Composers deliberately convey narratives about the universality of injustice with the didactic purpose

of providing hope for a better humanity society. Arthur Miller’s allegorical 1950s tragedy The
Crucible and Shirley Jackson’s 1948 parable, The Lottery, both serve as confronting representations
of the injustices prevailing during the Cold War era that caused the collective to blindly conform to
mass hysteria. Both texts effectively raise awareness about the universality of injustice, as innocent
individuals endure suffering at the hands of a compliant and inconsistently motivated collective,
providing hope for the disruption of cycles of injustice, if individuals are willing to learn from past
atrocities and act anomalously by defying repressive ideologies. Thus, composers effectively utilise
the power of storytelling to challenge assumptions about the universality of injustice to ignite change
towards the betterment of humanity.
Through the utilisation of dramatic form, composers didactically convey the universality of injustice
as a compliant collective are driven by inconsistent motivations to falsely accuse innocent individuals.
Miller deliberately utilises an allegorical tragedy to parallel the communist witch hunts led by the
HUAC in 1950s America, to highlight the universality of mass persecution. Mary Warren serves as
the paradigm for the inconsistent collective as she claims the accusations are based on, “hard proof,
hard as rock.” The simile highlights Mary Warren’s utter conviction in Salem’s rigid judicial system,
enabling her to serve as a representation of the collective’s fickle motivations as they behave
irrationally in the face of hysteria. Responders gain an insight into the collective’s propensity to
conform to fear as a means of self – preservation, allowing Miller to didactically convey the cyclical
nature of injustice due to an all – prevailing mob mentality as compliant individuals fail to question
the inherently evil basis of mass persecution, rendering the play perennial. It is evident that the
collective’s inconsistent motivations ultimately impact anomalously upright individuals such as
Elizabeth who “looks about the room, as though to fix it in her mind,” before being escorted out of her
house. The stage directions elucidate the vulnerability of Elizabeth due to the collective’s unjust
accusations that induce unnecessary suffering upon innocent individuals. Through Millers confronting
employment of dramatic form responders are viscerally impacted and empathise with Elizabeth, who
serves as an overarching representation of the wrongfully convicted within society, enabling them to
learn about the universality of injustice that is administered by a collective to vulnerable individuals.
Thus, Miller effectively utilises the power of storytelling to challenge responder’s assumptions about
prevailing cycles of injustice to ignite change. Excellent paragraph, insightful analysis, only wonder if
there is a better piece of evidence regarding Elizabeth as the victim of this mob mentality and fickle
collective.
Composers purposefully convey didactic narratives about the universality of injustice resulting from a
collective’s blind conformity to systematic cruelty that culminates in the random persecution of
innocent individuals. Jackson subtly conveys the ever-lasting cycle of injustice as a society clings on
to outdated traditions to parallel the collective’s mindless conformity arising from the hysteria of the
1950s Cold War era. The repressive, outdated traditions that promote mindless persecution as, “no
one liked to upset even as much tradition as was represented by the black box” that was “no longer
black but splintered badly along one side.” The motif of the box serves as a representation of the
baseless, repressive tradition that the villagers maintain a firm conviction in, as they are willing
conformers to systematic cruelty, as long as they are not the victims of it. Responders are confronted
by the collective’s debilitating fear of change and the mob mentality that compels them to perpetrate
acts of violence and injustice against marginalised individuals, paralleling Jackson’s Red Scare
context in which there was strict adherence to traditional American values. Unjust persecution is
evident as “a stone hits her (Tessie) on the side of her head.” The syntax bluntly highlights the jarring
and random nature of persecution resulting from a barbaric tradition that is rooted in a collective’s
violence against a haphazardly chosen individual, fostering a society in which individuals fail to take
responsibility for murder. Responders empathise with Tessie as a marginalised and outcasted figure,
who serves as a confronting representation of individuals who are baselessly scapegoated, enabling
Jackson to effectively comment on the universality of injustice and the dangers of a collective’s
compliance to systematic cruelty as a means of self-preservation. In this way, Jackson and Miller’s
texts both subtly elucidate the dangers of conformity to mass hysteria and mob mentality, enabling
them to effectively raise awareness about prevailing injustices. Therefore, composers astutely utilises
the power of storytelling to ignite new ideas about the universality of injustice to catalyse change.
Composers astutely provide hope for the disruption of cycles of injustice if individuals are willing to
learn from past atrocities and anomalously defy repressive ideologies. Miller and Jackson deliberately
convey subtle narratives about injustice, to convey a shocking parallel to their 1950s Red Scare
context in which mass persecution and intrusive bureaucratic authorities served to strip individuals of
their dignity. Miller portrays Proctor as the paradigm for hope as his unbreakable moral fibre causes
“the magistrate that sits in your heart that judges you.” The metaphor exemplifies Proctor’s extremely
self – critical nature, as his transgression against himself and the institution of marriage has plagued
him with guilt, highlighting his anomalous character. It is evident to responders that cycles of
injustice on both personal and collective levels are inevitable as all humans are inherently flawed and
compelled to sin, however there is hope for collective change if individuals mirror the self-sacrificial
nature of Proctor and hold themselves to high moral standards, enabling them to learn from the
transgressions of previous societies and anomalously question the integrity of repressive institutions.
Jackson similarly raises awareness about injustice within her parable as a means of providing hope for
the betterment of humanity. Before her death Tessie claims, “it isn’t fair, it isn’t right.” The
ecphonesis highlights Tessie’s emotional strife, as she comes to an epiphany about the unjust nature
of a baseless tradition that she avidly partook in, highlighting that the imperative first step towards
change is realising injustice. Through Tessie’s death, Jackson skilfully highlights hope for the
betterment of humanity, as responders are made aware of the dangerous impacts of enabling injustice
to prevail, compelling them to anomalously defy repressive ideologies and embrace change as a
means of bettering humanity and disrupting cycles of injustice. Hence, Miller and Jackson artfully
convey narratives of injustice to raise awareness and provide hope to responders that the betterment of
humanity is possible, igniting new ideas about the positive implications of change.
Thus, Composers deliberately convey narratives about the universality of injustice with the didactic
purpose of providing hope for a better humanity. Miller and Jackson convey the injustices resulting
from repressive ideologies and outdated traditions to provide hope for the betterment of humanity.
Therefore, Miller and Jackson effectively utilise the power of storytelling to ignite new ideas.

Excellent response, with thought provoking analysis. Could establish a strong connection between
the texts in relation to the question in your second paragraph if only generally. I worry at times your
evidence it to small and vague and could be more specific to the points you are making, which are
great. Overall well done, let me know if you have any questions.