The Crucible is a play which delivers an astute philosophical discourse about the power of collective consciousness and the over bearing strength and control of a deluded ecclesiastical oligarchy. Miller achieves the powerful impact of such a universal theme by focusing on the personal. We observe the sense of struggle and dramatic conflict that arises out of the tension between individual characters and the power and demands of such a society. The power of the Crucible is that we become thoroughly involved in the use of emotional words and the actions of the characters.
             Throughout, 'The Crucible' we see the desperation of the state to demonstrate its power controlling and repressing the individual. According to Miller this reflects the modern world of capitalism and communism - the power of big governments. His central figure to oppose this power is John Procter, a spokesmen for rational feeling and the disinterested intelligence. Procter is so patently the enemy of the states power that his very existence is a challenge to the fanatic temperament; and he is consumed by its malice. However, the dramatic strength of the play is reliant upon his ambiguities: the dilemma of a man. Fallible, subject to pride, but forced to choose between the "negative good" of truth and morality, and the "positive good" of human life under any dispensation. Thus, the dramatic power of 'The Crucible' is reliant upon Procter's crisis of conscience.
             The Salem ecclesiastical oligarchy is the perfect setting for Miller to present his conflict for the freethinking Procter because it 'is a fortress'. We are removed from the framework of beliefs, as is Procter as illustrated in Act three ('the world has gone daft with all this nonsense') and Thomas Putnam's off hand remark strikes with powerful reverberation in reference hunt 'what anarchy is this'; nevertheless, Miller's theatrical craftsmanship and engaging drama compels us to explore the 'boil of all (the...