(power of relationships) Immoral relationships result in tragedy:

When relationships are fore grounded by people with immoral or unethical agendas, rather
than strength of conviction, tragedy may eventuate. Reverend Samuel Parris desires “golden
candlesticks”, a “house” and the obedience of the “stiff-necked people”, which that he can
demand as the representative of “the word of God”, highlighting his relationship with the
Salemites as a materialistic transaction where he profits from the gruelling “labor...from
dawn...to...night” of people like John Proctor, reflecting an imbalanced power dynamic which
“was the reason...for [the powerless’] sufferings”. When repressed, individuals will often
retaliate; the Salem witch trials that which lead to “abandoned cattle...on the high roads”
demonstrate the apparent hole the trials have punctured punched in the community’s power
structure and function. Through the downfall of Salem, Miller suggests that the selfishness of
one person can be all-encompassing, thus advising against inauthentic relationships and as well
as structures based around dictatorships or oligarchies in line with his allegorical play aimed at
the misdeeds of 1950s MacCarthyism. At a parallel to Parris, the snobbish women of Dungatar
see others as tools for gaining power. Tilly’s clients’ requests were to “make me look better than
everyone”, evincing that their superficial desires to solely impress and elevate their social status
are intrinsic to their characters. Furthermore, Nancy blankly demands to Tilly, “‘See this? That’s
what I want’”, the lack of interaction with Tilly elucidates her social exclusion, highlighting
pathetic and petty classist assertions and “airs'' so ingrained that treating outcasts as human is
impossible, presenting a deeper resentment than Parris’ regard of Salemites as a “stiff-necked”
collective. Tilly’s frustration at being ridiculed culminates in her setting a “fire [that] billowed
from...the doors and windows” of Dungatar, likewise to the simmering powder keg of grievances
that explode in the form of the Salem witch trials, highlighting Ham’s cynical belief that no good
can be salvaged from parasitic relationships prevalent in insular, conservative Australian
communities, similar to Miller’s disdain for the self-serving powerful. Therefore Relationships
that are superficial, judgmental and parastic can culminate in disaster and even
community-wide destruction if the people are not strong enough to deal with the negativity.
superficial relationships are parasitic, often culminating in destruction.
E1: “golden candlesticks”, “house”, obedience “stiff-necked” ; “word of God” ; “labor...from
dawn...to...night” ; “was the reason for [the powerless’] sufferings”
E2: “abandoned cattle...on the high roads”
E1: “make me look better than everyone”
E2: “See this? That’s what I want” ; “airs” ; ->”stiff-necked”
E3: “fire [that] billowed from...the doors and windows”
Guilt can control societies:

The quality of Inducing feelings of compunction in people can be effective in maintaining

societal order. In Salem, “know[ing] your Commandments” is more than an expectation as their
Puritan beliefs are a harsh and “sombre way of life”, detracting from such so that challenges to
societal expectations - such as Proctor “go[ing] to church once a month” - would ensure the
community’s judgement and shame for failing to abide by one’s religious responsibilities, and so
guilt, by expressing disdain for individual attitudes, is institutionalized into society as a tool for
control. This guilt tripping is taken one step further through Salem’s establishment as a
theocracy - a combine of state and religion forged during the tensions of their “heavenly combat”
against unexplored lands, thus qualifying for non conformist attitudes to be met with “suspicion”
and persecution under the cover of unilaterally enforcing “the word of God”, highlighting an
utterly insular and oppressive society. This hypocritical power structure is an allegory of the
United States during the era of McCarthyism, which publicly exposed suspected communists
those who dared challenge democratic principles to create shame in them, but with “the
power of theocracy...being broken to all intents and purposes”, Miller seeks to instruct against
bigoted authorities that repress self-expression and new ideas. The Dressmaker’s Dungatar
echoes similarities to Salem in refusing to have their accustomed way of life challenged, calling
Tilly - who brings with her unseen “cottons, patterns, sequins” - a “bastard murderer”. Ham uses
Tilly’s exotic materials to convey her worldliness and experience, and therefore urban
progressiveness, which are inconsistent with Dungatar’s push for conformity and stagnant,
“never chang[ing]” way of life, prompting the Dungatar residents to project onto her a sense of
guilt through gossip - as opposed to Salem’s use of rumours - in order to ferociously censure
her influence. This community-wide fear of change is at parallels parallel to the insularity
grounded in Salem’s foundation. Ultimately, stagnant and insular communities will resist change
even if by petty means of inducing individuals to blame themselves.
Guilt does not impact people with evil/greedy intentions:
The guilt of having committed immoral or illegal actions does not register for some characters
who have overly selfish and malign desires. In his extensive playwright’s narration, Miller
reveals many witch accusations were “in the writing of Thomas Putnam” and that such
accusations allowed one to feel “perfectly justified in the bargain” it granted, inferring Putnam’s
attempts to exploit the court system in order to satiate his land-lust, a desire all-encompassing
as he largely engenders “twelve... [to be] hanged for the same crime”. His repeated
transgressions of Salem’s law and ethical standards, as well as his blatantly hypocritical
purportion that in being “a finger of God” he only seeks what is morally commendable, highlights
a lack of remorse and internal conflict for his wrongdoings, demonstrating that guilt does not
hinder his actions. Through the corrupt character of Thomas Putnam, Miller strives not only to
warn against the dangers of unrestrained selfishness, but his allegory of McCarthyism also
points to the need for communities to be aware of those reporting on their neighbours for their
own betterment. On a similar wavelength to Putnam, Dungatar Councillor Evan Pettyman
indulges in perverse behaviour, “ma[king Marigold] sick” to rape her and “touch other women”.
His ability and willingness to disable others to gratify his sensual impulses indicate that he is
devoid of any capacity to understand or have morality parallel to Putnam’s unperturbed reaction
to his crimes , while his many affairs - like Parris’ many false confessions - bespeaks a
deficiency of remorse. Through Pettyman having his “calcanean tendons…[torn] and snapped”
by Marigold, Ham enunciates her disdain for powerful people who do not regret exploiting the
powerless, and delivers a message of female empowerment through Marigold, Pettyman’s
trapped “timid” “pet”, who  confidently exacts vengeance on him. Thus, Ham’s subtext
addresses issues more pertinent to modern society - such as gender equality - compared to
Miller. Ultimately, both Parris and Pettyman stand as notorious archetypes of moral bankruptcy
as both are not inhibited by guilt of their severe wrongdoings, but rather thrive on them.
Individuals may ignore guilt when their fundamental purpose is centered in selfish, inimical
pursuits, even receiving a hedonistic release from such seekings.
Forgiveness and reconciliation is empowering:

When people reconcile with each other, such restoration of relationships is powerful as it repairs
individual brokenness and a sense of identity. In the case of parents and children, reignited
bonds can be not only cathartic, but life changing. In The Crucible, Molly has “lost a baby”
like Tilly, a fact that encourages them to admit that they are “sorry, so sorry...to each other”,
their shared tragedy overcomes their long-held misunderstanding and separation “over the
years”, and culminates in a cathartic release when they finally reforge their maternal relationship.
Indeed, forgiveness between the two is elucidated to be powerful as even though Molly dies, she
“smile[s] a silver smile” in Tilly’s dream, highlighting that Molly - unlike “everyone [she has]
touched” - is not a painful reminder of her “curse”, but a newfound source of strength that “fills
her heart”. Through this, Ham postulates that the qualities of trust and honesty which manifest in
reconciliation, can repair the internal fragmentation caused by tragedy, by absolving their self-
blame a key idea taken up by Miller in his play. After not having “laid eyes” on each other for
three months, contemplation allows the two to realize that forgiveness is “not for [Elizabeth] to
give” as she is guilty of having kept a “cold house”. Their love is physically and forcibly
separated - like Tilly and Molly - allowing them to comprehend their own faults and
transgressions, stimulating a desire to sincerely converse with each other, through which Proctor
comes to understand that his inner brokenness and dissatisfaction with his marriage is because he
has “regard[ed] himself as a kind of fraud”. In doing so, Miller highlights that reconciliation
allows individuals to restore their original sense of internal peace and confidence, whilst Ham
underscores how reconciliation can provide an unprecedented source of strength. Ultimately, in
relationships, the power of reconciliation lies in its capacity to psychologically and emotionally
restore individuals, as well as bathing individuals with the self-love that have repressed
themselves of their whole lives.
Oppressive environments:
In conservative communities social norms will reflect toxic and insular attitudes that can have
deep impacts on individuals who do not conform.  The social norms can come out of theocratic
communities like Salem or small-minded, vindictive towns like Dungatar. In The Crucible, Abigail
Williams desires John Proctor “who put knowledge in [her] heart”, but The Commandments “bid
[her] tear the light out of [her] eyes” and she is conflicted. The theocratic Salem, forcing sexual
conduct to follow strict societal rules and expectations. In such a society, Abigail’s sensual,
impassioned desire for Proctor is oppressed by “the Word of God”, which Salemites hold to be
absolute law. Abigail believes “a promise is made in any bed”, and has her hopes crushed as
her nature demands her to be a voracious lover, yet Proctor declares he will never “reach for
[her] again”, thus unwilling to continue their affair, leaving Abigail without employment as well as
a partner. On a parallel to Salem, the residents of Dungatar are riddled with conservative,
stereotypical attitudes towards sexuality. “Nancy Pickett [lies]...on Ruth’s thin thigh” when the
“exchange [stands] quiet”, but they “scramble” in the presence of Beula, reflecting conservative
attitudes to sex and the desire for small-minded people to pry.  Through Nancy and Ruth’s
relationship, Ham is determined to highlight the suppression and concealment of relationships
that were considered immoral. Similarly,  Abigail’s illicit affair, is not only a sin, but is the “crime
of lechery” giving Danforth’s words in court a legal as well as moral power. Sergeant Farrat
sensuously “burie[s] his face into” yards of “brilliant...silk organza” in Tilly’s kitchen, revealing his
almost physical attraction towards clothes. The isolated setting of Dungatar in rural Australia in
the 1950s meant that fashion was not only for feminine interest, but dowdy in “gingham” before
Tilly arrives with her modern, unprecedented, “brilliant...organza” and “brocade”,  evincing that
just like their fashion, Dunagatar is stuck in the past. It is their inability to change that fuels such
narrow-minded judgement of people, such that Sergeant Farrat is forced to wear “his navy skirt”
in “the dimness” of his office. Although both Dungatar and Salem maintained conservative views
towards sexuality and individual identity, Ham elucidates Dungatar’s apparent lagging behind
the social norms of urbanised Australian communities, as whilst there are “men dressed as
women” in Sydney, Dungatar would shun such individuals. Therefore, conservative societies
that are secluded and insular may fiercely repress those who challenge their way of life.

Extra ideas:
Love/lust has varying intensities

People judge others because of their self-greed/judgement is fuelled by evil intentions

Crucible:
-“Beware this man, Your excellency, this man is mischief” (Hypocrisy, goes back on this statement later
when trying to save his own skin saying that John had “great weight yet in the town”
-
-
Dressmaker:
-”You killed my son”
-
-

People who dwell in shame/guilt suffer

Tilly:
-”Everyone I’ve touched is heart or dead”
- “pain... [is] our curse”
-”Its guilt, and the evil inside me - I carry it around with me...invisible then creeps back when I
feel safest”
-”Used to forgetting and enjoying herself then suddenly...feeling unworthy”
Proctor:
-”come to regard himself as a sort of a fraud”
-”my honesty is broke... I am no good man”
-”deep hatred for himself”
“I know this man, he is a good man”