The play in performance
This is a play that has been very successful in performance: how might the way in which the
play is performed draw the audience's attention to the main ideas in it?
To answer this you should consider such things as:
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Acting - how the actors should play particular episodes
Casting - who would be suited to the various roles
Set - what kind of stage set would work best for this play
Lighting, sound and music - what effects (FX) of lighting, sound and music would help
make the play's ideas more clear?
This task will work best if you are able to consider the play in at least one version that you
have seen, as well as the 1954 film version, directed by Guy Hamilton.
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Eva's letter
The Inspector tells Mr. Birling that Eva Smith/Daisy Renton “left a letter…and a sort of diary”.
The letter could be to her nearest relative or to Gerald Croft. Write - as you imagine Eva
would have done - the letter and diary entries (between 1910 and 1912) for the key events in
her life, from her starting to work for Birling & Co. to her suicide.
Year and month
What happens
September 1910
Eva sacked by Birling & Co.
December 1910
Eva employed by Milwards.
Late January 1911
Eva sacked by Milwards.
March 1911
Eva becomes Gerald's mistress.
Early September 1911
Gerald breaks off the affair.
Eva leaves Brumley for two months.
November 1911
Eric meets Eva.
December 1911/January 1912
Eva finds she is pregnant.
Late March 1912
Mrs. Birling turns down Eva's application for help.
Early April 1912
Eva's suicide/the Inspector calls*
(*Dated by Titanic's maiden voyage.) The diary is also mentioned on pages 179 and 193
(Penguin edition).
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Eva's life - the media version
Suppose that Eva's diary is discovered by a journalist who decides to present an item on her
suicide for a Brumley newspaper, or for a local radio or TV broadcast (this is strictly
anachronistic but could be done as a modern retrospective account). In a newspaper this
could be a single report, or a series over several days (as comments are made by the
Birlings, Gerald Croft and their solicitors). A broadcast account would perhaps take longer to
prepare - but might still be inaccurate.
Remember that not all of the people involved would tell the truth (or the whole truth) about
what happened. Try to obtain interviews/comments from some of the characters in the play
and others, such as:
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Eva's work-mates at Birling & Co. or Milwards;
the “woman” who wanted Eva to go to the Palace bar (clearly a kind of agent for
Brumley's prostitutes),
neighbours in her lodgings, and so on.
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Who is to blame?
Who is to blame for Eva's death? Consider how each of the Birlings and Gerald Croft
influences what happens to Eva - what part does each play in the chain of events leading to
her death?
Give an account of this chain of events in the order in which each event occurs (see dates
above).
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Say how far each character is at fault for what he or she has done to Eva.
Then judge how far each is right or wrong in his or her attitude now to what was done
- admitting or denying guilt.
In conclusion, try to assess how responsible, and how ready to admit responsibility,
each of the five is.
Is there any connection between the age of each character and his or her readiness
to accept blame?
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Responsibility
The most important theme of the play, it could be argued, is responsibility.
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See how often the words “responsible” and “responsibility” appear, and in what
senses.
At the beginning of the play Mr. Birling gives his (limited) view of responsibility in a long
speech. Mr. Birling's definition of responsibility is immediately followed by the arrival of the
Inspector. The Inspector gives his (very wide) explanation of responsibility immediately before
he leaves.
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Comment on these speeches and compare them.
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Consider how Mr. Birling's comments reveal his views:
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How do Mr. Birling's earlier comments on the unlikelihood of war, the probable
success of capitalists in eliminating strikes and on the unsinkability of the Titanic
affect our view of what he says on responsibility? (The play's audience, in 1946,
would be aware of two world wars, the General Strike and the sinking of the Titanic).
Is Mr. Birling a “hard-headed” businessman, as he claims, or a “hard-hearted”
character?
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In 1912 there was no welfare state in Britain. Poor people often depended on charity. But
wealthy people, such as Mrs. Birling, in the play, usually controlled the charity.
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Does Mrs. Birling, in her work for the Brumley Women's Charity Organisation act out
of a sense of responsibility or a desire to be seen to be charitable?
Where does she claim the responsibility for Eva Smith and her unborn child lies?
How is she shown to be wrong?
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Show how the Inspector demonstrates by bringing out Eva's dealings with the Birlings and
Gerald, that his view, not Birling's is right.
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What are the “fire and blood and anguish” he refers to in his final speech?
What point is Priestley making by placing this line in a play published in 1946?
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The Inspector's identity may affect how we view his comments.
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How is our view of the Inspector's statements affected by his apparently supernatural
character?
Comment on his claim that “we are members of one body”.
After he leaves, says the Inspector, the Birlings and Gerald can divide responsibility among
themselves.
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How do they apportion blame when he leaves?
Is Birling concerned about the same things that worry Sheila and Eric?
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Sheila is worried earlier in the play by her mother's self-righteous denial of blame. After the
Inspector goes she is worried by the attempt to dismiss his visit as a mere practical joke.
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
Consider the idea that the Inspector, by his visit, gives the family a second chance
which is lost by the failure of the majority to learn their lesson.
How significant in determining the play's conclusion is Gerald's eventually siding with
the view of the parents (The Inspector has foreseen a suicide about to happen. They
may, by a change of heart, prevent it - but the chance is missed and the suicide
occurs).
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Who is the Inspector?
Who or what is the Inspector? In the text there are many clues. Examine each of these and
try to interpret it. Write an essay, discussing how these clues and the Inspector's general
behaviour contribute to the audience's idea of who he is and how correct his statements are.
The clues are:
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The timing of his entry (noted by Eric);
His method of working: “one person and one line of enquiry at a time” (A policeman
would not insist on this. A real policeman would interview people alone. This
Inspector already knows; he wants the others to see what they have done.)
His asking Birling why he refused Eva's request for a pay rise.
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His statement that it is his duty “to ask questions”.
His saying that he never takes offence.
His statement that he does not see much of the chief constable.
His failure to be alarmed by Birling's threats.
His reply to Birling's question: “You sure of your facts?” - “Some of them - yes”. Not
all, because not all have happened yet: Eva Smith has not yet killed herself, it would
seem.
His concern for moral law not for criminal law.
His statement: “some things are left to me. Inquiries of this sort, for instance”.
Sheila's recognition of his authority and supernatural knowledge - as shown in her
warnings to Gerald and to her mother .
His statement about the impression he has made on Sheila: “We often do on the
young ones”.
His impatience to “get on” with his questioning followed by his statement that he
hasn't “much time”. A police officer would take as much time as was needed. It is as if
he needs to finish before the moment at which Eva will decide whether or not to end
her life.
His saying, “I don't need to know any more”, once he has shown the Birlings and
Gerald what each has done.
His final speech, which has nothing to do with criminal law, but which is a lecture on
social responsibiility and the perils of ignoring it.
The Birlings' discovery that no such officer is on the local police force.
The Inspector's telling Sheila there is “no reason why” she should “understand about”
him
Eric's saying “He was our police inspector all right” followed by Sheila's comment
“Well, he inspected us all right”
His foreknowledge of Eva's death.
His intimate knowledge of Eva's life and despite the fact that he never spoke to her
His prediction of a massive social catastrophe (“fire and blood and anguish”) which
clearly refers (for the Birlings) to the First World War and (for the audience) to both
World Wars.
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In the 1954 film of An Inspector Calls, the Inspector does not leave the Birlings' house as in
the play: he is left alone in Mr. Birling's study; Birling returns to ask him a question, and finds
the room empty. Is this too blatant a way of suggesting that the Inspector is some kind of
supernatural or angelic being? Some commentators on the play have suggested that his
name contains a pun - it sounds like “Ghoul”.
A “ghoul” is an evil demon, which eats the flesh of the dead, or, metaphorically, a person
obsessed by, or who profits by, another's death. After he has gone the Inspector is said by
Birling to have exploited Eva's alleged death to frighten the “victims” of his supposed practical
joke. Is it more important to know who the Inspector is, or what he has to say? Should
Priestley (the playwright) have made him more obviously spooky?
Write an essay discussing the character of the Inspector, his method of discovering the truth,
the effect he has on each of the other characters, both while he is with them and after he has
gone. Give your view of who (or what) he is, and why you think this.
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What next?
At the end of the play there are many possibilities, and we cannot say with certainty what
might happen.
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Will the Birlings try to persuade their children to conceal the truth from the real
Inspector who is coming?
Will Sheila and Eric insist on openness?
Where will Gerald stand now? (After his clever theory has been disproved - will he
realise that Daisy Renton told him of her two sackings? He knew that at least Mr.
Birling, Sheila and himself had all influenced the same girl!)
Continue the story either as a play-script or as a third-person narrative with conversation. You
may, if you wish, continue beyond the arrival of the real police officer. He or she, of course, is
not likely to exert the same power over the Birlings and Gerald as the Inspector of the play
has.
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1912 and 1946
This task is suitable for treatment as a written or spoken response. You should consider the
question of why a play first performed in 1946 should be set in 1912. Why does Priestley
choose this particular time?
In order to answer this you should consider the following points:
The play opens with a scene of great luxury: a wealthy family is celebrating an engagement in
a very lavish fashion. This will be obvious to an audience that has spent the years of the
Second World War without the luxuries that the Birlings are so abundantly enjoying (rationing
of many luxury - and basic - goods continued into the 1950s). Although Churchill (a
Conservative) is seen as a war hero for leading the fight against Nazism (he led a coalition
government of Labour, Conservative and Liberal elements) a Socialist government has won a
landslide victory in the 1945 General Election. Priestley was a supporter of the Labour party,
and made many broadcasts on radio in which he tried to persuade people of the merits of
socialism.
In order to do this, Priestley sets the play in a time before there was a welfare state in the
United Kingdom, and when employers had great power over their workers.
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Lower costs and higher prices
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What is the playwright's view of Mr, Birling's enthusiasm for joining the two wealthy
families of Croft and Birling, and his hope that they can work together for “lower costs
and higher prices”?
Lower costs are mostly achieved by paying the workers less. Would the audience see
this as a good thing?
How would ordinary people feel about higher prices?
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The Crofts and the Birlings
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Are the two families exactly alike? What differences can you find between Mr. Birling
and the Crofts?
Why are the Crofts not present at the celebration?
Comment on the telegram that Sir George and Lady Croft have sent to the Birlings.
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Mr. Birling's idea of progress
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What is Mr. Birling's view of the likely results of technological change (see his
comments on cars and aeroplanes)?
Is he right to link scientific advances with progress in politics and international
relations? Why does he believe that there will be no war? How far do we trust his
judgement? What do we know that he does not about the future? Consider his
comment that the Titanic is unsinkable.
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Being above the law (or playing golf with the Chief Constable)
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How does the time in which the play is set enable Priestley to portray Mr. Birling as a
man who can use his influence to stop the Inspector from continuing with his
investigation?
How would an audience view the idea that the rules that apply to ordinary people do
not apply to the Birlings of this world?
Do you know of anyone like Mr. Birling (in your own world, in the past, or in fiction),
who believes he or she is above the law?
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Charity and the welfare state
Because this is 1912, there is no system of benefit payments for impoverished people; Eva
has to approach a committee of which Mrs. Birling is the chairman, but is refused help.
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Show how Mrs. Birling exploits her position to make her feel self-important, while
denying help to those who really need it.
Do you think she does this for genuinely charitable reasons, or for other motives?
What might these be?
Mrs. Birling claims that her organization has done a lot of good work in deserving
cases: is a deserving case, in her opinion, one of genuine need, or one where the
applicant pleases her?
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Young men and wild oats
This play depicts a common situation from the early years of the 20th century - young women
from the middle classes would not be sexually active before marriage. This has nothing to do
with virtue - but much to do with securing a good match. (After marrying, or even becoming
widowed or divorced, middle-class and wealthy women could be more active if they chose.)
But poorer women could sometimes be seduced in return for material rewards (that would not
be so attractive to those with wealth of their own).
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How does Gerald's relationship with Eva reflect the moral atttiudes of his class at this
time?
Do you think that it is right for Gerald to begin his affair with Eva, when he has no real
commitment to her, and would not consider marrying her?
Why can Gerald not marry Eva, and why is he quite ready to marry Sheila Birling,
when it is obvious that he does not really love her?
What do we learn from the various references in the play to the Palace Theatre,
“women of the town” and the woman who wanted Eva to go to the Theatre bar?
How does Eric's relationship with Eva reinforce the idea that women of Eva's class
can be used as playthings by the wealthy, and then discarded?
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The customer is always right
Sheila is able to have Eva sacked from Millwards' shop by threatening the manager that her
family will close its account there unless Eva goes.
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How does this reflect the class system of the time, by showing the enormous
influence that a few wealthy people could exercise?
Could the manager have refused?
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Silver spoons and spoilt brats
Eric and Sheila have great faults, of which they become ashamed when the Inspector tells
them of Eva's fate.
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How far are these faults not so much in the children's nature, as the result of the way
they have been brought up?
What do we learn about Eric's education, and why might this explain his lack of
responsibility?
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The honours system
At the start of the play, Mr. Birling hints to Gerald, that he will soon be knighted (become Sir
Arthur Birling) in return for his work in the Conservative Party.
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What is the importance in the play of Mr. Birling's knighthood?
Mr. Birling is concerned when he learns of Eva's death - is he more concerned for
Eva's suffering or for his knighthood? What does this tell you?
Do you think it right that Mr. Birling should be given a knighthood in return for his
active support of a political party?
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Conclusion
When you have looked at all of these ideas, you should consider the question in a more
general sense:
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The Inspector, in his final speech, tries to show how both the First World War, and the
Second, which had just ended when Priestley wrote the play, were the result of
attitudes and behaviour such as those of powerful and wealthy families like the
Birlings.
This may explain why all the worst features of such families seem to be present in the
Birlings: they represent the worst qualities of their class.
Do you think Priestley has made the play's argument more convincing by the
inclusion in it of such people, or are they too awful to be believable?
This play is set in 1912. In what ways might you argue that it has a relevance, not
only to the Britain of 1946, but also to the country as it is today?
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Use of evidence
This is critical. Always give examples or refer to details in the story to support your comments.
You may use quotation, too: lots of short quotation (where the point of quoting is obvious) is
better than very lengthy quotations of less obvious relevance. When you quote, introduce with
a comma or colon (, or :), and enclose what you quote in inverted commas.
An Inspector Calls - Guidance Notes
It was not until I had finished typing up this document that I realised it had become quite so
involved and, as a result, I run the risk of losing the interest of the reader before I have even
begun. However, I trust I will be forgiven this failing for I feel that despite its length there is
much in it that is of interest, even importance. Certainly, I have found that by putting all my
thoughts and experiences down on paper 1 have a far more structured view of what KS4
English and English literature are all about and I can now prepare a topic or piece of literature
with more confidence than I would ever have thought possible.
The writing of this was undertaken at various points in the six weeks it took to complete the
unit and therefore it might well appear a little disjointed. I have not spent a great deal of time
on its presentation, nor is the quality of the typing anything other than acceptable. However,
the strength of the document lies in its common-sense approach. Within these pages lie the
answers to a number of questions which many colleagues have asked in relation to the
teaching of KS4. The purpose of this document is to show how the play 'An Inspector Calls'
by JB Priestley can be studied as part of a combined GCSE English/Literature course,
fulfilling a number of the requirements of both syllabuses.
When choosing a piece of literature, the most important consideration is what area of the
literature syllabus you intend to concentrate on. All literature texts should be looked at in light
of one or more of the following areas of study:
1.
2.
3.
4.
5.
Plot and Structure
Characterisation
Setting and Atmosphere
Style
Viewpoint
I have decided to concentrate on 'Plot and Structure' and ' Characterisation', although all the
other categories could be covered. I always feel a little uncomfortable studying 'Style' with
anything other than a top group so I would tend to steer clear of that. The group I will be
preparing work for is a Division 1 group of average ability, either Year 10 or Year 11. It is hard
to envisage how long the whole unit would take to to study, but if you bank on an average half
term then you won't go far wrong. That might seem a long time but I have included work
which is suitable for both the English and literature components of the course so it is providing
much which can be used in the final folders, if required.
In studying the play I hope also to cover a number of the compulsory components of the
English coursework, notably drafting and redrafting, information retrieval and KAL, as well as
including an oral assessment. Some of the work will be produced under controlled conditions
with evidence of drafting and redrafting submitted.
Hopefully, on completion of the unit with my group I will have covered a significant percentage
of the syllabus. Unfortunately, it has taken me five terms to come to grips with this approach
and I feel that in retrospect I did not really do my two year 11 groups justice in the first year of
the new KS4 GCSE course.
Introducing a new book, play or series of poems is really a matter of individual judgment and
can depend upon the ability of the group or on the nature of the activities that will be
undertaken. However, I tend not to spend a great deal of time on background information,
preferring to get straight into the reading. Important details can then be included at the
appropriate time. In addition, part of the information retrieval exercise planned for the unit will
be to collect information relating to various aspects of the play from sources other than those
supplied by the teacher. Having therefore mentioned a little background information about
Priestley and the setting of the play itself, the group will read the play out aloud in class. I am
aware that some staff encourage pupils to read the texts at home, enabling valuable lesson
time to be spent in a more profitable analysis of the text. However, given that this group is of
mixed ability and that certain individuals cannot be relied upon to do the reading in their own
time, I tend to go through it with them in class. I find written homeworks more successful, if
only because it is far easier to keep a check on the work that is actually being done.
As the group read through the play, I will interrupt at key points and ask the group for their
reactions to what they have read, their predictions of what might take place and of their
understanding of the key themes within the play. Having decided to look closely at
'Characterisation' and 'Plot and Structure' much of the discussion will centre around these two
areas. I would expect most of the group to take notes where appropriate.
As the play will also be one of the texts the group will most likely answer on in the terminal
examination, I would encourage pupils to annotate their own copy of the play. The form of
annotation is really up to the individual pupil; as a department we haven't really explored the
possibilities and certainly my groups aren't very good at this aspect of their English work.
What I have tended to do is record all the points discussed in class and that I feel will be
needed for the written assignments and the examination so that I can type them out for
revision purposes nearer the exam.
At the end of each act I will show the video of the play. This helps break up the reading and
allows pupils to visualise the events far more easily than they would do were they only to rely
on the text itself. One problem with this is that the film version of the text doesn't always tie in
closely enough with the text and pupils can get confused between the two. This is particularly
true of 'An Inspector Calls' as the director has changed events slightly with the result that the
pupils tend to refer to the happenings in the film version rather than the text. The version that
we have in school is the old black and white one starring Alistair Simm as the Inspector. We
used to have an excellent colour version which was as true to the text as you could get, but
unfortunately that appears to have gone missing. Surprise, surprise!
After reading Act 1 I will set the group their first written assignment. This will be a piece of
imaginative writing and will double up as an example of their understanding of KAL.The
assignment will consist of two short pieces of writing both connected with Eva Smith's
meeting with Sheila Birling in Milwards, the department store in Brumley. In the first, pupils
have to imagine what Eva would say to her flatmate on return from the department store that
evening. Within this they should show that they know how to write out speech in such a way
as to bring out the informal tone of the conversation. Presumably, Eva would use words and
phrases which she would not use in a more formal setting. To show this still further, in the
second piece of writing Eva would then have a similar conversation, this time with the
manager of Milwards. Because of the seriousness of the situation and the different audience,
Eva would inevitably talk in a different manner and the pupils would be required to make this
apparent.
Whilst testing understanding of the particular episode within the play, the assignment also
deals with KAL, an area of the syllabus that I find especially difficult to cover.
This work would be produced at home, allowing lessons to be given over to further reading of
the text. I should mention that I tend to 'encourage' as many pupils to read as possible. It is
important to make the atmosphere in the classroom is relaxed so that noone feels threatened.
Even the most reluctant of readers can cope with the part of Edna, the maid, as she only
speaks less than a dozen lines within the whole play. Possibilities or oral assessment include
a group presentation of one of the key scenes, a prepared reading, a Jonathan Ross
interview with either Priestley or characters from the play, a discussion of who is most to
blame and so on.
As the reading of the play continues, I tend to stop at the point where the Inspector leaves
and ask the group what might happen in the remaining pages. This helps to concentrate the
minds of the group on the ending which pupils understandably have a few problems with.
Indeed, there are a number of possible explanations, most revolving around exactly who the
Inspector is and what, if anything, he stands for. Provided pupils are aware of the possible
interpretations, then that should suffice.
The group is then ready for the final assignments). I mentioned in the introduction that I was
going to concentrate on two of the five categories that need to be covered as a requirement of
the Literature syllabus. The first is 'Characterisation' as this is the most straightforward and
much preliminary work will already have taken place in the discussions conducted whilst
reading through the text. Indeed, many of the pupils will have made marginal notes which
should form the basis of the written assignment. SEG appear particularly keen on
comparative studies of characters so the most appropriate title would be something along the
lines of:
Compare and contrast two characters from the play 'An Inspector Calls'
by JB Priestley.
The choice of characters is fairly clear cut, either Mr or Mrs Birling and Sheila or Eric. The
comparison of two differing age groups is important as this is at the heart of the play, the
comparison of a male and female character is less obvious but equally important. I am
concerned that when it comes to the exam the wording of the question under the heading
'Characterisation' might be such as to prevent pupils from answering what should be a
banker. For instance, let's suppose that I have provided my group with the opportunity to
answer questions related to character on Macbeth, Lennie Small and George Milton,
Napoleon (from 'Animal Farm') and Mr Birling and the Inspector. At first sight this would seem
impressive, but come the exam this happens:
CHARACTERISATION
1. Write about any female character you have come across in your
studies.
Whoops! By including a female character I am hedging my bets a little. Equally you might be
asked to write about a 'sympathetic' character, a 'young' character and so on. The list is
endless so it is as well to try and cover as many permutations as possible.
Anyway, I am probably worrying unnecessarily but it is as well to be prepared.
Discussion of the two characters will take the from of groups of between 4/5 each working on
a different one. Leaders will report back and I will then write the notes on the board, keeping a
copy for my own use. The copy will t hen be typed up for revision purposes nearer the exam.
In order to show the type of comments usually made when discussing characters the play, I
have included what my present year 11 group came up with, having first added a few of my
own comments and those 'removed' from other sources.
Mr Birling
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prosperous factory owner, not the social equal of his wife. He is 'a self
made man'
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first priority is to make money 'It's my duty to keep labour cost down'
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welcomes Croft into his family as he represents a business link
between his firm and that of Gerald Croft's father (a rival)
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has an honest approach to life, he tells the Inspector that he wouldn't
listen to Eva Smith's demand for a wage rise 'I refused, of course' and
is surprised why anyone should question why.
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strongly believes that 'a man has to make his own way'. He does not
consider the harm he may cause to other people because of his
attitude. He is a 'hard headed business man '
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he is a magistrate and former mayor who is looking forward to
receiving a knighthood
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he is very aware that Gerald's mother is rather against her son's
marriage because she believes him to be marrying beneath him
socially
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he is optimistic about the future, yet we know that what he predicts will
not become true (NB dramatic irony)
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he refuses to accept any responsibility for Eva 's death. He becomes
increasing annoyed by the Inspector's questioning and Eric's
unsympathetic attitude
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he tries to threaten the Inspector by talking about his friendship with the
Chief Constable
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the most disturbing part of the play for Birling is the scene in which he
learns that his own son is shown to be a thief, a drunkard and is
responsible for fathering a child. When he learns of all this he exclaims
'You damned fool - why didn't you come to me when you found yourself
in this mess?'
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Eric's reply indicates that Mr Birling was never close to his son
'Because you're not the kind of chap a man could turn to when he's in
trouble'. Such a response indicates that things aren't going to improve
much after the play ends
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he represents a very unattractive sort of person. At the end of the play
he grudgingly wishes things were better but even here he still thinks in
terms of money 'Look, Inspector - I'd give thousands'
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he continues to ignore the shameful things that his family has done.
When it appears that the Inspector might be a hoaxer he is happy to
believe that everything is as it was a few hours ago. He copies the
Inspector and laughs when he remembers the faces of Eric and Sheila
and accuses them of being 'the famous younger generation who know
it all'. This is an example of pride coming before a fall, a moment later
of course he is panicking as the phone rings again

Mr Birling represents Priestley's hatred of businessmen who are only
interested in making money. He will never alter his ways and it is left to
the younger generation to learn from their mistakes
Sheila

at the start of the play she is 'very pleased with life'. She is young,
attractive and has just become engaged

her happiness is soon to be destroyed as is her faith in her family

her response to the tragedy is one of the few encouraging things to
come out of the play. She is genuinely upset when she hears of Eva's
death and learns from her own behaviour

she is very distressed by the girl's suicide and thinks that her father's
behaviour was unacceptable. She readily agrees that she behaved
very badly and insists that she never meant the girl any harm.

the Inspector says that she is only partly responsible and later on,
when he is about to question Gerald, he encourages her to stay and
listen to what he has to say so that she doesn't feel entirely responsible

not only is she prepared to admit her faults, she also appears keen and
anxious to change her behaviour in the future, 'I'll never, never do it
again'

she is aware of the mystery surrounding the Inspector, yet realises that
there is no point in trying to hide the facts from him

she is mature about the breaking up of her engagement and remains
calm. She won't be rushed into accepting the ring back once the
Inspector has left

she is unable to accept her parents attitude and is both amazed and
concerned that they haven't learned anything from the episode.
Although the Inspector might be a hoax, the family have still behaved in
an entirely unsuitable manner

she learns of her responsibilities to others less fortunate than herself
(the idea of the community) and is sensitive. Her readiness to learn
from experience is in great contrast to her parents
Before beginning the writing of the unit I'll give the group at least one, probably three
controlled tests on the characters, simulating the conditions pupils will have in the final exam
i.e. 40 minutes with the text in front of them. One of the questions would be a comparative
study of the two.
Having then marked the answers, I will return the papers and go through with the group any
problems that were evident. The group are now ready to tackle the coursework unit as
described above. In order to ensure that I have evidence of what the group can produce
entirely on their own, this will be done under controlled conditions. Normal rules apply; I don't
usually enforce too strict a time limit. It is important that pupils produce their best work and
this might mean some needing a little longer than others. In addition, all rough work will be
included - rather than a complete draft I suggest notes (the more evidence of the process of
writing the better, so I'd expect plenty of crossings out, additions in the margin and so on) and
perhaps a brainstorm as well.
The other area of study I said I would look at is 'Plot and Structure'. This isn't an easy concept
to get across but 'An Inspector Calls' is one of the better texts to use here. As I understand it,
'Plot and Structure' refers to the study of some or all of the following features: (see SEG
syllabus)
narrative technique
presentation of the plot
use of crisis
management of pace
general organisation of the text
A useful resource here is the tension graph I have included on a separate sheet. I can't recall
where I purloined this from but I find it provides much of the information needed to answer
such a question in a form which is readily accessible to our pupils.
In addition, after small group discussions following the lines of those described earlier, I would
expect the group to have mentioned the following points, all of which are directly relevant:









very compact structure to the play, nothing is allowed to distract the
audience from the central theme. There is no sub-plot
the play takes place in just one location, the action is continuous (NB
Priestley observes the Unities)
Act One begins by introducing the characters and establishing the idea
of a happy and united family looking forward to the future with a degree
of confidence. In retrospect, there are a number of hints that all is not
as it seems but these are not particularly obvious until later in the play.
There is nothing to warn us of the shock of the Inspector's visit
events soon gather speed and it is not long before we are being
informed of Birling and Sheila's involvement with Eva Smith
tensions increase, firstly as Gerald's affair is unveiled (and the scandal
it would cause) and Sheila begins to realise that they are all implicated
in some way 'he is giving us rope - so that we=ll hang ourselves'.
Mrs Birling's attempts to shift the blame for the girl's suicide leads her
to blame the father of the unborn child. The tension is heightened at
this point by the dramatic entrance of Eric.
with the departure of the Inspector it would appear that what follows will
be something of an anti-climax as the Inspector's identity is put into
doubt by a series of observations made by the Birling family and
Gerald. Even the existence of Eva is called into question.
however, the tension remains to some extent as the two generations
confirm the differences as suggested by the Inspector - the moral
divide is very great indeed
the final denouement, the phone call announcing that a police inspector
is on his way to ask some questions about a girl who has just died in
the infirmary is as shocking as it is surprising and ensures that the
audience will leave the auditorium in a state of real shock
Again, I would encourage the group to make annotated, marginal notes in their texts and
would ensure that the key points are understood in another 40 minute controlled test, the
question being something on the lines of:
Write about how the plot and structure of a novel or play ,you have read contributes to your
enjoyment of it.
Once again, all comments made by the group would be recorded by me for use as revision
later in the course.
The final piece of work I would ask of the group is a short exercise in information retrieval.
Obviously, this is a requirement of the SEG syllabus and one that at first sight appears a little
divorced from the study of a text such as 'An Inspector Calls'. However, with a little
imagination it can be tied in quite closely with the text and add to the pupils' understanding. I
see no point in making a great issue out of the group finding their own resources, and
provided they can include evidence that they have researched the information themselves
that should suffice.
There are a number of references to external events within the play and these could provide
the areas which could be developed further by the pupil. Among these are:
1.
2.
3.
4.
The Titanic
The emergence of Russia as a world power
The outbreak of World War One
The writings of H G Wells
also:
5. A biography of J B Priestley
6. The Music Hall
Obviously, there are other events which could be developed. Most texts throw up areas which
could be developed in this way. I usually encourage pupils to write no more than one or two
sides, so the detail is secondary to the actual retrieval of the information itself. It is important
that pupils work individually on this as otherwise you might end up with a number of very
similar pieces of writing! By offering a choice of topics this reduces the likelihood (in theory!)
of this happening. Ensure that at the end of the writing a bibliography is included.
I hope that by showing you how I would go about studying a piece of literature as KS4, I have,
at the very least, encouraged you to think about the importance of ensuring that everything
you ask pupils to do is in some way relevant to the two SEG syllabuses. I am well aware of
the fact that I am constantly trying to ensure that I have covered the areas of study, as these
are at the heart of all the literature studied in years 10 + 11. Perhaps this is not the most
effective way of teaching English at KS4, but at least I can be assured that I have fulfilled the
demands of the two syllabuses. There is probably much that can be improved upon within this
unit and hopefully colleagues will suggest ideas that they have used which have been
successful. Obviously, some of the details outlined can be adapted for other texts and in other
areas of study.
Finally, and very much as an after-thought, to cover the requirement of wider reading, a look
at the theme of responsibility could be included - such erudite literature as 'Meditation 17'
(John Donne), 'Imagine' (John Lennon), 'We are the World' (Various), 'I am a Rock' (Paul
Simon) could all be included.
TSM - Feb. 1994
Appendix
Whilst rooting through some old worksheets, I came across an oral activity that I undertook
with a top year 11 group some years ago. It worked extremely well and I thought I'd include it
as it is a very interesting exercise and, like much of what I have outlined above, it can be
adapted for other texts. If I remember correctly, SBI helped me to conduct the actual oral
(which takes a week from start to finish) as I was still convalescing at the time, so thanks must
go to him as well for his input.
Basically, the oral takes the form of a courtroom scene in which members of the Birling family
and other characters involved in the life of Eva Smith, but who don't necessarily have a
speaking part, are questioned about their relationship with her. Thus, leading characters could
be:
Mr Birling
Mrs Birling
Sheila
Eric
Gerald
The Inspector
Joe Meggarty
Friends of Eva from Birling' s factory
Women of the town at the Stalls Bar
Counsel for the defence
Counsel for the prosecution
Eva/Daisy
et al.
It would be perfectly feasible to split the main characters so that one pupil answers the
questions from the defence, another those from the prosecution, thus allowing more pupils to
be actively involved.
As with the comparative study of Mr Birling and Sheila, I have include the questions asked of
each character as a result of small group discussions. These are just guidelines, clearly you
will end up with slightly different questions but they are, nevertheless, a useful reference.
Mr Birling

when did you last see Eva Smith?

how did you come to meet the girl?

would you have described her as a good worker?

did you have any contact with her after she left?

what does the phrase 'lower costs and higher prices' mean to you?

what were the demands of the strikers in 1910?

would you describe yourself as a powerful member of the Brumley
community?

what would happen if you had to close your factory?

was Eva Smith the only person to be sacked as a result of the strike

what would be the effects of a merger between your company and that
of Lord Croft?

what did you mean when you accused your children of 'not being able
to take a joke'?

do you feel that you are in any way to blame for the girl's death
Mrs Birling

what is the name of the charity organisation of which you are
chairperson?

what is the purpose of the organisation?

how did you come to meet the deceased woman?

can you think of any particular reason why this woman would have
chosen to use your name?

why did the girl come to your organisation?

why did you reject her appeal?

are you aware of the identity of the person who was 'responsible' for
her condition?

do you still believe him to be entirely responsible?

what help was available to the girl after she left you?

would you say that your organisation has helped many young women
in a similar position?

how do you decide if a particular case deserves your help?

what effect will the publicity and court case have on you and your
family?

do you hold yourself to blame in any way for the girl's death?
Sheila Birling

have you ever held down a job for any length of time?

where does your income come from?

have you ever known what it is like to be desperate?

describe your meeting with Eva Smith

describe the girl to the court

would you say that she was attractive?

what was her job at Milwards?

is it true to say that you had her fired?

you claim that you saw the girl smiling, what do you think she found
that was so funny?

are you aware that she enjoyed the job she was doing and hoped to
make a career of it?

do you think that you would have become so annoyed had the girl been
a little less attractive?

was Eva Smith asked to model this dress for you?

what was your reaction when you first learned of the girl's death?

after your father's phone call to the police to check up on the identity of
the Inspector, you were heard to mutter: 'I suppose we're all nice
people now'. What did you mean by this ?

do you feel in any way responsible for the death of Eva Smith?
Gerald Croft

when and where did you first meet Eva?

describe to the jury the type of place the Stalls Bar is

what sort of people frequent this establishment?

do you visit there regularly?

is it usual for the son of titled parents to visit such a place?

explain how you met the deceased for the first time.

what was her reaction to Mr Megarty's advances?

was she grateful for your intervention?

what happened when Mr Megarty left?

what did she tell you about herself on that first night?

what were your reasons for installing her into a 'nice set of rooms'?

did you help her financially?

did you have a regular girlfriend at the time?

is it true to say that you became her lover?

why did the affair end?

what did Miss Renton say to you when the affair ended?

do you feel, in any way, responsible for the girl's death?
Eric Birling

what is your present employment?

do you drink?

are you in control of yourself when you drink?

when and where did you first meet the deceased?

were you drunk?

did you force your attentions on her that night?

did you meet her again?

when did she tell you that she was pregnant?

how did you feel when you found out?

did you love the girl?

did you get her pregnant?

did you give her any money?

where did you get it from?

what was the girl's attitude when she discovered how you were
obtaining it?

why didn't you do the decent thing and marry the girl?

did you intend to return the money?

what was your father's reaction when he learned what you had been up
to?

why didn't you ask your parents for help when you realised that you
were in so much trouble?

explain your feelings to the jury when you heard that the girl had
committed suicide

do you think that you were in any way to blame for the girl's death?