Brief Summary
This video provides an analysis of J.B. Priestley's "An Inspector Calls," focusing on the play's context and Act 1. It explores the political backdrop of socialism versus capitalism, the historical setting of 1912 and its dramatic irony, and the introduction of the key characters, particularly the Birling family and the Inspector. The video highlights Priestley's critique of capitalist values and the importance of social responsibility.
- Political context of socialism vs. capitalism.
- Dramatic irony created by setting the play in 1912 but writing it in 1945.
- Introduction of the Birling family and their capitalist values.
- The Inspector's role as a catalyst for truth and social responsibility.
- Sheila's character development and her initial superficiality versus growing awareness.
Intro
The video introduces "An Inspector Calls" as a play with significant political undertones, promising to cover key aspects in three videos. It encourages viewers to take notes and pause as needed. The initial lesson will focus on the play's context and a detailed analysis of Act One.
Context
Understanding the political context is crucial before reading "An Inspector Calls". J.B. Priestley, a supporter of the Labour Party and socialist ideals, wrote the play to promote socialism and critique capitalism. Socialists believed in a fair, equal society with shared responsibility, while capitalists prioritised individual success. The play is set in 1912, during the Edwardian era, characterised by a rigid class system and capitalist ideology. This was before the introduction of the welfare state, free healthcare, and trade unions, all of which Labour brought in later. Written in 1945, after the Second World War, the play reflects the disillusionment with capitalism and the desire for social change. The setting of 1912, before major historical events like World War One and the sinking of the Titanic, creates dramatic irony, as the audience is aware of the impending tragedies that the characters are ignorant of. Priestley aimed to show the necessity of political change for a hopeful future.
Act 1 Birling family
Act One begins with the wealthy, capitalist Birling family celebrating Sheila's engagement to Gerald Croft. The opening stage directions offer insights into the characters. The lighting is described as "pink and intimate" until the Inspector arrives, then becoming "brighter and harder," symbolising the family's preference for a sheltered existence and the Inspector's exposure of the truth. The pink lighting may also imply the family has something to be ashamed of. Eric is described as "not quite at ease, half shy, half assertive," suggesting his internal conflict and developing identity. Stage directions also reveal Eric's strange behaviour, such as random laughter, hinting at his alcoholism. The family's wealth is highlighted through details like their maid, Edna, and Mr. Birling's nouveau riche status, as well as his wife's superior social standing. Sheila is simply described as a "pretty girl".
Act 1 engagement party
The engagement party's dialogue is dominated by Mr. Birling's long speeches, promoting capitalism and attempting to impress Gerald Croft. He even researches and buys the same alcohol as Gerald's father, highlighting his emulation of the upper class. Priestley mocks Mr. Birling's views, such as his claim that the Titanic is "unsinkable," to discredit capitalism. Mr. Birling proudly refers to himself as a "hard-headed practical man of business," with the alliteration emphasising his self-importance. He imposes his views on the younger generation, dismissing the possibility of war with the nonsensical word "fiddlesticks," revealing his lack of substance and rational argument. He declares that a man has to look after "himself, and his family too," suggesting that even family is an afterthought in capitalism.
Act 1 The Inspector enters
The Inspector's entrance interrupts Mr. Birling, marking him as the first character to do so. The Inspector is presented as the antithesis to Mr. Birling, who despises socialism and compares socialists to "bees in a hive." The Inspector enforces social responsibility, speaking carefully and directly. He investigates the death of Eva Smith, a factory worker fired by Mr. Birling, who committed suicide by swallowing disinfectant. The disinfectant symbolises the treatment of the working class as dirt. The Inspector's graphic language elicits humane responses from Eric and Sheila, while Mr. Birling reacts impatiently, showing his lack of empathy. Mr. Birling views his daughter's engagement as a business transaction. When Mr. Birling tries to intimidate the Inspector with his and Gerald's family status, the Inspector remains unfazed. The Inspector's name, Goole, a homophone for "ghoul," suggests he is beyond worldly class barriers and ready to confront the family's ingrained capitalist ideologies.
Act 1 Mr Birling interrogation
During his interrogation, Mr. Birling denies responsibility for Eva Smith's death, despite admitting she was a good worker. He fired her for requesting a small pay increase for herself and her colleagues. Mr. Birling claims she "had a lot to say, far too much," highlighting the irony of his own constant talking. His view of Eva is tainted by stereotypes of the working class, using pejoratives like "wretched girl" and implying she became a criminal or prostitute. By the end of his interrogation, Mr. Birling remains unwilling to admit wrongdoing. Gerald agrees with him, while Mrs. Birling corrects her husband's social etiquette and enforces traditional gender roles on Sheila, despite not adhering to them herself, portraying her as a hypocrite.
Act 1 Sheila vs. Eva comparison
Sheila is introduced as spoiled, superficial, and childish, excited about her engagement ring and seeking her mother's approval. However, she feels remorse for getting Eva fired from her job at a clothes shop. Unlike her father, Sheila feels bad about her actions. She confronts Gerald, realising the Inspector cannot be fooled. Despite appearing playful, Sheila is the first to understand the Inspector's power. The stage directions describe both Sheila and Eva as "pretty girls," subtly implying that their only difference was their economic background, highlighting the unfairness of their vastly different outcomes.
