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Essay / Research Paper Abstract
A 9 page paper which analyzes the characters of Tituba and Reverend Samuel Parris in “I, Tituba, Black Witch of Salem,” John Proctor and Abigail Williams in “The Crucible” film, and Goodman Brown and Satan. Bibliography lists 11 sources.
Page Count:
9 pages (~225 words per page)
File: TG15_TGtitcruygb.rtf
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Unformatted sample text from the term paper:
of humankind has been the moral struggle between good and evil. Evil can take many forms, but it is always rooted in Satan or the antichrist. The natural
assumption has historically been that since God created man/woman in His own image, he/she is inherently good. Therefore, whenever a man or woman takes a detour from the moral
straight and narrow, there has to be some type of external cause responsible for the dramatic shifting of course. The logical conclusion to draw was that a spell must
have been cast upon the unfortunate persons soul. In other words, the evil acts were not instinctive; but rather, the Devil made them do it. Two compelling literary
works, Maryse Cond?s 1992 novel, I, Tituba, Black Witch of Salem; Nathaniel Hawthornes 1835 short story, "Young Goodman Brown," and a 1996 film based on Arthur Millers 1953 play, The
Crucible, feature the theme of good vs. evil, and consider its repercussions on the respective protagonists and antagonists. In none of these works do the characters ride off into
the sunset and live happily ever after. This seems to suggest that once their moral foundations had been cracked, the damage was irreparable. In I, Tituba, the Black Witch
of Salem, the protagonist is the misunderstood Tituba, a real-life woman who had been transported to Salem from the West Indies at the height of the seventeenth-century slave trade.
She is a strong-willed woman who brought much of her Indian culture with her in the form of healing concoctions (misconstrued as spells) that she uses to assist her master,
Reverend Samuel Parris, his wife Elizabeth, daughter Elizabeth ("Betsey") and niece, Abigail Williams. The novels first-person narrative allows author Maryse Cond? considerable creative license to mold Tituba into the
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