Comprehensive Revision Notes for 'An Inspector Calls'

Setting the Scene and Character Introductions

The play opens with pink and intimate lighting that becomes "brighter and harder" when Inspector Goole arrives. This lighting change symbolises how the comfortable, sheltered world of the wealthy Birlings gets exposed to harsh reality. The pink glow represents their false sense of security - like viewing the world through rose-tinted glasses.

Mrs Birling immediately shows her snobbery when she tells Arthur off for complimenting their chef, revealing the rigid class system she desperately maintains. Meanwhile, Sheila displays her childish nature by calling Eric "squiffy" (drunk) and excitedly calling Mrs Birling "Mummy" over her engagement ring - despite being in her twenties.

The generational divide becomes clear early on. Mrs Birling tells Sheila she must accept that men's work comes first, representing the patriarchal society of 1912. However, Sheila's response suggests she won't simply submit like previous generations of women.

Key Point: Priestley uses dramatic irony through Mr Birling's confident predictions about Germany not wanting war and the Titanic being "absolutely unsinkable" - events the 1946 audience knows were tragically wrong.

Mr Birling's Capitalist Philosophy

Mr Birling emerges as the play's voice of capitalism, repeatedly emphasising individual responsibility over collective care. His famous speech about how "a man has to look after himself and his family" gets dramatically interrupted by the Inspector's arrival - Priestley's way of showing these selfish attitudes will be challenged.

Birling's social climbing ambitions become obvious when he mentions expecting a knighthood and his marriage to the aristocratic but financially struggling Mrs Birling. This reveals how wealth and status often form the basis of upper-class relationships rather than genuine affection.

The character dismisses socialism as "cranks" talking "nonsense" about community, comparing it to "bees in a hive." His arrogance shows when he lectures the "youngsters" about life experience, positioning himself as superior due to age and wealth.

Key Point: Eva Smith's name symbolically represents the working class ("Smith" was common) and all women ("Eva" like "Eve"), making her a powerful symbol of society's most vulnerable people.

Inspector Goole's supernatural presence immediately contrasts with Birling's materialistic worldview, creating "an impression of massiveness" despite being socially inferior.

The Inspector's Investigation Begins

Inspector Goole's cold, objective responses like "Quite so" and "Why?" cut through Mr Birling's lengthy justifications and social connections. This shows how moral authority trumps social status - the Inspector doesn't care about Birling's police contacts or wealth.

The generational divide becomes stark when Eva Smith's suicide is revealed. While Mr Birling dismisses it as "horrid business" with clear impatience, both Eric and Sheila react with genuine horror - "My God!" and "Oh - how horrible!" Their natural empathy contrasts sharply with their parents' indifference.

Eric challenges his father's capitalist logic by asking "Why shouldn't they try for higher wages? We try for the highest possible prices." This simple question exposes the hypocrisy of expecting workers to accept low pay while businesses pursue maximum profit.

Sheila's questions about Eva - asking if she was young and pretty - hint at her growing connection to the victim. Her declaration that "these girls aren't cheap labour - they're people" shows Priestley using her as his mouthpiece for socialist values.

Key Point: "Daisy Renton" (Eva's alias) suggests both purity (daisy flowers) and prostitution (renting out her body), highlighting how poverty can force people into desperate situations.

Guilt and Responsibility Emerge

Sheila's transformation accelerates as she realises the Inspector's power, telling Gerald "he knows" about Daisy Renton. Her emotional state reflects the weight of guilt, while Gerald's attempt to protect her - suggesting she's "had a long and exciting day" - shows his patronising attitude towards women.

Inspector Goole introduces the key theme: "we have to share something. If there's nothing else, we'll have to share our guilt." This challenges the Birlings' individualistic mindset and emphasises collective responsibility for society's problems.

The Inspector notes that they work "on the young ones" because "they're more impressionable," highlighting how the younger generation can change while the older generation remains fixed in their ways. This gives hope for social progress through youth.

Mrs Birling's snobbery reaches new heights as she calls the investigation "absurd business" and refers to "girls of that class" - using dehumanising language that separates her from working-class people. She even tries to use her husband's position as former Lord Mayor to intimidate the Inspector.

Key Point: Sheila's decision to return her engagement ring symbolises her rejection of materialism and her growth from a spoiled child into a morally aware young woman.

Character Development and Family Divisions

Sheila's maturity becomes evident when she tells Gerald "I rather respect you more than I've ever done before" after learning about his affair with Daisy. She can forgive him because he showed genuine care for Daisy during her desperate time, showing Sheila now values compassion over conventional morality.

Her observation that "You and I aren't the same people who sat down to dinner here" demonstrates remarkable self-awareness - she recognises how profoundly the evening has changed them. This contrasts sharply with her parents' refusal to acknowledge any need for change.

Inspector Goole challenges Mr Birling's sense of entitlement by stating that "Public men have responsibilities as well as privileges." This attacks the idea that wealth and status come without obligations to society - a key socialist principle.

The irony of Mrs Birling's name "Sybil" (meaning prophetess) becomes clear when she unknowingly condemns her own son Eric, calling for harsh punishment without realising she's describing him. Her lack of foresight contradicts everything a prophetess should possess.

Key Point: Mrs Birling's shock at Eric stealing money rather than at Eva's death shows how the upper classes prioritise property over human life.