This essay aims to deconstruct Miller`s The Crucible, a tragedy which constructs the male protagonist as a noble tragic hero and reinforces stereotypes of femme fatales and cold wives in order to assert apparently universal (but patriarchal) values. The Crucible sets up John Proctor as a tragically heroic common man, a just man who are humanly tempted in a universe gone mad, while dichotomizing the female characters such as Elizabeth and Abigail into the two divided roles of angel and witch. I criticize Miller`s patriarchal way of understanding the Salem witch trial in The Crucible, not through the thematic arguments Miller the patriarchal bard demonstrates but through the tragic narrative frame of truth-seeking and confession, deeply ingrained in the Puritan creeds and practices. That is, I propose that Miller`s use of the traditional tregic genre be closely linked to his patriarchal politics. In reading up against Miller`s aesthetic paradigm which lures us into a belief that Proctor is a martyr who sacrifices his life to preserve his integrity (against outside forces to tyramize him), I am also re(dis)covering the witches/women, who are severely blamed for their sexual transgression or sexually cold attitude in the play-text, into the positive figures who provide men with nurturing or sexual love. By finding an elsewhere in Miller`s play-text, from which to re-view the female characters, I hope to contribute to demythologizing Miller`s patriarchal version of the Salem witch trial which is based on the gynophobia (fear and distrust of women) as well as paranoia. Drawing on Laura Mulvey`s theory of visual pleasure in cinema, Jill Doran`s theory of feminist spectatorship in drama, and Kathleen McLuskie`s feminist deconstruction of Shakespeare`s plays, I locate my reading in the context of recent feminist attempt to re-construct male canonical works to produce "feminine pleasure."