To truly understand The Crucible, characters found in the play and their motivations for behavior, one only has to refer to Kohlberg’s moral precepts for explanation. Kohlberg’s theory outlines how people progress through stages of moral development. There are three categories that reflect how individuals behave and react to a situation: pre-conventional, conventional, and post-conventional. These categories help explain why different characters act the way they do under pressure, especially in Salem’s rigid environment. In this essay, each precept will be defined and illustrated through specific characters and evidence from the play. By examining the different characters through these precepts, the reasoning behind their actions becomes clearer.

There are many examples of pre-conventional characters in The Crucible. This stage is defined by self-interest, where people act to receive reward or avoid punishment. An example of this is Abigail Williams, who operates entirely out of fear and control. She threatens the other girls to keep silent, warning them that if any of them “breathe a word,” she will come to them “in the black of some terrible night.”  When put in a position of potentially being exposed by one of the other girls, she manipulates and gains power over them with fear. She realizes, to keep her from getting exposed, she needs to silence them. Her threats reveal her pre-conventional logic, to avoid punishment. Another character that is motivated by self-preservation is Mary Warren. This is illustrated when she breaks down in the courtroom, crying that she “cannot” tell the truth because “they’ll turn on me.” Her terror shows she values her own survival over her moral reasoning to tell the truth.  She is afraid of the retaliation of the girls, especially Abigail, who coerced her into silence with violent threats. This clearly indicates that Mary Warren is pre-conventional. Similarly, Tituba also demonstrates this behavior.  After being accused of witchcraft by Abigail and Parris, she confesses, crying that “he say Mr. Parris must be kill” and naming others to save herself. Tituba had not been involved with witchcraft. As a Black enslaved person during that time, she didn’t have any power. Tituba understood that a confession could spare her from execution, while denial would likely lead to being hanged as a witch. Her false confession reflects her instinct for self-preservation, revealing her pre-conventional reasoning.

While characters like Abigail, Mary Warren, and Tituba act to protect themselves and avoid certain punishment, others in the play behave at a conventional stage. This principle is defined as people who act in a way to get social approval or fit into a group. This type of response is shown by Betty Paris. As people start making accusations, she joins the wave of claims, declaring she “saw George Jacobs with the devil.” Betty accuses them because she is pressured by the other girls. This illustrates that she is a conventional character that behaves to fit into a group. In addition, Judge Danforth is also a clear example of a conventional character. He represents this when he insists that “a person is either with this court or he must be counted against it.”  His thinking is entirely rule-based. Danforth is completely faithful to the court, believing that authority has no flaws. He equates loyalty to the court with righteousness. This shows he is conventional, obeying the court instead of his own judgment and becoming blind to injustice. Finally, Reverend Hale is also a clear example of this precept. Earlier in the play, he insisted that “theology […] is a fortress; no crack in a fortress may be accounted small.” To Hale, any weakness in theology could allow evil to enter. At this point he sees good and evil as what the religion defines it as, not  his own inner reasoning. His morality is shaped by what society is telling him is right. His desire to fit into the group and uphold shared beliefs demonstrates that he is conventional. Betty, Danforth, and Hale each illustrate group acceptance and the maintaining of social order.

While most characters behave out of fear or conformity, a few characters are shown to follow the post-conventional precept. This is defined by behaving in a manner where choices come from personal principles without regard for punishment, reward, or group acceptance. Firstly, John Proctor is a strong example of a post-conventional character.  When told to confess, he refused “to sign [himself] to lies” “because it is [his] name.” To Proctor, it represents his integrity, reputation, and honor. Rather than choosing survival or the court’s approval, he chooses to do what he believes is right. His decision to die instead of living dishonestly reflects post-conventional reasoning to take the correct path and not get influenced by reward, punishment, or social approval. Secondly, Giles Corey is a post-conventional character. When being tortured under heavy stones, he chose silence, demanding “more weight.” Giles doesn’t stay silent out of pride; he does it to stand up against injustice. He won’t blame others or let the court win by forcing a confession. He cares more about truth and loyalty than saving his own life. Finally, Reverend Hale, over the course of the play develops to be a post-conventional character. After Proctor is wrongly arrested for witchcraft, Hale fully loses his trust in the court and declares “I quit this court.” Hale follows what he knows is right. He refuses to be a part of a system that ignores logic and kills the innocent. By doing this, Hale will lose his role in the court and no longer have that status, showing that he is a post-conventional character. Proctor, Giles, and Hale’s defiance all show the highest moral development.

Kohlberg’s moral precepts give a foundation for understanding the choices made by the characters in The Crucible and the reasons behind their behavior. Throughout the play, those driven by reward and avoiding punishment like Abigail, Mary Warren, and Tituba, fit the pre-conventional stage, while characters such as Betty, Danforth, and Hale act according to the expectations and rules of their community, demonstrating conventional morality. In contrast, Proctor, Giles, and Hale later rely on their own principles, revealing post-conventional reasoning. Looking at the play through these three categories allows the motivations within Salem’s rigid society to be understood much more clearly.