When accused of witchcraft, Abigailās subsequent fear leads her to exclaim āI want the light of God, I want the sweet love of Jesus!ā. The yearnful anaphora and divine invocations produce a cumulative image of religious obedience, while the stage directions āgreat gleeā and āecstatic criesā aurally cement how conformity brings her joyful liberation from her fears, illustrating the self-preservative motivations of individuals. Paralleling the wrongful empowerment of false accusers during the HUAC trials, Abigailās insincere piety transfigures her tarnished reputation into that of a pure āsaintā performing āGodās workā and her fear paradoxically enables her to harness the fear of others