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 ¾Æ´õ ¹Ð·¯(Arthur Miller)´Â ¹Ì±¹ New YorkÀÇ ºê·çŬ¸°(Brooklyn)¿¡¼­ ž 1929³â °æÁ¦ ´ë°øȲÀ¸·Î ¾Æ¹öÁöÀÇ È¸»ç°¡ ¸ÁÇÏÀÚ ¿©·¯ °¡ÁöÀÇ Á÷¾÷À» ÀüÀüÇϸç ÀÏÇÏ´Â µ¿¾È ÇÏ·ùÃþÀÇ Àλý¿¡ ´ëÇÏ¿© ±íÀº °ø°¨À» °¡Áö°í ÀÖ¾ú´Ù. 1947³â ¡º¸ðµÎ ³ªÀÇ ¾Æµéµé ¡º(All My Sons), 1949³â ¡º¼¼ÀÏÁî¸ÇÀÇ Á×À½¡»(Death of a Salesman), 1953³â ¡º½Ã·Ã¡»(The Crucible), 1955³â ¡ºµÎ ¿ù¿äÀÏÀÇ ±â¾ï¡»(A Memory of Two Mondays), 1956³â ¡º´Ù¸®¿¡¼­ º» Á¶¸Á¡»( A View from the Bridge)µî ´Ù¼¸ ÀÛÇ°ÀÌ ¹ßÇ¥µÇÀÚ ¹Ð·¯´Â 1953³â¿¡ ÀÛ°íÇÑ À¯Áø ¿À´Ò(Eugene O'Neill)¿¡ À̾î Å׳׽à Àª¸®¾ÏÁî(Tennessee Williams)¿Í ÇÔ²² ¹Ì±¹ ¿¬±Ø°èÀÇ ÃÖ´ëÀÇ ¹®Á¦ ÀÛ°¡·Î µîÀåÇß´Ù. ±× ÈÄ¿¡µµ 1964³â ¡º¸ô¶ô ÀÌÈÄ¡»(After the Fall)¿Í ¡ººñ½¬¿¡¼­ ÀϾ »ç°Ç¡»(Incident at Vichy),±×¸®°í 1968³â ¡º´ë°¡¡»(The Price)¸¦ ¹ßÇ¥ÇÏ¿© ±ØÀÛ°¡·Î¼­ÀÇ ´ë ¼º°øÀ» °ÅµÎ¾ú´Ù.

  ±×ÀÇ ÁÖ¿ä ÀÛÇ°Àº ÀüºÎ 1Â÷, 2Â÷ ¼¼°è´ëÀü »çÀÌ ¹Ì±¹ ¿¬±Ø°èÀÇ ÁÖ·ù¸¦ ÀÌ·ç¾ú´ø »ç½ÇÁÖÀÇ ±Ø ÀüÅëÀÇ ÀϺηΠºñ·Ï Á÷Á¢ÀûÀÌÁö ¾Ê´Ù ÇÏ´õ¶óµµ 1930³â´ë¿Í 1940³â´ë ÃÊ ¹æȲ°ú ºñÆÇÀÇ ±Ø, Ŭ¸®Æ÷µå ¿Àµ¥Ã÷(Clifford Odets)ÀÇ ±Ø·Ä ÁÂÀÍ ±Ø, ¸±¸®¾ð Çï¸Õ(Lillian Hellman)ÀÇ À±¸®ÀûÀÌ¸ç ¸Å¿ì Àß Â¥¿©Áø ¸á·Îµå¶ó¸¶, ¶Ç ³Ð°Ô »Ñ¸®¹Ú°í ÀÖ´ø Ç ÀÔ¼¾(Henrik Ibsen)Àû ±ØÁ¤½ÅÀº ¹Ð·¯°¡ ¹°·Á¹ÞÀº Áß¿äÇÑ À¯»êÀ̶ó ÇÒ ¼ö ÀÖÀ» °ÍÀÌ´Ù. ¹Ð·¯ÀÇ »ý¾Ö Áß Ãʱ⠻çȸÀǽÄ, ¹Ì±¹ ¹®È­ÀÇ º´Æó¿¡ ´ëÇÑ ÀνÄ, ¶ÇÇÑ ±×·¯ÇÑ º´Æó´Â ±Ùº»ÀûÀ¸·Î µµ´öÀû ¾àÁ¡¿¡ ±âÀÎÇÑ´Ù´Â ±×ÀÇ ¹ÏÀ½ÀÌ ±×¸¦ ù°·Î´Â »çȸ ±ØÀÛ°¡, µÑ°´Â µµ´ö°¡·Î ¸¸µé¾î ÁÖ°í ÀÖ´Ù. »çȸ¹®Á¦¿¡ ´ëÇÑ °ü½É°ú ÇÔ²² ÇÑ °³ÀÎÀÇ ¾àÁ¡ÀÌ »çȸ¹®Á¦¿Í ±íÀº °ü·ÃÀÌ ÀÖ´Ù°í ¹Ï°í ÀÖ´ø ±×°¡ ÇൿÀÇ ½É¸®Àû ¿øÀÎÀ» ¸ð»öÇϱ⠽ÃÀÛÇß´ø °ÍÀº ³î¶ó¿î ÀÏÀÌ ¾Æ´Ï´Ù.

 ¡º½Ã·Ã¡»Àº ¹Ì±¹ ¸Þ»çÃß¼¼Ã÷(Massachusetts)ÁÖ ¼¼ÀÏ·³(Salem) ¸¶À»¿¡¼­ ÀϾ ¸¶³à óÇü »ç°ÇÀ» ¹Ð·¯°¡ 4¸·À¸·Î ±ØÈ­ÇÑ ÀÛÇ°À¸·Î¼­ ¹Ý¹ÌÈ°µ¿À» ¹úÀÎ ÀÚµéÀ» »öÃâÇÏ·Á´Â ¸ÆÄ«½ÃÁò(McCarthyism)¼±Ç³°ú °ü·ÃµÈ ¹Ð·¯ ÀÚ½ÅÀÇ °æÇèÀ» ¿«Àº ±ØÀÌ´Ù. ¹Ð·¯´Â ÇÑ ÀÎÅͺ信¼­ ÀÚ±â ÀÚ½ÅÀ» °¡Àå ¸¹ÀÌ ÅõÀÔ½ÃŲ °ÍÀ¸·Î Àڱ⸸ÀÌ ¾Ë°í ÀÖ´Â ¼û°ÜÁø ½ÉÃþÀÌ ¸¹´Ù°í Çϸ鼭 ÀÌ ¡º½Ã·Ã¡»À» ¾²°ÔµÈ µ¿±â¸¦ ´ÙÀ½°ú °°ÀÌ ¼³¸íÇÏ°í ÀÖ´Ù.



 I was drawn to write The Crucible not merely as a response to McCarthyism. It is not any more an attempt to cure witch hunts than Salesman is a plea for the improvement of conditions for traveling men, All My Sons a plea for better inspection of airplane parts, or A View from the Bridge an attack upon the Immigration Bureau. The Crucible is, internally, Salesman's blood brother. It is examining the questions I was absorbed with before--the conflict between a man's raw deeds and his conception of himself.1)



 ±ØÇÑ »óȲ¿¡ óÇÑ ÀÚ¾Æ¿Í Çൿ »çÀÌÀÇ °¥µîÀ» ±×¸®·Á ÇßÀ½¿¡µµ ¼¼ÀÏ·³ »çȸ³ª ¸ÆÄ«½ÃÁò Áö¹èÇÏÀÇ ¹Ì±¹ »çȸ»Ó¸¸ ¾Æ´Ï¶ó Àΰ£ÀÇ °á´ÜÀ» °­¿äÇÏ´Â ¸ðµç ºñÀ̼ºÀû »çȸ Á¶°ÇÀÌ ¹è°æÀÌ µÉ ¼ö ÀÖ´Ù´Â °ÍÀÌ´Ù. »ç½Ç ¸ÆÄ«½ÃÁòÀÇ È¾Æ÷»Ó¸¸ ¾Æ´Ï¶ó ¾ç½ÉÀ» Çå ½Å¦ó·³ ³»¹ö¸®´Â Çö´ë ¹Ì±¹ÀεéÀÇ ¸ð½À¿¡¼­ °øÆ÷¿Í ºÐ³ë¸¦ ´À²¼´ø ¹Ð·¯´Â ÀüȾÀûÀÎ Á¤Ä¡¼¼·ÂÀ̳ª ¿ÀµµµÈ ¿©·Ð ȤÀº ÀϺΠ±¤½ÅÀûÀÎ Á¾±³Áý´ÜÀÌ ³ª¾àÇÑ ¼Ò½Ã¹ÎÀ» ¾î¶»°Ô Àü¶ô½ÃÅ°´Â °¡¸¦ ¹«´ë¿¡ ¿Ã·Á º¸·ÁÇß´ø °ÍÀÌ´Ù.

 1954³â ¹Ì±¹¹«¼ºÀº ¡º½Ã·Ã¡»ÀÇ º§±â¿¡ÀÇ ¼öµµ ºÎ¸£¼¿(Brussel) °ø¿¬¿¡ Âü¼®ÇÏ·Á´ø ¹Ð·¯ÀÇ ¿©±ÇÀ» °ø»êÁÖÀÇ È°µ¿¿¡ °¡´ãÇß´Ù´Â ÀÌÀ¯·Î ¹ß±ÞÀ» Ãë¼ÒÇÏ¿´´Ù. ±×´Â °ø»êÁÖÀÇ ¿îµ¿¿¡ ÀÚ½ÅÀÌ °¡´ãÇÏ¿´´Ù´Â »ç½ÇÀ» ³¡³» ºÎÀÎÇßÁö¸¸, 1955³â New York½Ã ¼Ò³â ±¹¿¡ ÀÇÇÏ¿© ûŹ ¹Þ¾Ò´ø ¼Ò³â ¹üÁË¿¡ °üÇÑ ¿µÈ­´ëº»µµ ¶È°°Àº ÀÌÀ¯·Î Ãë¼ÒµÇ¾ú´Ù. ±×·¡¼­ 1956³â µåµð¾î ±×´Â ¹Ì±¹ ÇÏ¿øÀÇ ¹Ý¹ÌÈ°µ¿ Á¶»çÀ§¿øȸ(The House Committee on Un-American Activities)¿¡ ¼ÒȯµÇ¾î ½É¹®À» ¹Þ´ø Áß °ø»ê´ç¿øÀ̾ú´ø ÀÚ½ÅÀÇ Ä£±¸ À̸§À» ¾Ë·Á ÁÖ´Â °ÍÀ» °ÅºÎÇÑ ÀÌÀ¯·Î ±¹È¸ ¸ðµ¶ ÁË·Î °í¹ßµÇ¾î 1957³â À¯ÁËÆÇ°áÀ» ¹Þ°í, 500ºÒÀÇ ¹ú±Ý°ú ÁýÇàÀ¯¿¹ 30ÀÏÀÇ Â¡¿ªÇüÀ» ¼±°í¹Þ¾Ò´Ù. ¹Ð·¯´Â ÀÌ¿¡ ±¼º¹ÇÏÁö ¾Ê°í »ó°í¸¦ ÇÑ °á°ú 1958³â ¿¬¹æ¹ý¿ø¿¡¼­ ¹«Á˸¦ ¼±°í¹ÞÀº ÀûÀÌ ÀÖ´Ù.

 1953³â New York¿¡¼­ ¡º½Ã·Ã¡»ÀÌ Ã³À½ °ø¿¬µÇ¾úÀ» ¶§ ÀÌ ÀÛÇ°Àº 1692³â ¹Ì±¹ ¸Þ¼­Ãò¼¼Ã÷ÁÖ ¼¼ÀÏ·³¿¡¼­ ÀÖ¾ú´ø ¸¶³àÀçÆÇ°ú 1940³â´ë ÈĹݿ¡¼­ 1950³â´ë Àü¹Ý ¹Ì±¹ÀÇ ÁÒ¼¼ÇÁ ¸ÆÄ«½Ã(Joseph McCarthy) »ó¿øÀÇ¿ø¿¡ ÀÇÇÏ¿© ÁÖµµµÇ¾ú´ø ¹Ý¹ÌÈ°µ¿ Á¶»ç ¹× ½É¹®°ú ¾î¶² ¿ª»çÀû ÆòÇ༺ÀÌ ÀÖ´Â °ÍÀ» °ü°´µéÀº ±ú´ÞÀ» ¼ö ÀÖ¾ú´Ù. New York ºê·Îµå¿þÀÌ(Broadway)¿¡¼­ÀÇ Ã¹ °ø¿¬Àº 18°³¿ù ÀÌ»ó Àå±â °ø¿¬µÈ ¡º¼¼ÀÏÁî¸ÇÀÇ Á×À½¡»¿¡ ºñÇϸé ªÀº ±â°£À̾ú´ø 6°³¿ù°£ÀÇ °ø¿¬À¸·Î ±×ÃÆÁö¸¸, 1958³â ¿ÀÇÁ ºê·Îµå¿þÀÌ(Off-Broadway)¿¡¼­ À翬µÇ¾úÀ» ¶§¿¡´Â 100ȸ ÀÌ»óÀÇ Àå±â °ø¿¬À» ±â·ÏÇß´Ù

 ¡º¸ðµÎ ³ªÀÇ ¾Æµéµé¡»°ú ¡º¼¼ÀÏÁî¸ÇÀÇ Á×À½¡»ÀÌ ±â¾÷À±¸®, ½Ã´ëÂø¿ÀÀû Àλý°ü, ÀüÀïÆø¸® µîÀ» ¼ÒÀç·Î ÇÑ »çȸ ¹®Á¦±ØÀ¸·Î¼­ ¹°ÁúÀû ¼º°ø¿¡ ´ëÇÑ ¿Ö°îµÈ °¡Ä¡°ü ¶§¹®¿¡ ÁÖÀΰøµéÀÌ ÆÐ¹è ¶Ç´Â Á×À½¿¡ À̸£´Â ºñ±ØÀ̶ó¸é, ¡º½Ã·Ã¡»Àº ¸í¿¹ ¶Ç´Â µµ´öÀû °¥µî ¶§¹®¿¡ ÁÖÀΰøÀÌ ¸¶Ä§³»´Â óÇü ´ë¿¡ ¿À¸£°Ô µÇ´Â ¼ø±³ÀÚÀÇ ºñ±ØÀÌ´Ù. ÀÌ¿Í °°ÀÌ ¿ª»çÀû »ç½Ç°ú Ç㱸¼ºÀ» ´É¼÷ÇÏ°Ô ¹èÇÕÇÑ ÀÌ ÀÛÇ°Àº Á¤Ä¡Àû ºñÀ¯ ±ØÀÌ¿ä, ¿ª»çÀû ±×¸®°í »çȸÀû ºñÆÇ ±ØÀ¸·Î ±× Àǹ̰¡ ´ç´ë¿¡ ÇÑÁ¤µÇ´Â °ÍÀÌ ¾Æ´Ï¶ó ¸ðµç ½Ã´ë¿¡ Àû¿ëµÇ´Â ±Ø2)À̱⵵ ÇÏ´Ù.

 1950³âºÎÅÍ 1954³â±îÁö ¸ÆÄ«½Ã »ó¿øÀÇ¿øÀÇ È°µ¿Àº Á¤ºÎ°ü¸®, Á¤Ä¡ÀÎ, ±ºÀÎ, ¹®È­°è Àλç, ´ëÇб³¼ö µî Áö¼ºÀε鿡°Ô ±Ø½ÉÇÑ ½É¸®Àû ¾Ð·Â°ú °íÅëÀ» ÁÖ¾î ¹Ì±¹°ú Àü ¼¼°è¿¡ ´ëÇÏ¿© ±×´Â ÀÚÀ¯ÀÇ ¼þ°íÇÑ °¡Ä¡¿Í ¹ÎÁÖÀû Áú¼­¸¦ À§ÇùÇÏ´Â »ó¡ÀÌ µÇ¾ú´Ù. ¹Ð·¯´Â ¼¼ÀÏ·³ÀÇ ÀçÆÇ°üµéÀÇ ±ÇÀ§¿¡ ¹Ý´ëÇÏ´Â ÀÚµéÀ» ÀçÆÇÀÇ À§¾öÀ» Æı«ÇÏ´Â ¹«¸®·Î ³«ÀÎÂï¾î ±³¼öÇü¿¡ óÇÑ ¶È°°Àº »çȸÀû À§±â¸¦ ¸ÆÄ«½Ã ÀÇ¿ø¿¡ ¹Ý´ëÇÏ´Â ¸ðµç ÀλçµéÀ» °ø»êÁÖÀÇÀÚ·Î ¸ô¾ÆÄ¡´Â ¾Ç¶öÇÑ È¾Æ÷ ¼Ó¿¡¼­ Àç¹ß°ßÇÏ¿© »çȸÀû ºÒ½ÅÀÇ °øÆ÷¿Í ±× Æı«·ÂÀÇ µ¿½Ã¼ºÀ» ÀÌ ¡º½Ã·Ã¡»ÀÇ ÁÖÁ¦·Î »ï¾Æ ÀÌ µÎ °¡Áö ¿ª»çÀû »ç°Ç¿¡ ´«°¨À» ¼ö ¾ø´Â ±ØÀÛ°¡ÀÇ ¾ç½ÉÀ» °ú°¨ÇÏ°Ô Ç¥ÇöÇÏ¿´´Ù. ¸ÆÄ«½ÃÁòÀÇ ¾Ï¿îÀÌ °ÈÈù ÈÄ¿¡µµ °è¼Ó ÀÌ ÀÛÇ°ÀÌ ¼¼°èÀûÀ¸·Î ÀýÂùÀ» ¹ÞÀ¸¸é¼­ °ø¿¬µÇ°í ÀÖ´Â ÀÌÀ¯´Â ¡º½Ã·Ã¡»ÀÌ »çȸ±ØÀÎ ÀÌ»ó ƯÁ¤ÇÑ ¾î¶² ½Ã´ëÀÇ »çȸ¿¡¸¸ Àû¿ëµÇ´Â °ÍÀÌ ¾Æ´Ï°í ¸ðµç »çȸ¿¡µµ Àû¿ëµÉ ¼ö ÀÖ´Â ÃÊ ½Ã°£¼º ¶§¹®Àε¥, ±×°ÍÀº °á±¹ ÀÌ ÀÛÇ°ÀÌ Àΰ£ ¾Ç(äÂ)À̶ó´Â ÁÖÁ¦ÀÇ º¸Æí¼º°ú ¿µ¿ø¼ºÀ» ȹµæÇÏ°í Àֱ⠶§¹®À̱⵵ ÇÏ´Ù.

 Àηù ¿ª»ç»ó °¡Àå ±«ÀÌÇÏ°í ¹«¼­¿î »ç°Çµé ÁßÀÇ ÇϳªÀÎ ÀÌ ¸¶³àÀçÆÇÀº 1692³â¿¡ ÀϾ »ç°ÇÀ¸·Î¼­ 19¸íÀÇ ¿©ÀÚ¿Í ³²ÀÚ°¡ Èñ»ýµÇ°í, 150¸íÀÌ Åõ¿ÁµÇ³ª Boston ÀçÆÇÀÌ Áõ°Å ºÒÃæºÐÀ̶ó´Â ÆÇ°áÀ» ³»·Á¼­ ±×µéÀº ¼®¹æµÇ¾ú´Ù. ÀÌ °úÁ¤¿¡¼­ 9¼¼¿¡¼­ 20¼¼±îÁöÀÇ ¼Ò³àµé°ú ÀþÀº ¿©ÀεéÀÌ ±âÀýÇÏ°í ¼Ò¸®Ä¡¸ç ±×µéÀÇ Èñ»ýÀÌ µÉ »ç¶÷µéÀ» È£¸íÇß´Ù3) ÇÑ´Ù.

 ¹Ð·¯°¡ ÀÚ½ÅÀÇ ÀÛÇ° Áß¿¡¼­ °¡Àå ¾ÖÂøÀ» ´À³¤´Ù°í ¸»ÇÑ ¹Ù ÀÖ´Â ¡º½Ã·Ã¡»Àº 1950³â´ë ÃÊ ±Ø´ÜÀû ¹Ý°ø À̵¥¿Ã·Î±â¶ó´Â Áý´ÜÀû ±Ç·Â ¾Õ¿¡¼­ Èñ»ýµÈ °³ÀÎÀÇ ¾ç½É°ú ÀαÇÀ» û±³µµ »çȸÀÇ ¸¶³à»ç³ÉÀ» ÅëÇØ °í¹ßÇÏ°í ÀÖ´Ù. '¿­¿¡ ÀÇÇÑ ¹°Ã¼ÀÇ Á¤È­,' 'Ȥµ¶ÇÑ ½Ã·Ã'À̶õ ¶æÀÇ Á¦¸ñÀ» °¡Áø ÀÌ ÀÛÇ°Àº ¿Ö°îµÈ Á¾±³Àû ±¤±â¿¡¼­ Ãâ¹ßÇÏ¿© ¼¼ÀÏ·³ ÁֹΠ°³ÀÎÀÇ ÀÌÇØ°ü°è¿Í ¾ôÈù »çÀû º¹¼ö½ÉÀÇ ±¤±â·Î±îÁö ¹ßÀüÇÑ ¸¶³àÀçÆÇ¿¡¼­ Èñ»ýµÈ ÁÖÀΰø ÁÔ ÇÁ¶ôÅÍ(John Proctor)ÀÇ ÅõÀï°ú °íÅëÀ» ¹¦»çÇÏ¿© ±×¸¦ Á¤È­µÈ ÀھƷΠ¼Ò°³ÇÏ´Â µ¥¿¡ ÃÊÁ¡À» µÎ°í ÀÖ´Ù.

 ¹Ð·¯´Â ¹Ì±¹ÀεéÀÌ ½±»ç¸® ÀØÀ» ¼ö ¾ø´Â ¼¼ÀÏ·³ÀÇ ¸¶³àÀçÆÇÀÇ ¼ÒÀ縦 ±³¹¦ÇÏ°Ô Çö´ë»çȸÀÇ ±äÀå°¨ ¼Ó¿¡ µÇ»ì·Á »ó»óÀû °øÆ÷½É¿¡ À־ÀÇ ±¤±â(hysteria)¿Í À̵¥¿Ã·Î±â¸¦ ºÒ·¯ ÀÏÀ¸ÄÑ ¼û¸·È÷´Â ±¤½ÅÀû ¼¼°è ¾Õ¿¡¼­ Çö´ë Áö¼ºÀÎÀÇ ¹«·ÂÇÔÀ» Ç¥ÇöÇß´Ù°íµµ ÇÒ ¼ö ÀÖ´Ù µû¶ó¼­ º» ³í¹®ÀÇ ¸ñÀûÀº ÀÌ ¸¶³à»ç³ÉÀÇ ¿øÀÎÀÌ µÈ Áý´ÜÀû ±¤±â(mass hysteria)ÀÇ Àü°³°úÁ¤À» ÅؽºÆ® ¹× ÅؽºÆ®ÀÇ ½Ã´ëÀû ¹è°æ°ú ¿¬°áÇÏ¿© ºÐ¼®ÇÏ´Â ÇÏ´Â °ÍÀÌ´Ù.

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 Âü´Ù¿î ºñ±ØÀÌ ¸ðµç Àΰ£À» ´ëÇ¥ÇÒ ¼ö ÀÖ´Â º¸ÆíÀû Àι°ÀÇ °íÅë°ú ¸ô¶ôÀ» ÅëÇؼ­ Àü ½Ã´ë¸¦ ÅëÇÑ ÀϹÝÀûÀÎ Áø¸®¸¦ ¸»ÇØ ÁÖ´Â °ÍÀ̶ó¸é ¡º½Ã·Ã¡»Àº ±×°ÍÀÌ °¡Áø º¸Æí¼ºÀ¸·Î ÀÎÇÏ¿© ÁøÁ¤ÇÑ ºñ±Ø¿¡ Á¢±ÙÇÑ ±ØÀ̶ó ÇÒ ¼ö ÀÖ°Ú´Ù. ·Î¹öÆ® ¿Í¸£¼î(Robert Warshow)µµ "It is quite true, nevertheless, that the play [The Crucible] is, at least in one sense, of universal significance."4)¶ó°í ¸»ÇÏ¿© ÀÌ ÀÛÇ°ÀÌ ¸¹Àº °áÇÔÀÌ ÀÖÀ½¿¡µµ ºÒ±¸ÇÏ°í ºñ±ØÀÇ ¿ä°Ç ÁßÀÇ ÇϳªÀÎ º¸Æí¼ºÀ» Áö´Ï°í ÀÖÀ½À» ÀåÁ¡À¸·Î °£ÁÖÇÏ°í ÀÖ´Ù.

 »ç½Ç ¹Ð·¯¿¡°Ô´Â ¡º½Ã·Ã¡»ÀÌ °úµµ±âÀû ±ØÀÛÇ°À¸·Î ÀÌÀü ÀÛÇ°µéÀÇ ÁÖÁ¦¿´´ø »çȸ°í¹ß°ú °³ÀÎÀû ÁÂÀýÀÇ °¥µîÀ» ³Ñ¾î¼­ Èıâ ÀÛÇ°µéÀÇ ³»Àû ¼ºÂû·Î µé¾î°¡±â Àü, ÁË¿¡ ´ëÇÑ Àǽļ¼°è¸¦ ´Ù·ç°í ÀÖ´Ù°í ÇÏ°Ú´Ù. ÀÌ¿Í °°Àº ÀÛ°¡ÀǽÄÀÇ ¹ßÀü¿¡ ´ëÇÏ¿© ¹Ð·¯ ÀÚ½ÅÀÌ Á÷Á¢ ´ÙÀ½°ú °°ÀÌ Áø¼úÇÏ°í ÀÖ´Ù.



 In The Crucible, however, there was an attempt to move beyond the discovery and unveiling of the hero's guilt, a guilt that kills the personality. I had grown increasingly conscious of this theme in my past work and aware too that it was on longer enough for me to build a play, as it were, upon the revelation of guilt, and to rely solely upon a fate which exacts payment from the culpable man. Now guilt appeared to me no longer the bedrock beneath which the probe could not penetrate.5)



 ¹Ð·¯´Â °³ÀÎÀÇ Á¸¾ö¼ºÀ» ¸»»ìÇÏ·Á°í ÇÏ´Â ÀÚµéÀÇ ÁË°ú¸¦ Æø·ÎÇÏ´Â °ÍÀÌ ¡º½Ã·Ã¡»ÀÇ ¸ñÇ¥¿´À¸¸ç, µû¶ó¼­ À߸øµÈ °¡Ä¡°üÀ¸·Î Á˸¦ Áþ°í ±× ´ë°¡·Î Á×¾î¾ß ÇÏ´Â ¿î¸íÀ» ¹¦»çÇÑ µ¥¼­ ¹ßÀüÇÏ¿© ±× Á˸¦ ±ú´Ý°í Á˸¦ ¹àÇô³»´Â ³»¿ëÀ¸·Î ÁÖÁ¦°¡ ½ÂÈ­µÈ °ÍÀÌ´Ù.

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 °´°üÀûÀÎ ¼±°ú ¾ÇÀÌ ¾ø°í ¾ç½É¹Û¿¡ ´Ù¸¥ ±Ô¹üÀÌ ¾øÀ» ¶§, Àΰ£Àº ½º½º·Î °¡Ä¡ ±âÁØÀ» ¸¸µé¾î ±×¿¡ µû¶ó »ì¸ç ¸ðµç Ã¥ÀÓÀ» ÁöÁö ¾ÊÀ¸¸é ¾ÈµÈ´Ù. ¡º½Ã·Ã¡»Àº »çȸ Àüü¸¦ µÚÈçµå´Â ±¤½ÅÀûÀÎ ¿­Á¤¿¡ ´ëÇ×Çϱâ À§Çؼ­´Â ¿Ã¹Ù¸¥ ¾ç½É°ú ÀÚ±âÀνÄÀÌ ÇÊ¿äÇÏ¸ç ¼ø¼öÇÑ ¼±(à¼)¸¸À¸·Î´Â ¿Ö°îµÈ »çȸ Çö½Ç¿¡ ´ëóÇØ ³ª°¡´Âµ¥ ÃæºÐÇÏÁö ¸øÇÏ´Ù´Â °ÍÀ» ±ú´Ý°Ô ÇØÁØ´Ù. ÀÚ±âÀνİú Ã¥ÀÓÀǽÄÀÌ °á¿©µÈ Àΰ£Àº ÀúÁö¸£Áö ¾ÊÀº Á˸¦ °í¹éÇÔÀ¸·Î½á ¾ç½ÉÀ» ŸÀÎÀÇ ¼Õ¿¡ ³Ñ°ÜÁÖ°Ô µÇ±â ¶§¹®ÀÌ´Ù. ÇÁ¶ôÅÍ´Â ¼¼ÀÏ·³ÀÇ ÀçÆÇ°üµé¿¡°Ô ¿ë³³µÉ ¼ö ¾ø´Â ÀڰἺÀÇ ¿ø¸®¸¦ È®ÀÎÇϱâ À§ÇÏ¿© »ýÀ» Æ÷±âÇÑ´Ù. ±×ÀÇ °í¹éÀº Ÿ¶ôÇÑ ¹ýÁ¤À» Áö¼Ó½ÃÅ°´Â ´ëÀǸíºÐÀ» ÁÖ¸ç »çȸÀÇ ºÎÁ¶¸®¸¦ Á¶ÀåÇÏ´Â °ÍÀÌ µÇ±â ¶§¹®ÀÌ´Ù. ºÎÁ¤ÇÑ »çȸÁ¶Á÷¿¡ Á×À½À¸·Î ¸Â¼­´Â ÇÁ¶ôÅÍÀÇ µµ´öÀû ¿ë±â´Â ȥŹÇÑ ¼¼°è ³»¿¡¼­ »çȸÁ¤ÀÇ¿Í Áø¸® ½ÇÇöÀÇ °¡´É¼ºÀ» º¸¿© Áشٰí ÇÒ ¼ö ÀÖÀ» °ÍÀÌ´Ù.

 ¡º½Ã·Ã¡»ÀÌ Ã³À½À¸·Î °ø¿¬µÈ ÈÄ TimeÁö´Â ÀÌ ÀÛÇ°À» ¸ÅÄ«½Ã ÀÇ¿øÀÇ °ø»êÁÖÀÇÀÚ »öÃâ¿¡ ´ëÇÑ °ø°ÝÀ¸·Î Æò°¡ÇßÀ¸³ª ¾à 20³âÀÌ Áö³­ ÈÄ¿¡´Â ¸µÄÁ ¼¾ÅÍ(Lincoln Centre)ÀÇ ºñºñ¾È ¹ö¸óÆ®(Vivian Beaument) ±ØÀå  ¹«´ë¿¡ ¿À¸¥ ±Øµé Áß¿¡¼­ ¡º½Ã·Ã¡»ÀÇ Àç°ø¿¬ÀÌ °¡Àå ÈǸ¢ÇÑ °ÍÀ̾ú´Ù°í ±ØÂùÇϸ鼭 ±× ÀÌÀ¯¸¦ ´ÙÀ½°ú °°ÀÌ ¼³¸íÇÏ°í ÀÖ´Ù.



 When first produced in 1953, it [The Crucible] was lauded as an attack on the communist with hunts of Joe McCarthy. We can see in retrospect that the play was interpreted in too narrow a political sense. It deals with the universally recurring question of the tyranny of the state, of a economic or military power, of religion or the moment's public opinion.6)



 ÃÖ±Ù¿¡ À̸£·¯¼­´Â ¡º½Ã·Ã¡»ÀÌ Áö´Ï´Â ¿ª»çÀûÀÎ »ç°Ç°úÀÇ À¯»ç¼ºÀ» ÃßÀûÇϱ⺸´Ù´Â ¿ÀÈ÷·Á ¹®ÇÐÀû °¡Ä¡ ÀÚü¸¦ Á¤´çÇÏ°Ô Æò°¡ÇÏ°íÀÚ ÇÏ´Â °æÇâÀÌ Áö¹èÀûÀ̾ ÀÌ ±ØÀ̾߸»·Î ¹Ð·¯ÀÇ ºñ±Ø°³³äÀÌ °¡Àå °­·ÂÇÏ°Ô Ç¥ÇöµÇ¾ú´Ù´Â ºñÆòÀÌ Áö¹èÀûÀÌ´Ù. Âü´Ù¿î ºñ±ØÀÌ ¸ðµç Àΰ£À» ´ëÇ¥ÇÒ ¼ö ÀÖ´Â º¸ÆíÀû Àι°ÀÇ °íÅë°ú ¸ô¶ôÀ» ÅëÇؼ­ Àü ½Ã´ë¸¦ ÅëÇÑ ÀϹÝÀûÀÎ Áø¸®¸¦ ¸»ÇØ ÁÖ´Â °ÍÀ̶ó¸é ÀÌ ¡º½Ã·Ã¡»Àº ±×°ÍÀÌ °¡Áö´Â º¸Æí¼ºÀ¸·Î ÀÎÇÏ¿© ÁøÁ¤ÇÑ ºñ±Ø¿¡ Á¢±ÙÇÑ ±ØÀ̶ó ÇÒ ¼ö°¡ ÀÖ°Ú´Ù.

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 »ç°Ç Ãʱ⠸¶³à»ç³ÉÀ» ÁÖµµÇß´ø ÇìÀÏ ¸ñ»ç´Â Á¡Â÷ ¾Öºñ°ÔÀÏ°ú ¼¼ÀÏ·³ ¸¶À» ÁֹεéÀÇ À̱âÀûÀÎ ±¤±â¸¦ ¹ß°ßÇÏ°í ÀçÆÇÀÇ ºÎ´ç¼º°ú ¸ð¼ø¼ºÀ» ÁöÀûÇÏ´Â º¯È­µÈ ÀνÄÀ» °®°Ô µÈ´Ù. ÀÚ½ÅÀÌ ¸¶³àÀÓÀ» ÀÎÁ¤ÇÏ´Â »ç¶÷Àº »ì·ÁÁÖ°í ³¡±îÁö ºÎÀÎÇÏ´Â »ç¶÷Àº óÇüÇÏ´Â ºÒÇÕ¸®ÇÑ ÀçÆÇÀå ´íÆ÷½ºÀÇ ºñ¸®¸¦ º¸°í ¿ÀÈ÷·Á ±×´Â ¸¶³à·Î °í¹ß´çÇÑ ÀÚ¿¡°Ô »ì¾Æ ³²±â À§Çؼ­ °ÅÁþ °í¹éÀ» Ç϶ó°í±îÁö ±ÇÀ¯ÇÏ´Â ¸ð½ÀÀ» º¸ÀδÙ. ¸¶³à½ÉÆÇÀÇ Å͹«´Ï¾øÀ½À» ±ú´Ý°í ±¤±â¸¦ ÀáÀç¿ì·Á´Â ÇìÀÏ°ú´Â ´Þ¸®, ´íÆ÷½º´Â ÀÚ½ÅÀÇ ÁÖÀå°ú ±ÇÀ§¸¦ °üöÇϱâ À§Çؼ­ °áÄÚ ¿øÄ¢À̳ª ÁÖÀåÀ» ¹Ù²ÙÁö ¾Ê´Â ±Ç·ÂÀÇ ±¤±â¸¦ º¸¿©Áִµ¥, ÀÌ´Â ¹Ð·¯°¡ ¾Ï½ÃÇÏ°íÀÚ ÇÏ´Â ¹Ì±¹ ÇÏ¿ø ¹Ý¹ÌÈ°µ¿ Á¶»çÀ§¿øȸÀÇ È¾Æ÷¿Í À¯»çÇÑ °ÍÀÌ´Ù.16)

¥³.

 ¹Ð·¯´Â ÀÌ ÀÛÇ°¿¡¼­ ¾Öºñ°ÔÀÏ°ú ǪƮ³²(Putnam)À¸·Î ´ëÇ¥µÇ´Â ¼¼¼ÓÀûÀÎ ¿å½É¿¡¼­ À¯¹ßµÇ´Â °³ÀÎÀûÀÎ ¹üÁ˺¸´Ù´Â Æи®½º ¸ñ»ç, ´íÆ÷½º ºÎÁö»ç, È£µ· ÆÇ»çµîÀ¸·Î ´ëÇ¥µÇ´Â ±Ç·ÂÃþÀÌ ÀúÁö¸£´Â Á¦µµÀû ¹üÁ˸¦ ´õ¿í Áõ¿ÀÇÏ°í Æø·ÎÇØ¾ß ÇÒ ¾Ç(äÂ)À¸·Î Àΰ£Àû ¾ç½É¿¡¼­ °í¹ßÇÏ°í ÀÖ´Ù. "Is the accuser always holy now?17)¶ó´Â Ç×ÀÇ¿Í "Is every defense an attack upon the court?"(292)¶ó´Â ÇØÀÏ ¸ñ»çÀÇ Ç×ÀǸ¦ "I cannot pardon these when twelve are already hanged for the same crime."(317)À̶ó´Â ´íÆ÷½º ºÎÁö»çÀÇ ´äº¯À¸·Î ¹¬»ìÇÏ´Â µ¥¼­ ±×ÀÇ ¼º°ÝÀÇ ÇÑ ´Ü¸éÀ» ¿³º¼ ¼ö°¡ ÀÖ´Ù. ÇÁ¶ôÅÍ¿Í ´íÆ÷½º´Â ´ÙÀ½ÀÇ ´ëÈ­¿¡¼­µµ ¾Ë ¼ö ÀÖµíÀÌ Á¤¹Ý´ëÀÇ ÀÔÀå¿¡ ¼­¼­ ¼­·ÎÀÇ Á¤´çÇÔÀ» ÁÖÀåÇÑ´Ù.



DANFORTH: I judge nothing. Pause. He keeps watching Proctor, who tries to meet his gaze. I tell you straight, Mister--I have seen marvels in this court. I have seen people choked before my eyes by spirits; I have seen them stuck by pins and slashed by daggers. I have until this moment not the slightest reason to suspect that the children may be deceiving me. Do you understand my meaning?

PROCTOR; Excellency, does it not strike upon you that so many of these women have lived so long with such upright reputation, and--(290-91)



 ´íÆ÷½º ºÎÁö»ç´Â ¸¶³àÀÇ Á¸À縦 ¹Ï°í ±× ¸¶³àµéÀÇ È¥·É¿¡ ÀÇÇؼ­ »çȸ°¡ À§ÇùÀ» ¹Þ°í È¥¶õ¿¡ ºüÁ® ÀÖ´Ù°í ¿©±â¸ç ÀÌ·¯ÇÑ È¥¶õÀÌ ÀڽŵéÀÇ ³ë·Â¿¡ ÀÇÇؼ­¸¸ ±Øº¹µÉ ¼ö ÀÖ´Ù°í È®½ÅÇÏ´Â ¹Ý¸é, ÇÁ¶ôÅÍ´Â ¸¶³àÀÇ Á¸À縦 ºÎÀÎÇϸ鼭 ´ÜÁö Àΰ£µéÀÇ º¹¼ö¿Í ÀúÁÖ°¡ ¸¶À»À» µé²ú°Ô ÇÔÀ¸·Î ÀÌ·¯ÇÑ È¥¶õÀº ±× ÇãÀ§¸¦ Á¦°ÅÇÔÀ¸·Î½á ¸¸ÀÌ »ç¶ó Áú ¼ö ÀÖ´Ù°í ¹Ï´Â´Ù. ÁÔ Æä·¹½º(John H. Ferres)´Â "Proctor rebels against the esssentially totalitarian view of society that Danforth and Hawthorne uphold.... Proctor represents the view of society held by enlightenment thinkers.18)¶ó°í ÁöÀûÇϸ鼭 ´íÆ÷½º¿Í ÇÁ¶ôÅÍ »çÀÌÀÇ ÀÌ¿Í °°Àº ´ë¸³Àû ÁÖÀåÀ» ÀüüÁÖÀÇ »çȸ°ü°ú °è¸ùÁÖÀÇ »çȸ°üÀÇ ½Î¿òÀ¸·Î º¸°í ÀÖ´Ù. µÎ »ç¶÷ÀÇ ÀÌ·¯ÇÑ »ó¹ÝÀûÀÎ °³³äÀº ¸ðµÎ ÀڽŵéÀÇ ÀÏÀÌ Á¤´çÇÑ °ÍÀ̶ó´Â ¹ÏÀ½¿¡¼­ »ý°Ü³­ °ÍÀ̶ó´Â Á¡¿¡¼­ º¼ ¶§ ÀÌ·¯ÇÑ µÎ °³³äÀÌ ´ë¸³ÇßÀ» ¶§ ½É°¢ÇÑ »óȲÀÌ ¹ú¾îÁöÁö ¾ÊÀ» ¼ö ¾ø°Ô µÈ´Ù. ±×·¯¹Ç·Î ´íÆ÷½º¿¡°Ô´Â ¹ýÁ¤°ú ½ÅÁ¤Ã¼Á¦¿¡ ´ëÇÑ °ø°ÝÀÌ °ð ½Å¿¡ ´ëÇÑ °ø°ÝÀ» ÀǹÌÇÏÁö¸¸ ¹Ý´ë·Î ÇÁ¶ôÅÍ¿¡°Ô´Â ½ÅÁ¤Ã¼Á¦°¡ °ð ½Å¿¡ ´ëÇØ Á˸¦ Áþ´Â °ÍÀÌ µÈ´Ù. ¿Ö³ÄÇÏ¸é ½ÅÁ¤Ã¼Á¦´Â ½ÅÀÇ Ã¢Á¶¹°ÀÎ Àΰ£ÀÇ º»¼ºÀ» ºÎÁ¤Çϱ⠶§¹®ÀÌ´Ù.

 È£¼Õ ÆÇ»ç ¿ª½Ã "a bitter, remorseless Salem judge"(286)¶ó°í ¹Ð·¯°¡ ¼³¸íÇÏ°í ÀÖµíÀÌ ´íÆ÷½º¿Í °°ÀÌ ÀÜÀÎÇÑ ¾Ç(äÂ)°ú ±ÇÀ§ÀÇ »ó¡À¸·Î ¸¶Å¸ ÄÚ¸®(Martha Corey)¸¦ ½É¹®ÇÏ´Â ´ÙÀ½ÀÇ Àå¸é¿¡¼­ ±×ÀÇ ¼º°ÝÀ» Àß µå·¯³½´Ù.



HAWTHONE'S VOICE: Now, Martha Corey, there is abundant evidence in our hands to show that you have given yourself to the reading of fortunes. Do you deny it?

MARTHA COREY'S VOICE: I am innocent to a witch. I know not what a witch is.

HAWTHONE'S VOICE: How do you know, then, that you are not a witch?

MARTHA COREY'S VOICE: If I were, I would know it.

HAWTHONE'S VOICE: Why do you hurt these children?

MARTHA COREY'S VOICE: I do not hurt them. I scorn it!(285)



 È£¼Õ ÆÇ»ç´Â ¸¶³à°¡ ¹«¾ùÀÎÁöµµ ¸ð¸¥´Ù´Â ¸¶Å¸ ÄÚ¸®¿¡°Ô ±×·¸´Ù¸é ±×´ë°¡ ¸¶³à°¡ ¾Æ´Ñ °ÍÀ» ¾î¶»°Ô ¾Æ´Â°¡¶ó´Â ½ÄÀ¸·Î ´äº¯ÇÒ ¼ö ¾ø´Â ±Ëº¯ÀûÀÎ ½É¹®À¸·Î ÀÚ¹éÀ» °­¿äÇÏ¿© ÀÌ°ÍÀº ¹üÁË»ç½ÇÀ» ã¾Æ³»±â À§ÇÑ ½É¹®ÀÌ ¾Æ´Ï¶ó °­¾ÐÀûÀÎ ÀçÆÇ¿¡ ºÒ°úÇÏ´Ù

 ÀÛÇ° ¡º½Ã·Ã¡»ÀÇ °æ¿ì ¾î¶² ƯÁ¤ÇÑ ÇüÅÂÀÇ »çȸ¿Í ¿ª»çÀû ¼ø°£À» ¹è°æÀ¸·Î ÇÏ°í ÀÖÀ¸¸é¼­ ±× ½É¿ø¼ºÀ» ȹµæÇÏ°í ÀÖ´Â ±î´ßÀÌ »çȸÀû ¿ä±¸¿¡ ÀÀÇÏ¿© ÀھƸ¦ ±í¼÷ÀÌ ±× »çȸ ¼ÓÀ¸·Î Âü¿©½ÃÅ°´Â ÇÁ¶ôÅÍÀÇ ¼º°Ý âÁ¶ÀÇ ¼º°ø ¶§¹®À̶ó°í »ý°¢ÇÑ´Ù.

 ÇÁ¶ôÅÍ´Â °è¼ÓÇؼ­ ¼º°Ý¹ßÀüÀ» ÇÒ ¼ö ÀÖ´Â Àι°À̱⠶§¹®¿¡ °á´ÜÄÚ Åë¼Ó±Ø¿¡¼­ º¼ ¼ö ÀÖ´Â ÆÇ¿¡ ¹ÚÀº µíÇÑ °³¼ºÀÌ ¾ø´Â ÀüÇüÀι°ÀÌ ¾Æ´Ï¶ó, ¿ÀÈ÷·Á ¸ðµç ºñ±ØÀû ÁÖÀΰøÀÌ ÈçÈ÷ °¡Áö°í ÀÖ´Â Àι°·Î öµÎö¹ÌÇÏ°Ô ±×¸¦ ¸ô¶ô½ÃÅ°´Â ¿øÀÎÀÌ µÈ ÀÚ½ÅÀÇ Àΰ£Àû °áÁ¡°ú ±×·¯ÇÑ Àڽſ¡°Ô °¨´çÇÒ ¼ö ¾ø´Â ÈûÀ¸·Î ¾ÐµµÇØ ¿À´Â »çȸÀÇ À§·ÂÀ» Àß ÀǽÄÇÏ°í ÀÖ´Ù. °á±¹ ÇÁ¶ôÅÍÀÇ Àü¶ô°ú Æı¹Àº °ü°´¿¡°Ôµµ ¹«ÇÑÇÑ °øÆ÷¿Í ÀüÀ², ±×¸®°í ¿¬¹ÎÀÇ Á¤À» ÀھƳ»°Ô ÇÏ°í ÀÚ½ÅÀ» Á÷½ÃÇÒ ÁÙ ¾Ë¸é¼­µµ ½º½º·Î ºñ±ØÀû Á¾¸»À» ¸ÂÀÌÇÏ´Â ±×¿¡°Ô¼­ °ü°´Àº ´õ¿í Å« ºñ±Ø°¨À» ´À³¢°Ô ÇÑ´Ù.

 ¼º°Ý¹ßÀüÀÌ ÇöÀúÇÑ 'round character'·Î¼­ ÇÁ¶ôÅ͸¦ µîÀå½ÃŲ °Í¿¡ ´ëÇÏ¿© Á¦·²µå ÀªÁî(Gerald Weales)´Â ¹Ð·¯°¡ ÁÖÁ¦¸¦ Áö³ªÄ¡°Ô °­Á¶ÇÑ ³ª¸ÓÁö Àι°µéÀ» Èñ»ý½ÃÄ×´Ù19) ¸ç ºñÆÇÀûÀ̱⵵ ÇÏ´Ù. ¹Ý¸é¿¡ ¿¡µå¿öµå ¹Â·¹ÀÌ(Edward Murray)´Â Àû¾îµµ ¡º½Ã·Ã¡»ÀÇ µîÀåÀι°µéÀÌ ±ØÀÇ Çൿ°ú ÁÖÁ¦¿¡ °ü¿©ÇÏ¿© ¹æÇØ°¡ µÇÁö ¾Ê´Â´Ù20) °í ¹Ý¹ÚÇÏ°í ÀÖ´Ù. ÇÑÆí Çʸ³ Èú(Philip Hill)Àº ÀÌ Á¡¿¡ ´ëÇÏ¿© ´ÙÀ½°ú °°ÀÌ ÁÖÀåÇÑ´Ù.



 The characters are entirely adequate for the purposes for which Miller designed them, and no immutable law requires that every play depend upon charaterization for its success, but certainly there is some justice in suggesting that The Crucible exhibits only a moderate degree of character development.21)



 ¡º½Ã·Ã¡»¿¡¼­ÀÇ °­·ÂÇÑ ÈûÀº ¹Ù·Î ÀÌ¿Í °°Àº ¼º°ÝÀÇ ¹ßÀü¿¡¼­ ³ª¿À´Â °ÍÀ̶ó°í ÁÖÀåÇϸç ÃÖ¼ÒÇÑ ¹Ð·¯°¡ ÀÌ ÀÛÇ°¿¡¼­ ÀǵµÇß´ø ¹Ù¸¦ ³ªÅ¸³»´Âµ¥ ÀÖ¾î Àι°µéÀÌ ÀûÀýÇß´Ù´Â °ÍÀÌ´Ù. º¥ÀڹΠ³Ú½¼(Benjamin Nelson)Àº ¡º¼¼ÀÏÁî¸ÇÀÇ Á×À½¡»¿¡¼­ÀÇ ÁÖÀΰø Àª¸® ·Î¸Õ°ú °ßÁÖ¾î ÁÔ ÇÁ¶ôÅ͸¦ º¸´Ù ºñ±ØÀûÀÎ Àι°·Î °£ÁÖÇϸ鼭 "It [Proctor's story] exhibits more clearly the possibity of high tragedy."22)¶ó°í ÁöÀûÇÑ´Ù.

 ºñ±Ø¿¡ ´ëÇÑ ³íÀÇ¿¡¼­ »çȸÀÇ ºÎ´çÇÔÀ» ÀνÄÇÏ°í ÀÌ¿¡ ¸Â¼­ »çȸ¸¦ º¯Çõ½Ãų ¼ö ÀÖ´Â ÁÖÀΰøÀÇ ÀÚÀ¯ÀÇÁö¸¦ Áß½ÃÇÏ´Â ¹Ð·¯ÀÇ °ßÇØ·Î º¼ ¶§ ÁÔ ÇÁ¶ôÅÍ¾ß ¸»·Î ÀÛ°¡ ¹Ð·¯°¡ »ý°¢ÇÏ´Â ºñ±Ø°³³ä¿¡ °¡Àå ÀûÀýÇÑ Àι°ÀÌ´Ù. ±×´Â °£À½À¸·Î ÀÎÇÑ ÁËÀǽĿ¡µµ ºÒ±¸ÇÏ°í ±Ùº»ÀûÀ¸·Î´Â ÀÚ½ÅÀÌ ¼±·®ÇÏ´Ù´Â »ç½ÇÀ» ±ú´Ý°í ¼¼ÀÏ·³ÀÇ ¾Ç(äÂ)¿¡ µµÀüÇÏ¿© ÀÚ½ÅÀÇ Á¸¾ö¼ºÀ» ÁöÄÑ º¸·Á°í Ç×°ÅÇÏ´Ù°¡ ¸ñ¼ûÀ» ¹ö¸°´Ù. ¹Ð·¯´Â ÀÌ·¯ÇÑ °æ¿ì ºÎ´çÇÑ »çȸÀÇ ¾Ð·Â¿¡ ÀúÇ×ÇÒ ¼ö ÀÖ´Â ¿ë±â¸¦ ºñ±ØÀû °áÇÔÀ¸·Î ÆľÇÇÑ´Ù. ¹Ð·¯´Â ºñ±ØÀû °áÇÔÀ» ¾àÁ¡ÀÌ ¾Æ´Ï¶ó ¿ÀÈ÷·Á ÀÚ½ÅÀÇ Á¸¾ö¼º¿¡ ´ëÇÑ µµÀüÀ̳ª ÀÚ½ÅÀÇ Á¤´çÇÑ ½ÅºÐ¿¡ ´ëÇÑ µµÀü°ú Á÷¸éÇßÀ» ¶§ ¼öµ¿ÀûÀΠä·Î ±×³É ÀÖÀ» ¼ö ¾ø´Ù´Â º»¿¬ÀÇ ÀÚ¼¼·Î º»´Ù.23) ¹Ð·¯ÀÇ ÀÌ·¯ÇÑ ºñ±Ø°³³ä¿¡ Ãæ½ÇÇÑ ÇÁ¶ôÅÍ¿¡°Ô¼­ ¿ì¸®´Â ºñ±ØÀû °¨Á¤À» ¸Àº¼ ¼ö ÀÖ´Ù.

 ÁÖÀΰø ÇÁ¶ôÅÍ°¡ óÀ½¿¡´Â ÀÚ½ÅÀÇ ¾ï¿ïÇÑ Ã³Áö¿¡ ´ëÇÏ¿© ºÐ°³ÇÏÁö¸¸ Á¡Â÷ ÀÚ½ÅÀÇ °íÅëÀÌ ¼¼ÀÏ·³ ¸¶À» ÀüüÀÇ ÁÂ¿Í °ü·ÃÀÌ ÀÖÀ½À» ±ú´Ý°Ô µÈ´Ù. ±×´Â ÇѶ§ '°í¹é'ÇÏ°í »ì¾Æ³²À» °á½ÉÀ» ÇÑ´Ù. ±× ÀÌÀ¯´Â ±× Àڽſ¡ ³»ÀçÇÑ Á˸¦ ÀÎÁ¤ÇÏ°í ÀÚ½ÅÀÌ ¼ø±³ÀÚ°¡ µÉ ¼ö ¾øÀ½À» ±ú´Þ¾Ò±â ¶§¹®ÀÌ´Ù. ±×·¯³ª ¸¶³à ÀçÆÇ¿¡¼­ÀÇ '°í¹é'À̶õ ¸¶³à¿ÍÀÇ ±³Á¦¸¦ °í¹éÇÏ´Â °ÍÀ¸·Î¼­ ÁËÀÇ È¸°³¸¦ ÀǹÌÇϱ⠶§¹®¿¡ óÇüµÇ´Â °ÍÀº ¸éÇÏÁö¸¸ 17¼¼±â û±³µµ »çȸ¿¡¼­´Â °³ÀÎÀÇ °í°á¼º°ú Á¸¾ö¼ºÀÇ ¿ÏÀüÇÑ »ó½ÇÀ» ÀǹÌÇß´Ù. ´õ±¸³ª °í¹éÇÒ ¶§ ¸¶³à¿Í ±³Á¦ÇÑ ´Ù¸¥ »ç¶÷ÀÇ À̸§À» ¸»ÇØ¾ß Çϱ⠶§¹®¿¡ ŸÀÎÀÇ »ý¸í°ú °í°á¼º¸¶Àú ÇØÄ¡°Ô µÈ´Ù. ±×·¯¹Ç·Î ÇÁ¶ôÅÍ´Â ÀÚ½ÅÀÇ À̸§ÀÌ ´ëÁß¿¡°Ô °ø°³µÇ´Â °Í°ú ´Ù¸¥ »ç¶÷ÀÇ À̸§À» ¸»ÇÏ´Â °ÍÀ» °ÅºÎÇÑ´Ù. °á±¹ ±×´Â ÀÚ½ÅÀÇ À̸§À» À§ÇÏ¿© °í¹é¼­¸¦ Âõ°í Á×±â·Î °á½ÉÇÑ´Ù.

 ÇÁ¶ôÅÍ´Â ±×ÀÇ »çȸ°¡ ±×¿¡°Ô °­¿äÇÏ´Â À²¹ýÀ» °ÅºÎÇϸ鼭 Á×À½À» ÅÃÇÑ Àι°À̱⿡ ¿ì¸®µéÀÇ »çȸÀǽĿ¡ ±íÀº Ãæ°ÝÀ» ÁØ´Ù. ±×´Â Àû¾îµµ ƯÁ¤ÇÑ »çȸ¸¦ ÃÊ¿ùÇÑ º¸´Ù Å« ÀηùÀÇ Ã¥¹«¸¦ Áû¾îÁö°í ÀÖ´Ù. ÀηùÀÇ ½Ã·Ã¿¡ Àΰ£Àº ¿Ü¸éÇÒ ¼ö ¾ø´Ù´Â ¹Ð·¯ÀÇ ±ØÀÛ°¡·Î¼­ÀÇ ½Å³äÀÌ ÇÁ¶ôÅͶó´Â Àι° ¼Ó¿¡ ±¸Ã¼È­µÈ °ÍÀÌ´Ù. ±³¼öÇüÀ¸·Î óÇüµÇ±â¿¡ ¾Õ¼­ ÇÁ¶ôÅÍ´Â ¸¹Àº ±ú´ÞÀ½À» ¾ò°í, ȤÀº °¥µîÇÏ°í ȤÀº ü³äÇÏ´Â µ¿¾È ºñ·Î¼Ò ÁøÁ¤ÇÑ ÀÚ¾ÆÀνĿ¡ À̸¥´Ù. ´íÆ÷½ºÀÇ ±Ç°í¸¦ ¹Þ¾Æ ¾Æ³» ¿¤¸®ÀÚº£½º¸¦ ±¸ÇÏ·Á´Â »ý°¢¸¸ ÇÑ´Ù¸é ±×·² ¼öµµ ÀÖ¾úÁö¸¸, ÇÁ¶õ½Ã½º(Francis)¿Í ÀÚÀÏÁî(Giles)¸¦ º¸´Â ¼ø°£ °¥µî¿¡ »ç·ÎÀâÈù´Ù. ÇÁ¶ôÅÍÀÇ ÀÚÀÇ½Ä ¼Ó¿¡´Â ÀÌ¿ô¿¡ ´ëÇÑ ±íÀº ¿¬¹ÎÀÇ Á¤ÀÌ ´ã°Ü ÀÖ´Ù.

 ÇÁ¶ôÅÍ´Â Áø½ÇÇÑ ÀÌ¿ôÀÇ Æí¿¡ ¼­±â·Î °á½ÉÇÏ°í ¾Öºñ°ÔÀÏÀÇ °ÅÁþµÈ ¸¶¼úÀ» °í¹ßÇÑ´Ù. ±×°ÍÀÌ ºñ·Ï ÀÚ±âÀڽſ¡°Ô Á×À½À» °¡Á®¿À´Â °á°ú°¡ µÉ ¼ö ÀÖ´Ù ÇÏ´õ¶óµµ ´íÆ÷½ºÀÇ ºÎ´çÇÑ È¸À¯Ã¥¿¡ ÀÀÇϱ⸦ °ÅÀýÇÏ¸ç ±×´Â "I--I think I cannot [drop this charge]. These are my friends. Their wives are also accused--"(291-92)¶ó°í ¸»ÇÑ´Ù. ¹ý¿øÀÇ ¶æ¿¡ ¹Ý´ë ÀÔÀåÀ» ÅÃÇÏ´Â ÀÚ´Â ¸¶±ÍÀÇ Á¦ÀÚ·Î ¿©°ÜÁö±â ¶§¹®¿¡ ÇÁ¶ôÅÍ´Â Áï½Ã üÆ÷µÇ°í »çÇü¼±°í¸¦ ¹ÞÁö¸¸, ±×·¯´Â °úÁ¤¿¡¼­ ¼¼ÀÏ·³ÀÇ ÀçÆÇÁ¦µµ°¡ ¾ó¸¶³ª ºÒÀÇÇÏ°í ¾Ç(äÂ)ÇÑ °ÍÀΰ¡¿¡ ´ëÇؼ­µµ ¿Ã¹Ù¸¥ ±ú´ÞÀ½À» ¾ò°Ô µÇ¸ç, ±×µé¿¡°Ô ½ÉÆÇ¹Þ¾Æ Ã³ÇüµÉ ¼ö ¹Û¿¡ ¾ø´Â ÀÚ½ÅÀÇ ¹Ì¾àÇÔ°ú ¹«±â·ÂÇÔµµ ÀνÄÇÏ°Ô µÈ´Ù.

 ¶ÇÇÑ ±×µé·ÎºÎÅÍ ±¸Â÷ÇÏ°Ô »ý¸íÀ» ±¸°ÉÇÏ¿© ¿¬ÀåÇÏ´Â °ÍÀº ¿ÀÈ÷·Á ±×ÀÇ °í±ÍÇÑ À̸§¿¡ ¿åÀ» µ¹¸®´Â °ÍÀÓµµ ±ú´Ý°í ÀÚÁ¸À» ÁöÅ°±â À§Çؼ­´Â Àá½Ã Èçµé·È´ø »ý°¢À» °íÃÄ ÇãÀ§ °í¹é¼­¿¡ ¼­¸íÇÒ ¼ö ¾ø´Ù°í °á½ÉÇÑ´Ù. ±×·¯³ª ¸¶Áö¸· °áÁ¤À» ³»¸®±â Àü ÇÁ¶ôÅÍ´Â Àΰ£À¸·Î¼­ÀÇ °¥µî°ú °í³ú¿¡ Á¥¾î "God in Heaven, what is John Proctor?"... "I am John Proctor! You will not use my name! I have three children--how may I teach them to walk like men in the world, and I sold my friends?"(324)¶ó°í ¿ÜÄ£´Ù. ÀÌ ¾ç½ÉÀÇ ÀÛÀº ¼Ò¸®´Â ¾ç½É°ú °á¹éÀ» ÁöÅ°±â À§ÇÏ¿© ±×¸®°í ÀڽĵéÀÇ ¹Ì·¡ÀÇ ¾ç½ÉÀ» À§ÇÏ¿© ±³¼ö´ë¿¡ ¼³ °ÍÀ» °á½ÉÇÑ´Ù. ¹Ð·¯´Â ÀÛÇ° ¡º½Ã·Ã¡»À» ÅëÇؼ­ ÀÌ Áú¹®¿¡ ´ëÇØ ¸í¹éÇÑ ÇØ´äÀ» ÁÖ°í ÀÖ´Ù. ±× ÇØ´äÀº ¸ÆÄ«½ÃÁòÀ¸·Î È¥¶õ¿¡ ºüÁø  ¹Ì±¹ Çö´ë»çȸÀÇ ¾ÏÈæÀ» ÇØ°áÇÏ´Â ´äº¯ÀÌ µÇ±âµµ ÇÏ°í, Çö´ë»çȸÀÇ ¾ï¾Ð ¼Ó¿¡¼­ Çà¹æºÒ¸íÀÌ µÈ °³ÀÎÀû ÀÚÀ¯ÀÇ ÀïÃ븦 À§ÇÑ °Ý·ÁÀÇ ¼Ò¸®°¡ µÇ±âµµ ÇÑ´Ù.

 ÇÁ¶ôÅÍ´Â »ì¾Æ ³²±â À§Çؼ­ Ä£±¸¿Í ÀÌ¿ôÀ» ÆÈ ¼ö´Â ¾ø´Ù. ÇÁ¶ôÅͷμ­´Â Ä£±¸¸¦ ÆÈ°í »ì¾Æ ³²¾Æ¼­ Àڽĵ鿡°Ô ¶¸¶¸ÀÌ ¼¼»óÀ» »ìµµ·Ï °¡¸£Ä¥ ¼ö°¡ ¾ø±â ¶§¹®ÀÌ´Ù. ±×·¯´Ï ¸í¿¹¸¦ ÁöÅ°°í Àΰ£ÀÇ °í±ÍÇÑ Ç°¼ºÀ» ÁöÅ°±â À§Çؼ­ Â÷¶ó¸® ±³¼ö´ëÀÇ Á×À½À» ÅÃÇϱâ·Î ÇÑ °ÍÀÌ´Ù. Â÷¶ó¸® ³» ¿µÈ¥À» °¡Á®°¥Áö¾ðÁ¤ ³» À̸§°ú ³» ¸í¿¹´Â ÁöÄÑ¾ß ÇÏ°Ú´Ù¸ç ´ÙÀ½°ú °°ÀÌ Ã³ÀýÇÏ°Ô ¿ÜÄ£´Ù.



 Because it is my name! Because I cannot have another in my life! Because I lie and sign myself to lies! Because I am not worth the dust on the feet of them that hang! How may I live without my name? I have given you my soul; leave me my name! (328)



 À̸§Àº ÀھƸ¦ ¹àÇôÁÖ°í Àΰ£¼ºÀ» Æò°¡ÇÏ´Â ±âÁØÀÌ µÇ¸ç »çȸ ¼Ó¿¡¼­ÀÇ °³ÀÎÀÇ À§Ä¡¸¦ °áÁ¤ÇØ ÁØ´Ù. ±×·¡¼­ ÇÁ¶ôÅÍ´Â À̸§¾øÀÌ´Â »ì¾Æ °¥ ¼ö ¾ø´Ù´Â °ÍÀÌ´Ù. ±×´Â ºÐ¸í µÎ °¥·¡ ±æ¿¡ ¼­ ÀÖ´Ù. Çϳª´Â ¸ñ¼ûÀ» À¯ÁöÇϸ鼭 °¡Á¤Àû ÆòÈ­¸¦ ´©¸®´Â ±æ·Î °ªÁø Á×À½°ú ¹ÎÁßÀÇ ºÐ³ë¸¦ ÇêµÇÀÌ ÇÏ°í ¾ç½ÉÀ» Æ÷±âÇÏ¸ç ºÎÁ¤ÇÑ ¾Ç(äÂ)ÀÇ ¼¼·ÂµéÀ» Á¤´çÈ­½ÃÄÑ ÁÖ´Â ±æÀÌ´Ù. ´Ù¸¥ ÇϳªÀÇ ±æÀº »çȸÁ¤ÀÇ¿¡ Ãæ½ÇÇÑ ±æ·Î ¼ø°áÀÇ °¡Ä¡¸¦ ³ôÀÌ Æò°¡¹ÞÀ» ¼ö ÀÖÁö¸¸ °¡Á¤ÀÇ Çູ°ú ÀÚ½ÅÀÇ »ý¸íÀÌ Èñ»ýµÇ¾î¾ß ÇÏ´Â Æı¹¿¡ Á÷¸éÇÑ ±æÀÌ´Ù. ÇÏÁö¸¸ ÇÁ¶ôÅÍ´Â ³¡³» ÈÄÀÚÀÇ ±æÀ» ÅÃÇÑ´Ù.

 Á×À½À» ¾Õ¿¡ µÎ°í °ÅÁþ °í¹éÀ» °­¿ä´çÇÒ ¶§ ±×ÀÇ ¿ïºÎ¢À½Àº ÀÚ½ÅÀÇ Á¤Ã¼(identity)¸¦ µÇã°í »çȸ¿¡¼­ÀÇ À§Ä¡¸¦ ÀçÈ®ÀÎÇÏ·Á´Â ¸öºÎ¸²ÀÌ´Ù. ¾ç½Éº¸´Ù´Â »ý¸íÀÇ ±ÍÁßÇÔÀ» ±ú´Ý°í ÇÁ¶ôÅÍ°¡ µåµð¾î ÀÚ¹éÇÏ°Ú´Ù´Â Àǻ縦 ¹àÈ÷ÀÚ ´íÆ÷½º, È£¼Õ µîÀº ¸÷½Ã ±â»µÇÏ¸ç ¼­¸íÇÒ ¹®¼­¸¦ ³»³õÁö¸¸ ÇÁ¶ôÅÍ´Â ¼­¸íÀ» °ÅºÎÇÑ´Ù. ±×´Â ÀÚ¹éÀ¸·Î Á·ÇÒ ÀÏÀÌÁö À̸§ÀÌ ´õ·´Çô Áöµµ·Ï ÇÒ ¼ö´Â ¾ø´Ù°í ´íÆ÷½º¿ÍÀÇ ´ëÈ­¿¡¼­ ´ÙÀ½°ú °°ÀÌ ºñÅëÇÏ°Ô Àý±ÔÇÑ´Ù.



PROCTOR: You came to save my soul, did you not? Here! I have confessed myself; it is enough!

DANFORTH: You have not con--

PROCTOR: I have confessed myself! Is there no good penitence but it be public? God does not need nailed upon the church! God sees my name; God knows how black my sins are! It is enough!

DANFORTH: Mr. Proctor--

PROCTOR: You will not use me! I am no Sarah Good or Tituba, I am John Proctor! You will not use me! It is no part of salvation that you should use me!(327)



 °ÅÁþ °í¹éÀ» ÅëÇؼ­ »ý¸íÀ» ±¸ÇÒ °ÍÀΰ¡ ¾Æ´Ï¸é Á×À½À» ÅÃÇÒ °ÍÀΰ¡ÀÇ ±â·Î¿¡ ¼­ ÀÖÀ» ¶§ ÇÁ¶ôÅÍ·Î ÇÏ¿©±Ý ¾ç½É¿¡ µû¶ó ÇൿÇÒ ¼ö ¾øµµ·Ï ¸¸µå´Â °ÍÀº ÀÚ½ÅÀÇ ¾Æ³» ¿¤¸®ÀÚº£½º¿ÍÀÇ °ü°èÀÌ´Ù. ÀÌÀü¿¡ ¾Öºñ°ÔÀÏ°úÀÇ °£À½À¸·Î ÀÎÇÏ¿© ºÎºÎ°£ÀÇ ½ÅÀÇ°¡ »ó½ÇµÈ »óÅ¿¡ ÀÖ´Â °³ÀÎÀÌ »çȸÀû ¾ç½É¹®Á¦¿Í ½Î¿ö³ª°¡¾ß ÇÏ´Â ¾î·Á¿òÀ» ÇÁ¶ôÅÍ´Â Á×À½ÀÇ ¼ø°£¿¡ ´ë¸éÇÏ°í ÀÖ¾ú´Ù.

V.

 ¹Ð·¯´Â ¡º½Ã·Ã¡»¿¡¼­ ÇÁ¶ôÅÍÀÇ ÀÌ¿ô°ú Ä£±¸µéÀÌ Áö´Ï°í ÀÖ´Â Á¾±³Àû °ü³äµé¿¡ ´ëÇØ È¸ÀǸ¦ Ç°°í ÀÖ´Ù. ±×´Â ½ÇÁ¸ÁÖÀÇÀû ÀÔÀå¿¡¼­ Àΰ£Àº ´©±¸³ª ±× ÀÚ½ÅÀÇ ÇàÀ§¿¡ ´ëÇØ Ã¥ÀÓÀ» Á®¾ß ÇÏ¸ç ±× ÀÚ½ÅÀÌ ³»¸° °áÁ¤¿¡ ´ëÇؼ­µµ ¸¶¶¥È÷ Ã¥ÀÓÁ®¾ß ÇÑ´Ù´Â °ßÇظ¦ ÁöÁöÇÑ´Ù. ÇÁ¶ôÅÍÀÇ ÀÌ¿ô »ç¶÷µéÀº ¿µ¿øÇÑ »îÀ» È®½ÅÇÏ°í Á×¾î °¡Áö¸¸ ÇÁ¶ôÅÍÀÇ °æ¿ì´Â ±×·¸Áö ¾Ê´Ù. ÇÁ¶ôÅÍ´Â ±× ÀÚ½ÅÀÇ ¼ø¼ö¼ºÀ» ÁöÅ°±â À§Çؼ­ ½º½º·Î »ý¸íÀ» Èñ»ýÇÏ´Â °ÍÀÌÁö Á¾±³Àû ±³¸®¸¦ À§ÇØ ¼ø±³ÇÏ´Â °ÍÀº ÀÌ´Ï´Ù. ¾Æ³»ÀÎ ¿¤¸®Áöº£½ºµµ ±×ÀÇ Á×À½ÀÌ ±×¿¡°Ô ¿µ¿øÇÑ °÷À» º¸ÀåÇØ ÁÙ °ÍÀ̶ó°í ¹Ï°í ÀÖ´Ù. ±×·¯³ª ÇÁ¶ôÅÍ ÀÚ½ÅÀº ±³¼ö´ë·Î ÇâÇϸ鼭 õ±¹À̳ª ½Å¿¡ ´ëÇÑ ¾ð±ÞÀ» ÇÏÁö ¾Ê´Â´Ù. °á±¹ ÇÁ¶ôÅÍ ÀÚ½ÅÀº õ±¹À̳ª ½Å¿¡ ´ëÇÑ ½Å¾ÓÀÇ ¼ø°áÀ» À§ÇØ ±³¼ö´ë¿¡ ¿À¸¥ ¼ø±³ÀÚ°¡ ¾Æ´Ï¶ó, ÁøÁ¤ÇÑ Àΰ£ÀÇ ÀÚÀ¯ °ð ¾ç½ÉÀÇ ÀÚÀ¯¿Í ÀÚÁ¸½ÉÀ» Áöų ¼ö ÀÖ´Â ±Ç¸®ÀÇ ¼öÈ£¸¦ À§ÇØ ¼øÀýÇÑ, ÀÚ¾ÆÀνİú »çȸÀǽÄÀÌ ÅõöÇÑ ÇÑ Àΰ£¼ºÀÇ ¼ÒÀ¯ÀÚ·Î ±â¾ïµÇ±â¸¦ ¹Ù¶ó´Â °ÍÀÌ´Ù.

 ºñ±ØÀû ÁÖÀΰøÀÇ È¯»óÀ¸·ÎºÎÅÍ ±ú¾î³ª ÀÚ¾ÆÀÇ È¸º¹°ú È®½ÅÀ» ¾ò´Â °úÁ¤À» ÅëÇÏ¿© µ¶ÀÚ³ª °ü°´¿¡°Ô Àü´ÞµÇ´Âµ¥ ÀÌ·¯ÇÑ ±ú´ÞÀ½¿¡ µÚµû¸£´Â Àç¾ÓÀÌ¾ß ¸»·Î ¿ì¸®¿¡°Ô ºñ±ØÀû °¨Á¤À» Àϱú¿öÁÖ´Â ¿ä¼ÒÀÌ´Ù. ÇÁ¶ôÅÍ´Â ¸¶Áö¸· ¼ø°£ °Ì¿¡ Áú·Á ±×ÀÇ ¼Õ¿¡ ¸Å´Þ·Á ¿ì´Â ¾Æ³» ¿¤¸®ÀÚº£½º¸¦ "Give them no tear! Tears pleasure them! Show honor now, show a stony heart and sink them with it."(328)¶ó°í ´Þ·¡¸ç ´«¹°À» °ÅµÎ°í ÀÚÁ¸À» ÁöÄÑÁֱ⸦ ´çºÎÇÑ´Ù. ÇÁ¶ôÅÍ´Â ÀÚ½ÅÀÇ Á¤´çÇÑ ÀÚ¾ÆÁÖÀåÀÌ °¡Á·¿¡ ÀÇÇØ ÀÇ¿¬È÷ °è¼ÓµÉ »õ·Î¿î »î¿¡¼­ ÂüµÈ »ç¶ûÀ¸·Î °á½ÇÇÏ¿© ¿µ¼ÓµÇ°Ô ÇØ ÁÙ °ÍÀ» ¹Ï°í °¥¸ÁÇÑ´Ù.

 ÇÁ¶ôÅÍÀÇ Á×À½Àº °­¾ÐÀûÀÎ ¹ý¿¡ ÀúÇ×ÇÏ°í »çȸÀÇ À§¼±°ú ÇãÀ§, ºÎÆÐÇÑ ¹ý Áú¼­¿¡ ´ëÇ×ÇÏ¿© Àΰ£¼ºÀÇ È¸º¹À» ÀǹÌÇÑ´Ù. ÇÁ¶ôÅÍ´Â ÀÚ½ÅÀÇ Àΰ£Àû Á¸¾ö¼ºÀ» ÁöÅ°±â À§Çؼ­ ÀÓ½ÅÇÑ ¾Æ³»¿Í ÀڽĵéÀ» ³²°Ü ³õ°í ±³¼ö´ë·Î ÇâÇÒ ¶§ ÀüÇüÀûÀÎ Çö´ë ºñ±ØÀÇ ÁÖÀΰøÀÌ µÈ´Ù. ÇÁ¶ôÅÍÀÇ ºñ±ØÀûÀÎ Á×À½¿¡ ´ëÇÏ¿© Raymond Williams´Â "Proctor in The Crucible, had died as an act of self-preservation: preservation of the truth of himself and of others, in opposition to the lies of the persecuting authority." 24) ¶ó´Â ÁöÀûó·³ ±×ÀÇ Á×À½Àº Àΰ£ÀÇ Á¸¾ö¼ºÀ» º¸¿©ÁØ´Ù. ¡º¸ðµÎ ³ªÀÇ ¾Æµéµé¡»ÀÇ ÁÖÀΰø ÁÒ ÄÌ·¯(Joe Keller)¿Í ¡º¼¼ÀÏÁî¸ÇÀÇ Á×À½¡»ÀÇ ÁÖÀΰø Àª¸® ·Î¸ÕÀÇ Á×À½ÀÌ °¢°¢ ºñÀΰ£ÀûÀÌ°íµµ ³ÃȤÇÑ »çȸ¿Í À߸øµÈ °¡Ä¡°ü ¹× ÀÚ½ÅÀÇ ±×¸©µÈ ²ÞÀ¸·Î ÀÎÇÑ ¾î¿ ¼ö ¾ø´Â Á×À½ÀÎ ¹Ý¸é¿¡ ÇÁ¶ôÅÍÀÇ Á×À½Àº ½º½º·Î º¸´Ù ´õ °¡Ä¡ÀÖ´Â °ÍÀ» À§ÇØ ÅÃÇÑ ´ç´çÇÑ ½Â¸®ÀÇ Á×À½ÀÌ´Ù.

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Bibliography

Beauvoir, Simone De. The Second Sex. trans. & ed. H.M. Parshley. New York:Alfred A.Knof, Inc., 1952.

Donovan, Josephine. Feminist Theory. New York: Frederic Ungar Publishing Co., 1985.

Hansen, Chadwick: "The Metamorphosis of Tituba." The New England Quarterly 47(March, 1974).

Ferres, John H. "Introduction." The Twentieth Century Interpretation of The Crucible: A Collection of Critical Essays. ed. John H. Ferres. Englewood Cliffs, N.J.: Prentice-Hall, Inc., 1972.

Gilbert, Sandra M. & Susan Guber. The Madwoman in the Attic. New Haven &    London: Yale UP, 1979.

Hill, Philip G. "The Crucible: A Structural View." Modern Drama 10(December, 1967).

Irigaray, Luce. Sexual Textual Politics. London & New York: Methuen & Co., Ltd., 1985.

Kalem, T.E. "The Ethos of Courage." Time 99(May 15, 1972).

Kim, Jong-sun. Arthur Miller: Recognition of Self and Society. Keimyung UP, 1982.

Martin, Robert. "Arthur Miller's The Crucible: Background and Sources." Modern   Drama 20(September, 1977).

Miller, Arthur. "The Crucible." Arthur Miller's Collected Plays: Vol I. New York: The Viking Press, 1979.

            . "Tragedy and the Common Man." The Theater Essays of Arthur Miller. ed. Robert A. Martin. New York: The Viking Press, 1978.

Moss, Leonaed. "A Social Play." Twentieth Century Interpretation of The Crucible: A  Collection of Critical Essays. ed. John H. Ferres. Englewood Cliffs, N.J.:   Prentice-Hall, Inc., 1972.

Murray, Edward. " Structure, Character, and Theme in the Plays of Arthur Miller." diss. Univ. of Southern California, 1966.

Nathan, George Jean. The Theatre in Fifties. New York: Alfred A Knopf, 1953.

Nelson, Benjamin. Arthur Miller: Portrait of a Playwright. New York: Mckay Co., 1970.

Popkin, Henry. "Arthur Miller's The Crucible." College English 26(1965).

Schlueter, June and James K. Flanagan. Arthur Miller. Frederic Ungar Publishing Co., 1987.

Warshow, Robert. "The Liberal Conscience in The Crucible." Arthur Miller: A Collection of Critical Essays. ed. Robert W. Corrigan. Englewood Cliffs, N.J.: Prentice-Hall, Inc., 1969.

Weales, Gerald. "Arthur Miller: Man and His Image." The Crucible: Text and Criticism. ed. Gerald Weales. New York: Penguin Books, 1980.

Weininger, Otto. D.H. Lawrence and Feminism. Cambridge: Cambridge UP, 1984.

Williams, Raymond. Modern Tragedy. Stanford: Stanford UP, 1986.

Abstract

Mass Hysteria of Witchhunt in Arthur Miller's The Crucible

Kim, Jeong-soo



 In the early 1950's so-called McCarthyism created a stir in the political and social worlds. As an intellecrual, Arthur Miller stood at the forefront of opposition to McCarthyism, which ignored the basic rights of the people and was unsparing in creating great mistrust between friends and associates. His view on such are structuralized through The Crucible. The location of this play is the witchhunts and trials of Salem, Massachusetts in 1692, which left a great blemish on the history of America's colonial period.

 The main character of The Crucible is a 30 year-old independent farmer named John Proctor, a robust man typical of the frontier, having an incorruptible, and strongly independent personality. While he once committed adultery while Abigail worked as his maid, he now has become a completely decent and exemplary father. Throughout the witch-trials, he remains firm in his convictions, and in the end chooses death, leaving behind his pregnant wife and children. As a man that chooses death while rejecting the laws forced on him by society, Proctor deeply shocks the senses of our society. At the very least, he bears the responsibility for all mankind, thus surpassing his own specific society.

 Miller's conviction as a playwright that man cannot escape from the ordeals of mankind is embodied in the man named John Proctor. Having lived his life by betraying his friends, John Proctor cannot teach his family to live eqitably. So in order to maintain his own honor and to maintain the noble character of mankind, he chooses to suffer death on the gallows. John Proctor cannot find a reason to live when his integrity and identity are trampled down. He considers self-respect as being the most important principle of life.

 In the end, John Proctor realized his dignity as a man having indured much torment and painful skepticism, and through death he protects the truth. He discovers a touch of goodness hidden within himself just before his death, and we feel the human dignity which fills the conviction he has of himself as we watch the dignified face of John Proctor marching off to the gallows.

 The Crucible is set in the Puritanistic period of America during the latter 17th century, and although its contents are about  the religious witchtrials of the time, the play freshly portrays themes such as the greed, discord and enmity of men entangled in land and power and the love and jealousy between men and women which extend beyond the period. Thus the play has been extolled all over the world and continues to be performed, due to the fact that it fulfills the universality and eternal nature of theme of human evil, causing it exceed the limits of time.

 Even though The Crucible intends to portray the discord between people's selves and their actions in extreme situations, not only the society of Salem or American society ruled by McCarthyism, but also inhumane societal conditions in which the determination of humans is demanded can be the background for this play. Miller, who felt fear and rage not only at tyranny of McCarthyism but also at the faces of modern American people who throw away their conscience like old shoes, wished to portray on the stage how tyrannical political forces, the enlightened public or some fanatical religious groups can degrade the feeble common man.

* ¼­¾ç¾î´ëÇÐ ¿µ¾îÇкΠ±³¼ö

1) Arthur Miller, "Introduction," to the Collected Plays(New York: The Viking Press, 1979), pp. 31-32.

2) Robert A. Martin, "Arthur Miller's The Crucible: Background and Sources," Modern Drama 20(September, 1977), p. 279.

3) June Schlueter and James K. Flanagan, Arthur Miller(New York: Frederic Ungar Publishing Co., 1987), pp. 72-73.

4) Robert Warshow, "The Liberal Conscience in The Crucible," Arthur Miller: A Collection of Critical Essays, ed., Robert W. Corrigan(Englewood Cliffs, N.J.: Prentice-Hall, Inc., 1969), p.111.

5) Arthur Miller, op.cit., p.41.

6) T.E. Kalem, "The Ethos of Courage," Time 99(May 15, 1972): 19.

7) Otto Weininger, D.H. Lawrence and Feminism(Cambridge: Cambridge UP, 1984), p.84.

8) Chadwick Hansen, "The Metamorphosis of Tituba," The New England Quarterly 47(March, 1974): 3-12.

9) Josephine Donovan, Feminist Theory(New York: Frederic Ungar Publishing Co., 1985), p. 29.

10) Simone De Beauvoir, The Second Sex, trans.& ed., H.M. Parshley(New York: Alfred A. Knopf, Inc., 1952), pp. xiii-xvi.

11) George Jean Nathan, The Theatre in Fifties(New York: Alfred A. Knopf, 1953), p. 106.

12) Sandra M. Gilbert & Susan Guber, The Madwoman in the Attic(New Haven & London: Yale UP, 1979), p. 53.

13) Luce Irigaray, Sexual Textual Politics(London & New York: Methuen & Co., Ltd., 1985), p. 135.

14) Henry Popkin, "Arthur Miller's The Crucible," College English 26(1965), pp.144-45.

15) Leonard Moss, "A Social Play," Twentieth Century Interpretation of The Crucible: A Collection of Critical Essays, ed., John H. Ferres(Englewood Cliffs, N.J.: Prentice-Hall, Inc., 1972), p. 37.

16) Jong-sun Kim, Arthur Miller: Recognition of Self and Society(Keimyung UP, 1982), pp. 81-82.

17) Arthur Miller, " The Crucible," Arthur Miller's Collected Plays: Vol. I(New York: The Viking Press, 1979), p. 281. ÀÌÈÄ textÀÇ paginationÀº Àο빮 µÚÀÇ (   )¼Ó¿¡ ³ÖÀ½.

18) John H. Ferres, "Introduction," The Twentieth Century Interpretation of The Crucible: A Collection of Critical Essays, ed., John H. Ferres(Englewood Cliffs, N.J.: Prentice-Hall, Inc., 1972), p. 10.

19) Gerald Weales, "Arthur Miller: Man and His Image," The Crucible: Text and Criticism, ed., Gerald Weales(New York: Penguin Books, 1980), p. 343.

20) Edward Murray, "Structure, Character, and Theme in the Plays of Arthur Miller," diss., Univ. of Southern California, 1966,  pp. 152-60.

21) Philip G. Hill, "The Crucible: A Structural View," Modern Drama 10(December, 1967): 313.

22) Benjamin Nelson, Arthur Miller: Portrait of a Playwright(New York: Mckay Co., 1970), p. 173.

23) Arthur Miller, "Tragedy and the Common Man," The Theater Essays of Arthur Miller, ed., Robert A. Martin(New York: The Viking Press, 1978), p. 4.

24) Raymond Williams, Modern Tragedy(Stanford: Stanford UP, 1986), p. 104.



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