By referencing Kolberg’s moral precepts, we can analyze the characters’ motivated reasoning in Arther Miller’s The Crucible, and gain a thorough understanding of character development throughout the course of the play. In this essay, we will look at motivations from a pre-conventional, conventional, and post-conventional level through evidence from various characters to clarify confusing behaviour. These motivations often follow a chronological order, displaying the characters’ dynamic views, values, and morals and how they develop; this is not only applicable to the story, but a world context as well as individuals begin to gain a sense of self through experience. 

Characters such as Betty Parris, Abigail Williams, and Tituba show pre-conventional behaviour at the beginning of the story. Pre-conventional behaviour is defined by the actions characters illustrate in pursuit of avoiding punishment and obtaining reward. After the Puritan town of Salem discovers that a group of girls had gone into the woods to perform rituals and dance, Betty is found lying in her bed “deadly ill”. After the adults in the town had examined her for potential causes and left, Abigail demands Betty to “stop [her foolish act] now”. Betty, in horror at the consequences that may arise if she awakens, fakes her sickness to avoid confrontation. Abigial is also distraught, so she begins to blame women of low status, claiming that she “saw Sarah Good with the devil!”, along with many others. She does this to shift her guilt and blame onto others, as well as to frame a scenario where she can ultimately get John Proctor’s wife, Elizabeth Proctor killed; it is later revealed that Abigail and John have an affair, clarifying Abigail’s motives. Additionally, the adults in the room discover that Tituba had led the group of girls into the woods. Reverend Parris then threatens Tituba by saying, “You will confess yourself or I will take you out and whip to you your death, Tituba!”. Because of the detrimental circumstances presented to Tituba, confessing or be whipped to death, she decides to confess to witchcraft and disclose that she saw others in the village with the Devil. However, it is crucial to note the importance of Tituba’s identity and the role that it plays. Tituba is an African woman enslaved by Reverend Parris, a man of power, due to the racial hierachy and power dynamic imposed during this time period. Black people, especially Black women due to their intersecting identities, were seen as “lesser than”, making Tituba an easy and “disposable” scapegoat to blame for the situation at hand. Using the examples examined, it is evident that several characters in the play demonstrate pre-conventional behaviour.  

As the story progresses, we see conventional behaviour displayed by characters such as John Proctor, the girls of Salem, and Elizabeth Proctor. Conventional behaviour refers to the actions characters might engage in to fit into a certain societal norm or group. John Proctor displays this behaviour early on. After Abigail asks him if he can fulfill a committed relationship with her after their affair, John tells her that he will “cut off [his] hand before [he] ever reach[es] for [her] again”. Lechery is seen as an immoral sin for Christians, and as a resident in a dominant Christian town, John must cover up his affair to fit in with the standard as he does not want his reputation as a “good” Christian man to be tainted. We are then transported to the Salem court, where Judge Danforth is at the head, determining if individuals are guilty of witchcraft. As a witness, Mary Warren bravely comes forth in the court and claims that Abigail and the Salem girls are lying about the situation at large, to which the girls respond by repeating and mocking Mary. Danforth asks Mary, “Why can they only repeat you?”. The girls respond in this way as they fear that they are too far caught up in the lie to rebel against Abigail. They see respect Abigail’s power and authority and prefer to “fit in” with the situation as it has begun to develop as a new standard in town. This is evident with Elizabeth as well. In the court, John confesses that “[his] wife cannot lie”, however, she then proceeds to lie due to the faulty environment she is immersed in. This initiatory lie is made in attempt to save her husband from the severe consequences he may face, as she is quick to analyze and understand the context of the situation. Therefore, the characters discussed demonstrate conventional behaviour throughout the play. 

During the end of the play, characters such as Reverend Hale, John Proctor, and Giles Corey begin to exhibit post-conventional behaviour, developing unique internal value systems which significantly influenced their decisions. They often did this without regard for punishment, reward, or external acceptance, but instead, to represent their personal morals and to stand up for what they believe in. When John is presented with the opportunity to confess to engaging with the Devil, he refuses to confess and sign his name on the contract. Confused, Danforth questions why he will not in which John replies with, “Because it is my name! Because I cannot have another in my life! Because I lie and sign myself to lies!”. John is beyond frustrated with the tomfoolery that Salem has promoted and refuses to sign his name and confess to lies. He feels immense guilt that he did not confess to his affair sooner as it could have put an end to the situation. His actions align with his morals, and he dies upkeeping them. Similarly, Giles also dies in a way that represents his internal values. In court, Giles confesses than an “honest man” had told him crucial information about Thomas Putnam wanting to steal land, however, quickly realizes that if he were to give their name to the court, they would be killed alike his wife. He refuses to give this individuals’ name until the very end, asking for “more weight” during his stoning. This phrase demonstrates that Giles was willing to expedite his death in lieu of confessing the name. Lastly, Hale is arguably one of the most dynamic characters in the play. After promoting and participating in a court built on false accusations and lies, he strongly proclaims that he “quit [the] court”. He comes to a discovery that the court is unjust, and slowly builds of a sense of what is right and wrong, and acts upon these values. Post-conventional behaviour is thoroughly evident throughout the end of the story through these examples discussed.  

The Crucible is an excellent example of how Kolberg’s moral precepts represent different stages of life, and how one level of behaviour–pre-conventional, conventional, and post conventional–cannot exist without having demonstrated the previous one. It is crucial to analyze the story with a critical lens to eliminate any misunderstandings of behaviour that may seem illogical at a surface level. The characters are undoubtedly human, therefore acting in imperfectly perfect, authentic, ways that represent real world experiences and thinking.