An Inspector Calls by JB Priestley Essay Example

and act are based on my desired message to the audience and portrayal of the characters. Specifically, I will examine Shelia and Mr Birling, two contrasting characters with differing viewpoints. To begin, I will delve into Shelia's character, a young and naive woman whose guilt increases upon hearing Eva Smith's story, despite her privileged upbringing.

Shelia's upbringing shielded her from the harsh realities that plagued Britain during the period in question, but the arrival of the inspector shattered her comfortable existence. Throughout the play, she grows in both maturity and fortitude, serving as a beacon of hope for future generations to solve some of the world's problems. Priestley employs Shelia's character for numerous purposes - she symbolizes hope and serves as a symbolic reminder that we must learn from our mistakes.

The character Shelia embodies the type of behavior Priestley believed could prevent another world war. She acknowledges her mistakes and exhibits remorse and understanding, offering hope for a future where individuals care for one another and consider the impact of their actions. The goal is for the audience to view Shelia as a sincere and compassionate person, whose innocence may sometimes be a weakness. To illustrate this, Shelia begins the play as somewhat arrogant and immature, reflecting her lack of awareness of larger societal issues. This naivety can be emphasized by dressing Shelia in bright and daring fashion choices as a hint of rebellion. It's important that she moves gracefully and speaks in Standard English throughout the play to indicate her superior social class compared to Eva Smith.

In order for the audience to empathize with Eva, it's crucial that she appears sincere and regretful

near the end of the play. This will highlight to viewers that she has learned from her errors and is genuinely apologetic. It's essential for the audience to find her likeable so that they can acknowledge her transformation at the end. Similarly, if the play's plot and format are to be effective, it is crucial that viewers relate to Shelia and feel sympathetic towards her. Therefore, she must be perceived as compassionate and warm-hearted in almost every scene.

As Shelia is questioned by the inspector in a crucial moment in the play, I have selected it as one of the two scenes to direct. The audience can gain insight into Shelia's personality through this segment, where she expresses her opinion on the Milwards' affair. I aim to have Shelia emphasize on the word "rotten" as it portrays her immaturity and childishness towards the situation.

After stating "and now I feel a lot worse," the character should express this sentiment in a manner that conveys her insincerity to the audience. This demonstrates her lack of understanding of the consequences of her actions at this point in the play. The following statement, "Did it make much difference to her," should continue to exemplify this attitude.

According to the text, in order to display her insecurities and fear of being wrong, which are interpreted as childishness, Sheila must fidget and play with her hair. Additionally, she should adopt a tone of concern and fear to convey to the audience that she cares about Eva Smith. Sheila's statement "So I'm really responsible" highlights her insecurity and should be delivered with conviction, accompanied by corresponding facial expressions. This line also serves to demonstrate

to the audience that Sheila is more compassionate than her parents.

In contrast to the others who quickly pass blame, Shelia takes full responsibility. It is important for her to convey this acceptance through her tone of voice, expressing remorse. However, for the plot to progress and for Priestley's message to be communicated at this stage of the play, Shelia must still exhibit a hint of selfishness and cruelty. When questioned by the inspector about why she got the girl fired, Shelia responds with "Because I was in a furious temper." Her demeanor should make it evident to the audience that she believed it was within her rights to affect the girl's life since the girl had upset her. With her confident body language, Shelia demonstrates that she still believes her social class gives her the privilege to be treated differently. In response to the inspector's inquiry if it was the girl's fault, Shelia admits "No, not really."

Despite acknowledging her own responsibility, the speaker quickly negates any implication of blaming Eva with a resounding "no" to the audience. However, she does not entirely accept fault, as she emphasizes the word "really" to convey that although she knows her actions contributed to the situation, she still believes Eva bears partial responsibility.

Despite her class and social status, she doesn’t believe that she shoulders all the blame. She accuses the other Birlings, saying, "At least I'm trying to tell the truth." This statement is directed at the dinner guests, indicating that she is now taking Eva's side. Sheila wants everyone to be truthful about what happened to Eva, so they can unravel the story. Later on, she narrates

how Eva's sacking occurred to the group.

While narrating the incident, the character in the play expresses her desire to try on a dress despite others advising against it. Regrettably, she asserts her persistence and adopts a pensive tone to convey to the audience the gravity of her realization that this decision could potentially destroy someone else's life. As she continues to recount the events, we learn that Eva Smith ended up trying on the dress and it was a perfect fit for her.

Despite Eva being deceased, the speaker's envy towards her beauty still persists, due to the fact that she was a perfect match for the situation at hand, while the speaker was not. The speaker acknowledges the immaturity of their jealousy and emphasizes it should be conveyed to the audience.

As she recounts the story, she eventually comes to the part where she reports to the manager about the impertinent behavior of a girl, but then breaks down suddenly. She should shake and cry to convey to the audience that the gravity of her actions has just dawned upon her.

Upon realising that her actions contributed to the death of another human, she came to the revelation that a person's class holds no importance; what truly matters is who we are. As she gains composure, she acknowledges that her sudden maturity is evident in her words: "How could I know what would happen afterwards." Despite expressing accountability, she delivers her statement in a manner that suggests an attempt to alleviate some blame. While exuding confidence through body language, she strives to negate being solely responsible for Eva's demise.

Discussing her regretful feelings towards Eva, she

adds, “And if I could help her now, I would,” with a tone that implies remorse. In an attempt to show the audience that she acknowledges her wrongdoing and can no longer aid Eva, she exhibits nervous and insecure body language. The segment concludes with Shelia stating, “It's the only time I've ever done anything like that, and I'll never, never do it again to anybody.” While communicating the first part in a way that denotes partial responsibility and a lack of complete understanding, she underlines the word ‘anybody’ to express her newfound comprehension of society as a unified group devoid of class or occupation distinctions.

She has come to understand that everyone is equal and, therefore, she cannot treat others differently from how she would like to be treated. For Sheila's second scene, I have selected a segment closer to the end of the play to demonstrate what she has learned from the experience. In her initial address in this section, she says accusingly and inquisitively, "The point is, you don't seem to have learnt anything," to inform the audience of her newfound confidence.

By emphasising the word "you" and pointing at Mr Birling, Sheila demonstrates that she has learnt something and believes that he should have too. Her tone of voice should express her confusion at how the event hasn't altered his views. When Birling argues that it matters whether the inspector was real or not, Sheila responds defiantly, "Well it doesn't to me. And it oughtn't to you, either." This tone aims to make Birling feel guilty and demonstrates that Sheila has learnt what the inspector intended them all to learn.

As the play progresses,

the character expresses her remorse and guilt for her actions, but is confused as to why her father does not share in these feelings. In a heated moment, she declares that it is her parents who are being childish and avoiding truth. Her outburst demonstrates her loss of respect for them due to their selfish actions and arrogance.

The protagonist intends to communicate her newfound understanding to her parents in an assertive manner, demonstrating her personal growth. Her father's refusal to acknowledge her perspective ignites an impassioned speech beginning with "But don't you see" and concluding with "is a police inspector or not." The delivery should be heartfelt to convey the significant impact of this experience on her worldview and determination.

She confronts each character, looking them straight in the eye, asserting her newfound maturity and right to challenge her parents despite her age. Emphasizing that what's important is acknowledging the wrong they have done, she urges the others to accept responsibility as she has done. In her next speech, she adopts a calmer tone.

She speaks in a tone that is intended to make others feel guilty for their relief and to communicate that it is improper to feel that way, adding, "But if it's any comfort to you and it wasn't to me." She concludes with an impatient tone, expressing her frustration with her family's resistance to the matter, stating "But it doesn't make any real difference, y'know."

Shelia is making an effort to push others to learn and develop from their experience. She expresses disappointment and questioning in hopes that they will understand her point of view, although this hope is diminishing. Shelia's transformation

from an immature girl into a responsible woman is showcased in both of these passages. This change was enforced upon her and illustrates how positive outcomes can arise from negative circumstances. Priestley's desire for this type of transformation after the war is evident within the text. Arthur Birling represents the negative and unethical aspects of the society during 1912.

Described as a typical upper class male of the times, he is characterized by his arrogance, carelessness, power-driven mindset and greed. He takes great pleasure in talking about himself and displays little regard for others' emotions. While very conscious of public perception, he has no respect for those considered beneath him in society - such as Eva Smith. Despite learning of his role in the young girl's death, he exhibits minimal remorse or grief and attributes blame to the victim's circumstances. Priestley aims to emphasize that attitudes like Birling's were among those responsible for the outbreak of the great war just a few years later.

To portray Birling as an arrogant, unemotional, and self-centered man throughout the play, his hard and slightly oppressive demeanor should be consistently displayed. This will signify to the audience that he does not learn from his mistakes or show any regret for them. Additionally, his costume should be a stiff, plain suit in black to represent his rigidness and seeming lack of a conscience, which can lead the audience to perceive him as slightly evil. The beginning of the play provides an excellent example of Birling's personality, as he claims that there is no chance of war. This passage should be performed in a way that immediately conveys Birling's unlikeable demeanor to

the audience.

Boldly and with dramatic irony, it should be confidently declared that Birling's predictions are outrageously inaccurate. This will inform the audience of his lack of worldly knowledge, which ultimately translates into his lack of remorse for his actions. Birling goes on to express great enthusiasm for the Titanic, ending his speech with the words "unsinkable. Absolutely unsinkable." This phrase should be delivered with confidence and arrogance, highlighting Birling's lack of understanding. The tone used should clarify to the audience just how excited he is about the hope that the ship represents for society's future.

The play's irony is evident as the Titanic sank shortly after the time it was set, suggesting a collapse of society. Birling proclaims confidently that "there isn't a chance of war" just before this section, heightening the irony for the audience. This builds on their prior knowledge of Birling's inaccuracy, indicating his lack of knowledge about the world and society. Despite this, he shows no remorse for his actions, concluding his speech with the words "unsinkable. Absolutely unsinkable."

The speaker should confidently and arrogantly convey their ignorance about the topic. The tone should also indicate excitement about how the ship symbolizes progress in society, which is ironic given that the Titanic sank just as society was falling apart when the play was set. One specific directive to Birling is to "keep your eye on" the matter at hand.

The text concludes with the statement "a few scaremongers making a fuss about nothing".

Birling aims to impress the audience with his knowledge of the world, and his tone should convey arrogance to highlight his perception of what he considers important. Despite being completely inaccurate,

he believes progress over the threat of war is significant, just as his misguided sense of importance regarding the Eva Smith issue. He concludes with "Just listen to this - and remember what I'm telling you now," emphasizing the importance he places on his words by delivering them in a serious tone.

The audience will learn about Birling's self-importance, which is one reason why he cannot acknowledge remorse for Eva Smith. Birling then predicts the future of 1940 to the younger generation, just before the play's publication. He believes that they will live in a world that forgets about war concerns. This is ironic since Birling should express enthusiasm and encouragement instead, demonstrating his genuine excitement for the future while refusing to discuss war ideas.

The speaker wants to forget about the war, which he sees as silly but turned into a terrible reality due to his thinking. He also claims that peace, prosperity and rapid progress will be found everywhere except in Russia, which he looks down upon. The speaker aims to convey a sense of worldly knowledge though he, in fact, has no understanding of global affairs or the future. By speaking in a condescending and belittling tone while making the joke about Russia, the audience will know that he harbours prejudices against those who are less wealthy or advanced. This general attitude towards an entire nation demonstrates that he considers himself superior to the lower class, which includes Eva Smith.

In the play, Birling's ironic statement "And we don't guess - we've had experience - and we know" is followed with a confident and self-obsessed demeanor, directed towards the young characters. This highlights his erroneous

beliefs and notions that those who think they know most, actually know very little. Further on, Birling's misguided views continue regarding his actions towards Eva Smith. Towards the end of the play, there is another statement made by Birling which is significant to his character development.

My selection is based on the fact that it demonstrates how, in spite of all he has been through, Birling has not gained any insight. Beginning with Birling's telephone conversation, the audience only hears him saying "Yes?"...

Are you sure about that?

...I understand what you are conveying.

Expressing relief, Birling arrogantly thanks everyone while adding irony to the scene. He emphasizes that his happiness stems solely from the fact that his status remains secure. However, he admits that the inspector had them on the run and acknowledges his desire to avoid public scandal at the moment.

The audience should notice Birling's smug expression and smirk as he speaks. This will demonstrate his extreme self-centeredness. Previously, he learned that Eva was not dead but has already forgotten about her and wants the attention back on himself. Birling tells Sheila to not be upset, using a tone indicating that he has not learned anything from his experience. This tone suggests that he cannot comprehend why Sheila is distraught, displaying no remorse for his actions to the audience.

Birling joyfully tells Shelia that the entire situation is now different and urges her to see this change. Birling is convinced that as long as no one knows about the wrongdoing, everything is okay. He seems puzzled and unaffected by Shelia's attempts to convince him otherwise. Birling's cold demeanor prevents him from empathizing with those

who feel remorseful about the situation.

Directly addressing Sheila, Birling remarks with a callous tone that suggests he has not learned from his past mistakes: "Come on Sheila, don't look like that, it's all over now." He then proceeds to speak in a joyful tone claiming that the situation is different, "But the whole thing's different now. Come, come, you can see that can't you?" Birling's lack of remorse for his actions is evident in his inability to recognize the gravity of his wrongdoing. This attitude implies that for Birling, as long as nobody knows about your misdeeds, then everything is permissible.

He should portray himself as utterly perplexed despite all of Shelia's attempts to convince him otherwise. His indifference towards the situation makes him unable to comprehend why Sheila is remorseful. In a later scene, he nonchalantly suggests that Sheila ask Gerald for the ring she returned to him, even slightly mocking her for feeling regretful. This line should be delivered in a normal tone, demonstrating his complete lack of personal growth towards the end of the play. His main concern is still gaining social status through Sheila's marriage to Gerald, illustrating his shocking immorality to the audience.

The writer aims to reveal Birling's lack of remorse or sorrow for his actions through his humorous and joyous body language in one of the play's final lines. While comparing two pieces of text, the writer notes that the chosen pieces emphasize Birling's unchanged attitude and feelings, indicating that he has not learned anything from the event. In contrast to highlighting Sheila's learning, the comparison offers a different perspective on Birling's character.