1
Q
Inspector Goole, Act 1
Stage direction - “He creates at once an ____________ of _____________, _____________ and _____________”
A
- Metaphor of “massiveness” could refer to Inspector’s intimidating aura and ability to dominate all other characters on the stage.
- Alternatively, abstract noun “massiveness” could hint at Inspector’s seemingly omnipotent power; this is further emphasised by the lighting changing to “brighter and harder” as he appears, which has connotations of an intensive investgation, suggesting that the Birlings cannot avoid his scrutiny; from another point of view, the bright light has possible biblical allusions to angels and God, foreshadowing how the Inspector’s message of caring for one’s neighbours will be Christian in nature.
- Abstract noun “purposefulness” foreshadows use of Inspector as Priestley’s mouthpiece; he exists to convey Priestley’s socialist message in a powerful way that cannot be ignored.
“He creates at once an impression of massiveness, solidity and purposefulness”
2
Q
Inspector Goole, Act 1
“It’s ____________ to ask for the __________ than to __________ it”
A
- Inspector supporting Eva Smith’s right to request higher wages; in turn, this reflects Priestley’s approval of workers’ right to strike against avaricious employers.
- Hyperbolic metaphor of taking “the earth” highlights the greed of avaricious Edwardian capitalists such as Mr. Birling.
- “The earth” indicates a wealth disparity; the working class have limited resources, while the callous upper class enjoy a world of excessive consumption and luxury.
- The verb “ask” has connotations of submission and passivity which contrasts with the aggressive verb of “take”; this highlights the antithesis between the vulnerable working class and the all-powerful businessmen of the world.
- Priestley uses Inspector as his mouthpiece here to be the voice of the oppressed; Eva’s lack of a voice in the play hints that more prosperous members of society should become advocates for the working class.
“It’s better to ask for the earth than to take it”
3
Q
Inspector Goole, Act 1
“I don’t play ____________”
A
- Blunt and tense comment contrasts with Mr. Birling’s verbosity and indicates that Inspector is not intimidated by Mr Birling’s connections to Colonel Roberts.
- Middle-upper classes of Edwardian era were not used to being challenged; Priestley suggests they should be.
- “Golf” symbolises class divide, since in 1912, this sport was typically only enjoyed by affluent members of society; Inspector’s disapproval of the sport possibly mirrors his distaste for a society where certain priviliges are only enjoyed by a rich elite.
- Alternatively, perhaps verb “play” is a subtle reference to Mr. Birling’s lack of responsibility and seriousness; Mr. Birling later refers to events of the evening as a “joke”. Inspector is challenging Mr. Birling’s flippant attitude.
“I don’t play golf”
4
Q
Inspector Goole, Act 2
“Your ____________ isn’t living on the ____________”
A
- Hyperbolic metaphor of “living on the moon” indicates way in which Mr. and Mrs. Birling infantilise and mollycoddle Sheila.
- Noun “moon” indicates a seperation from reality. This links to symbolism of “pink and intimate lighting” at the start of the play, which also hints at the way in which the Birlings are blind to harsh truths.
- Alternatively, “moon” has connotations of distance and isolation; could be seen as linking to way in which Mrs. Birling forced Sheila to retreat to the “drawing-room” earlier; she is never allowed to experience the real world.
- Priestley is an advocate for women’s rights. Women gained equal voting rights with men in 1928; he uses the Inspector here to challenge the patriachal view that women should be shielded from the world; he wants them to be independent and have a voice.
“Your daughter isn’t living on the moon”
5
Q
Inspector Goole, Act 3
“____________ and ____________ and ____________ of Eva Smiths and John Smiths”
A
- Repetition of “millions” and polysyndeton emphasises scale of working class suffering.
- “Eva Smiths and John Smiths” are symbolic of the entirety of the marginalised working class. Inspector uses these names to humanise this class and provoke sympathy.
- Inspector encouraging repentance of the Birlings and making them see how their egotistical actions have consequences; their life of luxury is dependent on the suffering of others.
- Priestley advocating for the Welfare State; no Welfare State in 1912, leading to Eva’s demise. In aftermath of WW1 and WW2, Priestley saw government assistance as imperative.
“Millions and millions and millions of Eva Smiths and John Smiths”
6
Q
Inspector Goole, Act 3
“We are ____________ of one ____________”
A
- Metaphor “one body” refers to socialist idea of everyone working together to support one another.
- Body requires every organ, every limb, every cell to work collaboratively to enable life; Priestley suggests that society is also dependent on all of its part to work, and that if the working class suffers, all of society suffers.
- Possible Biblical allusion to Corinthians which says “all the members of that one body, being many, are one body, so also is Christ”; Priestley hinting at a Christian message: we must see ourselves as a collective, not individuals.
- Critisising capitalism, a system where selfishness and greed lead people to neglect other members of the “body”.
- Possibly a metaphor for the Welfare State.
“We are members of one body”
7
Q
Inspector Goole, Act 3
“If men will not learn that ____________, then they will be taught it in ____________ and ____________ and ____________”
A
- “Fire and blood and anguish” foreshadows WW1 and WW2. Hints at Inspector’s omnipotent abilities and futher validates his socialist message.
- Suggesting that World Wars occur as consequence of people’s egotism and inability to take responsibility for others.
- Semantic field of hell. Hints that those who do not repent their sins will experience consequences in the afterlife.
- Polysyndeton emphasises scale of suffering, both of World Wars and in eternal punishment of those who do not seek forgiveness and change their ways.
- Priestley using Inspector as his mouthpiece to speak directly to privileged members of audience who neglect poorer members of society.
“If men will not learn that lesson, then they will be taught it in fire and blood and anguish”
8
Q
Gerald (Act 1)
“We’d have ____________ the ____________”
A
- Approving tone indicates Gerald’s support of Mr. Birling firing Eva Smith.
- Sentiment symbolises how Edwardian capitalists oppress the working class and conspire together to deprive them of opportunities to rebel.
- Collective pronoun “we’d” contrasts with singular “Eva Smith”; indicates unfairness of system whereby the wealthy elite coordinate and overwhelm the vulnerable working class.
- “Same” indicates a lack of critical thinking. Gerald content to carry on in the “same old way”, which Sheila later criticises.
“We’d have done the same”
9
Q
Gerald (Act 1)
“We’re ____________ ____________ and not ____________”
A
- “Respectable citizens” symbolises facade of the aristocracy, who hide their malevolent actions beneath a mask of innocence.
- Audience is aware of Gerald’s affair; Priestley intentionally undermining him here to provoke audience’s disapproval of how the aristocracy pretends to be virtuous.
- “Not criminals” indicates a lack of responsbility. Priestley suggesting that just because an action is not illegal does not make it acceptable.
- Adjective “respectable” has connotations of having a moral code; hypocritical in light of Gerald’s affair during the summer.
“We’re respectable citizens and not criminals”
10
Q
Gerald (Act 2)
“(Sheila with sharp sarcasm) You were the ____________ ____________ ____________. You must have ____________ it Gerald”
A
- Metaphor of “fairy prince” hints at Gerald’s traditionalist sexist views; he enjoys the vulnerability of women because he can exploit it.
- Also, “fairy prince” has connotations of fairy tales; fairly tales are fictional, suggesting that Gerald’s appearance as a virtuous savior is fictional too.
- Stage direction “sarcasm” indicates Sheila’s growth into a more independent woman with a voice; Priestley uses Sheila’s growing maturity to advocate for women’s rights in the post-war era.
“(Sheila with sharp sarcasm) You were the wonderful fairy prince. You must have adored it Gerald”
11
Q
Gerald (Act 2)
“I didn’t ____________ her there so that I could make ____________ to her”
A
- Verb “install” is scientific and lacks emotion. Gerald trying to hide affection for Eva from Sheila to protect his engagement. Reflects Gerald’s self-interest.
- Alternatively, “install” hints at Gerald’s objectification of Eva; he uses her, as the Inspector later says, like “a thing, not a person.”
- Gerald’s claim is preposterous; he did have affair with Eva; this claim highlights the aristocracy’s inability to be honest and transparent.
- Contrast to moral epiphany of Sheila, who is completely honest and emotionally transparant; this antithesis provokes further dislike of Gerald.
“I didn’t install her there so that I could make love to her”
12
Q
Gerald (Act 2)
“All right – I did for a ____________. ____________ any ____________ would have ____________”
A
- “I did for a time” arguably shows some degree of repentance.
- However, admission is likely a ploy to placate Sheila; Gerald may simply be attempting to restore the engagement.
- “Nearly any man” conveys a flippant tone; Gerald is hinting that affairs are normal for men. Reflects unfair standard Edwardian Britain where men were permitted to have affairs while any woman who was sexually promiscuous was seen as ruined.
- “Nearly any man” alternatively hints at lack of restraint; aristocracy’s greed always overtakes any other moral imperative.
“All right – I did for a time. Nearly any man would have done”
13
Q
Gerald (Act 3)
“____________’s all right now, ____________ …What ____________ this ____________?”
A
- Gerald’s attempt to return ring demonstrates his lack of remorse; he does this on the same evening where Sheila is traumatised by her in Eva’s suicide. This demonstrates Gerald’s lack of empathy.
- Moreover, “ring” symbolises aristocracy’s tendency to rely on material possessions and wealth to make others do as they wish; Gerald thinks that Sheila can be “bought” back.
- “Everything’s all right” conveys lack of repentance; hinting that Eva Smith’s suidice is of no consequence; portrays how the upper classes are content with the suffering of others as long as they are unaffected.
“Everything’s all right now, Sheila …What about this ring?”
14
Q
Mr Birling (Act 1)
“____________ us the ____________, Edna?”
A
- Very first line of the play. Priestley opens with this in order to present Mr. Birling as a callous individual who treats his maid without respect.
- Verb “giving” suggests Mr Birling is used to being provided for; on a deeper level, reflects how avaricious capitalists are used to the world providing them with what they need; links to Inspector’s comment about “it’s better to ask for the earth than to take it”; Mr. Birling only takes.
- “Port” symbolises upper class excess; this luxury would only be affordable to a select few in the Edwaridan era; can be seen as symbolic of the class divide.
- From another point of view, “port” symbolises a lack of awareness due to its connotations of drunkness; perhaps Priestley is hinting that Mr. Birling is unaware of how his cruelty towards the working class causes suffering.
“Giving us the port, Edna?”
15
Q
Mr Birling (Act 1)
“I ____________ as a ____________-____________ business ____________”
A
- Confident tone portrays Mr. Birling as an egotistical captialist who prides himself on the ability to make difficult decisions.
- “Hard-headed” foreshadows the cruel treatment of Eva Smith by Mr. Birling. His heart is “hard” and has no room for empathy.
- Alternatively “hard-headed” could be Priestley’s subtle hint that Mr. Birling has a fixed mindset; foreshadows his inability to accept responsibility by the end of the play.
- “Business man” suggests that Mr. Birling’s company takes priority, even over the welfare of others.
- Mr. Birling’s overwhelmingly long speech conveys how capitalist are dominant and do not allow others to have a voice.
“I speak as a hard-headed business man”
16
Q
Mr Birling (Act 1)
“____________, absolutely ____________”
A
- Dramatic irony. Titantic sunk in 1912. Priestley suggesting that Mr. Birling is arrogant and foolhardy.
- Priestley makes us distrust Mr. Birling so that we also distrust the capitalist ideas which he embodies.
- Adverb “absolutely” and repetition of “unsinkable” conveys sense of certainty; emphasises extent to which Mr. Birling is misguided.
- Alternatively, Priestley may refer to Titanic to suggest idea of change. Titanic was considered to be a masterpiece of engineering, but it sunk regardless. Perhaps Priestley suggests that commonly held beliefs of the Edwardian Era (e.g. capitalism, dominance of men over women) will also sink eventually.
“Unsinkable, absolutely unsinkable”
17
Q
Mr Birling (Act 1)
“____________ up ____________ like ____________ in a ____________”
A
- Simile “bees in a hive” used by Mr. Birling to express distain for socialist model of society.
- Mr. Birling naively assumes that social classes should remain separate; he is uncomfortable with idea of communities cooperating and being “mixed”.
- “Bees in a hive”; Mr. Birling thinks that socialism would be chaotic and irritating; bees have connotations of stinging and pain, so perhaps Mr. Birling assumes that he will be harmed if he is forced to assist the working class, maybe through loss of money or material possessions.
- Dramatic irony; bees do cooperate well; perhaps Priestley is criticising Mr. Birling’s fixed mindset and proposing that society would be more efficient if we all worked together.
- Bees produce honey as a collective body; perhaps Priestley is suggesting that the world should collaborate; eventually, there will be enough resources to sustain everyone if everyone is altrustic instead of self-interested.
“Mixed up together like bees in a hive”
18
Q
Mr Birling (Act 1)
“She’d had a ____________ to say – far ____________ much – so she ____________ to ____________”
A
- Confident and assertive tone suggests that Mr. Birling feels no remorse for his role in Eva’s suicide.
- “Far too much” indicates how capitalists do not allow the working class to have a voice; they silence and oppress vulnerable members of society.
- “She had to go” suggests that the firing of Eva Smith was an inevitability; Mr Birling is unable to change his “hard-headed” ways and see the world from a more compassionate point of view.
- Antithesis to Sheila and Eric, who indicate disapproval of Eva’s firing; Priestley uses humanity of these characters to highlight Mr. Birling’s inhumanity.
“She’d had a lot to say – far too much – so she had to go”
19
Q
Mr Birling (Act 3)
“I’d give ____________ – yes ____________”
A
- Mr Birling attempts to express a modicum of remorse for Eva’s death, hinting that he would have provided her with financial support.
- However, he is hypocritical; he did not provide these “thousands” when she was alive because he wanted “lower costs and higher prices”.
- Repetition of “thousands” highlights Mr. Birling’s avariciousness; he always financially focused and assumes money will solve the world’s problems.
- Mr. Birling using a facade similar to Gerald’s comment about being “respectable citizens”; he wants to appear altrusitic and compassionate to protect his reputation and secure his knighthood.
“I’d give thousands – yes thousands”
20
Q
Mr Birling (Act 3)
“The famous ____________ ____________ who know it all. And they can’t even take a ____________”
A
- Humourous tone conveys a lack of seriousness and repentance.
- Reference to evening’s events as a “joke” indicates lack of responsibility. He thinks that he is absolved of blame because the Inspector is not on the police force, so is not repentant for any cruelty towards his workers.
- Dramatic irony. The “younger generation” have learned Priestley’s socailist message. Mr. Birling’s naivity reflects older generation’s inability to progress and be “impressionable”.
“The famous younger generation who know it all. And they can’t even take a joke”
21
Q
Mrs Birling (Act 1)
“____________ and I had better go into the ____________-____________ and leave you ____________”
A
- Commanding and imperious tone. Mrs. Birling is used to being listened to and obeyed.
- Mrs. Birling is controlling and infantilising; Sheila has no independence.
- Retreating to the “drawing-room” is metaphor for being marginalised in society; in 1912, women did not have equal voting rights with men and had a limited voice in Britain.
- Mrs. Birling, depsite being a woman herself, supports sexist idea of women being voiceless; symbolises how older Edwardian women were complicit in the patriarchy.
- Antithesis to “your daughter isn’t living on the moon”; Priestley disapproves of how women are marginalised.
“Sheila and I had better go into the drawing-room and leave you men”
22
Q
Mrs Birling (Act 2)
“____________ of that class”
A
- Dismissive and flippant tone. Mrs. Birling considers working class to be beneath her.
- Classist and prejudiced attitude; Mrs. Birling assumes that everyone from a disadvantaged background are morally questionnable and untrustworthy.
- “That” suggests a snobbish and elitist attitude; Mrs. Birling considers herself superior and seperate. She is building a “wall” the Sheila refers to; Mrs. Birling actively constructs class boundaries to elevate herself.
- Antithesis to “these girls aren’t cheap labour, they’re people”; Priestley encouraging us to distance ourselves from Mrs. Birling’s morally corrupt stance.
“Girls of that class”
23
Q
Mrs Birling (Act 2)
”As if a ____________ of that ____________ would ever refuse ____________”
A
- Mrs. Birling repeating classist comments, suggesting how entrenched her views about the working class being morally corrupt are.
- Noun “girl” is infantilising and suggests that Mrs. Birling does not consider Eva Smith to be worthy of serious consideration.
- Ever refuse money” is ironic; Mrs. Birling’s family is avarcious and materialistic; Eva Smith simply desired enough to survive; Priestley is highlighting the hypocrisy of the upper class.
- “That sort” is dehumanising; also suggests that Mrs Birling sees the working class as a collective and faceless group; she does not appreciate that it is comprised of individuals.
”As if a girl of that sort would ever refuse money”
24
Q
Mrs Birling (Act 2)
“But I ____________ no ____________ at all”
A
- Blunt declarative phrase indicates inability to take responsibility for Eva’s suicide.
- “No blame” indicates Mrs. Birling’s inability to be “impressionable”; she is incapable of self-reflection
- Antithesis to Sheila’s moral epipany “they’re people”; symbolises inability of the older generation to become more compassionate members of society.
- Ironic that Mrs. Birling assists with a charity and has no sympathy for the poor; indicates that her position in the charity fulfils her egotistical need for a good societal reputation.
“But I accept no blame at all”
25
# Mrs Birling (Act 2)
“I ____________ the ____________ of the ____________”
* Accusatory tone indicates Mrs. Birling's tendency to shift responsibility onto others.
* Echoes Gerald's and Mr. Birling's similar inability to accept personal responsibility.
* Goes against Inspector's metaphor of society being "one body"; it is conveninent for Mrs. Birling to consider society as comprising unrelated sections with a "wall" seperating them.
* Ironic that Eric is later proven to be the father. Mrs. Birling then retracts her comment, highlighting the hypocrisy of the upper classes.
## Footnote
“I blame the father of the child”
26
# Mrs Birling (Act 3)
“They’re ____________-____________. In the ____________ they’ll be as ____________ as we are”
* Flippant tone conveys lack of humanity and repentance.
* Links to Mr. Birling's comment of a "joke"; highlights how the older generation are united in their inability to become altrustic.
* "Over-tired" is patronising and recalls infantilisation of Sheila earlier in the play; reflects how older generation attempt to silence younger generation; also creates circular structure, indicating that if Mr. and Mrs. Birling have their way, the world will remain unchanged and unfair.
* "In the morning" is short time frame; seems proposterous that guilt will dissipate given the trauma of the evening; highlights her naivity and lack of empathy.
## Footnote
“They’re over-tired. In the morning they’ll be as amused as we are”
27
# Sheila (Act 1)
"____________, go on ____________"
* Compliant and submissive tone indicates Sheila's lack of power at the start of the play.
* Childish noun "mummy" is at odds with Sheila being in her twenties; suggests that she has been overly protected and mollycoddled; treated as if she is "living on the moon".
* Alternatively, "mummy" indicates affection for Mrs. Birling; we later discover to be the most callous character in the play, and she was described in the opening stage directions as a "cold" woman; highlights Sheila's initial naivity to her mother's lack of compassion.
* Represents younger generation's submission to the older generation in Edwardian Britain.
## Footnote
"Yes, go on mummy"
28
# Sheila (Act 1)
“Is it ____________ one you ____________ me to have?”
* Excitable and enthusiastic tone reveals affection for Gerald and material possessions.
* "You wanted me to have" hints that Gerald chose the ring; symbolises patriarchal society where women are submissive to men; alternatively, the ring symbolises how aristocrats use their affluence to manipulate the emotions of others.
* Foreshadows Gerald's misogyny later in the play where he uses his power to initiate an affair with Eva Smith; he is used to being dominant in his relationships with women.
## Footnote
“Is it the one you wanted me to have?”
29
# Sheila (Act 1)
“But these ____________ aren’t ____________ labour – they’re people”
* Defiant and confrontational tone indicates disapproval of Mr. Birling's capitalist actions.
* Contrast with "yes, go on mummy" at the start, which hinted submission and obedience.
* Sheila is transforming into a more independent woman with a voice; mirrors women developing a voice in society, gaining equal voting rights with men in 1928; Priestley wants women to have a say in society.
* Cheap labour" symbolises how avaricious capitalist dehumanise their workers, exploiting them for maximum financial gain.
* "People" symbolises how workers should be seen as individuals, not just profit; Sheila seems how exploitation leads to working class suffering.
## Footnote
“But these girls aren’t cheap labour – they’re people”
30
# Sheila (Act 2)
“You ____________’t try to build up a ____________ between us and that ____________”
* Metaphor of "wall" indicates how Mr. and Mrs. Birling consider themselves superior to the working class; they believe their affluence separates them from poorer people.
* Alternatively, walls have to be carefully built and are not naturally occuring; reflects how the segmentation of society into classes is not natural; it is artifically created by the upper classes to ensure their lives of luxury can continue.
* Wall could also symbolise lack of responsibility; Mr. and Mrs. Birling do not consider the harm their actions cause.
* Antithesis to Mrs. Birling's comment "girls of that class"; highlights how younger generation are able to see the humanity in others.
* Also antithesis to "members of one body". Inspector and Priestley beleive that this prejudiced wall should be destroyed.
## Footnote
“You mustn’t try to build up a wall between us and that girl”
31
# Sheila (Act 3)
“It ____________ me the way you ____________”
* Antithesis to Sheila's lack of a voice at the start of the play; she openly voices disapproval of her parents now.
* "Frightens me" contrasts with "yes, go on mummy"; Sheila is no longer naive to the egotistical and callous actions of her parents.
* "The way you talk" refers to Mr. and Mrs. Birling's relief that their reputations have been saved; Sheila is in disbelief that her parents can be so self-interested and egotistical.
* Sheila is no longer "living on the moon" or in the "drawing room"; her position in the centre of the play's action symbolises her transformation into an assertive women; possibly mirrors Priestley's approval of the suffragettes and suffragists in their vocal support of women's rights.
## Footnote
“It frightens me the way you talk”
32
# Sheila (Act 3)
“You’re ____________ to go on in the ____________ old way”
* Defiant and bitter tone indicates that Sheila disapproves of her parents' inability to be "impressionable" and care for the working class.
* "The same old way" symbolises how Edwardian Britain cannot change if the older capitalist generation remains in charge; their financial excesses depend on the status quo being mantained and they will actively challenge any threat to this.
* Sheila has become Priestley's mouthpiece in the aftermath of the Inspector's departure; her bluntness and assertiveness reflect that she has in a way become the Inspector herself; Inspector's impression of "purposefulness" has taken effect and led to Sheila's transformation into a socialist symbol of hope.
## Footnote
“You’re ready to go on in the same old way”
33
# Eric (Act 1)
“Why shouldn’t they try for ____________ wages? We try for the ____________ possible ____________”
* Rhetorical question indicates a challenge to Mr. Birling's view that workers should not question their employers.
* "We try for the highest possible prices" demonstrates insightfulness from Eric; he realises that capitalism always prioritises financial gain.
* “Why shouldn’t they try for higher wages?" echoes Priestley's views; he uses Eric to suggest that workers have a right to stike; Miners' Strike in 1912 occurs soon after events of play, securing minimum wage of miners; Priestley wants audience to adopt Eric's view and sympathise with workers who are underpaid by callous Edwardian employers.
## Footnote
“Why shouldn’t they try for higher wages? We try for the highest possible prices”
34
# Eric (Act 3)
“She was ____________ and a ____________ ____________”
* Eric's moral ephipany takes longer than Sheila's; he struggles to move past concept of Eva Smith as an object; perhaps conveys the widespread misogyny amongst men in the Edwardian Era.
* Adjective "pretty" is superficial; Eric is unable to look beyond the surface and appreciate Eva Smith's personality; alternatively, "pretty" indicates Eric's lustful impulsivity and inability to control himself.
* This statement recalls Gerald's objectification of Eva; the fact that both Eric and Gerald mistreat Eva is used by Priestley to criticise how Edwardian men prioritised their own sexual needs above the needs of the women they abused.
## Footnote
“She was pretty and a good sport”
35
# Eric (Act 3)
“I was in a ____________ where a chap ____________ turns ____________”
* From one point of view the adjective "nasty" conveys some repentance; perhaps Eric regrets his cruel treatment of Eva.
* However, "in a state" implies that his actions can be attributed to alcohol; this indicates how his is trying to shift blame, much like Mr. Birling, Mrs. Birling and Gerald cannot accept personal responsiblity for their actions.
* "A chap" is used by Eric to divert attention away from himself; he suggests that everyone would be susceptible to mistreating others under the influence of alchohol; this recalls Gerald's sentiment that "any man would have done".
* Priestley is suggesting that Edwardian men should have more accountability and not normalise the abuse of vulerable women.
## Footnote
“I was in a state where a chap easily turns nasty”
36
# Eric (Act 3)
“____________ you’re not the ____________ of ____________ a ____________ could go to when he’s in ____________ – that’s why”
* Defiant and confrontational tone suggests that Eric is becoming more independent.
* Mirror's Sheila's change into someone who challenges her parents; "it frightens me the way you talk"; reflects how the younger generation are "impressionable" and able to change their views.
* Realises that Mr. Birling is not a good "father"; perhaps due to Mr. Birling's prioritisation of his business and knighthood over people; alternatively, perhaps due to how Mr. Birling's narcissism renders him incapable of giving advice that can benefit others.
* Contrast to "you're squiffy" at the start of the play. Eric has metaphorically become sober; he is altert to the hypocrisy of his parents and able to confidently challenge them.
## Footnote
“Because you’re not the kind of father a chap could go to when he’s in trouble – that’s why”
37
# Eric (Act 3)
“He was our ____________ ____________ alright”
* Tone of admiration and wonder conveys idolisation of Inspector Goole.
* Eric prioritises the wellbeing of others over his own reputation; does not consider it significant whether the Inspector was real or not because he revealed their sins.
* Determiner "our" conveys far-reaching impact of Inspector; he scrutinised every single person in the room powerfully; alternatively, "our" could hint that everyone has a joint responsibility for Eva's death and should not hide from this.
* Antithesis to Mr. Birling's reference to "joke" and Mrs. Birling's reference to "amused"; Eric treats situation with gravity and seriouness; younger generation are capable of introspection and change.
## Footnote
“He was our police inspector alright”
38
# Eric (Act 3)
“And I say the ____________’s ____________ and we all ____________ to kill her – and that’s ____________ ____________”
* Blunt and accusatory tone mirrors the Inspector's style of speaking.
* Like Sheila, Eric has become Priestley's mouthpiece; younger generation are the hope of the future and can forge a brighter, more compassionate world.
* "We all helped" conveys idea of collective responsiblity; recalls idea of "one body" and interconnectedness of society; we should remove the "wall" constructed by avaricious capitalists and see the harm that their actions inflict on the vulnerable working class.
* Antithesis to "the famous younger generation who know it all" comment by Mr. Birling; dramatic irony; the audience knows that the younger generation have learned and it is up to them to strive for a more altrusitic Britain.
## Footnote
“And I say the girl’s dead and we all helped to kill her – and that’s what matters”
'An Inspector Calls' Key Quotes
flashcards
Decks in class (1)
# Cards
