to describe, or to entertain. root word. Use a dictionary for assistance. Partner Activity Meet with another classmate and 1. evacuate a. vol, meaning “to wish” identify Hersey’s purpose in writing Hiroshima. Find 2. volition b. term, meaning “end,” or at least three details that support your response. “boundary” Afterward, compare your conclusions with those of your classmates and discuss. 3. terminus c. vacuus, meaning “to empty”

Detail Detail Detail Academic Vocabulary

Here are two words from the vocabulary list on page R86.

Conclusion minimum (minə məm) n. smallest possible amount or degree

internal (in turnəl) adj. interior; of or relating to the inside

Practice and Apply 1. What did Mrs. Nakamura, who had the bare minimum of time before the bomb’s impact, do before it reached her? 2. By revealing the internal thoughts and feelings of his characters, what effect does Hersey create?

JOHN HERSEY 1011

0999-1012 U6P2APP-845481.indd 1011 4/14/06 5:03:11 AM WRITING AND EXTENDING GRAMMAR AND STYLE

Writing About Literature Hersey’s Language and Style Apply Form Hiroshima originated as a feature article Using Reportorial Style When you write a news arti- about an important event in the twentieth century. cle, you are trying to provide readers with factual infor- Hersey based his article on interviews, observation, mation, not an argument. To do so, you need to write and careful research. Write a feature article about a like a reporter and use unbiased, unemotional lan- major event that has happened in your community. guage. You should include numerous facts and statis- Like Hersey, base your article on interviews, observa- tics that can be observed and verified. Within the tion, and research. first few paragraphs, you should answer the questions who? what? where? when? why? and how? To organize the large number of details, create a timeline like the one shown here. Use it to make notes about Choose precise words that create clear and accu- when and to whom things happened. rate images in readers’ minds. For example, in the excerpt from Hiroshima, Hersey uses the word SEQUENCE OF EVENTS dashed instead of ran and hullabaloo instead of loud

Introduction answers Who? What? Where? When? noise because they are more precise and descriptive. Why? ➧ Imprecise Precise

Before the major event mad furious, sullen, irritated

➧ nice friendly, amiable, affectionate The major event ➧ Activity Create a two-column chart of your own. List Afterward descriptive words from Hiroshima in the left column

➧ and synonyms that Hersey might have used for these words in the right column. Discuss with a partner whether Hersey’s word or your word is the better fit. Conclusion

As you draft your article, write with unemotional language Revising Check and detailed descriptions. Use transitional words and phrases to clarify the sequence of events. After drafting, Reportorial Style Read through your feature article meet with a peer reviewer to evaluate each other’s work with a partner and notice places where you have and suggest revisions. Then edit and proofread your draft veered away from reportorial style. Did you answer for errors in spelling, grammar, or punctuation. who, what, where, when, why, and how questions? Replace any imprecise words with more precise language. Use a thesaurus if necessary. Listening and Speaking Group Activity More than half a century later, people are still debating whether it was necessary to drop an atomic bomb in order to end World War II. Hold a debate on this topic. Do research to learn why so many people at the time supported this decision and why so many now regret it. Then form two groups, each supporting a different point of view. With your team, develop strong argu- Web Activities For eFlashcards, ments for your point of view and be ready to refute Selection Quick Checks, and other Web activities, go to opposing arguments. Limit each speaker to two minutes. www.glencoe.com.

1012 UNIT 6 FROM DEPRESSION TO COLD WAR

0999-1012 U6P2APP-845481.indd 1012 4/14/06 5:03:55 AM BEFORE YOU READ

The Portrait

MEET TOMÁS RIVERA

he life of Tomás Rivera, the “Dean of Mexican American Literature,” is a true Trags-to-riches story. From modest beginnings, Rivera became a successful writer and edu- cator—an inspiration to many. He was born in Crystal City, Texas, the son of two agricultural workers. After graduating from high school, Rivera, like his parents, began working as a migrant worker. Until he reached his early twen- meant to support any particular political point of ties, Rivera traveled with other migrant workers, view, but instead to reflect a world and experiences picking fruit and vegetables across the United that Rivera knew well. Y no se lo trago la tierra won States from Texas to the Midwest. the prestigious Quinto Sol Award in 1971. The Despite all his traveling, Rivera managed to earn a success of Rivera’s novel inspired other Mexican formal education by attending different schools. Americans to add their voices to the literature of He received his bachelor’s and master’s degrees in the United States. English education from Southwest Texas State Besides providing inspiration, Rivera also helped University. After a stint teaching in public schools people in direct ways, serving on the boards of and at Southwest Texas Junior College in Uvalde, numerous Mexican American organizations. He he attended the University of Oklahoma, where also had a distinguished academic career, eventu- he earned a master’s degree in Spanish literature, ally becoming chancellor of the University of and, in 1969, a doctorate in Romance languages California at Riverside. He was one of the found- and literature. ers of the National Council of Chicanos in Higher Education. Both President Jimmy Carter and President Ronald Reagan appointed Rivera to “He searched for stories about his commissions on higher education. Rivera was working on a new book when he died people and finally gave their words in Fontana, California. After his death, the sound, wrote the books he didn’t have, University of Texas at Austin inaugurated the we didn’t have . . .” Tomás Rivera Professorship in Spanish Language and Literature. It is a fitting tribute to a generous —Pat Mora man who sought, according to one source, to develop “hospitable and fertile space for Hispanic Americans in America’s institutions.” In 1971 Rivera published his only novel, y no se Tomás Rivera was born in 1935 and died in 1984. lo trago la tierra, also known as And the Earth Did Not Devour Him. Originally written in Spanish, the book was published in both Spanish and English. It is an unconventional novel, made up of twenty-seven interrelated stories and sketches that describe, often grimly, the indomitable Author Search For more about spirit of migrant farm workers. The novel was not AuthorTomás Rivera,Name, go to www.glencoe.comwww.literature.glencoe.com. .

TOMÁS RIVERA 1013 Courtesy Arte Publico Press

1013-1019 U6P2APP-845481.indd 1013 4/14/06 10:55:55 PM LITERATURE PREVIEW READING PREVIEW

Connecting to the Story Reading Strategy Responding to Plot and In “The Portrait,” the main character and his wife cher- Characters ish a particular photograph of their deceased son. As A static character remains basically the same through- you read the story, think about these questions: out the story. A dynamic character, on the other • What are the most precious items you and your hand, grows and changes during the story. As you read family own—the things you would least want to lose? “The Portrait,” think about whether the main character, • Why are these items important to your family? Don Mateo, is static or dynamic. • To what extent would you go to preserve the memory of a loved one? Reading Tip: Using a Response Chart To better understand Don Mateo, take notes about him. Write Building Background down quotations from the story and your responses. This story takes place in Texas during the 1950s, when the United States was involved in the Korean War. Quotation My Response More than 50,000 U.S. troops died in that war, and about twice that number were wounded or missing in “But you take good Don Mateo is action. At that time, salespeople traveling from house care of that picture concerned about the to house were a familiar sight in cities and towns, sell- for us because it’s only photo he has of ing everything from encyclopedias to vacuum cleaners. the only one we have his grown son, yet he In this story, the salespeople have timed their visits to of our son grown up.” wants to “fix up” the coincide with the return of newly paid migrant workers— p. 1016 photo to better agricultural workers who follow the harvests around preserve it. He trusts the United States. the salesman. Setting Purposes for Reading Big Idea The United States and the World Vocabulary “The Portrait” is set during the time of the Korean War. As you read, consider how the war affects the main character. installment (in stol mənt) n. one part of a payment that has been divided; p. 1015 The bed- Literary Element Idiom room set was expensive so we paid for it in monthly installments. An idiom is a saying, or group of words, that takes on special meaning, usually one different from the literal swindle (swin dəl) v. to cheat someone out of meanings of the words it is composed of. For example, money or property; p. 1017 At the carnival a “over the hill” really means “being older or elderly.” vendor swindled me out of twenty dollars, selling Phrases such as “catch his eye,” “turn the tables,” and me jewels worth only a few cents. “keep tabs on” are other examples of idioms. Note that this selection is a translation and the idioms have differ- Vocabulary Tip: Context Clues When you come ent meanings in the original Spanish. They have been upon an unfamiliar word or idiom, search the translated into English idioms that have equivalent mean- context, or the surrounding words and sentences, ings, but the individual words may not correspond word- for clues to its meaning. for-word with the Spanish versions. As you read “The Portrait,” notice the idioms and consider what they mean. Interactive Literary Elements • See Literary Terms Handbook, p. R9. Handbook To review or learn more about the literary elements, go to www.glencoe.com.

OBJECTIVES In studying this selection, you will focus on the following: • understanding idioms • analyzing literary periods • responding to plot and characters

1014 UNIT 6 FROM DEPRESSION TO COLD WAR

1013-1019 U6P2APP-845481.indd 1014 1/10/07 1:26:57 PM Tomás Rivera

As soon as the people returned from up north “And what for?” the portrait salesmen began arriving from San “So that it will look real. That way . . . look, Antonio. They would come to rake in. They let me show you . . . see? Doesn’t he look real, knew that the workers had money and that was like he’s alive?” why, as Dad used to say, they would flock in. “Man, he sure does. Look, vieja.1 This looks They carried suitcases packed with samples and great. Well, you know, we wanted to send some always wore white shirts and ties; that way they pictures to be enlarged . . . but now, this must looked more important and the people believed cost a lot, right?” everything they would tell them and invite them “No, I’ll tell you, it costs about the same. Of into their homes without giving it much course, it takes more time.” thought. I think that down deep they even “Well, tell me, how much?” longed for their children to one day be like “For as little as thirty dollars we’ll deliver it to them. In any event, they would arrive and make you done with inlays just like this, one this size.” their way down the dusty streets, going house to “Boy, that’s expensive! Didn’t you say it didn’t house carrying suitcases full of samples. cost a lot more? Do you I remember once I was at the house of one of my take installments?” father’s friends when one of these salesmen arrived. “Well, I’ll tell you, we I also remember that that particular one seemed a have a new manager and little frightened and timid. Don Mateo asked him he wants everything in to come in because he wanted to do business. cash. It’s very fine work. We’ll make it look “Good afternoon, traveler. I would like to tell you like real. Shaped like about something new that we’re offering this year.” that, with inlays . . . “Well, let’s see, let’s see . . .” take a look. What do Visual Vocabulary “Well, sir, see, you give us a picture, any pic- you think? Some fine Inlays are pieces of material such as wood or ivory, ture you may have, and we will not only enlarge work, wouldn’t you set or embedded into the it for you but we’ll also set it in a wooden frame say? We can have it surface of something else like this one and we’ll shape the image a little, all finished for you in a to form a design. like this—three dimensional, as they say.”

1. Here, the Spanish word vieja (ve¯ a¯ ha´) is used as a term of Literary Element Idiom What does the phrase “rake endearment; literally, it means “old” or “old woman.” in” mean? Vocabulary

Reading Strategy Responding to Plot and Characters installment (in sto l mənt) n. one part of a payment Why might the salesman feel frightened or timid? that has been divided

TOMÁS RIVERA 1015 Scala/Art Resource, NY

1015-1017 SEL U6P2-845481.indd 1015 4/14/06 11:06:49 PM month. You just tell us what color you want the clothes to be and we’ll come by with it all finished one day when you least expect, framed and all. Yes, sir, a month at the longest. But like I say, this man, who’s the new manager, he wants the full payment in cash. He’s very demanding, even with us.” “Yes, but it’s much too expensive.” “Well, yes. But the thing is, this is very fine work. You can’t say you’ve ever seen portraits done like this, with wood inlays.” “No, well, that’s true. What do you think, vieja?” “Well, I like it a lot. Why don’t we order one? And if it turns out good . . . my Chuy . . . may he rest in peace. It’s the only picture we have of him. We took it right before he left for Korea. Poor m’ijo,2 we never saw him again. See . . . this is his picture. Do you think you can make it like that, make it look like he’s alive?” “Sure, we can. You know, we’ve done a lot of them in soldier’s uniforms and shaped it, like you see in this sample, with inlays. Why, it’s more than just a portrait. Sure. You just tell me what size you want and whether you want a round or square frame. What do you say? How should I write it down?” Adolfo, Zapote de Peraita, Guanajuato, Mexico, from the series Family and “What do you say, vieja, should we have it Photography, A Portrait of a Family in Two Cultures, 1979. Robert C. Buitrón. done like this one?” Silver gelatin print, 20 x 16 in. Collection of the artist. “Well, I’ve already told you what I think. I would like to have m’ijo’s picture fixed up like should we make the uniform navy blue?” that and in color.” “But he’s not wearing a uniform in that picture.” “All right, go ahead and write it down. But “No, but that’s just a matter of fixing it up you take good care of that picture for us because with some wood fiber overlays. Look at these. it’s the only one we have of our son grown up. This one, he didn’t have a uniform on but we He was going to send us one all dressed up in put one on him. So what do you say? Should uniform with the American and Mexican flags we make it navy blue?” crossed over his head, but he no sooner got there “All right.” when a letter arrived telling us that he was lost “Don’t you worry about the picture.” And that was how they spent the entire day, going in action. So you take good care of it.” house to house, street by street, their suitcases “Don’t you worry. We’re responsible people. stuffed with pictures. As it turned out, a whole lot And we understand the sacrifices that you of people had ordered enlargements of that kind. people make. Don’t worry. And you just wait and see, when we bring it, you’ll see how “They should be delivering those portraits pretty it’s gonna look. What do you say, soon, don’t you think?” “I think so, it’s delicate work and takes 2. In Spanish, m’ijo (m ¯e¯ ho¯) is the colloquial form of mi hijo, more time. That’s some fine work those people meaning “my son.” do. Did you see how real those pictures Big Idea The United States and the World What does looked?” “vieja” really want more than the portrait? Reading Strategy Responding to Plot and Characters Literary Element Idiom What does “you just wait and How much time has passed since the salesman visited Don see” mean here? Mateo?

1016 UNIT 6 FROM DEPRESSION TO COLD WAR Courtesy Robert C. Buitrón

1015-1017 SEL U6P2-845481.indd 1016 1/10/07 1:40:40 PM “Yeah, sure. They do some fine work. You “I see, but tell me, how did you find him?” can’t deny that. But it’s already been over a “Well, you see, to make a long story short, month since they passed by here.” he came by the stand at the market one day. “Yes, but from here they went on through He stood right in front of us and bought some all the towns picking up pictures . . . all the vegetables. It was like he was trying to way to San Antonio for sure. So it’ll probably remember who I was. Of course, I recognized take a little longer.” him right off. Because when you’re angry “That’s true, that’s true.” enough, you don’t forget a face. I just grabbed And two more weeks had passed by the time him right then and there. Poor guy couldn’t they made the discovery. Some very heavy rains even talk. He was all scared. And I told him had come and some children, who were playing that I wanted that portrait of my son and that in one of the tunnels leading to the dump, found I wanted it three dimensional and that he’d a sack full of pictures, all worm-eaten and soaking best get it for me or I’d let him have it. And I wet. The only reason that they could tell that these went with him to where he lived. And I put were pictures was because there were a lot of them him to work right then and there. The poor and most of them the same size and with faces that guy didn’t know where to begin. He had to do could just barely be made out. Everybody caught on it all from memory.” right away. Don Mateo was so angry that he took “And how did he do it?” off to San Antonio to find the so and so who had “I don’t know. I suppose if you’re scared swindled them. enough, you’re capable of doing anything. “Well, you know, I stayed at Esteban’s house. Three days later he brought me the portrait And every day I went with him to the market to all finished, just like you see it there on that sell produce. I helped him with everything. I had table by the Virgin. Now tell me, how do you faith that I would run into that son of a gun like the way my boy looks?” some day soon. Then, after I’d been there for a “Well, to be honest, I don’t remember too few days, I started going out to the different bar- well how Chuy looked. But he was beginning rios3 and I found out a lot that way. It wasn’t so to look more and more like you, isn’t that so?” much the money that upset me. It was my poor “Yes, I would say so. That’s what everybody vieja, crying and all because we’d lost the only tells me now. That Chuy’s a chip off the old block picture we had of Chuy. We found it in the sack and that he was already looking like me. There’s with all the other pictures but it was already the portrait. Like they say, one and the same.”  ruined, you know.”

Literary Element Idiom What does Don Mateo mean 3. Barrios (ba r e¯ os¯ ) are neighborhoods. when he says “to make a long story short”?

Vocabulary Reading Strategy Responding to Plot and Characters swindle (swin dəl) v. to cheat someone out of money How likely is it that the salesman will be able to create a or property realistic portrait of Don Mateo’s son?

TOMÁS RIVERA 1017

1015-1017 SEL U6P2-845481.indd 1017 4/14/06 11:06:54 PM AFTER YOU READ

RESPONDING AND THINKING CRITICALLY Respond Analyze and Evaluate 1. What would you say to Don Mateo about the 5. (a)How does Don Mateo feel about what he finally portrait of his son? Why would you choose those receives from the salesman? (b)What does this words? reaction tell you about Don Mateo? Recall and Interpret 6. (a)What does the dialogue reveal about Don Mateo and “vieja”? (b)How effective is the dia- 2. (a)What do Don Mateo and “vieja” finally decide to logue in conveying the message of this story? do with the photograph of their son? (b)What deeper meaning might this offer have for them? 7. (a)How would you describe the role and perspective of the narrator throughout this story? (b)In 3. (a)What happens to the photographs the salesman your opinion, how effective is this kind of narrator collects? (b)How would you explain Don Mateo’s in telling the story? strong feelings and his decisive action? 4. (a)What happens when Don Mateo finds the Connect salesman? (b)Why do you think the salesman 8. Big Idea The United States and the World Is follows Don Mateo’s orders? Don Mateo a casualty of the Korean War even though he never fought on the battleﬁ eld? Support your answer.

LITERARY ANALYSIS

Literary Element Idiom Review: Plot Idioms add realism to dialogue and enhance charac- Plot is the sequence of events in a drama or a terization. Idioms may be difficult for non-native narrative work of fiction. The plot begins with speakers to understand because their meanings differ exposition, which introduces the story’s characters, from the meanings of the individual words that consti- setting, and situation. The rising action adds com- tute them. Examining the context may provide clues to plications to the conflicts, or problems, leading to the meaning. the climax, or point of highest emotional pitch. The falling action is the logical result of the climax, and 1. Don Mateo tells the salesman that he will “let him the resolution, or denouement´ (da¯´ noo¯¯¯ ma n), have it” if he doesn’t get the portrait. What does presents the final outcome. this saying mean? Why might Don Mateo say it that way? Partner Activity Meet with another classmate to discuss the plot of “The Portrait.” Then create a diagram 2. At the end of the story, Don Mateo describes Chuy like the one below and list the events that make up as “a chip off the old block.” What does that mean? the stages of the plot. What does it suggest about the portrait?

Climax

Falling Action

Resolution Rising Action Exposition

1018 UNIT 6 FROM DEPRESSION TO COLD WAR

1013-1019 U6P2APP-845481.indd 1018 4/14/06 10:57:14 PM READING AND VOCABULARY WRITING AND EXTENDING

Reading Strategy Responding to Plot and Writing About Literature Characters Respond to Conflict Conflict is the central struggle A writer can use several methods to reveal a charac- between two opposing forces in a story or drama. ter’s personality. The writer can make direct state- Write a brief essay analyzing the main conflict in “The ments about a character, or reveal the person’s Portrait.” Use evidence from the story and from your character indirectly through the character’s words and own experiences to support your ideas. actions and through what other characters think and As you draft, use the plan shown below to organize say about that person. Use the notes on your your essay. response chart to help you answer the following questions. Begin with a general statement about conflicts 1. What steps did Don Mateo take to obtain the OPENING ▲ and move toward a spe- portrait he had ordered? PARAGRAPH cific, arguable statement, or a thesis, about the 2. What character traits did Don Mateo reveal during main conflict in this story. his search for the man who had cheated him? Don Mateo 3. Do you think that Don Mateo goes through a signif- and “vieja” icant change because of the events in this story? ➧ Why or why not? Explain how each of the ▲ main characters views the MIDDLE the salesman Vocabulary Practice conflict. PPARAGRAPHSARAGRAPHS ➧ Practice with Context Clues Use context clues to figure out the meaning of each boldfaced vocabulary word in the sentences below. the narrator 1. He bought the car on an installment plan and will pay 300 dollars a month. Restate the thesis, echo your main points, and

2. I felt swindled once I realized that the necklace ▲ FINAL close the essay with a was worth far less than what I paid for it. PARAGRAPH final thought about conflicts and the personal discoveries they may bring.

Academic Vocabulary Literature Groups Here are two words from the vocabulary list on page R86. These words will help you think, With a small group of your classmates, debate this write, and talk about the selection. question: Does Don Mateo really get what he wants or does he remain the victim of a swindler? Support your opinion by citing evidence from the story. dispose (di spoz¯ ) v. to get rid of; to finish or settle Summarize the results of your debate for the rest of fee (fe¯) n. a charge for a service or privilege your class.

Practice and Apply 1. How did the salesman dispose of the photographs he had been given? 2. Why do you think the salesman refused to accept his fee in installments?

Web Activities For eFlashcards, Selection Quick Checks, and other Web activities, go to www.glencoe.com.

TOMÁS RIVERA 1019

1013-1019 U6P2APP-845481.indd 1019 4/14/06 10:57:16 PM LITERARY HISTORY

Cultural Rebels: Writers of the Beat Generation

N THE LATE 1940s, WRITERS JACK KEROUAC and John Clellon Holmes were searching for a way Ito capture the essence of their generation. They saw a nation slowly emerging from years of war and economic depression, years during which it seemed that most people held similar opinions and led predictable, responsible lives. For Kerouac and Holmes, postwar society was epitomized by anonymous dress, as in the uniform suits of office workers, and by conventional taste. But they saw young people rejecting conformity and turning to creativity. In pursuit of unique identities, the young looked for more artistic and less money-driven lives. Kerouac and Holmes decided that this trend was Legendary Beat writers stand outside Lawrence Ferlinghetti’s encapsulated by one word: Beat. City Lights bookstore in San Francisco in 1956. Pictured left to right: Bob Donlin, Neal Cassady, Allen Ginsberg, Robert LaVinge, Lawrence Ferlinghetti. Photograph by Allen Ginsberg.

“How to even begin to get it all down Ferlinghetti (founder of the innovative City Lights and without modiﬁ ed restraints and all Press and bookstore in San Francisco), Diane Di Prima, and Anne Waldman. Rejecting the prevailing hung-up on like literary inhibitions dictates of style and topic, these writers were and grammatical fears . . .” unabashed experimenters who addressed issues previously considered taboo. Their fearlessness —Jack Kerouac, from On the Road appealed to a newly arising community of bohemians, people who pursued artistic or literary interests and lived nonconformist lives. Beat had many connotations, ranging from the sordid to the sublime. Kerouac first heard the term from the street Howl hustler Herbert Huncke, who used it as slang for “tired A central work in the Beat Movement is Allen and beaten down.” Kerouac saw in Beat a suggestion of Ginsberg’s book-length poem Howl (1956), which beatitude, saintly or otherworldly beauty and happiness. created a stir with critics, the public, and even law Poet Allen Ginsberg said, “The point of Beat is that you enforcement. (For selling the book, Lawrence get beat down to a certain nakedness where you actually Ferlinghetti was briefly held under arrest.) In a free are able to see the world in a visionary way.” verse style strongly influenced by Walt Whitman, catalogs the wonders and horrors of U.S. society The core group of Beat Generation writers—Kerouac, Howl in dizzying abundance: Ginsberg, and William S. Burroughs—met in New York City in the areas around Columbia University and in Greenwich Village. The movement soon “I saw the best minds of my generation destroyed by attracted attention throughout the country, madness, starving hysterical naked, . . . establishing hubs in both New York City and San angelheaded hipsters burning for the ancient heavenly Francisco. Other leading writers of the new movement connection to the starry dynamo in the machinery were Gary Snyder, Gregory Corso, Lawrence of night . . .”

1020 UNIT 6 FROM DEPRESSION TO COLD WAR CORBIS

1020-1021 U6P2 LH-845481.indd 1020 4/14/06 11:16:20 PM In her memoirs, Diane Di Prima recounts her reactions upon first reading Howl. She writes, “It followed that if there was one Allen there must be more, other people besides my few buddies writing what they spoke, what they heard, living, however obscurely and shamefully, what they knew, hiding out here and there as we were—and now, suddenly, about to speak out.” Wild Form For many, the word Beat is synonymous with Jack Kerouac’s novel On the Road. Kerouac published his novel in 1957, after years of rejections from publishers. While traveling and living in a variety of places, Kerouac wrote multiple drafts. He revised his drafts into their final form in one three-week sprint, during which he typed nearly nonstop on a continuous, 120-foot-long scroll of paper he fed through his typewriter. On the Road is essentially a roman à clef, a novel City Lights Bookstore,1969. Sal Veder. Black and white photograph. about real events and people whose names have been changed. The long, rhythmic, bebop-jazz inflected sentences that owed more to vernacular and to sentences of On the Road capture a series of road trips the jazz spirit than they did to Establishment polish, Kerouac took with his friend and Beat Generation he did. Kerouac wrote in a letter, “[W]hat I am icon Neal Cassady (called Dean Moriarty in the beginning to discover now is something beyond the novel). On the Road expresses Kerouac’s openness to novel and beyond the arbitrary confines of the story . . . the nation’s desolate places as well as its exciting wild form, man, wild form . . .” cities and to its humble people as well as its mighty. Kerouac had a talent for communicating impulsive from On the Road generosity and a spirit of fun. For readers who were “[T]he only people for me are the mad ones, the ones exhausted by societal complacence and stodginess, who are mad to live, mad to talk, mad to be saved, Kerouac’s adventures were revolutionary. desirous of everything at the same time, the ones who Kerouac’s style was influenced by other writers, never yawn or say a commonplace thing, but burn, particularly the American novelist Thomas Wolfe. burn, burn like fabulous yellow roman candles exploding As did Wolfe, Kerouac insisted on pushing like spiders across the stars and in the middle you see the boundaries. If he wished to write long, breathless blue centerlight pop and everybody goes ‘Awww!’”

RESPONDING AND THINKING CRITICALLY

1. Why were the members of the Beat Generation 3. What methods did Jack Kerouac employ in his writing? considered cultural rebels?

2. What significance did Allen Ginsberg’s poetry have Literary History For more about for his early readers? the Beat Generation, go to www.glencoe.com.

OBJECTIVES • Analyze various literary periods, movements, and trends. • Analyze the power and effect of language. • Connect literature to historical context. LITERARY HISTORY 1021 AP Photo/Sal Veder

1020-1021 U6P2 LH-845481.indd 1021 1/24/07 5:06:50 PM BEFORE YOU READ

The Crucible, Act One

MEET ARTHUR MILLER

s a young boy, Arthur Miller sat in the Shubert Theater on Lennox Avenue in ANew York City, completely entranced. A new world had opened up before him. Years later, in his autobiography, Miller remarked, “And so I learned that there were two kinds of reality, but that of the stage was far more real.”

Fame in a Dark Time Miller began writing plays during college. In 1947, at the age of thirty-two, ruthless tactics used by vigilantes such as Senator he scored his first major theatrical success with the Joseph McCarthy reminded Miller of the witch tri- production of All My Sons, a dramatic work about als in seventeenth-century colonial America. a manufacturer of defective war supplies. The play received the New York Drama Critics’ Circle McCarthyism and Witch Hunts Oppressed by Award and was released as a film in 1948. The fol- the disturbing direction in which his country was lowing year, Death of a Salesman, a tragedy about moving, Miller immersed himself in the study of the failure of the American dream, won a Pulitzer the Salem witch trials of 1692, which he described Prize and established Miller as one of the greatest as “one of the strangest and most awful chapters playwrights in the United States. in human history.” From this research emerged The Crucible, which was first staged on Broadway in 1953. Its relevance to the political situation “One of the strongest urges in the during the McCarthy era was clear, and the phrase writer’s heart . . . is to reveal what has “McCarthy witch hunts” became an enduring symbol of the perversion of power in U.S. history. Viewing been hidden and denied.” the playwright as a potentially subversive figure, the U.S. State Department refused to renew Miller’s pass- —Arthur Miller port. When Miller was called to testify before HUAC, he refused to implicate his friends and colleagues. He was charged with contempt, fined, and sentenced to By his late thirties, Miller was embroiled in a dark jail. His sentence, however, was overturned on appeal chapter of U.S. history as a result of his fame and in 1958, and he never served a jail term. outspoken opinions. Fear of Communism—the “Red Scare”—had taken hold of U.S. citizens, and A tireless writer, Miller saw his last play produced Congress created the House Un-American Activities just a year before his death at 89. On almost any Committee (HUAC) to investigate an alleged given day, it is said, a theater somewhere in the Communist conspiracy. Among the main targets of world is producing The Crucible. the investigation were people in the entertainment Arthur Miller was born in 1915 and died in 2005. industry. The HUAC demanded not only that indi- viduals “confess” to earlier involvement in leftist organizations but that they name others who had held similar views. People who refused to cooperate Author Search For more about were often blacklisted or denied employment. The Arthur Miller, go to www.glencoe.com.

1022 UNIT 6 FROM DEPRESSION TO COLD WAR Bettmann/CORBIS

1022-1045 U6P2App-845481.indd 1022 4/14/06 11:20:12 PM LITERATURE PREVIEW READING PREVIEW

Connecting to the Play Reading Strategy Drawing Conclusions A good reputation is a valuable and surprisingly fragile About Characters commodity. You have probably seen in your own How do you learn what someone is like? In literature, experience, or in the news, how rumors and gossip as in life, you observe what that person says and can damage people. As you read The Crucible, think does. Then you piece together a portrait of him or about the following questions: her. • How do you respond when you hear negative comments about people you know? Reading Tip: Taking Notes Below is a web dia- • How do you think you would react if a rumor gram with notes about one of the characters in the spread that you were behaving improperly? play. As you read, use similar diagrams to take notes on and draw conclusions about the other Building Background main characters. The Crucible takes place in 1692 in Salem, a small town in the Massachusetts Bay Colony that had been founded ABIGAIL WILLIAMS—ACT ONE

in the 1620s by a group of Puritans. The Puritans had fled tells wild England for North America to escape persecution and to goes into trance stories establish a religious community. But independence did and shouts out about Tituba bullies and threat- names of witches ens her friends not ensure harmony. Under the rigid authority of the

Reverend Samuel Parris, relations among the villagers of Conclusion Salem became bitter. In the winter of 1691–1692, several had an affair pretends to teenage girls, including Parris’s daughter and his niece, with John be obedient to Proctor hates her uncle began behaving strangely. Many people in the community Elizabeth Proctor suspected that the girls were victims of witchcraft.

Setting Purposes for Reading Vocabulary Big Idea The United States and the World compromise (kom prə m¯z´) v. to endanger the The struggle for power between the Soviet Union and reputation or interests of; to expose to suspicion; the United States, known as the Cold War, aroused p. 1027 Doing business with a known criminal will concern among many U.S. citizens about the threat of certainly compromise the company’s good name. Communist subversion within their country. contention (kən ten shən) n. a verbal argument or struggle; quarreling; p. 1028 Contention broke Literary Element Dialogue out at the meeting over the length of the school day. Dialogue is the conversation between characters in a lit- subservient (səb sur v¯e ənt) adj. useful in an erary work. In a play—which consists almost entirely of inferior capacity; submissive; p. 1030 Jenna dialogue—the author must develop plot, theme, and resented her subservient role in the family. characterization by means of direct speech. As you read, note how Miller expresses his ideas through dialogue. pretense (pr¯e tens) n. a false show or appearance, especially for the purpose of deceiving; • See Literary Terms Handbook, p. R5. falseness; p. 1033 Whenever I drop by, he makes a pretense of being hard at work.

Interactive Literary Elements evade (i va¯ d) v. to escape or avoid, as by Handbook To review or learn more about the literary elements, cleverness; The fugitive tried to evade capture. go to www.glencoe.com.

OBJECTIVES In studying this selection, you will focus on the following: • practicing with prefixes • drawing conclusions about characters • connecting to contemporary issues • analyzing the use of dialogue ARTHUR MILLER 1023

1022-1045 U6P2App-845481.indd 1023 1/10/07 2:31:46 PM Arthur Miller

1024 (bkgd)Daniel Root/Photonica/Getty Images, (inset)20TH CENTURY FOX/THE KOBAL COLLECTION/BARRY WETCHER

1024-1044 U6P2SEL_845481.indd 1024 4/14/06 11:31:16 PM CHARACTERS (in order of appearance)

REVEREND PARRIS MERCY LEWIS FRANCIS NURSE BETTY PARRIS MARY WARREN EZEKIEL CHEEVER TITUBA JOHN PROCTOR MARSHAL HERRICK ABIGAIL WILLIAMS REBECCA NURSE JUDGE HATHORNE SUSANNA WALCOTT GILES COREY DEPUTY GOVERNOR DANFORTH MRS. ANN PUTNAM REVEREND JOHN HALE SARAH GOOD THOMAS PUTNAM ELIZABETH PROCTOR HOPKINS

Act One

(An Overture) TITUBA. [Already taking a step backward.] My [A small upper bedroom in the home of REVEREND Betty be hearty soon? SAMUEL PARRIS, Salem, Massachusetts, in the PARRIS. Out of here!

spring of the year 1692. TITUBA. [Backing to the door.] My Betty not goin’ There is a narrow window at the left. Through die . . . its leaded panes the morning sunlight streams. A candle still burns near the bed, which is at the right. PARRIS. [Scrambling to his feet in a fury.] Out of A chest, a chair, and a small table are the other fur- my sight! [She is gone.] Out of my—[He is over- nishings. At the back a door opens on the landing come with sobs. He clamps his teeth against them of the stairway to the ground floor. The room and closes the door and leans against it, exhausted.] gives off an air of clean spareness. The roof raf- Oh, my God! God help me! [Quaking with fear, ters are exposed, and the wood colors are raw mumbling to himself through his sobs, he goes to the and unmellowed. bed and gently takes BETTY’s hand.] Betty. Child. Dear child. Will you wake, will you open up your As the curtain rises, REVEREND PARRIS is discovered kneeling beside the bed, evidently in prayer. His eyes! Betty, little one . . . daughter, BETTY PARRIS, aged ten, is lying on the [He is bending to kneel again when his niece, ABI- bed, inert. GAIL WILLIAMS, seventeen, enters—a strikingly REVEREND PARRIS is praying now, and, though we beautiful girl, an orphan, with an endless capacity cannot hear his words, a sense of his confusion for dissembling.3 Now she is all worry and appre- hangs about him. He mumbles, then seems about hension and propriety.] to weep; then he weeps, then prays again; but his ABIGAIL. Uncle? [He looks to her.] Susanna daughter does not stir on the bed. Walcott’s here from Doctor Griggs. The door opens, and his Negro slave enters. PARRIS. Oh? Let her come, let her come. TITUBA1 is in her forties. PARRIS brought her with him from Barbados,2 where he spent some years ABIGAIL. [Leaning out the door to call to SUSANNA, as a merchant before entering the ministry. She who is down the hall a few steps.] Come in, Susanna. enters as one does who can no longer bear to be barred from the sight of her beloved, but she is also very frightened because her slave sense has 3. Dissembling means “concealing one’s true motives.” warned her that, as always, trouble in this house Literary Element Dialogue Tituba’s way of speaking eventually lands on her back.] helps us understand something that Miller has already mentioned about her in the stage directions. What is it?

1. Tituba (ti to¯¯o¯ bə) Reading Strategy Drawing Conclusions About 2. Barbados (bar b¯a doz¯ ) is an island in the Caribbean that Characters What does this phrase tell us about Abigail? was, at the time of the play, an English colony.

ARTHUR MILLER 1025

1024-1044 U6P2SEL_845481.indd 1025 4/14/06 11:31:20 PM [SUSANNA WALCOTT, a little younger than ABI- ABIGAIL. We did dance, uncle, and when you GAIL, a nervous, hurried girl, enters.] leaped out of the bush so suddenly, Betty was

PARRIS. [Eagerly.] What does the doctor say, frightened and then she fainted. And there’s child? the whole of it.

SUSANNA. [Craning around PARRIS to get a look at PARRIS. Child. Sit you down. BETTY.] He bid me come and tell you, reverend ABIGAIL. [Quavering, as she sits.] I would never sir, that he cannot discover no medicine for it in hurt Betty. I love her dearly.

his books. PARRIS. Now look you, child, your punishment PARRIS. Then he must search on. will come in its time. But if you trafficked5

SUSANNA. Aye, sir, he have been searchin’ his with spirits in the forest I must know it now, books since he left you, sir. But he bid me tell for surely my enemies will, and they will ruin you, that you might look to unnatural things for me with it. the cause of it. ABIGAIL. But we never conjured6 spirits.

PARRIS. [His eyes going wide.] No—no. There be PARRIS. Then why can she not move herself no unnatural cause here. Tell him I have sent for since midnight? This child is desperate! [ABIGAIL Reverend Hale of Beverly, and Mr. Hale will lowers her eyes.] It must come out—my enemies surely confirm that. Let him look to medicine will bring it out. Let me know what you done and put out all thought of unnatural causes here. there. Abigail, do you understand that I have There be none. many enemies?

SUSANNA. Aye, sir. He bid me tell you. [She turns ABIGAIL. I have heard of it, uncle.

to go.] PARRIS. There is a faction7 that is sworn to drive ABIGAIL. Speak nothin’ of it in the village, me from my pulpit. Do you understand that?

Susanna. ABIGAIL. I think so, sir.

PARRIS. Go directly home and speak nothing of PARRIS. Now then, in the midst of such disruption, unnatural causes. my own household is discovered to be the very cen- SUSANNA. Aye, sir. I pray for her. [She goes out.] ter of some obscene practice. Abominations8 are

ABIGAIL. Uncle, the rumor of witchcraft is all done in the forest— about; I think you’d best go down and deny it ABIGAIL. It were sport,9 uncle!

yourself. The parlor’s packed with people, sir. I’ll PARRIS. [Pointing at BETTY.] You call this sport? sit with her. [She lowers her eyes. He pleads.] Abigail, if you PARRIS. [Pressed, turns on her.] And what shall I know something that may help the doctor, for say to them? That my daughter and my niece I God’s sake tell it to me. [She is silent.] I saw discovered dancing like heathen in the forest? Tituba waving her arms over the fire when I

ABIGAIL. Uncle, we did dance; let you tell came on you. Why was she doing that? And I them I confessed it—and I’ll be whipped if I heard a screeching and gibberish coming from must be. But they’re speakin’ of witchcraft. her mouth. She were swaying like a dumb beast Betty’s not witched. over that fire!

PARRIS. Abigail, I cannot go before the congregation when I know you have not opened4 with 5. Trafficked means “dealt or did business.” me. What did you do with her in the forest? 6. Here, conjured means “summoned by using magic words or spells.” 7. A faction is a small segment of people who disagree with the larger group on an issue or set of issues. 4. Here, have not opened means “have not been completely 8. Abominations are vile or shameful acts. honest.” 9. Here, sport means “innocent recreation.”

Big Idea The United States and the World What word Reading Strategy Drawing Conclusions About might a U.S. citizen, watching this play in the 1950s, have Characters What can we learn about Reverend Parris from substituted for “witchcraft?” this remark?

1026 UNIT 6 FROM DEPRESSION TO COLD WAR

1024-1044 U6P2SEL_845481.indd 1026 4/14/06 11:31:22 PM ABIGAIL. She always sings her Barbados songs, ABIGAIL. She hates me, uncle, she must, for I and we dance. would not be her slave. It’s a bitter woman, a

PARRIS. I cannot blink10 what I saw, Abigail, for lying, cold, sniveling woman, and I will not my enemies will not blink it. I saw a dress lying work for such a woman! on the grass. PARRIS. She may be. And yet it has troubled

ABIGAIL. [Innocently.] A dress? me that you are now seven month out of their house, and in all this time no other family has PARRIS. [It is very hard to say.] Aye, a dress. And ever called for your service. I thought I saw—someone naked running through the trees! ABIGAIL. They want slaves, not such as I. Let them send to Barbados for that. I will not ABIGAIL. [In terror.] No one was naked! You mis- black my face for any of them! [With ill-con- take yourself, uncle! cealed resentment at him.] Do you begrudge my PARRIS. [With anger.] I saw it! [He moves from bed, uncle? her. Then, resolved.] Now tell me true, Abigail. PARRIS. No—no. And I pray you feel the weight of truth upon you, for now my ministry’s at stake, my ministry ABIGAIL. [In a temper.] My name is good in the and perhaps your cousin’s life. Whatever abomi- village! I will not have it said my name is soiled! nation you have done, give me all of it now, for I Goody Proctor is a gossiping liar! dare not be taken unaware when I go before [Enter MRS. ANN PUTNAM. She is a twisted soul them down there. of forty-five, a death-ridden woman, haunted by

ABIGAIL. There is nothin’ more. I swear it, uncle. dreams.] PARRIS. PARRIS. [Studies her, then nods, half convinced.] [As soon as the door begins to open.] Abigail, I have fought here three long years to No—no, I cannot have anyone. [He sees her, 12 bend these stiff-necked people to me, and now, just and a certain deference springs into him, now when some good respect is rising for me in the although his worry remains.] Why, Goody parish, you compromise my very character. I have Putnam, come in. given you a home, child, I have put clothes upon MRS. PUTNAM. [Full of breath, shiny-eyed.] It is a your back—now give me upright answer. Your marvel. It is surely a stroke of hell upon you. name in the town—it is entirely white, is it not? PARRIS. No, Goody Putnam, it is—

ABIGAIL. [With an edge of resentment.] Why, I am MRS. PUTNAM. [Glancing at BETTY.] How high did sure it is, sir. There be no blush about my name. she fly, how high?

PARRIS. [To the point.] Abigail, is there any other PARRIS. No, no, she never flew— cause than you have told me, for your being dis- MRS. PUTNAM. [Very pleased with it.] Why, it’s charged from Goody11 Proctor’s service? I have sure she did. Mr. Collins saw her goin’ over heard it said, and I tell you as I heard it, that she Ingersoll’s barn, and come down light as bird, comes so rarely to the church this year for she he says! will not sit so close to something soiled. What signified that remark? PARRIS. Now, look you, Goody Putnam, she never—[Enter THOMAS PUTNAM, a well-to-do, hard-handed landowner, near fifty.] Oh, good morning, Mr. Putnam. 10. Here, blink means “to deliberately overlook or ignore.” 11. Goody is short for Goodwife, a term of polite address for a married woman. 12. Deference is courteous respect or regard. Literary Element Dialogue Why might Miller have Big Idea The United States and the World Why do inserted a dash between “saw” and “someone naked?” you think that Abigail is so concerned about her good name?

Vocabulary Reading Strategy Drawing Conclusions About compromise (kom prə m¯z´) v. to endanger the reputa- Characters Do you think that “hard-handed” is meant as a tion or interests of; to expose to suspicion compliment? Explain your answer.

ARTHUR MILLER 1027

1024-1044 U6P2SEL_845481.indd 1027 4/14/06 11:31:24 PM PUTNAM. It is a providence13 the thing is out toward the abyss.] Mr. Parris, I have taken your now! It is a providence. [He goes directly to part in all contention here, and I would con- the bed.] tinue; but I cannot if you hold back in this.

PARRIS. What’s out, sir, what’s—? There are hurtful, vengeful spirits layin’ hands on these children. [MRS. PUTNAM goes to the bed.] PARRIS. But, Thomas, you cannot— PUTNAM. [Looking down at BETTY.] Why, her eyes is closed! Look you, Ann. PUTNAM. Ann! Tell Mr. Parris what you have done. MRS. PUTNAM. Why, that’s strange. [To PARRIS.] Ours is open. MRS. PUTNAM. Reverend Parris, I have laid seven babies unbaptized in the earth. Believe me, sir, PARRIS. [Shocked.] Your Ruth is sick? you never saw more hearty babies born. And yet, MRS. PUTNAM. [With vicious certainty.] I’d not call each would wither in my arms the very night of it sick; the Devil’s touch is heavier than sick. It’s their birth. I have spoke nothin’, but my heart death, y’know, it’s death drivin’ into them, forked has clamored intimations.16 And now, this year, and hoofed. my Ruth, my only—I see her turning strange. A PARRIS. Oh, pray not! Why, how does Ruth ail? secret child she has become this year, and shrivels like a sucking mouth were pullin’ on her life too. MRS. PUTNAM. She ails as she must—she never And so I thought to send her to your Tituba— waked this morning, but her eyes open and she walks, and hears naught,14 sees naught, PARRIS. To Tituba! What may Tituba—? and cannot eat. Her soul is taken, surely. MRS. PUTNAM. Tituba knows how to speak to the [PARRIS is struck.] dead, Mr. Parris. PUTNAM. [As though for further details.] They PARRIS. Goody Ann, it is a formidable sin to say you’ve sent for Reverend Hale of Beverly? conjure up the dead!

PARRIS. [With dwindling conviction15 now.] A pre- MRS. PUTNAM. I take it on my soul, but who else caution only. He has much experience in all may surely tell us what person murdered my babies? demonic arts, and I— PARRIS. [Horrified.] Woman!

MRS. PUTNAM. He has indeed; and found a MRS. PUTNAM. They were murdered, Mr. Parris! witch in Beverly last year, and let you remem- And mark this proof! Mark it! Last night my ber that. Ruth were ever so close to their little spirits; PARRIS. Now, Goody Ann, they only thought I know it, sir. For how else is she struck dumb that were a witch, and I am certain there be no now except some power of darkness would element of witchcraft here. stop her mouth? It is a marvelous sign, Mr. Parris! PUTNAM. No witchcraft! Now look you, Mr. Parris— PUTNAM. Don’t you understand it, sir? There is a murdering witch among us, bound to keep herself PARRIS. Thomas, Thomas, I pray you, leap not to witchcraft. I know that you—you least of all, in the dark. [PARRIS turns to BETTY, a frantic terror Thomas, would ever wish so disastrous a charge rising in him.] Let your enemies make of it what laid upon me. We cannot leap to witchcraft. they will, you cannot blink it more. They will howl me out of Salem for such corruption in my house. 16. A heart that has clamored intimations has nagged its PUTNAM. [At the moment, he is intent upon getting owner with suggestions (of possible witchcraft). PARRIS, for whom he has only contempt, to move Big Idea The United States and the World In making this statement, what chain of events is Mr. Putnam initiating?

13. Here, providence means “a blessing” or “an act of Vocabulary divine care.” contention (kən ten shən) n. verbal argument or strug- 14. Naught means “nothing.” gle; quarreling 15. Here, conviction means “certainty.”

1028 UNIT 6 FROM DEPRESSION TO COLD WAR

1024-1044 U6P2SEL_845481.indd 1028 4/14/06 11:31:26 PM PARRIS. [To ABIGAIL.] Then you were conjur- PARRIS. [Swayed.] I’ll lead them in a psalm, but ing spirits last night. let you say nothing of witchcraft yet. I will not

ABIGAIL. [Whispering.] Not I, sir—Tituba discuss it. The cause is yet unknown. I have and Ruth. had enough contention since I came; I want no more. PARRIS. [Turns now, with new fear, and goes to BETTY, looks down at her, and then, gazing off.] MRS. PUTNAM. Mercy, you go home to Ruth, Oh, Abigail, what proper payment for my d’y’hear? charity! Now I am undone. MERCY. Aye, mum. PUTNAM. You are not undone! Let you take [MRS. PUTNAM goes out.] hold here. Wait for no one to charge you— declare it yourself. You have discovered PARRIS. [To ABIGAIL.] If she starts for the win- witchcraft— dow, cry for me at once. ABIGAIL. I will, uncle. PARRIS. In my house? In my house, Thomas? They will topple me with this! They will make PARRIS. [To PUTNAM.] There is a terrible of it a— power in her arms today. [He goes out with PUTNAM [Enter MERCY LEWIS, the PUTNAMS’ servant, a .] fat, sly, merciless girl of eighteen.] ABIGAIL. [With hushed trepidation.]17 How is

MERCY. Your pardons. I only thought to see how Ruth sick? Betty is. MERCY. It’s weirdish, I know not—she seems to PUTNAM. Why aren’t you home? Who’s walk like a dead one since last night. with Ruth? ABIGAIL. [Turns at once and goes to BETTY, and MERCY. Her grandma come. She’s improved now, with fear in her voice.] Betty? [BETTY doesn’t a little, I think—she give a powerful sneeze move. She shakes her.] Now stop this! Betty! Sit before. up now!

MRS. PUTNAM. Ah, there’s a sign of life! [BETTY doesn’t stir. MERCY comes over.]

MERCY. I’d fear no more, Goody Putnam. It MERCY. Have you tried beatin’ her? I gave Ruth were a grand sneeze; another like it will shake a good one and it waked her for a minute. Here, her wits together, I’m sure. [She goes to the bed let me have her. to look.] ABIGAIL. [Holding MERCY back.] No, he’ll be PARRIS. Will you leave me now, Thomas? I comin’ up. Listen, now; if they be questioning would pray a while alone. us, tell them we danced—I told him as much ABIGAIL. Uncle, you’ve prayed since midnight. already. Why do you not go down and— MERCY. Aye. And what more?

PARRIS. No—no. [To PUTNAM.] I have no ABIGAIL. He knows Tituba conjured Ruth’s sis- answer for that crowd. I’ll wait till Mr. Hale ters to come out of the grave. arrives. [To get MRS. PUTNAM to leave.] If you will, MERCY. And what more? Goody Ann . . . ABIGAIL. He saw you naked. PUTNAM. Now look you, sir. Let you strike out against the Devil, and the village will bless you MERCY. [Clapping her hands together with a fright- for it! Come down, speak to them—pray with ened laugh.] Oh, Jesus! them. They’re thirsting for your word, Mister! Surely you’ll pray with them.

17. Trepidation means “fear” or “anxiety.”

Reading Strategy Drawing Conclusions About Reading Strategy Drawing Conclusions About Characters What sort of a friend do you think Abigail would Characters How does this remark illustrate the irony in make? Explain. Miller’s stage directions when Mercy first enters?

ARTHUR MILLER 1029

1024-1044 U6P2SEL_845481.indd 1029 4/14/06 11:31:28 PM [Enter MARY WARREN, breathless. She is seven- BETTY. You drank blood, Abby! You didn’t tell teen, a subservient, naive, lonely girl.] him that! MARY WARREN. What’ll we do? The village is ABIGAIL. Betty, you never say that again! You out! I just come from the farm; the whole coun- will never—

try’s talkin’ witchcraft! They’ll be callin’ us BETTY. You did, you did! You drank a charm to witches, Abby! kill John Proctor’s wife! You drank a charm to MERCY. [Pointing and looking at MARY WARREN.] kill Goody Proctor!

She means to tell, I know it. ABIGAIL. [Smashes her across the face.] Shut it! MARY WARREN. Abby, we’ve got to tell. Now shut it!

Witchery’s a hangin’ error, a hangin’ like they BETTY. [Collapsing on the bed.] Mama, Mama! done in Boston two year ago! We must tell the [She dissolves into sobs.] truth, Abby! You’ll only be whipped for dancin’, and the other things! ABIGAIL. Now look you. All of you. We danced. And Tituba conjured Ruth Putnam’s dead sisters. ABIGAIL. Oh, we’ll be whipped! And that is all. And mark this. Let either of MARY WARREN. I never done none of it, Abby. I you breathe a word, or the edge of a word, about only looked! the other things, and I will come to you in the

MERCY. [Moving menacingly toward MARY.] Oh, black of some terrible night and I will bring a you’re a great one for lookin’, aren’t you, Mary pointy reckoning that will shudder you. And you Warren? What a grand peeping courage you have! know I can do it; I saw Indians smash my dear parents’ heads on the pillow next to mine, and [BETTY, on the bed, whimpers. ABIGAIL turns to I have seen some reddish work18 done at night, her at once.] and I can make you wish you had never seen ABIGAIL. Betty? [She goes to BETTY.] Now, Betty, the sun go down! [She goes to BETTY and dear, wake up now. It’s Abigail. [She sits BETTY up roughly sits her up.] Now, you—sit up and and furiously shakes her.] I’ll beat you, Betty! stop this! [BETTY whimpers.] My, you seem improving. I [But BETTY collapses in her hands and lies inert talked to your papa and I told him everything. on the bed.] So there’s nothing to— MARY WARREN. [With hysterical fright.] What’s BETTY. [Darts off the bed, frightened of ABIGAIL, got her? [ABIGAIL stares in fright at BETTY.] and flattens herself against the wall.] I want Abby, she’s going to die! It’s a sin to conjure, my mama! and we— ABIGAIL. [With alarm, as she cautiously approaches ABIGAIL. [Starting for MARY.] I say shut it, Mary BETTY.] What ails you, Betty? Your mama’s dead Warren! and buried. [Enter JOHN PROCTOR. On seeing him, MARY BETTY. I’ll fly to Mama. Let me fly! [She raises her arms as though to fly, and streaks for the win- WARREN leaps in fright.] dow, gets one leg out.] MARY WARREN. Oh! I’m just going home, Mr. Proctor. ABIGAIL. [Pulling her away from the window.] I told him everything; he knows now, he knows PROCTOR. Be you foolish, Mary Warren? Be you everything we— deaf? I forbid you leave the house, did I not? Why shall I pay you? I am looking for you more often than my cows!

Literary Element Dialogue How might the actress playing Abigail make these lines particularly effective? 18. Reddish work means “bloody deeds.” Vocabulary Reading Strategy Drawing Conclusions About subservient (səb sur ve¯ ənt) adj. useful, in an inferior Characters What new insight into Abigail’s character do capacity, to promote an end; submissive these remarks offer?

1030 UNIT 6 FROM DEPRESSION TO COLD WAR

1024-1044 U6P2SEL_845481.indd 1030 4/14/06 11:31:29 PM MARY WARREN. I only come to see the great ABIGAIL. [Tauntingly.]21 You come five mile to doings in the world. see a silly girl fly? I know you better.

PROCTOR. I’ll show you a great doin’ on your PROCTOR. [Setting her firmly out of his path.] arse one of these days. Now get you home; my I come to see what mischief your uncle’s wife is waitin’ with your work! [Trying to retain brewin’ now. [With final emphasis.] Put it out a shred of dignity, she goes slowly out.] of mind, Abby.

MERCY LEWIS. [Both afraid of him and strangely ABIGAIL. [Grasping his hand before he can release titillated.]19 I’d best be off. I have my Ruth to her.] John—I am waitin’ for you every night. watch. Good morning, Mr. Proctor. PROCTOR. Abby, I never give you hope to wait [MERCY sidles out. Since PROCTOR’s entrance, for me. ABIGAIL has stood as though on tiptoe, absorbing ABIGAIL. [Now beginning to anger—she can’t believe his presence, wide-eyed. He glances at her, then it.] I have something better than hope, I think! goes to BETTY on the bed.] PROCTOR. Abby, you’ll put it out of mind. I’ll ABIGAIL. Gah! I’d almost forgot how strong you not be comin’ for you more. are, John Proctor! ABIGAIL. You’re surely sportin’ with me. PROCTOR. [Looking at ABIGAIL now, the faintest PROCTOR. You know me better. suggestion of a knowing smile on his face.] What’s this mischief here? ABIGAIL. I know how you clutched my back behind your house and sweated like a stallion ABIGAIL. [With a nervous laugh.] Oh, she’s only whenever I come near! Or did I dream that? It’s gone silly somehow. she put me out, you cannot pretend it were you. PROCTOR. The road past my house is a pilgrim- I saw your face when she put me out, and you age to Salem all morning. The town’s mumbling loved me then and you do now!

witchcraft. PROCTOR. Abby, that’s a wild thing to say— ABIGAIL. Oh, posh! [Winningly she comes a little ABIGAIL. A wild thing may say wild things. But closer, with a confidential, wicked air.] We were not so wild, I think. I have seen you since she dancin’ in the woods last night, and my uncle put me out; I have seen you nights. leaped in on us. She took fright, is all. PROCTOR. I have hardly stepped off my farm this PROCTOR. [His smile widening.] Ah, you’re sevenmonth. wicked yet, aren’t y’! [A trill of expectant laughter ABIGAIL. I have a sense for heat, John, and yours escapes her, and she dares come closer, feverishly has drawn me to my window, and I have seen you looking into his eyes.] You’ll be clapped in the looking up, burning in your loneliness. Do you stocks20 before you’re twenty. tell me you’ve never looked up at my window? [He takes a step to go, and she springs into his path.] PROCTOR. I may have looked up. ABIGAIL. Give me a word, John. A soft word. ABIGAIL. [Now softening.] And you must. [Her concentrated desire destroys his smile.] You are no wintry man. I know you, John. PROCTOR. No, no, Abby. That’s done with. I know you. [She is weeping.] I cannot sleep for dreamin’; I cannot dream but I wake and walk about the house as though I’d find you 19. To be titillated is to be pleasantly excited or stimulated. 20. The word stocks refers to a heavy wooden frame with comin’ through some door. [She clutches him holes for confining the ankles and wrists of someone desperately.] found guilty of a crime. PROCTOR. [Gently pressing her from him, with Literary Element Dialogue What do the other girls call great sympathy but firmly.] Child— Proctor? How does Abigail’s use of his first name help define ABIGAIL. [With a flash of anger.] How do you call their relationship? me child!

Big Idea The United States and the World What does this menacing statement foreshadow? 21. Tauntingly means “in a scornful or mocking way.”

ARTHUR MILLER 1031

1024-1044 U6P2SEL_845481.indd 1031 4/14/06 11:31:32 PM 1032 UNIT 6 FROM DEPRESSION TO COLD WAR Daniel Root/Photonica/Getty Images

1024-1044 U6P2SEL_845481.indd 1032 4/14/06 11:31:35 PM PROCTOR. Abby, I may think of you softly from PROCTOR. [Growing unnerved.] What’s she time to time. But I will cut off my hand before doing? Girl, what ails you? Stop that wailing! I’ll ever reach for you again. Wipe it out of mind. [The singing has stopped in the midst of this, We never touched, Abby. and now PARRIS rushes in.] ABIGAIL. Aye, but we did. PARRIS. What happened? What are you doing to PROCTOR. Aye, but we did not. her? Betty! [He rushes to the bed, crying, “Betty, ABIGAIL. [With a bitter anger.] Oh, I marvel how Betty!” MRS. PUTNAM enters, feverish with curiosity, such a strong man may let such a sickly wife be— and with her THOMAS PUTNAM and MERCY LEWIS. PROCTOR. [Angered—at himself as well.] You’ll PARRIS, at the bed, keeps lightly slapping BETTY’s speak nothin’ of Elizabeth! face, while she moans and tries to get up.] ABIGAIL. She is blackening my name in the vil- ABIGAIL. She heard you singin’ and suddenly lage! She is telling lies about me! She is a cold, she’s up and screamin’.

sniveling woman, and you bend to her! Let her MRS. PUTNAM. The psalm! The psalm! She can- turn you like a— not bear to hear the Lord’s name! PROCTOR. [Shaking her.] Do you look for whippin’? PARRIS. No, God forbid. Mercy, run to the doc- [A psalm is heard being sung below.] tor! Tell him what’s happened here! [MERCY ABIGAIL. [In tears.] I look for John Proctor that LEWIS rushes out.]

took me from my sleep and put knowledge in my MRS. PUTNAM. Mark it for a sign, mark it! heart! I never knew what pretense Salem was, I never knew the lying lessons I was taught by all [REBECCA NURSE, seventy-two, enters. She is these Christian women and their covenanted22 white-haired, leaning upon her walking-stick.] men! And now you bid me tear the light out of PUTNAM. [Pointing at the whimpering BETTY.] my eyes? I will not, I cannot! You loved me, That is a notorious sign of witchcraft afoot, John Proctor, and whatever sin it is, you love me Goody Nurse, a prodigious23 sign! yet! [He turns abruptly to go out. She rushes to MRS. PUTNAM. My mother told me that! When him.] John, pity me, pity me! they cannot bear to hear the name of—

[The words “going up to Jesus” are heard in PARRIS. [Trembling.] Rebecca, Rebecca, go to the psalm, and BETTY claps her ears suddenly her, we’re lost. She suddenly cannot bear to hear and whines loudly.] the Lord’s— ABIGAIL. Betty? [She hurries to BETTY, who is now [GILES COREY, eighty-three, enters. He is knotted sitting up and screaming. PROCTOR goes to BETTY as with muscle, canny,24 inquisitive, and still powerful.] ABIGAIL is trying to pull her hands down, calling REBECCA. There is hard sickness here, Giles “Betty!”] Corey, so please to keep the quiet.

GILES. I’ve not said a word. No one here can tes- 22. A covenant is an agreement or promise. Among the tify I’ve said a word. Is she going to fly again? I Puritans, a covenanted person had made a commitment to hear she flies. the church and had signed an agreement testifying to his or PUTNAM. Man, be quiet now! her faith. [Everything is quiet. REBECCA walks across the Reading Strategy Drawing Conclusions About room to the bed. Gentleness exudes25 from her. Characters In your opinion, does Proctor show strength or weakness in this denial? BETTY is quietly whimpering, eyes shut. REBECCA simply stands over the child, who gradually quiets.]

Literary Element Dialogue In your opinion, is Abigail MRS. PUTNAM. [Astonished.] What have you done? sincere in this speech? Explain.

Vocabulary 23. Prodigious means “amazing.” 24. Canny means “sharp, clever, and careful in one’s dealings pretense (pre¯ tens) n. a false show or appearance, especially for the purpose of deceiving; falseness with others.” 25. Exudes means “gives forth.”

ARTHUR MILLER 1033

1024-1044 U6P2SEL_845481.indd 1033 4/14/06 11:31:37 PM [REBECCA, in thought, now leaves the bedside REBECCA. Pray, John, be calm. [Pause. He defers and sits.] to her.] Mr. Parris, I think you’d best send Reverend Hale back as soon as he come. This PARRIS. [Wondrous and relieved.] What do you make of it, Rebecca? will set us all to arguin’ again in the society, and we thought to have peace this year. I think we PUTNAM. [Eagerly.] Goody Nurse, will you go to ought rely on the doctor now, and good prayer. my Ruth and see if you can wake her? MRS. PUTNAM. Rebecca, the doctor’s baffled! REBECCA. [Sitting.] I think she’ll wake in time. REBECCA. If so he is, then let us go to God for Pray calm yourselves. I have eleven children, the cause of it. There is prodigious danger in the and I am twenty-six times a grandma, and I seeking of loose spirits. I fear it, I fear it. Let us have seen them all through their silly seasons, rather blame ourselves and— and when it come on them they will run the Devil bowlegged keeping up with their mis- PUTNAM. How may we blame ourselves? I am chief. I think she’ll wake when she tires of it. one of nine sons; the Putnam seed have peopled A child’s spirit is like a child, you can never this province. And yet I have but one child left catch it by running after it; you must stand of eight—and now she shrivels! still, and, for love, it will soon itself come back. REBECCA. I cannot fathom that.

PROCTOR. Aye, that’s the truth of it, Rebecca. MRS. PUTNAM. [With a growing edge of sarcasm.] But I must! You think it God’s work you should MRS. PUTNAM. This is no silly season, Rebecca. never lose a child, nor grandchild either, and I My Ruth is bewildered, Rebecca; she cannot eat. bury all but one? There are wheels within wheels REBECCA. Perhaps she is not hungered yet. [To in this village, and fires within fires!27 PARRIS.] I hope you are not decided to go in PUTNAM. [To PARRIS.] When Reverend Hale search of loose spirits, Mr. Parris. I’ve heard comes, you will proceed to look for signs of promise of that outside. witchcraft here. PARRIS. A wide opinion’s running in the parish PROCTOR. [To PUTNAM.] You cannot com- that the Devil may be among us, and I would mand Mr. Parris. We vote by name in this satisfy them that they are wrong. society, not by acreage. PROCTOR. Then let you come out and call them PUTNAM. I never heard you worried so on this wrong. Did you consult the wardens26 before you society, Mr. Proctor. I do not think I saw you called this minister to look for devils? at Sabbath meeting since snow flew. PARRIS. He is not coming to look for devils! PROCTOR. I have trouble enough without I come five mile to hear him preach only hellfire and bloody PROCTOR. Then what’s he coming for? damnation. Take it to heart, Mr. Parris. There are PUTNAM. There be children dyin’ in the village, many others who stay away from church these days Mister! because you hardly ever mention God any more. PROCTOR. I seen none dyin’. This society will not be a bag to swing around your head, Mr. Putnam. [To PARRIS.] Did you call a meeting before you—? 27. The expression wheels within . . . fires! means “things are not so simple or innocent as they seem.” PUTNAM. I am sick of meetings; cannot the man turn his head without he have a meeting? Reading Strategy Drawing Conclusions About Characters Why does Proctor listen to Rebecca with respect? PROCTOR. He may turn his head, but not to Hell! Big Idea The United States and the World What danger might Rebecca be referring to? Why is it safer to “blame 26. The church wardens were members who managed the ourselves”? congregation’s business affairs.

Reading Strategy Drawing Conclusions About Reading Strategy Drawing Conclusions About Characters How do the Putnams and Rebecca disagree on Characters What do we learn about Reverend Parris’s the subject of witchcraft? priorities as a minister from Proctor’s accusation?

1034 UNIT 6 FROM DEPRESSION TO COLD WAR Sande Webster Gallery, Philadelphia, PA

1024-1044 U6P2SEL_845481.indd 1034 4/17/06 8:09:18 AM 3 1 Window View—Scapeology #3, 1995. Nanette Carter. Oil on canvas, 40 /4 x 45 /2 in. Sande Webster Gallery, Philadelphia, PA. Viewing the Art: What contrasts and divisions do you see in this painting? How might they reflect the contrasts and divisions among the people gathered in Betty’s room?

PARRIS. [Now aroused.] Why, that’s a drastic PARRIS. Where is my wood? My contract pro- charge! vides I be supplied with all my firewood. I am

REBECCA. It’s somewhat true; there are many waiting since November for a stick, and even that quail28 to bring their children— in November I had to show my frostbitten hands like some London beggar! PARRIS. I do not preach for children, Rebecca. It is not the children who are unmindful of GILES. You are allowed six pound a year to their obligations toward this ministry. buy your wood, Mr. Parris.

REBECCA. Are there really those unmindful? PARRIS. I regard that six pound as part of my salary. I am paid little enough without I spend PARRIS. I should say the better half of Salem village— six pound on firewood. PROCTOR. PUTNAM. And more than that! Sixty, plus six for firewood— PARRIS. The salary is sixty-six pound, Mr. Proctor! I am not some preaching farmer with a book under 28. To quail is to hesitate, to lose heart, or to retreat in fear. my arm; I am a graduate of Harvard College.

ARTHUR MILLER 1035 Sande Webster Gallery, Philadelphia, PA

1024-1044 U6P2SEL_845481.indd 1035 4/14/06 11:31:42 PM GILES. Aye, and well instructed in arithmetic! PUTNAM. Against him and all authority!

PARRIS. Mr. Corey, you will look far for a man of PROCTOR. Why, then I must find it and join it. my kind at sixty pound a year! I am not used to [There is shock among the others.] this poverty; I left a thrifty business in the Barbados to serve the Lord. I do not fathom it, why am I per- REBECCA. He does not mean that. secuted here? I cannot offer one proposition but PUTNAM. He confessed it now! there be a howling riot of argument. I have often PROCTOR. I mean it solemnly, Rebecca; I like wondered if the Devil be in it somewhere; I cannot not the smell of this “authority.” understand you people otherwise. REBECCA. No, you cannot break charity30 PROCTOR. Mr. Parris, you are the first minister with your minister. You are another kind, ever did demand the deed to this house— John. Clasp his hand, make your peace. PARRIS. Man! Don’t a minister deserve a PROCTOR. I have a crop to sow and lumber house to live in? to drag home. [He goes angrily to the door and PROCTOR. To live in, yes. But to ask ownership is turns to COREY with a smile.] What say you, like you shall own the meeting house itself; the Giles, let’s find the party. He says there’s last meeting I were at you spoke so long on deeds a party. and mortgages I thought it were an auction. GILES. I’ve changed my opinion of this man, PARRIS. I want a mark of confidence, is all! I John. Mr. Parris, I beg your pardon. I never am your third preacher in seven years. I do not thought you had so much iron in you. wish to be put out like the cat whenever some majority feels the whim. You people seem not PARRIS. [Surprised.] Why, thank you, Giles! to comprehend that a minister is the Lord’s man GILES. It suggests to the mind what the trou- in the parish; a minister is not to be so lightly ble be among us all these years. [To all.] Think crossed and contradicted— on it. Wherefore is everybody suing everybody else? Think on it now, it’s a deep thing, and PUTNAM. Aye! dark as a pit. I have been six time in court PARRIS. There is either obedience or the this year— church will burn like Hell is burning! PROCTOR. [Familiarly, with warmth, although he PROCTOR. Can you speak one minute without knows he is approaching the edge of GILES’ toler- we land in Hell again? I am sick of Hell! ance with this.] Is it the Devil’s fault that a man PARRIS. It is not for you to say what is good cannot say you good morning without you clap for you to hear! him for defamation?31 You’re old, Giles, and PROCTOR. I may speak my heart, I think! you’re not hearin’ so well as you did.

PARRIS. [In a fury.] What, are we Quakers?29 GILES. [He cannot be crossed.] John Proctor, I We are not Quakers here yet, Mr. Proctor. have only last month collected four pound And you may tell that to your followers! damages for you publicly sayin’ I burned the roof off your house, and I— PROCTOR. My followers!

PARRIS. [Now he’s out with it.] There is a party in this church. I am not blind; there is a fac- 30. For the Puritans, charity was Christian love, including tion and a party. mercy, forgiveness, kindness, and trust. 31. An attack on one’s good name or reputation is an act of PROCTOR. Against you? defamation (def´ ə ma¯ shən).

Big Idea The United States and the World What 29. Quakers is the familiar name for members of the Society of “authority” might a U.S. audience in 1953 have thought of Friends. They have no definite creed and are guided by on hearing this line? their doctrine of “inner light.”

Literary Element Dialogue How does Miller use dialogue Literary Element Dialogue How does Miller engage the on this page to advance the plot? audience’s sympathy for Proctor in this line of dialogue?

1036 UNIT 6 FROM DEPRESSION TO COLD WAR

1024-1044 U6P2SEL_845481.indd 1036 4/14/06 11:31:45 PM PROCTOR. [Laughing.] I never said no such thing, PARRIS. [A little scared.] Well, you do come but I’ve paid you for it, so I hope I can call you prepared!

deaf without charge. Now come along, Giles, HALE. We shall need hard study if it comes and help me drag my lumber home. to tracking down the Old Boy.34 [Noticing PUTNAM. A moment, Mr. Proctor. What lumber REBECCA.] You cannot be Rebecca Nurse? is that you’re draggin’, if I may ask you? REBECCA. I am, sir. Do you know me? PROCTOR. My lumber. From out my forest by the HALE. It’s strange how I knew you, but I suppose riverside. you look as such a good soul should. We have all PUTNAM. Why, we are surely gone wild this year. heard of your great charities in Beverly. What anarchy32 is this? That tract is in my PARRIS. Do you know this gentleman? Mr. Thomas bounds, it’s in my bounds, Mr. Proctor. Putnam. And his good wife Ann. PROCTOR. In your bounds! [Indicating REBECCA.] HALE. Putnam! I had not expected such distin- I bought that tract from Goody Nurse’s husband guished company, sir. five months ago. PUTNAM. [Pleased.] It does not seem to help us PUTNAM. He had no right to sell it. It stands today, Mr. Hale. We look to you to come to our clear in my grandfather’s will that all the land house and save our child. between the river and— HALE. Your child ails too? PROCTOR. Your grandfather had a habit of will- ing land that never belonged to him, if I may say MRS. PUTNAM. Her soul, her soul seems flown it plain. away. She sleeps and yet she walks . . .

GILES. That’s God’s truth; he nearly willed PUTNAM. She cannot eat. away my north pasture but he knew I’d break HALE. Cannot eat! [Thinks on it. Then, to PROCTOR his fingers before he’d set his name to it. Let’s and GILES COREY.] Do you men have afflicted get your lumber home, John. I feel a sudden children? will to work coming on. PARRIS. No, no, these are farmers. John PUTNAM. You load one oak of mine and you’ll Proctor— fight to drag it home! GILES COREY. He don’t believe in witches. GILES. Aye, and we’ll win too, Putnam—this PROCTOR. [To HALE.] I never spoke on witches fool and I. Come on! [He turns to PROCTOR and one way or the other. Will you come, Giles? starts out.] GILES. No—no, John, I think not. I have PUTNAM. I’ll have my men on you, Corey! I’ll some few queer questions of my own to ask clap a writ33 on you! this fellow. [Enter REVEREND JOHN HALE of Beverly. He PROCTOR. I’ve heard you to be a sensible man, appears loaded down with half a dozen heavy Mr. Hale. I hope you’ll leave some of it in books.] Salem. HALE. Pray you, someone take these! [PROCTOR goes. HALE stands embarrassed for PARRIS. [Delighted.] Mr. Hale! Oh! it’s good to an instant.] see you again! [Taking some books.] My, they’re heavy! PARRIS. [Quickly.] Will you look at my daughter, sir? [Leads HALE to the bed.] She has tried HALE. [Setting down his books.] They must be; to leap out the window; we discovered her this they are weighted with authority.

34. Old Boy is another name for Satan. 32. Anarchy is lawless confusion and political disorder due to Reading Strategy Drawing Conclusions About the absence of governmental authority. Here, Putnam uses Characters What do we learn about Proctor’s character the word to mean “lawlessness.” from this remark? 33. A writ is a judge’s order.

ARTHUR MILLER 1037

1024-1044 U6P2SEL_845481.indd 1037 4/14/06 11:31:47 PM The Crucible, 1996.

morning on the highroad, waving her arms as are prepared to believe me if I should find no though she’d fly. bruise of hell upon her.

HALE. [Narrowing his eyes.] Tries to fly. PARRIS. It is agreed, sir—it is agreed—we will PUTNAM. She cannot bear to hear the Lord’s abide by your judgment.

name, Mr. Hale; that’s a sure sign of witchcraft HALE. Good then. [He goes to the bed, looks down afloat. at BETTY. To PARRIS.] Now, sir, what were your HALE. [Holding up his hands.] No, no. Now let first warning of this strangeness? me instruct you. We cannot look to supersti- PARRIS. Why, sir—I discovered her—[Indicating tion in this. The Devil is precise; the marks of ABIGAIL.]—and my niece and ten or twelve of his presence are definite as stone, and I must the other girls, dancing in the forest last night. tell you all that I shall not proceed unless you HALE. [Surprised.] You permit dancing?

Big Idea The United States and the World How might PARRIS. No, no, it were secret— Miller’s 1950s audiences have connected Reverend Hale’s MRS. PUTNAM. [Unable to wait.] Mr. Parris’s slave use of the word superstition to contemporary events? has knowledge of conjurin’, sir.

1038 UNIT 6 FROM DEPRESSION TO COLD WAR 20TH CENTURY FOX/THE KOBAL COLLECTION

1024-1044 U6P2SEL_845481.indd 1038 4/14/06 11:31:49 PM PARRIS. [To MRS. PUTNAM.] We cannot be sure of PARRIS. [With trepidation—and resentment.] I that, Goody Ann— hope you do not mean we go to Satan here!

MRS. PUTNAM. [Frightened, very softly.] I know [Slight pause.] it, sir. I sent my child—she should learn from REBECCA. I wish I knew. [She goes out; they feel Tituba who murdered her sisters. resentful of her note of moral superiority.]

REBECCA. [Horrified.] Goody Ann! You sent a PUTNAM. [Abruptly.] Come, Mr. Hale, let’s get child to conjure up the dead? on. Sit you here.

MRS. PUTNAM. Let God blame me, not you, GILES. Mr. Hale, I have always wanted to ask a not you, Rebecca! I’ll not have you judging learned man—what signifies the readin’ of me any more! [To HALE.] Is it a natural work strange books?

to lose seven children before they live a day? HALE. What books?

PARRIS. Sssh! GILES. I cannot tell; she hides them. REBECCA [ , with great pain, turns her face away. HALE. Who does this? There is a pause.] GILES. Martha, my wife. I have waked at night HALE. Seven dead in childbirth. many a time and found her in a corner, readin’ MRS. PUTNAM. [Softly.] Aye. [Her voice breaks; she of a book. Now what do you make of that? HALE PARRIS looks up at him. Silence. is impressed. HALE. Why, that’s not necessarily— looks to him. He goes to his books, opens one, turns 37 pages, then reads. All wait, avidly.]35 GILES. It discomfits me! Last night—mark this—I tried and tried and could not say my PARRIS. [Hushed.] What book is that? prayers. And then she close her book and MRS. PUTNAM. What’s there, sir? walks out of the house, and suddenly—mark

HALE. [With a tasty love of intellectual pursuit.] this—I could pray again! Here is all the invisible world, caught, defined, HALE. Ah! The stoppage of prayer—that is and calculated. In these books the Devil stands strange. I’ll speak further on that with you.

stripped of all his brute disguises. Here are all GILES. I’m not sayin’ she’s touched the Devil, 36 your familiar spirits—your incubi and succubi; now, but I’d admire to know what books she your witches that go by land, by air, and by sea; reads and why she hides them. She’ll not your wizards of the night and of the day. Have answer me, y’ see. no fear now—we shall find him out if he has come among us, and I mean to crush him HALE. Aye, we’ll discuss it. [To all.] Now mark utterly if he has shown his face! [He starts for me, if the Devil is in her you will witness some the bed.] frightful wonders in this room, so please to keep your wits about you. Mr. Putnam, stand REBECCA. Will it hurt the child, sir? close in case she flies. Now, Betty, dear, will HALE. I cannot tell. If she is truly in the Devil’s you sit up? [PUTNAM comes in closer, ready- grip we may have to rip and tear to get her free. handed. HALE sits BETTY up, but she hangs limp

REBECCA. I think I’ll go, then. I am too old for in his hands.] Hmmm. [He observes her carefully. this. [She rises.] The others watch breathlessly.] Can you hear me? I am John Hale, minister of Beverly. I PARRIS. [Striving for conviction.] Why, Rebecca, have come to help you, dear. Do you remem- we may open up the boil of all our troubles ber my two little girls in Beverly? [She does not today! stir in his hands.] REBECCA. Let us hope for that. I go to God for you, sir. 37. Discomfits means “confuses and frustrates.”

Big Idea The United States and the World What is 35. Avidly means “with intense interest.” Giles suspicious of? How are his suspicions similar to those 36. Incubi ( ) and succubi ( ) are evil in kyə b¯´ suk yə b¯´ of Senator McCarthy during the 1950s? spirits or demons. BI2

ARTHUR MILLER 1039

1024-1044 U6P2SEL_845481.indd 1039 4/14/06 11:31:52 PM PARRIS. [In fright.] How can it be the Devil? HALE. [Grasping ABIGAIL.] Abigail, it may be Why would he choose my house to strike? We your cousin is dying. Did you call the Devil last have all manner of licentious38 people in the night?

village! ABIGAIL. I never called him! Tituba, Tituba . . . HALE. What victory would the Devil have to PARRIS. [Blanched.] She called the Devil? win a soul already bad? It is the best the Devil wants, and who is better than the minister? HALE. I should like to speak with Tituba. PARRIS. Goody Ann, will you bring her up? GILES. That’s deep, Mr. Parris, deep, deep! [MRS. PUTNAM exits.] PARRIS. [With resolution now.] Betty! Answer Mr. Hale! Betty! HALE. How did she call him?

HALE. Does someone afflict you, child? It ABIGAIL. I know not—she spoke Barbados. need not be a woman, mind you, or a man. HALE. Did you feel any strangeness when she Perhaps some bird invisible to others comes to called him? A sudden cold wind, perhaps? A you—perhaps a pig, a mouse, or any beast at trembling below the ground?

all. Is there some figure bids you fly? [The child ABIGAIL. I didn’t see no Devil! [Shaking BETTY.] remains limp in his hands. In silence he lays her Betty, wake up. Betty! Betty! back on the pillow. Now, holding out his hands toward her, he intones.] In nomine Domini HALE. You cannot evade me, Abigail. Did your Sabaoth sui filiique ite ad infernos.39 [She does cousin drink any of the brew in that kettle? not stir. He turns to ABIGAIL, his eyes narrow- ABIGAIL. She never drank it! ing.] Abigail, what sort of dancing were you HALE. Did you drink it? doing with her in the forest? ABIGAIL. No, sir! ABIGAIL. Why—common dancing is all. HALE. Did Tituba ask you to drink it? PARRIS. I think I ought to say that I—I saw a ABIGAIL. She tried, but I refused. kettle in the grass where they were dancing. HALE. Why are you concealing? Have you sold ABIGAIL. That were only soup. yourself to Lucifer? HALE. What sort of soup were in this kettle, ABIGAIL. I never sold myself! I’m a good girl! I’m Abigail? a proper girl! ABIGAIL. Why, it were beans—and lentils, I [MRS. PUTNAM enters with TITUBA, and instantly think, and— ABIGAIL points at TITUBA.] HALE. Mr. Parris, you did not notice, did you, ABIGAIL. She made me do it! She made Betty any living thing in the kettle? A mouse, perhaps, do it! a spider, a frog—? TITUBA. [Shocked and angry.] Abby! PARRIS. [Fearfully.] I—do believe there were some movement—in the soup. ABIGAIL. She makes me drink blood! PARRIS. Blood!! ABIGAIL. That jumped in, we never put it in! MRS. PUTNAM. My baby’s blood? HALE. [Quickly.] What jumped in? TITUBA. No, no, chicken blood. I give she ABIGAIL. Why, a very little frog jumped— chicken blood! PARRIS. A frog, Abby!

Reading Strategy Drawing Conclusions About 38. Licentious people disregard commonly accepted standards Characters What aspect of her character does Abigail con- of right and wrong or good and evil. firm with these remarks? 39. [In nomine . . . infernos.] “In the name of the God of the Heavenly Hosts and of His Son, go to hell.” Hale is Vocabulary performing an exorcism, a ritual intended to drive out evade (i va¯d) v. to escape or avoid, as by cleverness evil spirits.

1040 UNIT 6 FROM DEPRESSION TO COLD WAR

1024-1044 U6P2SEL_845481.indd 1040 4/14/06 11:31:54 PM HALE. Woman, have you enlisted these children PUTNAM. This woman must be hanged! She for the Devil? must be taken and hanged!

TITUBA. No, no, sir, I don’t truck40 with no TITUBA. [Terrified, falls to her knees.] No, no, Devil! don’t hang Tituba! I tell him I don’t desire to work for him, sir. HALE. Why can she not wake? Are you silencing this child? PARRIS. The Devil?

TITUBA. I love me Betty! HALE. Then you saw him! [TITUBA weeps.] Now Tituba, I know that when we bind our- HALE. You have sent your spirit out upon this child, have you not? Are you gathering souls for selves to Hell it is very hard to break with it. the Devil? We are going to help you tear yourself free— TITUBA. [Frightened by the coming process.] ABIGAIL. She sends her spirit on me in church; she makes me laugh at prayer! Mister Reverend, I do believe somebody else be witchin’ these children. PARRIS. She have often laughed at prayer! HALE. Who? ABIGAIL. She comes to me every night to go and drink blood! TITUBA. I don’t know, sir, but the Devil got him numerous witches. TITUBA. You beg me to conjure! She beg me make charm— HALE. Does he! [It is a clue.] Tituba, look into my eyes. Come, look into me. [She raises her ABIGAIL. Don’t lie! [To HALE.] She comes to eyes to his fearfully.] You would be a good me while I sleep; she’s always making me Christian woman, would you not, Tituba? dream corruptions! TITUBA. Aye, sir, a good Christian woman. TITUBA. Why you say that, Abby? HALE. And you love these little children? ABIGAIL. Sometimes I wake and find myself standing in the open doorway and not a stitch TITUBA. Oh, yes, sir, I don’t desire to hurt little on my body! I always hear her laughing in my children. sleep. I hear her singing her Barbados songs HALE. And you love God, Tituba? and tempting me with— TITUBA. I love God with all my bein’. TITUBA. Mister Reverend, I never— HALE. Now, in God’s holy name— HALE. [Resolved now.] Tituba, I want you to wake TITUBA. Bless Him. Bless Him. [She is rocking this child. on her knees, sobbing in terror.] TITUBA. I have no power on this child, sir. HALE. And to His glory— HALE. You most certainly do, and you will TITUBA. Eternal glory. Bless Him—bless God . . . free her from it now! When did you compact with41 the Devil? HALE. Open yourself, Tituba—open yourself and let God’s holy light shine on you. TITUBA. I don’t compact with no Devil! TITUBA. Oh, bless the Lord. PARRIS. You will confess yourself or I will take you out and whip you to your death, Tituba! HALE. When the Devil comes to you does he ever come—with another person? [She stares up into his face.] Perhaps another person in the vil- 40. Truck is another way of saying “to have dealings.” lage? Someone you know. 41. To compact with is to make an agreement or contract with. PARRIS. Who came with him? Literary Element Dialogue How does Miller’s use of dialogue ensure that Tituba is so quickly on the defensive?

Literary Element Dialogue What is Tituba accusing Big Idea The United States and the World How is the Abigail of in this dialogue? Do you think she will be believed? assumption that Tituba is guilty similar to assumptions made Explain. during the McCarthy “witch hunts”?

ARTHUR MILLER 1041

1024-1044 U6P2SEL_845481.indd 1041 4/14/06 11:31:56 PM Omen, 1993. Katherine Bowling. Oil and spackle on wood, 24 x 24 in. The SBC Collection of Twentieth Century American Art. Courtesy SBC Communications. Viewing the Art: What connections might you make between this painting and the description of the night the girls went to the forest?

1042 UNIT 6 FROM DEPRESSION TO COLD WAR Courtesy of SBC Communications

1024-1044 U6P2SEL_845481.indd 1042 4/14/06 11:31:59 PM PUTNAM. Sarah Good? Did you ever see Sarah [TITUBA pants, and begins rocking back and forth Good with him? Or Osburn? again, staring ahead.]

PARRIS. Was it man or woman came with him? TITUBA. There was four. There was four.

TITUBA. Man or woman. Was—was woman. PARRIS. [Pressing in on her.] Who? Who? Their names, their names! PARRIS. What woman? A woman, you said. What woman? TITUBA. [Suddenly bursting out.] Oh, how many times he bid me kill you, Mr. Parris! TITUBA. It was black dark, and I— PARRIS. Kill me! PARRIS. You could see him, why could you not see her? TITUBA. [In a fury.] He say Mr. Parris must be kill! Mr. Parris no goodly man, Mr. Parris mean TITUBA. Well, they was always talking; they was always runnin’ round and carryin’ on— man and no gentle man, and he bid me rise out of my bed and cut your throat! [They gasp.] But I PARRIS. You mean out of Salem? Salem witches? tell him, “No! I don’t hate that man. I don’t TITUBA. I believe so, yes, sir. want kill that man.” But he say, “You work for [Now HALE takes her hand. She is surprised.] me, Tituba, and I make you free! I give you pretty dress to wear, and put you way high up in HALE. Tituba. You must have no fear to tell us the air, and you gone fly back to Barbados!” And who they are, do you understand? We will pro- I say, “You lie, Devil, you lie!” And then he tect you. The Devil can never overcome a minis- come one stormy night to me, and he say, “Look! ter. You know that, do you not? I have white people belong to me.” And I look— TITUBA. [Kisses HALE’s hand.] Aye, sir, I do. and there was Goody Good.

HALE. You have confessed yourself to witchcraft, PARRIS. Sarah Good! and that speaks a wish to come to Heaven’s side. TITUBA. [Rocking and weeping.] Aye, sir, and And we will bless you, Tituba. Goody Osburn. TITUBA. [Deeply relieved.] Oh, God bless you, MRS. PUTNAM. I knew it! Goody Osburn were Mr. Hale! midwife43 to me three times. I begged you, HALE. [With rising exaltation.]42 You are God’s Thomas, did I not? I begged him not to call instrument put in our hands to discover the Osburn because I feared her. My babies always Devil’s agents among us. You are selected, shriveled in her hands! Tituba, you are chosen to help us cleanse our HALE. Take courage, you must give us all their village. So speak utterly, Tituba, turn your back names. How can you bear to see this child suf- on him and face God—face God, Tituba, and fering? Look at her, Tituba. [He is indicating God will protect you. BETTY on the bed.] Look at her God-given TITUBA. [Joining with him.] Oh, God, protect innocence; her soul is so tender; we must pro- Tituba! tect her, Tituba; the Devil is out and preying

HALE. [Kindly.] Who came to you with the on her like a beast upon the flesh of the pure Devil? Two? Three? Four? How many? lamb. God will bless you for your help. [ABIGAIL rises, staring as though inspired, and cries out.]

42. Here, exaltation means “great enthusiasm” or “joyful ABIGAIL. I want to open myself! [They turn to ecstasy.” her, startled. She is enraptured,44 as though in a Reading Strategy Drawing Conclusions About Characters What does Putnam’s eagerness to name spe- 43. A midwife is a woman who assists other women in childbirth. cific people reveal about his character? 44. Enraptured means “filled with intense joy or delight.”

Big Idea The United States and the World How is this Reading Strategy Drawing Conclusions About tactic similar to that used by the House Un-American Characters What is going on in Tituba’s mind that she Activities Committee? would make up information like this?

ARTHUR MILLER 1043

1024-1044 U6P2SEL_845481.indd 1043 4/14/06 11:32:02 PM 3 1 Ocean Greyness, 1953. Jackson Pollock. Oil on canvas, 4 ft. 9 /4 in. x 7 ft. 6 /8 in. Solomon R. Guggenheim Museum, New York. Viewing the Art: Look at the interplay of colors in this painting. What characters or events in act 1 might these colors represent? Explain.

pearly light.] I want the light of God, I want ABIGAIL. I saw Goody Sibber with the Devil! [It the sweet love of Jesus! I danced for the Devil; is rising to a great glee.]

I saw him; I wrote in his book; I go back to PUTNAM. The marshal, I’ll call the marshal! Jesus; I kiss His hand. I saw Sarah Good with the Devil! I saw Goody Osburn with the [PARRIS is shouting a prayer of thanksgiving.] Devil! I saw Bridget Bishop with the Devil! BETTY. I saw Alice Barrow with the Devil! [As she is speaking, BETTY is rising from the bed, [The curtain begins to fall.] a fever in her eyes, and picks up the chant.] HALE. [As PUTNAM goes out.] Let the marshal BETTY. [Staring too.] I saw George Jacobs with bring irons! the Devil! I saw Goody Howe with the Devil! ABIGAIL. I saw Goody Hawkins with the Devil! PARRIS. She speaks! [He rushes to embrace BETTY. I saw Goody Bibber with the Devil! BETTY.] She speaks! ABIGAIL. I saw Goody Booth with the Devil! HALE. Glory to God! It is broken, they are free! [On their ecstatic cries.] BETTY. [Calling out hysterically and with great relief.] I saw Martha Bellows with the Devil! THE CURTAIN FALLS

Reading Strategy Drawing Conclusions About Characters Why do you think that Abigail makes this Literary Element Dialogue How do these concluding confession? lines make an effective ending to Act One of the play?

1044 UNIT 6 FROM DEPRESSION TO COLD WAR Solomon R. Guggenheim Museum, New York. 54.1408

1024-1044 U6P2SEL_845481.indd 1044 4/14/06 11:32:06 PM AFTER YOU READ

RESPONDING AND THINKING CRITICALLY Respond Analyze and Evaluate 1. Which characters or situations in Act One do you 5. (a)How would you classify the atmosphere, or find it easiest to identify with? Explain. mood, of Act One? (b)What techniques does Miller use to create this mood? Recall and Interpret 6. (a)How does Miller dramatize the behavior of the 2. (a)What is Reverend Parris praying for at the begin- young girls in Act One? (b)Do you find their behav- ning of Act One? (b)What else might explain why ior believable? Explain. he is praying so desperately? 7. Act One ends with Betty and Abigail as the center 3. (a)What reasons does Abigail give Parris for her dis- of interest. (a)How is their behavior the same? charge as the Proctors’ servant? (b)What might be How is it different? (b)Do you find their behavior another reason? believable? Explain. 4. (a)How does Tituba first respond to Hale’s accusation of witchcraft? How does she change her Connect response? (b)Why might Tituba, as well as Abigail 8. Big Idea The United States and the World and Betty, make accusations at the end of Act One? Arthur Miller drew a connection between the Salem witch hunts of 1692 and the Communist “witch hunts” in the 1950s. Under what circumstances might a similar situation arise in the United States today?

LITERARY ANALYSIS READING AND VOCABULARY

Literary Element Dialogue Reading Strategy Drawing Conclusions Much of the dialogue in The Crucible centers on About Characters series of questions and answers bandied between the The numbered items below include a phrase Miller uses characters. In fact, the play opens with Tituba’s ques- in his stage directions to describe the character in question, “My Betty be hearty soon?” tion. Give an example of each character’s behavior that 1. Which characters do the main questioning in Act One? matches the description. Which characters are the subjects of the questioning? 1. Abigail: an endless capacity for dissembling 2. What do the characters hope to determine by ask- 2. Rebecca Nurse: Gentleness exudes from her. ing their questions?

Vocabulary Practice Writing About Literature Practice with Word Parts Each of the vocabulary Analyze Plot Miller called Act One an overture—an words selected from Act One begins with a familiar introduction. In literary terms, it would be called an prefix. Use a dictionary or a thesaurus to find other exposition. Write two or three paragraphs analyzing words that use the same prefixes and match the how Miller has “set the stage” for the rest of the play definitions below. Each answer will have one of the with the setting, characters, and plot of Act One. following prefixes: com-, con-, sub-, pre-. Describe what, for you, is the narrative hook. 1. to stop something happening 2. a town lying outside a city Web Activities For eFlashcards, 3. to throw someone out of a residence Selection Quick Checks, and other Web activities, go to www.glencoe.com.

ARTHUR MILLER 1045

1022-1045 U6P2App-845481.indd 1045 4/14/06 11:20:17 PM BEFORE YOU READ The Crucible, Act Two

LITERATURE PREVIEW READING PREVIEW

Building Background Reading Strategy Recognizing Bias The Puritans believed that if one member of the com- Bias is the author’s personal inclination toward a munity sinned, misfortune could befall the entire com- certain opinion or position on a topic. Bias is seldom munity. Blame, therefore, was a common way to deal overtly stated in a dramatic work, but it can be with personal misfortune. The Puritans also believed detected by close attention to the way the dramatist that all aspects of life must be guided by the Bible. In expresses ideas through the dialogue of the characters fact, communities built schools so that all could learn and the stage directions. As you read Act Two of to read it. These efforts were intended to counteract The Crucible, look for evidence of Miller’s bias. the work of Satan, who people believed tried to “keep men from the knowledge of the scriptures.” Reading Tip: Personality Profile Take careful note of how the author presents the characters. A Puritan doctrine held that the active instrument of salvation was the Holy Spirit. Puritans tended to discredit • Notice the stage directions. These may indicate the reason as irrelevant or even harmful. For most Puritans, author’s bias. witchcraft and black magic were real and present dan- • Assess the characters. An author will often express gers. To defeat this enemy from within, books such as his or her ideas through a sympathetic character’s The Discovery of Witches (1647) informed readers how speech. to identify and destroy demonic spirits.

Setting Purposes for Reading Vocabulary Literary Element Stage Directions reprimand (rep rə mand´) v. to reprove or correct sharply; p. 1047 I’m afraid that the boss will Stage directions are the instructions written by the reprimand me for arriving late. playwright that describe the sets, costumes, and lighting as well as the appearance, movements, and dramatic base (b¯as) adj. morally low; dishonorable; attitudes of the characters. Stage directions are com- p. 1054 We did not expect base behavior from monly written in italics and placed in brackets or paren- such a respected member of the community. theses to set them off from the spoken lines of the covet (kuv it) v. to desire, especially to an script. Note the stage directions in the example below. excessive degree, something belonging to The first describes how the actress playing Elizabeth another; p. 1057 Judy coveted her sister’s shoes. should say her lines. The second is an instruction in bodily movement for the actor playing Mr. Hale. subtle (sut əl) adj. not open, direct, or obvious; crafty; sly; p. 1060 Blowing that bugle was not a ELIZABETH. [Unable to restrain herself.] Mr. Hale. subtle way of waking us up! [He turns.] I do think you are suspecting me some- ineptly (i nept l¯e) adv. incompetently; awk- what? Are you not? wardly; clumsily; p. 1061 Ralph drove so ineptly As you read Act Two, observe how Miller’s stage that Maria got out and took the bus. directions influence your understanding of the play. • See Literary Terms Handbook, p. R17.

Interactive Literary Elements Handbook To review or learn more about the literary elements, go to www.glencoe.com.

OBJECTIVES In studying this selection, you will focus on the following: • practicing with analogies • recognizing bias • connecting to contemporary issues • analyzing stage directions

1046 UNIT 6 FROM DEPRESSION TO COLD WAR

1046-1066 U6P2APP-845481.indd 1046 1/24/07 4:43:52 PM Act Two

[The common room of PROCTOR’S house, eight ELIZABETH. Pray God. It hurt my heart to strip days later. her, poor rabbit. [She sits and watches him taste it.] At the right is a door opening on the fields out- PROCTOR. It’s well seasoned. side. A fireplace is at the left, and behind it a stairway leading upstairs. It is the low, dark, ELIZABETH. [Blushing with pleasure.] I took great and rather long living room of the time. As the care. She’s tender? curtain rises, the room is empty. From above, PROCTOR. Aye. [He eats. She watches him.] I ELIZABETH is heard softly singing to the children. think we’ll see green fields soon. It’s warm as Presently the door opens and JOHN PROCTOR blood beneath the clods. enters, carrying his gun. He glances about the ELIZABETH. That’s well. room as he comes toward the fireplace, then halts for an instant as he hears her singing. He contin- [PROCTOR eats, then looks up.] ues on to the fireplace, leans the gun against the PROCTOR. If the crop is good I’ll buy George wall as he swings a pot out of the fire and smells Jacob’s heifer. How would that please you? it. Then he lifts out the ladle and tastes. He is ELIZABETH. Aye, it would. not quite pleased. He reaches to a cupboard, takes a pinch of salt, and drops it into the pot. PROCTOR. [With a grin.] I mean to please you, As he is tasting again, her footsteps are heard on Elizabeth. the stair. He swings the pot into the fireplace and ELIZABETH. [It is hard to say.] I know it, John. goes to a basin and washes his hands and face. [He gets up, goes to her, kisses her. She receives ELIZABETH enters.] it. With a certain disappointment, he returns to ELIZABETH. What keeps you so late? It’s the table.] almost dark. PROCTOR. [As gently as he can.] Cider? PROCTOR. I were planting far out to the forest ELIZABETH. [With a sense of reprimanding herself edge. for having forgot.] Aye! [She gets up and goes and ELIZABETH. Oh, you’re done then. pours a glass for him. He now arches his back.]

PROCTOR. Aye, the farm is seeded. The boys asleep? PROCTOR. This farm’s a continent when you go ELIZABETH. They will be soon. [And she goes to foot by foot droppin’ seeds in it. the fireplace, proceeds to ladle up stew in a dish.] ELIZABETH. [Coming with the cider.] It must be.

PROCTOR. Pray now for a fair summer. PROCTOR. [Drinks a long draught, then, putting the ELIZABETH. Aye. glass down.] You ought to bring some flowers in the house. PROCTOR. Are you well today? ELIZABETH. Oh! I forgot! I will tomorrow. ELIZABETH. I am. [She brings the plate to the table, and, indicating the food.] It is a rabbit. PROCTOR. It’s winter in here yet. On Sunday let you come with me, and we’ll walk the farm PROCTOR. [Going to the table.] Oh, is it! In Jonathan’s trap? together; I never see such a load of flowers on the earth. [With good feeling he goes and looks up ELIZABETH. No, she walked into the house this at the sky through the open doorway.] Lilacs have afternoon; I found her sittin’ in the corner like she come to visit.

PROCTOR. Oh, that’s a good sign walkin’ in. Reading Strategy Recognizing Bias How does Miller want the reader to feel about Elizabeth? Explain.

Vocabulary Literary Element Stage Directions What does John’s behavior suggest about his relationship with Elizabeth? reprimand (rep rə mand´) v. to reprove or correct sharply

ARTHUR MILLER 1047

1047-1065 U06P2SEL-845481.indd 1047 4/26/06 4:56:33 PM a purple smell. Lilac is the smell of nightfall, I think. Massachusetts is a beauty in the spring!

ELIZABETH. Aye, it is. [There is a pause. She is watching him from the table as he stands there absorbing the night. It is as though she would speak but cannot. Instead, now, she takes up his plate and glass and fork and goes with them to the basin. Her back is turned to him. He turns to her and watches her. A sense of their separation rises.]

PROCTOR. I think you’re sad again. Are you?

ELIZABETH. [She doesn’t want

friction, and yet she must.] You 5 1 Painting, 1948. Willem de Kooning. Enamel and oil on canvas, 42 /8 x 56 /8 in. ©2000 Willem de come so late I thought you’d Kooning Revocable Trust/Artists Rights Society, NY, The Museum of Modern Art, New York. gone to Salem this afternoon. Viewing the Art: What emotions does this painting evoke in you? How might it represent the emotions that John Proctor and Elizabeth are expressing at this point in the play? PROCTOR. Why? I have no business in Salem.

ELIZABETH. You did speak of going, earlier this of a prince and says to me, “I must go to Salem, week. Goody Proctor; I am an official of the court!”

PROCTOR. [He knows what she means.] I thought PROCTOR. Court! What court? better of it since. ELIZABETH. Aye, it is a proper court they have now. ELIZABETH. Mary Warren’s there today. They’ve sent four judges out of Boston, she says, weighty magistrates1 of the General Court, and at PROCTOR. Why’d you let her? You heard me for- the head sits the Deputy Governor of the Province. bid her go to Salem any more! PROCTOR. [Astonished.] Why, she’s mad. ELIZABETH. I couldn’t stop her. ELIZABETH. I would to God she were. There be PROCTOR. [Holding back a full condemnation of fourteen people in the jail now, she says. [PROC- her.] It is a fault, it is a fault, Elizabeth—you’re TOR simply looks at her, unable to grasp it.] And the mistress here, not Mary Warren. they’ll be tried, and the court have power to ELIZABETH. She frightened all my strength away. hang them too, she says.

PROCTOR. How may that mouse frighten you, PROCTOR. [Scoffing, but without conviction.] Ah, Elizabeth? You— they’d never hang—

ELIZABETH. It is a mouse no more. I forbid her ELIZABETH. The Deputy Governor promise han- go, and she raises up her chin like the daughter gin’ if they’ll not confess, John. The town’s gone wild, I think. She speak of Abigail, and I thought she were a saint, to hear her. Abigail brings the other girls into the court, and where she walks

Literary Element Stage Directions What does Elizabeth mean? How would this stage direction influence the way the actor playing Proctor said his lines? 1. Weighty means “important.” Magistrates are judges.

1047-1065 U06P2SEL-845481.indd 1048 4/14/06 11:51:15 PM 5 1 Painting, 1948. Willem de Kooning. Enamel and oil on canvas, 42 /8 x 56 /8 in. ©2000 Willem de Kooning Revocable Trust/Artists Rights Society, NY, The Museum of Modern Art, New York. Viewing the Art: What emotions does this painting evoke in you? How might it represent the emotions that John Proctor and Elizabeth are expressing at this point in the play?

The Crucible on Stage in New York City, NY.

ARTHUR MILLER 1049 Mark Peterson/CORBIS

1047-1065 U06P2SEL-845481.indd 1049 4/14/06 11:51:20 PM the crowd will part like the sea for Israel. And PROCTOR. [Stubbornly.] For a moment alone, aye. folks are brought before them, and if they scream ELIZABETH. Why, then, it is not as you told me. and howl and fall to the floor—the person’s clapped in the jail for bewitchin’ them. PROCTOR. [His anger rising.] For a moment, I say. The others come in soon after. PROCTOR. [Wide-eyed.] Oh, it is a black mischief. ELIZABETH. [Quietly—she has suddenly lost all faith ELIZABETH. I think you must go to Salem, John. in him.] Do as you wish, then. [She starts to turn.] [He turns to her.] I think so. You must tell them it is a fraud. PROCTOR. Woman. [She turns to him.] I’ll not have your suspicion any more. PROCTOR. [Thinking beyond this.] Aye, it is, it is surely. ELIZABETH. [A little loftily.] I have no— ELIZABETH. Let you go to Ezekiel Cheever—he PROCTOR. I’ll not have it! knows you well. And tell him what she said to ELIZABETH. Then let you not earn it. you last week in her uncle’s house. She said it had naught to do with witchcraft, did she not? PROCTOR. [With a violent undertone.] You doubt me yet? PROCTOR. [In thought.] Aye, she did, she did. [Now, a pause.] ELIZABETH. [With a smile, to keep her dignity.] John, if it were not Abigail that you must go to ELIZABETH. [Quietly, fearing to anger him by prod- hurt, would you falter now? I think not. ding.] God forbid you keep that from the court, John. I think they must be told. PROCTOR. Now look you—

PROCTOR. [Quietly, struggling with his thought.] ELIZABETH. I see what I see, John. Aye, they must, they must. It is a wonder they do PROCTOR. [With solemn warning.] You will not believe her. judge me more, Elizabeth. I have good reason to ELIZABETH. I would go to Salem now, John—let think before I charge fraud on Abigail, and I will you go tonight. think on it. Let you look to your own improvement before you go to judge your husband any PROCTOR. I’ll think on it. more. I have forgot Abigail, and— ELIZABETH. [With her courage now.] You cannot ELIZABETH. And I. keep it, John. PROCTOR. Spare me! You forget nothin’ and for- PROCTOR. [Angering.] I know I cannot keep it. I give nothin’. Learn charity, woman. I have gone say I will think on it! tiptoe in this house all seven month since she is ELIZABETH. [Hurt, and very coldly.] Good, then, gone. I have not moved from there to there without let you think on it. [She stands and starts to walk I think to please you, and still an everlasting funeral out of the room.] marches round your heart. I cannot speak but I am doubted, every moment judged for lies, as though I PROCTOR. I am only wondering how I may prove what she told me, Elizabeth. If the girl’s a saint come into a court when I come into this house! now, I think it is not easy to prove she’s fraud, ELIZABETH. John, you are not open with me. You and the town gone so silly. She told it to me in a saw her with a crowd, you said. Now you— room alone—I have no proof for it. PROCTOR. I’ll plead my honesty no more, Elizabeth.

ELIZABETH. You were alone with her? ELIZABETH. [Now she would justify herself.] John, I am only—

PROCTOR. No more! I should have roared you Big Idea The United States and the World What is down when first you told me your suspicion. wrong with this form of justice? What might Miller’s audience have thought on hearing these lines? But I wilted, and, like a Christian, I confessed.

Reading Strategy Recognizing Bias How does Miller’s use of the words “quietly” and “thought” in the last three Literary Element Stage Directions What aspect of stage directions reveal his attitude toward John and Elizabeth? Elizabeth’s character is stressed in this stage direction?

1050 UNIT 6 FROM DEPRESSION TO COLD WAR

1047-1065 U06P2SEL-845481.indd 1050 4/14/06 11:51:23 PM Confessed! Some dream I had must have mis- MARY WARREN. [Glancing at the room.] I’ll get up taken you for God that day. But you’re not, early in the morning and clean the house. I must you’re not, and let you remember it! Let you sleep now. [She turns and starts off.] look sometimes for the goodness in me, and PROCTOR. Mary. [She halts.] Is it true? There be judge me not. fourteen women arrested?

ELIZABETH. I do not judge you. The magistrate MARY WARREN. No, sir. There be thirty-nine sits in your heart that judges you. I never thought now—[She suddenly breaks off and sobs and sits you but a good man, John—[With a smile.]—only down, exhausted.] somewhat bewildered. ELIZABETH. Why, she’s weepin’! What ails you, PROCTOR. [Laughing bitterly.] Oh, Elizabeth, your child? justice would freeze beer! [He turns suddenly MARY WARREN. Goody Osburn—will hang! toward a sound outside. He starts for the door as MARY WARREN enters. As soon as he sees her, he [There is a shocked pause, while she sobs.] goes directly to her and grabs her by her cloak, furi- PROCTOR. Hang! [He calls into her face.] Hang, ous.] How do you go to Salem when I forbid it? y’say? Do you mock me? [Shaking her.] I’ll whip you if you dare leave this house again! MARY WARREN. [Through her weeping.] Aye. PROCTOR. The Deputy Governor will permit it? [Strangely, she doesn’t resist him, but hangs limply by his grip.] MARY WARREN. He sentenced her. He must. [To ameliorate3 it.] But not Sarah Good. For Sarah MARY WARREN. I am sick, I am sick, Mr. Proctor. Good confessed, y’see. Pray, pray, hurt me not. [Her strangeness throws him off, and her evident pallor2 and weakness. He PROCTOR. Confessed! To what? frees her.] My insides are all shuddery; I am in the MARY WARREN. That she—[In horror at the mem- proceedings all day, sir. ory.]—she sometimes made a compact with Lucifer, and wrote her name in his black book— PROCTOR. [With draining anger—his curiosity is draining it.] And what of these proceedings here? with her blood—and bound herself to torment When will you proceed to keep this house, as Christians till God’s thrown down—and we all you are paid nine pound a year to do—and my must worship Hell forevermore. wife not wholly well? [Pause.]

[As though to compensate, MARY WARREN goes to PROCTOR. But—surely you know what a jabberer ELIZABETH with a small rag doll.] she is. Did you tell them that?

MARY WARREN. I made a gift for you today, MARY WARREN. Mr. Proctor, in open court she Goody Proctor. I had to sit long hours in a chair, near to choked us all to death. and passed the time with sewing. PROCTOR. How, choked you?

ELIZABETH. [Perplexed, looking at the doll.] Why, MARY WARREN. She sent her spirit out. thank you, it’s a fair poppet. ELIZABETH. Oh, Mary, Mary, surely you—

MARY WARREN. [With a trembling, decayed voice.] 4 MARY WARREN. [With an indignant edge.] She We must all love each other now, Goody Proctor. tried to kill me many times, Goody Proctor! ELIZABETH. [Amazed at her strangeness.] Aye, indeed we must. 3. To ameliorate is to improve a situation that was unpleasant or unbearable before. 2. Pallor refers to a pale complexion. 4. Indignant means “expressing righteous anger.”

Literary Element Stage Directions How do the two pre- Big Idea The United States and the World How do vious stage directions help explain the sudden change in you think that Miller wants his audience to respond to what Proctor’s attitude? is happening in Salem?

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1047-1065 U06P2SEL-845481.indd 1051 4/14/06 11:51:25 PM ELIZABETH. Why, I never heard you mention PROCTOR. And so condemned her? that before. MARY WARREN. [Now a little strained, seeing his MARY WARREN. I never knew it before. I never stubborn doubt.] Why, they must when she con- knew anything before. When she come into the demned herself. court I say to myself, I must not accuse this PROCTOR. But the proof, the proof! woman, for she sleep in ditches, and so very old and poor. But then—then she sit there, denying MARY WARREN. [With greater impatience with him.] and denying, and I feel a misty coldness climbin’ I told you the proof. It’s hard proof, hard as rock, up my back, and the skin on my skull begin to the judges said. creep, and I feel a clamp around my neck and I PROCTOR. [Pauses an instant, then.] You will not cannot breathe air; and then—[Entranced.]—I go to court again, Mary Warren. hear a voice, a screamin’ voice, and it were my voice—and all at once I remembered everything MARY WARREN. I must tell you, sir, I will be gone she done to me! every day now. I am amazed you do not see what weighty work we do. PROCTOR. Why? What did she do to you? PROCTOR. What work you do! It’s strange work MARY WARREN. [Like one awakened to a marvelous for a Christian girl to hang old women! secret insight.] So many time, Mr. Proctor, she come to this very door, beggin’ bread and a cup MARY WARREN. But, Mr. Proctor, they will not of cider—and mark this: whenever I turned her hang them if they confess. Sarah Good will only away empty, she mumbled. sit in jail some time—[Recalling.]—and here’s a wonder for you; think on this. Goody Good is ELIZABETH. Mumbled! She may mumble if she’s hungry. pregnant! MARY WARREN. But what does she mumble? You ELIZABETH. Pregnant! Are they mad? The wom- must remember, Goody Proctor. Last month—a an’s near to sixty! Monday, I think—she walked away, and I thought MARY WARREN. They had Doctor Griggs examine my guts would burst for two days after. Do you her, and she’s full to the brim. And smokin’ a remember it? pipe all these years, and no husband either! But ELIZABETH. Why—I do, I think, but— she’s safe, thank God, for they’ll not hurt the

MARY WARREN. And so I told that to Judge innocent child. But be that not a marvel? You Hathorne, and he asks her so. “Sarah Good,” must see it, sir, it’s God’s work we do. So I’ll be says he, “what curse do you mumble that this girl gone every day for some time. I’m—I am an offi- must fall sick after turning you away?” And then cial of the court, they say, and I—[She has been she replies—[Mimicking an old crone.]5 —“Why, edging toward offstage.] your excellence, no curse at all. I only say my PROCTOR. I’ll official you! [He strides to the man- commandments; I hope I may say my command- tel, takes down the whip hanging there.] ments,” says she! MARY WARREN. [Terrified, but coming erect, striving ELIZABETH. And that’s an upright answer. for her authority.] I’ll not stand whipping any MARY WARREN. Aye, but then Judge Hathorne more! say, “Recite for us your commandments!”— ELIZABETH. [Hurriedly, as PROCTOR approaches.] [Leaning avidly toward them.]—and of all the Mary, promise now you’ll stay at home— ten she could not say a single one. She never knew no commandments, and they had her in a flat lie! Reading Strategy Recognizing Bias Do you think Proctor is speaking for Miller here? Explain.

5. A crone is a withered old woman. Big Idea The United States and the World How did Reading Strategy Recognizing Bias What is Miller’s this distorted logic subvert justice in the Salem witch trials opinion of Mary? How is it revealed in this passage? and in the McCarthy hearings?

1052 UNIT 6 FROM DEPRESSION TO COLD WAR

1047-1065 U06P2SEL-845481.indd 1052 4/14/06 11:51:27 PM MARY WARREN. [Backing from him, but keeping her PROCTOR. Sit you down.

erect posture, striving, striving for her way.] The ELIZABETH. She wants me dead, John, you know it! Devil’s loose in Salem, Mr. Proctor; we must discover where he’s hiding! PROCTOR. I say sit down! [She sits, trembling. He speaks quietly, trying to keep his wits.] Now we PROCTOR. I’ll whip the Devil out of you! [With must be wise, Elizabeth. whip raised he reaches out for her, and she streaks away and yells.] ELIZABETH. [With sarcasm, and a sense of being lost.] Oh, indeed, indeed! MARY WARREN. [Pointing at ELIZABETH.] I saved her life today! PROCTOR. Fear nothing. I’ll find Ezekiel Cheever. I’ll tell him she said it were all sport. [Silence. His whip comes down.] ELIZABETH. John, with so many in the jail, ELIZABETH. [Softly.] I am accused? more than Cheever’s help is needed now, I MARY WARREN. [Quaking.] Somewhat mentioned. think. Would you favor me with this? Go to But I said I never see no sign you ever sent your Abigail.

spirit out to hurt no one, and seeing I do live so PROCTOR. [His soul hardening as he senses . . .] closely with you, they dismissed it. What have I to say to Abigail?

ELIZABETH. Who accused me? ELIZABETH. [Delicately.] John—grant me this. MARY WARREN. I am bound by law, I cannot tell You have a faulty understanding of young girls. it. [To PROCTOR.] I only hope you’ll not be so sar- There is a promise made in any bed—

castical no more. Four judges and the King’s dep- PROCTOR. [Striving against his anger.] What uty sat to dinner with us but an hour ago. I—I promise! would have you speak civilly to me, from this out. ELIZABETH. Spoke or silent, a promise is surely PROCTOR. [In horror, muttering in disgust at her.] made. And she may dote on6 it now—I am sure she Go to bed. does—and thinks to kill me, then to take my place. MARY WARREN. [With a stamp of her foot.] I’ll not [PROCTOR’s anger is rising; he cannot speak.] be ordered to bed no more, Mr. Proctor! I am eighteen and a woman, however single! ELIZABETH. It is her dearest hope, John, I know it. There be a thousand names; why does she call PROCTOR. Do you wish to sit up? Then sit up. mine? There be a certain danger in calling such MARY WARREN. I wish to go to bed! a name—I am no Goody Good that sleeps in

PROCTOR. [In anger.] Good night, then! ditches, nor Osburn, drunk and half-witted. She’d dare not call out such a farmer’s wife but MARY WARREN. Good night. [Dissatisfied, uncer- there be monstrous profit in it. She thinks to tain of herself, she goes out. Wide-eyed, both, PROC- take my place, John. TOR and ELIZABETH stand staring.] PROCTOR. She cannot think it! [He knows it is ELIZABETH. [Quietly.] Oh, the noose, the noose true.] is up! ELIZABETH. [“Reasonably.”] John, have you ever PROCTOR. There’ll be no noose. shown her somewhat of contempt? She cannot ELIZABETH. She wants me dead. I knew all week pass you in the church but you will blush— it would come to this! PROCTOR. I may blush for my sin. PROCTOR. [Without conviction.] They dismissed it. You heard her say—

ELIZABETH. And what of tomorrow? She will cry me out until they take me! 6. To dote on is to show extreme affection for or to pay excessive attention to.

Big Idea The United States and the World Many U.S. citizens opposed to Senator McCarthy accused him of pro- Literary Element Stage Directions What does this stage moting his own career in hunting for Communists. What is direction indicate? similar about the situation described here?

ARTHUR MILLER 1053

1047-1065 U06P2SEL-845481.indd 1053 4/14/06 11:51:29 PM The Crucible, 1996.

ELIZABETH. I think she sees another meaning in PROCTOR. Woman, am I so base? Do you truly that blush. think me base?

PROCTOR. And what see you? What see you, ELIZABETH. I never called you base. Elizabeth? PROCTOR. Then how do you charge me with ELIZABETH. [“Conceding.”] I think you be some- such a promise? The promise that a stallion gives what ashamed, for I am there, and she so close. a mare I gave that girl!

PROCTOR. When will you know me, woman? ELIZABETH. Then why do you anger with me Were I stone I would have cracked for shame when I bid you break it? this seven month! PROCTOR. Because it speaks deceit, and I am ELIZABETH. Then go and tell her she’s a whore. honest! But I’ll plead no more! I see now your Whatever promise she may sense—break it, spirit twists around the single error of my life, John, break it. and I will never tear it free!

PROCTOR. [Between his teeth.] Good, then. I’ll go. ELIZABETH. [Crying out.] You’ll tear it free— [He starts for his rifle.] when you come to know that I will be your only wife, or no wife at all! She has an arrow in you ELIZABETH. [Trembling, fearfully.] Oh, how yet, John Proctor, and you know it well! unwillingly! [Quite suddenly, as though from the air, a figure PROCTOR. [Turning on her, rifle in hand.] I will appears in the doorway. They start slightly. It is curse her hotter than the oldest cinder in hell. But pray, begrudge me not my anger!

ELIZABETH. Your anger! I only ask you— Literary Element Stage Directions How does this stage direction help to develop plot and atmosphere?

Literary Element Stage Directions Why might Miller Vocabulary refer to the rifle in this stage direction? base (bas¯ ) adj. morally low; dishonorable

1054 UNIT 6 FROM DEPRESSION TO COLD WAR 20TH CENTURY FOX/THE KOBAL COLLECTION

1047-1065 U06P2SEL-845481.indd 1054 4/14/06 11:51:31 PM MR. HALE. He is different now—drawn a little, ELIZABETH. [With an attempt at a laugh.] You will and there is a quality of deference, even of guilt, never believe, I hope, that Rebecca trafficked about his manner now.] with the Devil.

HALE. Good evening. HALE. Woman, it is possible.

PROCTOR. [Still in his shock.] Why, Mr. Hale! PROCTOR. [Taken aback.] Surely you cannot Good evening to you, sir. Come in, come in. think so.

HALE. [To ELIZABETH.] I hope I do not startle you. HALE. This is a strange time, Mister. No man may longer doubt the powers of the dark are gathered ELIZABETH. No, no, it’s only that I heard no in monstrous attack upon this village. There is too horse— much evidence now to deny it. You will agree, sir? HALE. You are Goodwife Proctor. PROCTOR. [Evading.] I—have no knowledge in PROCTOR. Aye; Elizabeth. that line. But it’s hard to think so pious7 a HALE. [Nods, then.] I hope you’re not off to bed yet. woman be secretly a Devil’s bitch after seventy year of such good prayer. PROCTOR. [Setting down his gun.] No, no. [HALE 8 comes further into the room. And PROCTOR, to HALE. Aye. But the Devil is a wily one, you explain his nervousness.] We are not used to visitors cannot deny it. However, she is far from accused, after dark, but you’re welcome here. Will you sit and I know she will not be. [Pause.] I thought, you down, sir? sir, to put some questions as to the Christian character of this house, if you’ll permit me. HALE. I will. [He sits.] Let you sit, Goodwife Proctor. PROCTOR. [Coldly, resentful.] Why, we—have no fear of questions, sir. [She does, never letting him out of her sight. There is a pause as HALE looks about the HALE. Good, then. [He makes himself more com- room.] fortable.] In the book of record that Mr. Parris keeps, I note that you are rarely in the church on PROCTOR. [To break the silence.] Will you drink Sabbath Day. cider, Mr. Hale? PROCTOR. No, sir, you are mistaken. HALE. No, it rebels my stomach; I have some further traveling yet tonight. Sit you down, sir. HALE. Twenty-six time in seventeen month, sir. [PROCTOR sits.] I will not keep you long, but I I must call that rare. Will you tell me why you have some business with you. are so absent?

PROCTOR. Business of the court? PROCTOR. Mr. Hale, I never knew I must account to that man for I come to church or stay HALE. No—no, I come of my own, without the at home. My wife were sick this winter. court’s authority. Hear me. [He wets his lips.] I know not if you are aware, but your wife’s name HALE. So I am told. But you, Mister, why could is—mentioned in the court. you not come alone?

PROCTOR. We know it, sir. Our Mary Warren PROCTOR. I surely did come when I could, and told us. We are entirely amazed. when I could not I prayed in this house. HALE. HALE. I am a stranger here, as you know. And in Mr. Proctor, your house is not a church; 9 my ignorance I find it hard to draw a clear opin- your theology must tell you that. ion of them that come accused before the court. And so this afternoon, and now tonight, I go 7. Pious means “having a sincere reverence for God.” from house to house—I come now from Rebecca 8. Wily means “crafty” or “sly and full of tricks.” Nurse’s house and— 9. Here, Hale uses the term theology to refer to Proctor’s own religious beliefs. ELIZABETH. [Shocked.] Rebecca’s charged! Big Idea The United States and the World Why do HALE. God forbid such a one be charged. She is, you think that Reverend Hale has come to believe that witch- however—mentioned somewhat. craft is responsible for the girls’ strange behavior? How does this kind of unsubstantiated belief relate to the McCarthy era?

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1047-1065 U06P2SEL-845481.indd 1055 4/14/06 11:51:33 PM 1996. The Crucible,

PROCTOR. It does, sir, it does; and it tells me HALE. [Thinks, then.] And yet, Mister, a that a minister may pray to God without he have Christian on Sabbath Day must be in church. golden candlesticks upon the altar. [Pause.] Tell me—you have three children?

HALE. What golden candlesticks? PROCTOR. Aye. Boys.

PROCTOR. Since we built the church there were HALE. How comes it that only two are baptized? 10 pewter candlesticks upon the altar; Francis PROCTOR. [Starts to speak, then stops, then, as Nurse made them, y’know, and a sweeter hand though unable to restrain this.] I like it not that Mr. never touched the metal. But Parris came, and Parris should lay his hand upon my baby. I see no for twenty week he preach nothin’ but golden light of God in that man. I’ll not conceal it. candlesticks until he had them. I labor the earth from dawn of day to blink of night, and I HALE. I must say it, Mr. Proctor; that is not for tell you true, when I look to heaven and see my you to decide. The man’s ordained, therefore the money glaring at his elbows—it hurt my prayer, light of God is in him. sir, it hurt my prayer. I think, sometimes, the PROCTOR. [Flushed with resentment but trying to man dreams cathedrals, not clapboard meetin’ smile.] What’s your suspicion, Mr. Hale? houses.

Reading Strategy Recognizing Bias In a choice between 10. Pewter is an alloy, or a substance composed of two or authority and the individual conscience, which side do you more metals or of a metal and a nonmetal. Tin is the main think Arthur Miller would take? Explain. metal in pewter, and it is often mixed with lead.

1056 UNIT 6 FROM DEPRESSION TO COLD WAR 20TH CENTURY FOX/THE KOBAL COLLECTION

1047-1065 U06P2SEL-845481.indd 1056 4/14/06 11:51:35 PM HALE. No, no, I have no— Sabbath Day and keep it holy. [Pause. Then.]

PROCTOR. I nailed the roof upon the church, I Thou shalt honor thy father and mother. Thou hung the door— shalt not bear false witness. [He is stuck. He counts back on his fingers, knowing one is missing.] HALE. Oh, did you! That’s a good sign, then. Thou shalt not make unto thee any graven PROCTOR. It may be I have been too quick to image. bring the man to book, but you cannot think HALE. You have said that twice, sir. we ever desired the destruction of religion. I think that’s in your mind, is it not? PROCTOR. [Lost.] Aye. [He is flailing for it.]

HALE. [Not altogether giving way.] I—have—there ELIZABETH. [Delicately.] Adultery, John. is a softness in your record, sir, a softness. PROCTOR. [As though a secret arrow had pained his HALE ELIZABETH. I think, maybe, we have been too heart.] Aye. [Trying to grin it away—to .] You hard with Mr. Parris. I think so. But sure we see, sir, between the two of us we do know them never loved the Devil here. all. [HALE only looks at PROCTOR, deep in his attempt to define this man. PROCTOR grows more HALE. [Nods, deliberating this. Then, with the uneasy.] I think it be a small fault. voice of one administering a secret test.] Do you know your Commandments, Elizabeth? HALE. Theology, sir, is a fortress; no crack in a fortress may be accounted small. [He rises; he ELIZABETH. [Without hesitation, even eagerly.] I seems worried now. He paces a little, in deep surely do. There be no mark of blame upon my thought.] life, Mr. Hale. I am a covenanted Christian woman. PROCTOR. There be no love for Satan in this house, Mister. HALE. And you, Mister? HALE. I pray it, I pray it dearly. [He looks to both PROCTOR. [A trifle unsteadily.] I—am sure I do, sir. of them, an attempt at a smile on his face, but his HALE. [Glances at her open face, then at JOHN, misgivings are clear.] Well, then—I’ll bid you then.] Let you repeat them, if you will. good night.

PROCTOR. The Commandments. ELIZABETH. [Unable to restrain herself.] Mr. Hale. HALE. Aye. [He turns.] I do think you are suspecting me somewhat? Are you not? PROCTOR. [Looking off, beginning to sweat.] Thou shalt not kill. HALE. [Obviously disturbed—and evasive.] Goody Proctor, I do not judge you. My duty is to HALE. Aye. add what I may to the godly wisdom of the court. PROCTOR. [Counting on his fingers.] Thou shalt I pray you both good health and good fortune. [To not steal. Thou shalt not covet thy neighbor’s JOHN.] Good night, sir. [He starts out.] goods, nor make unto thee any graven image.11 ELIZABETH. [With a note of desperation.] I think Thou shalt not take the name of the Lord in you must tell him, John. vain; thou shalt have no other gods before me. [With some hesitation.] Thou shalt remember the HALE. What’s that? ELIZABETH. [Restraining a call.] Will you tell him?

11. Here, a graven image is an idol. [Slight pause. HALE looks questioningly at JOHN.]

Big Idea The United States and the World The PROCTOR. [With difficulty.] I—I have no witness Crucible was first produced while the House Un-American and cannot prove it, except my word be taken. Activities Committee (HUAC) was quizzing people about their But I know the children’s sickness had naught to Communist sympathies. What connection do you see do with witchcraft. between that investigation and Mr. Hale’s line of questioning?

Vocabulary

covet (kuv it) v. to desire, especially to an excessive Literary Element Stage Directions What is the signifi- degree, something belonging to another cance of this stage direction?

ARTHUR MILLER 1057

1047-1065 U06P2SEL-845481.indd 1057 4/14/06 11:51:38 PM HALE. [Stopped, struck.] Naught to do—? that troubles me. It’s said you hold no belief

PROCTOR. Mr. Parris discovered them sportin’ in that there may even be witches in the world. Is the woods. They were startled and took sick. that true, sir? [Pause.] PROCTOR. [He knows this is critical, and is striving against his disgust with HALE and with himself for HALE. Who told you this? even answering.] I know not what I have said, I PROCTOR. [Hesitates, then.] Abigail Williams. may have said it. I have wondered if there be HALE. Abigail! witches in the world—although I cannot believe they come among us now. PROCTOR. Aye. HALE. Then you do not believe— HALE. [His eyes wide.] Abigail Williams told you it had naught to do with witchcraft! PROCTOR. I have no knowledge of it; the Bible speaks of witches, and I will not deny them. PROCTOR. She told me the day you came, sir. HALE. And you, woman? HALE. [Suspiciously.] Why—why did you keep this? ELIZABETH. I—I cannot believe it. PROCTOR. I never knew until tonight that the world is gone daft12 with this nonsense. HALE. [Shocked.] You cannot!

HALE. Nonsense! Mister, I have myself examined PROCTOR. Elizabeth, you bewilder him! Tituba, Sarah Good, and numerous others that ELIZABETH. [To HALE.] I cannot think the Devil have confessed to dealing with the Devil. They may own a woman’s soul, Mr. Hale, when she keeps have confessed it. an upright way, as I have. I am a good woman, I PROCTOR. And why not, if they must hang for den- know it; and if you believe I may do only good yin’ it? There are them that will swear to anything work in the world, and yet be secretly bound to before they’ll hang; have you never thought of that? Satan, then I must tell you, sir, I do not believe it. HALE. I have. I—I have indeed. [It is his own sus- HALE. But, woman, you do believe there are picion, but he resists it. He glances at ELIZABETH, witches in— then at JOHN.] And you—would you testify to ELIZABETH. If you think that I am one, then I this in court? say there are none.

PROCTOR. I—had not reckoned with goin’ into HALE. You surely do not fly against the Gospel, court. But if I must I will. the Gospel— HALE. Do you falter here? PROCTOR. She believe in the Gospel, every word! PROCTOR. I falter nothing, but I may wonder ELIZABETH. Question Abigail Williams about the if my story will be credited in such a court. I Gospel, not myself! do wonder on it, when such a steady-minded minister as you will suspicion such a woman [HALE stares at her.] that never lied, and cannot, and the world PROCTOR. She do not mean to doubt the Gospel, knows she cannot! I may falter somewhat, sir, you cannot think it. This be a Christian house, Mister; I am no fool. sir, a Christian house.

HALE. [Quietly—it has impressed him.] Proctor, HALE. God keep you both; let the third child be let you open with me now, for I have a rumor quickly baptized, and go you without fail each Sunday in to Sabbath prayer; and keep a solemn, quiet way among you. I think— 12. Daft means “without sense or reason,” “crazy,” or “silly.” [GILES COREY appears in doorway.] Literary Element Stage Directions Why do you think that Miller included a pause here? Reading Strategy Recognizing Bias Judging from this Big Idea The United States and the World What does remark and from Elizabeth’s character, where do you think Proctor mean by “such a court,” and why would he hesitate Miller would have stood on the issue of feminism and to tell the truth? women’s rights? Explain.

1058 UNIT 6 FROM DEPRESSION TO COLD WAR

1047-1065 U06P2SEL-845481.indd 1058 4/14/06 11:51:40 PM Confrontation, 1964. Ben Shahn. Watercolor on rice paper mounted on artist’s board, 24 x 32 in. ©Estate of Ben Shahn/Licensed by VAGA, New York, NY/The Lane Collection. Courtesy Museum of Fine Arts, Boston. Viewing the Art: How might this painting convey the confrontation between John Proctor and Mr. Hale?

GILES. John! FRANCIS. My wife is the very brick and mortar of the church, Mr. Hale—[Indicating GILES.]— PROCTOR. Giles! What’s the matter? and Martha Corey, there cannot be a woman GILES. They take my wife. closer yet to God than Martha.

[FRANCIS NURSE enters.] HALE. How is Rebecca charged, Mr. Nurse?

GILES. And his Rebecca! FRANCIS. [With a mocking, half-hearted laugh.] For murder, she’s charged! [Mockingly quoting the PROCTOR. [To FRANCIS.] Rebecca’s in the jail! warrant.] “For the marvelous and supernatural

FRANCIS. Aye, Cheever come and take her in murder of Goody Putnam’s babies.” What am I his wagon. We’ve only now come from the jail, to do, Mr. Hale? and they’ll not even let us in to see them. HALE. [Turns from FRANCIS, deeply troubled, then.] Believe me, Mr. Nurse, if Rebecca Nurse be ELIZABETH. They’ve surely gone wild now, Mr. Hale! Reading Strategy Recognizing Bias How do you think FRANCIS. [Going to HALE.] Reverend Hale! Can Miller wants his audience to react to Francis’s mockery? you not speak to the Deputy Governor? I’m sure

he mistakes these people— Literary Element Stage Directions How do these words in the stage direction affect Hale’s speech? HALE. Pray calm yourself, Mr. Nurse.

ARTHUR MILLER 1059 Courtesy Museum of Fine Arts, Boston/The Lane Collection. ©Estate of Ben Shahn/Licensed by VAGA, New York, NY

1047-1065 U06P2SEL-845481.indd 1059 4/14/06 11:51:43 PM tainted,13 then nothing’s left to stop the whole CHEEVER. Good evening to you, Proctor.

green world from burning. Let you rest upon the PROCTOR. Why, Mr. Cheever. Good evening. justice of the court; the court will send her home, I know it. CHEEVER. Good evening, all. Good evening, Mr. Hale. FRANCIS. You cannot mean she will be tried in court! PROCTOR. I hope you come not on business of the court. HALE. [Pleading.] Nurse, though our hearts break, we cannot flinch; these are new times, sir. There CHEEVER. I do, Proctor, aye. I am clerk of the court is a misty plot afoot so subtle we should be crimi- now, y’know. nal to cling to old respects and ancient friend- [Enter MARSHAL HERRICK, a man in his early thir- ships. I have seen too many frightful proofs in ties, who is somewhat shamefaced at the moment.] court—the Devil is alive in Salem, and we dare GILES. It’s a pity, Ezekiel, that an honest tailor not quail to follow wherever the accusing finger might have gone to Heaven must burn in Hell. points! You’ll burn for this, do you know it?

PROCTOR. [Angered.] How may such a woman CHEEVER. You know yourself I must do as I’m murder children? told. You surely know that, Giles. And I’d as 15 HALE. [In great pain.] Man, remember, until an hour lief you’d not be sending me to Hell. I like before the Devil fell, God thought him beautiful in not the sound of it, I tell you; I like not the Heaven.14 sound of it. [He fears PROCTOR, but starts to reach inside his coat.] Now believe me, Proctor, GILES. I never said my wife were a witch, Mr. Hale; I only said she were reading books! how heavy be the law, all its tonnage I do carry on my back tonight. [He takes out a warrant.] HALE. Mr. Corey, exactly what complaint were I have a warrant for your wife. made on your wife? PROCTOR. [To HALE.] You said she were not GILES. That bloody mongrel Walcott charge her. charged! Y’see, he buy a pig of my wife four or five year ago, and the pig died soon after. So he come HALE. I know nothin’ of it. [To CHEEVER.] When dancin’ in for his money back. So my Martha, were she charged? she says to him, “Walcott, if you haven’t the wit CHEEVER. I am given sixteen warrant tonight, to feed a pig properly, you’ll not live to own sir, and she is one. many,” she says. Now he goes to court and claims PROCTOR. Who charged her? that from that day to this he cannot keep a pig CHEEVER. Why, Abigail Williams charge her. alive for more than four weeks because my Martha bewitch them with her books! PROCTOR. On what proof, what proof? [Enter EZEKIEL CHEEVER. A shocked silence.] CHEEVER. [Looking about the room.] Mr. Proctor, I have little time. The court bid me search your house, but I like not to search a house. So will you 13. Something tainted is spoiled, inferior, or corrupted. hand me any poppets that your wife may keep here? 14. [before the Devil fell . . . Heaven] According to the Bible, PROCTOR. Poppets? the devil was heaven’s highest angel before he was driven out because of his excessive pride.

Big Idea The United States and the World How is Hale’s attitude here similar to that of Senator McCarthy in 15. As lief (le¯v) means “prefer that.” the 1950s? Reading Strategy Recognizing Bias Do you think that Giles is speaking for Miller here? Explain. Literary Element Stage Directions Why is there a “shocked silence” when Ezekiel enters? Big Idea The United States and the World Cheever excuses himself by explaining that he is only carrying out Vocabulary orders. What other historical events is Miller reminding his subtle (sut əl) adj. not open, direct, or obvious; crafty; sly audience of here? Explain.

1060 UNIT 6 FROM DEPRESSION TO COLD WAR

1047-1065 U06P2SEL-845481.indd 1060 4/14/06 11:51:46 PM ELIZABETH. I never kept no poppets, not since I HALE. Why? What meanin’ has it? were a girl. CHEEVER. [Wide-eyed, trembling.] The girl, CHEEVER. [Embarrassed, glancing toward the man- the Williams girl, Abigail Williams, sir. tel where sits MARY WARREN’s poppet.] I spy a pop- She sat to dinner in Reverend Parris’s house pet, Goody Proctor. tonight, and without word nor warnin’ she ELIZABETH. Oh! [Going for it.] Why, this is Mary’s. falls to the floor. Like a struck beast, he says, and screamed a scream that a bull would weep CHEEVER. [Shyly.] Would you please to give it to me? to hear. And he goes to save her, and, stuck two inches in the flesh of her belly, he draw ELIZABETH. [Handing it to him, asks HALE.] Has a needle out. And demandin’ of her how she the court discovered a text in poppets now? come to be so stabbed, she—[To PROCTOR CHEEVER. [Carefully holding the poppet.] Do you now.]—testify it were your wife’s familiar spirit keep any others in this house? pushed it in.

PROCTOR. No, nor this one either till tonight. PROCTOR. Why, she done it herself! [To HALE.] I What signifies a poppet? hope you’re not takin’ this for proof, Mister! CHEEVER. Why, a poppet—[He gingerly turns the [HALE, struck by the proof, is silent.] poppet over.]—a poppet may signify—Now, woman, will you please to come with me? CHEEVER. ’Tis hard proof! [To HALE.] I find PROCTOR. She will not! [To ELIZABETH.] Fetch here a poppet Goody Proctor keeps. I have Mary here. found it, sir. And in the belly of the poppet a needle’s stuck. I tell you true, Proctor, I never CHEEVER. [Ineptly reaching toward ELIZABETH.] warranted to see such proof of Hell, and I bid No, no, I am forbid to leave her from my sight. you obstruct me not, for I— PROCTOR. [Pushing his arm away.] You’ll leave her out of sight and out of mind, Mister. Fetch [Enter ELIZABETH with MARY WARREN. PROC- Mary, Elizabeth. [ELIZABETH goes upstairs.] TOR, seeing MARY WARREN, draws her by the arm to HALE.] HALE. What signifies a poppet, Mr. Cheever? PROCTOR. CHEEVER. [Turning the poppet over in his hands.] Here now! Mary, how did this pop- Why, they say it may signify that she—[He has pet come into my house? lifted the poppet’s skirt, and his eyes widen in aston- MARY WARREN. [Frightened for herself, her voice ished fear.] Why, this, this— very small.] What poppet’s that, sir?

PROCTOR. [Reaching for the poppet.] What’s there? PROCTOR. [Impatiently, pointing at the doll in CHEEVER. Why—[He draws out a long needle from CHEEVER’s hand.] This poppet, this poppet. the poppet.]—it is a needle! Herrick, Herrick, it is MARY WARREN. [Evasively, looking at it.] Why, a needle! I—I think it is mine. [HERRICK comes toward him.] PROCTOR. It is your poppet, is it not? PROCTOR. [Angrily, bewildered.] And what signi- MARY WARREN. [Not understanding the direction fies a needle! of this.] It—is, sir. CHEEVER. [His hands shaking.] Why, this go hard with her, Proctor, this—I had my doubts, Proctor, I had my doubts, but here’s calamity. [To HALE, showing the needle.] You see it, sir, it is a needle! Literary Element Stage Directions What does this stage direction suggest about Hale?

Big Idea The United States and the World Making the Vocabulary accused person prove a negative statement to establish ineptly (i nept le¯) adv. incompetently; awkwardly; innocence is typical of a miscarriage of justice. What is clumsily Elizabeth going to be asked to prove here?

ARTHUR MILLER 1061

1047-1065 U06P2SEL-845481.indd 1061 4/14/06 11:51:48 PM 1 1954, 1954. Clyfford Still. Oil on canvas, 9 ft. 5 /2 in. x 13 ft. Albright-Knox Art Gallery, Buffalo, NY. Gift of Seymour H. Knox. Viewing the Art: How, in your opinion, does this painting express the mood of Salem’s community in act 2?

PROCTOR. And how did it come into this May it be, perhaps, that someone conjures you house? even now to say this?

MARY WARREN. [Glancing about at the avid MARY WARREN. Conjures me? Why, no, sir, I am faces.] Why—I made it in the court, sir, and— entirely myself, I think. Let you ask Susanna give it to Goody Proctor tonight. Walcott—she saw me sewin’ it in court. [Or better still.] Ask Abby, Abby sat beside me when I made it. PROCTOR. [To HALE.] Now, sir—do you have it? PROCTOR. [To HALE, of CHEEVER.] Bid him HALE. Mary Warren, a needle have been begone. Your mind is surely settled now. Bid found inside this poppet. him out, Mr. Hale.

MARY WARREN. [Bewildered.] Why, I meant no ELIZABETH. What signifies a needle? harm by it, sir. HALE. Mary—you charge a cold and cruel PROCTOR. [Quickly.] You stuck that needle in murder on Abigail. yourself? MARY WARREN. Murder! I charge no— MARY WARREN. I—I believe I did, sir, I— HALE. Abigail were stabbed tonight; a needle PROCTOR. [To HALE.] What say you now? were found stuck into her belly—

HALE. [Watching MARY WARREN closely.] Child, ELIZABETH. And she charges me? you are certain this be your natural memory? HALE. Aye.

1062 UNIT 6 FROM DEPRESSION TO COLD WAR Albright-Knox Art Gallery, Buffalo. Gift of Seymour H. Knox, 1957

1047-1065 U06P2SEL-845481.indd 1062 4/14/06 11:51:51 PM ELIZABETH. [Her breath knocked out.] Why—! The ELIZABETH. John—I think I must go with them. girl is murder! She must be ripped out of the world! [He cannot bear to look at her.] Mary, there is CHEEVER. [Pointing at ELIZABETH.] You’ve heard that, bread enough for the morning; you will bake, in sir! Ripped out of the world! Herrick, you heard it! the afternoon. Help Mr. Proctor as you were his daughter—you owe me that, and much more. PROCTOR. [Suddenly snatching the warrant out of [She is fighting her weeping. To PROCTOR.] When CHEEVER’s hands.] Out with you. the children wake, speak nothing of witchcraft— CHEEVER. Proctor, you dare not touch the it will frighten them. [She cannot go on.] warrant. PROCTOR. I will bring you home. I will bring PROCTOR. [Ripping the warrant.] Out with you! you soon. CHEEVER. You’ve ripped the Deputy Governor’s ELIZABETH. Oh, John, bring me soon! warrant, man! PROCTOR. I will fall like an ocean on that court! PROCTOR. Damn the Deputy Governor! Out of my house! Fear nothing, Elizabeth. HALE. Now, Proctor, Proctor! ELIZABETH. [With great fear.] I will fear nothing. [She looks about the room, as though to fix it PROCTOR. Get y’gone with them! You are a bro- in her mind.] Tell the children I have gone to ken minister. visit someone sick. HALE. Proctor, if she is innocent, the court— [She walks out the door, HERRICK and CHEEVER PROCTOR. If she is innocent! Why do you behind her. For a moment, PROCTOR watches never wonder if Parris be innocent, or Abigail? from the doorway. The clank of chain is heard.] Is the accuser always holy now? Were they born this morning as clean as God’s fingers? PROCTOR. Herrick! Herrick, don’t chain her! I’ll tell you what’s walking Salem—vengeance [He rushes out the door. From outside.] Damn you, is walking Salem. We are what we always were man, you will not chain her! Off with them! I’ll in Salem, but now the little crazy children are not have it! I will not have her chained! jangling the keys of the kingdom, and common [There are other men’s voices against his. HALE, vengeance writes the law! This warrant’s ven- in a fever of guilt and uncertainty, turns from the geance! I’ll not give my wife to vengeance! door to avoid the sight; MARY WARREN bursts into ELIZABETH. I’ll go, John— tears and sits weeping. GILES COREY calls to HALE.] PROCTOR. You will not go! HERRICK. I have nine men outside. You cannot GILES. And yet silent, minister? It is fraud, you keep her. The law binds me, John, I cannot budge. know it is fraud! What keeps you, man? PROCTOR. [To HALE, ready to break him.] Will [PROCTOR is half braced, half pushed into the you see her taken? room by two deputies and HERRICK.] HALE. Proctor, the court is just— PROCTOR. I’ll pay you, Herrick, I will surely pay you! PROCTOR. Pontius Pilate! God will not let you wash your hands of this!16 HERRICK. [Panting.] In God’s name, John, I cannot help myself. I must chain them all. Now let you keep inside this house till I am gone! 16. [Pontius Pilate . . . this!] According to the Christian Bible, [He goes out with his deputies.] the Roman official Pontius Pilate consented to the [PROCTOR stands there, gulping air. Horses and a crucifixion of Jesus despite the lack of formal charges or evidence. Pilate then washed his hands and declared wagon creaking are heard.] himself innocent of shedding Jesus’ blood. HALE. [In great uncertainty.] Mr. Proctor—

Literary Element Stage Directions What does this stage PROCTOR. Out of my sight! direction mean?

Reading Strategy Recognizing Bias Do you think that Literary Element Stage Directions How do the stage Proctor is expressing Miller’s views in this passage? Explain. directions contradict Elizabeth’s statement?

ARTHUR MILLER 1063

1047-1065 U06P2SEL-845481.indd 1063 4/14/06 11:51:53 PM 5 3 Polar Stampede, 1960. Lee Krasner. Oil on cotton duck, 93 /8 x 159 /4 in. Courtesy of The Robert Miller Gallery, NY/©2000 Pollock-Krasner Foundation/Artists Rights Society (ARS), New York. Viewing the Art: In what ways might this painting echo John Proctor’s words, “And the wind, God’s icy wind, will blow!”?

HALE. Charity, Proctor, charity. What I have strikes upon the world. [He goes to GILES and heard in her favor, I will not fear to testify in FRANCIS.] Let you counsel among yourselves; court. God help me, I cannot judge her guilty or think on your village and what may have drawn innocent—I know not. Only this consider: the from heaven such thundering wrath upon you world goes mad, and it profit nothing you should all. I shall pray God open up our eyes. lay the cause to the vengeance of a little girl. [HALE goes out.] PROCTOR. You are a coward! Though you be ord- FRANCIS. [Struck by HALE’s mood.] I never heard ained in God’s own tears, you are a coward now! no murder done in Salem.

HALE. Proctor, I cannot think God be provoked PROCTOR. [He has been reached by HALE’S words.] so grandly by such a petty cause. The jails are Leave me, Francis, leave me. packed—our greatest judges sit in Salem now— GILES. [Shaken.] John—tell me, are we lost? and hangin’s promised. Man, we must look to cause proportionate. Were there murder done, PROCTOR. Go home now, Giles. We’ll speak on perhaps, and never brought to light? Abomi- it tomorrow. nation? Some secret blasphemy17 that stinks to GILES. Let you think on it. We’ll come early, eh? Heaven? Think on cause, man, and let you help PROCTOR. Aye. Go now, Giles. me to discover it. For there’s your way, believe it, there is your only way, when such confusion GILES. Good night, then.

Literary Element Stage Directions Why is Proctor 17. Blasphemy is an act or expression showing contempt for “reached” by Hale’s words? God or anything sacred.

1047-1065 U06P2SEL-845481.indd 1064 4/14/06 11:51:56 PM Man’s Heart, John Ritter. Images.com/CORBIS

[GILES COREY goes out. After a moment.] MARY WARREN. [In terror.] I cannot, they’ll turn on me— MARY WARREN. [In a fearful squeak of a voice.] Mr. Proctor, very likely they’ll let her come home [PROCTOR strides and catches her, and she is once they’re given proper evidence. repeating, “I cannot, I cannot!”]

PROCTOR. You’re coming to the court with me, PROCTOR. My wife will never die for me! I will Mary. You will tell it in the court. bring your guts into your mouth but that good- MARY WARREN. I cannot charge murder on ness will not die for me! Abigail. MARY WARREN. [Struggling to escape him.] I cannot PROCTOR. [Moving menacingly toward her.] You do it, I cannot! will tell the court how that poppet come here and who stuck the needle in. PROCTOR. [Grasping her by the throat as though he would strangle her.] Make your peace with it! MARY WARREN. She’ll kill me for sayin’ that! Now Hell and Heaven grapple on our backs, [PROCTOR continues toward her.] Abby’ll charge and all our old pretense is ripped away—make 18 lechery on you, Mr. Proctor! your peace! [He throws her to the floor, where PROCTOR. [Halting.] She’s told you! she sobs, “I cannot, I cannot . . .” And now, half MARY WARREN. I have known it, sir. She’ll ruin to himself, staring, and turning to the open door.] you with it, I know she will. Peace. It is a providence, and no great change; we are only what we always were, but naked PROCTOR. [Hesitating, and with deep hatred of him- now. [He walks as though toward a great horror, self.] Good. Then her saintliness is done with. facing the open sky.] Aye, naked! And the wind, [MARY backs from him.] We will slide together into God’s icy wind, will blow! our pit; you will tell the court what you know. [And she is over and over again sobbing, “I cannot, I cannot, I cannot . . .”] 18. Lechery means “excessive indulgence of sexual desire.” In Salem, this was sinful and, therefore, illegal. THE CURTAIN FALLS Reading Strategy Recognizing Bias How does Miller gain the audience’s sympathy and admiration for Proctor in this speech?

ARTHUR MILLER 1065

1047-1065 U06P2SEL-845481.indd 1065 4/14/06 11:52:01 PM AFTER YOU READ

RESPONDING AND THINKING CRITICALLY Respond Analyze and Evaluate 1. What event in Act Two surprised you the most? 5. (a)Analyze how events in Salem have spiraled out of Explain. control between Acts One and Two. (b)Do you find what has happened believable? Explain. Recall and Interpret 6. (a)What questions does Hale ask the Proctors in 2. (a)Why might Proctor have previously hesitated to order to test their virtue? (b)Do his methods strike tell the members of the court what Abigail told him you as reasonable and justified? Explain. about witchcraft? (b)What does this hesitation suggest about his character? 7. (a)How does John Proctor’s behavior compare with that of his wife? (b)Which character do you think 3. (a)What does the court accept as evidence that behaves more wisely? Explain. someone is a witch? (b)Which characters seem to consider this evidence valid, and which do not? Connect (c)What do you think accounts for their differences of opinion? 8. Big Idea The United States and the World (a)How does fear inﬂ uence the way people behave in 4. (a)Why does Hale come to the Proctors’ house? Act Two of The Crucible? (b)Give an example from (b)How does Hale seem to feel about his own your own experience or from your knowledge judgment and the court’s? Explain. of current events of how the power of fear can affect a person’s ability to make sound decisions.

LITERARY ANALYSIS READING AND VOCABULARY

Literary Element Stage Directions Reading Strategy Recognizing Bias The reader of a play must imagine what the audience By the words and actions of their characters, playin a theater can see. Stage directions can be particu- wrights can often express opinions as clearly as if they larly useful to the reader as well as to the actors. They were lecturing in a classroom. Think of the action you help the reader visualize what is happening on stage have witnessed in Act Two of The Crucible. Which by describing the actions, expressions, and even the of his characters does Arthur Miller clearly want you tone of voice used by the actors. to admire? Which are not so admirable in his eyes? 1. What do you learn about the characters’ actions from the stage directions at the start of Act Two? Vocabulary Practice 2. How do the stage directions for Proctor’s last speech Practice with Analogies Find the vocabulary in Act Two help you visualize the actor’s delivery? word that best completes each analogy. 1. reprimand : scold :: ﬂ ee : _____ Writing About Literature a. approach b. escape c. lecture Analyze Internal Conflict Reverend Hale is a man in 2. base : noble :: polite : _____ a state of internal conflict. Write four or five paragraphs a. stupid b. mannerly c. rude describing why he is troubled and how the events of 3. covet : possession :: celebrate : _____ Act Two have affected him. Be sure to support your a. victory b. grief c. weekend analysis with examples from the play. 4. subtle : clever :: dull : _____ a. miserable b. boring c. ingenious

Web Activities For eFlashcards, 5. ineptly : inexperience :: calmly : _____ Selection Quick Checks, and other Web activities, go to a. conﬁ dence b. intelligence c. age www.glencoe.com.

1066 UNIT 6 FROM DEPRESSION TO COLD WAR

1046-1066 U6P2APP-845481.indd 1066 4/14/06 11:40:27 PM BEFORE YOU READ The Crucible, Act Three

LITERATURE PREVIEW READING PREVIEW

Building Background Reading Strategy Evaluating Argument Arthur Miller expressed pride in The Crucible, which Argument is a form of persuasion. While some deals with the tragic combination of mass hysteria and persuasive writing depends on emotional appeals, social and political repression. Deciding to produce the argument depends on logic, reasoning, and evidence. play is often a response to similar circumstances. “I The authorities and individual characters in The can almost tell what the political situation in a country Crucible often cite reasons for acting and thinking is when the play is suddenly a hit there,” Miller wrote, the way they do. It is up to you, the reader, to form “—it is either a warning of tyranny on the way or a an opinion about—or evaluate—these arguments. reminder of tyranny just past.” When The Crucible played in China, one Chinese writer told Miller that she Reading Tip: Taking Notes As you read, use a chart was sure the play could have been written only by similar to the one below to record faulty logic, ques- someone who had suffered persecution in China’s tionable arguments, or flawed evidence. Write your Cultural Revolution. evaluations in the right-hand column. Setting Purposes for Reading Example Evaluation Literary Element Plot p. 1069 Probably true. Puritans Plot refers to the sequence of events in a short story, Giles thinks his were suspicious of all novel, or drama. Most plots deal with a problem and wife is arrested for reading material except develop around a conflict, or struggle between oppos- reading books. the Bible. ing forces. An external conflict is a struggle between a character and an outside force, such as another character, society, nature, or fate. An internal conflict takes place within the mind of a character who struggles with opposing feelings. The plot begins with exposi- Vocabulary tion, or introduction to the story’s characters, setting, vile (v ¯ l ) adj. evil; foul; repulsive; degrading; and situation. The rising action adds complications to p. 1071 A vile crime must be punished. the conflicts, leading to the climax, or the point of highest emotional pitch. Falling action is the logical immaculate (i mak yə lit) adj. unblemished; result of the climax, and the denouement, or resolu- flawless; pure; p. 1076 Our tenants left the apart- tion, presents the final outcome. ment in immaculate condition. As you read Act Three, notice how Miller intensifies the guile (¯ l ) n . cunning; deceit; slyness; conflicts he introduced in the previous two acts. p. 1078 Through a combination of charm and guile, he persuaded his grandmother to include him in her will. See Literary Terms Handbook, p. R13. • contemplation (kon´ təm pla¯ shən) n . the act of thinking about something long and seriously; p. 1079 Our summer cabin is the perfect place for reading and contemplation.

unperturbed (un pər turbd) adj. undisturbed; calm; p. 1084 Unperturbed by his seemingly Interactive Literary Elements stressful day, John slept soundly. Handbook To review or learn more about the literary elements, go to www.glencoe.com.

OBJECTIVES In studying this selection, you will focus on the following: • interpreting context clues • analyzing plot • connecting to contemporary issues • evaluating argument

ARTHUR MILLER 1067

1067-1088 U6P2APP-845481.indd 1067 1/10/07 3:40:59 PM Act Three

[The vestry room of the Salem meeting house, now [A roaring goes up from the people.] serving as the anteroom1 of the General Court. HATHORNE’S VOICE. Arrest him, excellency! As the curtain rises, the room is empty, but for sunlight pouring through two high windows in the back GILES’ VOICE. I have evidence. Why will you not wall. The room is solemn, even forbidding. Heavy hear my evidence? beams jut out, boards of random widths make up [The door opens and GILES is half carried into the the walls. At the right are two doors leading into the vestry room by HERRICK.] meeting house proper, where the court is being held. GILES. Hands off, damn you, let me go! At the left another door leads outside. There is a plain bench at the left, and another at the HERRICK. Giles, Giles! right. In the center a rather long meeting table, with GILES. Out of my way, Herrick! I bring evidence— stools and a considerable armchair snugged up to it. HERRICK. You cannot go in there, Giles; it’s a court! Through the partitioning wall at the right we hear a pros- [Enter HALE from the court.] ecutor’s voice, JUDGE HATHORNE’s, asking a question; then a woman’s voice, MARTHA COREY’s, replying.] HALE. Pray be calm a moment.

HATHORNE’S VOICE. Now, Martha Corey, there is GILES. You, Mr. Hale, go in there and demand abundant evidence in our hands to show that I speak. you have given yourself to the reading of for- HALE. A moment, sir, a moment. tunes. Do you deny it? GILES. They’ll be hangin’ my wife! MARTHA COREY’S VOICE. I am innocent to a witch. I know not what a witch is. [ JUDGE HATHORNE enters. He is in his sixties, a bitter, remorseless Salem judge.] HATHORNE’S VOICE. How do you know, then, that you are not a witch? HATHORNE. How do you dare come roarin’ into this court! Are you gone daft, Corey? MARTHA COREY’S VOICE. If I were, I would know it. GILES. You’re not a Boston judge yet, Hathorne. HATHORNE’S VOICE. Why do you hurt these You’ll not call me daft! children? [Enter DEPUTY GOVERNOR DANFORTH and, MARTHA COREY’S VOICE. I do not hurt them. I behind him, EZEKIEL CHEEVER and PARRIS. On scorn it! his appearance, silence falls. DANFORTH is a grave GILES’ VOICE. [Roaring.] I have evidence for the man in his sixties, of some humor and sophistica- court! tion that does not, however, interfere with an exact [Voices of townspeople rise in excitement.] loyalty to his position and his cause. He comes down to GILES, who awaits his wrath.] DANFORTH’S VOICE. You will keep your seat! DANFORTH. [Looking directly at GILES.] Who is GILES’ VOICE. Thomas Putnam is reaching out for land! this man?

DANFORTH’S VOICE. Remove that man, Marshal! PARRIS. Giles Corey, sir, and a more contentious—

GILES’ VOICE. You’re hearing lies, lies! GILES. [To PARRIS.] I am asked the question, and I am old enough to answer it! [To DANFORTH, who impresses him and to whom he smiles through his strain.] My name is Corey, sir, Giles Corey. I 1. The meeting house was both a community hall and the house of worship. Its vestry was an anteroom, or small outer room, have six hundred acres, and timber in addition. that served as a waiting area and entrance to the main room.

Reading Strategy Evaluating Argument How is this Literary Element Plot Giles is in physical conflict here question typical of the prosecution’s faulty logic throughout with Herrick. What is the larger conflict in which he is the play? involved?

1068 UNIT 6 FROM DEPRESSION TO COLD WAR

1068-1087 U6P2SEL-845481.indd 1068 4/15/06 12:05:14 AM It is my wife you be condemning now. [He indi- DANFORTH. Indeed! I am amazed to find you in cates the courtroom.] such uproar. I have only good report of your

DANFORTH. And how do you imagine to help her character, Mr. Nurse. cause with such contemptuous riot? Now be gone. HATHORNE. I think they must both be arrested Your old age alone keeps you out of jail for this. in contempt, sir.

GILES. [Beginning to plead.] They be tellin’ lies DANFORTH. [To FRANCIS.] Let you write your about my wife, sir, I— plea, and in due time I will—

DANFORTH. Do you take it upon yourself to FRANCIS. Excellency, we have proof for your determine what this court shall believe and what eyes; God forbid you shut them to it. The girls, it shall set aside? sir, the girls are frauds.

GILES. Your Excellency, we mean no DANFORTH. What’s that?

disrespect for— FRANCIS. We have proof of it, sir. They are all DANFORTH. Disrespect indeed! It is disruption, deceiving you. Mister. This is the highest court of the supreme [DANFORTH is shocked, but studying FRANCIS.] government of this province, do you know it? HATHORNE. This is contempt, sir, contempt! GILES. [Beginning to weep.] Your Excellency, I only said she were readin’ books, sir, and they DANFORTH. Peace, Judge Hathorne. Do you come and take her out of my house for— know who I am, Mr. Nurse? FRANCIS. I surely do, sir, and I think you must be DANFORTH. [Mystified.] Books! What books? a wise judge to be what you are. GILES. [Through helpless sobs.] It is my third wife, sir; I never had no wife that be so taken with DANFORTH. And do you know that near to four books, and I thought to find the cause of it, hundred are in the jails from Marblehead to d’y’see, but it were no witch I blamed her for. [He Lynn, and upon my signature? is openly weeping.] I have broke charity with the FRANCIS. I— woman, I have broke charity with her. [He covers DANFORTH. And seventy-two condemned to his face, ashamed. DANFORTH is respectfully silent.] hang by that signature?

HALE. Excellency, he claims hard evidence for his FRANCIS. Excellency, I never thought to say it to wife’s defense. I think that in all justice you must— such a weighty judge, but you are deceived. DANFORTH. Then let him submit his evidence in [Enter GILES COREY from left. All turn to see 2 proper affidavit. You are certainly aware of our as he beckons in MARY WARREN with PROC- procedure here, Mr. Hale. [To HERRICK.] Clear TOR. MARY is keeping her eyes to the ground; this room. PROCTOR has her elbow as though she were HERRICK. Come now, Giles. [He gently pushes near collapse.] COREY out.] PARRIS. [On seeing her, in shock.] Mary Warren! FRANCIS. We are desperate, sir; we come here [He goes directly to bend close to her face.] What three days now and cannot be heard. are you about here?

DANFORTH. Who is this man? PROCTOR. [Pressing PARRIS away from her with a gentle but firm motion of protectiveness.] She would FRANCIS. Francis Nurse, Your Excellency. speak with the Deputy Governor. HALE. His wife’s Rebecca that were condemned this morning.

Reading Strategy Evaluating Argument How would you 2. An affidavit is a written declaration sworn to be true, usually evaluate this claim by Hathorne? before a judge.

Big Idea The United States and the World What con- Reading Strategy Evaluating Argument The last time nection might Miller’s audiences have made between this we saw Proctor he was violently attacking Mary. Do you think statement and the McCarthy hearings? his change in attitude is inconsistent?

ARTHUR MILLER 1069

1068-1087 U6P2SEL-845481.indd 1069 4/15/06 12:05:16 AM 1996. The Crucible,

DANFORTH. [Shocked by this, turns to HERRICK.] Did PROCTOR. She never saw no spirits, sir.

you not tell me Mary Warren were sick in bed? DANFORTH. [With great alarm and surprise, to HERRICK. She were, Your Honor. When I go to MARY.] Never saw no spirits!

fetch her to the court last week, she said she GILES. [Eagerly.] Never. were sick. PROCTOR. [Reaching into his jacket.] She has GILES. She has been strivin’ with her soul all signed a deposition,3 sir— week, Your Honor; she comes now to tell the truth of this to you. DANFORTH. [Instantly.] No, no, I accept no depo- sitions. [He is rapidly calculating this; he turns from DANFORTH. Who is this? her to PROCTOR.] Tell me, Mr. Proctor, have you PROCTOR. John Proctor, sir. Elizabeth Proctor is given out this story in the village?

my wife. PROCTOR. We have not. PARRIS. Beware this man, Your Excellency, this PARRIS. They’ve come to overthrow the court, man is mischief. sir! This man is— HALE. [Excitedly.] I think you must hear the girl, DANFORTH. I pray you, Mr. Parris. Do you know, sir, she— Mr. Proctor, that the entire contention of the DANFORTH. [Who has become very interested in state in these trials is that the voice of Heaven is MARY WARREN and only raises a hand toward speaking through the children? HALE.] Peace. What would you tell us, Mary Warren?

[PROCTOR looks at her, but she cannot speak.] 3. A deposition is a sworn, written statement given by a witness out of court and intended to be used as testimony in court.

Literary Element Plot How does this open disagreement Big Idea The United States and the World How might between Parris and Hale represent a new conflict in the play? this idea relate to the McCarthy “witch hunts” of the 1950s?

1070 UNIT 6 FROM DEPRESSION TO COLD WAR 20TH CENTURY FOX/THE KOBAL COLLECTION/BARRY WETCHER

1068-1087 U6P2SEL-845481.indd 1070 4/15/06 12:05:19 AM PROCTOR. I know that, sir. PROCTOR. [With the faintest faltering.] Why, no, sir.

DANFORTH. [Thinks, staring at PROCTOR, then CHEEVER. [Clears his throat, awakening.] I—Your turns to MARY WARREN.] And you, Mary Warren, Excellency. how came you to cry out people for sending their DANFORTH. Mr. Cheever. spirits against you? CHEEVER. I think it be my duty, sir—[Kindly, MARY WARREN. It were pretense, sir. to PROCTOR.] You’ll not deny it, John. [To DANFORTH. I cannot hear you. DANFORTH.] When we come to take his wife, he damned the court and ripped your warrant. PROCTOR. It were pretense, she says. PARRIS. Now you have it! DANFORTH. Ah? And the other girls? Susanna Walcott, and—the others? They are also DANFORTH. He did that, Mr. Hale? pretending? HALE. [Takes a breath.] Aye, he did.

MARY WARREN. Aye, sir. PROCTOR. It were a temper, sir. I knew not what I did. DANFORTH. [Wide-eyed.] Indeed. [Pause. He is baffled by this. He turns to study PROCTOR’s face.] DANFORTH. [Studying him.] Mr. Proctor. PROCTOR. Aye, sir. PARRIS. [In a sweat.] Excellency, you surely cannot think to let so vile a lie be spread in open court! DANFORTH. [Straight into his eyes.] Have you ever DANFORTH. Indeed not, but it strike hard upon me seen the Devil?

1996. that she will dare come here with such a tale. Now, PROCTOR. No, sir. Mr. Proctor, before I decide whether I shall hear DANFORTH. You are in all respects a Gospel you or not, it is my duty to tell you this. We burn a Christian? hot fire here; it melts down all concealment.

The Crucible, PROCTOR. I am, sir. PROCTOR. I know that, sir. PARRIS. Such a Christian that will not come to DANFORTH. Let me continue. I understand well, church but once in a month! a husband’s tenderness may drive him to extrava- DANFORTH. [Restrained—he is curious.] Not come gance in defense of a wife. Are you certain in to church? your conscience, Mister, that your evidence is PROCTOR. I—I have no love for Mr. Parris. It is the truth? no secret. But God I surely love. PROCTOR. It is. And you will surely know it. CHEEVER. He plow on Sunday, sir. DANFORTH. And you thought to declare this DANFORTH. Plow on Sunday! revelation in the open court before the public? CHEEVER. [Apologetically.] I think it be evi- PROCTOR. I thought I would, aye—with your dence, John. I am an official of the court, I permission. cannot keep it. DANFORTH. [His eyes narrowing.] Now, sir, what is your purpose in so doing? PROCTOR. I—I have once or twice plowed on Sunday. I have three children, sir, and until last PROCTOR. Why, I—I would free my wife, sir. year my land give little.

DANFORTH. There lurks nowhere in your heart, GILES. You’ll find other Christians that do plow nor hidden in your spirit, any desire to under- on Sunday if the truth be known. mine this court? HALE. Your Honor, I cannot think you may judge the man on such evidence.

Reading Strategy Evaluating Argument What assump- DANFORTH. I judge nothing. [Pause. He keeps tion are Danforth and Parris both making? How would you watching PROCTOR, who tries to meet his gaze.] assess it?

Vocabulary Reading Strategy Evaluating Argument How does the vile (v¯l) adj. evil; foul; repulsive; degrading rest of Danforth’s speech contradict this statement?

ARTHUR MILLER 1071

1068-1087 U6P2SEL-845481.indd 1071 4/15/06 12:05:21 AM I tell you straight, Mister—I have seen marvels You say your only purpose is to save your wife. in this court. I have seen people choked before Good, then, she is saved at least this year, and a my eyes by spirits; I have seen them stuck by pins year is long. What say you, sir? It is done now. and slashed by daggers. I have until this moment [In conflict, PROCTOR glances at FRANCIS and not the slightest reason to suspect that the chil- GILES.] Will you drop this charge? dren may be deceiving me. Do you understand PROCTOR. I—I think I cannot. my meaning? DANFORTH. [Now an almost imperceptible hard- PROCTOR. Excellency, does it not strike upon ness in his voice.] Then your purpose is some- you that so many of these women have lived so what larger. long with such upright reputation, and— PARRIS. He’s come to overthrow this court, PARRIS. Do you read the Gospel, Mr. Proctor? Your Honor!

PROCTOR. I read the Gospel. PROCTOR. These are my friends. Their wives are PARRIS. I think not, or you should surely know also accused— that Cain were an upright man, and yet he did DANFORTH. [With a sudden briskness of manner.] I kill Abel.4 judge you not, sir. I am ready to hear your evidence.

PROCTOR. Aye, God tells us that. [To DAN- PROCTOR. I come not to hurt the court; I only— FORTH.] But who tells us Rebecca Nurse mur- DANFORTH. [Cutting him off.] Marshal, go into dered seven babies by sending out her spirit on the court and bid Judge Stoughton and Judge them? It is the children only, and this one will Sewall declare recess for one hour. And let them swear she lied to you. go to the tavern, if they will. All witnesses and [DANFORTH considers, then beckons HATHORNE prisoners are to be kept in the building. to him. HATHORNE leans in, and he speaks in his HERRICK. Aye, sir. [Very deferentially.] If I may ear. HATHORNE nods.] say it, sir, I know this man all my life. It is a HATHORNE. Aye, she’s the one. good man, sir.

DANFORTH. Mr. Proctor, this morning, your wife DANFORTH. [It is the reflection on himself he send me a claim in which she states that she is resents.] I am sure of it, Marshal. [HERRICK nods, pregnant now. then goes out.] Now, what deposition do you have PROCTOR. My wife pregnant! for us, Mr. Proctor? And I beg you be clear, open as the sky, and honest. DANFORTH. There be no sign of it—we have examined her body. PROCTOR. [As he takes out several papers.] I am

PROCTOR. But if she say she is pregnant, then she no lawyer, so I’ll— must be! That woman will never lie, Mr. Danforth. DANFORTH. The pure in heart need no lawyers. DANFORTH. She will not? Proceed as you will. PROCTOR. Never, sir, never. PROCTOR. [Handing DANFORTH a paper.] Will you read this first, sir? It’s a sort of testament.5 DANFORTH. We have thought it too conve- nient to be credited. However, if I should tell The people signing it declare their good opinion you now that I will let her be kept another of Rebecca, and my wife, and Martha Corey. month; and if she begin to show her natural [DANFORTH looks down at the paper.] signs, you shall have her living yet another year until she is delivered—what say you to that? [ JOHN PROCTOR is struck silent.] Come now. 5. Here, the testament is a statement of beliefs or opinions offered as evidence of the truth.

Literary Element Plot What conflict is referred to in this 4. According to the Bible, Adam and Eve’s son Cain kills his stage direction? brother Abel, becoming the first murderer.

Literary Element Plot How has the questioning of Proctor Reading Strategy Evaluating Argument What rings contributed to the rising action of the plot? false about Danforth’s remark?

1072 UNIT 6 FROM DEPRESSION TO COLD WAR

1068-1087 U6P2SEL-845481.indd 1072 4/15/06 12:05:23 AM Window View—Scapeology #9, 1995. Nanette Carter. Oil on canvas, 41 x 40 in. Sande Webster Gallery, Philadelphia, PA. Viewing the Art: Look closely at the painting. In what ways might it mirror the events and feelings evident so far in act 3?

PARRIS. [To enlist DANFORTH’S sarcasm.] Their [PARRIS nervously moves over and reads over good opinion! [But DANFORTH goes on reading, DANFORTH’s shoulder.] and PROCTOR is heartened.] DANFORTH. [Glancing down a long list.] How PROCTOR. These are all landholding farmers, many names are here? members of the church. [Delicately, trying to FRANCIS. Ninety-one, Your Excellency. point out a paragraph.] If you’ll notice, sir— they’ve known the women many years and PARRIS. [Sweating.] These people should be sum- never saw no sign they had dealings with moned. [DANFORTH looks up at him questioningly.] the Devil. For questioning.

ARTHUR MILLER 1073 Sande Webster Gallery, Philadelphia, PA

1068-1087 U6P2SEL-845481.indd 1073 4/15/06 12:05:27 AM FRANCIS. [Trembling with anger.] Mr. Danforth, I MARY WARREN. [Hardly audible.] Aye. gave them all my word no harm would come to PROCTOR. “Do that which is good, and no harm them for signing this. shall come to thee.” PARRIS. This is a clear attack upon the court! MARY WARREN. Aye. HALE. [To PARRIS, trying to contain himself.] Is every defense an attack upon the court? Can no one—? DANFORTH. Come, man, we wait you. PARRIS. All innocent and Christian people are [MARSHAL HERRICK returns, and takes his post at happy for the courts in Salem! These people are the door.] gloomy for it. [To DANFORTH directly.] And I think you will want to know, from each and every one GILES. John, my deposition, give him mine. of them, what discontents them with you! PROCTOR. Aye. [He hands DANFORTH another HATHORNE. I think they ought to be examined, sir. paper.] This is Mr. Corey’s deposition. DANFORTH. It is not necessarily an attack, I DANFORTH. Oh? [He looks down at it. Now think. Yet— HATHORNE comes behind him and reads with him.] FRANCIS. These are all covenanted Christians, sir. HATHORNE. [Suspiciously.] What lawyer drew this, DANFORTH. Then I am sure they may have nothing Corey? to fear. [Hands CHEEVER the paper.] Mr. Cheever, GILES. You know I never hired a lawyer in my have warrants drawn for all of these—arrest for life, Hathorne. examination. [To PROCTOR.] Now, Mister, what other information do you have for us? [FRANCIS is DANFORTH. [Finishing the reading.] It is very still standing, horrified.] You may sit, Mr. Nurse. well phrased. My compliments. Mr. Parris, if

FRANCIS. I have brought trouble on these peo- Mr. Putnam is in the court, will you bring him ple; I have— in? [HATHORNE takes the deposition, and walks to the window with it. PARRIS goes into the court.] DANFORTH. No, old man, you have not hurt these You have no legal training, Mr. Corey? people if they are of good conscience. But you must understand, sir, that a person is either with GILES. [Very pleased.] I have the best, sir—I am this court or he must be counted against it, there thirty-three time in court in my life. And always be no road between. This is a sharp time, now, a plaintiff, too. precise time—we live no longer in the dusky after- DANFORTH. Oh, then you’re much put-upon. noon when evil mixed itself with good and befud- dled the world. Now, by God’s grace, the shining GILES. I am never put-upon; I know my rights, sun is up, and them that fear not light will surely sir, and I will have them. You know, your father praise it. I hope you will be one of those. [MARY tried a case of mine—might be thirty-five year WARREN suddenly sobs.] She’s not hearty, I see. ago, I think.

PROCTOR. No, she’s not, sir. [To MARY, bending to DANFORTH. Indeed. her, holding her hand, quietly.] Now remember GILES. He never spoke to you of it? what the angel Raphael said to the boy Tobias. Remember it. DANFORTH. No, I cannot recall it. GILES. That’s strange, he give me nine pound damages. He were a fair judge, your father. Y’see, Reading Strategy Evaluating Argument How is Parris I had a white mare that time, and this fellow come twisting the argument in order to win Danforth to his side? to borrow the mare—[Enter PARRIS with THOMAS PUTNAM. When he sees PUTNAM, GILES’ ease goes; Big Idea The United States and the World What he is hard.] Aye, there he is. connection do you see between Danforth’s tactics and the tactics of Senator McCarthy? DANFORTH. Mr. Putnam, I have here an accusation by Mr. Corey against you. He states that you Reading Strategy Evaluating Argument What logical coldly prompted your daughter to cry witchery fallacy is Danforth guilty of here? upon George Jacobs that is now in jail.

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1068-1087 U6P2SEL-845481.indd 1074 4/15/06 12:05:30 AM PUTNAM. It is a lie. GILES. This is a hearing; you cannot clap me for contempt of a hearing. DANFORTH. [Turning to GILES.] Mr. Putnam states your charge is a lie. What say you to that? DANFORTH. Oh, it is a proper lawyer! Do you wish me to declare the court in full session GILES. [Furious, his fists clenched.] A fart on here? Or will you give me good reply? Thomas Putnam, that is what I say to that! GILES. [Faltering.] I cannot give you no name, DANFORTH. What proof do you submit for your charge, sir? sir, I cannot. DANFORTH. You are a foolish old man. GILES. My proof is there! [Pointing to the paper.] If Jacobs hangs for a witch he forfeit Mr. Cheever, begin the record. The court is up his property—that’s law! And there is none now in session. I ask you, Mr. Corey— but Putnam with the coin to buy so great a PROCTOR. [Breaking in.] Your Honor—he has piece. This man is killing his neighbors for the story in confidence, sir, and he— their land! PARRIS. The Devil lives on such confidences! DANFORTH. But proof, sir, proof. [To DANFORTH.] Without confidences there could be no conspiracy, Your Honor! GILES. [Pointing at his deposition.] The proof is there! I have it from an honest man who heard HATHORNE. I think it must be broken, sir. Putnam say it! The day his daughter cried out DANFORTH. [To GILES.] Old man, if your informant on Jacobs, he said she’d given him a fair gift tells the truth let him come here openly like a of land. decent man. But if he hide in anonymity I must HATHORNE. And the name of this man? know why. Now sir, the government and central church demand of you the name of him who GILES. [Taken aback.] What name? reported Mr. Thomas Putnam a common murderer. HATHORNE. The man that give you this information. HALE. Excellency— DANFORTH. Mr. Hale. GILES. [Hesitates, then.] Why, I—I cannot give you his name. HALE. We cannot blink it more. There is a prodigious fear of this court in the country— HATHORNE. And why not? DANFORTH. Then there is a prodigious guilt in the GILES. [Hesitates, then bursts out.] You know well country. Are you afraid to be questioned here? why not! He’ll lay in jail if I give his name! HALE. I may only fear the Lord, sir, but there is HATHORNE. This is contempt of the court, fear in the country nevertheless. Mr. Danforth! DANFORTH. [Angered now.] Reproach6 me not DANFORTH. [To avoid that.] You will surely tell with the fear in the country; there is fear in the us the name. country because there is a moving plot to topple GILES. I will not give you no name. I mentioned Christ in the country! my wife’s name once and I’ll burn in hell long HALE. But it does not follow that everyone enough for that. I stand mute. accused is part of it.

DANFORTH. In that case, I have no choice but DANFORTH. No uncorrupted man may fear this to arrest you for contempt of this court, do you court, Mr. Hale! None! [To GILES.] You are know that? under arrest in contempt of this court. Now sit you down and take counsel with yourself, or

Reading Strategy Evaluating Argument How is Danforth guilty of using a double standard in this demand? 6. To reproach is to blame or to express disapproval of.

Big Idea The United States and the World What Reading Strategy Evaluating Argument What has resemblance can you see here between Giles Corey and Danforth just concluded from Hale’s comment? What fallacy do you detect in his reasoning? Arthur Miller? BI2

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1068-1087 U6P2SEL-845481.indd 1075 4/15/06 12:05:32 AM you will be set in the jail until you decide to HALE. I cannot say he is an honest man; I know answer all questions. him little. But in all justice, sir, a claim so weighty [GILES COREY makes a rush for PUTNAM. PROC- cannot be argued by a farmer. In God’s name, sir, TOR lunges and holds him.] stop here; send him home and let him come again with a lawyer— PROCTOR. No, Giles! DANFORTH. [Patiently.] Now look you, Mr. Hale— GILES. [Over PROCTOR’s shoulder at PUTNAM.] I’ll HALE. Excellency, I have signed seventy-two death cut your throat, Putnam, I’ll kill you yet! warrants; I am a minister of the Lord, and I dare not PROCTOR. [Forcing him into a chair.] Peace, Giles, take a life without there be a proof so immaculate peace. [Releasing him.] We’ll prove ourselves. no slightest qualm8 of conscience may doubt it. Now we will. [He starts to turn to DANFORTH.] DANFORTH. Mr. Hale, you surely do not doubt my GILES. Say nothin’ more, John. [Pointing at DAN- justice. FORTH.] He’s only playin’ you! He means to hang HALE. I have this morning signed away the us all! soul of Rebecca Nurse, Your Honor. I’ll not [MARY WARREN bursts into sobs.] conceal it, my hand shakes yet as with a DANFORTH. This is a court of law, Mister. I’ll wound! I pray you, sir, this argument let have no effrontery7 here! lawyers present to you.

PROCTOR. Forgive him, sir, for his old age. Peace, DANFORTH. Mr. Hale, believe me; for a man of such Giles, we’ll prove it all now. [He lifts up MARY’s chin.] terrible learning you are most bewildered—I hope You cannot weep, Mary. Remember the angel, what you will forgive me. I have been thirty-two year at he say to the boy. Hold to it, now; there is your the bar, sir, and I should be confounded were I rock. [MARY quiets. He takes out a paper, and turns called upon to defend these people. Let you con- to DANFORTH.] This is Mary Warren’s deposition. sider, now—[To PROCTOR and the others.] And I bid I—I would ask you remember, sir, while you read you all do likewise. In an ordinary crime, how does it, that until two week ago she were no different one defend the accused? One calls up witnesses to than the other children are today. [He is speaking prove his innocence. But witchcraft is ipso facto,9 reasonably, restraining all his fears, his anger, his anx- on its face and by its nature, an invisible crime, is iety.] You saw her scream, she howled, she swore it not? Therefore, who may possibly be witness to it? familiar spirits choked her; she even testified that The witch and the victim. None other. Now we Satan, in the form of women now in jail, tried to cannot hope the witch will accuse herself; granted? win her soul away, and then when she refused— Therefore, we must rely upon her victims—and they do testify, the children certainly do testify. DANFORTH. We know all this. As for the witches, none will deny that we are most PROCTOR. Aye, sir. She swears now that she eager for all their confessions. Therefore, what is left never saw Satan; nor any spirit, vague or clear, for a lawyer to bring out? I think I have made my that Satan may have sent to hurt her. And she point. Have I not? declares her friends are lying now. [PROCTOR starts to hand DANFORTH the deposition, and HALE comes up to DANFORTH in a 8. Qualm (kwam ) means “doubt.” trembling state.] 9. The Latin legal term ipso facto means, literally, “by that very fact” or “by the fact itself.” HALE. Excellency, a moment. I think this goes to the heart of the matter. Literary Element Plot How has the development of Hale’s character contributed to the conflict in the play? DANFORTH. [With deep misgivings.] It surely does. Reading Strategy Evaluating Argument What hope does the logic of this argument give to people accused of 7. Effrontery is boldness and disrespect. witchcraft? Explain.

Literary Element Plot How is the rising action gradually Vocabulary propelling Proctor toward the center of attention and the climax of the act? immaculate (i makyə lit) adj. unblemished; flawless; pure

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1068-1087 U6P2SEL-845481.indd 1076 4/15/06 12:05:34 AM HALE. But this child claims the girls are not DANFORTH. Then you tell me that you sat in my truthful, and if they are not— court, callously lying, when you knew that people would hang by your evidence? [She does not DANFORTH. That is precisely what I am about to answer.] Answer me! consider, sir. What more may you ask of me? Unless you doubt my probity?10 MARY WARREN. [Almost inaudibly.] I did, sir.

HALE. [Defeated.] I surely do not, sir. Let you DANFORTH. How were you instructed in your consider it, then. life? Do you not know that God damns all liars? [She cannot speak.] Or is it now that DANFORTH. And let you put your heart to rest. you lie? Her deposition, Mr. Proctor. MARY WARREN. No, sir—I am with God now. [PROCTOR hands it to him. HATHORNE rises, goes beside DANFORTH, and starts reading. PAR- DANFORTH. You are with God now. RIS comes to his other side. DANFORTH looks at MARY WARREN. Aye, sir. JOHN PROCTOR, then proceeds to read. HALE gets up, finds position near the judge, reads too. DANFORTH. [Containing himself.] I will tell you this—you are either lying now, or you were lying PROCTOR glances at GILES. FRANCIS prays in the court, and in either case you have com- silently, hands pressed together. CHEEVER waits mitted perjury12 and you will go to jail for it. placidly, the sublime official, dutiful. MARY WAR- You cannot lightly say you lied, Mary. Do you REN sobs once. JOHN PROCTOR touches her head know that? reassuringly. Presently DANFORTH lifts his eyes, stands up, takes out a kerchief and blows his MARY WARREN. I cannot lie no more. I am with nose. The others stand aside as he moves in God, I am with God. thought toward the window.] [But she breaks into sobs at the thought of it, and PARRIS. [Hardly able to contain his anger and fear.] the right door opens, and enter SUSANNA WAL- I should like to question— COTT, MERCY LEWIS, BETTY PARRIS, and finally ABIGAIL. CHEEVER comes to DANFORTH.] DANFORTH. [His first real outburst, in which his contempt for PARRIS is clear.] Mr. Parris, I bid CHEEVER. Ruth Putnam’s not in the court, sir, you be silent! [He stands in silence, looking out nor the other children. the window. Now, having established that he will DANFORTH. These will be sufficient. Sit you set the gait.]11 Mr. Cheever, will you go into the down, children. [Silently they sit.] Your friend, court and bring the children here? [CHEEVER Mary Warren, has given us a deposition. In which gets up and goes out upstage. DANFORTH now she swears that she never saw familiar spirits, turns to MARY.] Mary Warren, how came you to apparitions, nor any manifest of the Devil.13 She this turnabout? Has Mr. Proctor threatened you claims as well that none of you have seen these for this deposition? things either. [Slight pause.] Now, children, this is MARY WARREN. No, sir. a court of law. The law, based upon the Bible, and the Bible, writ by Almighty God, forbid the prac- DANFORTH. Has he ever threatened you? tice of witchcraft, and describe death as the penalty MARY WARREN. [Weaker.] No, sir. thereof. But likewise, children, the law and Bible damn all bearers of false witness. [Slight pause.] DANFORTH. [Sensing a weakening.] Has he threatened you?

MARY WARREN. No, sir. 12. Perjury is the act of swearing under oath to the truth of something that one knows to be untrue. 13. Familiar spirits are supernatural beings (not ghosts) 10. Probity involves moral excellence, integrity, and honesty. believed to serve demons or humans; apparitions are 11. To set the gait is an expression that means “to determine ghosts of dead people; and a manifest of the Devil is a how a matter will proceed.” form in which the devil reveals himself.

Literary Element Plot How does Danforth’s aggressive Literary Element Plot How does Abigail’s delayed entry questioning of Mary contribute to the rising action? contribute to the tension in this scene?

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1068-1087 U6P2SEL-845481.indd 1077 4/15/06 12:05:36 AM Now then. It does not escape me that this deposi- CHEEVER. When I spoke with Goody Proctor tion may be devised to blind us; it may well be in that house, she said she never kept no pop- that Mary Warren has been conquered by Satan, pets. But she said she did keep poppets when who sends her here to distract our sacred purpose. she were a girl. If so, her neck will break for it. But if she speak PROCTOR. She has not been a girl these fifteen true, I bid you now drop your guile and confess years, Your Honor. your pretense, for a quick confession will go easier with you. [Pause.] Abigail Williams, rise. [ABIGAIL HATHORNE. But a poppet will keep fifteen years, slowly rises.] Is there any truth in this? will it not?

ABIGAIL. No, sir. PROCTOR. It will keep if it is kept, but Mary Warren swears she never saw no poppets in my DANFORTH. [Thinks, glances at MARY, then back to house, nor anyone else. ABIGAIL.] Children, a very augur bit14 will now be turned into your souls until your honesty is proved. PARRIS. Why could there not have been poppets Will either of you change your positions now, or hid where no one ever saw them? do you force me to hard questioning? PROCTOR. [Furious.] There might also be a ABIGAIL. I have naught to change, sir. She lies. dragon with five legs in my house, but no one has ever seen it. DANFORTH. [To MARY.] You would still go on with this? PARRIS. We are here, Your Honor, precisely to discover what no one has ever seen. MARY WARREN. [Faintly.] Aye, sir. PROCTOR. Mr. Danforth, what profit this girl to DANFORTH. [Turning to ABIGAIL.] A poppet were discovered in Mr. Proctor’s house, stabbed by a turn herself about? What may Mary Warren gain needle. Mary Warren claims that you sat beside but hard questioning and worse? her in the court when she made it, and that you DANFORTH. You are charging Abigail Williams saw her make it and witnessed how she herself with a marvelous cool plot to murder, do you stuck her needle into it for safe-keeping. What understand that? say you to that? PROCTOR. I do, sir. I believe she means to murder.

ABIGAIL. [With a slight note of indignation.] It is a 15 DANFORTH. [Pointing at ABIGAIL, incredulously.] lie, sir. This child would murder your wife? DANFORTH. [After a slight pause.] While you PROCTOR. It is not a child. Now hear me, sir. In worked for Mr. Proctor, did you see poppets in the sight of the congregation she were twice this that house? year put out of this meetin’ house for laughter ABIGAIL. Goody Proctor always kept poppets. during prayer.

PROCTOR. Your Honor, my wife never kept no DANFORTH. [Shocked, turning to ABIGAIL.] What’s poppets. Mary Warren confesses it was her this? Laughter during—! poppet. PARRIS. Excellency, she were under Tituba’s power CHEEVER. Your Excellency. at that time, but she is solemn now.

DANFORTH. Mr. Cheever.

15. Incredulously means “in a disbelieving manner.” 14. Here, augur bit refers to an auger, a tool for boring holes. Big Idea The United States and the World Opponents Reading Strategy Evaluating Argument Compare of Senator McCarthy’s investigations used to refer sarcasti- Danforth’s treatment of Mary to his treatment of the other cally to finding “Reds under the beds.” What connection does girls. How is this another example of Danforth’s double this phrase have to Parris’s observation? standard in administering justice?

Literary Element Plot What new development has Vocabulary occurred in the plot that brings the rising action nearer to the guile (¯l) n. cunning; deceit; slyness climax?

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1068-1087 U6P2SEL-845481.indd 1078 4/15/06 12:05:38 AM GILES. Aye, now she is solemn and goes to [DANFORTH, as though with new eyes, looks at hang people! ABIGAIL.]

DANFORTH. Quiet, man. HATHORNE. Excellency, will you permit me? [He points at MARY WARREN.] HATHORNE. Surely it have no bearing on the question, sir. He charges contemplation of DANFORTH. [With great worry.] Pray, proceed. murder. HATHORNE. You say you never saw no spirits, DANFORTH. Aye. [He studies ABIGAIL for a Mary, were never threatened or afflicted by any moment, then.] Continue, Mr. Proctor. manifest of the Devil or the Devil’s agents.

PROCTOR. Mary. Now tell the Governor how MARY WARREN. [Very faintly.] No, sir. you danced in the woods. HATHORNE. [With a gleam of victory.] And

PARRIS. [Instantly.] Excellency, since I come to yet, when people accused of witchery con- Salem this man is blackening my name. He— fronted you in court, you would faint, saying their spirits came out of their bodies and DANFORTH. In a moment, sir. [To MARY WAR- choked you— REN, sternly, and surprised.] What is this dancing? MARY WARREN. That were pretense, sir.

MARY WARREN. I—[She glances at ABIGAIL, who DANFORTH. I cannot hear you. is staring down at her remorselessly. Then, MARY WARREN. Pretense, sir. appealing to PROCTOR.] Mr. Proctor— PARRIS. But you did turn cold, did you not? I PROCTOR. [Taking it right up.] Abigail leads myself picked you up many times, and your skin the girls to the woods, Your Honor, and they were icy. Mr. Danforth, you— have danced there naked— DANFORTH. I saw that many times. PARRIS. Your Honor, this— PROCTOR. She only pretended to faint, Your PROCTOR. [At once.] Mr. Parris discovered Excellency. They’re all marvelous pretenders.

them himself in the dead of night! There’s the HATHORNE. Then can she pretend to faint now? “child” she is! PROCTOR. Now? DANFORTH. [It is growing into a nightmare, and PARRIS. Why not? Now there are no spirits he turns, astonished, to PARRIS.] Mr. Parris— attacking her, for none in this room is accused PARRIS. I can only say, sir, that I never found of witchcraft. So let her turn herself cold now, any of them naked, and this man is— let her pretend she is attacked now, let her DANFORTH. But you discovered them dancing faint. [He turns to MARY WARREN.] Faint! in the woods? [Eyes on PARRIS, he points at ABI- MARY WARREN. Faint? GAIL.] Abigail? PARRIS. Aye, faint. Prove to us how you pre- HALE. Excellency, when I first arrived from tended in the court so many times. Beverly, Mr. Parris told me that. MARY WARREN. [Looking to PROCTOR.] I— DANFORTH. Do you deny it, Mr. Parris? cannot faint now, sir.

PARRIS. I do not, sir, but I never saw any of PROCTOR. [Alarmed, quietly.] Can you not pre- them naked. tend it?

DANFORTH. But she have danced?

PARRIS. [Unwillingly.] Aye, sir. Literary Element Plot At this point in the proceedings, in which direction does Danforth appear to be leaning?

Vocabulary Reading Strategy Evaluating Argument Do you think contemplation (kon´ təm pl¯a shən) n. the act of that Parris’s scheme for testing Mary’s claim that she pre- thinking about something long and seriously tended to faint is a fair test? Explain.

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1068-1087 U6P2SEL-845481.indd 1079 4/15/06 12:05:40 AM MARY WARREN. I—[She looks about as though possible, child, that the spirits you have seen searching for the passion to faint.] I—have no sense are illusion only, some deception that may cross of it now, I— your mind when—

DANFORTH. Why? What is lacking now? ABIGAIL. Why, this—this—is a base question, sir.

MARY WARREN. I—cannot tell, sir, I— DANFORTH. Child, I would have you consider it—

DANFORTH. Might it be that here we have no ABIGAIL. I have been hurt, Mr. Danforth; I have afflicting spirit loose, but in the court there seen my blood runnin’ out! I have been near to were some? murdered every day because I done my duty point- MARY WARREN. I never saw no spirits. ing out the Devil’s people—and this is my reward? To be mistrusted, denied, questioned like a— PARRIS. Then see no spirits now, and prove to us that you can faint by your own will, as you claim. DANFORTH. [Weakening.] Child, I do not mis- trust you— MARY WARREN. [Stares, searching for the emotion of it, and then shakes her head.] I— ABIGAIL. [In an open threat.] Let you beware, Mr. cannot do it. Danforth. Think you to be so mighty that the power of Hell may not turn your wits? Beware of PARRIS. Then you will confess, will you not? it! There is—[Suddenly, from an accusatory atti- It were attacking spirits made you faint! tude, her face turns, looking into the air above—it is MARY WARREN. No, sir, I— truly frightened.]

PARRIS. Your Excellency, this is a trick to blind DANFORTH. [Apprehensively.] What is it, child? the court! ABIGAIL. [Looking about in the air, clasping her MARY WARREN. It’s not a trick! [She stands.] I— arms about her as though cold.] I—I know not. I used to faint because I—I thought I saw spirits. A wind, a cold wind, has come. [Her eyes fall DANFORTH. Thought you saw them! on MARY WARREN.]

MARY WARREN. But I did not, Your Honor. MARY WARREN. [Terrified, pleading.] Abby!

HATHORNE. How could you think you saw MERCY LEWIS. [Shivering.] Your Honor, I freeze! them unless you saw them? PROCTOR. They’re pretending! MARY WARREN. I—I cannot tell how, but I did. HATHORNE. [Touching ABIGAIL’s hand.] She is I—I heard the other girls screaming, and you, cold, Your Honor, touch her! Your Honor, you seemed to believe them, and I—It were only sport in the beginning, sir, but MERCY LEWIS. [Through chattering teeth.] Mary, do then the whole world cried spirits, spirits, and you send this shadow on me? I—I promise you, Mr. Danforth, I only thought MARY WARREN. Lord, save me! I saw them but I did not. SUSANNA WALCOTT. I freeze, I freeze! [DANFORTH peers at her.] ABIGAIL. [Shivering visibly.] It is a wind, a wind! PARRIS. [Smiling, but nervous because DANFORTH MARY WARREN. Abby, don’t do that! seems to be struck by MARY WARREN’s story.] Surely Your Excellency is not taken by this simple lie. DANFORTH. [Himself engaged and entered by ABI- GAIL.] Mary Warren, do you witch her? I say to DANFORTH. [Turning worriedly to ABIGAIL.] Abigail. I bid you now search your heart and you, do you send your spirit out? tell me this—and beware of it, child, to God [With a hysterical cry MARY WARREN starts to every soul is precious and His vengeance is ter- run. PROCTOR catches her.] rible on them that take life without cause. Is it

Reading Strategy Evaluating Argument Is it wise for Literary Element Plot How is Danforth instrumental in Abigail to confront the chief judge in this manner? Is her ploy maintaining the tension during this scene? successful? Explain.

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1068-1087 U6P2SEL-845481.indd 1080 4/15/06 12:05:42 AM MARY WARREN. [Almost collapsing.] Let me go, Mr. A man may think God sleeps, but God sees Proctor, I cannot, I cannot— everything, I know it now. I beg you, sir, I beg you—see her what she is. My wife, my dear ABIGAIL. [Crying to Heaven.] Oh, Heavenly Father, take away this shadow! good wife, took this girl soon after, sir, and put her out on the highroad. And being what she [Without warning or hesitation, PROCTOR leaps at is, a lump of vanity, sir—[He is being overcome.] ABIGAIL and, grabbing her by the hair, pulls her Excellency, forgive me, forgive me. [Angrily to her feet. She screams in pain. DANFORTH, against himself, he turns away from the Governor astonished, cries, “What are you about?” and for a moment. Then, as though to cry out is his HATHORNE and PARRIS call, “Take your hands off only means of speech left.] She thinks to dance her!” and out of it all comes PROCTOR’s with me on my wife’s grave! And well she roaring voice.] might, for I thought of her softly. God help me, PROCTOR. How do you call Heaven! Whore!16 I lusted, and there is a promise in such sweat. Whore! But it is a whore’s vengeance, and you must see it; I set myself entirely in your hands. I know [HERRICK breaks PROCTOR from her.] you must see it now. HERRICK. John! DANFORTH. [Blanched,18 in horror, turning to ABI- DANFORTH. Man! Man, what do you— GAIL.] You deny every scrap and tittle of this?

PROCTOR. [Breathless and in agony.] It is a whore! ABIGAIL. If I must answer that, I will leave and DANFORTH. [Dumfounded.]17 You charge—? I will not come back again!

ABIGAIL. Mr. Danforth, he is lying! [DANFORTH seems unsteady.]

PROCTOR. Mark her! Now she’ll suck a scream to PROCTOR. I have made a bell of my honor! I stab me with, but— have rung the doom of my good name—you will believe me, Mr. Danforth! My wife is inno- DANFORTH. You will prove this! This will not pass! cent, except she knew a whore when she saw PROCTOR. [Trembling, his life collapsing about him.] I one! have known her, sir. I have known her. ABIGAIL. [Stepping up to DANFORTH.] What look DANFORTH. You—you are a lecher? do you give me? [DANFORTH cannot speak.] I’ll not have such looks! [She turns and starts for the FRANCIS. [Horrified.] John, you cannot say such a— door.] PROCTOR. Oh, Francis, I wish you had some evil DANFORTH. You will remain where you are! in you that you might know me! [To DANFORTH.] [HERRICK steps into her path. She comes up short, A man will not cast away his good name. You fire in her eyes.] Mr. Parris, go into the court and surely know that. bring Goodwife Proctor out. DANFORTH. [Dumfounded.] In—in what time? In PARRIS. [Objecting.] Your Honor, this is all a— what place? DANFORTH. [Sharply to PARRIS.] Bring her out! PROCTOR. [His voice about to break, and his shame And tell her not one word of what’s been spo- great.] In the proper place—where my beasts are ken here. And let you knock before you enter. bedded. On the last night of my joy, some eight [PARRIS goes out.] Now we shall touch the bottom months past. She used to serve me in my house, sir. [He has to clamp his jaw to keep from weeping.] 18. Here, blanched means “drained of color.”

Reading Strategy Evaluating Argument What does 16. Here, whore refers to a “loose” woman, not that she has Proctor hope to accomplish in this conclusion to his confession? taken money for sexual services. 17. Dumfounded means “speechless.” Reading Strategy Evaluating Argument How does Literary Element Plot How is this moment crucial to the Abigail choose to defend herself against Proctor’s accusa- development of the plot? tions? How effective do you think her method will be?

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1068-1087 U6P2SEL-845481.indd 1081 4/15/06 12:05:44 AM of this swamp. [To PROCTOR.] Your wife, you ELIZABETH. [Not knowing what to say, sensing a say, is an honest woman. situation, wetting her lips to stall for time.] She— PROCTOR. In her life, sir, she have never lied. dissatisfied me. [Pause.] And my husband. There are them that cannot sing, and them that DANFORTH. In what way dissatisfied you? cannot weep—my wife cannot lie. I have paid much to learn it, sir. ELIZABETH. She were—[She glances at PROC- TOR for a cue.] DANFORTH. And when she put this girl out of your house, she put her out for a harlot? DANFORTH. Woman, look at me! [ELIZABETH does.] Were she slovenly?19 Lazy? What distur- PROCTOR. Aye, sir. bance did she cause? DANFORTH. And knew her for a harlot? ELIZABETH. Your Honor, I—in that time I were PROCTOR. Aye, sir, she knew her for a harlot. sick. And I—My husband is a good and righteous DANFORTH. Good then. [To ABIGAIL.] And man. He is never drunk as some are, nor wastin’ 20 if she tell me, child, it were for harlotry, his time at the shovelboard, but always at his may God spread His mercy on you! [There is work. But in my sickness—you see, sir, I were a a knock. He calls to the door.] Hold! [To ABI- long time sick after my last baby, and I thought I GAIL.] Turn your back. Turn your back. [To saw my husband somewhat turning from me. PROCTOR.] Do likewise. [Both turn their backs— And this girl—[She turns to ABIGAIL.] ABIGAIL with indignant slowness.] Now let DANFORTH. Look at me. neither of you turn to face Goody Proctor. No one in this room is to speak one word, or raise a ELIZABETH. Aye, sir. Abigail Williams—[She gesture aye or nay. [He turns toward the door, breaks off.] calls.] Enter! [The door opens. ELIZABETH enters DANFORTH. What of Abigail Williams? with PARRIS. PARRIS leaves her. She stands alone, ELIZABETH. I came to think he fancied her. And her eyes looking for PROCTOR.] Mr. Cheever, so one night I lost my wits, I think, and put her report this testimony in all exactness. Are you out on the highroad. ready? DANFORTH. Your husband—did he indeed turn CHEEVER. Ready, sir. from you? DANFORTH. Come here, woman. [ELIZABETH ELIZABETH. [In agony.] My husband—is a goodly comes to him, glancing at PROCTOR’s back.] man, sir. Look at me only, not at your husband. In my eyes only. DANFORTH. Then he did not turn from you. ELIZABETH. [Starting to glance at PROCTOR.] He— ELIZABETH. [Faintly.] Good, sir. DANFORTH. [Reaches out and holds her face, then.] DANFORTH. We are given to understand that at Look at me! To your own knowledge, has John one time you dismissed your servant, Abigail Proctor ever committed the crime of lechery? Williams. [In a crisis of indecision she cannot speak.] Answer ELIZABETH. That is true, sir. my question! Is your husband a lecher!

DANFORTH. For what cause did you dismiss her? ELIZABETH. [Faintly.] No, sir. [Slight pause. Then ELIZABETH tries to glance at DANFORTH. Remove her, Marshal. PROCTOR.] You will look in my eyes only and not at your husband. The answer is in your PROCTOR. Elizabeth, tell the truth! memory and you need no help to give it to me. Why did you dismiss Abigail Williams? 19. To be slovenly is to be untidy or careless, especially in appearance. 20. Shovelboard is a tabletop version of shuffleboard.

Literary Element Plot How might Proctor’s comment fore- Literary Element Plot How do these two words alter the shadow the ironic reversal that occurs later in this scene? direction of the plot?

1082 UNIT 6 FROM DEPRESSION TO COLD WAR

1068-1087 U6P2SEL-845481.indd 1082 4/15/06 12:05:47 AM The Crucible, 1996.

DANFORTH. She has spoken. Remove her! [ABIGAIL, with a weird, wild, chilling cry, screams up PROCTOR. [Crying out.] Elizabeth, I have con- to the ceiling.] fessed it! ABIGAIL. You will not! Begone! Begone, I say!

ELIZABETH. Oh, God! [The door closes behind her.] DANFORTH. What is it, child? [But ABIGAIL, pointing PROCTOR. She only thought to save my name! with fear, is now raising up her frightened eyes, her awed face, toward the ceiling—the girls are doing the same— HALE. Excellency, it is a natural lie to tell; I beg you, stop now before another is condemned! I and now HATHORNE, HALE, PUTNAM, CHEEVER, may shut my conscience to it no more—private HERRICK, and DANFORTH do the same.] What’s there? vengeance is working through this testimony! [He lowers his eyes from the ceiling, and now he is From the beginning this man has struck me true. frightened; there is real tension in his voice.] Child! [She By my oath to Heaven, I believe him now, and I is transfixed—with all the girls, she is whimpering open- pray you call back his wife before we— mouthed, agape at the ceiling.] Girls! Why do you—? MERCY LEWIS. [Pointing.] It’s on the beam! Behind DANFORTH. She spoke nothing of lechery, and this man has lied! the rafter! HALE. I believe him! [Pointing at ABIGAIL.] This DANFORTH. [Looking up.] Where! girl has always struck me false! She has— ABIGAIL. Why—? [She gulps.] Why do you come, yellow bird?

PROCTOR. Where’s a bird? I see no bird! Reading Strategy Evaluating Argument Danforth and Hale draw different conclusions from the preceding scene. ABIGAIL. [To the ceiling.] My face? My face? Which one has come closer to the truth? Explain. PROCTOR. Mr. Hale—

ARTHUR MILLER 1083 20TH CENTURY FOX/THE KOBAL COLLECTION

1068-1087 U6P2SEL-845481.indd 1083 4/15/06 12:05:49 AM DANFORTH. Be quiet!! ABIGAIL AND ALL THE GIRLS. [All transfixed.] Abby, you mustn’t! PROCTOR. [To HALE.] Do you see a bird? MARY WARREN. [To all the girls.] I’m here, I’m here! DANFORTH. Be quiet! GIRLS. I’m here, I’m here! ABIGAIL. [To the ceiling, in a genuine conversation with the “bird,” as though trying to talk it out of DANFORTH. [Horrified.] Mary Warren! Draw back attacking her.] But God made my face; you cannot your spirit out of them! want to tear my face. Envy is a deadly sin, Mary. MARY WARREN. Mr. Danforth!

MARY WARREN. [On her feet with a spring, and hor- GIRLS. [Cutting her off.] Mr. Danforth! rified, pleading.] Abby! DANFORTH. Have you compacted with the Devil? ABIGAIL. [Unperturbed, continuing to the “bird.”] Have you? Oh, Mary, this is a black art to change your MARY WARREN. Never, never! shape. No, I cannot, I cannot stop my mouth; it’s God’s work I do. GIRLS. Never, never! DANFORTH. MARY WARREN. Abby, I’m here! [Growing hysterical.] Why can they only repeat you? PROCTOR. [Frantically.] They’re pretending, PROCTOR. Give me a whip—I’ll stop it! Mr. Danforth! MARY WARREN. They’re sporting. They—! ABIGAIL. [Now she takes a backward step, as though in fear the bird will swoop down momen- GIRLS. They’re sporting! tarily.] Oh, please, Mary! Don’t come down. MARY WARREN. [Turning on them all hysterically and stamping her feet.] Abby, stop it! SUSANNA WALCOTT. Her claws, she’s stretching her claws! GIRLS. [Stamping their feet.] Abby, stop it! MARY WARREN. PROCTOR. Lies, lies. Stop it! GIRLS. Stop it! ABIGAIL. [Backing further, eyes still fixed above.] Mary, please don’t hurt me! MARY WARREN. [Screaming it out at the top of her lungs, and raising her fists.] Stop it!! MARY WARREN. [To DANFORTH.] I’m not hurt- ing her! GIRLS. [Raising their fists.] Stop it!! [MARY WARREN, utterly confounded, and becom- DANFORTH. [To MARY WARREN.] Why does she see this vision? ing overwhelmed by ABIGAIL’s—and the girls’— utter conviction, starts to whimper, hands half MARY WARREN. She sees nothin’! raised, powerless, and all the girls begin whimper- ABIGAIL. [Now staring full front as though hypno- ing exactly as she does.] tized, and mimicking the exact tone of MARY WAR- DANFORTH. A little while ago you were afflicted. REN’s cry.] She sees nothin’! Now it seems you afflict others; where did you MARY WARREN. [Pleading.] Abby, you mustn’t! find this power?

MARY WARREN. [Staring at ABIGAIL.] I—have no power. Reading Strategy Evaluating Argument What is Abigail GIRLS. I have no power. trying to accomplish in this scene? Is she successful? Explain. PROCTOR. They’re gulling21 you, Mister! Big Idea The United States and the World How does DANFORTH. Why did you turn about this past two this stage direction help to explain why Mary betrays Proctor weeks? You have seen the Devil, have you not? and why many witnesses at the McCarthy hearings betrayed their friends and colleagues? HALE. [Indicating ABIGAIL and the girls.] You cannot believe them! Vocabulary

unperturbed (un pər turbd) adj. undisturbed; calm 21. Gulling means “deceiving.”

1084 UNIT 6 FROM DEPRESSION TO COLD WAR

1068-1087 U6P2SEL-845481.indd 1084 4/15/06 12:05:51 AM 1 Sympathizer, 1956. Elaine de Kooning. Oil on canvas, 40 /4 x 31 in. Estate of Elaine de Kooning. Viewing the Art: What are your reactions to this painting? Are they similar to or different from the reactions you have to Mary Warren in act 3? Explain.

ARTHUR MILLER 1085 Estate of Elaine DeKooning

1068-1087 U6P2SEL-845481.indd 1085 4/15/06 12:05:55 AM MARY WARREN. I— PROCTOR. Mary, tell the Governor what they— PROCTOR. [Sensing her weakening.] Mary, God [He has hardly got a word out, when, seeing him damns all liars! coming for her, she rushes out of his reach, screaming in horror.] DANFORTH. [Pounding it into her.] You have seen the Devil, you have made compact with Lucifer, MARY WARREN. Don’t touch me—don’t touch have you not? me! [At which the girls halt at the door.]

PROCTOR. God damns liars, Mary! PROCTOR. [Astonished.] Mary!

[MARY utters something unintelligible, staring at MARY WARREN. [Pointing at PROCTOR.] You’re the ABIGAIL, who keeps watching the “bird” above.] Devil’s man! DANFORTH. I cannot hear you. What do you say? [He is stopped in his tracks.] [MARY utters again unintelligibly.] You will confess PARRIS. Praise God! yourself or you will hang! [He turns her roughly to face him.] Do you know who I am? I say you will GIRLS. Praise God! hang if you do not open with me! PROCTOR. [Numbed.] Mary, how—?

PROCTOR. Mary, remember the angel Raphael— MARY WARREN. I’ll not hang with you! I love do that which is good and— God, I love God.

ABIGAIL. [Pointing upward.] The wings! Her DANFORTH. [To MARY.] He bid you do the wings are spreading! Mary, please, don’t, don’t—! Devil’s work?

HALE. I see nothing, Your Honor! MARY WARREN. [Hysterically, indicating PROCTOR.] DANFORTH. Do you confess this power! [He is an He come at me by night and every day to sign, inch from her face.] Speak! to sign, to— ABIGAIL. She’s going to come down! She’s walk- DANFORTH. Sign what? ing the beam! PARRIS. The Devil’s book? He come with a DANFORTH. Will you speak! book? MARY WARREN. [Staring in horror.] I cannot! MARY WARREN. [Hysterically, pointing at PROCTOR, fearful of him.] My name, he want my name. GIRLS. I cannot! “I’ll murder you,” he says, “if my wife hangs! PARRIS. Cast the Devil out! Look him in the We must go and overthrow the court,” face! Trample him! We’ll save you, Mary, only he says! stand fast against him and— [DANFORTH’s hand jerks toward PROCTOR, shock ABIGAIL. [Looking up.] Look out! She’s and horror in his face.] coming down! PROCTOR. [Turning, appealing to HALE.] [She and all the girls run to one wall, shielding Mr. Hale! their eyes. And now, as though cornered, they let MARY WARREN. [Her sobs beginning.] He wake me out a gigantic scream, and MARY, as though infected, opens her mouth and screams with them. every night, his eyes were like coals and his fingers claw my neck, and I sign, I sign . . . Gradually ABIGAIL and the girls leave off, until only MARY is left there, staring up at the “bird,” HALE. Excellency, this child’s gone wild! screaming madly. All watch her, horrified by this PROCTOR. [As DANFORTH’s wide eyes pour on evident fit. PROCTOR strides to her.] him.] Mary, Mary!

MARY WARREN. [Screaming at him.] No, I love God; I go your way no more. I love God, I Big Idea The United States and the World What connection would Miller’s 1950s audiences have made between bless God. [Sobbing, she rushes to ABIGAIL.] Danforth’s questions and the McCarthy hearings?

Literary Element Plot How does Arthur Miller create Literary Element Plot How might this be a turning point tension in this scene? in the plot?

1086 UNIT 6 FROM DEPRESSION TO COLD WAR

1068-1087 U6P2SEL-845481.indd 1086 4/15/06 12:05:58 AM Abby, Abby, I’ll never hurt you more! [They all watch, as ABIGAIL, out of her infinite charity, reaches out and draws the sobbing MARY to her, and then looks up to DANFORTH.]

DANFORTH. [To PROCTOR.] What are you? [PROCTOR is beyond speech in his anger.] You are combined with anti-Christ, are you not? I have seen your power; you will not deny it! What say you, Mister?

HALE. Excellency—

DANFORTH. I will have nothing from you, Mr. Hale! [To PROCTOR.] Will you confess yourself befouled with Hell, or do you keep that black alle- giance yet? What say you?

PROCTOR. [His mind wild, breathless.] I say— I say—God is dead!

PARRIS. Hear it, hear it!

PROCTOR. [Laughs insanely, then.] A fire, a fire is burning! I hear the boot of Lucifer, I see his filthy face!

And it is my face, and yours, Images.com/CORBIS Danforth! For them that quail to bring men out of igno- Caged Man in Flames. John Ritter. rance, as I have quailed, and as you quail now when you know in all your PROCTOR. You are pulling Heaven down and black hearts that this be fraud—God damns our raising up a whore! kind especially, and we will burn, we will burn HALE. I denounce these proceedings, I quit this together! court! [He slams the door to the outside behind him.]

DANFORTH. Marshal! Take him and Corey with DANFORTH. [Calling to him in a fury.] Mr. Hale! him to the jail! Mr. Hale! HALE. [Starting across to the door.] I denounce22 these proceedings! THE CURTAIN FALLS

22. Here, denounce means “to publicly pronounce something to be evil.”

Big Idea The United States and the World Senator Big Idea The United States and the World Senator McCarthy and his followers were convinced that undercover McCarthy’s power began to decline when he launched an Communists were everywhere. How does Danforth’s com- investigation into the United States Army. How is this a simi- ment reveal a similar state of mind? lar situation?

ARTHUR MILLER 1087

1068-1087 U6P2SEL-845481.indd 1087 4/26/06 4:59:47 PM AFTER YOU READ

RESPONDING AND THINKING CRITICALLY Respond Analyze and Evaluate 1. Which of the characters did you like better after 5. (a)How do Hale’s attitudes toward Elizabeth’s lie reading Act Three? Which did you like less? Explain and Abigail’s deception differ? (b)Do you agree your choices. with his distinction? Recall and Interpret 6. (a)How does Abigail succeed in controlling the investigation. (b)Do you think it would have been 2. (a)How and why does Giles Corey interrupt the possible for Proctor to have prevailed over Abigail? court proceedings? (b)What does the response of Explain. the judges to him and Francis Nurse suggest about the way the trials are being conducted? 7. Shortly before Proctor is arrested, he says, “. . . God is dead!” What do you think that Proctor means by 3. (a)Why does Proctor bring Mary Warren to this remark? court? (b)How does Mary Warren’s confession threaten Danforth, Parris, and Hathorne? Connect

4. (a)What does Abigail do when Hale gives his opin- 8. Big Idea The United States and the World ion of her? (b)What can you infer about the gen- Do you think that Miller successfully compared the eral emotional state surrounding these accusations HUAC hearings with the Salem witch trials? Explain. and condemnations?

LITERARY ANALYSIS READING AND VOCABULARY

Literary Element Plot Reading Strategy Evaluating Argument When you read or see a play, the sequence of plot When evaluating an argument, use reason and events builds to a point at which you feel the greatest sound evidence to support your evaluation. Examine emotional intensity, interest, or suspense. This point is the following examples of how characters reason in called the climax. Usually the climax is a turning point Act Three. For each statement, give your evaluation after which the resolution of a conflict becomes clear. and support it with a persuasive explanation. 1. Which event do you see as the climax of Act Three 1. Hathorne argues that a person may be a witch of The Crucible? without knowing it. 2. Which conflict or conflicts are now on the way to 2. Elizabeth Proctor reasons that it is better to protect being resolved? her husband than to tell the truth.

Writing About Literature Vocabulary Practice Respond to Character Imagine that you are Abigail Context Clues In the examples below, identify Williams or Reverend Hale. Write a series of diary the context clue that helps the reader to identify entries set during the time period covered in Act the vocabulary word: definition, example, compari- Three. Use your imagination to explain your diarist’s son, contrast, or cause and effect. innermost thoughts and motivations, but be sure to 1. Old Mr. Alvarez was unperturbed by the noise base these on actual events and characters in the play. because he is completely deaf. 2. My car is in immaculate condition. Yours, on the other hand, is old and rusty.

Web Activities For eFlashcards, 3. I was in no mood for contemplation. Bill was Selection Quick Checks, and other Web activities, go to similarly eager for action. www.glencoe.com.

1088 UNIT 6 FROM DEPRESSION TO COLD WAR

1067-1088 U6P2APP-845481.indd 1088 4/15/06 12:01:10 AM BEFORE YOU READ The Crucible, Act Four

LITERATURE PREVIEW READING PREVIEW

Building Background Reading Strategy Identifying Problem The characters in Miller’s play are based on histori- and Solution cal persons, although in some cases Miller com- As you read Act Four, consider the problems that bined several people into one character, adjusted the characters face. Whether insignificant or life- some of the characters’ ages, and invented their threatening, each of these problems requires a motives. Nevertheless, Miller states, “The fate of solution that will propel the action of the drama each character is exactly that of the historical to its conclusion. model, and there is no one in the drama who did not play a similar—and in some cases exactly the Reading Tip: Asking Questions Good readers are same—role in history.” For example, shortly after the always asking why and how questions. These ques- girls started acting strangely, three women, including tions will help you identify problems and solutions. As one named Tituba, were accused of being witches you read Act Four, ask yourself questions such as the and were arrested. In all, nineteen people were following: How will this character solve his or her prob- hanged as witches, and one was pressed to death lem? Why is he or she behaving this way? for refusing to testify. The nightmare ended when Massachusetts authori- Vocabulary ties realized the danger of accepting the “spectral evidence” of dreams or visions and put an end to conciliatory (kən sil ¯e ə tor´ ¯e ) adj. trying to the trials. To ensure that such a slaughter of the gain the good will of another by friendly acts; innocents could never happen again, the courts p. 1094 The boys who broke the window mowed decreed that witchcraft was no longer punishable our lawn as a conciliatory gesture. by death. reprieve (ri pr¯e v) n. official postponement of the carrying out of a sentence; p. 1095 A last-minute Literary Element Tragedy reprieve from the governor saved him from hanging.

A tragedy is a play in which a main character suffers a retaliation (ri tal´ ¯e ¯a shən) n. the act of repay- downfall. That character, the tragic hero, is typically ing an injury or a wrong by committing the a person of exalted status who possesses admirable same, or a similar, act; p. 1095 In retaliation for qualities. The downfall may result from outside forces the bombing, the rebels shot down a helicopter. or from a weakness within the character, which is known as a tragic flaw. As you read Act Four of The adamant (ad ə mənt) adj. completely firm and Crucible, determine whether any of the characters ful- unyielding; p. 1095 Mom is adamant about my fill the requirements of a tragic hero. observing a midnight curfew. See Literary Terms Handbook, p. R19. indictment (in d¯t mənt) n. a formal legal • accusation, charging the commission or omission of an act, which is punishable by law; p. 1098 The indictment led to her trial and conviction.

Interactive Literary Elements Handbook To review or learn more about the literary elements, go to www.glencoe.com.

OBJECTIVES In studying this selection, you will focus on the following: • understanding tragedy • practicing with synonyms • identifying problem and solution • connecting to contemporary issues ARTHUR MILLER 1089

1089-1107 U6P2APP-845481.indd 1089 1/10/07 3:51:43 PM Act Four

[A cell in Salem jail, that fall. TITUBA. I’ll speak to him for you, if you desire to At the back is a high barred window; near it, come along, Marshal.

a great, heavy door. Along the walls are two HERRICK. I’d not refuse it, Tituba; it’s the proper benches. morning to fly into Hell. The place is in darkness but for the moonlight seeping through the bars. It appears empty. Presently foot- TITUBA. Oh, it be no Hell in Barbados. Devil, steps are heard coming down a corridor beyond the him be pleasureman in Barbados, him be singin’ and dancin’ in Barbados. It’s you wall, keys rattle, and the door swings open. MARSHAL folks—you riles him up ’round here; it be too HERRICK enters with a lantern. He is nearly drunk, and heavy-footed. He goes to a cold ’round here for that Old Boy. He freeze his bench and nudges a bundle of rags lying on it.] soul in Massachusetts, but in Barbados he just as sweet and—[A bellowing cow is heard, and HERRICK. Sarah, wake up! Sarah Good! [He then TITUBA leaps up and calls to the window.] Aye, crosses to the other bench.] sir! That’s him, Sarah!

SARAH GOOD. [Rising in her rags.] Oh, Majesty! SARAH GOOD. I’m here, Majesty! [They hur- Comin’, comin’! Tituba, he’s here, His Majesty’s riedly pick up their rags as HOPKINS, a guard, come! enters.]

HERRICK. Go to the north cell; this place is HOPKINS. The Deputy Governor’s arrived. wanted now. [He hangs his lantern on the wall. HERRICK. [Grabbing TITUBA.] Come along, come TITUBA sits up.] along. TITUBA. That don’t look to me like His Majesty; look to me like the marshal. TITUBA. [Resisting him.] No, he comin’ for me. I goin’ home! HERRICK. [Taking out a flask.] Get along with you HERRICK. [Pulling her to the door.] That’s not now, clear this place. [He drinks, and SARAH Satan, just a poor old cow with a hatful of milk. GOOD comes and peers up into his face.] Come along now, out with you! SARAH GOOD. Oh, is it you, Marshal! I thought sure you be the devil comin’ for us. Could I have TITUBA. [Calling to the window.] Take me home, a sip of cider for me goin’-away? Devil! Take me home! SARAH GOOD. [Following the shouting TITUBA out.] HERRICK. [Handing her the flask.] And where are you off to, Sarah? Tell him I’m goin’, Tituba! Now you tell him Sarah Good is goin’ too! TITUBA. [As SARAH drinks.] We goin’ to Barbados, soon the Devil gits here with the [In the corridor outside TITUBA calls on—“Take feathers and the wings. me home, Devil; Devil take me home!” and HOP- KINS’ voice orders her to move on. HERRICK HERRICK. Oh? A happy voyage to you. returns and begins to push old rags and straw into SARAH GOOD. A pair of bluebirds wingin’ a corner. Hearing footsteps, he turns, and enter southerly, the two of us! Oh, it be a grand DANFORTH and JUDGE HATHORNE. They are in transformation, Marshal! [She raises the flask to greatcoats and wear hats against the bitter cold. drink again.] They are followed in by CHEEVER, who carries a

HERRICK. [Taking the flask from her lips.] You’d dispatch case and a flat wooden box containing his best give me that or you’ll never rise off the writing materials.] ground. Come along now. HERRICK. Good morning, Excellency.

Reading Strategy Identifying Problem and Solution Big Idea The United States and the World What sort In your opinion, why do Sarah Good and Tituba say that they of position might a person like Cheever have held during the are waiting for the devil? HUAC hearings in the 1950s?

1090 UNIT 6 FROM DEPRESSION TO COLD WAR

1090-1104 U6P2SEL-845816.indd 1090 4/15/06 12:43:23 AM National Theater Production of The Crucible by Arthur Miller. National Theater, London, UK.

DANFORTH. Where is Mr. Parris? DANFORTH. Indeed. That man have no authority

HERRICK. I’ll fetch him. [He starts for the door.] to enter here, Marshal. Why have you let him in?

DANFORTH. Marshal. [HERRICK stops.] When did HERRICK. Why, Mr. Parris command me, sir. I Reverend Hale arrive? cannot deny him.

HERRICK. It were toward midnight, I think. DANFORTH. Are you drunk, Marshal?

DANFORTH. [Suspiciously.] What is he about here? HERRICK. No, sir; it is a bitter night, and I have no fire here. HERRICK. He goes among them that will hang, sir. And he prays with them. He sits with Goody DANFORTH. [Containing his anger.] Fetch Mr. Parris. Nurse now. And Mr. Parris with him. HERRICK. Aye, sir.

DANFORTH. There is a prodigious stench in this Reading Strategy Identifying Problem and Solution place. What problem might Hale be attempting to resolve with his HERRICK. I have only now cleared the people visits to the condemned? out for you.

ARTHUR MILLER 1091 Robbie Jack/CORBIS

1090-1104 U6P2SEL-845816.indd 1091 4/15/06 12:43:26 AM DANFORTH. Beware hard drink, Marshal. DANFORTH. Reverend Hale have no right to enter this— HERRICK. Aye, sir. [He waits an instant for further orders. But DANFORTH, in dissatisfaction, PARRIS. Excellency, a moment. [He hurries back turns his back on him, and HERRICK goes out. and shuts the door.] There is a pause. DANFORTH stands in thought.] HATHORNE. Do you leave him alone with the HATHORNE. Let you question Hale, Excellency; I prisoners? should not be surprised he have been preaching DANFORTH. What’s his business here? in Andover lately. PARRIS. [Prayerfully holding up his hands.] DANFORTH. We’ll come to that; speak nothing of Andover. Parris prays with him. That’s strange. Excellency, hear me. It is a providence. [He blows on his hands, moves toward the window, Reverend Hale has returned to bring Rebecca and looks out.] Nurse to God. DANFORTH. HATHORNE. Excellency, I wonder if it be wise [Surprised.] He bids her confess? to let Mr. Parris so continuously with the pris- PARRIS. [Sitting.] Hear me. Rebecca have not oners. [DANFORTH turns to him, interested.] I given me a word this three month since she think, sometimes, the man has a mad look came. Now she sits with him, and her sister and these days. Martha Corey and two or three others, and he DANFORTH. Mad? pleads with them, confess their crimes and save their lives. HATHORNE. I met him yesterday coming out of his house, and I bid him good morning—and he DANFORTH. Why—this is indeed a providence. wept and went his way. I think it is not well the And they soften, they soften? village sees him so unsteady. PARRIS. Not yet, not yet. But I thought to DANFORTH. Perhaps he have some sorrow. summon you, sir, that we might think on whether it be not wise, to—[He dares not say CHEEVER. [Stamping his feet against the cold.] it.] I had thought to put a question, sir, and I I think it be the cows, sir. hope you will not— DANFORTH. Cows? DANFORTH. Mr. Parris, be plain, what CHEEVER. There be so many cows wanderin’ troubles you? the highroads, now their masters are in the jails, and much disagreement who they will PARRIS. There is news, sir, that the court— belong to now. I know Mr. Parris be arguin’ the court must reckon with. My niece, sir, with farmers all yesterday—there is great con- my niece—I believe she has vanished. tention, sir, about the cows. Contention make DANFORTH. Vanished! him weep, sir; it were always a man that weep PARRIS. I had thought to advise you of it earlier for contention. [He turns, as do HATHORNE and in the week, but— DANFORTH, hearing someone coming up the corridor. DANFORTH raises his head as PARRIS DANFORTH. Why? How long is she gone? enters. He is gaunt, frightened, and sweating in PARRIS. This be the third night. You see, sir, his greatcoat.] she told me she would stay a night with Mercy PARRIS. [To DANFORTH, instantly.] Oh, good Lewis. And next day, when she does not morning, sir, thank you for coming, I beg your return, I send to Mr. Lewis to inquire. Mercy pardon wakin’ you so early. Good morning, told him she would sleep in my house for a Judge Hathorne. night.

Literary Element Tragedy What is it about Reverend Reading Strategy Identifying Problem and Solution Parris’s actions and character that make him an unlikely What is the real motive behind Reverend Hale’s visits to tragic hero? Rebecca and the other condemned women?

1092 UNIT 6 FROM DEPRESSION TO COLD WAR

1090-1104 U6P2SEL-845816.indd 1092 4/15/06 12:43:28 AM DANFORTH. They are both gone?! before she married him. John Proctor is not Isaac Ward that drank his family to ruin. [To PARRIS. [In fear of him.] They are, sir. DANFORTH.] I would to God it were not so, DANFORTH. [Alarmed.] I will send a party for Excellency, but these people have great weight them. Where may they be? yet in the town. Let Rebecca stand upon the PARRIS. Excellency, I think they be aboard a gibbet1 and send up some righteous prayer, ship. [DANFORTH stands agape.] My daughter tells and I fear she’ll wake a vengeance on you. me how she heard them speaking of ships last HATHORNE. Excellency, she is condemned a week, and tonight I discover my—my strongbox witch. The court have— is broke into. [He presses his fingers against his eyes to keep back tears.] DANFORTH. [In deep concern, raising a hand to HATHORNE.] Pray you. [To PARRIS.] How do you HATHORNE. [Astonished.] She have robbed you? propose, then? PARRIS. Thirty-one pound is gone. I am penniless. PARRIS. Excellency, I would postpone these han- [He covers his face and sobs.] gin’s for a time. DANFORTH. Mr. Parris, you are a brainless man! DANFORTH. There will be no postponement. [He walks in thought, deeply worried.] PARRIS. Now Mr. Hale’s returned, there is PARRIS. Excellency, it profit nothing you should hope, I think—for if he bring even one of blame me. I cannot think they would run off these to God, that confession surely damns except they fear to keep in Salem any more. [He the others in the public eye, and none may is pleading.] Mark it, sir, Abigail had close knowl- doubt more that they are all linked to Hell. edge of the town, and since the news of Andover This way, unconfessed and claiming inno- has broken here— cence, doubts are multiplied, many honest DANFORTH. Andover is remedied. The court people will weep for them, and our good pur- returns there on Friday, and will resume pose is lost in their tears. examinations. DANFORTH. [After thinking a moment, then going PARRIS. I am sure of it, sir. But the rumor here to CHEEVER.] Give me the list. speaks rebellion in Andover, and it— [CHEEVER opens the dispatch case, searches.] DANFORTH. There is no rebellion in Andover! PARRIS. It cannot be forgot, sir, that when I PARRIS. I tell you what is said here, sir. summoned the congregation for John Proctor’s Andover have thrown out the court, they say, excommunication2 there were hardly thirty and will have no part of witchcraft. There be people come to hear it. That speak a discon- a faction here, feeding on that news, and I tell tent, I think, and— you true, sir, I fear there will be riot here. DANFORTH. [Studying the list.] There will be no HATHORNE. Riot! Why at every execution I postponement. have seen naught but high satisfaction in PARRIS. Excellency— the town. DANFORTH. Now, sir—which of these in your PARRIS. Judge Hathorne—it were another opinion may be brought to God? I will myself sort that hanged till now. Rebecca Nurse is strive with him till dawn. [He hands the list to no Bridget that lived three year with Bishop PARRIS, who merely glances at it.]

PARRIS. There is not sufficient time till dawn. Reading Strategy Identifying Problem and Solution How is Abigail’s disappearance a significant problem for Danforth? 1. The gibbet ( jib it) is the gallows. 2. Excommunication is the act, by church authorities, of Reading Strategy Identifying Problem and Solution expelling a person from membership in a church. The audience learns here that Abigail turned to theft and escape as a solution to her problem. What problem was she Reading Strategy Identifying Problem and Solution trying to avoid? How does Parris misunderstand Hale’s motives?

ARTHUR MILLER 1093

1090-1104 U6P2SEL-845816.indd 1093 4/15/06 12:43:30 AM Through the Fire, 1992. Gayle Ray. Acrylic on canvas. Private collection. Viewing the Art: How might this painting illustrate the struggles of the characters in The Crucible?

DANFORTH. I shall do my utmost. Which of HALE. [Coming to DANFORTH now.] You must them do you have hope for? pardon them. They will not budge.

PARRIS. [Not even glancing at the list now, and in a [HERRICK enters, waits.] quavering voice, quietly.] Excellency—a dagger— DANFORTH. [Conciliatory.] You misunderstand, [He chokes up.] sir; I cannot pardon these when twelve are DANFORTH. What do you say? already hanged for the same crime. It is not just.

PARRIS. Tonight, when I open my door to leave PARRIS. [With failing heart.] Rebecca will not my house—a dagger clattered to the ground. confess? [Silence. DANFORTH absorbs this. Now PARRIS cries out.] You cannot hang this sort. There is danger for me. I dare not step outside at night! Big Idea The United States and the World An ideo- logue is an official who systematically follows a particular set [REVEREND HALE enters. They look at him for of beliefs. How were both Senator McCarthy and Judge an instant in silence. He is steeped in sorrow, Danforth ideologues? exhausted, and more direct than he ever was.] Vocabulary DANFORTH. Accept my congratulations, Rever- end Hale; we are gladdened to see you returned conciliatory (kən sil e¯ ə tor ´ e¯) adj. trying to gain the to your good work. good will of another by friendly acts

1094 UNIT 6 FROM DEPRESSION TO COLD WAR Gayle Ray/SuperStock

1090-1104 U6P2SEL-845816.indd 1094 4/15/06 12:43:33 AM HALE. The sun will rise in a few minutes. DANFORTH. [After thinking on it.] Fetch Goody Excellency, I must have more time. Proctor to me. Then let you bring him up.

DANFORTH. Now hear me, and beguile your- HERRICK. Aye, sir. [HERRICK goes. There is selves no more. I will not receive a single plea silence.]

for pardon or postponement. Them that will not HALE. Excellency, if you postpone a week and confess will hang. Twelve are already executed; publish to the town that you are striving for their the names of these seven are given out, and the confessions, that speak mercy on your part, not village expects to see them die this morning. faltering. Postponement now speaks a floundering on my part; reprieve or pardon must cast doubt upon DANFORTH. Mr. Hale, as God have not empow- the guilt of them that died till now. While I ered me like Joshua to stop this sun from rising, speak God’s law, I will not crack its voice with so I cannot withhold from them the perfection whimpering. If retaliation is your fear, know of their punishment. this—I should hang ten thousand that dared to HALE. [Harder now.] If you think God wills rise against the law, and an ocean of salt tears you to raise rebellion, Mr. Danforth, you are could not melt the resolution of the statutes. mistaken! Now draw yourselves up like men and help me, DANFORTH. [Instantly.] You have heard rebel- as you are bound by Heaven to do. Have you lion spoken in the town? spoken with them all, Mr. Hale? HALE. Excellency, there are orphans wander- HALE. All but Proctor. He is in the dungeon. ing from house to house; abandoned cattle DANFORTH. [To HERRICK.] What’s Proctor’s bellow on the highroads, the stink of rotting way now? crops hangs everywhere, and no man knows when the harlots’ cry will end his life—and HERRICK. He sits like some great bird; you’d not know he lived except he will take food from time you wonder yet if rebellion’s spoke? Better to time. you should marvel how they do not burn your province! DANFORTH. [After thinking a moment.] His wife— his wife must be well on with child now. DANFORTH. Mr. Hale, have you preached in Andover this month? HERRICK. She is, sir. HALE. Thank God they have no need of me in DANFORTH. What think you, Mr. Parris? You Andover. have closer knowledge of this man; might her presence soften him? DANFORTH. You baffle me, sir. Why have you returned here? PARRIS. It is possible, sir. He have not laid eyes on her these three months. I should summon her. HALE. Why, it is all simple. I come to do the Devil’s work. I come to counsel Christians they DANFORTH. [To HERRICK.] Is he yet adamant? should belie themselves. [His sarcasm collapses.] Has he struck at you again? There is blood on my head! Can you not see HERRICK. He cannot, sir, he is chained to the the blood on my head!!

wall now. PARRIS. Hush! [For he has heard footsteps. They all face the door. HERRICK enters with ELIZABETH. Her wrists are linked by heavy chain, which HERRICK Literary Element Tragedy What character flaw does now removes. Her clothes are dirty; her face is pale Danforth exhibit here? and gaunt. HERRICK goes out.]

DANFORTH. [Very politely.] Goody Proctor. [She Vocabulary is silent.] I hope you are hearty? reprieve (ri pre¯v) n. official postponement of the carrying out of a sentence ELIZABETH. [As a warning reminder.] I am yet six retaliation (ri tal´ e¯ a¯ shən) n. the act of repaying an month before my time. injury or wrong by committing the same, or a similar, act DANFORTH. Pray be at your ease, we come not adamant (ad ə mənt) adj. completely firm and unyielding for your life. We—[Uncertain how to plead, for he

ARTHUR MILLER 1095

1090-1104 U6P2SEL-845816.indd 1095 4/15/06 12:43:38 AM 1 The Last Judgement, 1955. Abraham Rattner. Watercolor on paper, 40 x 29 /2 in. The Lane Collection. Courtesy Museum of Fine Arts, Boston. Viewing the Art: In what ways might this painting and its title reflect the events in act 4?

1096 UNIT 6 FROM DEPRESSION TO COLD WAR The Lane Collection. Courtesy Museum of Fine Arts, Boston

1090-1104 U6P2SEL-845816.indd 1096 4/15/06 12:43:42 AM is not accustomed to it.] Mr. Hale, will you speak HALE. [With a climactic desperation.] Woman, with the woman? before the laws of God we are as swine! We cannot read His will! HALE. Goody Proctor, your husband is marked to hang this morning. ELIZABETH. I cannot dispute with you, sir; I lack [Pause.] learning for it. DANFORTH. [Going to her.] Goody Proctor, ELIZABETH. [Quietly.] I have heard it. you are not summoned here for disputation. HALE. You know, do you not, that I have no Be there no wifely tenderness within you? connection with the court? [She seems to doubt He will die with the sunrise. Your husband. it.] I come of my own, Goody Proctor. I would Do you understand it? [She only looks at him.] save your husband’s life, for if he is taken I count What say you? Will you contend with him? myself his murderer. Do you understand me? [She is silent.] Are you stone? I tell you true, ELIZABETH. What do you want of me? woman, had I no other proof of your unnatural life, your dry eyes now would be sufficient HALE. Goody Proctor, I have gone this three month like our Lord into the wilderness. I have evidence that you delivered up your soul to sought a Christian way, for damnation’s doubled Hell! A very ape would weep at such calam- on a minister who counsels men to lie. ity! Have the devil dried up any tear of pity in you? [She is silent.] Take her out. It profit HATHORNE. It is no lie, you cannot speak of lies. nothing she should speak to him!

HALE. It is a lie! They are innocent! ELIZABETH. [Quietly.] Let me speak with him, DANFORTH. I’ll hear no more of that! Excellency.

HALE. [Continuing to ELIZABETH.] Let you PARRIS. [With hope.] You’ll strive with him? not mistake your duty as I mistook my own. [She hesitates.] I came into this village like a bridegroom to DANFORTH. Will you plead for his confession or his beloved, bearing gifts of high religion; the will you not? very crowns of holy law I brought, and what ELIZABETH. I promise nothing. Let me speak I touched with my bright confidence, it died; with him. and where I turned the eye of my great faith, blood flowed up. Beware, Goody Proctor— [A sound—the sibilance5 of dragging feet on cleave3 to no faith when faith brings blood. stone. They turn. A pause. HERRICK enters It is mistaken law that leads you to sacrifice. with JOHN PROCTOR. His wrists are chained. Life, woman, life is God’s most precious gift; He is another man, bearded, filthy, his eyes no principle, however glorious, may justify the misty as though webs had overgrown them. taking of it. I beg you, woman, prevail upon4 He halts inside the doorway, his eye caught by your husband to confess. Let him give his lie. the sight of ELIZABETH. The emotion flowing Quail not before God’s judgment in this, for it between them prevents anyone from speaking may well be God damns a liar less than he that for an instant. Now HALE, visibly affected, throws his life away for pride. Will you plead goes to DANFORTH and speaks quietly.] with him? I cannot think he will listen to HALE. Pray, leave them, Excellency. another. DANFORTH. [Pressing HALE impatiently aside.] ELIZABETH. [Quietly.] I think that be the Devil’s Mr. Proctor, you have been notified, have you argument. not? [PROCTOR is silent, staring at ELIZABETH.] I see light in the sky, Mister; let you counsel

3. Here, cleave means “to stick tight,” or “to remain attached.” 4. To prevail upon means “to persuade.” 5. A sibilance is a hissing sound.

Literary Element Tragedy How does Hale justify his Reading Strategy Identifying Problem and Solution advising Elizabeth to persuade Proctor to lie? What character How would Elizabeth’s convincing Proctor to confess repre- flaw does he warn her against? sent a solution for Parris, Danforth, and Hale?

ARTHUR MILLER 1097

1090-1104 U6P2SEL-845816.indd 1097 4/15/06 12:43:44 AM with your wife, and may God help you turn ELIZABETH. There be a hundred or more, they your back on Hell. [PROCTOR is silent, staring at say. Goody Ballard is one; Isaiah Goodkind is ELIZABETH.] one. There be many.

HALE. [Quietly.] Excellency, let— PROCTOR. Rebecca? [DANFORTH brushes past HALE and walks out. ELIZABETH. Not Rebecca. She is one foot in HALE follows. CHEEVER stands and follows, Heaven now; naught may hurt her more. HATHORNE behind. HERRICK goes. PARRIS, PROCTOR. And Giles? from a safe distance, offers.] ELIZABETH. You have not heard of it? PARRIS. If you desire a cup of cider, Mr. Proctor, PROCTOR. I hear nothin’, where I am kept. I am sure I—[PROCTOR turns an icy stare at him, and he breaks off. PARRIS raises his palms toward ELIZABETH. Giles is dead. PROCTOR.] God lead you now. [PARRIS goes out.] [He looks at her incredulously.]

[Alone. PROCTOR walks to her, halts. It is as PROCTOR. When were he hanged? though they stood in a spinning world. It is beyond ELIZABETH. [Quietly, factually.] He were not sorrow, above it. He reaches out his hand as though 6 hanged. He would not answer aye or nay to toward an embodiment not quite real, and as he his indictment; for if he denied the charge touches her, a strange soft sound, half laughter, half they’d hang him surely, and auction out his amazement, comes from his throat. He pats her property. So he stand mute, and died Christian hand. She covers his hand with hers. And then, under the law. And so his sons will have his weak, he sits. Then she sits, facing him.] farm. It is the law, for he could not be con- PROCTOR. The child? demned a wizard without he answer the indict- ELIZABETH. It grows. ment, aye or nay.

PROCTOR. There is no word of the boys? PROCTOR. Then how does he die?

ELIZABETH. They’re well. Rebecca’s Samuel ELIZABETH. [Gently.] They press him, John. keeps them. PROCTOR. Press?

PROCTOR. You have not seen them? ELIZABETH. Great stones they lay upon his

ELIZABETH. I have not. [She catches a weakening chest until he plead aye or nay. [With a tender in herself and downs it.] smile for the old man.] They say he give them but two words. “More weight,” he says. And PROCTOR. You are a—marvel, Elizabeth. died. ELIZABETH. You—have been tortured? PROCTOR. [Numbed—a thread to weave into his PROCTOR. Aye. [Pause. She will not let herself be agony.] “More weight.” drowned in the sea that threatens her.] They come ELIZABETH. Aye. It were a fearsome man, Giles for my life now. Corey. ELIZABETH. I know it. [Pause.] [Pause.] PROCTOR. [With great force of will, but not quite PROCTOR. None—have yet confessed? looking at her.] I have been thinking I would ELIZABETH. There be many confessed.

PROCTOR. Who are they? Big Idea The United States and the World How might Miller be making a favorable comparison between himself and Giles Corey? 6. Embodiment, here, suggests a vision or a spirit rather than a solid form. Vocabulary

Literary Element Tragedy John and Elizabeth Proctor are indictment (in d¯t mənt) n. a formal legal accusation, ragged and dirty prisoners. How does Arthur Miller manage charging the commission or omission of an act, which is to elevate them to heroic stature? punishable by law

1098 UNIT 6 FROM DEPRESSION TO COLD WAR

1090-1104 U6P2SEL-845816.indd 1098 4/15/06 12:43:46 AM confess to them, Elizabeth. [She shows nothing.] It is difficult to say, and she is on the verge of What say you? If I give them that? tears.] Only be sure of this, for I know it now:

ELIZABETH. I cannot judge you, John. Whatever you will do, it is a good man does it. [He turns his doubting, searching gaze upon [Pause.] her.] I have read my heart this three month, PROCTOR. [Simply—a pure question.] What would John. [Pause.] I have sins of my own to count. you have me do? It needs a cold wife to prompt lechery. ELIZABETH. As you will, I would have it. [Slight PROCTOR. [In great pain.] Enough, enough— pause.] I want you living, John. That’s sure. ELIZABETH. [Now pouring out her heart.] Better PROCTOR. [Pauses, then with a flailing of hope.] you should know me! Giles’ wife? Have she confessed? PROCTOR. I will not hear it! I know you! ELIZABETH. She will not. ELIZABETH. You take my sins upon you, John— [Pause.] PROCTOR. [In agony.] No, I take my own, my own! PROCTOR. It is a pretense, Elizabeth. ELIZABETH. John, I counted myself so plain, so ELIZABETH. What is? poorly made, no honest love could come to me! Suspicion kissed you when I did; I never knew PROCTOR. I cannot mount the gibbet like a how I should say my love. It were a cold house I saint. It is a fraud. I am not that man. [She is kept! [In fright, she swerves, as HATHORNE enters.] silent.] My honesty is broke, Elizabeth; I am no good man. Nothing’s spoiled by giving HATHORNE. What say you, Proctor? The sun is them this lie that were not rotten long soon up. before. [PROCTOR, his chest heaving, stares, turns to ELIZ- ABETH ELIZABETH. And yet you’ve not confessed till . She comes to him as though to plead, her now. That speak goodness in you. voice quaking.] ELIZABETH. Do what you will. But let none PROCTOR. Spite only keeps me silent. It is hard to give a lie to dogs. [Pause, for the first time he be your judge. There be no higher judge under turns directly to her.] I would have your forgive- Heaven than Proctor is! Forgive me, forgive ness, Elizabeth. me, John—I never knew such goodness in the world! [She covers her face, weeping.] ELIZABETH. It is not for me to give, John, I am— [PROCTOR turns from her to HATHORNE; he is off PROCTOR. I’d have you see some honesty in it. the earth, his voice hollow.] Let them that never lied die now to keep their PROCTOR. I want my life. souls. It is pretense for me, a vanity that will not blind God nor keep my children out of HATHORNE. [Electrified, surprised.] You’ll confess the wind. [Pause.] What say you? yourself? ELIZABETH. [Upon a heaving sob that always PROCTOR. I will have my life. threatens.] John, it come to naught that I HATHORNE. [With a mystical tone.] God be should forgive you, if you’ll not forgive your- praised! It is a providence! [He rushes out the self. [Now he turns away a little, in great agony.] door, and his voice is heard calling down the corri- It is not my soul, John, it is yours. [He stands, dor.] He will confess! Proctor will confess! as though in physical pain, slowly rising to his feet PROCTOR. [With a cry, as he strides to the door.] with a great immortal longing to find his answer. Why do you cry it? [In great pain he turns back to her.] It is evil, is it not? It is evil. Reading Strategy Identifying Problem and Solution ELIZABETH. [In terror, weeping.] I cannot judge What are Proctor’s two options? How does each cause a you, John, I cannot! problem for him?

Literary Element Tragedy For what flaw does Elizabeth Literary Element Tragedy What flaw does Elizabeth see urge Proctor to forgive himself? in herself?

ARTHUR MILLER 1099

1090-1104 U6P2SEL-845816.indd 1099 4/15/06 12:43:48 AM The Crucible, 1996.

PROCTOR. Then who will judge me? [Suddenly [Voices are heard in the hall, speaking together in clasping his hands.] God in Heaven, what is John suppressed excitement.]

Proctor, what is John Proctor? [He moves as an ani- ELIZABETH. I am not your judge, I cannot be. 7 mal, and a fury is riding in him, a tantalized search.] [As though giving him release.] Do as you will, I think it is honest, I think so; I am no saint. [As do as you will! though she had denied this he calls angrily at her.] Let Rebecca go like a saint; for me it is fraud! PROCTOR. Would you give them such a lie? Say it. Would you ever give them this? [She cannot answer.] You would not; if tongs of fire were 7. Here, tantalized means “tormented.” singeing you you would not! It is evil. Good, Literary Element Tragedy What is the cause of the then—it is evil, and I do it! “fury . . . riding” in Proctor? What might this strong feeling [HATHORNE enters with DANFORTH, and, with foreshadow? them, CHEEVER, PARRIS, and HALE. It is a

1100 UNIT 6 FROM DEPRESSION TO COLD WAR 20TH CENTURY FOX/THE KOBAL COLLECTION

1090-1104 U6P2SEL-845816.indd 1100 4/15/06 4:46:14 AM businesslike, rapid entrance, as though the ice had PROCTOR. [Through his teeth, his face turned from been broken.] REBECCA.] I did.

DANFORTH. [With great relief and gratitude.] Praise DANFORTH. Now, woman, you surely see it profit to God, man, praise to God; you shall be blessed nothin’ to keep this conspiracy any further. Will in Heaven for this. [CHEEVER has hurried to the you confess yourself with him? bench with pen, ink, and paper. PROCTOR watches REBECCA. Oh, John—God send his mercy him.] Now then, let us have it. Are you ready, on you! Mr. Cheever? DANFORTH. I say, will you confess yourself, PROCTOR. [With a cold, cold horror at their effi- Goody Nurse? ciency.] Why must it be written? REBECCA. Why, it is a lie, it is a lie; how may I DANFORTH. Why, for the good instruction of the damn myself? I cannot, I cannot. village, Mister; this we shall post upon the church DANFORTH. Mr. Proctor. When the Devil came door! [To PARRIS, urgently.] Where is the marshal? to you did you see Rebecca Nurse in his com- PARRIS. [Runs to the door and calls down the corri- pany? [PROCTOR is silent.] Come, man, take cour- dor.] Marshal! Hurry! age—did you ever see her with the Devil?

DANFORTH. Now, then, Mister, will you speak PROCTOR. [Almost inaudibly.] No. slowly, and directly to the point, for Mr. Cheever’s [DANFORTH, now sensing trouble, glances at sake. [He is on record now, and is really dictating to JOHN and goes to the table, and picks up a CHEEVER, who writes.] Mr. Proctor, have you seen sheet—the list of condemned.] the Devil in your life? [PROCTOR’s jaws lock.] Come, man, there is light in the sky; the town DANFORTH. Did you ever see her sister, Mary waits at the scaffold; I would give out this news. Easty, with the Devil? Did you see the Devil? PROCTOR. No, I did not.

PROCTOR. I did. DANFORTH. [His eyes narrow on PROCTOR.] Did PARRIS. Praise God! you ever see Martha Corey with the Devil?

DANFORTH. And when he come to you, what PROCTOR. I did not. were his demand? [PROCTOR is silent. DANFORTH DANFORTH. [Realizing, slowly putting the sheet helps.] Did he bid you to do his work upon the down.] Did you ever see anyone with the Devil? earth? PROCTOR. I did not. PROCTOR. He did. DANFORTH. Proctor, you mistake me. I am not DANFORTH. And you bound yourself to his empowered to trade your life for a lie. You have service? [DANFORTH turns, as REBECCA NURSE most certainly seen some person with the Devil. enters, with HERRICK helping to support her. She is [PROCTOR is silent.] Mr. Proctor, a score of people barely able to walk.] Come in, come in, woman! have already testified they saw this woman with REBECCA. [Brightening as she sees PROCTOR.] Ah, the Devil. John! You are well, then, eh? PROCTOR. Then it is proved. Why must I say it?

[PROCTOR turns his face to the wall.] DANFORTH. Why “must” you say it! Why, you DANFORTH. Courage, man, courage—let her wit- should rejoice to say it if your soul is truly ness your good example that she may come to God purged8 of any love for Hell! herself. Now hear it, Goody Nurse! Say on, Mr. Proctor. Did you bind yourself to the Devil’s service? 8. To be purged is to be cleansed of whatever is unclean or REBECCA. [Astonished.] Why, John! undesirable.

Big Idea The United States and the World Many of the names given during the HUAC hearings had been revealed Reading Strategy Identifying Problem and Solution previously. Why might the investigators of witches in Salem Why is Rebecca astonished at Proctor’s choice of the solution and the investigators of Communists in Washington have to his problem? wanted to hear the names repeated at the hearings?

ARTHUR MILLER 1101

1090-1104 U6P2SEL-845816.indd 1101 4/15/06 12:43:53 AM The Crucible, 1996.

PROCTOR. They think to go like saints. I like not PROCTOR. I speak my own sins; I cannot judge to spoil their names. another. [Crying out, with hatred.] I have no

DANFORTH. [Inquiring, incredulous.] Mr. Proctor, tongue for it. do you think they go like saints? HALE. [Quickly to DANFORTH.] Excellency, it is enough he confess himself. Let him sign it, let PROCTOR. [Evading.] This woman never thought she done the Devil’s work. him sign it. PARRIS. [Feverishly.] It is a great service, sir. It is DANFORTH. Look you, sir. I think you mistake your duty here. It matters nothing what she a weighty name; it will strike the village that thought—she is convicted of the unnatural Proctor confess. I beg you, let him sign it. The murder of children, and you for sending your sun is up, Excellency! spirit out upon Mary Warren. Your soul alone DANFORTH. [Considers; then with dissatisfac- is the issue here, Mister, and you will prove tion.] Come, then, sign your testimony. [To its whiteness or you cannot live in a Christian CHEEVER.] Give it to him. [CHEEVER goes to country. Will you tell me now what persons PROCTOR, the confession and a pen in hand. conspired with you in the Devil’s company? PROCTOR does not look at it.] Come, man, [PROCTOR is silent.] To your knowledge was sign it. Rebecca Nurse ever— PROCTOR. [After glancing at the confession.] You have all witnessed it—it is enough.

Reading Strategy Identifying Problem and Solution DANFORTH. You will not sign it? How would Proctor’s admission that he had seen Rebecca PROCTOR. You have all witnessed it; what more Nurse in the devil’s company solve a problem for Danforth? is needed?

1102 UNIT 6 FROM DEPRESSION TO COLD WAR 20TH CENTURY FOX/THE KOBAL COLLECTION/BARRY WETCHER

1090-1104 U6P2SEL-845816.indd 1102 4/15/06 12:43:55 AM DANFORTH. Do you sport with me? You will sign DANFORTH. Mr. Proctor, I must have good and your name or it is no confession, Mister! [His legal proof that you— PROCTOR breast heaving with agonized breathing, PROCTOR. You are the high court, your word now lays the paper down and signs his name.] is good enough! Tell them I confessed myself; PARRIS. Praise be to the Lord! say Proctor broke his knees and wept like a woman; say what you will, but my name [PROCTOR has just finished signing when DAN- cannot— FORTH reaches for the paper. But PROCTOR snatches it up, and now a wild terror is rising in DANFORTH. [With suspicion.] It is the same, is it him, and a boundless anger.] not? If I report it or you sign to it?

DANFORTH. [Perplexed, but politely extending his PROCTOR. [He knows it is insane.] No, it is not hand.] If you please, sir. the same! What others say and what I sign to is not the same! PROCTOR. No. DANFORTH. Why? Do you mean to deny this DANFORTH. [As though PROCTOR did not understand.] Mr. Proctor, I must have— confession when you are free? PROCTOR. I mean to deny nothing! PROCTOR. No, no. I have signed it. You have seen me. It is done! You have no need for this. DANFORTH. Then explain to me, Mr. Proctor, why you will not let— PARRIS. Proctor, the village must have proof that— PROCTOR. [With a cry of his whole soul.] Because PROCTOR. Damn the village! I confess to God, and God has seen my name on this! It is enough! it is my name! Because I cannot have another in my life! Because I lie and sign myself to lies! DANFORTH. No, sir, it is— Because I am not worth the dust on the feet of PROCTOR. You came to save my soul, did you them that hang! How may I live without my not? Here! I have confessed myself; it is enough! name? I have given you my soul; leave me my DANFORTH. You have not con— name! DANFORTH. [Pointing at the confession in PROC- The Crucible, 1996. PROCTOR. I have confessed myself! Is there no good penitence9 but it be public? God does not need my TOR’s hand.] Is that document a lie? If it is a lie name nailed upon the church! God sees my name; I will not accept it! What say you? I will not God knows how black my sins are! It is enough! deal in lies, Mister! [PROCTOR is motionless.] You will give me your honest confession in my DANFORTH. Mr. Proctor— hand, or I cannot keep you from the rope. PROCTOR. You will not use me! I am no Sarah [PROCTOR does not reply.] Which way do you go, Good or Tituba, I am John Proctor! You will not use Mister? me! It is no part of salvation that you should use me! [His breast heaving, his eyes staring, PROCTOR DANFORTH. I do not wish to— tears the paper and crumples it, and he is weeping PROCTOR. I have three children—how may I in fury, but erect.] teach them to walk like men in the world, and I DANFORTH. Marshal! sold my friends? PARRIS. [Hysterically, as though the tearing paper DANFORTH. You have not sold your friends— were his life.] Proctor, Proctor!

PROCTOR. Beguile me not! I blacken all of them HALE. Man, you will hang! You cannot! when this is nailed to the church the very day PROCTOR. [His eyes full of tears.] I can. And they hang for silence! there’s your first marvel, that I can. You have made your magic now, for now I do think I see 9. Penitence is humble sorrow for one’s wrongdoing. some shred of goodness in John Proctor. Not

Big Idea The United States and the World People named as Communists before HUAC were often placed on a “black list” and denied the opportunity of making a living. How does this Literary Element Tragedy Why would Miller portray blacklisting compare to the situation Proctor describes? Proctor as “weeping . . . but erect?”

ARTHUR MILLER 1103

1090-1104 U6P2SEL-845816.indd 1103 4/15/06 12:43:58 AM enough to weave a banner with, but white enough to keep it from such dogs. [ELIZA- BETH, in a burst of terror, rushes to him and weeps against his hand.] Give them no tear! Tears pleasure them! Show honor now, show a stony heart and sink them with it! [He has lifted her, and kisses her now with great passion.]

REBECCA. Let you fear nothing! Another judgment waits us all!

DANFORTH. Hang them high over the town! Who weeps for these, weeps for corruption! [He sweeps out past them. HERRICK starts to lead REBECCA, who almost collapses, but PROCTOR catches her, and she glances up at him apologetically.]

REBECCA. I’ve had no breakfast.

HERRICK. Come, man. [HERRICK escorts them out, HATHORNE and CHEEVER behind them. ELIZABETH stands staring at the empty doorway.]

PARRIS. [In deadly fear, to ELIZA- BETH.] Go to him, Goody Four People Behind Bars. Todd Davidson. Proctor! There is yet time!

[From outside a drumroll strikes ELIZABETH. [Supporting herself against collapse, the air. PARRIS is startled. ELIZABETH jerks about grips the bars of the window, and with a cry.] toward the window.] He have his goodness now. God forbid I take

PARRIS. Go to him! [He rushes out the door, as it from him! though to hold back his fate.] Proctor! Proctor! [The final drumroll crashes, then heightens vio- [Again, a short burst of drums.] lently. HALE weeps in frantic prayer, and the new sun is pouring in upon her face, and the HALE. Woman, plead with him! [He starts to drums rattle like bones in the morning air.] rush out the door, and then goes back to her.] Woman! It is pride, it is vanity. [She avoids his THE CURTAIN FALLS  eyes, and moves to the window. He drops to his knees.] Be his helper!—What profit him to bleed? Shall the dust praise him? Shall the worms declare his truth? Go to him, take his Literary Element Tragedy Why doesn’t Elizabeth save her shame away! husband, as Parris and Hale urge?

1104 UNIT 6 FROM DEPRESSION TO COLD WAR

Todd Davidson/Images.com

1090-1104 U6P2SEL-845816.indd 1104 4/15/06 12:44:06 AM AFTER YOU READ

RESPONDING AND THINKING CRITICALLY Respond 1. (a)What were your thoughts at the end of the play? 6. (a)Contrast the characters of Danforth and Hathorne. (b)Do you have any unanswered questions? Explain. (b)Which do you consider more dangerous? Explain. Recall and Interpret 7. (a)Choose a character in the play who is static, or unchanging, and another who is dynamic, or capa- 2. (a)What news does Parris convey to Danforth about ble of growth. Explain your classification. (b)Which Abigail? (b)What is Danforth’s reaction? Why might type of character do you think Miller intends us to he react this way? prefer? Why? 3. (a)What has Hale been trying to do with the condemned prisoners? (b)What do his words reveal Connect about his values? 8. Big Idea The United States and the World 4. (a)What might Proctor’s ultimate decision mean for (a)What message do you think Miller was trying to him? For Salem? (b)What might Elizabeth mean convey about the emotional climate of the witch when she says that John has “his goodness now”? trials in his portrayal of Salem at the opening of Act Four? (b)How might this message also apply to Analyze and Evaluate the emotional climate of the HUAC hearings? 5. (a)Analyze the mood of the Salem residents at the beginning of Act Four. (b)Given what has happened during the three months since the end of Act Three, do you think that this mood is to be expected? Explain.

DAILY LIFE AND CULTURE

LIFE IN PURITAN NEW ENGLAND Hard work was essential to the godly life in seven- one’s husband or wife, swearing, or even playing cer- teenth-century Massachusetts. A Puritan who tain musical instruments were punishable activities. acquired personal wealth at his farm or business was In Puritan New England, privacy was a place where seen as being favored by God. Idleness, on the other Satan lurked, and pleasure was considered a tempta- hand, was a snare laid by the devil to capture tion. No Puritan could have conceived the phrase Christian souls. To protect their citizens from “the pursuit of happiness.” Rather, the Puritan ideal Satan, Puritan authorities banned many amuse- was the pursuit of godliness. ments that might tempt young men and women to idleness. These included playing cards, shuffleboard, 1. Some of the aspects of Puritan society described and dice, dancing around a Maypole, attending above may seem strange and unattractive to plays, and even beachcombing. Showy clothing was modern readers. What advantages might there frowned upon, as was hair long enough to cover a be to living in such a close-knit culture? man’s ears. The enjoyment of food and drink was 2. How does the information given here help not discouraged, but gluttony and intemperance explain the behavior of some of the characters were condemned as two of the “seven deadly sins.” in The Crucible? Give specific examples. Spying on one’s neighbor was commonplace. Because a virtuous society depended upon everyone behaving according to God’s law, Puritans were encouraged to report on each other for sinning. Missing church services or sleeping during the sermon, quarreling with

ARTHUR MILLER 1105

1089-1107 U6P2APP-845481.indd 1105 4/15/06 12:07:14 AM LITERARY ANALYSIS READING AND VOCABULARY

Literary Element Tragedy Reading Strategy Identifying Problem and In common usage, the word hero applies to almost Solution anyone who acts bravely. In a literary tragedy, how- Some problems—especially the physical ones—are ever, the term tragic hero has a specific meaning. It easily resolved. If you are cold, you might put on a refers to the main character in a drama who suffers sweater; if you are thirsty, try drinking water! But what downfall and death because of a tragic flaw in his or if you are depressed, torn by guilt, or unable to her character. According to the Greek philosopher achieve a personal goal? The solutions to mental or Aristotle, the tragic hero’s fate is intended to inspire spiritual problems are often difficult and elusive. One pity and terror. Tragic heroes may behave badly, but of the purposes of literature is to provide the reader audiences are meant to respond sympathetically to with examples of characters who have problems and them because of their noble and admirable qualities. to show how they cope with them. The Crucible is a 1. Who is the tragic hero of The Crucible? What noble drama full of problems and solutions. For each of the or admirable qualities does this hero possess? problems listed below, identify its solution. For each solution, identify the problem from which it arose. 2. What is the tragic flaw that causes the hero’s downfall and death? 1. Problem: Reverend Hale feels guilty about having signed the death warrants of so many innocent people convicted of witchcraft. Review: Conflict Solution: Abigail and her young friends pretend that Conflict is the struggle between two opposing they see Mary Warren’s spirit in the form of a bird. External conflict forces in a story or drama. exists 2. Problem: John Proctor is torn between wanting to when a character struggles against some outside live and wanting to be truthful. force, such as nature, society, or another character. Solution: An internal conflict is a struggle between two Mary Warren accuses John Proctor of opposing thoughts or desires within the mind of a witchcraft. character. Partner Activity Meet with a classmate and cre- Vocabulary Practice ate a three-column chart similar to the one below. Practice with Synonyms In the paragraph below, In the left column, list the names of the principal replace each underlined word with a synonym characters. In the other two columns describe the taken from the list of vocabulary words from Act external and internal conflicts in which these char- Four of The Crucible: conciliatory, reprieve, retalia- acters are involved. tion, adamant, indictment.

When Ms. Ortiz accused me of theft and gave me a Character External Conflict Internal Conflict failing grade, it was as if a jury had issued a criminal Reverend Hale Pleads with considers 1 charge. She claimed that I had stolen her grade prisoners to himself guilty book in 2 revenge for having done badly on my confess of sending midterm exam. I tried to tell her what had really innocent people happened, but she was 3 stubborn and stuck to to their deaths her story. After the facts came out, the principal gave me a 4 pardon and wrote an 5 apologetic letter to my parents.

1106 UNIT 6 FROM DEPRESSION TO COLD WAR

1089-1107 U6P2APP-845481.indd 1106 4/15/06 12:08:22 AM WRITING AND EXTENDING GRAMMAR AND STYLE

Writing About Literature Miller’s Language and Style Analyze Historical Context Not only the characters, Using Dialect and Standard English Because Miller but the entire community of Salem went through a is writing a realistic drama about events that occurred severe test during the witch trials. Using evidence from over three hundred years ago, he has his characters the play, write an analysis of the impact the witch trials speak in the dialect, or language variation, in use at the might have had on the community, the government, time and place in which the play is set. When he and the economy. addresses the reader in his stage directions, however, Miller uses Standard English in order to make his ideas When planning your essay, keep track of your evidence and instructions absolutely clear. Standard English is and thoughts by using an organizer like the one below. speech or writing that follows generally accepted rules of grammar, punctuation, and usage. It is the language of the business place, the political arena, the school, and Introduction the media.

➧ Dialect is a way of speaking and writing that is charac- teristic of a particular group of people, often within a particular region and time. Dialect differs from Standard Community English in that it is not a universal way of communicat- ➧ ing and may depart from the conventions of vocabulary, pronunciation, and grammar. Government In The Crucible, Arthur Miller tries to create the

➧ impression of the language used in seventeenth- century New England. Note how Miller uses dialect in this exchange of dialogue from Act One. Economy MERCY. Have you tried beatin’ her? I gave ➧ Ruth a good one and it waked her for a minute. Here, let me have her.

Conclusion ABIGAIL. [Holding MERCY back.] No, he’ll be comin’ up. Listen, now; if they be questioning us, tell them we danced — I told him as much After you complete your draft, meet with a peer already. reviewer to evaluate each other’s work and to suggest Activity Create a chart similar to the one below to revisions. Then proofread and edit your draft for errors analyze the characters’ use of dialect in The Crucible. in spelling, grammar, and punctuation.

Character Use of Dialogue Analysis Performing Tituba “That don’t look use of plural verb Act It Out Work with a group to dramatize part of to me like His don’t; singular The Crucible. If you prefer, assign cooperative roles: Majesty; look subject That actors, director, and set and costume designers. to me like the requires singular Consider enhancing your production with the use of marshal.” verb doesn’t video clips, a sound track, or computer lighting. When your group is ready, perform your part of the play for the rest of the class. Revising Check Standard English Work with partners to check for Web Activities For eFlashcards, the consistent use of Standard English in your essay Selection Quick Checks, and other Web activities, go to about The Crucible. www.glencoe.com.

ARTHUR MILLER 1107

1089-1107 U6P2APP-845481.indd 1107 1/10/07 4:01:08 PM LITERARY HISTORY

Modern American Drama

HOUGH POETRY AND FICTION WERE well established as American literary genres by “On the stage it is always now; the Tthe middle of the nineteenth century, this was not the case with drama. Up until the early decades personages are standing on that razor of the twentieth century, drama made little impact edge, between the past and the on American literature as a whole. Then, with Eugene O’Neill, American drama suddenly came of age. future, which is the essential character of conscious being.” O’Neill’s Influence —Thornton Wilder A major event was the 1916 performance of Eugene O’Neill’s Bound East for Cardiff by the Provincetown Players, a “little theater” company that produced original works by unknown talents. The first American dramatist Led by O’Neill, American drama flourished between to achieve an international reputation, O’Neill thrilled the two world wars. Elmer Rice wrote a realistic audiences and impressed critics as he explored the tragic portrait of tenement life called Street Scene (1929); relationship between fate and character and depicted the Clifford Odets explored serious social problems in complex depths of the human mind. Awake and Sing (1935) and Waiting for Lefty (1935); and Lillian Hellman created a successful drama of social criticism in The Little Foxes (1939), a play about a predatory southern family. Thornton Wilder’s Our Town (1938), a surrealistic play about everyday life in a New England town, enjoyed astonishing success. It has been said that not a day has passed since its original performance that Our Town has not been performed somewhere in the United States. Postwar Playwrights Tennessee Williams and Arthur Miller dominated the American theater in the decade after World War II. Williams was noted for his lyrical dialogue and wrote plays that explored some of the darker aspects of human psychology. He first achieved success with The Glass Menagerie (1945). In this play, as in A Streetcar A Streetcar Named Desire, 1947. Named Desire (1947) and other works, Williams sensitively portrayed fragile characters trapped in harsh O’Neill’s plays, including Strange Interlude (1928), and sometimes brutal circumstances. Continuing the The Iceman Cometh (1946), and Long Day’s Journey tradition of strong realistic drama, Arthur Miller wrote into Night (1939–1941), reflect his New England Death of a Salesman (1949), which is about the fate of background, his Irish American heritage, his reading the “little man” in modern society. In The Crucible of the Scandinavian playwrights Henrik Ibsen and (1953), Miller used the Salem witch trials to comment August Strindberg, and his fascination with the on society’s hysteria during the McCarthy era. theories and discoveries of modern psychology. Like the Modernists, he too blazed new trails, Recent History experimenting with form, style, and symbolism. In the 1960s and 1970s, Edward Albee experimented His innovations intrigued audiences and greatly with a variety of styles, including the theater of the influenced subsequent playwrights. absurd and the theater of cruelty. The theater of cruelty,

1108 UNIT 6 FROM DEPRESSION TO COLD WAR AP/Wideworld Photos

1108-1109 LH U6P2-845481.indd 1108 4/15/06 12:49:35 AM Chronicles (1989), Wendy Wasserstein explores the challenges faced by educated women competing in a male-dominated culture.

Musical Theater A popular cousin to serious drama, the musical remains one of America’s distinct contributions to the theater. The form ultimately derives from operettas, minstrel shows, and revues. During World War II, the watershed musical Oklahoma! (1943), by Richard Rodgers and Oscar Hammerstein II, brought the form to new heights, integrating music, story, and dance to develop plot and character. The musical reached its peak after World War II in other works by Rodgers and Hammerstein and in Death of a Salesman, 2000. those by Alan Jay Lerner and Frederick Loewe, Leonard Bernstein, and Stephen Sondheim. Later which strives to produce a visceral reaction in the decades saw musicals break new ground. In 1968, audience, influenced the scathing dialogue in Albee’s Hair introduced rock music to theater audiences. acclaimed Who’s Afraid of Virginia Woolf? (1962). A Chorus Line (1975) and Chicago (1976) brought dance-centered musicals to the fore. In 2001, Mel When it opened in 1959, A Raisin in the Sun by Lorraine Brooks’s musical comedy The Producers won a record Hansberry was the first drama by an African American twelve Tony Awards and once again made American woman to be produced on Broadway. Hansberry’s musical theater popular with theatergoers. realistic portrayal of black characters and her fearless depiction of social injustice marked a new era in African Though drama developed much later than poetry and American drama. Beginning in 1982, August Wilson fiction in the United States, it flourished during the chronicled African American experience in a series of twentieth century and continues to do so. Some of the ten plays, each set in a different decade of the twentieth most gifted and creative writers—O’Neill, Williams, century. In Fences (1985), the second play in the series, Miller, Albee, and Wilson—created masterpieces for the main character is a former baseball player, a victim the stage. Their techniques have influenced dramatists of discrimination who was denied access to the major the world over. With a rich legacy of outstanding leagues. Wilson’s play has already emerged as a classic. works, American drama is primed to reflect and respond to life in a new century. Some of the most significant plays of the recent past are the work of women writers. These plays include Crimes of the Heart (1979) by Beth Henley and ’night, Literary History For more about Mother (1983) by Marsha Norman. In The Heidi modern American drama, go to www.glencoe.com.

RESPONDING AND THINKING CRITICALLY

1. What do you think live theater offers its audiences 3. What innovations has Edward Albee made in the theater? that movies and television programs do not? 4. In what way did Oklahoma! differ from previous 2. How did Eugene O’Neill revolutionize American drama? musicals?

OBJECTIVES • Analyze literary periods. • Understand modern American drama. • Connect to historical and cultural context. LITERARY HISTORY 1109 Kobal Collection

1108-1109 LH U6P2-845481.indd 1109 1/24/07 4:56:49 PM Writing Workshop

Autobiographical Narrative ➥ Exploring Your Roots The Writing Process

In this workshop, you will “I see myself sitting there, haggard and disoriented, a shadow follow the stages of the among shadows. . . . My heart thunders in deafening beats. writing process. At any stage, you may think of Then there is silence, heavy and complete. Something was new ideas to include and about to happen, we could feel it. Fate would at last reveal a better ways to express them. Feel free to return to truth reserved exclusively for us, a primordial truth, an ultimate earlier stages as you write. postulate that would annihilate or overshadow all received ideas.” Prewriting —Elie Wiesel, from All Rivers Run to the Sea Drafting

Revising Connecting to Literature In much of his writing, Wiesel reveals his personal experiences during World War II. This type of writing is generally referred to as autobio- Focus Lesson: ➥ graphical narrative, in which a writer tells a sequence of past events from his or her Avoiding Stilted Language life and reveals the personal significance of the experience. Although Wiesel’s writing Editing & Proofreading concerns a historical event with worldwide significance, an autobiographical narrative can be about any event, as long as it is personally meaningful. Study the rubric below Focus Lesson: ➥ to learn the goals and strategies for writing a successful autobiographical narrative. Correcting Verb Tense

Presenting Rubric: Features of Autobiographical Narrative Writing

Goals Strategies

To relate a personally meaningful ✓ Narrate an autobiographical event and Writing Models For models experience show its significance to the audience and other writing activities, go to www.glencoe.com. To use specific details to describe ✓ Describe sensory images, emotions, and the experience shifts in perspective in concrete detail ✓ Use dialogue and interior monologue OBJECTIVES • Write an autobiographical nar- To narrate the experience in a ✓ Use chronological order, adding rative essay to explore a per- logical order flashbacks as necessary sonally meaningful experience. • Narrate the experience in ✓ Pace the action to match changes in specific detail, drawing com- time, space, or mood parisons to broader themes.

To illustrate your beliefs and make ✓ Draw comparisons between specific generalizations about life experiences and broader themes about life

1110 UNIT 6 FROM DEPRESSION TO COLD WAR

1110-1117 U6P2WW-845481.indd 1110 1/10/07 4:45:54 PM Narration / Description

º Assignment Real-World Connection Write an autobiographical narrative essay to describe a personal experience Many college applications and to show how the experience was meaningful. As you move through the require an autobiographical stages of the writing process, keep your audience and purpose in mind. essay in which you reveal a significant experience Audience: peers and classmates from your life and tell how it affected you. Employers Purpose: to relate a personal experience and to communicate its significance often ask similar questions of potential employees. Universities and employers alike want to see how you Analyzing a Professional Model respond to life changes and how you learn from such In this excerpt from her autobiography, Pulitzer Prize-winning author Eudora experiences. Welty explores her discovery of the moon during childhood and how the experience became meaningful to her as a writer. As you read the following passage, note Welty’s use of concrete details, sensory images, and interior monologue, all of which help her communicate a vivid, significant experience from her own life. As you read, pay attention to the comments in the margin. They point out features that you might want to include in your own autobiographical narrative.

From One Writer’s Beginnings by Eudora Welty

Learning stamps you with its moments. Childhood’s learning is made up Introduction of moments. It isn’t steady. It’s a pulse. Hint at the significance of your experience in your In a children’s art class, we sat in a ring on kindergarten chairs and introduction. drew three daffodils that had just been picked out of the yard; and while I Effective Description was drawing, my sharpened yellow pencil and the cup of the yellow daf- Use descriptive details to fodil gave off whiffs just alike. That the pencil doing the drawing should locate scenes in specific places. give off the same smell as the flower it drew seemed part of the art lesson—as shouldn’t it be? Children, like animals, use all their senses to discover the world. Then artists come along and discover it the same way, all over again. Here and there, it’s the same world. Or now and then we’ll hear from an artist who’s never lost it. In my sensory education I include my physical awareness of the word. Of a certain word, that is; the connection it has with what it stands for. At around age six, perhaps, I was standing by myself in our front yard

WRITING WORKSHOP 1111

1110-1117 U6P2WW-845481.indd 1111 4/15/06 12:52:30 AM waiting for supper, just at that hour in a late summer day when the sun is already below the horizon and the risen full moon in the visible sky stops being chalky and begins to take on light. There comes the moment, and I saw it then, when the moon goes from flat to round. For the first time it met my eyes as a globe. The word “moon” came into my mouth as though fed to Sensory Details me out of a silver spoon. Held in my mouth the moon became a word. It had Describe sights, textures, the roundness of a Concord grape Grandpa took off his vine and gave me to sounds, and tastes with concrete sensory details. suck out of its skin and swallow whole, in Ohio. Temporal Shift This love did not prevent me from living for years in foolish error about Pace the action to reflect the moon. The new moon just appearing in the west was the rising moon to shifts in time and space. me. The new should be rising. And in early childhood the sun and moon, those opposite reigning powers, I just as easily assumed rose in east and west respectively in their opposite sides of the sky, and like partners in a reel they advanced, sun from the east, moon from the west, crossed over (when I wasn’t looking) and went down on the other side. My father couldn’t have known I believed that when, bending behind me and guiding my shoulder, he positioned me at our telescope in the front yard and, with careful adjust- Effective Description ment of the focus, brought the moon close to me. Describe the specific The night sky over my childhood Jackson was velvety black. I could see actions, movements, and gestures of characters. the full constellations in it and call their names; when I could read, I knew their myths. Though I was always waked for eclipses, and indeed carried to the window as an infant in arms and shown Halley’s Comet in my sleep, and though I’d been taught at our diningroom table about the solar system and knew the earth revolved around the sun, and our moon around us, I never found out the moon didn’t come up in the west until I was a writer and Sequence of Events Herschel Brickell, the literary critic, told me after I misplaced it in a story. Narrate a sequence of He said valuable words to me about my new profession: “Always be sure events in a logical, effective order. you get your moon in the right part of the sky.” Communicate Significance Communicate the meaning of your experience to your audience, showing how the incidents relate Reading-Writing Connection to more abstract beliefs. Think about the writing techniques that you just encountered and try them out in the autobiographical narrative you write.

1112 UNIT 6 FROM DEPRESSION TO COLD WAR

Digital Vision

1110-1117 U6P2WW-845481.indd 1112 4/15/06 12:52:36 AM Narration / Description Prewriting

Decide on an Experience As you decide on an experience to write about, Build Suspense with think about events from your own life that were meaningful to you and that Flashback others might find interesting. The experience should be something that you If telling the events of your remember well enough to explain in detail and that you feel comfortable sharing. experience in purely chronological order diminishes the Gather Details As you gather details of your experience, keep in mind your suspense, add a flashback. A audience and purpose to help you decide which details to include. flashback is an interruption in the narrative to show an º Recall the Experience Make sure you clearly remember the important details event that happened earlier. and the order of events of your experience. Visualize the details by replaying A flashback gives readers the experience in your mind and discussing it with other people who were information that may help involved. Photos and journal entries might help jog your memory as well. explain the main events of the narrative. º Connect to Your Audience Think about what context or background information your audience will need to participate in your experience and to feel its full impact. As you narrate the experience, include your own thoughts to make the significance of the event clear.

º Be Specific and Concrete To help your readers feel like they are there, describe the details in concrete, precise language. Consider what sensory images, dialogue, and personal feelings stand out in your memory; you will want to further elaborate, or “flesh out,” those details for your audience.

Make a Plan Telling your events in chronological order is often the most clear and logical way to narrate your experience. Consider organizing the narrative around the climax of the experience, and feel free to narrate some events in flashback or flash-forward to add background information or suspense.

Rising Action Climax Develop the conflict and build Show the conflict at its Test Prep suspense as you describe the most intense. experience. For essay tests, you will not be able to consult other people or photos to help you remember your expe- Exposition rience. Before you begin Describe the setting and the characters. writing, make sure you have chosen a meaningful, interesting experience that Conclusion you remember well enough Introduction Resolve the conflict and to explain in full detail. Hint at the significance show the significance of the of the experience. experience.

Talk About Your Ideas Meet with a partner to help develop your writing voice. Take turns telling each other the most vivid details of your experience. Jot down notes and refer to them as you develop your essay.

Explore Meaning When drafting, keep in mind that the details of your experience should help reveal its significance to your audience. Think about how the experience changed you or what it taught you. Hint at its significance in your introduction, but wait until the conclusion to reveal the experience’s full meaning.

WRITING WORKSHOP 1113

1110-1117 U6P2WW-845481.indd 1113 4/15/06 12:52:38 AM Drafting

Go with the Flow When you begin your draft, do not get stuck trying to find the perfect word or detail. You will have time to do this when you revise your draft later. Instead, focus on relating the events of your experience in order and in a personal, natural voice. Try to build suspense and lead the reader to the climax before the conclusion of the narrative. Occasionally step back from your draft to assess your narrative and its overall direction. Remember that following an unexpected direction may lead to new insights about your experience. Analyzing a Workshop Model Here is a final draft of an autobiographical narrative. Read the narrative and answer the questions in the margin. Use the answers to these questions to guide you as you write your own autobiographical narrative.

Antique Jim

I had always expected that older generations had their problems mostly worked out. They were there to help the rest of us, to clean up children with scraped knees and bee stings, and to comfort worrying parents. They were Introduction supposed to know who they were. They weren’t supposed to change. How does the writer hint at the significance of the Jim had always been there, tall and lank and cheerfully idle, dropping in experience? What might at my grandmother’s ranch house. I have never been quite sure where Jim the experience be about? came from, or how he ended up stuck with our family. He had been dating my grandmother for decades, ever since my grandfather died in the 1970s. When we went to my grandmother’s house on Saturdays, Jim would always show up just before dinner. He would let himself into the screened-in porch with a loud “Hullo!” for whoever was around to hear. Like Christopher and I, Jim always forgot and let the porch door slam. With him, however, my grandmother only sighed and pretended not to notice. “Well, hullo, Mary!” Jim would say as he entered the kitchen, his blue eyes sparkling behind octagonal bifocals. Effective Description Instead of flowers, Jim brought my grandmother antiques gathered from How does describing Jim’s presents help Saint Vincent de Paul thrift shops, estate sales, and vintage stores. This par- reveal his personality ? ticular time it was a crafty wooden structure that turned out to be a cuckoo clock. When Jim unveiled it, I could tell that my grandmother had no idea what to do with the thing. She appreciated antiques, but her house was only so big. Unlike Jim, she had young grandchildren who would hurt themselves on fancy things—or smash them to bits. “Picked her up at Saint Vinny’s this afternoon,” Jim said, dusting off the

1114 UNIT 6

Getty Images

1110-1117 U6P2WW-845481.indd 1114 4/15/06 12:52:43 AM Narration / Description face and gently pulling the bird from behind its wooden door to show my brother and me. He worked on the clock at the dining room table while my Effective Description grandmother set the plates and cutlery around him. Later, when Jim left, What is the writer describ- my grandmother always shook her head at these extravagances. I knew ing in this scene? Why what she was thinking: our family needed groceries and haircuts, not one- might this description be important? of-a-kind German clocks. “Well, maybe we should eat now, before this gets cold,” she urged quietly. Christopher and I sat in our seats while Jim pried deeper into the mangled gears of the clock. “All the way from the Black Forest!” Jim cried, shaking his head at the wooden marvel. “All the original parts.” Finally, seeing us waiting, Jim said, “Well, hey now. C’mon kids, up to the table now. Looks like we’re about ready Dialogue to eat.” Reluctantly, he placed the cuckoo clock on the counter, slapped the Why might dialogue dust from his hands, and joined us. be more effective than Years later, I should not have been surprised, but I was. I was helping description here? my grandmother prepare Thanksgiving dinner while the rest of the family Sequence of Events passed a football back and forth in the yard. My grandmother told me the How are the events of the news nonchalantly, the way you talk about people you only know casu- narrative ordered? Why is ally, or people you used to know, long ago. “Remember Jim?” She was this effective? whipping the mashed potatoes in steady, measured strokes. Of course I remembered Jim. I had been wondering when he’d turn up and what fes- tive ensemble he would be wearing tonight. “Well, we don’t see each other much anymore,” she said calmly. “Things change, you know.” She knocked the potato masher against the side of the bowl three times and tossed it in Sensory Details the sink. That was that. “Have you decided which college you want to go How do the sensory to?” she asked me then, as if nothing had, in fact, changed. details here enhance the I was shocked. My grandmother brought stability to everyone else’s characters’ feelings and dialogue? life, and here she was, taking it away from her own. At her age, things weren’t supposed to change anymore. I did see Jim again, later, at—where else?—Saint Vinny’s. Staring at him sifting through a brassy pile of pocket watches, I finally got it. Jim was funny and kind and one of the most interesting people I had ever met, but he wasn’t like my grandmother at all. In the fifteen years I’d known him, Jim had resisted change, replaying his favorite parts over and over. My grandmother,

on the other hand, had a bustling family that counted on her to change—to Communicate Significance keep up—in good times and bad. While Jim rummaged leisurely through How does the writer communicate the meaning strangers’ family histories, my grandmother was busy creating her own. of the experience to the reader?

WRITING WORKSHOP 1115

1110-1117 U6P2WW-845481.indd 1115 4/15/06 12:52:49 AM Revising

Peer Review After you complete your draft, read it out loud to your partner. Traits of Strong Writing Then have your partner discuss which parts were most vivid and interesting and Ideas message or theme which parts seemed vague or general. Partners should note places to add interior and the details that monologue, sensory details, and temporal or spatial changes and ways to add develop it background or suspense. Refer to the traits of strong writing for reference.

Organization arrangement Use the rubric below to evaluate your writing of main ideas and supporting details Rubric: Writing an Effective Autobiographical Narrative Voice writer’s unique way ✓ Do you narrate a sequence of autobiographical events in an effective, logical order? of using tone and style ✓ Do you communicate the significance of the events to the audience? Word Choice vocabulary a writer uses to convey ✓ Do you describe specific details such as sensory images and the appearances, meaning gestures, and feelings of the characters? ✓ Sentence Fluency Do you use dialogue and interior monologue to show characters’ feelings? rhythm and flow of ✓ Do you draw comparisons between specific experiences and broader themes sentences about life or your personal beliefs? Conventions correct spelling, grammar, usage, º Focus Lesson and mechanics

Presentation the way Avoiding Stilted Language words and design ele- When you are writing an autobiographical narrative, use natural, unaffected ments look on a page language. Readers respond to writing that they can connect with, and they will be turned off by pretentious or unnecessarily complicated language. As you For more information on revise your narrative, replace stilted language with precise words and clear, vivid using the Traits of Strong expressions. Note the revised sentences from the Workshop Model below. Writing, see pages R33– R34 of the Writing Draft: Handbook.

During my formative years, Jim promenaded languidly through life as though the golden age would repeat itself without resistance. My grandmother, however, resigned herself to the duties of the family matriarch, following the ebb and flow of the lives of her progeny.

Revision:

In the fifteen years I’d known him,1 Jim had resisted change,2 replaying his favorite parts over and over. My grandmother, on the other hand, had a bustling family that counted on her to change—to keep up—in good times and bad.3 1: Precise details 2: Clear expression 3: Natural, unpretentious language

1116 UNIT 6 FROM DEPRESSION TO COLD WAR

1110-1117 U6P2WW-845481.indd 1116 4/15/06 12:52:56 AM Narration / Description Editing and Proofreading

Get It Right When you have completed the final draft of your essay, proofread for errors in grammar, usage, mechanics, and spelling. Refer to the Language Handbook, pages R45–R59, as a guide.

º Focus Lesson

Correcting Verb Tense Take Another Look As you edit your narrative, check that your verb tenses are formed correctly Put your paper away for and that any shifts in tense are accurate and consistent. Below are some a few days. Then, when examples from the Workshop Model. you reread it, you will have a fresh perspective. Unnatural voice, stilted Problem: The verb ending is missing or incorrect. language, and mistakes in verb tense are often easier He work on the clock at the dining room table while my grandmother to spot after you get a set the plates and cutlery around him. fresh perspective. Solution: Add -ed to a regular verb to form the past tense. He worked on the clock at the dining room table while my grandmother set the plates and cutlery around him. Problem: There is an unnecessary shift in tense. Christopher and I sat in our seats while Jim pries deeper into the mangled gears of the clock. Solution: When two or more events occur at the same time, use the same verb tense to describe each event. Christopher and I sat in our seats while Jim pried deeper into the mangled gears of the clock. Problem: The lack of shift in verb tense does not show that the events occurred at different times. He dated my grandmother for decades, ever since my grandfather died in the 1970s. Solution: Shift from the past tense to the past perfect tense to show that the grandmother’s actions began and ended before Jim’s action began. He had been dating my grandmother for decades, ever since my grandfather died in the 1970s.

Writer’sW rit er’s Portfolio Place a clean copy Presenting of your autobiographical narrative in your portfolio to Check Your Appearance After you finish final editing and proofreading, look review later. over your draft one last time. Make sure that the paper is typed and double- spaced with appropriate fonts and margins. Check with your teacher about any additional presentation guidelines.

WRITING WORKSHOP 1117

1110-1117 U6P2WW-845481.indd 1117 4/15/06 12:53:03 AM Speaking, Listening, and Viewing Workshop

Art or Photo Essay

“She wore a dark striped dress reaching down to her shoe tops, and an equally long apron of bleached sugar sacks, with a full pocket: all neat and tidy, but every time she took a step she might have fallen over her shoelaces, which dragged from her unlaced shoes. She looked straight ahead. Her eyes were blue with age.” —Eudora Welty, “A Worn Path”

Do Your Research Connecting to Literature In her story “A Worn Path,” Eudora Welty uses Before creating a photo vivid description to give the reader a clear image of Phoenix Jackson. By using essay, research other art actual images, photographs, and art to represent people and ideas, you allow an and photo exhibits. What is audience to experience details and emotions that may not come across in writing it about these pieces that alone. One way to accomplish this is by creating a photo or art essay. To create a speak to the audience and photo or art essay, you combine photographs, artwork, drawings, or artifacts to stand out above everyday represent an issue or event you feel strongly about. images? You should incorporate these elements During the Great Depression, government researcher Dorothea Lange used into your own presentation. photography to document the hardships and struggles of the poor. Examine the images below. What do Lange’s photographs reveal about life during the Great Depression? Think about what it is that you want to reveal about your subject.

A migratory family from Unemployed men carrying The family of a Cordale, Amarillo, Texas, lives in a suitcases to Los Angeles, Alabama, turpentine worker trailer in an open field, with California, during the Great earning one dollar per day. no sanitation or running Depression. March 1937. July 1936. water. November 1940.

1118 UNIT 6 FROM DEPRESSION TO COLD WAR (all)CORBIS

1118-1119 U6P2 SLV-845481.indd 1118 4/15/06 1:02:14 AM ▲ Assignment Plan and deliver an art or photo essay.

Planning Your Presentation

Just like written essays, your photo or art essay needs to have a main idea. Ask yourself, what idea or message would I like to convey? Then decide how to present that idea to your audience. For example, if you want to show the harmful effects of Background Information pollution, you might display photographs of litter on the beach or create a collage You may want to include showing the effects of global warming. Your presentation should be compelling and captions or note cards to interesting in order to gain and keep your audience’s attention. go with your photographs or art, giving information such Follow these guidelines when presenting an art or photo essay: as the date and location the picture was taken or what • Research the topic well. You should be prepared to answer any questions the your art represents. audience may have about your topic. • Allow enough time to prepare. Think about how many pieces you would like to have in your essay, as well as what kind of images would best suit your purpose. • Decide how you will showcase your work. Will you use an easel, poster board, a slide projector, or a computer presentation? Creating Meaning in Visual Media

It’s often been said that a picture is worth a thousand words. Your pictures need to be able to “speak” to the audience, or convey emotion and feeling. Most importantly, the art you create should be meaningful to you.

How do you think Lange felt about her subjects? What emotion is conveyed in her photograph “Mother with Children” (at right)?

Rubric: Techniques for Delivering an Art or Photo Essay A migrant agricultural worker’s Verbal Techniques Nonverbal Techniques wife and children in camp. Nimpo, California. March 1936. ✓ Volume Speak loudly and ✓ Eye Contact Make frequent clearly so that your audience eye contact with the audience; can understand any background however, you should also look at information you provide. the photographs or art to draw attention to important details.

✓ Pace Allow the audience ✓ Gestures Point out key details in enough time to view and react your art; however, be careful not to each piece of your essay to block your essay when before moving on to the next presenting. OBJECTIVES photograph or piece of art. • Connect art and photography to personal experience. ✓ Tone The tone of your speech ✓ Display Use an easel or poster • Speak effectively to explain and justify ideas to peers. should match the tone of your board to display your images. photo or art essay. If your essay is The art and photographs should of a serious nature, you should be presented prominently speak in a dignified, serious tone. enough so that your entire More lighthearted essays can be audience can view them. presented with an informal tone and elements of comedy.

SPEAKING, LISTENING, AND VIEWING WORKSHOP 1119 CORBIS

1118-1119 U6P2 SLV-845481.indd 1119 1/11/07 10:06:12 PM LITERATURE OF THE TIME

“Invisible Man is not a great Negro novel; it is a work of art any For Independent Reading contemporary writer could point to with pride.” —Harvey Curtis Wester, Saturday Review, April 12, 1952 ITERATURE FROM THE 1930S THROUGH THE 1960S IS AS VARIED AS THE period that produced it. The writers John Steinbeck, Rachel Carson, and Ralph Ellison “Ellison has an abundance of that primary talent without which neither Lreacted directly to conditions in the world yet also explored private experiences and feel- craft nor intelligence can save a novelist; he is richly, wildly inventive; his ings. Steinbeck’s works provide a window into the history of his time. In addition to The scenes rise and dip with tension; his people bleed; his language stings. No Grapes of Wrath, which remains the seminal expression of the hardships of the Great Depres- other writer has captured so much of the confusion and agony, the hidden sion era, Steinbeck’s abundant output included Cannery Row (1945), a postwar novel set in gloom and surface gaiety of Negro life.” Monterey, California; and Travels with Charley (1961), a work of nonfiction. Rachel Carson was a marine biologist and writer whose second book, The Sea Around Us, —Irving Howe, Nation, May 10, 1952 sold more than a million copies. Silent Spring (1962), published two years before her death, is credited with signaling the beginning of the environmental movement in the United States. Ralph Ellison began his career by studying at the Tuskegee Normal and Industrial Institute (now Tuskegee University) and later joining the Federal Writer’s Project in New York City. After serving in the military during World War II, he spent seven years writing Invisible Man.

The Sea Around Us Rachel Carson (1951) Sometimes called a biography of the sea, this fascinating book opens with “The Gray Beginnings,” a chapter that tells how the seas began. Subsequent chapters cover the formation of islands, plant and animal life, tides, wind, waves, and historic voyages. The book won the 1952 National Book Award and the John Burroughs Medal, named for the naturalist John Burroughs. It was translated into more than thirty languages and was a best seller. More than fifty The Grapes of Wrath years after its initial publication, it is still in print. John Steinbeck (1939) Set during the Great Depression, this gripping novel tells the story of the Joads, an Oklahoma farm family driven to seek work in the natural paradise of California. Through the struggles of their journey and the disillusionment that awaits them, they learn how poor, exploited people can unite as a community to survive. The novel aroused widespread sympathy for the plight of migrant farmworkers. Steinbeck won a Pulitzer Prize for The Grapes of Wrath in 1940, and the story was made into a memorable movie starring Henry Fonda.

1120 UNIT 6 FROM DEPRESSION TO COLD WAR (l)Christie’s Images, (c)Hulton Getty Collection/Liaison Agency, (r)Time Life Pictures/Getty Images

1120-1121 U6P2-845481 LOT.indd 1120 4/15/06 1:08:46 AM CRITICS’ CORNER

“Invisible Man is not a great Negro novel; it is a work of art any contemporary writer could point to with pride.”

—Harvey Curtis Wester, Saturday Review, April 12, 1952

“Ellison has an abundance of that primary talent without which neither craft nor intelligence can save a novelist; he is richly, wildly inventive; his scenes rise and dip with tension; his people bleed; his language stings. No other writer has captured so much of the confusion and agony, the hidden gloom and surface gaiety of Negro life.”

—Irving Howe, Nation, May 10, 1952

From the Glencoe Literature Library

To Kill a Mockingbird Harper Lee A precocious, observant young girl and her brother watch as their father defends an African American man on trial in the South.

Our Town Thornton Wilder Invisible Man The Gibbs and Webb Ralph Ellison (1952) families of Grover’s Corners, New Hampshire, Invisible Man shocked readers when it first experience the daily joys appeared but went on to win great acclaim, and tragedies of life in a including the 1953 National Book Award for small town. fiction. Ellison looked at the United States through the eyes of a nameless young African American man. Full of idealism when he first leaves the South for the streets of Harlem, he The Yearling journeys through a variety of strange and Marjorie Kinnan Rawlings disillusioning experiences. Along the way, he realizes that he has been made invisible— A young boy who longs for rejected and robbed of his identity by racism a pet adopts a fawn against and by an impersonal society. his mother’s wishes.

LITERATURE OF THE TIME 1121 (t)Aaron Haupt, (cl)B. Gotfryd/Woodfin Camp & Associates, (Lit. Library)file photo

1120-1121 U6P2-845481 LOT.indd 1121 4/15/06 1:09:08 AM Test Preparation and Practice

English Language Arts

Reading: Nonfiction

Carefully read the following passage written by an observer of the “Dust Bowl” in the mid-1930s. Use context clues to help define any words with which you are unfamiliar. Pay close attention to the author’s main idea and use of rhetorical devices. Then answer the questions on page 1123.

from Dust Changes America by Margaret Bourke-White line Vitamin K they call it—the dust which sifts under the door sills, and stings in the eyes, and seasons every spoonful of food. The dust storms have distinct personalities, rising in formation like rolling clouds, creeping up silently like formless fog, approaching violently like a tornado. Where has it come from? It provides topics of endless speculation. Red, it is the topsoil from Oklahoma; brown, it is the fertile earth 5 of western Kansas; the good grazing land of Texas and New Mexico sweeps by as a murky yellow haze. Or, tracing it locally, “My uncle will be along pretty soon,” they say; “I just saw his farm go by.” The town dwellers stack their linen in trunks, stuff wet cloths along the window sills, estimate the tons of sand in the darkened air above them, paste cloth masks on their faces with adhesive tape, and try to joke about Vitamin K. But on the farms and ranches there is an attitude of despair. 10 By coincidence I was in the same parts of the country where last year I photographed the drought. As short a time as eight months ago there was an attitude of false optimism. “Things will get better,” the farmers would say. “We’re not as hard hit as other states. The government will help out. This can’t go on.” But this year there is an atmosphere of utter hopelessness. Nothing to do. No use digging out your chicken coops and pigpens after the last “duster” because the next one will be coming along soon. No use trying 15 to keep the house clean. No use fighting off that foreclosure any longer. No use even hoping to give your cattle anything to chew on when their food crops have literally blown out of the ground. . . . The storm comes in a terrifying way. Yellow clouds roll. The wind blows such a gale that it is all my helper can do to hold my camera to the ground. The sand whips into my lens. I repeatedly wipe it away trying to snatch an exposure before it becomes completely coated again. The light becomes 20 yellower, the wind colder. Soon there is no photographic light, and we hurry for shelter to the nearest farmhouse. Three men and a woman are seated around a dust-caked lamp, on their faces grotesque masks of wet cloth. The children have been put to bed with towels tucked over their heads. My host greets us: “It takes grit to live in this country.” They are telling stories: A bachelor harnessed the sandblast which ripped through the keyhole by holding his pots and pans in it until they were spick 25 and span. A pilot flying over Amarillo got caught in a sand storm. His motor clogged; he took to his parachute. It took him six hours to shovel his way back to earth. And when a man from the next county was struck by a drop of water, he fainted, and it took two buckets of sand to revive him. . . . And this same dust that coats the lungs and threatens death to cattle and men alike, that ruins the stock of the storekeeper lying unsold on his shelves, that creeps into the gear shifts of automobiles,

1122 UNIT 6 FROM DEPRESSION TO COLD WAR 30 that sifts through the refrigerator into the butter, that makes housekeeping, and gradually life itself, unbearable, this swirling drifting dust is changing the agricultural map of the United States. It piles ever higher on the floors and beds of a steadily increasing number of deserted farmhouses. A half-buried plowshare, a wheat binder ruffled over with sand, the skeleton of a horse near a dirt-filled water hole are stark evidence of the meager life, the wasted savings, the years of toil that the farmer is leaving behind him.

1. What literary or rhetorical device does Bourke-White 7. Of what literary device is the word grit in the use in the sentence Where has it come from? in line 3? sentence It takes grit to live in this country in line A. parallelism 23 an example? B. connotative language A. metaphor C. metaphor B. symbol D. rhetorical question C. simile D. motif 2. What literary or rhetorical device is most evident in the sentence beginning the second paragraph? 8. Why do the farmers tell humorous stories about A. parallelism the dust storms? B. connotative language A. because they are insensitive C. metaphor B. because they want to distract the children D. rhetorical question C. because they want to lighten the mood D. because they want to relate the local news 3. Why was Bourke-White in this part of the country? A. by coincidence 9. What literary or rhetorical device is most B. to photograph the poor evident in the sentence that begins the last C. to photograph dust storms paragraph? D. to photograph the drought A. parallelism B. connotative language 4. From the context, what does the word atmosphere C. metaphor in line 13 mean? D. rhetorical question A. the physical environment B. the mood of the environment 10. What is the main idea of this passage? C. an exotic or romantic quality A. The farmers do not understand the D. the gaseous elements of an environment seriousness of the situation. B. Nobody knows what causes dust storms. 5. Which of the following is an example of C. The farmers are optimistic that the storms connotative language from the sentence beginning will end soon. Three men and a woman in line 21? D. This region has become an agricultural and A. seated human disaster. B. grotesque C. wet 11. Which of the following best describes the D. lamp author’s purpose in this passage? A. to entertain 6. Why have the children been put to bed with B. to persuade towels over their heads? C. to describe A. to block out the noise of the storm D. to analyze B. to prevent them from hearing the adult conversation C. to make them more comfortable D. to prevent them from breathing in the dust

TEST PREPARATION AND PRACTICE 1123 Informational Reading Carefully read the passage and answer the questions that follow it. Be sure to pay close attention to details and to any instructions that are provided.

Memo To: Committee Chairpersons From: Lisa Hopkins, Dean of Student Activities Date: February 8, 2006 Re: Committee Chairperson Meeting We need to schedule the quarterly meeting on facility distribution for all of the school’s committee chairpersons. In light of this, I suggest that we hold our meeting in the school library at 3:00 on Thursday, February 16. If you are unable to make this date, for whatever reason, please let me know as soon as possible. Subcommittee heads are not required to attend this meeting. However, because we will be discussing financing for the upcoming term, these representatives are encouraged to attend. There will also be a meeting expressly for subcommittee heads on Wednesday, February 22.

12. From the information presented in this memo, when will subcommittee heads be required to attend a meeting? A. Thursday, February 16 B. Wednesday, February 22 C. Monday, February 20 D. Monday, February 13

13. For what reason should subcommittee heads attend the meeting on Thursday, February 16? A. to discuss facility distribution B. to meet in the school library C. to confer with committee chairpersons D. to discuss ﬁ nances

14. What should committee chairpersons do if they are unable to attend? A. attend the meeting being held for subcommittee heads on February 22 B. individually meet with the subcommittee heads C. contact Lisa Hopkins as soon as possible D. meet with the other committee chairpersons

1124 UNIT 6 FROM DEPRESSION TO COLD WAR Vocabulary Skills: Sentence Completion

For each item in the Vocabulary Skills section, choose the best word or words to complete the sentence.

1. The rations of many families during the 6. While people in the United States were Great Depression led to near-starvation conditions in the economic recovery effort, Europe was in both urban and rural areas. about to to another deadly war. A. amiable A. enamored . . grapple B. meager B. premeditated . . loiter C. retractable C. engrossed . . succumb D. diplomatic D. intimidated . . grapple

2. Many European Americans became toward 7. The end of World War II caused Japanese Americans after the start of World War II. celebrations to erupt across the United States. A. hostile A. jubilant B. vivid B. gaunt C. futile C. ravenous D. solemn D. poised

3. Many workers fought for their rights 8. The United States’ war with Germany and during the Great Depression. Japan was the outcome of Axis military A. stately aggression. B. ineffably A. pious C. vigorously B. impudent D. abjectly C. alien D. inevitable 4. The wild, music and style of dress during the 1920s gave way to the desperate and 9. The by experts that the Dust Bowl days of the 1930s. was the result of agricultural mismanagement A. ceremonial . . enamored shocked many farmers. B. animated . . morose A. premonition C. amorphous . . grave B. tribute D. ravenous . . ceremonial C. twinge D. intimation 5. The of the Nazi conquest of Europe were far-reaching and horrible. 10. A common sight during the Great Depression A. inquisitors was the urban poor, starved and for food. B. hemorrhage A. ravenous C. turrets B. amorphous D. implications C. vivid D. solemn

TEST PREPARATION AND PRACTICE 1125 Grammar and Writing Skills: Paragraph Improvement

In the following excerpt from a student draft of an essay, you will find underlined phrases and sentences. The number that precedes each underlined phrase corresponds to a numbered question on the next page. Each question will prompt you to replace the underlined phrase or sentence. If you think the original should not be changed, choose “NO CHANGE.” The bracketed numbers refer to the questions about a specific paragraph or to the essay as a whole.

My grandfather was an infantryman during World War II. He often tells me stories about his experiences overseas—describing the people that he met and the things that he did and saw. Grandpa Will is amazing for other things too. (1) He was one of the best woodworkers in East Texas. The sculptures and vessels that he carves on his lathe are beautiful. Grandpa Will’s life, art, and the stories that he tells have had a great influence on me. (2) Joining at the age of sixteen, the army was a vastly different experience. It was five days after Pearl Harbor had been bombed. (3) Will, like the rest of the country, was in an uproar over the attack. He decided that he had to do something. (4) After saying goodbye to his parents, his friends, and relatives Will signed up and was shipped off to boot camp. Will saw a lot of combat during the war. He fought in some of the bloodiest battles in Europe, including the Battle of the Bulge. He also lost a lot of friends in the fighting and saw some terrible tragedies. (5) Grandpa Will believes that the war against fascism was worth it, but whenever he talks about it he always said: “War hurts a lot of people.” (6) When he returned from Europe, Will started working for a paper mill. He worked there until he retired, just ten years ago. [7] He started by taking some classes at the local community college, and then he joined a woodworkers’ organization. After a couple of years, Grandpa Will started producing some really amazing pieces. (8) Yet, Grandpa Will has won several prizes for his work, and some of his sculptures are even on display at a small Houston art gallery. (9) Striking angles and textured colors, Grandpa Will makes sculptures that always grab the eye. [10]

Unit Assessment To prepare for the Unit Test, go to www.glencoe.com.

1126 UNIT 6 FROM DEPRESSION TO COLD WAR 1. A. NO CHANGE 6. A. NO CHANGE B. In East Texas, he was one of the best B. When he returned from Europe, he worked woodworkers. for a paper mill. C. He is one of the best woodworkers in East C. When he returned from Europe Will started Texas. working for a paper mill. D. Of the best woodworkers, he was one. D. Returning from Europe, a paper mill company gave him a job. 2. A. NO CHANGE B. Joining at the age of sixteen, Will found the 7. Which of the following sentences, if inserted at army to be vastly different from any experience this point, would provide the most effective he had had before. transition in this paragraph? C. The army was a vastly different experience A. Grandpa Will actually never liked his job at for Will. the mill. D. Will joined at the age of sixteen. B. The war had changed Grandpa Will’s whole attitude about people, work, and school. 3. A. NO CHANGE C. Since then, Grandpa Will has been honing B. The rest of the country was in an uproar over his skills as a craftsman. the attack. D. However, Grandpa Will wanted to keep C. Will, like the rest of the country, is in an working at the mill. uproar over the attack. D. Like the rest of the country, Will is in an 8. A. NO CHANGE uproar over the attack. B. However, C. In fact, 4. A. NO CHANGE D. Although, B. After saying goodbye to his parents, friends, and relatives, Will signed up and was shipped 9. A. NO CHANGE off to boot camp. B. Grandpa Will makes sculptures that always C. After saying goodbye to his parents his friends grab the eye. and relatives Will signed up and was shipped C. Striking angles and textured colors Grandpa off to boot camp. Will makes sculptures that always grab the eye. D. After saying goodbye to his parents and D. Grandpa Will makes sculptures with striking relatives Will signed up and was shipped off to angles and textured colors that always grab boot camp. the eye.

5. A. NO CHANGE 10. Which of the following should the writer B. Grandpa Will believes that the war against include when writing a concluding paragraph? fascism was worth it. A. information not included in previous C. Whenever Grandpa Will talks about it he paragraphs always said: “War hurts a lot of people.” B. a summary of the key points D. Grandpa Will believes that the war against C. the introduction of opposing viewpoints fascism was worth it, but whenever he talks about D. further descriptions of the Grandfather’s war it, he always says: “War hurts a lot of people.” experiences

Essay

President Franklin Delano Roosevelt claimed that he firmly believed that “the only thing we have to fear is fear itself—nameless, unreasoning, unjustified terror which paralyzes needed efforts to convert retreat into advance.” Describe an example from your own life in which you witnessed Roosevelt’s principle in action. As you write, keep in mind that your essay will be checked for ideas, organization, voice, word choice, sentence fluency, conventions, and presentation.

TEST PREPARATION AND PRACTICE 1127