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imagery in the crucible

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by

Santiago Helou Quintero

on 22 January 2015

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Transcript of imagery in the crucible

What do you know about imagery??
Video
Topic Question
Quote one
Our Thesis is how imagery affects the crucible and how it helps set mood and helps the reader further understand the play
Thesis
by Santiago Helou Quintero
and Andrew Rea
imagery in the crucible
Quote two
Topic Question
What do you think that
The Crucible would be like
without imagery
Quote 3
quote 5
quote 6
Conclusion
topic question
how does imagery make the play easier to understand
Guided imagery
There is a narrow window at the left. through its leaded panes the morning sunlight streams. A candle still burns near the bed, which is at the right. A chest, a chair, and a small table are the other furnishings. At the back a door opens on the landing of the stairway to the ground floor. The room gives off an air of clean spareness. The roof Rafters are exposed, and the wood colors are raw and unmellowed.

As the curtain rises, Reverend Parris is discovered kneeling beside the bed, evidently in prayer. His daughter, Betty Parris, aged ten, is lying on the bed, inert. (Miller 3)
Reverend Parris is praying now, and, though we cannot hear his words, a sense of his confusion hangs about him. He mumbles then seems about to weep; then he weeps, then prays again; but his daughter does not stir on the bed.

The door opens, and his Negro slave enters. Tituba is in her forties. Parris brought her with him from Barbados, where he spent some years as a merchant before entering the ministry. She enters as one does who can no longer bear to be barred from the sight of her beloved, but she is also very frightened because her slave sense has warned her that, as always, trouble in this house eventually lands on her back. (Miller 8)
At the right is a door opening on the fields outside. A fireplace is at the left, and behind it a stairway leading upstairs. It is the low, dark, and rather long living room of the time. As the curtain rises, the room is empty. From above, Elizabeth is heard softly singing to the children. Presently the door opens and John Proctor enters, carrying his gun. He glances about the room as he comes toward the fireplace, then halts for an instant as he hears singing. He continues on to the fireplace, leans his gun against the wall as he swings a pot out of the fire and smells it. Then he lifts out the ladle and tastes. He is not quite pleased. He reaches to a cupboard, takes a pinch f salt, and drops it into the pot. As he is tasting again, her footsteps are heard on the stair. He swings the pot into the fireplace and goes to a basin and washes his hands and face. Elizabeth enters. (MIller 49)
AS the curtain rises, the room is empty, but for sunlight pouring through two high windows in the back wall. The room is solemn, even forbidding. Heavy beams jut out, boards of random widths make up the walls. At the right are two doors leading into the meeting house proper, where the court is being held. At the left another door leads outside.

There is a plain bench at the left, and another at the right. In the center a rather long meeting table, with stools and a considerable armchair snugged up to it.

Through the partitioning wall at the right we here a prosecutor's voice, Judge Hathorne's asking a question; then a woman's voice, Martha Corey's replying. (Miller 83)
Our conclusion is that imagery is very significant in The crucible as it helps set up scenes and assists readers in understanding the mood and setting of the play and gives them a deeper reading experience
At the back is a high barred window; near it, a great, heavy door. along the wall are two benches. The place is in darkness but for the moonlight seeping through the bars. It appears empty. Presently footsteps are heard coming down a corridor beyond the , keys rattle, and the door swings open. Marshal Herrick enters with a lantern.

He is nearly Drunk, and heavy-footed. He goes to a bench and nudges a bundle of rags lying on it.
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