This essay aims to explore the complexities of character behavior within the play, ‘The Crucible’. It will analyze the puzzling behaviors that the characters exhibit based on Kohlberg’s theory of moral development. Kohlberg’s theory suggests that moral development occurs in three stages:pre-conventional, conventional, and post-conventional. All three categories are great factors to consider when analyzing the characters and the way they act. If we understand the reason behind the action, we will have a deeper comprehension of Arthur Miller’s characters.
Throughout Arthur Miller’s play ‘The Crucible’, he presents an array of characters who exhibit a pre-conventional mentality. In the first stage of Kohlberg’s stages of moral development theory, a person who behaves in a way to avoid punishment and obtain a reward is categorized as pre-conventional. The group of girls is the first pre-conventional character shown in ‘The Crucible’. With Abigail’s ominous warning: “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. I will bring a pointy reckoning that will shudder you,” encapsulates the group of girls’ troublesome situation and how their pre-conventional mentality came to be. Honesty is a virtue in the Puritan religion, and the girls’ willingness to lie and accuse the innocent for the sake of saving their lives underlines their heresy. Their behavior is rooted in fear and self-interest rather than a higher sense of justice or empathy for others. Thus within ‘The Crucible’, these girls demonstrate the base nature of a pre-conventional character. Even in the Puritanical society of Salem, privileged figures like Thomas Putman behave selfishly to obtain a reward. Amidst the heated confrontation within the court, Giles Corey brings up ‘an honest man[‘s]’ testimony, he claims that ‘‘Putman’ used ‘his daughter to cry out on Jacobs” during the witch trials to attain “a fair gift of land”. Rather than keeping a respectable name in the Salem community, Thomas Putman chooses to rely on deceitful means simply to take Jacob’s fortune, going so far as to use his daughter, Ruth. Thomas Putman is driven solely for his gain, exhibiting a variant of a pre-conventional mindset. The final pre-conventional character is Reverend Parris. As the town’s fury reaches a zenith, the Minister of Salem finds himself facing the threat of death, prompting him to call off the hanging: “Tonight, when I open my door to leave my house—a dagger clattered to the ground. [Danforth] cannot hang this sort. There is danger for me. I dare not step out at night!”. Throughout the play Parris consistently prioritizes his safety and reputation over the lives of the innocent Salem villagers, holding his tongue rather than defending those who are wrongfully accused. When the consequences of his actions come to haunt him, he pleads for the release of the accused witches in exchange for the mercy of the Salem people. Reverend Parris is a quintessential example of a Pre-conventional character. As presented, there are many characters in Arthur Miller’s play ‘The Crucible’ who behave in a way to avoid punishment and obtain a reward.
Furthermore, Kohlberg’s second stage of moral development, conventional reasoning, is present in Auther Miller’s play. Conventional reasoning is when a character behaves in a way to fit a certain group, conforming to their values and principles in exchange for group acceptance. Salem’s local Judge, Hathorne, is a conventional character. Hathorne is quick to assert his authority and label those who challenge the court’s judgment as crazy, however, Giles reminds Hathorne of his minor authority: “You’re not a Boston judge yet, Hathorne, You’ll not call me daft!”. Through Giles’s retor Hathorne’s desire for power and prestige is brought to light. Despite knowing individuals like Giles Corey, John Proctor, and Mr. Nurse to be esteemed members of Salem society, Hathorne effortlessly dismisses their credibility and berates their behavior in order to align himself with the Authority of the court. This betrayal of his community and conformity with Danforth’s wrongful judgment highlights Hathorne’s willingness to sacrifice his neutrality for the sake of social acceptance and advancement within the judicial ranks, therefore making him a conventional character. Another character who has conventional characteristics is Ann Putman. When she claimed that she “knew” that “Goody Osbourn” was a witch, for “[Ann Putman’s] babies always shriveled in her hands”. In a 1692 Puritan society, a woman’s worth was often measured by her ability to bear and raise children. Mrs. Putman, facing the tragedy of losing seven of her children, is likely viewed by the community to be an incompetent woman. By scapegoating Goody Osborn, Ann is deflecting this stigma. Through this she can gain the sympathy of her neighbors, reinforcing and preserving the reputation and social status within Salem, demonstrating a conventional mentality. Appointed by the court to assist in arresting individuals, Ezekial Cheever is the final conventional character of ‘The Crucible’. “I think it is my duty, sir— [To Proctor] You’ll not deny it, John. [To Danforth] When we come to take his wife, he damned the court and ripped [the] warrant” he declares in court, disclosing John Proctor’s ireful impulses at the end of Act two. Similar to Hathorne and Parris, Cheever distances himself from any prior rapport with the accused, swiftly confessing rather than defending. In the name of duty, he sacrifices his relationships and easily gives into the court’s authority over the people. Ezekial Cheever’s betrayal and commitment to his duty show that he is a conventional character. Minor characters like Reverend Hathorn, Ann Putnam, and Ezekiel Cheever are archetypal of Kohlberg’s conventional moral reasoning.
Finally, ‘The Crucible’ provides characters that fit into Kohlberg’s Post-conventional moral reasoning. A Post-conventional individual behaves in a way that they believe is correct regardless of punishment, reward, or group acceptance. Giles Corey, an elderly Salem villager, is our first conventional character. Rather than surrendering the court the name of the witness, Giles refuses to do so to protect the man, taunting the court to put ‘more weight’ (Giles, Act iv) as he is crushed under the heavy stones. Overcome with guilt and grief due to falsely accusing his wife of witchcraft, Giles swore to not involve any more innocent lives in the witch trials. Honoring his oath to the mystery witness and courageously enduring the pain of death, emphasizes his post-conventional character. A character who remains true to their values and beliefs regardless of group acceptance, reward, or punishment is Elizabeth Proctor. The villagers of Salem would quarrel among each other, taking notice of how Elizabeth ‘rarely’ comes to ‘church’, reasoning that ‘she will not sit so close to something soiled’ like Abigail. Elizabeth’s assertion of autonomy; the refusal to church because of Abigail; is a demonstration of commitment to personal integrity. Choosing to maintain her principles, even at the risk of her societal alienation and hereafter her safety, she highlights the nature of a post-conventional character’s detachment from group acceptance. Reverend Hale is the remaining post-conventional character of this expository essay. Witnessing a respectable man like John Proctor imprisoned for his truthful confession, Hale becomes enraged at the outcome, leading him to ‘denounce’ the ‘proceedings’ and ‘quit[s]’ Salem’s ‘court. Essentially an act of abandoning his carefully crafted career and prestige an act of rejecting Danforth’s ideal of justice. Hale abandons his prestige and carefully crafted career for the sake of adhering to his sense of justice and moral integrity. He truly believes that Danforth’s perception of justice is corrupt and tyrannical. In hopes of making up for the misconduct of his actions prior, Reverend Hale returns to Salem in an attempt to save those who are falsely accused by the unethical court of Justice.
In conclusion, Kohlberg’s moral development theory offers valuable insights into the psychological motivations behind the characters’ actions within Arthur Miller’s ‘The Crucible’. Kohlberg proposed three stages of moral development: pre-conventional, conventional, and post-conventional. In the pre-conventional stage, individuals act based on self-interest, seeking rewards or avoiding punishment. In the conventional stage, they prioritize conformity to societal norms and expectations. Finally, in the post-conventional stage, individuals develop their moral principles, detached from external influences. By applying these stages to the characters in ‘The Crucible’, expands the reader’s comprehension of the complexities of the characters’ behaviors and overall the theme of the play.
