Characters

Name: Sheila Birling

Age: Early 20s

Occupation: Fiance to Gerald Croft of Crofts Ltd

Location: Brumley, North England

Political views: Capitalist, but with sympathetic attributes towards the working class Suffragette movements. Socialism is echoed at times when she attempts to bridge the gap between social classes:

'But these girls aren’t cheap labour – they’re people.'

Family:

• Father - Arthur Birling
• Mother - Sybil Birling
• Brother - Eric Birling
• Fiance - Gerald Croft

Outlook on life: At the beginning of the play Sheila is 'a rather excitable' pretty girl who's enthusiastic, especially before the visit of Inspector Goole. She has many things to look forward to, and is thrilled to be marrying Gerald Croft, despite his distant nature over the summer.

She is very impressionable and matures after understanding her role in Eva Smith's death. She is the only person that shows any serious level of sympathy towards Eva Smith and the character that develops the most throughout Inspector Goole's investigation.

A very inquisitive young lady who's thirst for life unravels the mystery of Eva Smith's suicide by asking the questions the audience members would inevitably be considering.

Hopes for the future: At the beginning Sheila just wants to be Mrs Croft - the happy wife of Gerald.

Sheila represents the younger generation (the future) and symbolises that the youth can change from the resilient and fastidious nature of her upper class parents. She also attempts to encourage others to develop and change too - learning from their mistakes.

Sheila also has no political power within society. Although she's firmly a part of upper class society, she probably has less impact on society than Eva Smith and her workmates as she has to uphold the ideal stereotype of an upper class lady who has to always 'act in the correct way'.

Moral compass: Sheila is the character that is most affected by Eva Smith's death. When she realises that she played a part in her suicide she shows utter despondency and panic as she understands that Eva Smith's fate is irreversible.

Sheila also attempts to sway other characters' to change their ways and understand that they, too, was responsible in Eva Smith's death. She is the only character that takes full responsibility, and shows that she's truly sorry for her actions.:

'And if I could help her now, I would'

Favourite word/phrase: 'oh'

Key Quotes

Act 1

• 'Yes – except for all last summer, when you never came near me, and I wondered what had happened to you.'
• '(Excited) Oh – Gerald – you’ve got it – is it the one [ring] you wanted me to have?'
• ‘Oh-its wonderful! Look- Mummy- isn’t it a beauty? Oh - darling - [She kisses Gerald hastily]’
• 'Oh, how horrible! Was it an accident?'
• 'But these girls aren’t cheap labour – they’re people.'
• 'You knew it was me all the time, didn’t you?'
• '(Miserably) So I’m really responsible?'
• 'No, not really. It was my own fault. (Suddenly, to Gerald) All right, Gerald, you needn’t look at me like that. At least, I’m trying to tell the truth. I expect you’ve done things you’re ashamed of too.'
• 'No, not really it was my own fault.'
• 'I couldn’t be sorry for her.'
• 'I told him that if they didn’t get rid of that girl, I’d never go near the place again and I’d persuade mother to close our account with them’
• 'I was absolutely furious I was very rude to both of them.'
• 'I’ll never, never do it again.'
• 'And if I could help her now, I would'
• '(laughs rather hysterically) Why – you fool – he knows. Of course he knows. And I hate to think how much he knows that we don’t know yet. You’ll see. You’ll see.'

Act 2

• 'So that’s what you think I’m really like.'
• 'I know I’m to blame – and I’m desperately sorry'
• '(slowly, carefully now) You mustn’t try to build up a kind of wall between us and that girl. If you do, then the Inspector will just break it down. And it’ll be all the worse when he does.'
• 'He’s giving us the rope- so that we’ll hang ourselves.'
• ‘Mother, I think that was cruel and vile’
• '(with sudden alarm) Mother – stop – stop!'

Act 3

• 'But that’s not what I’m talking about. I don’t care about that. The point is, you don’t seem to have learnt anything.'
• 'Between us we drove that girl to commit suicide.'
• 'Don’t you see, if all that’s come out tonight is true, then it doesn’t matter who it was who made us confess. And it was true, wasn’t it? You turned the girl out of one job, and I had her turned out of another. Gerald kept her – at a time when he was supposed to be too busy to see me. Eric – well, we know what Eric did. And mother hardened her heart and gave her the final push that finished her. That’s what’s important – and not whether the man is a police inspector or not.'
• 'But that won’t bring Eva Smith back to life, will it?'
• 'No, because I remember what he said, How he looked, and what he made me feel. Fire and blood and anguish. And it frightens me the way you talk'
• 'I tell you – whoever that Inspector was, it was anything but a joke.'

Name: Gerlad Croft

Age: About 30

Occupation: Important part of his father's business (Crofts Limited - which is both bigger and older than the Birling & Co)

Location: Brumley, North England

Political views: Capitalist.

Family:

• Father - Sir George Croft
• Mother - Lady Croft
• Siblings - Unknown

Outlook on life: "very much the easy well-bred young-man-about-town"

Gerald is clearly a social and well-respected affluent man who enjoys being popular and well-sought after. He is a well-known in where upper class, powerful residents of the town visit; such as the Palace bar. Gerald is someone who likes to be wanted and needed, which is especially apparent when he narrates the story of his relationship with Eva Smith.

Hopes for the future: Even though he is engaged to Sheila, his mother (Lady Croft) isn't in favour of the relationship. Gerald seems to be marrying 'down', as socially his own family is already more successful and well regarded compared to the Birlings.

After his affair with working class Daisy Renton (Eva Smith) Gerald wants the security of an upper class marriage, especially as appearance is so important to aristocrats.

Moral compass: Although at times we can be fooled to believe that Gerald has good intentions and is acting in a charitable way towards Daisy Renton (saving her from unwanted advances from Aldermand Meggarty ), Gerald hides his affair with her by renting rooms for her. When he has finished with spending time with Daisy he gives her money and expects her to leave the rooms he organised for her for the summer.

Gerald often attempts to convince Inspector Goole that he was simply trying to help Daisy Renton:

The Inspector seemed to have been swayed to some extent as he states: ‘had some affection for her and made her happy for a time.’

When he starts to talk about her death, he appears genuinely upset and goes out for a walk: ‘I’m rather more – upset – by this business than I probably appear to be – ‘. However, it's important to remember that Gerald did keep his relationship a secret, succumb to lust and betray Sheila.

Favourite word/phrase: 'I was sorry for her'

Key Quotes

Act 1

• (smiling) Wouldn't dream of it. In fact, I insist upon being one of the family now. I've been trying long enough, haven't I? (as she does not reply, with more insistence.) Haven't I? You know I have.
• Hear, hear! And I think my father would agree to that.
• (quietly) Thank you. And I drink to you – and hope I can make you as happy as you deserve to be.
• (laughs) You seem to be a nice well-behaved family.
• (lightly) Sure to be. Unless Eric’s been up to something. (nodding confidentially to Birling.) and that would be awkward, wouldn't it?
• (showing annoyance) Any particular reason why I shouldn't see this girl's photograph, inspector?
• Getting a bit heavy-handed, aren't you, inspector?
• So – for god's sake – don't say anything to the inspector.

Act 2

• (to Sheila) Thanks. You're going to be a great help, I can see. You've said your piece, and you're obviously going to hate this, so why on earth don't you leave us to it?
• I happened to look in, one night, after a long dull day, and as the show wasn't very bright, I went down into the bar for a drink. It's a favourite haunt of women of the town--
• : (distressed) sorry – I – well, I've suddenly realized – taken it in properly – that's she's dead--
• I made her go to morgan Terrace because I was sorry for her, and didn't like the idea of her going back to the palace bar. I didn't ask for anything in return.
• (hesitatingly) it's hard to say. I didn't feel about her as she felt about me.
• No, it wasn't. ( he waits a moment, then in a low, troubled tone.) she told me she'd been happier than she'd ever been before – but that she knew it couldn't last – hadn't expected it to last. She didn't blame me at all. I wish to God she had now. Perhaps I'd feel better about it.
• I insisted on a parting gift of enough money – though it wasn't so very much – to see her through to the end of the year.
• In that case – as I'm rather more – upset – by this business than I probably appear to be – and – well, I'd like to be alone for a while – I'd be glad if you'd let me go.

Act 3

• Well, you were right. There isn't any such inspector. We've been had.
• I did keep a girl last summer. I've admitted it. And I'm sorry, Sheila.
• Everything's all right now, Sheila. (Holds up the ring.) What about this ring?

Name: Inspector Goole

Age: Middle aged

Occupation: A police inspector

Location: Brumley, North England

Political views: A political agitator

Family:

• Unknown

Outlook on life: "An impression of massiveness, solidity and purposefulness"

Inspector means someone who looks closely at things - and this is exactly what Inspector Goole does. He unpicks the family's involvement in Eva Smith's death, zooming in on the intricate details of their behavior and attitudes.

The name also sounds like 'ghoul' - someone with a morbid interest in death, a spirit which is said to take fresh life from corpses and it is certainly arguable that the Inspector's existence is a result of the girl's death; a supernatural being.

The Inspector grows as the stories of each character are revealed. He remains solid and intact as each of them breaks down, and nothing the others can do or say distracts him from his purpose. It is like unraveling the truth gives him more and more power.

Hopes for the future: The Inspector's hopes for the future echoes those of J.B Priestley - which poses the question of: is he Priestley's mouthpiece? He is hopeful that the next generation has better morals than their predecessors (the one that came before them) and that they are trusted to do the right thing - Sheila and Eric are examples of this. The Inspector ensures that the audience, and the characters on stage, are fully aware of the implications of each character's actions on the innocent: Eva Smith. The working class is represented by Eva Smith/Daisy Renton whilst the upper, disillusioned, upper class is symbolised by the 'happy family' of the Birlings.

Moral compass: The Inspector is the epitome of morality within the play. He's strict, determined and nearly obsessive with uncovering the truth. The play is a redemptive play (good overcoming evil) and The Inspector is the vehicle that drives this process with relentless strength throughout. Also, The Inspector acts as the disciplinarian - he ensures complete control throughout, despite the unwavering opposition from the Birlings throughout the course of the play.

Favourite word/phrase: 'It's too late... she's dead.'

Key Quotes

Act 1

• After two months, with no work, no money coming in, and living in lodgings, with no relatives to help her, few friends, lonely, half-starved, she was feeling desperate.
• Two hours ago a young woman died in the infirmary.
• It would do us all a bit of good if sometimes we tried to put ourselves in the place of these young women counting their pennies in their dingy little back bedrooms.
• A nice little promising life there, I thought, and a nasty mess somebody’s made of it.
• One person and one line of inquiry at a time.
• It's better to ask for the earth than to take it.
• But you're partly to blame. Just as your father is.
• You used the power you had...to punish the girl.
• 'It's too late. She's dead' 'Yes, she's dead'.

Act 2

• And you think young women ought to be protected against unpleasant and disturbing things?
• We have to share something. If there’s nothing else, we’ll have to share our guilt.
• I think you did something terribly wrong – and that you’re going to spend the rest of your life regretting it.
• Don’t stammer and yammer at me again, man. I’m losing all patience with you people.
• If this boy had been giving her stolen money, then she came to you for help because she wanted to keep this youngster out of any more trouble.
• No hushing up, eh? Make an example of the young man, eh? Public confession of responsibility – um?
• We often do on the young ones. They're more impressionable.
• Some young men drink far too much.
• Public men, Mr. Birling have responsibilities as well as privileges.
• She came to you for help, at a time when no woman would have needed it more.
• I'm waiting...to do my duty.

Act 3

• Each of you helped to kill her. Remember that. Never forget it.
• Used her for the end of a stupid drunken evening, as if she was an animal, a thing, not a person.
• One Eva Smith has gone – but there are millions and millions and millions of Eva Smiths and John Smiths still left with us, with their lives, their hopes and fears, their suffering, and chance of happiness, all intertwined with our lives, with what we think and say and do. We don’t live alone. We are members of one body. We are responsible for each other. And I tell you that the time will soon come when, if men will not learn that lesson, then they will be taught it in fire and blood and anguish.