Letter From Priestley To A Colleague Explaining His Essay Example

with strong socialist views, I also highlight the unacceptable clash between social classes in society.

As previously mentioned, I utilized dramatic irony to both emphasize my messages to the audience and maintain their interest. Mr. Birling, a character in the play, served as a vehicle for this technique as he discussed important historical events, such as the sinking of the Titanic, which he did not anticipate despite our modern audience's knowledge. Additionally, I structured the play into three acts, all of which occur at the same location and date.

From a directorial perspective, I believed that the only way for "An Inspector Calls" to be truly dramatic was if the time elapsed continuously. To simplify the stage and avoid the complexities of new settings and props for each act, I decided to maintain the same scene with the characters frozen in place after each rise and fall of the curtain. Additionally, I incorporated doors, entrances, exits, and other technical devices to enhance the drama.

During the first act, I applied the concept of altering the lighting to reflect changing emotions. Before Inspector Goole's entrance, the lighting was "pink and intimate," but upon his arrival, it shifted to become "brighter and harder." I believed that the change in lighting should mirror the fluctuating sentiments accompanying the Inspector's appearance. Another instance where I utilized this technique was when Gerald Croft re-enters after Inspector Goole's departure. With him, he brings "special" news capable of altering all previous thoughts and feelings from that evening.

Deliberately, I chose to set the play during the years of 1910-1912 with the intention of allowing an audience who had just emerged from war to experience a

family's coping mechanism just before yet another commenced. These years held exceptional social, historical, and cultural importance- you may recall the immense industrial unrest we faced as the cost of living hiked while prices didn't. Furthermore, there existed no welfare state, and a genuine fear of revolution heightened the gap between the rich and the poor. Additionally, I hoped to highlight societal hierarchy based on women's background, status, and discrepant attitudes towards them.

I aimed to create a captivating play featuring characters from both the middle and working classes. "An Inspector Calls" is set in Brumley during the spring of 1912 and centers around the investigation into the suicide of Eva Smith, also known as Daisy Renton. Inspector Goole arrives at the Birling household, where Arthur Birling, his wife Sybil Birling, their daughter Sheila, and son Eric are celebrating Sheila's engagement to Mr. Gerald Croft. The inspector informs them about the tragic incident that has occurred and throughout the play, I intended for each character's involvement in Eva's life to be revealed. For instance, Arthur Birling fired Eva after she joined others in striking for higher pay.

Eva Smith was hired at Milwards but was fired because of Sheila Birling's bad mood. Sheila used her father's status to unfairly fire Eva. Therefore, Eva changed her name to 'Daisy Renton' and met Gerald Croft at the bar in Palace Variety Theatre. Their relationship did not last long, and shortly after that, Eva began a relationship with Eric.

Despite discovering that she was pregnant with Eric's child, Daisy ended her relationship with him as she could not be with someone she did not love. In an effort to improve

her life, she turned to the Brumley Women's Charity Organisation and sought help from Sybil Birling. However, Sybil cruelly refused to assist Daisy who was left feeling hopeless and ultimately took her own life after being repeatedly turned away.

Towards the end of the play, it was revealed that the inspector was not genuine, and had deceived the characters. The play came to a conclusion with a tense phone call, notifying the Birlings about an inspector who would investigate the young woman's suicide. The characters and their actions provided dramatic impact, making them important devices for the play's effectiveness.

In my writing, I utilized the characters to delve into ethical or political viewpoints. Each character represents different issues. Specifically, Arthur Birling is portrayed as a successful entrepreneur who views himself as "practical" and "hard-headed." As a result, I crafted his personality to be extremely conceited and arrogant, in direct opposition to my socialist beliefs. Birling's character exudes confidence, stubbornness, and strong opinions.

Arthur Birling's references to the "unsinkable" Titanic and his belief in "peace and prosperity" during the 1940s, despite being in the midst of the Second World War, serve as a clear example of his flawed judgment. Additionally, Mr Birling holds the view that "a man has to make his own way" and that working as a "community" is "nonsense". He maintains that he should only be responsible for "himself and his own", rejecting any obligation to look after others. Given this anti-socialist mindset, it is easy for the audience to comprehend Mr Birling's apathetic attitude towards Eva's situation. This reinforces the notion that the audience should witness, in a dramatic fashion, how cruelly Arthur Birling treated

Eva Smith.

Arthur Birling viewed Eva Smith as a source of "cheap labor" and, being aware of her impoverished background, he denied her a salary increase from "twenty-two and six" to "twenty-five shillings" per week. The character of Mr. Birling is utilized specifically to highlight the authority exercised by middle-class employers over working-class employees; Birling demonstrated a lack of respect towards individuals because he had the power to do so. When confronted by the Inspector, Birling disavows any "responsibility" for Eva's death and reacts aggressively when challenged by the Inspector, cautioning them that he is acquainted with the Chief Constable. In an attempt to intimate the Inspector, Birling employs his social status to assert his superiority and evade liability. An actor playing Arthur Birling ought to possess a "heavy-looking" appearance combined with "fairly easy manners."

During the first act, Arthur delivers a speech on prosperity and the "developing" world. To convey his ego, the actor should speak in a confident, loud tone and hold his head high to assert his authority and superiority. His ironic views on the "unsinkable" Titanic and impossibility of war should be expressed with self-assurance. Facial expressions and gestures must also reflect his pride.

The importance of Sheila Birling, the daughter of Arthur and Sybil, was a character I considered next. I envisioned a pretty girl in her early twenties, content and enthusiastic about life. At the play's beginning, I intended for her to seem self-centered and careless. This was evident during her encounter with Eva at Milwards in January of 1911. Knowing the advantages of wealth, Sheila used it as a means to punish Eva. She entered Milwards angry with her mother and

insisted on trying a dress even though both her mother and the assistant disagreed.

During the play, Sheila felt silly in her outfit and saw Eva smiling at the assistant, implying that she looked awful. Initially, she couldn't be sorry for Eva, but after learning about her suicide, she regretted not being able to help her. This moment was crucial as Sheila was the only member of the Birling household besides Eric to feel remorse for their treatment of Eva. This shows that the younger generation could develop a conscience and make a positive difference. After realizing her guilt, Sheila's character matured emotionally and intuitively, as shown in Act 2 when she noticed that her mother's self-confidence didn't fit the scene.

Sheila expresses concern over the possibility of saying or doing something she'll regret later. Despite learning of Gerald's affair with 'Daisy,' she remains composed and even admires his honesty. The initial portrayal of Sheila's character should showcase her cockiness and her attempts at intimidating the Inspector through her societal status. The actress should adopt a proud stance, with hands on hips, to exhibit this behavior akin to her father's.

When delivering the line "I couldn't be sorry for her," Sheila should show her unpleasant side. One significant moment with Sheila is when she recognizes Eva's photograph. Once Sheila discovers her role in Eva's death, she should lower her head and speak more softly to display her shame. Moving forward, Gerald Croft is another character who had a relationship with Eva.

My intention was to create a character, Gerald, who would bring a sense of fulfillment and politeness to the group of characters. I wanted him to

possess a strong sense of morality, yet depict how vulnerable he could be to external influences, doing everything in his power to please others. I envisioned Gerald coming from an affluent and elite background, someone who shared Mr. Birling's anti-socialist ideals while possessing a conscience. Using Gerald's character, I portrayed how men like him exploit women like Eva for sexual satisfaction.

Gerald encountered Eva, also known as Daisy, for the first time at the Palace Variety Theatre's "stalls bar," where he intervened in Joe Meggarty's advances towards her. Joe Meggarty was known for his womanizing ways and was intoxicated at the time of the encounter. Gerald found Eva/Daisy to be attractive, youthful, and delightful. He soon discovered that she was in dire financial straits during their initial meeting at a hotel. On their second rendezvous, Gerald proposed that she stay at his friend's home.

As their emotions for one another intensified, Gerald's initially honourable intentions faltered, and Eva/Daisy eventually became his "mistress." Despite this, Gerald did display remorse, giving Eva money as a parting gift and being the only person who "made her happy for a time." To make Gerald an appropriate character for uncovering Inspector Goole's true identity, it was decided that his guilt and contrition would be greater than Mr Birling's but less than Sheila's. The actor portraying Gerald Croft should have a refined demeanor and speak in a normal tone. However, when revealing news of the Inspector's falsehood, he should speak with enthusiasm and convey the same emotions through facial expressions, such as using large eyes and speaking rapidly.

I utilized Eric Birling's character to illustrate how females like Eva can be taken advantage

of for sexual purposes, and also to showcase the way some males exploited women like Eva, as Gerald had done. To effectively convey this message, I opted to incorporate certain traits in Eric's personality. I chose to make Eric "in his early twenties, not entirely comfortable, somewhat reserved," and "somewhat assertive," as well as a heavy drinker. Additionally, I wanted Eric Birling to have a strained relationship with his father and not view him as "the type of dad a guy could turn to in times of trouble."

Like Gerald introducing Eva to Eric in the Palace Variety Theatre, I also wished for Eric and Eva to meet. However, the situation was slightly different since Eric was somewhat intoxicated.

Eric had threatened to cause a disturbance when Eva refused to let him into her lodgings after he had been drinking. Despite the situation, Eva ultimately decided to allow Eric into her residence. The couple met again roughly two weeks later at the Palace Variety Theatre where they returned to Eva's residence, conversed, and eventually engaged in sexual activity. Eric praised Eva's physical appearance and described her as being enjoyable company.

Eric confessed to not having romantic feelings for Eva and also admitted to taking fifty pounds from his father's office. During their next meeting, Eva informed Eric that she was pregnant, but stated that she did not want to marry him since he did not reciprocate her feelings of love.

The purpose of Eric's initial immaturity was to be demonstrated, but with the prolonged situation with Eva, he felt responsible and opted to aid her by stealing money. My intention was to convey Eric's character resembling Sheila's, to such

a degree that upon the inspector's departure, he was impacted enough to contemplate improving his life and deeds. Notably, his maturity is evident given that he is willing to acknowledge his mistakes, even if his parents cannot. Emotion and anger portrayal are significant aspects of the young Eric's character.

In the third act, the actor should use gestures like pointing and shaking his head while almost shouting and speaking quickly during an argument with his mother to show disbelief. Sybil, Arthur Birling's wife, was the last character to encounter Eva Smith.

The objective was to portray Sybil Birling as aloof and unfeeling, with no grip on reality and a belief that her husband was of lower social standing than herself. She is an individual who holds herself to high standards and disregards anyone beneath her as undeserving of respect. During her questioning by the inspector, she claimed ignorance of "those girls" such as Eva Smith, and attempted to distance herself from her with a metaphorical "wall". Sybil Birling's demeanor is distant and she refuses to take responsibility for any harm inflicted upon Eva Smith.

In Brumley, Mrs Birling, a Women's charity member, heartlessly denied Eva even a pitiable bit of charity that was within her power. She deemed Eva as an unworthy cause and purposely used her influence to refuse Eva's case. Mrs Birling was unfazed by the Inspector's interrogation and only showed remorse when she learned that she aided Eva in killing her grandchild. Similar to her husband Arthur, I suggest that once she finds out that the Inspector is fake, she should return to her original views.

The reason for making Sybil an unlikable character

was to portray her as an extremely self-centered person, which would lead to the audience disapproving of her behavior. To ensure this, in the second act, I had Sybil unknowingly shift the responsibility onto her son. Specifically, while playing Sybil, the actress must cross her arms over her chest and avoid facing the Inspector during the scene.

For a believable portrayal of snobbery, the character should hold her head higher than the others and speak confidently. However, when dealing with the implications regarding her son, the character should become visibly distressed and agitated, indicated by speaking louder and less confidently and shaking her head.

In "An Inspector Calls," I utilized the Inspector as a dramatic device to explore moral and ethical concerns. With the intention of building an atmosphere of heightened drama and tension during the Inspector's presence, I opted not to disclose their identity. I believed that this would generate enigma around both the Inspector's credibility and their true self. In some respects, I employed the Inspector as a means of expressing my own stance on the situation - akin to the Inspector, I disagree with Mr Birling's capitalist opinions. The Inspector contends that it is "better to ask for the earth than to take it," contrary to the actions of Mr Birling and his associates.

Sheila observes that the inspector possesses extensive knowledge, and that neither the Birling family nor Gerald disclosed anything new to him. This suggests a godly and commanding aura, which is reinforced by his imposing physical appearance characterized by a perception of strength and direction.

When I created the Inspector character, my intention was for him to act as the Birlings' conscience and

prompt each family member to acknowledge their errors. I purposely decided that only Sheila and Eric Birling would feel anguish over their behaviors instead of the whole family because it wouldn't be pragmatic for everyone to shift their perspective all at once. However, if at least the younger generation could be positively influenced, it would signify a positive change for the future.

To add to the enigmatic aura surrounding the Inspector's true identity, I chose the name 'Goole', which is similar in sound and meaning to 'Ghoul' - a supernatural figure. The Inspector's eerie abilities are also highlighted by his prophetic statements, such as predicting "fire and blood and anguish" before the war that occurred two years later. He also knew about Eva's death prior to it happening. In conclusion, the Inspector remains an elusive character full of mystery.

Despite appearing out of thin air and failing to solve the mystery, the appearance of Inspector Goole in "An Inspector Calls" further complicates the plot. The truth is revealed when the Birling family receives a phone call regarding the death of a girl in the infirmary only after the Inspector's departure. Some may argue that the Inspector was a fraud who cleverly coerced their confessions using bits of information gathered here and there, and that it was mere coincidence that a suicide occurred that night. However, this confusion led to unfair criticism of the play. In fact, the Inspector is crucial to the composition and narrative, as he catalyzes the characters' confessions.

Through a variety of techniques, the inspector carefully interrogates the characters, keeping both the audience and their curiosity engaged. To prevent confusion and maintain the investigational "line

of enquiry," the inspector only questions one character at a time, allowing each confession to logically lead to the next. Additionally, the Inspector embodies some of the play's main themes and issues, including the significance of reputation, determining responsibility for Eva's death, grappling with guilt and accountability for one's actions, and exploring the relationship between time and events. This intentional choice helps to preserve the seamless flow of the drama.

Although the Inspector's approach may come off harsh at times, it contributes to his authority and impact. Additionally, the Inspector drives the plot's pace by gradually disclosing information about the Birlings and Gerald Croft's involvement with Eva over the course of two years. In Act Two's concluding moments, for instance, Mrs Birling declares that the father of Eva's baby deserves severe consequences. The Inspector exploits Mrs Birling's self-righteousness to coerce her into unknowingly incriminating her son.

Moreover, my intention was for the Inspector to generate a sense of suspense among the characters within the play. This was exemplified notably in Act Three. As previously indicated, Mrs. Birling's actions resulted in conflict when she attempted to shift responsibility onto her son instead of acknowledging the facade of their family's contentment. Additional instances which demonstrated this dynamic included Eric's struggle with alcoholism and Arthur and Sybil Birling's reluctance to take accountability for their contribution to Eva's decision to end her life.

Throughout the play, Sheila Birling frequently highlights the fact that everyone is feigning a facade. This was intended to heighten the sense of conflict and emotional intensity, exposing the hollowness of the family's initial bond. Additionally, I aimed to have the Inspector serve as a mediator between different

social classes, as demonstrated in the Inspector's concluding monologue. It was crucial for me to ensure that the Inspector remained a pivotal character for the audience, both during and after his departure.

My approach was based on the Inspector’s tone of voice, systematic working methods, and relative calmness. I consider the concluding speech the most crucial one, given its impact on both the characters and potential observers. Consequently, I took great care to ensure its effectiveness by arranging it strategically to emphasize its thought-provoking and emotional aspects. At this point in the play, I envisioned the Inspector assuming control of the scenes with sardonic and masterful authority as well as speaking harshly to the other characters. The main thrust of his speech was judgment of their respective roles in Eva's death.

The Inspector cautions the Birling family to always remember that Eva met a gruesome fate and that they must endure the consequences of their actions. He endeavors to make them feel remorseful by stressing that their efforts would be futile, and it is now too late to express regret. The Inspector's ensuing remarks feature multiple repetitions, such as the phrase "millions and millions and millions" and the term "their." This was done deliberately to ensure that these expressions remain ingrained in the minds of his listeners.

I repeated certain words and phrases three times to emphasize their importance. I also incorporated emotive language, such as "suffering" and "fears," to evoke emotional responses from the audience. To encourage critical thinking, I employed lengthy sentences with commas to signify key points about the human experience. Additionally, I utilized concise sentences, like "we don't live alone" and "We are members

of one body," to convey important concepts in a straightforward manner. Overall, my text conveyed various facets of what it means to be human.

The use of straight-to-the-point sentences with added drama and tension reiterated the theme of "responsibility" and how our "lives" are "intertwined". The Inspector's concluding line mentioning "fire and blood and anguish" held significant meaning as it referred to the impending World War Two and potential consequences if lessons weren't learned. To engage the audience, I also had the Inspector speak about "us" and "we".

With the aim of fostering audience identification and reflection on their own experiences, I frequently employed the first person pronoun - which mirrored the Inspector's convictions and gave his message added passion. The play's conclusion carries immense significance for it is only then that the most pivotal plot twists unravel. As the Inspector exits, Gerald reveals a startling fact - "that man" was not, in fact, a police officer at all - thus confirming their deception.

After the first dramatic reveal, Arthur and Sybil Birling tried to ignore what had happened that evening. However, I felt it was important to make Sheila and Eric understand that everyone was responsible for the girl's death, regardless of whether or not the Inspector was real. The second twist came when Arthur contacted the infirmary about a supposed suicide by disinfectant ingestion. It turned out that there hadn't been any suicides at the infirmary in several months.

The play initially led the audience to believe that everything would return to normal, but a sudden turn of events occurred when "police" arrived to question the Birlings about a young girl's suicide. This twist

indicated that the drama was not over and left the audience in suspense for what would come next. The underlying message of the play was that everyone is responsible for each other, regardless of social status, and being human is paramount. It aimed to promote consideration for others not just because it is ethical, but also due to inevitable consequences if we neglect this responsibility. Ultimately, it offered hope for the future.

The characters Sheila and Eric symbolize hope for the future as they have been taught a lesson. The play's ending is linked to the World Wars, where the self-satisfied Birlings receive news of the dead girl - similar to Europe's self-satisfaction before World War Two. The audience should learn from the play and not let their selfishness lead to catastrophic consequences.

Even though I wrote a lengthy message, my intention is for you to understand. Kindly reply and update me on your present circumstances. Keep safe and thank you for reading.