Examples Of Patriarchy In The Crucible

The social pattern of patriarchy and woman subordination has pervaded much of history, and consequently, has found itself as a timeless theme in literature. The portrayal of women in literature has also been a constant debate throughout time, and many female characters in literature either promote negative stereotypes, encourage the transcendence of patriarchy, or a blend of both. Such is the case for Arthur Miller’s play, The Crucible, wherein Miller’s portrayal of female characters, such as Abigail Williams, can certainly be viewed as one-sided and offensive Yet, the depiction of women in the play is not exclusively oppressive, for example, Elizabeth Proctor, who is clearly transcendent of the madness of Salem society. The women of the play

While she is absent for some portion of the play, her presence, whether physically, or in the mentioning of her by other characters, remains constant. Elizabeth Proctor appears to be the opposite of Abigail in that she is a pious, moral woman who seeks only to protect her husband, even after he had an affair. In the beginning of Act Two, John returns from the fields to Elizabeth. They get into a discussion, which quickly turns into an argument about John’s affair. She points out that he has the ability to stop the trials, but will not because he does not want to hurt Abigail. When Proctor says his plan, she responds, “You cannot keep it, John,” (141). Her insistence upon his moral action displays her general rejection of subordination to her husband. Puritan society was highly patriarchal, and women were required to always listen to their husbands. However, Elizabeth transcends this, and shows how her and Proctor were, ironically, equal moral partners in their marriage. Her nonconformity to the patriarchy of her society poses as a positive role model for readers, and a possible reflection of the changing times for women in the society that Miller was writing in. Elizabeth and Abigail, while morally different, have very similar abilities, and they use their abilities in the dire social situation that

The most prominent example of this is Proctor and Abigail. Although Abigail is the actual vehicle of conflict, her conflict is driven by her desire for a man, Proctor. In John’s confession to the court, he says, “Aye, sir, she [Elizabeth] knew her for a harlot,” (274). John confesses to his affair with Abigail and morally, both parties are equally responsible. While he faces incredulity from the court, he effectively blames Abigail in the phrasing of his confession. Proctor gets no name, except for perhaps lecher, for what he has done, but Abigail is branded a harlot. This displays not only that the society is intrinsically misogynistic, but it also depicts a negative stereotype: that women are to blame for all mutual extramarital affairs. In one of the first scenes, where Abigail and John are discussing their affair, John denies their affair, saying that he never loved her, and that he loves his wife. Abigail responds, “You loved me, John Proctor, and whatever sin it is, you love me yet!” (70). Miller’s interpretation of the Salem Witch Trials ultimately boils down to a girl pining after a married man, and the means with which causes the iconic societal