It would appear that, in Arthur Miller's The Crucible, women having power is showcased as a negative and positive concept. Taking a view from the angle of feminist criticism, it appears that way. In fact, The Crucible seems to reveal the marginalization that women have suffered over years; it exposes the efforts that they put into trying to get some power from the patriarchy in the bid to establish their own place in the world. This is also the case of the witches in the American Horror Story: Coven. In the American Horror Story: Coven, women are silently rewarded with unheard power expanses, with their ability to judge other women as being witches from a hellish demesne. Not much indication is needed from these texts to prove, the feminist struggles (MacKinnon 12).
Examples of Feminism in the Crucible
To begin with The Crucible, the relationship between John and Elizabeth Proctor is the best indication of the struggles that women face, as they seek to find their place in society. Elizabeth lives in fear of the relationship they have with John, upon seeing the extensive affair that John had with the previous house help, Abigail Williams. Elizabeth is seen to be upset and bitter and she constantly reminds John of how much she is hurt by the affair and they are always involved in a domestic flight as a result. Elizabeth has feelings about the extra-marital affair and uprightly articulates her disappointment and distrust. Though passive, Elizabeth seeks power by holding John's gaffe over his head. Her actions may not be totally for their relationship, but she still pursues power over her husband in justified ways. Nonetheless, John and Elizabeth revert back to their family: husband-wife interactions when in public. Immediately after some other character is introduced into their household, she reverts back to her duties as a wife while observing men talk in dismay(Miller and Blakesley 24).
In this manner, Elizabeth theoretically loses power and influence over her husband. John being the head of the family, is charged with speaking on Elizabeth's behalf whenever mentioned. Elizabeth is left with no choice but to be submissive. Nonetheless, the point of feminist struggle can be drawn when the situation changes. When Elizabeth and John are left in an intimate setting, she seeks to take control. However, when another person walks into context, who assumes society's perspective on how the relationship between husband and wife must work, she reverts back to her role as a conventional wife. That does not necessarily imply that she gives up her desire for power; it is just suppression of power in the public domain, as she privately holds.
American Horror Story: Coven - Feminism
On a similar note, American Horror Story: Coven can be laced with feminist struggles, though the context appears friendly. The story emphasizes witches, whose powers and superiority strike fear in men that they are threatened and hunted down with annihilation, depicting cast feminism in American Horror Story: Coven. When Misty Day is lynched at the stake, it is by a crowd of Southern-fried kinsmen bellowing towards her and branding her as a "bitch." A similar thing occurs when she is attacked later. Moreover, Fiona alongside her coven is later chased by men who have assumed the tradition of hunting witches down through robust patriarchy informed by the domination over such scarily influential women.
Nonetheless, there is more; the sexual education of Zoe also advances the theme of feminist struggles. When the series commences, she is chastised for making love with her boyfriend as he dies as a result. Zoe, later on, takes control of the sexual power and eventually kills one of her aggressors with it. Eventually, she falls in love with Kyle, she has learned to harness and make use of her sexual power in a pleasurable manner (American Horror Story: Coven). While the "feminist struggles" on American Horror Story, are abundant, they are not sufficient to prevent the show from going problematic. As it approaches the end of the witchy journey, the coven ladies are faced with sad news. Axman murdered Fiona in a passion crime, and he set on for the second victim, Fiona’s coven. He walks in, just as Misty Day is in a fight with Madison after he attempted to kill her. The confrontation ends with Misty pulling off Kyle, arguing that they; women, do not need men to protect them.
In conclusion, the ensuing escapades in The Crucible and sceneries in American Horror Story: Coven, are a violent manifestation of literal feminine power, women with or seeking power over the male intruder figure. The intruder, though but it is not essentially a feminism-approachable message. Tears flow down the cheeks and blood splashes all over the faces of the women as they struggle for power, as they fight for an equal place in a society characterized by male dominance. Truly, The Crucible and American Horror Story: Coven reveal the marginalization that women have suffered over years, it exposes the efforts that they put trying to get some power from the patriarchy in the bid to establish their own place in the world
American Horror Story: Coven. Perf. Robin Bartlett, Frances Conroy and Jessica Lange. N.d. Web.
MacKinnon, Catharine A. Toward a Feminist Theory of the State. Cambridge, Mass: Harvard University Press, 1989. Print.
Miller, Arthur, and Maureen Blakesley. The Crucible. Oxford: Heinemann Educational, 1992. Print.
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