However, for the purposes of this paper what I want to identify is the socio-political mechanism of sublimation at work both in the context of the production of The Crucible and within its narrative and staging. But secondly, and as allegory specifically, we could consider it a sort of sublimated political gesture: Miller’s protest against a modern-day witch hunt finding its expression in an alternative form. As an allegory of McCarthyite anti-communist hysteria in 1950s America, the play could itself be considered a form of sublimation: firstly, of course, in the way that all creative works can be understood, in the Freudian context, as a diversion of the drives (1916-17). In 1952, Arthur Miller wrote The Crucible – a fictionalised staging of the 1692 Salem witch trials.
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