An Inspector Calls

Question 1

Context: Politics 1912 vs 1945

Answer 1

1912: Capitalist policies + laissez-faire approach.
1945: Socialist shift following Labour’s 1945 electoral victory.
Contrast between 1912 and 1945 highlights AIC’s message: need for societal change.

Question 2

Context: Priestley

Answer 2

Was a WW1 veteran.
Socialist advocate and co-founded the Common Wealth Party in 1945.
Priestley’s role as a public intellectual and advocate for social reform is mirrored in the Inspector.
Had a radio show for the BBC during WW2: “Postscripts” (purpose was to reflect on wartime condition, boost national morale, call for a fairer society to emerge after the war).
One of Priestley radio speeches: “every man for himself, and the devil takes the hindmost” (derides Mr Birling: “every man has to make him own way…”).
Priestley’s role in society is simulated through the Inspector; the didactic play is a tool for him to catalyse change after his radio show was cut in Oct 1940 (less censorship after conservatives complained of his left-wing views).

Question 3

Context: Victorians

Answer 3

AIC demonstrates the destructive impact of Victorian values - advocates for their abolishment.
Charity: Queen Vic reformed the ‘Poor Laws’ and workhouses were set up. Charity-givers were seen as morally and socially superior; charity was an impressive, Christian feat.
The Poor: ‘Deserving poor’ (deserving of suffering) vs ‘Moral poor’ who could be helped.
Women: prostitutes = ‘fallen women’ (condemned and ostracised); gentlemen who ‘saved’ these women were ‘chivalrous’ (satisfying their own desires for undeserving credit from peers).
Hierarchy: determined by age, gender, wealth & heritage.
Repression: double lives of gentlemen (‘sinful’ activities away from public view).

Question 4

Context: The Great Depression

Answer 4

A time of worldwide recession.
All people experienced the similar dire circumstances.
“Fire, blood and anguish”: insinuation of conditions during the Depression.
Priestley warns that without societal change, there may be a repeat of the economic and social turmoil of the Depression.

Question 5

Context: War

Answer 5

Play is set 2 years before WW1; shown at the end of WW2.
World wars serve as a backdrop to the play’s moral message of the dangers of avoiding social responsibility.

Question 6

Context: Women

Answer 6

Women lacked voting rights (=disenfranchised) until the gradual reforms of 1918 and 1928.
AIC critiques the patriarchal society of 1912.
Eva Smith is emblematic of the struggles of working class women of the time: lacked agency and were exploited.

Question 7

Context: Russian Revolution (1917)

Answer 7

Dismantled class hierarchies, promoting equality and worker’s rights.
The proletariat took charge in 1917.
AIC advocates for systematic change, mirroring the revolutionary spirit.

Question 8

WOW: Lehrstück

Answer 8

A type of didactic play to make an audience question their role in issues explored onstage.
The Inspector’s questioning style as a Lehrstück figure forces the Birlings to confront their moral failings, encouraging an audience to reflect on their own complicity in societal injustices.

Question 9

WOW: Aristotle’s Three Unities

Answer 9

Follows TIME, PLACE and ACTION.
TIME: play unfolds in real-time, emphasises the urgency of the Inspector’s moral message.
PLACE: Mr B’s speeches about capitalism and individualism are confined to the drawing room - reflects how his Capitalist worldview is limited to the unity of place and is narrow-minded.
ACTION: all focused on the suicide of Eva Smith, demonstrates the interconnectedness of society.

Question 10

Form

Answer 10

3 acts, each with a cliffhanger: continued layered revelations.
Ending = flabbergast cliffhanger (anti-climax, true climax, cliffhanger): mirrors socialist revolution defying the odds of a rigid and unforgiving Capitalist society ran by the stagnant views of older bourgeois.
Well-made play (cause-and-effect): highlights spiralling downfall of a Capitalist society.
Dramatic irony: amplifies ignorance of the bourgeois, creates a sense of excitement for the older Birlings’ downfall.

Question 11

Stage Directions: Setting

Answer 11

“[substantial and heavily comfortable, but not cosy or homelike]” (juxtaposition of rich yet uncomfortable = Birlings’ own realm of ostentatious Capitalism, secluded from struggles of proletariat - makes an audience pity the cosmetic nature of the Birlings’ wealth and lack of love in the household)
(oxymoron “heavily comfortable” = presents the pseudo-luxury of the social elite (unscrupulous behaviour traded for wealth and status); asks existential question: does money but happiness?)

Question 12

Stage Directions: Lighting

Answer 12

“[pink and intimate]” (=sheltered, secluded and complacent) —> “[brighter and harder]” (=under scrutiny from audience / Inspector / younger Birlings)

Question 13

Mr B: Responsibility

Answer 13

Act 1: “I can’t accept any responsibility”
(Denial as a rhetorical device = obstinate refusal, develops idea of Mr B’s stagnation in his moral growth & thus the stagnant ideas of the Capitalist system)
(Declarative tone = unyielding stance, amplifies the stark opposition to the Inspector’s call for emancipation for the proletariat)

Question 14

Mr B: Social Class

Answer 14

Act 2: “[dubiosly]… The Press might easily take up-“
(juxtaposition of dubious/shy now vs confidence before = motivated by his fear of a tarnished reputation)
(dramatic irony: audience knows his knighthood is at stake = political diatribe against unravelling Capitalist system, develops Mr B as being superficial as his only emotional response is to a threat to his wealth/reputation)

Question 15

Mr B: Older vs Younger

Answer 15

Act 3: “Why, you hysterical young fool - get back - or I’ll -“
(hyperbolic language “hysterical young fool” = condescends the youth, amplifies stark chasm between generations: Eric’s burgeoning awareness of collective social conscience vs Mr B’s rigid self-serving view)
(fragmented syntax = exposes the fragility of his bourgeois facade, political diatribe against the corruptible Capitalist system)
(aggressive tone = priority of unscrupulous control and wealth-making over his familial connections)

Question 16

Mr B: Capitalist vs Socialist

Answer 16

Act 1: “[a heavy looking, rather portentous man in his middle fifties]”
(metaphor of “heavy looking” as his indulgence = represents the hedonistic and undisciplined nature of unrestrained Capitalism, connotes exhaustion (= misery of relentlessly upholding an overt radiation of wealth))
(symbolism of “portentous” = ostentatious Capitalism, represents the superficiality of Capitalism)

Question 17

Sheila: Responsibility

Answer 17

Act 2: “it was my fault really that she was so desperate when you first met her”
(emotive lang: “so desperate” = dehumanisation and exploitation drives the proletariat to despair)
(language of admission: “my fault” = marks Sheila’s transformation into a morally scrupulous character, represents possibility for societal growth and establishes generational divide)

Question 18

Sheila: Social Class

Answer 18

Act 1: “[a pretty girl in her early twenties, very pleased with life and rather excited]”
(archetype of privileged bourgeois woman: infantilised (“pretty girl”) and care-free = highlights Sheila’s initial naivety and amplifies the impact of her eventual disillusionment, superficial infantilising labels eventually rejected displays feminist ideas)
(juxtaposition: foils her later remorseful recognition = develops Sheila from an objectified nouveau riche archetype to a self-aware individual)

Question 19

Sheila: Older vs Younger

Answer 19

Act 2: “at least I’m trying to tell the truth”
(short sentence: Sheila is succinct whilst her parents reel off verbose explanations to the Inspector = exemplifies Priestley’s confidence in the scrupulous new generation)
(epigram (satirical statement) + deontic modality (duty lang) = embodies the collective social conscience and mocks her parents’ attempts to absolve themselves, Sheila has emancipated herself from the indoctrinating shackles of Capitalism fed to her by her parents)

Question 20

Mrs B: Responsibility

Answer 20

Act 2: “I’ve done nothing wrong - and you know it”
(unwavering tone and epistemic modality (expression of certainty) = represents the delusion of the upper classes as their self-interest blinds them from their ethical obligations)
(irony = regresses Mrs B’s absolvement, amplifies her refusal to engage in reaching emancipation for other (despite her role in the charity))

Question 21

Sheila: Capitalist vs Socialist

Answer 21

Act 3: “I suppose we are all nice people now”
(satire and sarcastic tone = amplifies the sense of cognitive dissonance of the bourgeois, presents these Capitalist behaviours as absurd (political diatribe against these remorseless values))

Question 22

Mrs B: Social Class

Answer 22

“[his wife is about fifty, a rather cold woman and her husband’s social superior]”
(sensory (tactile) lang “rather cold woman” = her remorseless attitudes make her physically cold to the touch, corruption of Capitalism and imagery of a dystopian life if Capitalists control)
(symbolism: “his wife”, “husband’s social superior” = married to Birling not for emotion but for economic stability, detaches her from sense of being (only a marionette of her aristocratic status and capitalist ideals))

Question 23

Mrs B: Older vs Younger

Answer 23

Act 3: “They’re over-tired. In the morning they’ll be as amused as we are.”
(dismissive tone and short sentence = trivialises younger Birlings’ ‘naive’ progressive ideas, amusement signifies their delusional detachment from accountability and moral growth, exceedingly obdurate and entrenched in her belief she can absolve herself (Sheila is the foil to this and strives for social emancipation))

Question 24

Mrs B: Capitalism vs Socialism

Answer 24

Act 2: “if you think you can bring any pressure to bear upon me Inspector, you’re quite mistaken.”
(assertive tone = confidence in her remorseless attitudes towards Eva Smith’s plight, amplifies the tension between Capitalists vs Socialist)
(diction of “pressure” = believes the Inspector is doing wrong, entrenched in delusion (ironic as the bourgeois oppressive practices put ‘pressure’ on the proletariat lives))

Question 25

Eric: Responsibility

Answer 25

Act 3: “You lot may be letting yourselves out nicely, but I can’t. Not can mother. We did her in all right.” (euphemism = Eric doesn’t like the truth, but still faces it (moral culpability, but still growing)) (juxtaposition of “nicely” and the reality of the events = represents the burgeoning collective social conscience within the youth despite ill-influence from elders)

Question 26

Eric: Social Class

Answer 26

Act 1: “It isn’t if you can’t go and work somewhere else.” (paradox: implies freedom to work yet exposes harsh realities and limitations = represents the lack of agency for the proletariat under Capitalism, lack of social and career mobility and the illusion Capitalism attempts to place over their ‘free’ society)

Question 27

Eric: Older vs Younger

Answer 27

Act 3: “You’re not the kind of father a chap can go to when he’s in trouble.” (Bildungsroman = pivotal moment as Eric’s disillusionment with his father’s unscrupulous outlook leads to the breakup of their relationship, represents the youth awaking to the flaws of a bourgeois system and therefore their fallible parents (Eric chooses society and others > his parents and a secure financial future under their care)

Question 28

Eric: Capitalist vs Socialist

Answer 28

Act 1 —> Act 3: “[half shy, half assertive]” —> “[nearly at breaking point]” (juxtaposition of “half…half…” = Eric notices his father’s exploitative behaviour but doesn’t feel empowered to challenge him yet, microcosm for 1912 socialism)) (emotional lang = Eric disgusted by perpetuated inequality and dehumanisation, trust in Capitalism deteriorated)

Question 29

Gerald: Responsibility

Answer 29

Act 3: “Everything’s all right now, Sheila.” (Lehrstück = is everything really “all right”?) (irony = the first opportunity to shirk the responsibility is taken by Gerald, amplifies Sheila’s progression and Gerald’s regression in morality (makes an audience feel disappointed in Gerald’s character arc))

Question 30

Gerald: Social Class

Answer 30

Act 2: “I hate those hard-eyed dough-faced women” (diction: vivid description from personal experience? = experienced Micheton, derogatory term highlights his disdain for women who aren’t conventionally attractive or look worn down by labour/social conditions (represents his moral ignorance as these women have to do this labour to survive)) (intersectional misogyny = Gerald represents the misogyny lower-class women must face, compounding their dehumanisation (amplifies the sense that he only respected Eva because of his hedonistic desires and her ‘use’ to him))

Question 31

Gerald: Older vs Younger

Answer 31

Act 1: “[very much the easy well-bred young man-about-town]” (animalistic imagery of “well-bred” = Gerald has been groomed from birth to embody the aristocratic archetype, he is a mirror of his upbringing (Priestley critiques how ingrained the class system is)) (juxtaposition of Gerald’s description vs his later actions = represents the stark duplicity of the nouveau riche - presented as protectors, yet exploit others)

Question 32

Gerald: Capitalism vs Socialism

Answer 32

Act 2: “she lived very economically on what I allowed her” (diction and possessive affix of “what I allowed her” = he views Eva as dependent on his generosity, believes he owns her - represents the Capitalist, laissez-faire approach that the bourgeois can control their workers, who must be thankful for the generosity of their employers (who pay very little))

Question 33

Inspector: Responsibility

Answer 33

Act 3: “but there are millions and millions and millions of Eva Smiths and John Smiths still left with us.” (anaphora = rhetorical device serves as a dramatic vehicle to emphasise the persistent cycle of dehumanisation in a vast and interconnected society as Capitalists reduce real people to mere stats (Eva Smith was always valued on what she could provide, not who she was), amplifies the dangers of a society which absolves itself)

Question 34

Inspector: Social Class

Answer 34

Act 1: “and so you used the power you had, as the daughter of a good customer” (accusatory tone = forces Sheila to confront the exploitative nature of her social class, acts like a social compass to show Sheila her privilege is blinding her to the consequences of her actions - represents Socialist lens of the class system and privileges) (polysemy of “good”: wealthy and profitable vs kind = Inspector displays that despite being profitable and a “good” customer, the Birlings aren’t morally “good”)

Question 35

Inspector: Older vs Younger

Answer 35

Act 2: “We often do on the young ones. They’re more impressionable.” (juxtaposition of impressionable youth with alienated, stagnant elders = illuminates the hypocrisy and rigid indifference of the stagnant Capitalist ideals) (personal pronoun “we” = represents the Inspector’s position as a spokesperson for the people, advocation for generational unity to dismember the Capitalist systematic injustices)

Question 36

Inspector: Capitalist vs Socialist

Answer 36

Act 1: “It’s better to ask for the earth than to take it.” (hyperbole: “ask for the earth” = highlights the rationality of the proletariat’s pleas for rights and wage increases, represents the plights of the proletariat as they civilly and rightfully attempt to unionise) (juxtaposition of “ask” and “take” = proletariat “ask” for societal reform, Capitalist bourgeois “take the earth” from the most vulnerable)