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CONTENTS. An Inspector Calls Resource Pack. Aim: to evaluate the technical and conceptual elements of the play, in depth, with perceptive insight and interpretation. Synopsis Character description Historical context Narrative (Act 1-3) Writer’s choices Themes Characterisation

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  1. CONTENTS An Inspector Calls Resource Pack Aim: to evaluate the technical and conceptual elements of the play, in depth, with perceptive insight and interpretation • Synopsis • Character description • Historical context • Narrative (Act 1-3) • Writer’s choices • Themes • Characterisation • Motifs and symbolism • Dramatic devices • Adaptations • Analysis of quotations • Essay writing technique

  2. Arthur Birling (Mr Birling) Sybil Birling (Mrs Birling) Gerald Croft Sheila Birling Eric Birling A slightly introverted and troubled son of the Birling family that is suspicious of Gerald and jokingly derogatory to his sister Sheila. Like Gerald, Eric also has some skeletons in the closet, and his uncertainty could be an existential crisis. Son of a prosperous manufacturing family and esteemed among the Birling family. Aged 30, he proposes to Sheila and becomes her fiancé. He is a confident and successful made with some skeletons in the closet. The Birlings’ daughter in her early twenties, protected by her parents from societal frictions and in accepting Gerald’s proposal, will create Croft-Birling merger that will be quite the family acquisition. Founder of a successful and growing manufacturing business – has been Lord Mayor and is a magistrate. He debates ‘capital and labour agitations’ and wishes Gerald to betroth Sheila. Arthur’s unemotional wife who prides herself on her elite status, born into wealth and unsympathetic of those who challenge their hierarchy with socialist agendas. Eva Smith does not feature as an active character with dialogue in the play. However, she is central to the story regarding the Birling family, as her grisly suicide (drinking bleach) has resulted in their investigation by Inspector Goole. Her association to the family is slowly revealed as secrets are unearthed by the Inspector. Her tragic plight reveals much about Priestley (who wrote the play in 1945) as a writer in satirising certain social and political attitudes of 1912; a pre-cursor to the First World War. Eva Smith is an icon against social injustice and the misuse of power from the advantaged. Introduced as a police inspector investigating a horrific suicide, he is a man of poise, authority and stature that has a disconcertingly direct gaze and an approach to questioning that unsettles the Birling family but also reveals the true nature and secrets of each character. Edna, as the Birling servant, is an honorable and submissive lady doing her service for the family and making them aware of visitors, and tending to their needs. Edna Eva Smith Inspector Goole

  3. SYNOPSIS SOCIAL, POLITICAL AND HISTORICAL CONTEXT The Birling family are dining with Gerald as their special guest. He proposes to their daughter, Sheila. When she accepts his proposal, they celebrate the news because this will also result in the merging of two successful local businesses. Just when everything seems to be going perfectly, Inspector Goole interrupts The Birlings’ home, a large suburban villa in Brumley, a North Midlands industrial city. It is a spring evening in the year 1912 and the family are dining with a special guest. Evaluation: The Birling family are upper-middle class with a fairly high level of affluence and power. The pre-First World War context situates the family within the brewing tensions of conflict. Eva Smith: the social catalyst – as a previous worker for the Birling manufacturing company, she represents the working classes. As a mistress, a gifted yet fired worker, a lover and a shunned mother-to-be seeking benefits, she encapsulates the mistreatment of those in society near the poverty line. The writer’s ideology – despite some archaic dialogue and dated mise-en-scene, Priestley’s play is still as radical today as it was in 1945. Arguably, this cautionary tale has a left-wing agenda to empower the working classes. their dinner with an investigation of the tragic suicide of the young Eva Smith. Whilst sympathetic, the family are irritated by this disturbance and protest that they have no involvement with the case. The Inspector begs to differ, and so begins an unravelling web of secrets and lies that will challenge the equilibrium of an elite household. ACT 1 ACT 2 ACT 3 WRITER’S CHOICES • Eric and his parents have a bitter meeting - Inspector interrupts to question Eric. • Eric’s story: met her at same theatre bar as Gerald, got drunk, and had sex. No marriage consideration. She accepted gifts of money until realising Eric stole. Eric had taken £50 from Mr Birling’s office – making his parents furious. • While Sheila and Eric feel guilty, Mr and Mrs Birling just want to cover it up. • The Inspector leaves delivering a strong message about responsibility. • Family speculate on authenticity of Inspector – realising they were conned. • Just when they think they’re off the hook, the telephone rings, the police say the Inspector is on his way to ask questions about the suicide of a young girl. • Gerald admits he knew Daisy Renton and eventually had an affair with her where she became his mistress. • The affair ended when he went away on business. • Sheila is glad to hear confession but Mrs Birling is disgusted by the scandal. • Goole shows photograph to Mrs Birling – she admits she knows the girl – now pregant asked for financial assistance from Brumley Women’s Charity Organisation and she rejected request and was proud of it – she is unrepentant. • She denounces father of the child, only to find out Eric may be involved. • When Eric enters the room, the Act ends. • Dinner party to celebrate engagement of Sheila to Gerald Croft. • Happy, light-hearted atmosphere. • Mr Birling has ‘man to man’ chat with Gerald and Eric about looking after own family first. • Enter: Inspector Goole – investigating suicide of Eva Smith. • Birling admits she was a fired employee for being a wage protest ringleader. • Birling claims no responsibility for her death. • Sheila enters and is questioned – Sheila reveals that she sacked her from Milwards too – feels very guilty. • Eva changed her name to Daisy Renton – Gerald’s reaction evokes suspicion that he knew her. • Born in Yorkshire, 1894 – junior clerk at wool farm, aged 16 – joined WWI infantry – degree at Cambridge – moved to London as freelance writer – published many novels and plays in 20s and 30s – ground-breaking and controversial – left wing radio show presenter – set up Common Wealth political party in 1942 – party merged with Labour in 1945 – influential in developing Welfare State – active in early movement for United Nations – found CND in 1950s for nuclear disarmament - died in 1984. • Priestley deliberately set his play in 1912 – an era prior the context of war – class and gender boundaries. • 1945 – class and gender transformation – socialist mini-revolution took place – play encourages people to seize post-war opportunity for peace, justice and equality. • Characterisation and narrative shifts in ‘An Inspector Calls’ are politically and socially motivated – his aim was to protest against injustice through storytelling. • JB Priestley’s ideas may still be relevant today.

  4. Themes (quotes used from BBC Bitesize) BBC Bitesize question and essay plan example Do you think that Mrs Birling is more to blame for the death of Eva Smith than the other characters? Give reasons for your answer. Para 1: Introduction - Mrs Birling Explain Mrs Birling's role in Eva's death and discuss whether she is to blame. Para 2 - Mr Birling Look at Mr Birling's part in the tragedy and comment on the extent of his responsibility. Para 3 - Sheila Explore Sheila's part and, as before, commenton the extent of her responsibility. Para 4 - Gerald Now do the same for Gerald... Para 5 - Eric and for Eric... Para 6 - Conclusion Weigh up each character's responsibility and decide whether Mrs Birling is more to blame than anyone else. • Class: upper class Birling family, working class Eva Smith and Edna. • Gender: “MR BIRLING: We were paying the usual rates and if they didn't like those rates, they could go and work somewhere else.“ • Exploitation: this ranged from working conditions to sexual expression – the idea that someone was unjustly used for personal gain – whether success, power or satisfaction. • Age – the various attitudes and ideologies of each character that reflected their generation. Were young and old represented fairly? • Responsibility vs. Prejudice: “INSPECTOR: One EvaSmith has gone - but there are millions and millions and millions of Eva Smiths and John Smiths still left with us, with their lives, their hopes and fears, their suffering and chance of happiness, all intertwined with our lives, and what we think and say and do.” Motifs and symbolism Dramatic devices Coups de theatre Enigma Euphemism Time Hubris Doors and rooms The photograph Catalysts Eyes Dramatic irony Satire

  5. Adaptations Essay writing technique • BBC 2015 adaptation with David Thewlis. • Stephen Daldry’s 1992 film noir influenced version at Lyttelton National Theatre (left) – went on tour in 2011/12. • BBC 1982 Television version – available on YouTube. • 2004 unabridged audio adaptation. • 90 minute BBC Radio adaptation in 2010. • 1954 Guy Hamilton film version. • 1979 Soviet made-for-television two-part version. • Always answer the question! – easy to ramble, misread the question, go the wrong direction with your response. To avoid this, keep using specific words and terms from the question to help you refocus. • PEEL paragraph – structured responses focus answers ensuring that reading exam questions are answered correctly. • Analyse - Analysis basically means ‘inspecting and picking apart’. Play detective with the book, its purpose and meaning. • Quotation - Important and relevant selection of quotations for evidence of your point. • Objective and critical approach – avoiding the “I think” and discussing opinions with “arguably” and “one viewpoint is” as examples. • Connective sentence starters – so helpful with sentence structures: firstly, therefore, on the other hand, however, consequently, in contrast, whereas, additionally, also, as a result… • Writer and reader - responding to the writer’s motive and the effect on the reader • Context - Explanation of the social, political and historical context of the point given Other than original theatrical productions in 1945 and some adaptations soon after, recent versions have not necessarily given the play the full adaptive treatment reserved for classics. Stephen Daldry’s theatre production and BBC’s 1982 version are the most renowned. However, there is scope for a further film adaptations to immortalise the story. Example answer: how to analyse quotations Practice questions (courtesy of GradeSaver) Trace the different levels of tension throughout the play. How does Priestley create tension? The Inspector is nothing more than a perfectly human hoaxer, and Priestley makes it clear. Do you agree? How are Birling and the Inspector coming from "opposite ideological points of view"? Delineate the "chain of events" that allegedly led to Eva Smith's death. Write a character analysis of Gerald Croft. Why is time an important theme in Priestley's play? J.L. Styan has written that the play's final twist gives a "spurious emphasis irrelevant to the substance of the play." Might he be wrong? Make the case for Edna being the play's most important character. Compare An Inspector Calls to another play by Priestley that you have read. To what extent is Birling essentially a comic character, lacking a serious or ominous side? How is Mr Birling’s character represented by this quotation in context of his speech to the Birling family? “Mr Birling: …capital and labour agitations…” The backstory of Arthur reveals his upper middle-class status. He is the founder of a manufacturing business and is also an ex-Lord mayor, a magistrate and is very focused on the success of his business. This quote suggests that he cares more for the company than the worker. “Capital” refers to the product that is made by the worker, and “labour” relates to the work done by the labourer. Arguably, this throwaway statement by Arthur could reveal the slight contempt he has for the working classes. Consequently, the reader may perceive that Arthur is unsympathetic towards the needs of the worker and selfish in his pursuit for more wealth and status. J.B. Priestley’s decision (as the writer) to ‘villainise’ this executive character may reflect his own leftist political agenda: to highlight the injustice of how the working classes are treated.

  6. Priestley highlights Mr Birling’s sexist opinion, which is that women were seen as less equal and that they should get paid less money. Mr Birling silences Eva, and Priestley wants to show how unjust this is. For example, Mr Birling says “This girl, Eva Smith, was one of them, she’d had a lot to say – far too much – so she had to go.” (Act 1) Men were considered more superior to women in British society in 1912. How does Priestley present ideas about gender in An Inspector Calls? This reinforces the patriarchal context of society in these times. “INSPECTOR GOOLE: We are responsible for each other.   (Act 3)” How does Priestley present his own ideology through the characters in An Inspector Calls? What do you think is the importance of Inspector Goole and how does Priestley present him? “INSPECTOR GOOLE: (massively) Public men, Mr Birling, have responsibilities as well as privileges. (Act 2)” How important do you think social class is in An Inspector Calls and how does Priestley present ideas about social class? “MR BIRLING: He was prejudiced from the start. Probably a socialist or some sort of crank – he talked like one. “ “INSPECTOR GOOLE: We are responsible for each other.   (Act 3)”

  7. The ending of the play makes the reader feel as though the characters are finally taking responsibility for their actions – ‘looks in a panic stricken fashion at the others’. The Birlings and Gerald (with the exemption of Sheila and Eric) felt as though their actions were completely justified when they thought Eva Smith wasn’t real but now they’ve heard a girl has just been admitted into the hospital for suicide. They are starting to realise that they are responsible and it scares them. Sheila didn’t believe that everything was right. “No not yet. It’s too soon. I must think” Priestley ends the story with a cliffhanger which allows the reader to imagine what happens next. It’s a sudden finish which gives the audience suspense. The fact that the curtain closes gives us the barrier between the audience and characters which makes the audience want to open it up again with curiosity. I agree with the statement because Sheila looked like she was confused in the play. PUPILS’ SUGAR PAPER ANSWERSY11 English Exam Question - An Inspector Calls Bewilderment Distinctive Open ending Confusion Didn’t expect it Curious J.B. Priestley leaves the audience in suspense by leaving it on a cliff hanger. It leaves an ambiguous ending. Remind yourself of the ending of the play from ‘the telephone rings sharply…’ to ‘…the curtain falls.’ How do you respond to this as an ending to ‘An Inspector Calls’ and how does Priestley make you respond as you do by the way he writes? The way Priestley ends the book leaves the readers with unanswered questions and makes them think of what will happen afterwards. “The telephone rings sharply… as they stare guilty and dumbfounded the curtains fall”. The end of the book shows how they don’t feel any guilt (apart from Eric and Sheila) until they realise that they might really be in trouble, although before the phone call, Sybil, Gerald and Arthur were celebrating as they thought they had got off the hook but Sheila and Eric feel guilty because they still did what they said they had done. This leaves the readers thinking about what’s going to happen afterwards and maybe makes them feel some hatred towards some characters. It leaves you with unanswered questions. Inviting the reader to make up the ending themselves Priestley ends the book as a cliffhanger. We don’t know if Sheila and Gerald will marry and when the Birlings realise they are being ‘properly’ inspected. ‘A police inspector is on his way here – to ask some questions.’ The Birlings believe they have been let off and this was just a joke, but they will have to go through being inspected again. Priestley leaves us to wonder what is going to happen afterwards. It is finished in an unusual way as authors answer questions but Priestley is letting the readers make up their own ending. Representation of the Birling family as confused and lost – dumbfounded – this implies that the Birling family were extremely shocked after their celebration of the thought that Eva Smith was not the same person in everyone’s story.

  8. Social class is very important in ‘An Inspector Calls’ and Priestley presents their ideas about social class by getting characters such as Inspector Goole to support the working classes and to challenge the elite society. Priestley presents different classes through the ideologies of socialism and capitalism. Whilst Mr Birling is a pro-business capitalist, Inspector Goole emphasises the value of characters like Eva Smith (a mistreated labourer) and therefore represents a socialist ethos. Why did Inspector Goole ask these questions when he was not the real Inspector? The social class is very important as the Inspector does not really care about what class the person is, but on the other hand, Mr. Birling does care a lot about the class, as he is an aspiring middle class person aiming to be one of the ‘elites’ in society. Socialism Capitalism The labourer Worker’s rights The business Profits and productivity Equality Hierarchy Ideological conflict The writer’s motives Class and gender Responsibility Power Individualism PUPILS’ SUGAR PAPER ANSWERS‘An Inspector Calls’ Exam Question How important do you think social class is in ‘An Inspector Calls’ and how does Priestley present ideas about social class? On several occasions in the story, Arthur Birling makes it a priority that we should be responsible for ourselves and no-one else. For example, “Remember this one Eva Smith has gone – but there are millions and millions of Eva Smiths and John Smiths left”. This suggests that he has an excuse for every tragedy that doesn’t affect himself and that he treats a working class labourer of lesser value than a societal elite. Patriarchy – Eva does not agree with men dominating because she believes that women have a say. so she grouped up with the other girls working in the factory to tell Arthur Birling to raise their pay. However, Arthur treats her differently because she is a female. “You would not treat me like this if I was a man”. This implies that Mr Birling does not treat her with respect like he would with a man, showing that men dominated in the 1900s and women were often working class labourers or secondary figures in high society.

  9. Example exam questions In the opening stage directions, Priestley refers to Eric as ‘not quite at ease, half shy, half assertive’. How does Priestley present these and other ideas about Eric in An Inspector Calls? How does Priestley present ideas about gender in An Inspector Calls? How important do you think social class is in An Inspector Calls and how does Priestley present ideas about social class? What do you think is the importance of Eva Smith in An Inspector Calls and how does Priestley present her? In Act 2 of An Inspector Calls, Sheila says to her mother, Mrs Birling, ‘But we must stop these silly pretences.’ How does Priestley show, in his presentation of Mrs Birling, that she often pretends to be something she is not? What do you think is the importance of Inspector Goole and how does Priestley present him? How does Priestley present his own ideology through the characters in An Inspector Calls? Remind yourself of the ending of the play from ‘The telephone rings sharply……….’ to ‘…….the curtain falls.’ How do you respond to this as an ending to An Inspector Calls and how does Priestley make you respond as you do by the ways he writes? How important do you think social class is in An Inspector Calls and how does Priestley present ideas about social class? What is the significance of the social, historical and political context of An Inspector Calls?

  10. Mr Birling Quotations (triumphantly) There you are! Proof positive. The whole story's just a lot of moonshine. Nothing but an elaborate sell! (Act 3) You must give me a list of those accounts. I've got to cover this up as soon as I can. (act 3) Still, I can't accept any responsibility. If we were all responsible for everything that happened to everybody we'd had anything to do with, it would be very awkward, wouldn't it? (Act 1) Perhaps we may look forward to the time when Crofts and Birlings are no longer competing but are working together – for lower costs and higher prices.  (Act 1) (angrily) Yes, and you don't realize yet all you've done. Most of this is bound to come out. There'll be a public scandal. (act 3) (jovially) But the whole thing's different now. Come, come, you can see that, can't you? (Imitating Inspector in his final speech.) You all helped to kill her. (pointing at Sheila and Eric, and laughing.) and I wish you could have seen the look on your faces when he said that. (Act 3) As a hard-headed business man, who has to take risks and know what he's about – I say, you can ignore all this silly pessimistic talk (Act 1) This girl. Eva Smith, was one of them, she'd had a lot to say – far too much – so she had to go. (Act 1) Rubbish! If you don't come down sharply on some of these people, they'd soon be asking for the earth. (Act 1) (angrily) Drop that. There's every excuse for what both your mother and I did (Act 3) I’ve always been regarded as a sound useful party man. So – well – I gather there's a very good chance of a knighthood – so long as we behave ourselves, don't get into the police court or start a scandal – eh?(Act 1) (angrily) Inspector, I've told you before, I don't like the tone nor the way you're handling this inquiry. And I don't propose to give you much rope. (act 2) That fellow obviously didn't like us. He was prejudiced from the start. Probably a socialist or some sort of crank – he talked like one. And then, instead of standing up to him, you let him bluff you into talking about your private affairs. (Act 3) (pointing to Eric and Sheila) Now look at the pair of them – the famous younger generation who know it all. And they can't even take a joke- (Act 3) the way some of these cranks talk and write now, you'd think everybody has to look after everybody else, as if we were all mixed up together like bees in a hive – community and all that nonsense. (Act 1) (dubiously) I must say, Sybil, that when this comes out at the inquest, it isn't going to do us much good. The press might easily take it up—(Act 2)

  11. Mrs Birling Quotations Yes, I think it was simply a piece of gross impertinence – quite deliberate – and naturally that was one of the things that prejudiced me against her case. (Act 2) All right, Edna. I'll ring from the drawing room when we want coffee. Probably in about half an hour. (Act 1) I didn't see any reason to believe that one story should be any truer than the other. Therefore, you're quite wrong to suppose I shall regret what I did. (Act 2) (shocked) Eric! You stole money? (Act 3) (reproachfully) Arthur, you're not supposed to say such things- (Act 1) What an expression, Sheila! Really the things you girls pick up these days! (Act 1) If you think you can bring any pressure to bear upon me, Inspector, you're quite mistaken. Unlike the other three, I did nothing I'm ashamed of or that won't bear investigation. (Act 2) Well, I must say his manner was quite extraordinary; so – so rude – and assertive – (Act 3) I'm sorry she should have come to such a horrible end. But I accept no blame for it at all. (Act 2) Please don't contradict me like that. And in any case I don't suppose for a moment that we can understand why the girl committed suicide. Girls of that class—(Act 2) I'll tell you what I told her. Go and look for the father of the child. It's his responsibility. (Act 2) Really, from the way you children talk, you might be wanting to help him instead of us. Now just be quiet so that your father can decide what we ought to do. (Looks expectantly at Birling.) (Act 3) If, as she said, he didn't belong to her class, and was some drunken young idler, then that's all the more reason why he shouldn't escape. He should be made an example of. If the girl's death is due to anybody, then it's due to him. (Act 2) That – I consider – is a trifle impertinent, inspector. (Act 2) She was giving herself ridiculous airs. She was claiming elaborate fine feelings and scruples that were simply absurd in a girl in her position. (Act 2) (with dignity) Yes. We've done a great deal of useful work in helping deserving cases. (Act 2) They're over-tired. In the morning they'll be as amused as we are. (Act 3)

  12. Inspector Goole Quotations Each of you helped to kill her. Remember that. Never forget it. (He looks from one to the other of them carefully.) But then I don't think you ever will. (Act 3) Sometimes there isn't much difference as you think. Often , if it was left to me, I wouldn't know where to draw the line [between respectable citizens and criminals]. (Act 1) I’d like some information, if you don't mind, Mr Birling. Two hours ago a young woman died on the infirmary. She'd been taken there this afternoon because she'd swallowed a lot of strong disinfectant. Burnt her inside out, of course. (Act 1) (cutting in, with authority) he must wait his turn. (Act 2) (massively) Public men, Mr Birling, have responsibilities as well as privileges. (Act 2) (coolly, looking hard at him) There might be.(Act 1) (very deliberately) I think you did something terribly wrong – and that you're going to spend the rest of your life regretting it. (Act 2) (harshly) Yes, but you can't. It's too late. She's dead. (Act 1) One Eva Smith has gone – but there are millions and millions and millions of Eva Smiths and John Smiths still left with us, with their lives, their hopes and fears, their suffering and chance of happiness, all intertwined with our lives, and what we think and say and do. We don't live alone. We are members of one body. We are responsible for each other. And I tell you that the time will soon come when, if men will not learn that lesson, then they will be taught it in fire and bloody and anguish. Good night.  (Act 3) They might. But after all it's better to ask for the earth than to take it. (Act 1) You think young women ought to be protected against unpleasant and disturbing things?  (Act 2) (very sternly) Her position now is that she lies with a burnt-out inside on a slab. ( As Birling tries to protest, turns on him.) Don't stammer and yammer at me again, man (Act 2) (dryly) I don't play golf. (Act 1) (slowly) Are you sure you don't know? (He looks at Gerald, then at Eric, then at Sheila.) (Act 1) (sternly to them both) You see, we have to share something. If there's nothing else, we'll have to share our guilt. (Act 2) (steadily) That's more or less what I was thinking earlier tonight when I was in the infirmary looking at what was left of Eva Smith. A nice little promising life there, I thought, and a nasty mess somebody's made of it.  (Act 1) (firmly) Yes. (As Birling looks like interrupting explosively.) I know – he's your son and this is your house – but look at him. He needs a drink now just to see him through. (Act 3) (sharply) your daughter isn't living on the moon. She's here in Brumley too. (Act 2)

  13. Sheila Quotations (eagerly) I know I'm to blame – and I'm desperately sorry – but I can't believe – I won't believe – it's simply my fault that in that in the end she – she committed suicide. That would be too horrible –(Act 2) (bitterly) I suppose we're all nice people now.(Act 3) “I’m sorry, Daddy.” She looks attentive, as they all do. (Act 1) I don't dislike you as I did half an hour ago, Gerald. In fact, in some odd way, I rather respect you more than I've ever done before. …. But this has made a difference. You and I aren't the same people who sat down to dinner here.(Act 2) But these girls aren’t cheap labour- they’re people. (Act 1) (flaring up) Well, he inspected us all right. And don't let's start dodging and pretending now. Between us we drove that girl to commit suicide. (Act 3) Oh – Gerald – you’ve got it – is it the one you wanted me to have? (Act 1) We all started like that – so confident, so pleased with ourselves until he began asking us questions. (Act 2) Don't interfere, please, father. (Act 2) If she'd been some miserable plain little creature, I don't suppose I’d have done it. But she was very pretty and looked as if she could take care of herself. I couldn't be sorry for her.  (Act 1) (slowly, carefully now) you mustn't try to build up a kind of wall between us and that girl. If you do, then the inspector will just break it down. And it'll be all the worse when he does. (Act 2) We've no excuse now for putting on airs and if we've any sense we won't try (Act 2) (tensely) I want to get out of this. It frightens me the way you talk. (Act 3) It's the only time I’ve ever done anything like that, and I’ll never, never do it again to anybody. (Act 1) I behaved badly too. I know I did I'm ashamed of it. But now you're beginning all over again to pretend that nothing much has happened- (Act 3) I'm not a child, don't forget. I've a right to know. (Act 2) I tell you – whoever that Inspector was, it was anything but a joke. You knew it then. You began to learn something. And now you've stopped. You're ready to go on in the same old way. (Act 3) (laughs rather hysterically) why – you fool – he knows. Of course he knows. And I hate to think how much he knows that we don't know yet. You'll see. You'll see. (Act 1) (rather wildly, with laugh) No, he's giving us the rope – so that we'll hang ourselves. (Act 2) (flaring up) It’s you two who are being childish – trying not to face the facts. (Act 3)

  14. Gerald Quotations Getting a bit heavy-handed, aren't you, inspector? (Act 1) (smiling) Wouldn't dream of it. In fact, I insist upon being one of the family now. I've been trying long enough, haven't I? (as she does not reply, with more insistence.) Haven't I? You know I have. (Act 1) Well, you were right. There isn't any such inspector. We've been had. (Act 3) (hesitatingly) it's hard to say. I didn't feel about her as she felt about me. (Act 2) So – for god's sake – don't say anything to the inspector. (Act 1) No, it wasn't. ( he waits a moment, then in a low, troubled tone.) she told me she'd been happier than she'd ever been before – but that she knew it couldn't last – hadn't expected it to last. She didn't blame me at all. I wish to God she had now. Perhaps I'd feel better about it. (Act 2) (to Sheila) thanks. You're going to be a great help, I can see. You've said your piece, and you're obviously going to hate this, so why on earth don't you leave us to it? (Act 2) Hear, hear! And I think my father would agree to that. (Act 1) I did keep a girl last summer. I've admitted it. And I'm sorry, Sheila. (Act 3) (quietly) Thank you. And I drink to you – and hope I can make you as happy as you deserve to be. (Act 1) I happened to look in, one night, after a long dull day, and as the show wasn't very bright, I went down into the bar for a drink. It's a favourite haunt of women of the town--  (Act 2) I insisted on a parting gift of enough money – though it wasn't so very much – to see her through to the end of the year. (Act 2) Everything's all right now, Sheila. (Holds up the ring.) What about this ring? (Act 3) (laughs) You seem to be a nice well-behaved family – (Act 1) (lightly) Sure to be. Unless Eric’s been up to something. (nodding confidentially to Birling.) and that would be awkward, wouldn't it? (Act 1) (distressed) sorry – I – well, I've suddenly realized – taken it in properly – that's she's dead--  (Act 2) in that case – as I'm rather more – upset – by this business than I probably appear to be – and – well, I'd like to be alone for a while – I'd be glad if you'd let me go. (Act 2) (showing annoyance) Any particular reason why I shouldn't see this girl's photograph, inspector? (Act 1) I made her go to Morgan Terrace because I was sorry for her, and didn't like the idea of her going back to the palace bar. I didn't ask for anything in return.  (Act 2)

  15. Eric Quotations Why shouldn't they try for higher wages? We try for the highest possible prices. And I don't see why she should have been sacked just because she'd a bit more spirit than the others. You said yourself she was a good worker. I'd have let her stay. (Act 1) I don't know – really. Suddenly I felt I just had to laugh. (Act 1) ( bursting out) What's the use of talking about behaving sensibly. You're beginning to pretend now that nothing's really happened at all. And I can't see it like that. This girl's still dead, isn't she? Nobody's brought her to life, have they? (Act 3) Yes. I wasn't in love with her or anything – but I liked her – she was pretty and a good sport-- No. she didn't want me to marry her. Said I didn't love her – and all that. In a way, she treated me – as if I were a kid. Though I was nearly as old as she was. (Act 2) (rather noisily) All the best! She's got a nasty temper sometimes – but she's not bad really. Good old Sheila! (Act 1) I left'em talking about clothes again. You'd think a girl had never any clothes before she gets married. Women are potty about 'em. (Act 1) (suddenly bursting out) I'm sorry – but you see – we were having a little party – and I’ve had a few drinks, including rather a lot of champagne – and I’ve got a headache – and as I'm only in the way here – I think I'd better turn in. (Act 1) (miserably) Yes. That was the worst of all. She wouldn't take any more, and she didn't want to see me again. (Act 2) If she'd been some miserable plain little creature, I don't suppose I’d have done it. But she was very pretty and looked as if she could take care of herself. I couldn't be sorry for her.  (Act 1) The money's not the important thing. It's what happened to the girl and what we all did to her that matters. And I still feel the same about it, and that's why I don't feel like sitting down and having a nice cosy talk.  (Act 3) (nearly at breaking point) Then – you killed her. She came to you to protect me – and you turned her away – yes, and you killed her – and the child she'd have had too (Act 2) (bitterly) You haven't made it any easier for me, have you, mother? (Act 2) (unhappily) My God – I'm not likely to forget. (Act 2) By jove, yes. And as you were saying, dad, a man has to look after himself- (Act 1) Yes. And that's when it happened. And I didn't even remember – that's the hellish thing. Oh – my God! - how stupid it all is! (Act 2) Well, I don't blame you. But don't forget I'm ashamed of you as well – yes both of you. (Act 3) He could. He could have kept her on instead of throwing her out. I call it tough luck. (Act 1)

  16. Higher level terminology • Capitalism and socialism – growth vs. equality • Ideology – views, attitudes, beliefs, ideas • Patriarchy – male dominated society. • Misogyny – severe sexism against women. • Marginalised – treated as an outsider, second-class citizen • Welfare of the community vs. welfare of the economy – the socialist/capitalist • The free market – equality of opportunity but not equality of outcome • Meritocracy – if you succeed, it shows that you deserve it • Responsibility vs. Individualism – everyone looking out for each other vs. every man and woman for themselves • Activism – collective bargaining and revolutionary protesting • Representation – how certain characters are shown and what that shows about the writer’s ideas • Effect on the reader – how will the reader respond to these representations • Character arc – how do characters change and develop as conflict and tension arises • Dramatic irony – when the audience or another character know more than the other characters • Polemical - of or involving strongly critical or disputatious writing or speech.

  17. IDEOLOGY Marxism – nuances of a left-wing philosophy. • Identifies the inequality between the middle and upper classes (the haves - bourgeois society) with the working classes (the have nots - the proletariat). • Marx’s agenda was to see greater equality in society with an emphasis on the welfare of the community (socialism)over the welfare of the economy (capitalism). • Moderate Marxism – socialism – seeks to peacefully bridge the gap between the rich and the poor by democratic means with an emphasis on public sector provision and a ‘there is no such thing as the undeserving poor’ ethos towards the unemployed, the benefits claimants, the homeless and the marginalised. • Extreme Marxism – communism - seeks to overthrow the bourgeois government by violent means and replace it with a proletariat led system of state control. • Karl Marx wrote ‘The Communist Manifesto’ which set out the idea that the proletariat needed to overthrow the bourgeoisie by means of a revolution. • Marx is a strong critic of capitalism and the free-market equality of opportunity and not equality of outcome ethos.

  18. CONTROL dictate NATIONALISMstate focused AUTHORITARIANanti-freedom NATIONALCOMMUNISM FASCISM NATIONALISM TOTALITARIANISM NATIONALISTICSOCIALISM FUNDAMENTALISM TRADITIONALISM COMMUNISM REPRESENTATIONIdeology AUTHORIT-ARIANISM STATISM CONSERVATISM SOCIALISM NEOLIBERALISM Right LEFt SOCIAL DEMOCRACY COMMUNITARIANwelfare of the people ECONOMY TARIANwelfare of the economy LIBERALISM PROGRESSIVISM DEMOCRATICSOCIALISM LIBERTARIANCAPITALISM LIBERTARIANSOCIALISM LIBERTARIANISM ACTIVISM ANARCHO-COMMUNISM ANARCHO-CAPITALISM ANARCHO-SOCIALISM INDIVIDUALISM SYNDICALISM MUTUALISM ANARCHO-COLLECTIVISM ANARCHISM LIBERTARIANfreedom of the individual CHAOISManti state CONNECT relate

  19. Additional Help Sheet

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