The Crucible and the Red Scare

The Crucible and the Red Scare

By Dante Massarini ’25

Fear has often served as the primary instigator in the cruelest events throughout human history. The firstborn children of the Israelites were thrown into the Nile because the Pharaoh of Egypt feared their growing numbers. What was originally a relatively small attempt by the Catholic Church to preserve the faith in Spain grew into a massive ordeal that affected hundreds of thousands of people because of a growing fear of losing its influence. Adolf Hitler manipulated the masses in Germany by convincing them that the outside forces were all working to bring about their downfall, and he turned their fear into a weapon. This theme of fear also held true in 1690s Salem, Massachusetts, the setting of a weapon. This theme of fear also held true in 1690s Salem, Massachusetts, the setting of the Nile because the Pharaoh of Egypt feared their growing numbers. What was originally a relatively small attempt by the Catholic Church to preserve the faith in Spain grew into a massive ordeal that affected hundreds of thousands of people because of a growing fear of losing its influence. Adolf Hitler manipulated the masses in Germany by convincing them that the outside forces were all working to bring about their downfall, and he turned their fear into a weapon.

This theme of fear also held true in 1690s Salem, Massachusetts, the setting of The Crucible by Arthur Miller, and 1950s America during the reign of Senator Joseph McCarthy, the setting in which Miller wrote the play.

Miller lived in the United States postWorld War II at a time when the U.S. and the Soviet Union were locked in an ideological battle for supremacy between capitalism and communism. This Cold War created global tension and paranoia, and in the U.S. resulted in the “Red Scare.” This fear of communist sympathizers in the country fueled the efforts of the House Un-American Activities Committee, spearheaded by Senator Joseph McCarthy, to root out anyone with potential connections to the Communist Party. Hollywood became one of the primary targets of the Committee’s attacks because of the influence and fame that was wielded by the movie stars that could be considered dangerous. Miller himself became a target in 1951 when a script of his was shown to the FBI that, according to them, was not “Pro-American.” When Miller began work on The Crucible, he knew that his play would be perceived as a direct affront to the methods of the House Committee; he wrote it to condemn the hysteria that gripped the country.

The Crucible and the Red Scare continued

By Dante Massarini ’25

When Charlie isn’t creating art, you can find her playing soccer, participating in the DE Art Program, or spending quality time with her friends, her family, and her many dogs. One of her goals for this school year is to promote the PVI Art program, including the Art Show. She wants to help get more individuals recognized for their remarkable talents that may be overlooked by people

The Red Scare was orchestrated by the U.S. government, just as the Salem Witch Trials were organized by the theocratic government in charge of the colony. In each case, to question the events was to question the very foundation of the system. In the U.S., reluctance was seen as a sure sign of a communist tasked with infiltrating and destroying capitalism; in Salem, this was the Devil’s infiltration of the church and a plot to undermine Christ. In Salem, those accused were arrested as witches. In the Red Scare, an accused person was blacklisted and cast aside. Virtually any chance of employment or social status was lost, and these people were to be avoided. In Salem, denial of being a witch meant hanging because it could be viewed as a denial of Satan’s attacks, which would expose the court. Thus, people would quickly change their opinions from opposition to the proceedings to full cooperation. During the Red Scare, if a person wasn’t a strong supporter of the Committee’s tactics, they must have been a communist. This led to, in Miller’s words, “the overnight conversions of former leftists into bornagain patriots.” In Salem, once a person was accused, their only option was to confess and point to others as also having frolicked with the Devil. This was “proof” that the confession was valid and not a lie to save themselves. During the Red Scare, a person brought before the committee could testify to seeing others who associated with the party to draw the attention that way.

Artist Charlie Balderrama ’25

The Crucible and the Red Scare

By Dante Massarini ’25

The Salem Witch Trials and the Red Scare could not easily be stopped, as fear drove the two crises along. Fear of unknown, foreign, and hostile ideas motivated each other as the witches and communists could strike at any moment. Fear of coming under fire from the prosecution prevented good people from speaking out against the persecution. Even today, The Crucible serves as a reminder of what can and does happen when fear, fanaticism, and paranoia goes unchecked.

Artist Natalie Pearce ’25

Natalie enjoys playing guitar, listening to music, doing art, and drinking any type of caffeinated beverage. Her favorite subjects are English, Psychology, and Art.