To fully understand the characters in The Crucible and the reasons behind their actions, it’s important to look at how their choices are shaped by different moral stages, pre-conventional, conventional, and post-conventional guided by fear, social expectations, and personal integrity. Arthur Miller uses these stages to show how people’s responses to fear and authority can differ depending on their values and priorities. These differences reveal how Miller explores moral struggles and the varied ways individuals respond to pressure in a society overwhelmed by hysteria.
In the pre-conventional stage, characters are driven mainly by fear, putting their own safety above other concerns. Mary Warren shows this when she nervously says, “I cannot, they’ll turn on me,” as she realizes that if she stands up to Abigail, she risks being accused too. Her fear stops her from doing the right thing, as her need to protect herself is stronger than any sense of fairness or duty. Reverend Parris also acts out of fear, admitting, “You cannot hang this sort. There is danger. I dare not step outside at night.” Parris feels threatened by the rising anger in Salem and focuses on keeping himself safe rather than finding the truth. Tituba’s desperate plea, “No, no, don’t hang Tituba! I tell him I don’t desire to work for him, sir,” shows her readiness to lie and accuse others if it will save her life. Each of these characters is motivated by fear and self-interest, revealing a pre-conventional mindset where staying safe matters more than being honest or fair.
Characters in the conventional stage, however, act according to social rules or accepted norms, even when it goes against their true beliefs. Elizabeth Proctor demonstrates this when she tells her husband, “I cannot judge you, John. I cannot!” Her words show her commitment to society’s rules of loyalty and forgiveness in marriage, even if she is personally hurt. Mary Warren’s statement, “I-I cannot lie no more. I am with God, I am with God,” reveals her desire to follow religious expectations, even if it means turning against her friends. Reverend Hale, admitting, “I have come to do the Devil’s work. I come to counsel Christians they should belie themselves,” feels forced to advise others to lie to save their lives, following the social rule that life must be protected above all. Each of these characters is shaped by a need to fit in with society’s standards, even if it causes them inner conflict.
Finally, characters in the post-conventional stage act based on deeply held values that they prioritize over personal gain or social acceptance. John Proctor’s passionate statement, “Because it is my name! Because I cannot have another in my life,” shows his refusal to give up his integrity, even if it means dying. Proctor’s decision reflects a commitment to his honor and truth, rejecting lies that would save him but ruin his reputation. Rebecca Nurse’s calm assurance, “Let you fear nothing! Another judgment waits us all,” shows her strong faith and devotion to truth, accepting her fate with a sense of higher morality that goes beyond earthly fears. Giles Corey’s defiance, “I refuse to answer that question,” reveals his loyalty to his principles and his friends, as he would rather suffer than betray others or go against his beliefs. These characters, guided by post-conventional morality, show that some people value personal integrity and universal values more than fear or social pressure. Through these characters, Miller suggests that in times of crisis, some individuals stay true to their values no matter the cost. Together, these different moral responses reveal how The Crucible explores the complex motivations behind people’s actions when they face life’s toughest decisions.
