Act I of An Inspector Calls Essay Example
Act I of An Inspector Calls Essay Example

Act I of An Inspector Calls Essay Example

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  • Pages: 11 (2912 words)
  • Published: October 12, 2017
  • Type: Play analysis
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J B Priestley effectively employs dramatic devices in Act I of An Inspector Calls to communicate his concerns and ideas to the audience and engage them in the play. Written in 1945, after World War II, the play is however based in 1912, two years before World War I.

J B Priestley's play addresses his concerns about social conditions for working class people in Britain. The main theme revolves around social responsibility, with the author aiming to show the audience that society must take care of the poor and unfortunate. To portray this message, Priestley uses the Birling family as representatives of the well-off middle class, contrasting them with Eva Smith, who symbolizes those in need. After World War II, Priestley sought to improve the lives of impoverished individuals and decided to utilize his plays, including An Inspector Calls, to ra

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ise public awareness, particularly among the middle classes. The playwright intends to convey to theatergoers like the Birlings that their actions have a direct impact on others' lives, emphasizing the importance of compassion towards those less fortunate.

At first glance, An Inspector Calls may appear to be a traditional detective story, but it ultimately serves as a morality play with a powerful message about morality. The play's setting in 1912, before World War I, and its staging in 1945, after the end of World War II, enable Priestley to effectively employ dramatic irony. In Act I, Priestley utilizes various dramatic devices to communicate his concerns and ideas to the audience, while actively engaging them in the play. Notably, the opening of Act I features a detailed description of the room's furniture—a departure from the usual practice i

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stage plays. Priestley provides explicit stage directions for the furniture to be "swung back" in order to "reveal the fireplace in Act II".

The extensive stage directions in the play not only provide instructions on how to "avoid this tricky business" but also emphasize the significance Priestley attributed to accurately depicting the characters through detailed descriptions of the interior. It is crucial to bear in mind that a play is meant to be seen rather than read, thus the audience may not be aware of the meticulous guidance Priestley has provided on the furniture, lighting, Inspector's behavior, tone of voice, and facial expressions of the characters. However, adhering to Priestley's desired setting will allow the audience to swiftly grasp the intended theme of the play. For instance, the choice of furniture immediately suggests that the Birling family belongs to the middle or upper class, which becomes pivotal later on.

The stage directions in the text provide clear details about the seating arrangement of the characters as well as Arthur Birling's position at the head of the table, indicating his status within the family. As the curtain opens, it is mentioned that the parlourmaid is clearing the table of dessert plates and champagne glasses, giving immediate clues to the audience about the Birlings' affluence and ability to have a servant and consume champagne. Additionally, Priestley emphasizes the significance of lighting directions. He specifies that the lighting should have a "pink and intimate" tone prior to the arrival of the Inspector, and afterwards, it should transition to a brighter and harsher quality.

The arrival of the Inspector completely transforms the atmosphere of the scene, emphasizing his significance. This shift

in mood evokes a change in the audience's emotions, as the once relaxed and cheerful ambiance takes on a different tone. The use of harsh lighting may symbolize the harsh truths that the Inspector will reveal to the Birlings about their actions. The audience remains unaware of the Inspector's identity or the reason for his visit. Additionally, Priestley incorporates character descriptions within his stage directions, noting that the characters in the opening scene are self-satisfied and content.

The playwright wants to convey to the audience that the characters are content with their lives and exhibit a sense of arrogance. Mrs. Birling, who is depicted as a cold woman and holds a higher social status than her husband, may believe she is superior to others and lacks empathy. The character Eric is described as not being completely comfortable, suggesting that he may be preoccupied or feels like he doesn't fully belong with the rest of the family, making him somewhat of an outsider.

Priestley uses dramatic irony in a humorous yet darker way in the early part of the play. This occurs when a character in a play or film says something that the audience understands, even though the other characters may not grasp it. The play is set before significant global events such as World War I, the Titanic's voyage, and the Great Depression. In Act I, Mr Birling declares that "The Germans don't want war" and dismisses war rumors as "nonsense." He goes on to claim that only "some half-civilized folks in the Balkans" desire war.

The speaker confidently claims that there will be no war, despite the audience's knowledge that the Germans desired conflict

and that World War I would begin in the Balkans. This exemplifies dramatic irony. Additionally, the speaker dismissively declares The Titanic as invincible, though the play's audience would be aware of its tragic sinking. This remark elicits both amusement and the understanding that the speaker, Mr Birling, is self-important but lacks comprehensive knowledge of the world. Furthermore, he proceeds to make grand predictions about future social and political events ("in 1940 . . .").

The text highlights the audience's exposure to Mr Birling's incorrect predictions about peace, prosperity, and progress. The purpose of this is to set the stage for the Inspector's later teachings to the family. It also enables the audience to question Mr Birling's future aspirations, specifically his prediction of receiving a knighthood. Priestley adds an element of foreshadowing as Mr Birling unknowingly foretells an upcoming event.

In a light-hearted manner, he tells Gerald that he believes he stands a strong chance of being knighted, as long as they both conduct themselves properly and avoid any legal trouble or scandals. This statement becomes significant later in the play when the revelation of the scandal involving Eva/Daisy occurs. According to the stage directions, the Inspector does not have to be physically imposing, but should exude an aura of size, solidity, and determination. His simple, dark suit adds to his natural sense of authority. The directions also depict the Inspector as speaking cautiously and with gravitas, while noting his tendency to scrutinize people intently before addressing them.

The Inspector's extensive knowledge about the characters, despite not having met them before, gives him an otherworldly aura, resembling supernatural powers. His peculiar characterization is emphasized through succinct and direct lines,

often composed of brief questions.

The Inspector controls the pace and direction of the conversations with the other characters, indicating his moral superiority. His name, a play on ghoul or spirit, further emphasizes this. As Mr Birling speaks about the importance of personal responsibility, the Inspector enters. In his speech, Mr Birling openly rejects the concept of social responsibility, stating that some people believe everyone should take care of each other.

. . like bees in a hive". The lighting shifts from a gentle pink to a more jarring brightness when the Inspector arrives, symbolizing his intention to awaken the family to the harsh realities of life. From the title, it is evident that the Inspector has a distinct role in the play.

He controls the characters by allowing them to make bold statements, revealing their actions prior to the evening of the play. Birling's refusal to give his workers a pay rise prompts the Inspector to ask why, irritating Birling but also leading him to explain his actions proudly. According to Birling, it is his duty to keep labor costs low. The Inspector then undermines the family with a few simple words that impose a strong moral perspective on each situation. For instance, when Birling comments on his workers who demanded higher wages, saying "If you don't come down sharply on some of these people, they'd soon be asking for the earth," the Inspector responds simply with "They might."

However, Priestley manipulates the characters through the Inspector in order to encourage them to open up to him, each other, and the audience. This deliberate manipulation gradually destroys the positive mood of the event and transforms the play from

a typical crime mystery into a moralistic drama.

The reactions of the family members to the Inspector in Act I demonstrate Priestley's underlying message. Mr Birling responds with anger and resorts to his usual tactic of bullying and threatening. He confronts the Inspector about his relationship with the Chief Constable, insinuating that he will get the Inspector into trouble. On the other hand, Sheila is deeply disturbed by the news of Eva's death and expresses her distress, stating that she was feeling happy before being informed. When the Inspector later tells her that she shares some responsibility for what happened, Sheila immediately regrets her actions and wishes she could undo them.

Priestley depicts the Birlings as a representation of how various societal factions can be swayed. Sheila and Eric, the younger members of the family, swiftly express remorse for the mishap involving the girl. Eric criticizes his father, saying he "had the option to retain her instead of dismissing her. I perceive it as unfortunate circumstances.

"Mr and Mrs Birling have a harder time being convinced. When Sheila defends the girl, her father dismisses it as "Rubbish!" In the first Act, Priestley portrays the characters taking different positions. Mr Birling remains arrogant and self-satisfied, refusing to accept any responsibility. Mrs Birling is mostly absent, except for a brief dinner scene where she comes off as proud and distant. Gerald initially seems to align with Mr Birling's beliefs on preserving the social structure and exploiting workers for maximum profit, stating "You couldn't have done anything else." However, towards the end of the scene, he begins to unravel when Sheila uncovers his affair with Daisy Renton and pleads "for God's

sake - don't say anything to the Inspector."

Sheila demonstrates her intelligence and quick thinking at the end of the scene with her statement, "Why - you fool - he knows ... You'll see. You'll see." Priestley uses different generations as a metaphor to symbolize the potential for change and the formation of new perspectives on social class and social justice. The older man represents stubbornness and intransigence, while Sheila recognizes the flaws instantly and would remedy them if given the opportunity. Gerald falls somewhere in between. The play employs a primarily naturalistic style to create a realistic depiction of life.

Priestley intentionally employs various methods to convey a sense of realism in his play. He accomplishes this through detailed stage directions for furniture and costumes, as well as by using authentic language of the time. For instance, Sheila refers to Eric as "squiffy," a slang term for being drunk. Furthermore, the opening scene of the dinner party is presented in a realistic manner, with Mr Birling expressing his satisfaction with the meal and addressing his compliments to the cook through Mrs Birling, stating "Good dinner too, Sybil. Tell cook from me." This not only reinforces his privileged social position, but also unveils his upbringing, as Mrs Birling perceives his words as indecent, exclaiming "Arthur, you're not supposed to say such things."

Mrs Birling's words are condescending towards her husband, indicating her belief in her superiority due to her background. As Act I nears its end, the play's tone shifts. Upon upsetting Sheila and making her acknowledge her role in the girl's suicide, the Inspector focuses on Gerald. Mentioning the name "Daisy Renton," the Inspector elicits a startled

reaction from Gerald who exclaims, "What?" Priestley skillfully separates Sheila and Gerald, leaving them alone, as Sheila instructs Eric to escort the Inspector to the drawing room.

When the Inspector leaves Gerald and Sheila alone, it is apparent that he has foreseen what will unfold between them. Sheila poses inquiries to Gerald, rather than to the Inspector, such as "How did you become acquainted with this girl?" and "When did your acquaintance with her begin?", indicating her realization of the truth. She further inquires, "Were you spending time with her during the previous spring and summer?"

When you hardly came near me? " Gerald is eager to apologize to Sheila but doesn't want to be implicated in the girl's death, so he suggests "Let's leave it at that." However, Sheila realizes that they cannot simply end the conversation there. She acknowledges the Inspector's uncanny ability to know everything and suggests to the audience that there are still further revelations to come. This creates anticipation in the audience, as Priestley skillfully creates suspense.

The audience is captivated by the mysterious Inspector and is eager to learn more about him and uncover additional family secrets. The scene concludes with the Inspector returning, locking eyes with Sheila and Gerald in a penetrating manner, and utters the word "Well?" This leaves the audience in suspense, as they realize he is waiting for a response. The audience is left craving more information and eagerly anticipating what will happen next. Priestley effectively engages the audience through his use of dramatic techniques, leaving them with more questions than answers at the end of the scene. In Act I, Priestley initially presents a typical middle-class setting

but ultimately challenges the audience to reconsider their perceptions of the Birlings and their guest, as well as their attitudes towards the working class and less fortunate individuals.

Priestley employs the enigmatic Inspector as a theatrical tool in this play, presenting him as a character who bears no responsibility for Eva Smith's demise. Through skillfully crafted inquiries, he unfolds the less admirable traits of the remaining characters. Priestley explicitly instructs the Inspector on the exhibition of the photograph; he discreetly carries it and utilizes it to startle Mr. Birling and Sheila.

The use of a clever dramatic device enhances the audience's interest by maintaining mystery surrounding the photograph. Only one character sees it at a time, creating uncertainty about whether it is the same girl in the picture each time. In the initial scene, when the Inspector shows Mr. Birling the photograph, specific stage directions illustrate how this is performed. "Both Gerald and Eric rise to have a look at the photograph, but the Inspector interposes himself between them and the photograph." Once Birling identifies the girl, the stage directions indicate that "the Inspector replaces" the photograph "in his pocket." It is the Inspector who connects the girl to each character, even though they believe they are looking at the same photograph, even though she may have different names and identities.

The photograph changes our opinion of each person. Sheila, who is described as a "pretty girl in her early twenties, pleased with life and rather excited," becomes distressed by her role in the girl's downfall and is the only family member to understand the Inspector by the end of Act I. By the end of Act I,

the audience realizes that this is not a typical whodunit and that all family members can be blamed, although the extent of their culpability becomes clearer later on. The Birlings and Gerald represent comfortable society in England, while Eva Smith/Daisy Renton personifies those in dire circumstances with no support available.

By introducing the Inspector, who recounts the girl's gruesome fate, Priestley effectively injects intense horror and shock into the play without the need for depicting it on stage. The Inspector vividly describes the excruciating demise of the girl, stating that the disinfectant had "burnt her insides out" and that she succumbed to death after enduring hours of agony. Despite her absence from the play itself, the girl assumes immense significance as a character. Ultimately, the play serves as a morality play with a powerful message: one must thoughtfully consider their actions towards others, as they possess the ability to either assist or utterly destroy lives.

The relevance of the message conveyed in this play remains unchanged since 1945. Society still neglects certain groups of individuals, considering it acceptable to disregard and reject them. These groups include drug users, mentally ill individuals, prostitutes, the homeless, and immigrants – people who often lack support and are perceived to be responsible for their own problems. Priestley aimed to convey the notion that it is the duty of the middle class to assist those less fortunate. Eva Smith/Daisy Renton serves as a symbol for the underprivileged segment in our society.

Priestley challenges both the audience and the characters in the play, just as the Inspector challenges the characters' reactions towards others. This can be seen in a specific speech where Mr. Birling

expresses his frustration over the Inspector's disruption of their celebration. In response, the Inspector mentions that he had similar thoughts when he visited the Infirmary earlier that evening to see the remains of Eva Smith. He describes her life as once full of promise, but now tragically destroyed due to someone's actions.

Priestley's intention is for the audience to contemplate both individual and societal responsibility. To capture their interest and engage them in the play, he utilizes a mystery narrative and employs dramatic techniques. By doing so, Priestley prompts the audience to reflect upon matters of social justice and their own sense of responsibility.

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