1. A Guide
to J.B. Priestley’s
An Inspector Calls

2. J B Priestley
John Boynton Priestley (1894 – 1984) was a writer and playwright who held strong political views. He was what we would call today, strongly “left-wing”.
Priestley disliked intensely what he saw as the excesses of “capitalism” a social and political system in which, as he saw it, the rich held onto excessive power at the expense of the often exploited poor.
He looked forward to a “socialist” future for Britain, seeing this as a system that allowed for greater equality between peoples and especially allowing greater opportunities for the ordinary person to achieve their potential.
Priestley was intrigued by the effects of an individual’s choices and actions over time, what we might call, the ‘the chain of events’. This play explores such a chain of events.

3. Historical Context
An Inspector Calls was written and performed in 1945 – at the end of World War II; but it is set in 1912 – just before the Great War of Discuss what you know about:
Capitalism, Communism and Socialism
Class divisions
Women’s rights
Trade Unionism
The two world wars
The “Welfare State”
Many students get the wars mixed up in their minds so this will need careful discussion, as will definitions of such terms as socialism, capitalism and so forth.

4. Staging the Play
Priestley leaves the director and actors much less room than usual to choose how to set the stage or act their roles – he does this by providing many and very clear stage directions.
Look at the opening stage directions and work out what Priestley seems to have wanted the audience to think about the Birling family before any words are spoken?
Such a setting evokes certain “cultural narratives” in the audience’s mind – narratives that Priestley knew would work in his favour to help make the play’s themes yet more persuasive.
Be sure to consider all stage directions as you revise.
“Cultural narratives” are the very many “stories” we each carry with us that help form our world view. They can be easily evoked by the creation of certain forms , i.e. sounds and images. Priestley depends in part upon the evocation of these cultural narratives that would help generate the kind of negative attitude that will help the development of his socialist themes. The kind of characters that these narratives involve are often set “types” and often stereotypes. This kind of analysis is subtle yet quite easy for students to undertsand – and can lead to high marks in exams and CAs.

5. What effects does Priestley create in Act 1 and why
What effects does Priestley create in Act 1 and why? Consider both plot and theme.
The reactions to the stage setting.
The Birling family celebrate Sheila’s engagement to Gerald.
A police inspector calls.
Mr Birling and Sheila are questioned.
It’s always a good idea to revise the ideas of “effects” and “purposes” as the analysis of a play is best done through the eyes of the audience. In this way the effects of Priestley’s uses of forms, structure and language can more easily be considered and analysed – thus covering aspects of form, structure and language so necessary for high marks. The concepts of “plot” and “theme” are so very useful to the students’ analysis and discussion but might need careful revision or explanation – “plot” being the way characters and action are created by the author – and the way action unfolds in a sequence or structure that creates an absorbing tale full of suspense and tension, “theme” being the ideas, thoughts and feelings about the real world that Priestley weaves into his fictional play. Looked at this way, the story or narrative is a highly persuasive device.

6. What effects does Priestley create in Act 2 and why
What effects does Priestley create in Act 2 and why? Consider both plot and theme.
The Inspector questions Gerald.
Sheila breaks off her engagement to Gerald.
Mrs Birling is questioned.
Sheila and, eventually, the others realise that Eric is involved.

7. What effects does Priestley create in Act 3 and why
What effects does Priestley create in Act 3 and why? Consider both plot and theme.
Eric confesses his involvement in Eva’s death.
The inspector leaves after making a key speech about social responsibility.
Gerald raises doubts about the “inspector” and makes phone calls to the Chief Constable and local hospital.
Some lessons are learned; some are not.
The play closes with the telephone ringing. It’s the police; a girl has died and a police inspector is about to call…

8. Characters Key points to consider:
Character are created to have effects on the audience for two broad purposes – plot and theme.
Think about Priestley’s use s of the main characters at these two key levels.

9. Arthur Birling: ‘hard-headed business man’
‘Portentous & rather provincial in his speech’ – given a northern accent. Consider Priestley’s use of accents – how might Gerald speak in comparison? How might Mrs. Birling and Sheila speak? And what about Eric?
What is the effect and purposes of this use of accents? Consider once again the idea of “cultural narratives” and how these can be invoked just by the way a person speaks.
Birling wants: ‘lower costs and higher prices’ and thinks ‘there isn’t a chance of war’. How is Priestley creating effects on the audience and why. Think – as always – in terms of both plot and themes?
Even voice can invoke cultural narratives and the set “types” these narratives involve. Priestley could be said to use these narratives as a means of developing the social themes of the play.

10. Arthur Birling
Thinks every man should ‘look after himself and his own’
‘not the kind of father a chap could go to’ – Gerald

11. Arthur Birling
Sacks ‘Eva Smith’ because she helped lead a strike at Birling’s factory. Thinks she had ‘far too much to say’
Attempts to assert power over the Inspector by name dropping: he and the Chief Constable ‘play golf together’
A character who Priestley ensures never changes in significant ways: he learns nothing from the Inspector’s actions: ‘I only did what any employer might have done.’
Narratives involve change – and those characters who do not change are a key aspect of narratives – it’s worth discussing which characters change and which don’t – and the effects and reasons for this. Birling is presented as the son of a man who “made good” and so he was “closer” to his workers than, say, Gerald. Priestley seems to feel especial venom for this character.

12. Gerald Croft
An aristocrat – a member of the “landed gentry”. The son of Sir George and Lady Croft – ‘Croft’s Limited is both older and larger than Birling and Company’
Has an affair with Daisy: ‘wonderful Fairy Prince’; but the Inspector says, ‘at least he had some affection for her’
Is genuinely shocked at her death
Doesn’t seem to learn from the Inspector’s visit: ‘We’ve been had’ – but if he marries Sheila?
The use of an aristocratic character wanting to marry into a family whose wealth is not from inherited land but business and industry is interesting. Students are unlikely to understand the differences and these are worthy of discussion as Birling, being the son of a member of the poorer classes who did well and succeeded in creating a successful business should surely be more aware of poverty and the distress it causes – and yet he is the least sympathetic of all.

13. Mrs Sybil Birling
Created to be an arrogant and controlling woman who speaks ill of both the Inspector and “Eva”: “girls of that class.”
Lacks understanding of even her own children, ‘[Eric]’s only a boy’
Chairs a charitable committee but fails to understand the distress of “Eva/Daisy” and refuses to help her.
Sees no reason to share responsibility: “[S]he had only herself to blame.”
Despite Priestley creating this character in ways that develop no sympathy from the audience, it can be productive to consider her life as an upper middle class woman in this highly patriarchal society.

14. Miss Sheila Birling
Is responsible for Eva losing her job; uses her ‘power’ ‘to punish the girl’
Shows shock and distress on learning of Eva’s death: ‘Oh, horrible, horrible!’
Recognises her responsibilities: ‘...I’m to blame – and I’m desperately sorry’
Created as character who develops and changes as the action of the play progresses: “[W]e really must stop these silly pretences... at least you’ve [Gerald] been honest.”

15. Eric Birling
Dominated by overpowering parents, probably drinking excessively to overcome feelings of inferiority: “squiffy”.
Meets Eva/Daisy in the “Palace Bar” and forcibly seduces her: “threatened to make a row”.
Used [Eva/Daisy] “as if she was an animal”.
Helps Eva/Daisy by stealing cash from his father’s business to help her out.
Created to be a character who changes and develops as the action of the play proceeds. He accepts responsibility for his actions and the results these produced: “[W]e all helped to kill her.”
The audience are brought to have sympathy for this character – it’s worth discussing how and why this occurs.

16. Eva Smith/Daisy Renton
Young and “very pretty”.
“All she wanted was to talk – a little friendliness”
“very gallant”
Realised that Eric “didn’t love her” and refused to marry him.
Refused the offer of cash from Eric– created as a woman of honesty and dignity even though she suffered such degradation.

17. Inspector Goole Far-sighted, “prophetic”.
Authoritative: “one line of inquiry at a time”.
“[P]ublic men have responsibilities as well as privileges”
Recognises the way a “chain of events” can lead to effects on others.
Wants the Birlings and Gerald – symbolising the upper and middle classes – to understand and take their share of responsibility or suffer “fire and blood and anguish” if society chooses revolution as predicted by Marx.

18. THEMES
Consider the following themes. Can you link characters to each theme and explain how and why Priestley created them:
Social responsibility
Power
Social class
Men’s and women’s roles
Morality

19. Dramatic Devices
Dramatic irony This is created by the playwright when the audience is allowed to know more than a character on stage. It is a key device that creates engagement and suspense and tension.
Symbolism The use of images or ideas (sometimes recurring as motifs) to develop deeper levels of meaning .
Questions and answers A device to engage the audience in the action of the play.

20. Dramatic Devices
Suspense and tension The use of a “plot” to create the desire in the audience to want to know “what will happen next”.\
Hyperbole The use of acceptable exaggeration used for effect.
The “Secretive Photo” device.
“Coups de theatre” The use of a sudden turns of events.

21. Structure
Priestley carefully sequences the action of the play to build up suspense and tension and ends with a “coups de theatre”.
Students often struggle to fully understand how to discuss the effects of structure – yet it is so vital for high marks. Thinking of “sequence” can make their analysis easier – working out how and why Priestley arranges the action and events of the play to create suspense and tension.