The Crucible and Dressmaker Key Idea Comparison

Themes on previous exams; women, guilt, revenge

Not on previous exams; love, forgiveness, truth/deception, power, change, social
expectations

Crucible Quote Key Idea Dressmaker Quote

Vengeful Communities:
● Marginalisation of outsiders and non-conformists is prevalent in both texts
- Ham and Miller propel the readership to sympathise with marginalised individuals of
Dungatar and Salem
- In the Crucible, oppression is institutionalised, as the court is vested with power to
condemn those who deviate from the norms
- ↳ For instance Gile Corey’s death and punishment, the “great stones [that are placed]
upon his chest until he pleads aye or nay,” represent the societal pressures and the
authority of the theocracy.
- This establishes Giles Corey as the victim of the archaic values that pervade Salem
and magnifies the amount of pain that Giles has to endure for being a “comical
hero… who didn’t give a hoot for public opinion.”
- Tilly is also maltreated and oppressed by those around her due to her position as an
outcast, a “illegitimate child” and a “bastard.”
- Her pain is often revealed through the fragmented flashbacks of her childhood where
she is bullied and assaulted by others compounding this with her immense feeling of
sickness as the “vomit rose” while she is being sexually assaulted by him
- Although Tilly does exhibit the same heroic values as Giles Corey, it is difficult for the
audience to not sympathise with her, even after she burns Dungatar down, since she
herself has suffered.
- Beula openly condemns the “men dressed as women”, her “father warned” her of -
embodying the widespread conservative mindset of the town
- When he reveals his love of feminine fashion to Tilly, he is described as “smaking his
hands against his reddened face, appalled at his abandonment”

● Use of innocents as scapegoats in both texts

- In the Crucible, members of the community are eager to blame mysterious
happenings with the girls to “unnatural causes” - ie. the devil.
- Thus, Reverend Hale who “has much more experience in all demonic arts” is
summoned in Salem.
- This can be recognised as an attempt to lay blame, and because of the injustices
present within the community, the marginalised are the scapegoats.
- For instance, Tituba; the black slave and manifestation of the feared ‘other’ in the
Salem community is first accused.
- Goody Osburn who is “drunk and half-witted” and Goody Good who “sleeps in
ditches” are also targets as they are vulnerable women in the community who don’t
have anyone to defend their innocence.
- In the Dressmaker, there is a similarly strong willingness to blame and victimise the
innocent
- When Tilly returns to town, her mother reminds her that “it’s open slather on outcasts”
- The community of Dungatar marginalises Molly Dunnage for having a child out of
The community’s willingness to assert blame to Tilly for Even’s death is part of the
reason for Tilly’s separation from her mother and move to Melbourne
- “She made him jump. She murdered him.”

● Revenge taken on the communities that marginalised people in both texts, however
with different levels of justification
- The community of the crucible marginalises perceived ‘outcasts’ within the
community
- Abigail is the clearest example of an ‘outsider’ within the texts, whose position in
society is defined by her role as a woman and slave, burdenend by the repuataion of
sleeping with John Proctor
- Her “name is soiled” by Goody Proctor, further entrenching her low social status
- These poor experiences of Abigail can be seen as a catalyst for her cruel,
manipulative nature and seek for revenge throughout the play
- When Tilly returns to town, her mother reminds her that “it’s open slather on outcasts”
- The community marginalises Molly Dunnage for having Tilly out of wedlock, and has
been ostracised as “mad” and immoral ever since Tilly’s birth
- Molly is also described as a “loose woman and hag”
- This judgement extends to Tilly who was severely bullied at school, being called a
“Dunnybum” and “a bar-std”, in addition to being physically assaulted as children held
her down as Steward Pettyman would charge at her like an angry bull
- These experiences both lead these characters to take dramatic action against their
communities
- Tilly is not willing to take such abuse, and vows retribution against the town, stating
that “pain will no longer be our curse molly… it will be our revenge and our reason”
- She takes revenge firstly to Evan Pettyman, who she effectively emasculates so that
Marigold is able to take her own vengeance on him
- Then of course is her incineration of the town. This act can be seen as being very
intentional and planned, as Tilly chose to set the fire on a hot windy day when the fire
brigade is absent, so that when everyone if back from the play, Dungatar is “black
and smoking”
- The revenge taken by Abigail is in part a desperate attempt for gaining power she
doesn not innately carry, however is more specific toward Goody Proctor, seeking
retribution for Goody Proctor, who kicked her from her house and is “blackening [her]
name in the village”
- The revelation that she “drunk a charm to kill John Proctor’s wife” in the woods
demonstrates the full extent of her hatred for Elizabeth.
- In the course of events, it is clear that Ham does not wish to evoke sympathy from
the reader, as she makes it explicit that malice and prejudice have been intrinsic to
the communities’ undoing.
- Miller uses Abigail’s character to represent the monstrous form marginalisation can
make in a person and its disastrous effects; whereas Ham uses Tilly to convey the
damage of this on a person and evokes sympathy from the reader, even though she
leaves Dungatar “black and smoking”

● Isolated societies and their propensity for self destruction

 - They are cut off from the rest of the world in their self-contained societies that they
have nothing but their own toxic atmospheres, negative beliefs and bad behaviours
to recycle amongst themselves
- In the Dressmaker, due to this societal construct "'You can't keep anything secret
here…it's open slather on outcasts.'"
- This is in part reason for the abuse and persecutiion of Tilly, who is considered
“Molly’s bastard girl”, and whose reputation as an “illegitimate child” is further
entrenched as she is accused of murdering Stewart Pettyman and is thus considered
a “murderess”
- This can be seen as a catalyst for Tilly’s destruction of the town, which she left “black
and smoking”
- The Crucible explores a similar toxic community, where there was a “predilection for
minding other people’s business” which “created many of the suspicions which were
to feed the coming madness”
- The key difference here is that in the Dressmaker, it is this that prompts Tilly for
destroying the town, whereas in the Crucible, it is largely this atmosphere that allows
Abigail to exploit for personal gain and revenge
- Salem’s “perverse manifestation of the panic"
- However, both authors explore the dangers and toxicity of isolated communities
which thrive on rumour and hatred

● Both texts explore communities in which harbour an unspoken acceptance of

violence, control and abuse
- This is demonstrated explicitly through the abuse of Tilly when she was a child
- Shown through here ostracization as an “illegitimate child” and and “bast-rd”
- Her pain is often revealed through the fragmented flashbacks of her childhood where
she is bullied and assaulted by others compounding this with her immense feeling of
sickness as “vomit rose” while she is being sexually assaulted by him
- The acceptance of this violence and abuse is accepted and even encouraged by
Tilly’s teacher, Prudence Dimm, who equally victimises Tilly with blatant spite: “Miss
Dimm came, cuffed Myrtle [Tilly] over the head and dragged her from the room by her
plait”
- This is similarly accepted in the Crucible, which relies on institutionalised control and
precipitates violence
- This is examined through violent means of punishment and persecution
- Not only through the ruthless hangings of “witches”, but through means of torture
- For instance, the persecution of Giles Corey where “great stones [are] upon his chest
until he pleads aye or nay,”
- This is echoed in private households and relationships; for instance between John
proctor and his servant Mary Warren
- Mary refuses to obey, insisting that she is “an official of the court”. She exclaims that
she will “not stand whipping any more!”, suggesting that this act of violence is not
uncommon.
- The contrast between her reaction of “not resisting him” and his violent “shaking”
highlights the power imbalance and his assertion of violence by means of control

Guilt:
● The crucible’s measure of guilt is largely based on religion and suspicion, whereas
the Dressmaker’s is based on reputation
- In the Crucible, members of the community are eager to blame mysterious
happenings with the girls to “unnatural causes” - ie. the devil.
- Thus, Reverend Hale who “has much more experience in all demonic arts” is
summoned in Salem.
- This can be recognised as an attempt to lay blame and guilt of people based on
religion and superstition
- Furthermore, the character of Tituba, who is a “negro slave” accused of “black magic”
- Whilst similar in concept, the Dressmaker focuses more on the laying of guilt based
on reputation and rumour
- For instance, Tilly is charged with the blame and guilt of Evan Pettyman’s death - and
even Teddy’s; “She made him jump. She murdered him.”
- This is because of her reputation as an “illegitimate child” and her past more
generally

● There is a contrast in characters’ personal feelings of guilt

- Both Tilly and John Proctor experience large levels of guilt
- John Proctor regards himself as “a kind of fraud”, rather than the man that Salem
assumes himself to be
- From his perspective, he's “no good man”.
- Tilly believed she is “cursed” and that “everyone [she has] touched is hurt, or dead”
- However there is a clear dichotomy between the sources of guilt; Proctor feels a
sense of shame for his actions and affair with Abigail who he refers to as a “whore”
and “lump of vanity”
- Whereas Tilly’s guilt is completely unwarranted - she has done nothing wrong and is
simply a victim to terribly unfortunate circumstances
- She was a victim to Stewart Pettyman’s assault when she was just a child; “I'll come
around to your house tonight and I'll kill your mother the slut, and when she's dead I'll
get you", and looks at her with his "devil eyes"
- Ultimately, Stewart dies in an accident: he runs at Tilly to headbutt her, and, when
she steps out of the way, he breaks his neck against a wall and passes away
- Although being in this situation - it is not Tilly’s fault, yet she is still blamed for it; “my
son has been killed by your daughter!”
- She describes her guilt as a “black thing - a weight… it makes itself invisible then
creeps back when I feel safest”
- Through this contrast, it is clear that despite both Authors using guilt as a theme in
exploring two central characters, their messages are very different
- Miller examines personal mistake and the guilt it leaves, whereas Ham shows how
personal guilt can manifest in a person even when they are the victim

● Both explore corrosive effects of guilt and the way it exacerbates self-doubt
- Miller is interested in the way in which good men can be persuaded to doubt
themselves, and The Crucible shows how damaging the effects of guilt can be.
- Reverend Hale blames himself for his role as the 'specialist' whose investigations
lend credibility to the witch-hunt, and his crisis of conscience pitches him against the
very mechanism of which he was once a crucial part
- Hale admits that he came into the village “like a bridegroom to his beloved
 - bearing gifts of high religion”, but the subsequent hysteria has destroyed his “bright
confidence”
- By the end of the play, he has denounced the court and seeks only to undo the harm
he has done, telling Elizabeth that “I would save your husband's life, for if he is taken
I countmyself his murderer”
- These deaths have left a permanent legacy of guilt and shame, shaping Tilly's adult
sense of self. When she first returns to Dungatar, Sergeant Farrat observes
perceptively that she seems “strong, but damaged”
- As she explains to Teddy, her guilt is like “a black thing - a weight.. it makes itself
invisible then creeps back when I feel safest”.
- She is reluctant to enter into a relationship with Teddy because she no longer trusts
herself, fearing that she is cursed.
- She considers herself “bankrupted” in every way, undeserving of forgiveness or love.

Power:
● Women’s vulnerability evident in both TC + TD - men abuse their power against the
women in the community through the patriarchy
- John Proctor is considered a good and fair-minded man, yet he still has a patriarchal
mindset.
- He forbids his servant - Mary Warren - to go to Salem and has no hesitation
threatening her with a whipping.
- Mary refuses to obey, insisting that she is “an official of the court”. She exclaims that
she will “not stand whipping any more!”, suggesting that this act of violence is not
uncommon.
- This use of violence to force her into submission embodies the patriarchal view of
male dominance and superiority over women.
- The contrast between her reaction of “not resisting him” and his violent “shaking”
highlights the power imbalance between the two characters, establishing the social
structure of Salem as entrenched.
- In Dungatar, there is much of the same patriarchal views and similar manifestations
within relationships
- For instance, Mr Almanac sadistically abuses his wife, Irma, who “used to have a lot
of falls, which left her with a black eye and cut lip”. Moreover, he denies her the
medication, making her arthritic pain unbearable - further entrenching the power
imbalance by keeping her weak.
- Marigold is similarly subject to abuse and indignity at the hands of her husband, who
is repeatedy drugged and subjected to marital rape.
- Evan pettyman is also a creep, a “man who touched women… and at dances
pressed his partners tightly, ramming his thigh between their legs to move them
around the floor”. He uses his power in society as a man and shire president to
assault women.

● Both texts explore the abuse of power by people in assigned positions of authority,
however with different motives
- Danforth: The deputy-governor embodies the highest power in the province, and his
authority is corrupt and abused.
- He shows no flexibility, understanding of compassion: he is rigid in his beliefs and
self-serving in his priorities, he rules by fear and is the face of public terror in Salem.
He views every defence as “an attack upon the court”.
- He believes that “a person is either with this court or he must be counted against it,
there be no road between”, and has no nuance or open-mindedness in his
judgements
- The inflexibility in his rule is shown when Francis Nurse presents a testimony
attesting to his wife’s good name.
- The evidence against Abigail and the girls does nothing to change Danforth’s mind.
- His own reputation of certainess and decisiveness is more important than innocent
lives which he convicts.
- Evan Pettyman holds a powerful position as “shire president”
- Evan is a lecherous, abusive, and dishonest man. His surname, Pettyman, reflects
his character as a mean-spirited “petty man.”
- Evan is known as “a man who touched women”, though people in Dungatar do not
speak up about this because they are afraid that Evan will use his social position to
ruin them; “they turned their backs when they saw him coming."

● The emphasis on ‘mob mentality’ and the strengthening of power through groups
- In The Crucible, strong theocratic regulations dictate Salem and its inhabitants,
- The idea of mob mentality as a way to pressure people into conformity is presented
through the use of “parochial snobbery” and “a predilection for minding other people’s
business”
- Makes children “walk straight, eyes slightly lowered, arms at the sides, and mouths
shut until bidden to speak,” highlighting the theocratic power in a strictly controlled
society that created insular minds.
- This fear of the devil and the power of the judgement from the community aims to
encourage conformity that leads to a rigid and fearful community.
- The use of fear and strong theocratic laws in The Crucible act to create a mob
mentality, where conformity is embraced, and divergence is rejected.
- Similarly, Ham presents the idea of conformity through the power of the mob and
pressure from social hierarchy and influential characters, where residents of
Dungatar fear rejection and exclusion from the community.
- The inhabitants of Dungatar face judgement from many powerful people, such as
Elsbeth Beaumont, on the pretence of being wealthy.
- The townspeople use Tilly’s gift for dressmaking as a way to compete, pressuring the
inhabitants to keep up with trends in order to avoid being excluded and shunned.
- When Tilly shows up to a dance, “everybody was speechless with disgust” due to her
dress
- Conformity is demanded by the mob mentality, where people are judged for their
inability to ‘fit the mould.’
- This is seen with Gertrude’s breakdown during the Macbeth play, where she stands
up to Elsbeth, “You’re always telling me what I can’t do. I can do anything I want,”
which leads to her being committed to an asylum.
- This highlights the demand for conformity and shows the punishment and judgement
of being excluded for defying social norms.
 ● Both texts explore the gaining of power by outcasts - yet Miller shows the abuse of
this power whereas Ham explores it as a means of justice
- Abigail is more disempowered than most - however, her intimidation of the girls,
especially Mary Warren, demonstrates the force of her personality and the strange
hold she develops over them.
- Abigail secures their silence, and then their active collaboration, with threats of
“reddish work done at night”
- The witch-hunt gives her status and influence; she is treated with awe by the general
population, and eminent judges believe her every accusation, no matter how
far-fetched.
- Abigail's sense of entitlement grows to such a degree that she openly threatens the
Deputy-Governor: "let you beware, Mr Danforth”
- Similarly, despite being marginalised as the town’s outcast being an “illegitimate
child” and a “bas-trd”, Tilly thrives as the town’s dressmaker
- Despite still not being accepted by her community - exemplified when Gertrude tells
her “A dress can't change anything!”, she gains status in the town
- She hopes for a new life in Dungatar but, eventually, she decides to take revenge on
the cruel townspeople—who have never made any effort to help or accept her—by
burning Dungatar to the ground and making off with the town’s insurance money.
- This is a final attempt on justice from Tilly - and is thus more justified than Abigail’s
gain and use of power in a destructive way

● Both texts explore the notion that long established social structures are susceptible to
change
- In the crucible, there are established men who hold authority - such as Danforth
- In this society, young women hold little power or chance for social advancement, and
are forced to “walk straight, eyes slightly lowered, arms at their sides and mouths
shut until bidden to speak”
- However through the chaos ensued during the witch trials, women such as Abigail
are given power and a voice in the institutions of power in Salem
- This is exemplified through their involvement in court and Abigail’s entitlement as she
says to Governor Danforth (who holds the highest power in Salem) “let you beware,
Mr Danforth”
- A similarity can be identified with the Dressmaker’s Gertrude Pratt who is initially
considered an un-marriable girl
- Similar to the crucible, Trudy hold temporary status as her family are wealthy
- However she is also unable to maintain this power and is ultimately considered a
“stupid grocer’s girl”

Love and Forgiveness:

● Both texts reflect how closely allied love and forgiveness are
- It is suggested that despite John’s adultery, the Proctors love eachother deeply
- Act 2 shows how strained their relationship has become as a result, telling John that
she forgives him but it is still “everlasting funeral” marches around her heart. She
punishes him with a seven-month silence and emotional withdrawal, still unable to
show warmth or sincere forgiveness.
- In turn, John resents her suspicions, given all he has done to win back her trust: “oh
Elizabeth, your justice would freeze beer”.
- Their true love and commitment to each other is demonstrated in the court. John
shows his true loyalty to Elizabeth in the different ways he describes her compared to
Abigail; he calls Abigail a “whore” and “lump of vanity”, whereas he calls Elizabeth his
“dear good wife”
- Arther demonstrates through the journey of their relationship, that love and
forgiveness prevails. Elizabeth finally acknowledges her own shortcomings in their
relationship by saying “it were a cold house I kept”. Moreover, she refuses to pass
further judgement on him as he goes into court, “whatever you will do, it is a good
man does it”. The couple’s farewell kiss is devoid of recrimination and blame, and
can be considered a true affirmation of love, expressing their true love and
forgiveness which words do not.
- Their love and forgiveness helps him resist the oppression of the state.
- The Dressmaker presents similar ideas about the power of love and forgiveness.
- Until meeting Teddy, Tilly’s experience of love has been profoundly damaging; she
was abandoned by her English lover after the death of her son, and the life she built
in Paris she regards as “pointless and cruel”.
- These traumatic experiences lead her to resist Teddy’s affections. Slowly, her
feelings for him grow. He sees past her reputation and categorically reject her belief
that she is “cursed”. He even dies trying to prove that “the might of his love” will
shield her from harm.
- Ham thus suggests that despite the tragic end to their story, the opening of oneself to
forgiveness and love is intrinsic to the human condition. Tilly, although crushed by the
tragedy of Teddy’s death in the end, is nourished by Teddy’s love.
- Supported by Teddy’s love, Tilly is invited to forgive and believe in herself once more

● The Dressmaker and the Crucible both explore toxicity and abuse within relationships
- The first toxic relationship in the Crucible is the situationship with Abigail, John and
Elizabeth
- John has an affair with Abigail, straining his marriage and also creating a toxic
situation with Abigail who cannot accept that her relationship with Proctor is over -
“you loved me, John Proctor, and whatever sin it is, you love me yet!”.
- The revelation that she “drunk a charm to kill John Proctor’s wife” is a further
representation of the volatile situation his adultery has ensued
- Elizabeth feels that an “everlasting funeral” marches around her heart.
- She punishes John with a seven-month silence and emotional withdrawal, still unable
to show warmth or sincere forgiveness.
- In turn, John resents her suspicions, given all he has done to win back her trust: “oh
Elizabeth, your justice would freeze beer”.
- The Dressmaker focuses more on abuse of women within relationships, whereas
Miller explores mutual toxicity
- Mr Almanac sadistically abuses his wife, Irma, who “used to have a lot of falls, which
left her with a black eye and cut lip”. Moreover, he denies her the medication, making
her arthritic pain unbearable - further entrenching the power imbalance by keeping
her weak.
- Marigold is similarly subject to abuse and indignity at the hands of her husband, who
is repeatedy drugged and subjected to marital rape; "I used to be sick Evan, you
used to make me sick”
 ● Both texts examine the dichotomy and polarities of love and hate
- Sergeant Farrat speaks extensively of love and forgiveness at Teddy's funeral, trying
in vain to dampen down the town's irrational hatred.
- He reminds the congregation that Teddy loved Tilly and intended to marry her.
- Moreover, he argues that the wedding would have been an inclusive, healing
occasion to which all present, “along with your secrets and mistakes and prejudices
and flaws” would have been invited.
- However, Dungatar gains nothing from his sermon, “only their continuing hatred”
- When the townswomen deign to re-engage Tilly's services a year after Teddy's death,
she knows that their magnanimity is pragmatic rather than penitent.
- The townspeople have shown no remorse for their treatment of her or her mother
This lack of contrition gives the embittered Tilly permission to take revenge on
Dungatar and leave it “black and smoking”
- In The Crucible, the characters are similarly polarised. The merciless ethos of
Danforth and Hathorne is pitted against the goodness of characters such as Proctor,
Elizabeth and Rebecca, who retain their integrity despite their essential
powerlessness.
- Proctor supporting the fragile Rebecca as they are marched to the gallows is a small
but significant gesture of charity.
- His last words exhort Elizabeth to hold fast: “Give them no tear! Tears pleasure them!
Show honour now, show a stony heart and sink them with it”
- The concept of forgiveness is perverted by the Salem witch-hunt.
- Those accused are urged to perjure themselves and confess to a crime they have
- not committed.
- If they comply, then God's - and the state's - mercy will be forthcoming.
- Yet when Tituba 'opens' herself to God's “holy light” she inadvertently plays into the
hands of the spiteful Thomas Putnam, who puts words in her mouth - 'Sarah Good?
Did you ever see Sarah Good with him [the Devil)? Or Osburn?" - and gives evil the
opportunity to flourish.
- Abigail's charade at the end of Act Three exemplifies this same unholy paradox.
Knowing that Mary is telling the truth and she is the liar, Abigail nevertheless
presents herself to the court as forgiving and solicitous, reaching out and drawing the
distraught Mary to her.
- Hale comes to recognise the faculty on which the states case is based, telling
Danforth bitterly “I come to do the devils work. I come to counsel Christians they
should belie themselves“

Truth and Deception:

● Throughout both texts, there is a disconnect between what people are ready to
believe and what is actually true
- A number of people in Dungatar have secret lives that flout the town's accepted
conventions and are at odds with their public image.
- Faith O'Brien’s married Hamish but had an affair with the butcher, Reginald Blood.
(ironic that she is named Faith because she is unfaithful to her husband) - flirting with
him, “Faith blushed and placed her hand at her ample bosom”
- Behind closed doors, Nancy Pickett and Ruth Dimm conduct a lesbian affair.
- Sergeant Farrat's conservative superiors would be appalled to know that the
respected policeman wears nylon stockings and lace panties under his uniform:
- When he reveals his love of feminine fashion to Tilly, he is described as “smaking his
hands against his reddened face, appalled at his abandonment”
- John Proctor's one offence causes him considerable mental anguish, as he considers
himself a man of integrity.
- He is highly respected in Salem as an upright man, a dutiful husband and a devoted
father, but knows himself to be an adulterer who has committed the dangerous sin of
lechery: “You loved me, John Proctor, and whatever sin it is, you love me yet!”
- Nevertheless, Abigail admires Proctor's honesty, crediting him with opening her eyes
and putting knowledge in her heart.
- He has helped her identify the hypocrisy and self-interest that lies behind Salem's
pious posturing: "I never knew what pretence Salem was; I never knew the lying
lessons I was taught by all these Christian women and their covenanted men!”

● Both texts show importance of moderate, rationale voices in terms of promoting the
truth - but in each case these voices are drowned out my more powerful majority
- In the Dressmaker this takes the form of Farrat - especially at Teddy’s funeral, where
he speaks extensively of love and forgiveness at Teddy's funeral, trying in vain to
dampen down the town's irrational hatred.
- He reminds the congregation that Teddy loved Tilly and intended to marry her.
- Moreover, he argues that the wedding would have been an inclusive, healing
occasion to which all present, “along with your secrets and mistakes and prejudices
and flaws” would have been invited.
- However, Dungatar gains nothing from his sermon, “only their continuing hatred”
- In the Crucible, this idea is prevalent within the actions of Hale, “a tight-skinned,
eager-eyed intellectual.”
- Over the course of the play, he experiences a transformation, one more remarkable
than that of any other character.
- Listening to John Proctor and Mary Warren, he becomes convinced that they, not
Abigail, are telling the truth.
- In the climactic scene in the court in Act III, he throws his lot in with those opposing
the witch trials: “I dare not take a life without there be a proof so immaculate no
slightest qualm of conscience may doubt it."
- In tragic fashion, his about-face comes too late—the trials are no longer in his hands
but rather in those of Danforth and the theocracy, which has no interest in seeing its
proceedings exposed as a sham.

● Throughout both texts, there is a prevalent predilection to pervert the truth when it
suits people
- Miller asserts that witch trials provided those who harboured resentments with an
unprecedented opportunity to act upon them under a cloak of righteousness; “long
held hatred of neighbours could now be openly expressed, and vengeance taken”.
- This enforces the idea that the witch hunt was less about justice and virtue, and more
about self-interest and malice.
- This is most present in the motives of Abigail, who is driven by jealousy and
successfully manipulates the town’s fear and superstition in her own personal
vendetta against Elizabeth.
 - She cannot accept that her relationship with Proctor is over - “you loved me, John
Proctor, and whatever sin it is, you love me yet!”. The revelation that she “drunk a
charm to kill John Proctor’s wife” in the woods demonstrates the full extent of her
hatred for Elizabeth.
- Abigail and the other girls exploit this nexus between guilt and blame; they represent
themselves as victims of malevolent forces, and thereby shift the focus away from
their own culpability and onto those supposedly acting for the Devil
- To do so, they become the instrument through which the “voice of heaven” is
speaking
- At Teddy's funeral, Sergeant Farrat points out that, like Tilly, Teddy was also an
outcast, “until he proved himself an asset”
- In vain, Sergeant Farrat argues that Teddy wanted the townspeople to love Tilly and
considered the way she had been treated “unforgivable”
- Dungatar remains fixed in its view that Tilly is a murderer

Good vs Evil:
● In times of hysteria and persecution, there are those who rise above and
demonstrate their virtuous nature to do good.
- Miller constructs a society in which hysteria and vengeance is prevalent: with
"long-held hatreds of neighbours," and subsequent “hangin’s”.
- Despite this, demonstrates how there are those who rise above the evil in society, to
do good.
- For instance, John Proctor, who whilst facing much persecution, provides guidance
and a sense of reason to the town, arguing that “vengeance is walking Salem,” rather
than “witches.”
- His ultimate display of good and virtue, is when he is accused and facing being
hanged for witchcraft, he refuses to “spoil their[other community members]
- names,” and “tears the paper,” where his name is signed for a confession of
witchcraft.
- Even though Proctor will be hanged for his failure to comply to the evil demands of
Danforth, his refusal to comply will save many more lives
- Similarly, Tilly in The Dressmaker does much good for her community, even though
she is persecuted by most of it.
- However, Ham builds on the concept provided by Miller, and demonstrates that even
in the face of evil and hatred, a person may still do good for bad people, which is
unlike Miller, who only demonstrates how someone may do good to save innocent
people.
- Tilly allows the women of Dungatar to transform into “renovated, European touched
and advanced,” by her dressmaking skills
- Furthermore, Tilly is able to create herbal remedies for Mrs Almanac, who suffers
pain and is denied medicine by her husband who does not “believe in drugs,” though
Mrs Almanac is kind to Tilly, she is able to demonstrate Tilly’s overall good nature.

Fear/ Hysteria
● Both texts explore communities rife with prejudice and discrimination, that precipitate
the marginalisation of individuals
- The Crucible reveals the ability for individuals to become absorbs into rapidly
mounting craze and hysteria
 - What begins with a few girls dancing in the forest culminates into a fearful society
that is willing to take extreme measures to rid itself from evil
- Logic is subsequently undermined by fear, which is then exploited by the strict
theocratic views of Salem which are underpinned by beliefs of ‘good’ and ‘evil’
- This climate is escalated by a strong need for self-preservation and consequential
issues of unjustified blame and persecution
- As hysteria escalates, an atmosphere is created where “long held hatred of
neighbours could now be openly expressed, and vengeance be taken”
- Despite not being set in the events of an actual witch hunt like the Crucible, the
Dressmaker presents similar conditions in which explores a community rife with
hatred and gossip, in which there is “an open slather on outcasts”
- As Molly says; “You can’t keep anything secret here”, as the town feeds on rumour
and prejudice
- It is for this reason that Molly and Tilly are so heavily judged and marginalised
- They are victim to similar percecution of being a “loose woman and hag” and a
“bastard murderer”

Social Class
● In Both texts, those who reside on the peripheries of the communities are most likely
to be suspected of subversive behaviour
- For instance Tituba, the “negro slave”, Sarah Good who “sleeps in ditches” and
Goody Osborn who is “drunk and half witted” are the first to be accused of witchcraft
- Likewise in the Dressmaker, Molly Dunnage acknowledges that it is “open slather on
outcasts” and she is subsequently ostracised as a “loose women and hag”
- Thus, Tilly finds her mother living in squalor isolated from her community
- Furthermore, the McSwiney’s who lived next to the tip: "Teddy was an outcast until he
proved himself an asset”