Notesale: Turn your study into money

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A​N​ I​NSPECTOR​ C​ALLS​ - C​HARACTERS​ ​AND​ ​THEMES
ARTHUR BIRLING
W​HAT​ I​ S​ T​ HIS​ ​CHARACTER​ ​LIKE​?
● Egotistical, Chauvinistic, Self-regarding, Disinclined, Capitalist, Intransigent,
Adamant, Avaricious, Mercenary, Rapacious, Sanctimonious, Polarised
● Mr Birling is Priestley’s socialist depiction of the vast majority of his class and
generation at the time and is a culmination of everything Priestley fought
against in society – the chauvinistic capitalists
...

● Arthur Birling’s significance is to represent the absurdity and shallowness of
capitalism and the evident need for revolutionary developments to be made to
society
...

● Priestley makes him the antithesis of the Inspector through the use of his
dictation and authority - Birling has artificial authority based on money and
social prestige, whereas the Inspector has authority deriving from morality and
justice and has the power to influence the mindset of many people
...

● ‘You ought to like this port, Gerald
...
Finchley told me
it's the same port your father gets from him’​ - socially insecure as Gerald
exceeds him in terms of social status, Priestley is using the port as a symbol to
reveal that Mr Birling is a materialistic character who cares about his status
and reputation above all else, uses it to ingratiate himself to his prospective
son-in-law
...
And after all I don’t often
make speeches at you-' ​– highlights his attempts to indoctrinate Sheila with
capitalist propaganda, the direct address to Sheila exhibits that Mr Birling
wants Shelia’s utmost attention as he expresses his materialistic ideologies
such, presenting Birling as manipulative and calculated
...

‘Clothes mean something quite different to a woman
...

‘I’m talking as a hard-headed, practical man of business’​ – doesn’t let
sentiment get in the way of whatever he needs to do to succeed, his prime
motive is to keep wages down and maximise profit, he has a high opinion of his
own importance, alliteration conveys a sense of aggression and forcefulness
...

Don't worry
...
They were joined by dockworkers, ironworkers, printers,
railwaymen, steelworkers and transport workers
...

‘I say there isn’t a chance of war’​ – sensitive topic, use of dramatic irony
allows the war-devastated 1945 audience to use hindsight to realise that
Birling’s confident predictions are foolish and injudicious, as the events turned
out in the opposite way he foresees them occurring, the First World War would
begin in July 1914, and last for over 4 years, killing 16 million soldiers and
civilians, and would be followed by WW2 in 1939 - global conflict was
imminent in 1912, undermining his credibility and reliability, further convinces
Priestley’s idea of socialism by presenting Capitalist Mr Birling, a
representative of capitalism, as short-sighted and making the audience resent
him and cast doubt over his capitalist ideas
...


● ‘​As if we were all mixed up together like bees in a hive – community and
all that nonsense’ - ​Mr Birling’s referral to ‘community’ and the idea of ‘bees
in a hive’ as ‘nonsense’ indicates his lack of social awareness as once this simile
has been ruminated, the audience will realise that ‘bees in a hive’ bring about
beneficial things to society
...

● ‘I was an alderman for years – and Lord Mayor two years ago’ – ​Mr Birling
constantly attempts to assert his social class and status through reference to
his previous positions of power, as a defense mechanism, when he feels his
position being challenged by the Inspector’s authority
...
,
instinctive action requiring little consideration
...

● ‘There’ll be a public scandal’ ​–mercenary,​ ​sees his business interests and
public image as imperative to the obligations of others in society, shows a lack
of concern for the death of one of his former employees
...

● [Act 3] ‘​There’s every excuse for what both your mother and I did’​ – moral
standing is not resolved, lack of regret or remorse for his actions, doesn’t learn
from the Inspector’s words, unwilling to change, traditionalist
...

● ‘Look, you’d better ask Gerald for that ring you gave back to him, hadn’t
you? Then you’ll feel better'​ - attempting to re-build relationship between his
daughter and ex-fiancé, simply for his financial gain
...

● ‘Probably a socialist or some sort of crank’​ – negative view on Socialism,
however this would encourage the audience to show interest and appeal to
Socialism as they have been driven to resent Birling
...

● ‘A police inspector is on his way here – to ask some – questions-’​ – dashes
show shock and panic, struggling to articulate himself, cyclical structure –
Socialist message that if societal views do not change, it will be stuck in a
continual cycle of suffering
...
Sybil has had to overcome all the cruel mishappenings and potential
infidelity of her husband; she has had to suppress that knowledge because the
only way to achieve power was to marry someone wealthy with influence
...

● ‘Sheila! Really the things you do pick up these days!’​ – condescending, the
use of an exclamation mark emphasises her strong disapproval of Sheila’s
language and obsession with maintaining her social reputation
...


● ‘When you're married you'll realise that men with important work to do
sometimes have to spend nearly all their time and energy on their
business
...

● [Act 2] ​‘As if a girl of that sort would ever refuse money!’ ‘Girls of that
class’ – ​diminutive language,​ ‘​ that’ creates a sense of distance,
dissociating/detaching herself from the proletariat and sees herself as socially
and morally superior to her culpable counterpoints, she demonstrates great
resilience to understanding, expresses typical aristocratical views of 1912
toward class and societal segregation, doesn’t see them as individuals,
stereotypes Eva – class is identity, chairs the Birling Women's Charity, but
shows appalling indifference to Eva Smith's difficulties
...

● ‘Trifle impertinent’ – ​use of colloquial language, tries to articulate her speech
in order to intimidate the Inspector and assert her social status, uses language
as a defense mechanism
...

● ‘I’m sorry she should have come to such a horrible end
...

● ‘(Haughtily) I beg your pardon!’ ​– reprimands the Inspector, exclamation
mark, offended that the Inspector is not acknowledging her class and high

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social status, sees herself as superior to the Inspector, fails to see that the
Inspector was merely enlightening her to the corruptness of the society
...

‘Go and look for the father of the child
...

‘(She stops and exchanges a frightened glance with her husband)’ –
terrified of her reputation being damaged, only shows concern for her public
image and disregards Eva’s plight
...

‘Don’t be childish, Sheila’​ – still treats Sheila as a child and monitors her
behaviour, uses language from Act 1, connotes her character has not developed
and she remains unchanged
...


SHEILA BIRLING
ADJECTIVES
● Compassionate, Sympathetic, Empathetic, Remorseful, Penitent,
Impressionable, Quick-witted, Strong-minded, Spiteful, Excitable, Privileged,
Immature, Playful, Naïve
...
Moreover, Sheila’s name
stems from the Gaelic form of ‘Cecilia’, which means ‘blind’, further reinforcing
her lack of knowledge about the harsh realities faced by the proletariat
...

QUOTES
● [Act 1]​ ‘(Very pleased with life and rather excited)’​ – privileged with an
easy life, suggests she is naive about the social culture around her, myopic

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view, has not been enlightened to the exploitative society that she identifies
herself with
...

‘(Looks attentive)’​ – signifies that she is currently alert and aware of the
topics of conversation, seemingly juxtaposes the expectations society had for
upper-class women In 1912, her responsibility within the household would
have been to remain muted during intellectual discussions
...

‘(She kisses Gerald hastily)’​ – The adverb ‘hastily’ connotes how she has
become very excited and how her entire mentality has been altered after
receiving an engagement ring, highlights her attitudes towards material gain,
appearance and other characteristics associated with stereotypical femininity
of the Edwardian era, heavily influenced by aesthetics
...

‘Oh - how horrible! Was it an accident?’​ –naïvely to think Eva Smith drank a
fatal amount of disinfectant by ‘accident’, connotes her innocence and lack of
knowledge, suggests her parents have indoctrinated her/attempted to shelter
her from the harsh realities of life to stop her from discovering the truth about
the bourgeois consumerism that takes over the entirety of the Edwardian
society, inability to digest Eva’s suicide solidifies how Sheila has been
conditioned by her family’s bourgeois regime
...

● ‘What was she like? Quite young?’​ –inquisitive and interested in Eva’s plight,
empathetic, Sheila’s dialogue is predominated with a plethora of questions,
displaying her naturally analytical nature, however she fails to ask about her
disposition but rather chooses to superficially ask questions about her
appearance; this presents her as superficial as she is unable to look past a
skin-deep level, for a child, questioning the world is an integral part of
maturing and this suggests that Sheila is still trapped in this childish,
developmental stage
...

● ‘I’ll never, never do it again to anybody’ ​– repentant of her sins, repetition of
‘never’ connotes she has learnt from her mistakes, makes a conscious decision
to accept responsibility and perform moral duties to other members of society,
her social conscience has been awakened and she is aware of her
responsibilities, structural shift to the future tense highlights how she
understands she cannot look retrospectively and change the past because it is
fixed, and must be focused on the present
...

● ‘You’ll see
...

‘I rather respect you more than I’ve every done before’​ – instead of getting
in a ‘furious temper’ about Gerald’s affair, she displays emotional maturity and
respect for his honesty, understands that conflict is not the solution to their
problems
‘​Mother, I think it was cruel and vile’​ - synonymous adjectives ‘cruel and vile’
emphasises the animosity Sheila feels towards her mother, no euphemisms
have been used to alleviate her mother’s actions, her reference to Sybil as
‘Mother’ juxtaposes her initial childish colloquialism of ‘mummy’ and
demonstrates her maturity
...

‘Everything we said had happened really had happened’ – ​accepting
responsibility, attempts to encourage her parents to recognise their
wrongdoings
...

‘Fire and blood and anguish’ ​– repeats the Inspector’s words, has learnt from
his presence and words, impressionable, symbolises hope for a future
generation with changed views, and a society absent from segregation and
discrimination, she supports Priestley’s criticism of the other characters,
becoming his mouthpiece when he has left the stage

ERIC BIRLING
ADJECTIVES
● Distant, Withdrawn, Sympathetic, Compassionate, Irresponsible, Isolated,
Sensitive, Remorseful, Unsupported, Uncomfortable
...

‘(His whole manner of handling the decanter and then the drink shows
his familiarity with
quick heavy drinking)’​ - Eric has been suffering, alone, isolated, without
anyone to sympathise or acknowledge him, parents fail to recognise that he is
an alcoholic, in a society where the upper-class diligently strive to maintain
social hierarchy, the focus is not on Eric, it is on gaining power
‘I don’t know – really
...

‘(Eric downstage)’​ ‘​Yes, I remember – “ ‘Yes I know – but still –​ ‘ - Priestley
demonstrates Eric’s alienation in the stage direction as Eric is ‘downstage’
whereas the rest of his family are seated up, suggests that Eric is detached from
the rest of his family, Eric is inferior in the hierarchy where he is not respected
within his family, his family members interrupt him as demonstrated by the
use of hyphens, punctuational device reflects the low esteem that his family
holds for him as they see his dialogue as insignificant
...

‘My God!’​ – he is the first character to reply to the Inspector’s graphic
description of Eva Smith’s death, immediately shows his empathetic nature,
exclamation mark emphasises compassion
...

[Act 2] ​‘(Looking extremely pale and distressed)’ ​– shows his anxiety about
the inquiry and about his responsibility in Eva Smith’s suicide, aware of his
wrongdoings, guilt
...

'I was in that state when a chap easily turns nasty'​ - Eric uses a euphemism
to mask the harsh reality of him raping Eva, demonstrates a lack of regard for
her welfare/wellbeing as he prioritises his sexual desires
...

‘​She was pretty and a good sport’ – ​objectification of women, adjective
‘pretty’ demonstrates the desire for beautiful exterior features instead of ‘fat
old tarts’, the noun ‘sport’ dehumanises Eva and shows how Eric used her for
his own amusement
...

‘I did what I did
...
And the rest of you did
what you did to her’ - ​Eric shows that there is a chance of hope and
reformation for everybody, attempts to impose the socialist views that
Priestley, as the co-founder of the socialist party, gives the Inspector, acts as a
secondary mouthpiece for Priestley, accepts his responsibility and is ashamed
of his actions
...

‘(As Birling tries to interrupt) ‘The money’s not the important thing
...
’​ - power
dynamics have shifted as whilst before it was Eric being interrupted, he now
interrupts his father, Eric rejects the idea of materialism and values human life
over money and wealth, resonant statement of his adoption of socialist views
...

● Gerald Croft represents the aristocracy - the highest class of society, comprised
of rich landowners and people who inherit their wealth from their parents
...


● ‘I don’t come into this suicide business’ – ​dramatic irony/foreshadowing,
language is flippant and disrespectful of the situation, dehumanises Daisy
Renton, the literal utilisation of the noun ‘business’ implies that Daisy is a
profession or trade to make a profit from and is vocabulary associated with
manufacturing or enterprise, metaphorically represents the avaricious nature
of capitalism
● ‘I believe you’re right, sir’ ‘I should say so!’ ‘I know we’d have done the
same thing’​ – attempts to pander Birling in order to prove worthy of marrying
Sheila, their views on capitalism, politics, business and women complement
each other
...
I knew her
...

● [Act 2] ‘​I went down into the bar for a drink
...

● ‘She looked young and fresh and charming altogether out of place down
there’​ – triplet, values semblance before emotive/temperament, implies that
Gerald saw Daisy as someone he could amuse himself with for as long as he
pleased, 'fresh' has connotations of meat demonstrating that he
objectifies/diminishes Eva and sees her as an object to merely be passed
around between men, the lexical field of desirable characteristics highlights
how Gerald saw her as desirable
...

● ‘Gave me a glance that was nothing less than a cry for help’ ​- viewed
himself as heroic when saving her from Alderman Meggarty, the noun ‘cry’ is
symbolic of Daisy’s distress, vulnerability and susceptibility and evokes
imagery of a baby bawling for the signal of need for something, underlines how
Gerald was aroused to the common allotments of a child that Eva portrayed,
Priestley uses Gerald as a dramatic device to show how bourgeois Edwardian
men exploited the working class women through their financial security
...

● ‘(Distressed) Sorry – I – well, I’ve suddenly realised – taken it in properly
– that she’s dead’​ – dashes connote Gerald is having difficulty comprehending
Eva’s death, genuine response, had true feelings and cared deeply for her, the
stage direction ‘distressed’ connotes to fragility and vulnerability, prompts the
audience to experience some sympathy for Gerald, suggests that he possesses
morality and is willing to accept responsibility for his actions, opportunity to
repent and separate himself from marinating the capitalist stance that Mr

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Birling does
...

‘(In a low, troubled voice)’ ​– the adjective ‘troubled’ suggests that he is
emotionally disturbed by his role in Eva’s suicide, indicates that Gerald is
accepting moderate responsibility for his actions
...

[Act 3] ​‘We can settle this at once’​ – easily solved in his opinion, assumes that
it can be fixed, he fails to see the weight that his actions have had on others or
take any responsibility
...

‘Everything’s all right now Sheila
...
) What about this
ring?’ ​– Gerald’s reproposal indicates that he doesn’t recognise the significance
of the situation, as when he finds out the Inspector is an impostor he
immediately dismisses his actions/affair and expects Sheila to do so too, fixed
in his capitalist views, Gerald acts as a metaphor representing materialism
...

● The Inspector gives credence to the socialist ideals
...

QUOTES
● [Act 1]​ ‘The lighting should be pink and intimate until the Inspector
arrives, and then it should be brighter and harder’​ – juxtaposition of the
initial ‘pink and intimate’ lighting with ‘brighter and harder’ lighting when the
inspector arrives indicates that he is a foil to the Birlings, who are
metaphorically trapped within a selfish bubble in the microcosm of their
household where they do not see the reality of the impending war and the

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suffering of the working classes
...

‘(We hear the sharp ring of a front door bell)’ ​- socialist message - interrupts
Mr Birling’s Capitalist speech, Birling’s announcement of avarice summons the
Inspector to prove the exact opposite, foreshadows Inspector’s power, creates
a conflict between Mr Birling and the Inspector
...

‘But after all it’s better to ask for the earth than to take it’​ – symbolical idea
that capitalism is ruining the earth, sin of greed highlighted as the Birling’s
have metaphorically taken the earth
...

‘Yes, but you can’t
...
She’s dead’​ – abrupt and blunt, short
sentences, gets straight to the point and is focused on his inquiry and getting
justice for Eva
...

‘One person and one line of enquiry at a time’ ​– systematic, use of Freytag’s
dramatic arc, his method provides the overall dynamic of the play as it allows
Priestley to build the play as a chain of events, uses Socratic questioning which
is merciless and unforgiving towards the other characters despite their social
superiority
...

‘She was here alone, friendless, almost penniless, desperate’​ ​‘She needed
not only money but advice, sympathy, friendliness’​ – listing words with
connotations of misery, highlights Eva’s desperate and destitute situation,
emotionally affects audience and drives need for change and dissolution of
class barriers, defies the notion of her desperation
...

● ‘There are millions and millions and millions of Eva Smiths and John
Smiths’ ​– polysyndetic listing within the repetition of ‘millions’ reiterates the
extensive number of people suffering from the rigidity of the Capitalist 1912
society, imperative to look after one another
...

● ‘We are members of one body’ ​– Inspector delivers Priestley’s socialist
agenda, metaphor, a ‘body’ requires the limbs to work together to move
forward; if society doesn’t work together it will be unable to function
cohesively, like a ‘body’ all parts of society are intertwined and connected and
decisions to exploit certain members will ultimately impact other parts,
encourages dissolution of class barriers, plethora of collective pronouns to
highlight the theme of communal responsibility that Priestley intends to
encourage, sees society as more important than individual interests
...

● The name ‘Smith’ also has socialist connections: a smith is someone who works
in metal, e
...
, a blacksmith
...

● ‘Daisy’ - daisies are widespread across fields, and are easily trampled/trodden
on highlighting both her vulnerability and the extensive number of people in a
similar position of poverty
...

● [Act 1] ​‘I seem to remember hearing that name – Eva Smith – somewhere’
'A lively good-looking girl’ ​– Birling only recognises her from a photograph,

she was one of thousands and her identity was of no importance of him,
women were only valued for their appearance
...

● [Act 2]​ ‘She was very pretty – soft brown hair and big dark eyes’ ​– Everyone
remembers her for her looks, showing that women were solely judged on their
exterior
● 'Young and fresh and charming'​ - Triplet, 'fresh' has connotations of meat
demonstrating that Eva is objectified by men within society, who view her as
an object to merely be passed around and diminish her sense of value and
self-worth, highlights superficial sexist views in a capitalist society
...

● [Act 3] ​'Used her for the end of a stupid drunken evening, as if she was an
animal, a thing, not a person'​ - Animal imagery dehumanises Eva to highlight
her vulnerability and powerlessness, through underlining Eric's exploitation of
Eva Smith, and therefore society's exploitation of destitute women, Priestley
strengthens his pro-socialist philosophy by conveying how the upper class
abused their power over the working class
...

● ‘She wouldn’t take anymore’​ – Shows us that Eva had a good moral
conscience for refusing stolen money, even given her desperate situation,
although she was emotionally weak, she was principled enough to let Eric
escape his paternal responsibilities and reject his offer of stolen money
● ‘There are millions and millions and millions of Eva Smiths and John
Smiths still left with us’​ – Repetition of 'millions' connotes that Eva is a
representative of a huge number of people suffering from the rigidity of a
capitalist society, polysyndetic listing heightens the magnitude of the problem
and drives the need for a dramatic societal change
...
Priestley uses the Birling Family
and Gerald Croft to represent the bourgeoisie and aristocracy within Edwardian
society, and their exploitation of lower class Eva Smith demonstrates that the

rigidity of the unequal class system of 1912 had devastating consequences for the
most underprivileged and vulnerable within society
...

QUOTATIONS
● Priestley uses Mr and Mrs Birling as allegorical symbols of bourgeoisie and
aristocracy in the Edwardian era, and throughout the play they express their
endorsement of class segregation
...

● ‘I was an alderman for years – and Lord Mayor two years ago’ – ​Mr Birling
constantly attempts to assert his social class and status through reference to his
previous positions of power, as a defense mechanism, when he feels his position
being challenged by the Inspector’s authority
...

● ‘She was one of my employees and then I discharged her’​ - possessive
pronouns ‘I’ and collective pronoun ‘my employees’ highlights the power
imbalance between the bourgeoisie and the plebeians as Birling has clamed
ownership of them, the workers are interchangeable in his eyes and he views
them as contraptions to generate as much money as possible and are not people
with feelings or needs
...

● ‘I’d give thousands, yes thousands’ ​– attempts to show sorrow with money,
absorbed in thoughts of wealth, repetition of 'thousands' emphasises the extreme
lengths he would go to in order to maintain his social reputation and avoid a
public scandal, juxtaposes his initial refusal to marginally increase Eva Smith's
wage, ‘​I refused, of course!’, ​‘of course’ signifying that it is a natural and
instinctive action for him to exploit the proletariat
...


● ‘Sheila!’ ‘Eric!’ ‘Arthur!’​ – exclamatory remarks, constant admonishments of her
family’s actions and expressions, attempting to display a polite façade in the
presence of Gerald Croft and prevent the use of phrases that have the ability to
infiltrate her perfect conception of her family
...
​ ‘Trifle impertinent’​ – similarly to the way Birling uses his
previous positions of power within Brumley as a means of intimidation, Mrs
Birling uses colloquial language as a defence mechanism as she tries to articulate
her speech and assert her social status
...

● Throughout the play, inspired by the Inspector’s message about the need for
societal integration and the performance of moral duties towards others around
you, Sheila defies the avaricious ideologies of her predecessors
...

● ‘I’ll never, never do it again to anybody’ ​– repentant of her sins, repetition of
‘never’ connotes she has learnt from her mistakes, makes a conscious decision to
accept responsibility and perform moral duties to other members of society, her
social conscience has been awakened and she is aware of her responsibilities,
structural shift to the future tense highlights how she understands she cannot
look retrospectively and change the past because it is fixed, and must be focused
on the present
...

● Priestley uses Inspector Goole as his mouthpiece to promote his views on class,
and throughout the play he highlight the importance of a united community where
discrimination is absent – he believes in a meritocracy
...

● ‘She was here alone, friendless, almost penniless, desperate’​ – listing words
with connotations of misery, highlights Eva’s desperate and destitute situation,
emotionally affects audience and drives need for change and destruction of class
barriers
...

● ‘Fire and blood and anguish’​ – triplet, language is immersed in the semantic
field of suffering and conflict, driving the need for a dramatic societal change to a
war-devastated 1945 society, polysyndetic listing reflects the perpetual cycle
society will be stuck in if social integration is not introduced and this is reinforced
by the cyclical structure of the play
...
Priestley
uses this generation divide to show that, unlike their predecessors, the younger
generation symbolise hope for the future and that the audience of 1945 too should
make a conscious effort to improve human relationships and perform moral
duties towards other members of society, especially the most vulnerable such as
Eva Smith
...

● ‘I can’t accept any responsibility’ – ​remorseless and callous, refusal to accept
social responsibility for his actions and the effect they had on Eva Smith reflects
his lack of concern for others and his egotistical nature, adamant on the fact that
his capitalistic actions did not even contribute minutely to the girl’s suicide
...

● ‘In the morning they’ll be as amused as we are’​ – ‘amused’ – sees the situation
as a joke, displays a complete lack of regard or remorse for her actions and the
detrimental affect they had, traditional, adamant, continues to uphold capitalist
sentiments and attempts to revert the broken back to its original settlement,
doesn’t understand that although her views benefit her, the aristocratic, they
cause mass suffering of the proletariat and only through the socialist regime can
this be stopped
...
The
Inspector catalyses this change through exposing them to the harsh realities faced
by the proletariat within Edwardian society as a consequence of exploitation by
superior classes
...

‘(Gives a half-stifled sob, and then runs out)’​ – genuine response, ashamed of
using her prominence and high economic position to exploit Eva Smith, finds it
emotionally difficult to deal with her part in the suicide, remorseful and
recognises her mistakes
...

‘I did what I did
...
And the rest of you did what
you did to her’ - ​Eric shows that there is a chance of hope and reformation for
everybody, attempts to impose the socialist views that Priestley, as the co-founder
of the socialist party, gives the Inspector, acts as a secondary mouthpiece for
Priestley, accepts his responsibility and is ashamed of his actions
...

‘(He goes out)’​ – Gerald is not present as the Inspector delivers his socialist ideas,
meaning that he doesn’t undergo the transition to socialism and adhere to its
principles unlike Eric and Sheila, and he remains adamant in his capitalist views,
represents the proportion of the population who will remain fixed in their views
and do not have the capability to consider new prospects
...
(Holds up the ring
...

RESPONSIBILITY
● In ‘An Inspector Calls’ Priestley explores the theme of responsibility through the
way in which the individual actions of each character influence the life of Eva
Smith and culminate in her ‘misery and agony’ and ultimately suicide
...

QUOTATIONS
● Priestley depicts the chauvinistic opinions of bourgeoisie at the time of 1912
through Mr and Mrs Birling
...

● ‘​As if we were all mixed up together like bees in a hive – community and all
that nonsense’ - ​Mr Birling’s referral to ‘community’ and the idea of ‘bees in a
hive’ as ‘nonsense’ indicates his lack of social awareness as once this simile has
been ruminated, the audience will realise that ‘bees in a hive’ bring about
beneficial things to society
...

Unlike their predecessors, Priestley is trying to encourage the audience of 1945 to
perform moral duties and improve human relationships with other members of
society; disregarding the idea of social responsibility like Mr Birling who ‘can’t
accept’ any, will prevent the revolutionary societal change obligatory following
World War II
...
But I accept no
blame for it’ – ​usage of bathos, suggestion of guilt and grief in the first clause is
immediately juxtaposes in the second clause with her lack of remorse/mercy,
indicates the inhumane qualities that conservatism and the bourgeoisie culture
bring about
...

● ‘(Gives a half-stifled sob, and then runs out)’ ‘I felt rotten’ ​– genuine response,
ashamed of using her prominence and high economic position to exploit Eva
Smith, finds it emotionally difficult to deal with her part in the suicide, remorseful
and recognises her mistakes
...

● Priestley conveys his ideas about responsibility through Inspector Goole – his
mouthpiece, and uses the play as a political diatribe critiquing capitalism as an
ideology
...

● ‘There are millions and millions and millions of Eva Smiths and John Smiths’
– polysyndetic listing within the repetition of ‘millions’ reiterates the extensive
number of people suffering from the rigidity of the Capitalist 1912 society,
imperative to look after one another
...

● ‘​Fire and blood and anguish’ – ​polysyndetic listing of this triplet reflects the
perpetual cycle of suffering and pain society will be trapped within if capitalism
continues, eventually they will have to adapt to the changing expectations and
moral responsibilities within society, triplet has connotations of war and hell
(religious eternal punishment) and Priestley further convinces his idea of
Socialism by emphasising that continuity of the damaging Capitalist society will
eventually bring about another war; this threat drives the need for a dramatic
societal change to a war-devastated 1945 audience
...
The
playwright intends to encourage the audience of 1945 to drive for a revolutionary
socialist change where equality is central, by demonstrating the devastating
consequences a patriarchal society can have on vulnerable women
...

● By the end of the play the stereotypes are reversed – Gerald and Eric become
weaker while Sheila gains a newfound sense of inner strength as she adheres to
the Inspector’s message and viewpoints
...

● ‘Nothing to do with you, Sheila
...

● ‘Clothes mean something quite different to a woman
...

● When you're married you'll realise that men with important work to do
sometimes have to spend nearly all their time and energy on their business
...

● Gerald and Eric embody the patriarchy of the time and use their physical strength
and financial superiority to Eva in order to exploit her vulnerability
...
He uses her
for his own amusement and later abandons her, reinforcing the power men held
over women’s lives regardless of class
...


● ‘I hate those hard-eyed dough-faced women’ –​superficial views of women and
judges them based on their exterior, underlines sexist views held within a
Capitalist society, attacks the appearance of prostitutes, despite the fact that
capitalist forms of exploitation were the reason these women aged terribly
...

● 'Old Joe Meggarty half-drunk and goggle-eyed had wedged her into a corner'
–​ ​Alderman Meggarty’s womanising and sexual molestation of women is a
metaphor for exploitation of women, creates a sense of confinement/repression
to demonstrate how women were unable to escape from harassment and sexual
exploitation in the patriarchal society of 1912
...

● Eric’s raping of Eva highlights the powerless position of women in the patriarchal
society – their welfare was neglected and sense of value and self-worth
diminished by the oppressive/autocratic men in the Edwardian era
...

● ‘I was in that state when a chap easily turns nasty’ - ​Eric uses a euphemism to
mask the harsh reality of him raping Eva, demonstrates a lack of regard for her
welfare/wellbeing as he prioritises his sexual desires
...
The physical
gift of the engagement ring to Sheila is a way of securing his emotional connection
to her, implying how whereas she was worried about his commitment
beforehand, the act of receiving the ring allowed her to feel as if she has now
trapped him
...

● ‘(Excited) Oh – Gerald – you’ve got it – is it the one you wanted me to have?’
–the ring is the one Gerald ‘wanted’ her to have, connotes he is dominant within
their relationship, makes decisions on Sheila’s behalf, and possesses a sense of
ownership and entitlement over her, she adheres to his preferences,
demonstrates the subservient and compliant role played by women in the society
of 1912 – their sole purpose was to merely support their husbands, and there was
huge gender inequality, a ring is a symbol of a covenant between two parties and
is supposed to be emblematic of a mutual agreement between two people,
however conversely, the fact that Gerald had the final say implies that their
relationship isn't reciprocal in nature, but is controlled entirely by Gerald
...

● However, throughout the poem, inspired by the Inspector’s presence and
message, Sheila defies the conventions of the patriarchy and develops her own
independent thoughts; she refuses to be repressed by male figures and acquires a
newfound inner strength
...

● ‘(Cutting in)’​ – isn’t afraid to challenge superior male members of the family,
challenges the traditions and expectations of her parents, uninhibited, Sheila’s
rejection of the propriety of the time highlights Priestley’s view that you should be
free to make decisions for yourself, without the fear of being coerced by the
opposite sex into fulfilling their wishes instead of your own, Priestley is promoting
gender egalitarianism
...

GUILT AND CONSEQUENCES
● Sheila and Eric have nothing to fear from the visit of the 'real' inspector because
they have already admitted what they have done wrong, and will change
...
They try to blame others, and can’t feel any guilt,
leading to trepidation about the visit of the official Inspector’s visit
...

QUOTATIONS
● ‘We are members of one body’ ​– Inspector delivers Priestley’s socialist agenda,
metaphor, a ‘body’ requires the limbs to work together to move forward; if society
doesn’t work together it will be unable to function cohesively, like a ‘body’ all
parts of society are intertwined and connected and decisions to exploit certain
members will ultimately impact other parts, encourages dissolution of class
barriers, plethora of collective pronouns to highlight the theme of communal
responsibility that Priestley intends to encourage, sees society as more important
than individual interests
...
A chain of events’​ – outlines the nature of the moral crime the Birlings
and Gerald have committed against Eva, together they are entirely responsible the
Inspector initiates the idea of societal connections through anadiplosis, by
repeating ‘what happened to her afterwards’ at the end of one clause and the
beginning of the next, sentence structure emphasises how the content of these
statements is inextricably connected and leads on from one another, he
summarises the concept with the metaphorical image of ‘a chain of events’, the
concrete noun ‘chain’ refers to an object that embodies physical linking, and
connotes heaviness and imprisonment, inferring that the links between events
could be what weighs down the entire family
...

Eric and Sheila demonstrate remorse as they are emotionally disturbed by their
part in the suicide, and Gerald initially shows hope of reformation
...

'Between us we drove that girl to commit suicide’ - ​the pronouns ‘us and we’
suggest that the suicide was a joint responsibility, Sheila does not begin to blame
shift in order to repress her own actions, but she implies that they share
responsibility, Sheila is a proxy of the Inspector as she paraphrases the Inspector’s
message of collective responsibility, the structure of the sentence is reminiscent of
the Inspector as he usually passes the moral judgments on the Birlings, Priestley
uses this change to relate back to the younger generation’s more forward-looking
views
...

‘(In a low, troubled voice)’ ​– the adjective ‘troubled’ suggests that he is
emotionally disturbed by his role in Eva’s suicide, indicates that Gerald is
accepting moderate responsibility for his actions
...

‘I can’t accept any responsibility’ – ​lack of guilt, remorseless and callous, refusal
to accept social responsibility for his actions and the effect they had on Eva Smith
reflects his lack of concern for others and his egotistical nature, adamant on the
fact that his capitalistic actions did not even contribute minutely to the girl’s
suicide
...
But I accept no
blame for it’ – ​usage of bathos, suggestion of guilt and grief in the first clause is
immediately juxtaposes in the second clause with her lack of remorse/mercy,

indicates the inhumane qualities that conservatism and the bourgeoisie culture
bring about
...
Although they agree with each other’s views,
their marriage lacks affection, and Mrs Birling holds the view that husbands
should come first
...

● Parental love lacks in Eric’s life
...

● ‘Look, you’d better ask Gerald for that ring you gave back to him, hadn’t you?
Then you’ll feel better'​ - attempting to re-build relationship between his
daughter and ex-fiancé, simply for his financial gain
...

● ‘You don’t get drunk’​ - Sybil Birling remains ignorant to his drinking habits and
fails to realise that Eric is an alcoholic, in a society where the upper-class
diligently strove to maintain social hierarchy, the focus is not on Eric, it is on
gaining power, Priestley may be using Eric as a dramatic device to subtly hint at
the fact that this fail in upbringing is actually the catalyst to the spread of
capitalism
...
Priestley may be subtly criticising this
concept which corresponds with the capitalist regime and by doing so he compels
the audience to value socialism
...

● ‘I wasn’t in love with her or anything’ ​‘​She was pretty and a good sport’ –
objectification of women, adjective ‘pretty’ demonstrates the desire for beautiful
exterior features instead of ‘fat old tarts’, the noun ‘sport’ dehumanises Eva and
shows how Eric used her for his own amusement
...

● A chronological order is used to ensure that the play has a sense of real time and
to create a domino effect where each character’s story links to the next, creating
an equality in who is to blame
...

● Uses the timing of the play as a means of creating dramatic irony to strengthen his
pro-Socialist philosophy - set in 1912, just before WW1, for a 1945 audience who
just came out of WW2, and had ignored their prejudices in an attempt to help their
country
...

● The play deals with the nature of time in its denouement as it uses the idea of time
repeating itself and has a circular narrative
...
The
characters have an opportunity to see the consequences and change the future,
allowing them to break this cycle of suffering
...

‘Unsinkable, absolutely unsinkable’​ – following the famous sinking of the
Titanic in 1912 during its maiden voyage after striking an iceberg, the audience
will use hindsight to realise that Birling’s prediction is completely incorrect, use of
dramatic irony and repetition of ‘unsinkable’, to emphasise Birling’s foolish
optimism and reinforce Priestley’s pro-Socialist philosophy, the audience would
begin to attribute the inane comments of Birling to the common attributes of
capitalism and the bourgeoisie
...

Don't worry
...

They were joined by dockworkers, ironworkers, printers, railwaymen,
steelworkers and transport workers
...

‘​Fire and blood and anguish’ – ​in contrast to Birling, the Inspector’s predictions
are correct, amplifying the audience’s trust towards him, polysyndetic listing of
this triplet reflects the perpetual cycle of suffering and pain society will be
trapped within if capitalism continues, eventually they will have to adapt to the
changing expectations and moral responsibilities within society, triplet has
connotations of war and hell (religious eternal punishment) and Priestley further
convinces his idea of Socialism by emphasising that continuity of the damaging
Capitalist society will eventually bring about another war; this threat drives the
need for a dramatic societal change to a war-devastated 1945 audience
...

‘I haven’t much time’ – ​looking at his watch, society changing quickly for the
betterment of the poor and everyone
...


JUSTICE AND INJUSTICE
● Throughout the play there is a clear injustice in the attitudes towards women and
how they are treated – Joe Meggarty’s actions act as a metaphor for the
exploitation and sexual harassment experienced by women, and injustice between
classes
...
He acts as a mouthpiece for those
who lack power in society and attempts to create a revolutionary societal change
through illuminating the social injustice Eva has suffered
...


● The play has a cyclical structure/circular narrative, as by the end of the play,
justice has still not been served by the older generation and Gerald, and therefore
they continue to be trapped within a perpetual cycle of capitalism and suffering;
whilst injustice still exists, punishments will continue
...
The
adjective ‘brighter’ signifies that he will ‘shine a light’ on the abhorrent actions
and behaviours of the family as they are unaware of the vast turmoil faced by the
proletariat, and the adjective ‘harder’, which literally means more solid, firm and
rigid, demonstrates how the Inspector is not going to be manipulated or
intimidated by the social position of the family, as his prime motive is to change
the moral and political beliefs of these characters and the audience, characters
will undergo a sense of criticism and be given the chance for reformation
...

● ‘She was here alone, friendless, almost penniless, desperate’​ ​‘She needed not
only money but advice, sympathy, friendliness’​ – listing words with
connotations of misery, highlights Eva’s desperate and destitute situation,
emotionally affects audience and drives need for change and dissolution of class
barriers, defies the notion of her desperation
...

● ‘We are members of one body’ ​– Inspector delivers Priestley’s socialist agenda,
metaphor, a ‘body’ requires the limbs to work together to move forward; if society
doesn’t work together it will be unable to function cohesively, like a ‘body’ all
parts of society are intertwined and connected and decisions to exploit certain
members will ultimately impact other parts, encourages dissolution of class
barriers, plethora of collective pronouns to highlight the theme of communal
responsibility that Priestley intends to encourage, sees society as more important
than individual interests
...


● ‘Why shouldn’t they try for higher wages?’’ I’d have let her stay’​ – displays his
growing allegiance with the labourers’ side of the conflict and rejection of
capitalist ideologies, burgeoning assertiveness as he criticises the contradictions
and sheer hypocrisy within the bourgeois society to which he belongs to, shows
compassion with the story of Eva, Priestley uses Eric’s sympathy to inform the
1945 audience that as a new generation, they too should challenge the
stereotypical and antiquated views of their predecessors
...
And mother did what she did
...

● ‘A police inspector is on his way here – to ask some – questions – ‘​ – dashes
show shock and panic, struggling to articulate himself, cyclical structure – Socialist
message that if societal views do not change, it will be stuck in a continual cycle of
suffering
...

● He is omniscient, enigmatic and omnipotent, portraying him as a supernatural
being with knowledge that no human could obtain, such as predicting the suicide
of a young girl
...
The Inspector, through Priestley, is
therefore able to predict future events due to his knowledge of hindsight
...
The use of the Inspector makes the audience reflect on how their own actions
can affect other’s lives because they never know who could be seeing their every
move, as the Inspector did to the Birlings
...
This is supported through a religious reference to hell in the
Inspector’s final monologue
...

QUOTATIONS
● ‘(Massiveness, solidity and purposefulness)’​ – the lexical field of size implies
that his words carry deeper meaning and have the ability to burden and affect the
listener as displayed with Sheila and Eric, he has a duty to make a particular point
to the Birlings and acts as a presence making each person realise what they have
done
...

● ‘​Fire and blood and anguish’ – ​polysyndetic listing of this triplet reflects the
perpetual cycle of suffering and pain society will be trapped within if capitalism
continues, eventually they will have to adapt to the changing expectations and
moral responsibilities within society, triplet has connotations of war and hell
(religious eternal punishment/biblical hyperbole) and Priestley further convinces
his idea of Socialism by emphasising that continuity of the damaging Capitalist
society will eventually bring about another war; this threat drives the need for a
dramatic societal change to a war-devastated 1945 audience
...
Of course he knows
...
You'll see
...

● ‘Not yet, I’m waiting’ ​– knows when an event will occur reflecting his omniscient
nature as well as his purpose in the play, his perfect knowledge implies that he is a
spirit who has come to not only morally judge the family but to make them
acknowledge and repent their sins, his ability to foresee the exact occurrences of
future events in the novel insinuates that he is in possession of supernatural
powers and exists outside of time and mortality

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