Plot Summary

What starts as a posh engagement party quickly becomes a murder investigation that'll haunt you. The Birlings are celebrating Sheila's engagement to Gerald when Inspector Goole arrives with devastating news - a young woman named Eva Smith has died by suicide after drinking disinfectant.

One by one, the Inspector reveals how each family member contributed to Eva's downfall. Arthur Birling sacked her from his factory for demanding fair wages. Sheila got her fired from a shop out of pure jealousy. Gerald kept her as his secret mistress before abandoning her, and Eric got her pregnant after forcing himself on her.

The twist ending will blow your mind - after the Inspector leaves, the family discovers there's no Inspector Goole on the force. But just as they start to relax, thinking they've escaped consequences, the phone rings with news of another dead woman. Priestley's message is crystal clear: we are all responsible for each other, and if we don't learn this lesson, we'll face it again.

Key Point: The circular ending suggests that social responsibility isn't optional - ignore it at your peril.

Sheila Birling - The Awakening

Don't be fooled by Sheila's spoilt princess act at the start - she becomes the play's moral compass. Initially obsessed with her engagement ring and getting Eva sacked over a petty jealousy, Sheila transforms from a materialistic girl into the most mature character on stage.

Her character arc is brilliant because she actually accepts responsibility for her actions. Whilst her parents make excuses, Sheila owns up completely: "I know I'm to blame - and I'm desperately sorry." She starts questioning Gerald like a mini-inspector, forcing him to confess his affair.

By the end, she's completely reversed roles with her parents, calling them out for being childish when they try to forget the whole thing. Her sarcastic "I suppose we're all nice people now" shows she's not buying their attempts to brush off the Inspector's message. Sheila represents hope - proof that people can change and develop genuine social conscience.

Key Point: Sheila's transformation from spoilt brat to moral leader shows that young people can break free from their parents' toxic values.

Eric Birling - The Troubled Son

Eric's the family's dark secret - an alcoholic who feels completely isolated from his relatives. From the very first scene, Priestley hints that Eric's hiding something big with those contradictory stage directions describing him as "not quite at ease, half shy, half assertive."

His drinking problem reveals the double standards of upper-class life. Everyone knows Eric gets "squiffy" regularly, but they turn a blind eye because he's a respectable young man. When the truth comes out about him forcing himself on Eva and getting her pregnant, the family's biggest concern isn't his disgusting behaviour - it's that he stole money from the business.

Unlike his parents, Eric does feel genuine guilt and accepts collective responsibility: "we did her in alright." His confession that he couldn't turn to his father when in trouble - "Not the kind of father a chap could go to" - shows how toxic family dynamics create damaged individuals.

Key Point: Eric represents how privilege can corrupt, but his guilt suggests redemption is possible for those willing to face their actions.

Arthur Birling - The Capitalist

Meet Arthur Birling - the poster boy for everything wrong with capitalism. This guy's so obsessed with wealth and status that he brings out expensive port wine just to impress Gerald, desperately name-dropping to seem important despite being socially inferior to his future son-in-law.

Priestley uses dramatic irony brilliantly here, making Birling spout confidently about the economic future and how there'll never be another war - statements that would've had 1940s audiences laughing at his ignorance. His belief that "every man should look after himself" directly opposes the Inspector's message about community responsibility.

When it comes to Eva's death, Birling shows zero remorse. He sees workers as "cheap labour" rather than people, and genuinely believes it's his "duty to keep labour costs down." His main concern isn't the moral implications of his actions but covering up the scandal to protect his reputation and potential knighthood.

Key Point: Birling represents the selfish capitalist mindset that Priestley argues is destroying society - profit over people, every time.

Sybil Birling - The Hypocrite

Sybil Birling is perhaps the most infuriating character in the play - a cold, prejudiced snob who uses her social position like a weapon. She's "old money" compared to her husband, which she uses to control and judge everyone around her, constantly worried about maintaining appearances.

Her treatment of the Inspector reveals her class prejudice perfectly. She calls him "impertinent" because she can't believe someone she sees as inferior would dare question her. When facing accusations, she name-drops people in authority, showing how the upper class expect to be above the law.

Most shockingly, Sybil shows zero remorse for rejecting Eva's desperate plea for help when pregnant. She coldly states "I accept no blame for it at all" and "I did nothing I'm ashamed of." Her assumption that "a girl of that sort would never refuse money" shows her complete inability to see working-class people as complex human beings with dignity and principles.

Key Point: Sybil represents the worst of upper-class entitlement - someone who uses charity work to wield power rather than genuinely help people.

Inspector Goole - The Voice of Conscience

The mysterious Inspector Goole is the play's moral centre, though we never discover who or what he really represents. His vague identity is deliberate - Priestley wants us focusing on his message of social responsibility rather than getting distracted by his character.

Goole treats everyone equally regardless of their class, which horrifies Mr and Mrs Birling who expect special treatment. Eric and Sheila recognise that his moral authority matters more than his legal power, whilst the older generation only respect official positions.

His final speech delivers Priestley's central message directly to the audience: "we are members of one body" - completely opposing Birling's individualistic beliefs. The warning about "fire and blood and anguish" becomes chillingly prophetic when you remember this was written during World War II, suggesting what happens when society ignores social responsibility.

Key Point: The Inspector's mysterious nature makes him a symbol of conscience itself - the voice we all hear when we know we've done wrong.

Eva Smith/Daisy Renton - The Silent Victim

Eva Smith never appears on stage, but her presence dominates the entire play. Her common surname "Smith" makes her a symbol for all working-class women struggling in 1912 society, whilst "Daisy Renton" suggests someone pretty but fragile - easily picked and discarded.

The Birlings systematically destroy every source of income Eva has: Arthur sacks her for demanding fair wages, Sheila gets her fired from the shop, Gerald uses her as a mistress then abandons her, and Eric's assault leaves her pregnant and desperate. Each blow pushes her further down the social ladder.

What makes Eva admirable is her strong moral principles. She refuses Eric's stolen money because she knows it's wrong, even though she's desperate. She lies about being married to get help from the charity because unmarried mothers faced complete social condemnation. Her silence in the play represents all the powerless voices that society chooses to ignore.

Key Point: Eva represents the millions of working-class people whose lives are shaped by the casual cruelty of those with power and privilege.

Gerald Croft - The Charming Exploiter

Don't let Gerald's charm fool you - he's basically a younger version of Arthur Birling with better manners. Coming from established upper-class family, he's everything Arthur wishes he could be, which explains why the engagement benefits both families' business interests.

Gerald's treatment of Eva/Daisy reveals his true character. Sure, he "rescued" her from prostitution, but he kept her as his mistress for his own pleasure and dumped her when it suited him. His claim that he made her happy "for a time" shows he genuinely cared, but ultimately she was just a disposable plaything to him.

What's particularly frustrating about Gerald is his intelligence - unlike the older Birlings, he understands the Inspector's message but chooses to ignore it. By the end, he's trying to convince everyone that nothing happened, showing he's learned absolutely nothing about social responsibility.

Key Point: Gerald represents how privilege and charm can mask exploitation - he's the "nice guy" who's actually just as damaging as the obvious villains.

Social Class and Power

The rigid class system of 1912 creates a hierarchy where your birth determines your entire life. Priestley shows this through his characters: Eva represents the working class struggling to survive on tiny wages, the Birlings represent the middle class obsessed with climbing higher, and Gerald represents the upper class born into privilege.

The Birlings' desperation to maintain their status drives most of their actions. Mrs Birling joins charity committees for reputation rather than genuine care, whilst Mr Birling name-drops important contacts when threatened. Their fear of scandal matters more than Eva's life because public shame could destroy their social climbing.

Priestley suggests the system is fundamentally corrupt because it allows the wealthy to exploit workers without consequences. The upper classes don't question this arrangement because it benefits them - Eric's alcoholism and Gerald's womanising get overlooked because of their status.

However, Sheila and Eric's transformation offers hope. Despite their privileged upbringing, they reject their parents' values, showing that individuals can choose compassion over class loyalty.

Key Point: Priestley argues that the class system corrupts both rich and poor - the wealthy become heartless whilst the poor suffer needlessly.

Gender Roles and Expectations

1912 society had strict gender rules that Priestley exposes as damaging and hypocritical. Women were expected to focus on shopping, fashion, and marriage - Sheila's obsession with her engagement ring perfectly demonstrates these limited expectations.

The double standards are shocking: Gerald can sleep around before marriage whilst Sheila must remain pure. Men handle "important" business and politics whilst women need "protecting" from unpleasant realities. Eric's drinking and Gerald's affairs get excused as normal male behaviour, but women face harsh judgment for any mistakes.

However, Priestley shows women challenging these stereotypes. Eva speaks up for workers' rights despite the risks. She refuses Eric's stolen money, choosing dignity over survival. Sheila evolves from passive decoration to active moral voice, interrupting and challenging everyone including the Inspector.

The power shift throughout the play is brilliant - whilst Gerald, Arthur, and Eric become weaker and more pathetic, Sheila grows stronger and more independent. By the end, she's rejecting Gerald and thinking for herself rather than seeking male approval.

Key Point: Priestley suggests that rigid gender roles damage everyone - they limit women's potential whilst allowing men to behave badly without consequences.