Abigail: Now look you. All of you. We danced. And Tituba conjured Ruth Putnam’s dead sisters. And that is all. And mark this. Let either of you breathe a word, or the edge of a word, about the other things, and I will come to you in the black of some terrible night and I will bring a pointy reckoning that will shudder you. And you know I can do it; I saw Indians smash my dear parents’ heads on the pillow next to mine, and I have seen some reddish work done at night, and I can make you wish you had never seen the sun go down! Goes and roughly sits Betty up. Now, you – sit up and stop this!
Thanks Pedro. On covering it, I didn't know if I should have kept it small, or expanded it some. Hopefully it covers just enough not to stymie discussion.Nice intro okamido. You've covered it so completely I will have to give the play more thought to come up with anything.
A very valid point. Something I hadn't even considered. If I recall rightly, in the Salem trials over 50 individuals confessed to the crime of witchcraft. After being accused that is. Not unlike the McCarthy hearings where the accused was expected to cooperate in providing evidence to identify other ‘witches’. good point.How far would I be justified in adding another theme? How about Confession? As fast as the play produces accusations so too, in almost as great a quantity, does it produce confessions. For instance, Proctor confesses his affair with Abigail, he then later is expected to confess his witchcraft (but doesn't); Tituba is beaten until she confesses; then that confession buys her an audience - it gives her a position; the girls confess. Confession (even if false) buys freedom.
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