An Inspector Calls

Question 1

“Why shouldn’t they try for higher wages? We try for the highest possible prices” (Act 1)

Answer 1

Eric
Themes: Old vs Young, Capitalism vs Socialism, Social class

Rhetorical Question: He is questioning the ethics behind his father’s avarice and exploitative attitude towards business and relationship with lower social classes
This is a pivotal turning point for his character, as the audience begins to see him deviate from the [half shy] presentation into the [assertive] one foreshadowed in the beginning
The emergence of socialist ideals within Eric’s consciousness is dismantling to his prior obliviousness to the suffering inflicted upon others by capitalist ideologies

Alliteration: phrase ‘possible prices’ illuminates Eric’s emphasis on the outdated and unjust capitalist systems that have been created and upheld by members of the older generation like his parents
He exposes and questions the systemic bias that favours the wealth accumulation of the upper-class capitalists, leveraging a lassez-faire governmental stance
He has realised this enables figures like his father to exploit and silence working class individuals for personal monetary gain

Question 2

“She was pretty and a good sport” Act 3

Answer 2

Eric
Themes: gender, social class

Connotations of sport: evokes connotations of games and amusement, shedding light on Eric’s perception of his relationship with Eva as a form of selfish entertainment
It exposes the callousness with which he exploited and objectified her, reducing her to a mere source of gratification
Eric’s callous alcohol fuelled relationship with Eva is a microcosm of the toxic dynamics perpetuated by unchecked privilege and substance abuse within Edwardian society

Syntax of ‘pretty’: even in her death, Eric still possesses power over her through reducing her to her superficial appearance, focusing first on her physical ‘pretty’
The syntax, with her physical attributes preceding her character reflects his shallow perception, reducing Eva to a mere object of desire rather than recognising her intrinsic worth as a human being
Thus, Eva is emblematic of the disposable treatment of women in the early twentieth century by the heartless upper echelons of society

Question 3

“But don’t forget I’m ashamed of you as well - yes both of you” Act 3

Answer 3

Eric
Themes: Old vs young, guilt, responsibility

Connotations of ashamed: conveys a sense of embarrassment, revealing Eric’s deep disillusionment and embarrassment has stemmed from his realisation of capitalists’ inherent exploitation of individuals and prioritisation of self-interest
As a representative of the younger generation, Eric faces ridicule for his progressive outlook. However, he adopts a condescending demeanour towards his parents, showcasing his fearlessness in challenging their regressive beliefs and highlighting his commitment to catalysing change

Hyphen: simplifies the sentence, akin to the Inspector’s concise speech, Eric is simplifying to he obdurate parents of the older generation the importance of collective social responsibility
Eric’s adoption of short sentences, mirroring the Inspector’s style, may also signify his growing power post-liberation from capitalism’s constraints
In Act 1, the Inspector’s brevity denotes authority, a trait echoed by Eric as he speaks concisely to showcase his newfound power rooted in moral conviction

Links to other themes:
Capitalism vs Socialism; emergence of socialist ideals within Eric’s consciousness is dismantling his prior obliviousness to the suffering inflicted on the lower classes by capitalist ideologies
Social class; he has come to understand that responsibility transcends one’s own social class. He is disturbed by the collective actions of himself and his family, recognising the interconnected nature of everyone’s responsibility

Question 4

“I did what I did. And mother did what she did. And the rest of you did what you did to her” Act 3

Answer 4

Eric
Themes: Capitalism vs Socialism, guilt, responsibility

Personal pronoun ‘I’: recurrent use serves not only to illuminate his growing sense of personal accountability and social awareness but also signifies the maturation of his introspection
He is on a quest for redemption from his capitalist sins as he feels guilt for his immoral actions
He is transitioning from the [half-shy] demeanour initially presented in Act 1, now compelling his family to confront the own moral failings and take ownership of their unethical behaviour

Parallelism: characterised by repetition of ‘did what’ in each segment, showcases the interconnected nature of everybody’s responsibility
He emphasises that their negligence and exploitations are burdens that they must collectively accept, if not they will be tormented with guilt sempiternally
Parallelism surrounding ‘did what’ introduces and almost ambiguous quality as there is no details on what they specifically ‘did’. This compounds how that are microcosms of the upper-middle class and therefore symbolises how they ‘did what’ they pleased to lower classes without remorse or accountability from anyone

Links to other themes:
Old vs young; as a spokesperson for the younger generation, Eric encounters ridicule for his progressive stance. Nevertheless, he assumes a condescending demeanour towards his parents, demonstrating his courage in confronting their outdated beliefs and underlining his dedication to instigating change while embracing responsibility
Social class; he has come to understand that responsibility transcends one’s own social class. He is disturbed by the collective actions of himself and his family, recognising the interco

Question 5

[the easy, well-bred young-man about town] Act 1

Answer 5

Gerald
Themes: old vs young, social class, capitalism

Animalistic imagery on ‘bred’: For Priestley’s contemporary audience, the stage direction ‘bred’ evokes imagery of animal breeding, conjuring a metaphorical image of Gerald as a product of meticulous cultivation, much like a carefully breed animal
This suggests Gerald has been groomed from birth to embody the archetype of the aristocratic and charming ‘man about town’. Thus, he is a victim to the capitalist ideologies ingrained within hims, as he is unable to escape the persona crafted for him before he even had agency over his own identity

Adjective on ‘easy’: implies he easily assimilated into the higher echelon of society as he is a paragon of social superiority
This ease and comfort in his current circumstances foreshadow his resistance to change, contrasting with the more malleable qualities of other members of the younger generation
This reluctance to embrace socialist principles may stem from a fear of jeopardising his social standing and being ostracised by the elite

Link to responsibility: he derives comfort from the entrenched societal beliefs ingrained by his social class. Despite being aware of the irresponsible nature of these beliefs, he relies on the protective facade they offer, and hopes it can continue to shield him as it once did

Question 6

“We’re respectable citizens and not criminals” Act 1

Answer 6

Gerald
Themes: responsibility, social class, capitalism

Collective pronoun ‘we’re’: utilisation serves to propagate a segregative ideology, as Gerald employs it to unite the Birlings against perceived ‘criminals’
However, as irony lies in Gerald’s unfounded assertion of the Birlings’ respectability, which unveils aristocratic biases as fundamentally ignorant
It underscores how wealthy capitalists, consumed by materialism, often lack insight into morality or even real life itself, belittling their perceived shrewdness

Alliteration on ‘citizens’ and ‘criminals’: creates a sense of similarity, reflecting Priestley’s portrayal of blurred lines between morality and criminality as one ascends the social hierarchy
Priestley subtly ridicules Gerald’s pretentious demeanour, revealing how the wealthy often harbour biases that align only with their narrow worldview. Priestley highlights this is only exacerbated through capitalist ideologies

Question 7

“She looked young and fresh and charming” Act 2

Answer 7

Gerald
Themes: gender, social class

“Fresh”: connotes to innocence and purity which presents Eva as prey for Gerald, it introduces this notion of consumption which implies Gerald is acting on primal and lustful desires
Idea of innocence distances Eva from a typical prostate - suggesting that Gerald didn’t pursue their relationship as a Michelin and it was instead a heroic response to the sympathy he felt towards her

Polysyndeton on ‘and’: serves to amplify the list of qualities that Gerald fondly reminisces about regarding Eva
The fact that 2 of 3 adjectives list physical attributes showcases how Eva served as a physical fantasy for Gerald, a refuge from the constraints of his engagement and the continual pressure of up keeping his social status

Question 8

“Everything’s alright now, Sheila [holds up the ring] what about this ring?” Act 3

Answer 8

Gerald
Themes: old vs young, gender, responsibility

Cyclical narrative: he conducts the play to follow a cyclical structure, focusing back on his and Sheila’s engagement. This is reflective of his unwillingness to change and how his overarching desire to absolve himself from guilt and responsibility
Despite belonging to the younger generation, he shirks accountability, disappointing the audience with his character arc
Unlike Sheila and Eric, who are impressionable and adaptable, Gerald’s obsintate nature remains unchanged

Ring as a metonym for marriage: displays Gerald’s materialistic view of marriage, devoid of any emotion or love
He reverts to this symbol of traditional power and possession in order to reassert himself; he find comfort in the ingrained societal beliefs which make life ‘easy’ for him

Link to social class: he derives comfort from the entrenched societal beliefs ingrained by his social class. Despite being aware of the irresponsible nature of these beliefs, he relies on the protective facade they offer, and hopes it can continue to shield him as it once did
Link to gender: he remains obdurate in his opinions towards morality, therefore his opinions towards women remain aligned with the marginalisation and objectification of women. He doesn’t embody the progressive attitudes typically associated with the younger generation but rather perpetuates oppressive views towards women

Question 9

“It’s better to ask for the Earth than to take it” Act 1

Answer 9

The inspector
Themes: capitalism, social class

Syntax on ‘ask’ prior to ‘use’: used to highlight the heirarchal order of importance, crucial for societal collective responsibility
Emphasises that it is imperative to ‘ask’ and share resources, in contrast to the individualistic capitalist notion of ‘taking’ for personal gain - ‘taking’ often exacerbates inequality and perpetuates the cycle of poverty for those in lower social classes
Through his direct critique of Mr Birling, who embodies capitalist ideology, the Inspector condemns the prioritisation of individual greed and self-interest over community and well-being

Connotations of ‘take’: connote stealing, a notion vehemently condemned in biblical teachings as a mortal sin
As religion was the foundation of morality in the Edwardian Era, capitalist ideals often disregard these teachings, prioritising individual gain over ethical considerations
Juxtaposingly, socialism can be views as a return to society’s moral foundations, emphasising communal values and collective responsibility over individualistic desire

Links to guilt: Inspector demonstrates that the individualistic capitalist nation of ‘taking’ often exacerbates inequality and perpetuates the cycle of poverty for those in lower social classes. This perpetual cycle of societal injustice elicits no feeling of guilt or remorse in the upper class capitalists

Question 10

“We are all members of one body” act 3

Answer 10

Inspector
Themes: capitalism vs socialism, responsibility, social class

Biblical illusions: directly relays teaching used in baptism, that we are ‘members of one body’ in Christ. This is parallel language
Thus, the Inspector, alike to Jesus, promotes the union of society and togetherness - reinforcing his spreading of christianity and its foundational teachings
Alike to Jesus providing salvation for mankind, the Inspector’s final speech can be seen as being the salvation for the Birlings’ as he reminds them to “Remember that. Never forget it.” It therefore could be seen that socialism is the only chance at salvation for society

Singular image on “one”: serves as a poignant reminder of the socialist belief that a profound interconnectedness binds humanity together
He teaches the Birlings that it is their moral imperative to recognise and fulfil their duty to care for their community and members of society
By understanding that we are all interconnected, the Inspector teaches both the Birlings and the audience that society can strive towards a society built on empathy, socialism, and social responsibility opposed to hatred, segregation and irresponsibility

Question 11

“As if she were an animal, a thing, not a person” Act 3

Answer 11

The inspector
Themes: gender, social class, guilt

Beastly image on ‘animal’: Eva serves as a microcosm for the exploited lower class and the depiction of her as an ‘animal’ presents a beastly image that symbolises the dehumanising treatment endures by those at the bottom of the social hierarchy
This symbolises the systemic dehumanisation inflicted upon the lower classes - they not only suffer physical and emotional degradation but constantly battle social injustice and inequality

Asyndetic listing: conveys sense of relentless repetition, vividly illustrating how Eva endured relentless marginalisation and exploitation both due to her lower social status and her gender
Through the character of the Inspector, who serves as Priestley’s mouthpiece, Priestley vocalises criticisms of the dehumanising and objectifying treatment of women during the early 20th century
Given that Priestley’s 1945 audience was predominantly woman post-war, highlighting Eva’s unjust treatment as a marginalised woman would have likely elicited a strong emotional response from his audience. This once again emphasises socialism as a superior alternative, offering a path towards eliminating the disparity and oppression experience by individuals like Eva

Link to capitalism vs socialism: The Inspector personifies socialism as he encompasses and propagates socialist ideologies of fairness, developing a collective social conscience and being united in social reform. He is able to galvanise support for these ideals by evoking powerful emotions of guilt, remorse and self-reflection from the younger generation who start to recognise the flaws in their behaviour

Question 12

“If men will not learn that lesson, then they will be taught it in fire and blood and anguish” Act 3

Answer 12

Inspector
Themes: responsibility, guilt, capitalism vs socialism

Polysyndeton: highlights perpetual torment awaiting those who shirk their moral and civic responsibilities as well as absolve themselves from feeling any guilt
The Inspector’s prophetic and omniscient presentation imbues this message with heightened gravity and significance
Additionally, it may allude to WWII, as Priestley utilises the Inspector as his mouthpiece to utter the word ‘anguish’ this symbolises humanity’s failure to learn from past mistakes, leading to further ‘blood and anguish’

Biblical allusions to hell: Inspector could be portrayed as agent of God who is trying to bring the Birling’s back to the foundation of morality - religion
Their digression from these religious teachings, since they embodied some of the deadly sins of greed and pride, shows them to be immoral
This means the Inspector’s role as a moral agent of God is even more fundamental as he utilises reflection and guilt as instruments to catalyse this change

Question 13

“As if we were all mixed up together like bees in a hive - community and all that nonsense” - act 1

Answer 13

Mr Birling
Themes: capitalism vs socialism, responsibility, social class

Zoomorphism: employed to characterise to society, particularly likening the lower classes to ‘bees’
This direct comparison reflects Mr Birling’s degradation and mockery of the concept of collective responsibility, portraying it as animalistic and primal behaviour fit only for insignificant creatures like ‘bees’
He dismisses the idea of intertwining his responsibilities with those of others and perceives the notion of ending his negligence as trivial ‘nonsense’

Hyphen: deliberate intention of a hyphen prompts a theatrical pause, compelling the actor playing Mr B to hesitate before articulating the word ‘community’. This pause emphasises his physical repulsion to the concept, suggesting an inability to even verbalise it.
Acting as a microcosm for capitalist ideologies, Mr B becomes vilified for his rejection go the idea of ‘community’ and his preference for materialism over human relationships

Links to generations: he persists in holding onto his entrenched worldview as a product of the older generation, displaying obdurateness and resistance to change. He is a stagnant character as he maintains a dehumanising and irresponsible perspective, refusing to adapt or grow
Links to guilt: he is so entrenched in his capitalist ideologies that he absolves himself from feelings of guilt and remorse. He perceives his social status as granting him the author to dehumanise those beneath him

Question 14

“Public men, Mr Birling have responsibilities as well as privileges” (act 2)

Answer 14

Said by Inspector, analysis relates to Mr B
Themes: capitalism vs socialism, responsibility, social class

Syntax: places ‘responsibilities’ before ‘privileges’ reflecting the direct order of importance emphasised by the Inspector to Mr Birling
However, Mr B inverts this sequence, prioritising his privileges and materialistic gains over his responsibilities and the development of a collective social conscience

Short fragmented sentences: the concise fragmented structure of ‘public men’ followed by ‘Mr Birling’ mirrors Mr B’s fragmented perception of responsibility and accountability for his exploitative treatment of the lower classes
He perceives his social status as granting him the authority to dehumanise those beneath him and absolve himself of any responsibility for the suffering he causes them

Link to generations: he persists in his self-serving capitalist outlook, thus is presented as a stagnant character as he is entrenched in the traditional values of his generation
Guilt: he exhibits a complete absence of guilt regarding his consistent display of unscrupulousness and irresponsibility. Devoid of remorse, he remains fixated on preserving his reputation and facade. His primary concern lies not in the impact of events on individuals but rather on how they will affect his social standing

Question 15

“There’ll be a public scandal” Act 3

Answer 15

Mr Birling
Themes: old vs young, guilt, social class

Euphemistic language: rather than admitting to the grave crime he has contributed, Mr B employs euphemistic language to brand it as a mere ‘scandal’
This exacerbates his stubbornness as a representative of the older generation, as he adamantly refuses to acknowledge the truth and feels no remorse for his exploitation of Eva
Alternatively, it also implies his hesitancy to confront the crime, perhaps driven by the fear that doing so would dismantle the carefully crafted facade he maintains for public perception

Stagnant character: he persists in his self-serving outlook, thus is presented as a stagnant character as he ignores his moral and civic obligations as a member of society
His lack of character development is disheartening, yet unsurprising for the audience as Priestley establishes early on that capitalist characters from the older generation prioritise social status over compassion, remorse and social reform

Link to capitalism vs socialism: serving as a microcosm exemplifying capitalist ideologues, Mr B faces condemnation from the audience for his dismissal of the fundamental societal value of responsibility, alongside his prioritisation of materialism over human relationships
Link to guilt: he is so entrenched in his capitalist ideologies that he absolves himself from feelings of guilt and remorse. He perceives his social status as granting him the author to dehumanise those beneath him

Question 16

“The famous younger generation who know it all> And now they cant even take a joke-“ Act 3

Answer 16

Mr Birling
Themes: old vs young, guilt, social class

Irony: it is ironic that he derisively labels the younger generation as ‘know-it-all’s given that he himself is the only character who asserts to ‘know it all’, referencing events like the “Titanic” and dismissing concerns as ‘silly little war scares’
Priestley deliberately set the play in 1912 to fragmentise the ‘know it all’ ignorance of the older generation
To some degree, by labelling them as the ‘younger generation’ Priestley aligns Eric and Sheila with his contemporary audience, aiming for them to feel provoked by Mr B’s ignorant sarcasm. Priestley’s intention is to urge his audience to repudiate the capitalist perspectives held by their parents

Speech is cut off: following his remorseless ad callous dismissal of the suicide as a mere ‘joke’ he is abruptly interrupted by the telephone, echoing the earlier interruption by the Inspector in Act 1
Perhaps Priestley opted for the form of a play to convey his political diatribe enabling him to visually depict Mr Birling’s beliefs as emblematic of the capitalist older generation - ones that should be physically an symbolically removed from society

Link to capitalism vs socialism: serving as a microcosm exemplifying capitalist ideologues, Mr B faces condemnation from the audience for his dismissal of the fundamental societal value of responsibility, alongside his prioritisation of materialism over human relationships
Link to guilt: he is so entrenched in his capitalist ideologies that he absolves himself from feelings of guilt and remorse. He perceives his social status as granting him the author to dehumanise those beneath him

Question 17

“Look Mummy - isn’t it a beauty” Act 1

Answer 17

Shiela
Theme: Gender

Short simplistic language: reflects not only how society silences her as a young woman perceived as inferior, but also highlighting her disenfranchisement
This lack of voice could be seen as Priestley’s critique of the limited political agency women had during the Edwardian Era
Despite her privileged social status, Sheila remains oppressed and marginalised. Her language, marked by terms like ‘mummy’ suggests and infantile and sheltered perspective, illustrating how her social class shields her from life’s harsh realities

Objectification: her mesmerisation at the ‘beauty’ of the ring is almost ironic as she is only valued for her perceived ‘beauty’ and external looks by society. The objectification extends to both young females: Sheila and Eva
Both are similarly described as ‘pretty’ showing how despite their differing social classes, they were both subject to the same oppressing and objectifying social perceptions

Link to social class: she is cocooned and almost shielded by her social class, compounded by the patriarchal expectation imposed upon her, resulting in her submissive and infantile presentation
Link to generations: her receptiveness to socialist ideals, characteristic of the younger generation, challenges entrenched generational views on society, particularly concerning women. By the play’s end, she is hesitant about Gerald’s ring proposal, indicating her growing disillusionment with patriarchal norms, symbolising her liberation through socialism
Link to capitalism vs socialism: By the play’s end, she is hesitant about Gerald’s ring proposal, indicating her growing disillusionment with patriarchal norms, symbolising her liberation through socialism

Question 18

“But these girls aren’t cheap labour - they’re people” Act 1

Answer 18

Sheila
Themes: guilt, socialism, responsibility, social class

Connotations of ‘girls’: her vocabulary shift, particularly her focus on ‘girls’ exposes her father’s exploitative capitalism
‘girls’ connotes innocence and vulnerability, suggesting she now recognises how the upper class, imbued with capitalist views, preys on the disadvantaged
This revelation, unimaginable for her sheltered past self, fuels her disgust with the dehumanising and unscrupulous behaviour of capitalists

Humanistic perspective: the Inspector’s arrival frees her from the shackles of her oppressive privileged existence. Exposed to the human cost of excessive capitalism
She sheds her former self-serving docile perspective and embraces a humanistic outlook, valuing individuals over profit
Thus, act one’s docile Sheila, cocooned in privilege, undergoes a metamorphosis under the Inspector’s scrutiny
Her infantile facade crumbles, revealing an emerging champion for social injustice. This symbolises the advancement of women’s rights in 1945, depicting women’s empowerment and their role in advocating for social justice for all oppressed members of society

Link to generations: she becomes a foil to her stagnant parents of the older generation. Act one’s docile Sheila, cocooned in privilege, undergoes a metamorphosis under the Inspector’s scrutiny whereas her parents remain entrenched in their dehumanising beliefs about social class

Question 19

“[rather wildly, with laugh] No, he’s giving us the rope - so that we’ll hang ourselves” Act 2

Answer 19

Sheila
Themes: responsibility, old vs young

Stage directions: [wildly] depicts her disillusionment with capitalist ideals and middle class etiquette. She liberates herself from these constraints, embracing her unrestrained nature without apology
Coupled with her [laugh] this suggests she finds capitalism absurd, laughing at its societal significance whilst laughing at how persistently delusional her parents are - they want to shirk their responsibilities and moral wrongdoings

Symbolism of ‘rope’: has fibres that are all intertwined, symbolising how she has recognised that everyone in society is intertwined with their responsibilities
Each individual is all woven into the fabric of our communities and society and not independent pieces, but interconnected threads creating a larger united body
Thus, Sheila understands, through the Inspector’s symbolic gesture of the ‘rope’ that she and her family bear a moral duty to protect the ‘million and millions’ that suffer

Link to capitalism vs socialism: socialism emancipates Sheila from the shackles of capitalism’s inherited oppressive ideals, allowing her to grasp the systemic consequences of capitalist ideologies on society at large. She comprehends how the older generations strive to preserve this dehumanising system
Link to guilt: her guilt and compassion catalyses her into becoming the Inspector’s proxy to which she acts as a moral compass to her parents by delivering the teachings of socialism

Question 20

“What he made me feel. Fire and blood and anguish” Act 3

Answer 20

Sheila
Themes: old vs young, guilt, capitalism

The Inspector’s proxy: following his final speech she serves as his proxy, exemplified by he precise emulation, including the deliberate repetition of the polysyndeton on ‘and’
This illuminates her desperate attempt to emphasise the relentless consequences of lacking social conscience to her obdurate parents of the older generation and fiancé indoctrinated with capitalist beliefs

Personal pronoun: she is now a moral compass to her family, showcasing her evolution towards empathy as her use of the personal pronoun ‘me’ shows she now experiences genuine remorse
Her awareness extends beyond personal remorse, she has developed an understanding of the systemic consequences of capitalist ideologies on society as a whole

Link to responsibility: she becomes disillusioned with capitalist ideologies as she recognises that everyone is inextricably linked to their responsibilities. Socialism has freed her from the shackles of her oppressive privileged existence
Link to social class: The Inspector’s arrival frees her from the shackles of her oppressive privileged existence. Exposed to the human cost of excessive capitalism, she sheds her former self-serving docile perspective and embraces a humanistic outlook, valuing individuals over profit

Question 21

“Sheila, what an expression! Really the things you girls pick up these days” Act 1

Answer 21

Mrs Birling
Themes: old vs young, gender, social class

Exclamative sentence: she is presented as a marionette of her class as she is complicit in upholding its conventions
The exclamative sentence emphasises her frantically trying to iron out any social faux pas so they operate seamlessly within the expectations of their class, she is reluctant to deviate from these in any way
As a member of the older generation, and being of the most superior social standing in he family, she is almost held in aspic within the hard-wired conventions of a capitalist and classist society, thus anything that threatens these conventions threaten her

Condescending noun ‘girls’: She patronises Sheila, reinforcing the infantile preservation we see Sheila endure in Act 1
This could be done as Sheila comes to symbolise emancipation, Mrs B wants to keep her docile and submissive as she fears any changes to convention that may put her class position under threat
Mrs B belittles Sheila in order to dismiss her behaviour and portray it as foolish or uncouth, she reinforces the separation between the older generation who are robust to these newer ways if thinking and the younger ones who seem vulnerable to ‘pick’ing them up as if they were a disease

Link to capitalism vs socialism: capitalist ideologies are rooted in self-interest, inherently resisting unity and collective action. Consequently, the advancement of women’s rights would challenge Mrs B to deviate from the capitalist ideals deeply ingrained in her

Question 22

“I consider I did my duty” Act 2

Answer 22

Mrs Birling
Themes: responsibility, capitalism, social class

Noun ‘duty’: could be a tool to explore the disparity in the perspectives of capitalists and socialists, for capitalists, upholding the class system was paramount, thus for Mrs B, her duty and personal responsibility may be to uphold the class gap by refusing Eva help
However, this stance contrasts sharply with her anticipated role within her organisation, where she is expected to adopt a philanthropic positions. Priestley introduces the audience to the social duty vs moral duty dichotomy

Personal pronoun: audience awaits with hopeful anticipation as Mrs B begins her speech with the personal pronoun, expecting her to demonstrate personal remorse and guilt
However, she consistently rejects the idea of being held accountable for any action that doesn’t align with the pristine persona she wishes to portray
Through this, Priestley critiques that classism which penetrates every aspect of Edwardian life, rendering even the welfare organisations hollow, corrupt and performative

Link to generations: Mrs B, entrenched in her upper-class status and generation arrogantly refuses aid to lower classes, even in philanthropy
Link to guilt: she consistently rejects the idea of guilt or being held accountable for any action that doesn’t align with the pristine persona she wishes to portray within her social class

Question 23

[enters briskly and self-confidently, quite out of key] Act 2

Answer 23

Mrs Birling
Themes: old vs young, guilt, responsibility

Her entry into act 2: conducted entirely under the arrogance of her social superiority. Her ostentatious display of class renders her character discordant within the narrative of grief, remorse and suicide
This further exacerbates her emotional detachment as she maintains the same [cold] demeanour observed in Act 1 which is the antithesis to the ‘hysterical’ and remorseful presentation of her daughter

Adverb ‘briskly’: indicates that she is unwilling to pause and contemplate the adverse effects of her family’s unscrupulousness and exploitation
Her demeanour is conceited and calculated, typical of someone of her social standing who might typically navigate such situations effortlessly with rehearsed social grace
However, she fails to realise that she will not remain unscathed for her and her family’s irresponsibility this time

Link to capitalism vs socialism: serving as a microcosm exemplifying capitalist ideologies, she is conducted entirely under the arrogance of her social superiority opposed to responsibility. Her adherence to capitalist ideologies not only supports but also fosters and encourages this behaviour

Question 24

“I don’t suppose for a moment that we can understand why the girl committed suicide. Girls of that class-“ Act 2

Answer 24

Mrs Birling
Themes: capitalism, social class

Repetition on ‘girl’: ‘girl’ conveys notions of innocence and vulnerability, shedding light on Mrs B’s understanding of the innocence inherent in individuals like Eva, while simultaneously showcasing her willingness to exploit them and rationalise it for capitalist advancement
The repetitive use of ‘girl’ showcases how exploitative and prejudicial treatment of lower social class individuals repeatedly commences within society, with figures such as mrs B shielded from the consequences by their elevated social status

Demonstrative adjective on “that”: she groups together the lower classes to dismiss them as an aggregate inferior and homogenous group that all behave in the same way
The demonstrative adjective not only emphasises the distinctions in their social classes, but also illustrates how Mrs B is entirely governed by the arrogance of her social status - she can’t even bring herself to specify Eva’s social class, considering it so far beneath her

Links to guilt and responsibility

Question 25

“He certainly didn’t make me confess” Act 3

Answer 25

Mrs Birling
Themes: responsibility, capitalism, guilt

Connotations of ‘confess’: connotations of crime, and by stating she hasn’t committed any unlawful acts, she subtly implies her lack of responsibility and shows her lack of remorse and guilt
Her firm denial of accountability comes effortlessly, reflecting the acceptance and even promotion of selfishness and consequently, irresponsibility within capitalist ideologies, without moral or legal condemnation

Imperative verb ‘make’: hints at another reason as to why she so actively rejects responsibility - it is a way of keeping afloat in the power struggle between her and the Inspector
Her choice of words subtly suggests that admitting responsibility would be conceding to the Inspector, posing a threat to her status in the capitalist hierarchy - she is safeguarding her position within the societal structure dictated by capitalist ideologies

Links to generations and social class