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Rumors about Mercy’s encounter with Satan swirl around Salem. Tituba doubts the story. When Mercy visits and shows her the haircut, Tituba tells her that she suspects Pim was involved. Mercy confesses what happened and how she got caught up in making up the story.
But as the weeks pass and the girls get together at the parsonage, they act as if they are possessed, running about, flapping their arms, screaming. Abigail appears the most possessed and begins to mess with burning logs in the fireplace. Even Tituba thinks, “You could really believe [Abigail] was bewitched” (171). The town grows concerned. Determined to get to the bottom of the mystery, a neighbor, Mistress Sibley, tells Tituba that the next time the Reverend Parris is out of town, they will gather the girls and bake a witch cake to determine who is possessing the girls.
When Reverend Parris is in Boston, Mistress Sibley gathers four of the girls in the parsonage. She mixes rye meal with the girls’ urine into a batter and bakes the batter into a cake after first stopping up the chimney. As the cake bakes, the kitchen clouds with thick smoke. Mistress Sibley’s dog eats the cake, and Tituba, not buying into the witch cake idea, heads outside for air where she meets first Sarah Good, who comes by to say she is following Tituba’s prophecy and leaving Salem; then another neighbor, the ancient Mistress Osburne, arrives looking for some of Tituba’s herbs for medicinal tea. Tituba invites the two women to come into the house. She does not know that once the cake has been eaten, the first people who enter the room are said to be witches. Tituba enters, followed by Sarah Good and Mistress Osburne. Abigail identifies the three as the witches who have bewitched her.
The town whispers about Tituba—how the minister’s garden thrives when other gardens do not and how the minister’s farm animals are fat and healthy while others are starving. Tituba tells John, who worries the town is looking for witches to hang, “Hard work is what makes this place run smoother” (187). Nevertheless, that evening, Tituba pours water into a small bowl and sees a vision of her talking to the Reverend, who is seated at a table and writing furiously.
When Reverend John Hale arrives from Boston, John and Tituba realize the seriousness of the girls’ antics. At the meeting house, with the three women accused of witchcraft watching, Abigail runs about wildly, screaming about Satan. Tituba is asked to touch Abigail—the touch test would confirm Tituba is a witch if Abigail’s troubled spirit quiets upon her touch. That is exactly what happens: “I am doomed,” Tituba thinks (191).
When Tituba returns to the parsonage, an angry Parris confronts her. To have his slave accused of witchcraft might mean the termination of his appointment. He is determined to get a confession. He reviews the charges against her and tells her she needs to confess the following: When she spins flax, her fingers are so fast they must be bewitched; she talks to the farm animals; she has a familiar in the feral cat she adopted; she tells fortunes.
When the Reverend pushes her, Tituba admits she dreams of Barbados—Parris takes that as evidence that, like a witch, she can be two places at once. Frustrated by Tituba’s resistance to confessing, the Reverend Parris strikes her repeatedly “like a crazed man” until, reeling from the blows, Tituba says what Parris wants to hear: “I am a witch” (195). But she refuses to blame Abigail: “She may want more love and attention than we have given her” (199).
Later Tituba cautions her husband. The girls are claiming the Devil is a tall black man and, given that John is the only tall, black man in Salem, the town may come for him. Tituba tells him at the meeting house he must pretend to have a fit just like the girls. If he seems bewitched, the town will not accuse him of sorcery.
Two days later, Tituba, fearing her arrest, gets out the thunderstone from Barbados. The old native magician had told her that if she held the stone tightly and felt it move, she would avoid death. She tries it and feels the stone move. She is arrested just hours later. She is taken to the meeting house through a “howling mob” chanting, “Die, witch” (218). When she gets into the meeting house, fearing they will find the thunderstone and accuse her of magic, she tosses her precious stone into the fireplace.
She is alone with Reverend Parris. He shows her a document and tells her she must make an X at the bottom. It is her confession. She cannot read and has Parris read it to her. She refuses to sign a document that says she tried to hurt those girls. Tituba is then escorted to the big meeting room—on the way into the building, a great oak timber that had rested against the structure for years suddenly falls loudly to the ground. The strange occurrence gives Tituba pause: “How easy to believe that a god had spoken” (219).
As the novel moves toward the trial of the accused women, two critical ideas emerge: 1) Tituba is the most level-headed, logical, and clear-thinking resident of Salem; and 2) the Puritan villagers are more than willing to violate common sense to pursue their certainty that witchcraft is a real threat.
Among the highly educated settlers in Salem, Tituba is an unschooled, uneducated figure—she cannot even read. Yet, in these chapters, Tituba reveals a common-sense perception that defines her as a voice of reason in a world willingly, even deliberately, surrendering to madness.
Against the charge that witchcraft is responsible for how well the Parris farm runs, Tituba asserts her hard work alone is responsible; when Mistress Sibley conducts the absurd witch cake test and, in turn, fills the parsonage kitchen with thick smoke, Tituba wisely excuses herself to the fresh air outside. Tituba sees the psychological reality of Abigail and tells John that the girl lacks love and attention but that she is certainly not possessed. Tituba sees the absurdity of the so-called touch test; if the girls are to make their case, they can pretend to be possessed and just as easily stop pretending. Finally, Tituba wisely counsels John that to avoid his own persecution, he must pretend to be possessed as noisily and as publicly as the girls, a savvy move that ensures the safety of the man she loves. In short, Tituba exhibits the qualities that make for a novel’s hero: patience, honesty, kindness, insight, generosity, and resourcefulness. That these very virtues make Tituba an outcast and a criminal creates the novel’s irony.
The threat not from Satan but from these superstitious and heartless Puritans is demonstrated in Chapter 16 when Tituba is left alone with Reverend Parris. Parris is concerned only with his reputation and his need to keep his appointment. He needs a witch, a real witch that can be arrested and tried in a public court to vindicate his status in the community. The beating of Tituba (193-196) is shocking and disturbing, particularly for a YA novel. An appalled Tituba thinks, “No one had ever beaten her before” (194). The monstrousness of Reverend Parris surfaces: he is “alarming,” his face “contorted with rage,” and his breath “quick and uneven” (194). Gripped by “frenzy” (194), he pounds the table and rants until Tituba, fearful for life, relents and confesses what she knows is not true. He is no minister of God, no instrument of salvation—he is a bully and a dangerous fraud.
Even as the Puritans pursue their absurd charges against Tituba, the novel reveals genuine moments of strange magic involving Tituba that—unlike the witch cake or the touch test or the absurd logic of saying that because a homesick Tituba dreams of Barbados that she is flying to the island every night—legitimately offer a compelling vision of a world beyond the understanding, a world beyond the intellect. Tituba sees a vision of her standing in her brown dress being addressed by a furiously-writing Reverend Parris, a tableau that will be replayed in just a few days. Does that thunderstone move in her hand? Does the magic amulet from the island move foretell that Tituba will survive the ordeal of the witch hysteria? The novel refuses to deny either event validity. In fact, these inexplicable supernatural moments both soon come to pass.
Perhaps the confusion in Salem is best symbolized by the heavy smoke that floods the parsonage kitchen so bad that Tituba heads out the door to the fresh air. In that hanging smoke (which suggests distorted and unreliable vision), three entirely innocent women—Sarah Good, Sarah Osburne, and Tituba herself—are first identified as witches.



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