one of the most remarkable aspects of the crucible is miler's creation
of believable dialogue for his 17th century puritans
although partly based on what he found in salem records, most of it is
it is convincingly old-fashioned without it being hard to understand
the language carries echos of the king james bible; but word by word,
apart from a few achatic terms - such as 'harlot' and 'poppet' - the
miller achieves his effects by linking words in an unusual way, using
double negatives, chnging verb tenses, and other devices of the same
pg 9 : he cannot discover no medicine for it in his books
pg 10 : i know you have not opened with me
pg 59 : seeing i do live so closely with you, they dismissed it
pg 95 : i am thirty three time in court in my life
pg 114 : you wonder yet if rebellion's spoke
with this shared language miller varies the way his characters speak to
suit their background and personality
ministers and judges naturally use more elaborate phrases than the
giles is blunt and coarse : pg 96 - a fart on thomas putnam, that is
john protor usues some of the most poetic lines, whether he is
describing his delight in the massachusett's countryside (pg 51) or
crying out in despair at the end of act 3 (pg 119)
there is an element of comedy in the language between protor and mary in
the scene where he told her to go to bed and she said she would not have
him order her around but when he gave her a choice, she decided to go to
this particular comic scene heightens the horrors of the situation as
influential people like proctor are at the mercy of silly girls accusing
most characters use similie and metaphor
pg 20 : there be no blush about my name
pg 102 : a very augur bit will now be turned into your souls until you
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