An Inspector Calls Quotes & Analysis

“a fairly large suburban house”

stage direction establishes the Birling family's affluence and social status. The home represents middle-class values and domesticity, which is essential for the unfolding drama that challenges the stability of this environment.

“pink and intimate, brighter and harder”

The lighting shifts from warm and inviting to stark and revealing, mirroring the transition from comfort to confrontation. This duality captures the façade of the Birlings' life, hinting at underlying tensions.

“a pretty girl, very pleased with life and rather excited”

Sheila's introduction sets her as a symbol of youthful optimism. However, her journey throughout the play reveals the fragility of this happiness when faced with social truths.

“a heavy-looking rather portentous man” (Mr. Birling)

This description emphasizes Mr. Birling's authoritative and pompous nature, reflecting the arrogance of the capitalist class. His demeanor foreshadows the conflict between the individual and societal responsibility.

“not quite at ease, half-shy, half-assertive” (Eric)

Eric's characterization showcases the internal conflict of the younger generation. His discomfort hints at a deeper moral struggle that becomes more pronounced as the play progresses.

“The titanic... unsinkable, absolutely unsinkable” (Mr. Birling)

This statement is laden with dramatic irony, as the audience knows the Titanic's fate. Birling's misplaced confidence represents the hubris of the upper class and their ignorance of impending social change.

“A man has to make his own way… and his family too”

The use of possessive pronouns and the repetitious "has to" underscores Birling's individualism and capitalist philosophy. It reflects the societal norms of the time, where self-reliance was often prioritized over communal responsibility.

“we were all mixed up together like bees in a hive”

Mr. Birling's dismissive tone towards community reflects the era's capitalist mindset. The simile trivializes the interconnectedness of society, which is a central theme the Inspector seeks to challenge.

“creates at once an impression of massiveness, solidity, and purposefulness”

This description of Inspector Goole establishes him as an imposing moral figure. He is the embodiment of social conscience, poised to dismantle the Birlings' complacency.

“why shouldn’t they try for higher wages?”

Eric's use of hypophora confronts Mr. Birling's capitalist beliefs. By posing this question, he forces a reevaluation of the ethical implications of wealth and labour, highlighting class struggles that were prevalent in the early 20th century.

“these girls aren’t cheap labour—they’re people” (Sheila)

Sheila's assertive language signifies her growing moral awareness. Her statement reflects the emerging social consciousness concerning workers' rights, which gained momentum in the post-war years.

“I can’t accept any responsibility” (Mr. Birling)

Mr. Birling's refusal to acknowledge his role in Eva Smith's demise encapsulates the denial of the privileged class. His assertive language illustrates the widespread attitudes of the time, where the upper class often evaded accountability.

“it’s better to ask for the earth than to take it”

The Inspector's metaphor challenges the idea of entitlement prevalent among the Birlings. It calls for a moral awakening and compassion towards those less fortunate, advocating for a more equitable society.

“we’re respectable citizens and not criminals”

This juxtaposition reveals the hypocrisy of the upper class. Gerald's statement underscores the social divisions and the denial of moral culpability among the elite, who often viewed themselves as above reproach.

“I’ll never, never do it again to anybody” (Sheila)

The repetition of "never" signifies Sheila's realisation and remorse. Her character arc embodies the potential for change and the hope for a more compassionate future generation.

“A girl died tonight… she died in misery and agony hating life”

The Inspector's poignant description of Eva Smith employs dysphemism to evoke sympathy. This stark contrast between life and death serves as a critique of the indifference shown by those in power.

“You mustn’t try to build up a kind of wall between us and that girl” (Sheila)

Sheila's metaphor illustrates the need for empathy and connection. It emphasizes the theme of social responsibility, urging the characters (and the audience) to confront their complicity in societal issues.

“I hate those hard-eyed dough-faced women” (Gerald)

Gerald's initial disdain juxtaposes with his later affection for Eva, highlighting the complexities of class perceptions. His character reflects the ambivalence of the upper class toward the working class, torn between attraction and disdain.

“She was young, pretty and warm-hearted”

Gerald's description of Eva emphasizes her humanity, contrasting with how she is treated by others. The adjectives serve to humanize her, making her plight more relatable and tragic.

“I didn’t ask for anything in return” (Gerald)

This assertive claim reveals Gerald's self-perception as a benefactor. However, it also raises questions about power dynamics in relationships and the expectation of gratitude from those in need.

“As if a girl of that sort would ever refuse money!”

Mrs. Birling's invocation of euphemism reveals her prejudices. Her invective demonstrates the classist attitudes that dehumanise the working class, further emphasising the systemic inequalities of the time.

“But I accept no blame for it at all” (Mrs. Birling)

This assertive denial encapsulates the older generation's refusal to acknowledge their responsibilities. It highlights the entrenched attitudes that Priestley critiques, showcasing the need for societal change.

“Well, I was in that state when a chap easily turns nasty” (Eric)

Eric's euphemism reveals his moral conflict. It highlights the toxic masculinity that pervaded society, possibly suggesting a reluctance to confront vulnerability or guilt.

“Wasn’t in love with her or anything, but I liked her” (Eric)

His casual dismissal of emotional connection reflects the superficiality of upper-class relationships. It underscores the theme of exploitation, as Eric's privilege blinds him to the consequences of his actions.

“You killed them both damn you, damn you” (Eric)

The repetition of "damn you" serves as a powerful emotional climax, showcasing Eric's anguish and guilt. It reinforces the play's message about the interconnectedness of human lives and the repercussions of indifference.

“There are millions and millions and millions of Eva Smiths and John Smiths still left with us”

This repetition underscores the vastness of social injustice. It serves as a call to collective action, urging society to recognise and address systemic inequalities that persist beyond the play's narrative.

“We do not live alone. We are members of one body; we are responsible for each other” (Inspector)

This statement encapsulates the play's central message. It challenges individualistic ideologies and calls for a sense of community and shared responsibility, resonating with post-war sentiments advocating for social reform in priestley's socialist message.

“Fire and blood and anguish”

This ominous conclusion symbolizes the potential consequences of societal neglect. The imagery evokes the catastrophic results of war and social strife, urging the audience to heed the Inspector's warnings about the moral imperatives of society.

“Everything's alright now, Sheila, how about this ring?”

Priestley uses this line to critique the characters' refusal to confront the moral implications of their actions. Gerald's casual reference to the ring suggests a preference for appearances and societal expectations over genuine remorse or reflection.
The quote underscores the theme of illusion versus reality, where the characters' attempts to mask their guilt with material symbols fail to address the deeper social issues.

“The famous younger generation think they know it all and can’t take a joke.”

Priestley constructs this dialogue to illustrate the generational divide and the resistance to change among the older characters. Mr. Birling's patronising tone highlights his inability to recognise the need for social progress and moral accountability.
Mr. Birling's dismissal of youth reflects a broader societal reluctance to embrace change, emphasizing the need for intergenerational dialogue in addressing social issues.
The quote serves as a foreshadowing of Sheila's eventual awakening, as she begins to reject her father's outdated views in favour of a more compassionate society.

“No, not yet, it’s too soon.”

Priestley utilises this moment to convey Sheila's growing maturity and understanding of social responsibility, marking her significant character development throughout the play.
The phrase can also be seen as a critique of society's tendency to rush towards recovery without addressing the underlying issues, advocating for a deeper engagement with social injustices.

“It’s the same rotten story whether it’s been told to a police inspector or someone else.”

Priestley employs this line to emphasise the cyclical nature of social issues and the need for collective accountability. It serves as a reminder that the consequences of one's actions extend beyond personal relationships, impacting the wider community.

“It frightens me the way you talk”

The emotive language encapsulates the tension between the characters, particularly focusing on the younger generation's growing awareness of social issues and the older generation's resistance to change.
Priestley uses this moment to contrast Sheila's sensitivity and moral insight with her father's stubbornness and arrogance. Sheila's fear serves as a catalyst for her character development, pushing her towards a more active role in confronting social injustices.