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Role of Reverend Hale in Robert Ward's The Crucible Jefferies, David Robert 2001

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ROLE OF REVEREND HALE IN ROBERT WARD'S THE CRUCIBLE by DAVID ROBERT JEFFERIES B.A., Queen's U n i v e r s i t y ,  1993  A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC (OPERA) in THE FACULTY OF GRADUATE STUDIES (School of Music)  We accept t h i s t h e s i s as conforming to the r e q u i r e d standard  THE UNIVERSITY OF BRITISH COLUMBIA April ©  2001  David Robert J e f f e r i e s Adot  In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department  or  by his or  her  representatives.  It  is understood  that copying or  publication of this thesis for financial gain shall not be allowed without my written permission.  Department of The University of British Columbia Vancouver, Canada  DE-6 (2/88)  UBCMUSIC  The Crucible An opera in four acts based on the play by Arthur Miller  Music by Robert Ward Libretto by Bernard Stambler with T h e U B C Opera Ensemble & The U B C Symphony Orchestra  Conductor - Jesse Read Stage Director - Nancy Hermiston Musical Director - Richard Epp Set & Costume Design by Alessia Carpoca Light Design by Jeremy Baxter  T h e r e w i l l be o n e t w e n t y - m i n u t e i n t e r m i s s i o n  Chan Shun Concert Hall  M a r c h 1, 2, 3 , 4 , 2001  THIS PRESENTATION IS MADE POSSIBLE BY GENEROUS ASSISTANCE THROUGH THE CHAN ENDOWMENT FUND OF THE UNIVERSITY OF BRITISH COLUMBIA  A Message from the Conductor and Director of the U B C School of Music Welcome to a memorable night of opera! I hope you will savor this evening, the ideal kind of dicatre experience, an opera based on a great piece of dramatic art-Arthur Miller's striking play, a score from a legendary composer who has graced us with his presence, a sharply-defined visual and theatrical setting which compliments and supports the story, all performed by the singers and musicians Irom what is emerging as the most exciting opera training program in Canada! We are proud of this production, excited that UBC, the School of Music and the Department of 1 heatre, Film and Creative Writing can collaborate again to bring you into its midst. As the Director of the School and conductor ol tonight's performance, I share your excitement, enthusiasm and sense ol appreciation lor the talent and dedication necessary to give birth to such a moving and dramatic production. Thank you for joining us. Warm wishes.  Jesse Read - Conductor, Director U B C School of Music  A Message from the Head of Theatre, Film and Creative Writing  T h e Performing Arts are too often assumed to be just entertainment. Theatre in all its forms, has been a crucial part of our societal development, with an importance far beyond the merely diversionary. The Crucible is a case in point. In 1950, the play was Arthur Millers response to a social injustice, and it gave us a picttire of how we behave in the throes of political hysteria. Robert Ward's operatic work makes this picture even more poignant and more accessible to an even broader audience.  The De-  partment of Theatre, Film and Creative Writing is proud to join with the Opera Program to present this classic, relevant and important story.  Ron Hedoruk - Head of Theatre, Film and Creative Writing, U B C  5  About the-Composer Robert Ward was born in 1917 in Cleveland, O h i o . H e studied with Howard H a n s o n and Bernard Rogers at the Eastman School o f Music; with Frederick Jacobi, Bernard Wagenaar, Albert Stoessel and Edgar Schenkman at the Juilliard Graduate School, and with Aaron C o p l a n d at the Berkshire M u s i c Center. H e has served on the faculties o f Queens College, C o l u m b i a University, and the Juilliard School of M u s i c where he was also Assistant to the President from 1952 to 1956. H e was the Director o f the T h i r d Street M u s i c School Settlement from 1952 to 1955. H e was Executive Vice-President and Managing Editor o f Galaxy Music Corporation and hfighgatc Press until 1967 when he became President o f the N o r t h Carolina School o f the Arts. U n t i l his retirement in 1987, he was the M a r y D u k e Biddlc Professor of M u s i c at D u k e University. M r . Ward's large and distinguished musical creation has, in large measure, been commissioned by the N e w York C i t y Opera, Broadcast Music. Inc., the N e w York Philharmonic, the Friends o f D u m b a r t o n Oaks, the Juilliard Musical Foundation, and many others. H i s opera, 735* Crucible, based on the play by A r t h u r Miller, won both the 1962 Pulitzer Prize for M u s i c and the N e w York M u s i c Critics Circle Citation for the same year.  A Message from the Director Robert Ward's opera The Crucible gives us pause to think o f our own human strengths and weaknesses. We have chosen to give the piece no fixed period as the issues addressed by this very moving work are ones which have remained with us long before and long after those Puritan days o f Salem. O n e needs only to look into our history books, listen to the 6:00 o'clock news, enter some schools, universities, colleges or even some courts and churches to see that mass hysteria, mob mentality, persecution, jealousy, hatred, sexual repression, and the darker sides o f power and love are as present now as they were in Salem or in Miller's 1950 U . S society. T h r o u g h this most disturbing and inspiring work both M i l l e r and Ward provide us with the opportunity to find, as does John Proctor, "that shred o f goodness" in ourselves. W h e n asked what the opera has to say to modern audiences, Robert Ward replied: "We think events like the Salem witch trials or the M c C a r t h y hearings can't happen again, but as we look around us in the world, we see the same conditions recur again and again." It is a great honour and privilege to have the composer with us for this production.  Nancy Hermiston Director U B C Opera Ensemble  U B C O P E R A  E N S E M B L E  The Opera Ensemble and I would like to thank you for your continued support and interest. The 2000/2001 season has been a most exciting and active one. Our collaboration with the Opera House in Usti nad Labem, Czech Republic, was a most successful and rewarding venture. A highlight of our European schedule was our performances of Gdrtnerin aus Liebe in the Stovosky Theatre, Prague, where Mozarr premiered his Don Giovanni. A further consequence of this venture was the collaboration between the Usti Opera House and the Opera Ensemble in this production of The Crucible. O n Sept. 21, 2001 the Opera House in Usti will present the Czech premiere of The Crucible with this production featuring a Czcch/UBC Opera Ensemble cast. We return to Usti in May and June to perform three operas, Gounod's, Faust in French, Janacck's The Cunning Little Vixen in Czech, and Mozart's Gdrtnerin aus Liebe in German. Internationally renowned conductor David Aglcr will conduct the Faust performances while Usti's General Music Director; Norbert Baxa will lead the Vixen and Gdrtnerin. The Ensemble will complete its tour ar the International Festival for Young Opera Singers in the University town of Erlangen, Germany with a performance of Gdrtnerin aus Liebe on July 1, Canada Day. Along with their colleagues from Usti the Ensemble will share rhis Festival with singers Irom Italy and Germany. Our season has also included the annual David Spencer Memorial concert, our Christmas production a$ Hansel and Gretel many community concerrs and a tour to Cranbrook, B.C. with our shortened school version of Hanseland  Gretel,  where approximately 1500 children attended our performances. In addition, we participated with Italy's Ruggiero Ensemble in a production of Monteverdi's ll Ritorno d'Ulisse di Palria. After The Crucible we will join the Choral Union and Wind Symphony for Operatic excerpts Mar. 23 & 24 and present three evenings of Operatic Bon Bons on Apr. 20, 21, & 22 in the Old Auditorium, featuring excerprs from Faust, Otello, Romeo and Juliette, Hamlet and Sir John In Love, with guest directors, Irving Guttman and Mari Hahn. - Nancy Flermiston  T H E RHONWEN MELISSA NEEMA  OPERA ENSEMBLE EXECUTIVE ADAMS  BENCIC BICKERSTETH  ALEXIS BARTHELEMY KATY  JEANINE  RHOSLYN JONES  RILEY  JANET  JUSTIN  VANDERTOL  BOWEN-ROBERTS FYNN  MCMITCHELL WELSH  The Crucible by Robert Ward  Cast  March I & 3  March 2 & 4  Betty Parris  Katy Bowen-Roberts  Dory Hayley  Reverend Parris  Russell Robson  Phillip Grant  Tituba  Beverly McArrhur  Kathcrine Landry  Abigail Williams  Melanie Krueger  Mari Hahn  A n n Putnam  Shauna Martin  Cindy Koistinen  Thomas Putnam  Elio Catana  Krzysztof Biernacki  Rebecca Nurse  Jeanine Fynn  Suzanne Abbott  Francis Nurse  Joel Klein  Pierre Hungr  Giles C o r e y  Craig Johnson  Neil Wright  J o h n Proctor  *Gil Anderson  * Andrew Greenwood  Reverend H a l e  David Jefieries  Shae Apland  Elizabeth Proctor  Alexis Barthelemy  Sandra Stringer  M a r y Warren  Maaike deBruyn(M.irch 1st) Neema Bickersteth  Sheila Christie IMarcli  3rd]  E7.ckicl C h c c v c r  Ian Paul  Alex Good  Judge D a n f o r t h  Neil Wright  Philippe Castagner  Sarah G o o d  Elaine Lee  Ruth Putnam  Jinny Park  Rhoslyn Jones  Susanna Walcott  Mia Harris  Paula MacNeil  M e r c y Lewis  Soula Parassidis  Alexandria Beck  M a r t h a Shelton  Charis Vanelst  Rosa Nam  Bridget B o o t h  Rhonwen Adams  Katie Cross  _ Elizabeth Cushnie  *by permission o f Canadian Actor's Equity Association  Chorus Stephen Bell  Jerome Dubois  Jeannette Gibault  Andrew Jameson  Amy LaFroy  Michael Mori  Steven Rathjcn  Mark Sampson  Janet Vandertol  IIIH.HUilO  ORCHESTRA VIOLIN 1 +Alycia Au Ruth Huang Evet Bo-Kyoung Kim Adrian Dyck  BASS * Leanna Wong Peggy Tong Jennifer Chu Jessy Giammarino  Amanda Hsueh James Wei Angela Hodgson Amy Pei  FLUTES *Tara Whittaker Greg Kirczenow (piccolo)  Amelia Mori Jenny Atkinson  OBOE & ENGLISH HORN  Ruth Houtman  Marisa Chang  VIOLIN 2 *Gillian Mott Brooke Day James Hill  CLARINETS *Eileen Walsh Jennifer McEnhill Amanda Beatty (bass clarinet]  Denise Ng Jessica Wan Trevor Pearce  BASSOONS Meghan Dahl  Vincent Wong Phyllis Ho Heather Liau Jack Tsai VIOLA *Beth Schaufele Aaron Butler  HORNS *Megan Smith David Quackenbush TRUMPETS *Meghan Turner Chris Mitchell  Szabolcs Kahok Suzanne Schwcikle-Davey Gillian Hunter CELLO *Colin Giles  BASS TROMBONES Peter Waldkirch TIMPANI & PERCUSSION Bruce Henczel  Dicderik van Dijk Anne Davison Seung Young Song  LIBRARIAN Peggy Wong  Lucas Wong Sarah Tippett  MANAGER  Alexandra Sia  Colin Giles  Hsin-Pei Liu  + CONCERT MASTER * SECTION LEAOER  »*  PRODUCTION FOR THE OPERA  DEPARTMENT  MUSIC  DIRECTOR  RICHARD EPP REPETITEURS DANIEL C H O W D O N N A FALCONER B R E T T KINGSBURY TECHNICAL DIRECTOR CAMERON M C G I L L TECHNICAL COORDINATOR JASON BOSHER WIGS ELKE ENGLICHT H E A D OF PROPERTIES VALERIE MOFFAT PROP BUILDER MAKE-UP N E L VOLRICH L I G H T I N G ASSISTANT M I K E INWOOD LIGHTING BOARD OPERATOR JEREMY BAXTER PAINTERS GENNIEWILLOUGHBY-PRICE COSTUMES O P E R A H O U S E , USTI NAD LABEM, C Z E C H REPUBLIC C O S T U M E COORDINATOR LYDIA HIEBERT  PRODUCTION STAGE M A N A G E R PEGGY JAMESON* ASSISTANT S T A G E M A N A G E R S APRIL LAWRENCE M A Y A SANDERS STAGE C R E W LAURA PARSON STACY LANDERS  FOR T H E THEATRE DEPARTMENT TECHNICAL DIRECTOR IAN P R A T T PRODUCTION M A N A G E R ROBERT EBERLE PROPS SUPERVISORS JANET BICKFORD LYNN BURTON C O S T U M E SUPERVISORS JEAN DRISCOLL-BELL S T A G E CARPENTERS J I M FERGUSSON DON JAY  GRIFFITHS HENRICKSON  BUSINESS M A N A G E R MARIETTA KOZAK COMMUNICATIONS JOAN W E L L W O O D POSTER D E S I G N JAMES A . G L E N BOX  OFFICE  GERRY BRATZ O F F I C E SUPPORT G . VANDERWOUDE  Media Sponsors  C B C «||»  rad io^S^  YQSQfcmm.  PROGRAM LAYOUT M A R Y K E FLAMELING  AND Btmm\  ACKNOWLEDGEMENTS The Chan Family, Michael Noon The Vancouver Opera, The Vancouver Playhouse, The Arts Club Theatre, Valerie Moffat, School of Music Office Staff, Phyllis Lavalle and The Friends of U B C Opera, David Spencer Endowment Encouragement Fund, Enchanted Florist, Ian Pratt, Thomas Thompson, U B C Opera Ensemble, The Moving Guys, and Jim Wright General Director of The Vancouver Opera A Special Thank You to the Vancouver Opera Guild for their donation to this production.  The Crucible - Synopsis Act 1  The curtain rises on the Reverend Samuel Parris kneeling distraught at the bed of his daughter Betty. She lies immobile and scarcely breathing, as she has lain since Parris came upon her and her cousin Abigail dancing in the woods the night before. Tititba comes to ask about Betty but is angrily sent away. Abigail enters to say that the town is whispering of witchcraft and that Parris should go out to make denial. He bitterly turns on her to question her about the dancing and about her mysterious dismissal from the service o f the Proctors. As she vehemently denies any wrongdoing, attributing her dismissal ro Goodwifc Proctor's arrogant desire lor a slave, the Putnams enter to tell that their Ruth was stricken at the same time as Betty Parris and that they have sent to Beverly for the Reverend Hale, known for his skill in discovering witches. While Parris, fearful o f any suspicion o f witchcraft in his own household, is anxiously doubting the need for Hale, Rebecca and Francis Nurse enter with Giles Corey. Rebecca is comforting, old Giles is flippant about the illness of the girls. W h e n Putnam insists that witches are at work in Salem, Giles accuses h i m of using a witch scare to defraud his neighbors of their land. John Proctor's entrance only brings this quarrel to a higher peak. (Abigail, though silent in the upper room, visibly reacts with excitement to John's entrance.) Rebecca reprimands the men for this untimely squabble in a house o f illness, and calls them back to their senses. Giles departs with John. They sing a psalm to beseech God's help. As the psalm proceeds, Betty begins to writhe on the bed and then with an unearthly shriek tries to fly out o f the window. They rush to her side. In the midst of the commotion the Reverend Hale enters. H e calms them with his air of authority and then methodically sets an inquiry under way. He'soon learns thatTituba has played an important role in what has been happening, having also been present at the dancing. A n n Putnam asserts thatTituba knows conjuring. Tituba is sent for; at her entrance, Abigail, who has been under severe inquisition by Hale, lashes out to accuse Tituba o f compacting with the Devil. Tituba, overwhelmed by the sternness o f Hale and the malevolent intensity o f Parris and the Putnams, finally confesses that she has been visited by the Devil, but denies that he has persuaded her into any wrongdoing-for a few moments she frightens Parris and the Putnams with a heartfelt fantasy o f the hellish power to bring them harm that the Devil had offered her. W i t h Tituba's confession the spell over Betty is broken. A l l return to the psalm in great thanksgiving, while Abby envies the attention now being given to Tituba, hysterically repents her own compact with the Devil, and visibly receives an answer to her prayer for forgiveness and for a call to mark out others o f the Devil's crew.  Act II John Proctor returns from a clay's planting to find Elizabeth listless and moody. In her mind the witch trials have become an aggravation o f her domestic troubles, with Abby at the center of both. She insists that John expose Abby's fraud to Judge Danforth; his reluctance to do this convinces her that he still has a warm spot in his heart for Abby. John's self-defense is double: that he has no witness to what Abby told him, and that she will avenge herself by revealing John's adultery with her. A n d he is fed up with Elizabeths sitting in condemnatory judgment upon h i m . She gently denies this but regrets the vanished sweetness o f their love. Abby, she says, will not confess the lechery lest she damn herself. A n d what o f those who suffer in jail because o f John's silence? N o , John must tear the last feeling for Abby out o f his heart, or she will never give up hope o f some day having him for her own. Mary Warren enters furtively from her day at court as one o f Abby's crew o f witchfinders. She tells, breaking into tears, that the number of those arrested has tripled-and that G o o d y Osborn has been condemned to hang! She is truly troubled by this, and by her own part in it, but demonstrates how the mob excitement o f the courtroom procedure turns her into an hysterical accuser even against her own will. W h e n John threatens to whip her i f she ever returns to that court she blurts out that Goody Proctor herself has been mentioned in court and that only Mary's defense o f her prevented an outright accusation. Elizabeth is sure that Abby is behind this and is once more pleading with John to got o the court when Reverend Hale and John Cheever enter with a warrant for her arrest: that very evening Abby has charged Elizabeth with employing a witch's poppet to kill her. John makes M a r y acknowledge it is her poppet, but Hale, although deeply troubled by these new directions of the witch-hunts, feels that he must arrest Elizabeth for examination. John is about to burst out wildly to prevent their taking Elizabeth away, but i n stead turns with intense but controlled passion upon Mary: she will tell her story in court even though it may provoke a charge o f adultery from Abby and ruin both Abby and John completely-anything rather than that Elizabeth should be in danger for his sake. Act III  Scene 1. Abby, with a mixture o f scheming but passionate love for John and a mystical belief in her mission, tries to persuade John to abandon Elizabeth and to join her in the holy work o f cleansing the puritanically corrupt town. H e will not listen to this, but instead pleads that she free the town from the curse of her foolish wickedness, and then threatens to expose her fraud. She defies h i m : now any dire fate that descends on Elizabeth will be o f his doing.  Scene 2,  Judge Danforth's invocation in court reveals the strength and fervor of his conviction that God's will is working through him to cleanse the land of a plague of witches. As court opens, Giles Corey accuses Thomas Putnam, in his greed for his neighbors' land, of having bragged of his role in the charges of witchcraft. Judge Danforth sends Corey to jail and torture for refusing to name his witnesses for this accusation. There is a great hubbub as Giles leaps at Putnam as the man responsible for the arrest of his wife and himself, and of Rebecca Nurse as well. John Proctor presents Mary Warren's deposition that the entire crying-out against witches started only as an exciting game for the girls-and is a complete pretense and fraud. But Abby, he says, has continued the game in an effort to dispose of Elizabeth. Her encouragement to this arose from the adultery that took place between Abby and himself, which he is now confessing. When Elizabeth, ordinarily incapable of a lie, is brought in and fails to confirm John's confession; Abigail counterattacks, charging that Mary herself has turned witch. Mary, helpless and then hysterical, turns on John Proctor-accusing him of being the Devil's man who has forced her into trying to confuse anil overthrow the court. All but the Reverend I lale close in on John Proctor with sadistic vindictiveness. Act I V Tituba and Sarah Good, crazed by the rigors of imprisonment, sing of the Devil and his broken promises to them. Abby comes into the prison courtyard; she has bribed the jailer to permit Proctor to escape. John, although broken by the months of prison and torture, scornfully rejects the freedom and love she offers him. Abby runs off weeping. Hale, and then Parris, try to persuade Judge Danforth to postpone the executions of Proctor and Rebecca Nurse scheduled for that morning: Salem may break into open rebellion at the execution of such respected citizens. Danforth indignantly refuses, but agrees to ask Elizabeth to persuade her husband to confess. John is brought in and left alone with Elizabeth. She tells him that Giles Corey has died, pressed to death rather than say aye or nay to the charge of witchcraft, but that many have confessed in order to save their lives. John reluctantly brings out his own wish to confess-if it will not make her think ill of him for lying. Passionately sh5 answers that it was her lie that doomed him-and that she wants him alive. Exultant, he shouts that he will confess to the charge of witchcraft. Danforth, Hale, and Parris rejoice-for their various reasons-over John's confession, and Parris tries to persuade Rebecca, who has been brought in on the way to the gallows, also to confess. She refuses to damn herself with the lie. John is asked to sign his confession, that it may be exhibited before the town. But this is too much: he has deeply shamed himself by confessing, but he will not set his hand to the destruction of his own namc-and the eternal shame of his sons. He tears up the document. In fury Danforth orders John and Rebecca to be led out to execution. Hale pleads with Elizabeth that she change John's decision while there is yet time. She refuses: "He has found his name and his goodness now-God forbid I take it from him."  Images-and Texts about the Salem Witch Trials  A Modeft Enquiry Iito the Nature of  Witchcraft, AND How Pcribns Guilty of that Crimt miy he Cewitlrd : And the rmaru ulcd for their Dilovcry DilcufTetl, both Nr^ati-Jtlj and Affirmativel}. .according to SCR IT1VKE and  EXfERlEBcE.  .  "' By John %&lt, Paftor of (he Church of Chrilt in Jfovtrlty, Ann*  Demtui  I i  9 yl |Sj V v  It*:-!'if Sf trill ,r.> mula tr-^x-ii: it a: ftff,i(t. TO th* t.tur And I* ll' TtBimonj J if it»J \frsic  net ****d>*X '» **"  it w AteaijCt t^n w a*  ti hifrt:«m, ILiah Viii. 1 9 , t O . . Ti«w which i. fit *»>t*4*f> *h*mmt \.to ;4 ) i * t  t  O S T O N i» N . £• j). G n m , and 7- ^ftfw, I'm i«* oruler the T o w n I loufe. xfot  Above: "The Trial of (reorge Jacobs. August 5, 1692" hyTM. Minir-son. I K H 5 Left: ihe inside cover of a book wriiten by Rev. I on ihe examination ol" witches.  WARRANT FOR T H E ARREST O FELZABETH  PROCTOR  A N D S A R A H C L O Y C E ( A P R I L 4, 1692): There Being Complaint this day made (Before us) by capt Jonat Walcott, and Lt Natheniell Ingersull both of Salem Village, in Behalfe of theire Majestiesfor themselfes and also for severall of their Neighbours Against Sarah Cloyce the wife of peter Cloyce oj Salem Village; and Elizabeth Proctor the wife of John Proctor of Salem farmes for high Suspition of Sundry acts ofWitchcraft donne or Committed by them upon the bodys of Abigail Williams, and John Indian both of Mr Sam parris his family of Salem Village and mary Walcott daughterof the abovesaid Complainants, And Ann Putnam and Marcy Lewis of the famyly of Thomas Putnam of Salem Village whereby great hurt and dammage hath beene donne to the Bodys of s'd persons above named therefore Craved Justice. You are therefore in theire Majest's names hereby required to apprehend and bring before us Sarah Cloyce the wife ofpeter Cloyce of Salem Village and Elizabeth proctor the wife of John Procter of Salem farmes; on Munday Morneing Next being the Eleventh day of this Instant Aprill aboute Eleven of the Clock, at the publike Meeting house in the Towne, in order to theire Examination Relateing to thepremesis aboves d and here of you are. not to faile Dated Salem Aprill 8 'th 1692 To George Herick Marshall of the County ofessex John Hathorne Jonathan Corwin  Assists  iM  T h e Deposition o f Sain Parris, Nathaniel Ingersoll, and Thomas Putnam [pictured below] T h e Deposition o f Sam: l'arris aged about.39.years, & Nathanael Ingcrsol aged about fifty & eight years, & Thomas Putnam aged about fourry years all o f Salem testifyeth & saith that John Indian, Ann Putman & Abigail Williams & others o f the bewitched persons were severall times & greivously tortured at the Examination of Elizabeth Proctor wife l o John Proctor o f Salem Farmes before the Honoured Magistrates the. II' th A p r i l . 1692 . & particularly that Eliz: Hubbard was in a Trance during the whole examination unable to speak a word tho often called upon by s'd Magistrates, & also the said Abigail Williams & A n n Putman then tcstifyed that they saw this Eli/.: Proctor & her husband John Proctor severall times afflicting o f Bathshua Pope the wife o f Joseph Pope o f Salem Yeoman, at which times the said Bathshua Pope was seized with violent fits: 6V farther that the said Abigail Williams cxT A n n Putnam, both ol them made oiler to strike al said Eliz. Proctor, but when said Abigails hand came near to said Eliz: Proctor it upend (whereas it was made up into a fist before) & came down exceeding lightly as it drew near to said Proctor, & at length with open & extended fingers touche said Proctors hood very lightly, & immediately said Abigail cryed out, D h ! my fingers, myfingers,m yfingersburne, & A n n Putman took on most greviously o f her head, & sunk down, as far as she could being held up by such as tended her. - Nath: Ingatson and thorn. Putman did on their oaths owne this their testimonies lo be the truth be lore the Juriors ol hurtles litis JO ol June 1692.  tit. . A / l W i A ^  (r<*h  . jwi  iffafH  Jo£u~-  a^B of  /«*«T  f^itf. K*i-  <M«£ ag^L  -  . j».  f  _  Sbi<**.*dLfatiu*C-  —  ~~ —  p^JLU^!ftnt\JUt-a^ b-/tf^oXL  WJAwi 1/ aU&j ofH. f.,.^ul put-, t„hot.l <* l£. a ^ — n a t ^ . rf '(~,ni,U fait* » " / ' ••' f*t~ fatff f„e»'.. „ , i w bfnt. Jhi HitHvmtJ /:t*..fif:toJti M/4 JI ,,4p/t*~^ • ti£t._ • If .UAAV.^U.-**- i&u iCsx: ft^i-taJ* VOA }*~ <\ r:..li«L / ^.ny ti. VJA,{I t \ t t i k ^ » . U * * t * ^ t lo j>tu/< a n'cpt (U rfk*. 4, f- * fflwtlyJ*. V U t ; i u - ../I.. .I>' I ' . l U o r v '•' JVK-  ».,,,  f  t>jj-«..^  i^ ,tt  tv  1  c  4  /')'.,',../  '„....< • ..  '  •  I.-...I  U*H | , w  | U  (/'• • > W "  «f*Ai -tiwj^s<. I i « w  v . "  kl..< '.V., .. 1),.(lt  <\,.l.-»  t  t> >'•'  *»y*""^  «*•< ' «• <w*  V .-/>'"  SJ  , i-l. . • • / / « « . . •  /W>i  »y* y M / c *««.<*.-7*•  A^')*J> A . ' ) ' " "»»>l* 1*1 • tep.it' t P Utt^../if"/... / . / . o n . .' •' « « < .'.->•  /„(_  l*'iC(M.  *'l. ' t  *1~  ;V%li  ~f~  M  iu  J*>  r f-  To learn more about the Salem Witch Trials, visit the website http://etext.virginia.edu/salem/witchcraft  SIEGFRIED JERUSALEM (tenor)  IN CONCERT  R e n o w n e d in B a y r e u t h circles f o r his m a s t e r f u l i n t e r p r e t a t i o n of G e r m a n o p e r a a n d art s o n g , t h e great W a g n e r i a n t e n o r m a k e s a rare recital a p p e a r a n c e at t h e C h a n .  SATURDAY MARCH 17, 8:00pm Tickets a v a i l a b l e at T i c k e t m a s t e r [280-3311] or call t h e C h a n Centre B o x Office at 822-2697  UBCMUSIC  Upcoming Events  Masterclasses with Siegfried Jerusalem M a r c h 12-14 O l d Auditorium M a r c h 15 Student Concert  Recital H a l l  Admission: $5.00 for each class and student concert Masterclass Pass: Admission to all Masterclasses and the Student Concert: $20.00 U B C music students: Free admission A Concert o f Operatic Excerprs M a r c h 23 & 24 8:00pm C h a n Centre for the Performing Arts U B C Ensemble, U B C Choral U n i o n , U B C Symphonic W i n d Ensemble Admission by donation U B C Symphony Orchestra A p r i l 5, 12:30pm April 6, 8:00pm Free admission  C h a n Centre for the Performing Arts  Masterclasses with D a w n Upshaw A p r i l 12, 12:00pm-2:()0pm C h a n Centre for the Performing Arts Admission: $10/$15 at the door Opera B o n Bons A p r i l 20 & 21, 8:00pm A p r i l 22, 3:00pm  O l d Auditorium  Excerpts from Othello, Hamlet, Romeo and Juliette, Sir John in Love, and Faust Guest directors: Irving G u n m a n and M a r i H a h n Admission by donation  For more concert information visit The School of Music website at:  www.music.ubc.ca  or phone 822-5574  

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