Narrative Techniques In The Crucible

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Harris and Miller incorporate literary rich descriptions of their sceneries to demonstrate their protagonist’s rebellion against the time and setting in which they exist.
Using sensual imagery; the author and play write describe the temporal and physical settings of their creations to heighten the reader’s understanding of the contrast between Vianne and Reynaud, and the regular member’s of the strict and orderly societies of Lansquenet and Salem. Harris establishes the setting of Lansquenet before properly establishing the protagonist; describing the town “as good a place as any…no more than a blip on the fast road”. Harris effectively formulates a visual image of the town; describing the layout of the “one main street, a double row of dun-coloured
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Harris incorporates similes and colour as a form of imagery, to enable the reader to visualize these images in hue. In contrast, The Crucible establishes the first character, Reverend Parris, before moving on to formulate a foundation of the time and setting of Salem. Miller’s tone is factual, concise, and non-biased; integrating colour and nature imagery to describe the appearance of the surrounding; including the meeting house where “there [are] a few small-windowed, dark houses snuggling against the raw Massachusetts winter.” Miller combines his knowledge of the time and setting to enlighten the reader of the history of Salem, explaining, “to the European world the whole province was a barbaric frontier inhabited by a sect of fanatics who, nevertheless, were shipping out products of slowly increasing quantity and value.” Miller establishes the society in that “the people of Salem developed a theocracy, a combine of state and religious power whose function was to keep the community together, and to prevent any kind of disunity that might open it to destruction by material or

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