How Does The Inspectors Arrival Change The Mood

This sample essay on How Does The Inspectors Arrival Change The Mood reveals arguments and important aspects of this topic. Read this essay’s introduction, body paragraphs and the conclusion below.

J. B Priestley’s play, ‘An Inspector Calls’, includes many techniques to create tension. Written in 1945, but set before the first world war, irony is present as Priestley subtly mocks the audience, as he uses Birling to explore the faults of capitalism. In 1946, when the play was first performed, the stereotypical spectator to the post-war play would have been those typically of Birling’s societal class.

In contrast to his own personal beliefs, Priestley creates Birling to be a strict capitalist, common to the period in which the play was set.

Dramatic irony is established as the audience know the outcomes of Birling’s ignorant predictions in Act I Scene I. Priestley wrote the play to show the divisions between the classes before the war, and the general middle class person’s disposition; ignorant, impatient, and selfish.

Priestley manipulates stage directions, such as lighting, props and setting to create tension. As an example of this, in the primary scene, as the Inspector enters, the lighting is brighter, as though the family are under spot light interrogation.

Characterisation, the integration between characters and how we perceive them, as well as the language they use, can create tensional suspense by revealing only elements of an individual’s personality at a time. This is also aided by the actions and gestures performed by the specific character.

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Act I Scene I depicts the family having, what seems like, an ordinary family party. An Inspector visits them to enquire about a young girl that committed suicide, and it rapidly becomes evident that the entire family will be involved somehow.

What Does Atmosphere Mean In Drama

The interview stretches from Birling, to Sheila, and is about to commence on Gerald, when the act is left on a cliff hanger. In contrast to the reality of the Birling’s family life, the initial lighting is intimate and soft. This also conflicts with the characterisation of the individuals, as Mrs Birling is described as a ‘cold woman’, and suggests that she doesn’t assimilate with the surroundings. The lighting is stressed to be pink and intimate, as Sheila and Gerald are seemingly passionately in love. The celebration is kept to a minimum of family, and the lighting can reflect the care and affection shared between all on set.

As the Inspector enters the room, the lighting becomes brighter and harder. This could suggest the Inspector’s strong will and determination to succeed in his case. This seems to create an uneasy atmosphere, as Birling’s selfishness contributes to his lack of enthusiasm in aiding the Inspector in his job. The opening stage directions and setting of the scene establishes the wealth of the family, but also uncovers the atmosphere of societal tension. The descriptions of the characters, Birling being a ‘portentous’ man, ‘provincial in his speech’, Mrs Birling simply being a ‘cold woman’ suggests that it is her that is the societal superior.

The pressure of society on people of the Edwardian era is evident as the wealth of the family is constantly reinforced; the Birling’s house is depicted as a ‘large suburban house’. The cigar box present in the opening settings is also an indication of wealth. The furnishings and general atmosphere of the house is described to be ‘heavily comfortably, but not cosy and homelike’. This is intimidating for any potential visitors like the Inspector, though he doesn’t seem fazed, and tension is created through juxtaposition, as the words ‘comfortable’ and ‘cosy’, typically used as synonyms of one another, are used in contrast with each other.

The creation of Inspector Goole is mysterious from the beginning, as the name Goole is a homophone to the word ‘ghoul’. The audience instantaneously perceives the Inspector as fake or unreal. This use of language device could also initiate an air of secrecy about him, which is added to by the fact that the picture of Eva Smith is never shown to the audience, and is only visible to one character at a time. Through this, he adds pace and tension to the play, which creates intrigue for the audience. The stage directions of the moment that the Inspector enters say that he ‘creates at once impression of massiveness and solidity’.

Although he is not especially tall or prominent, the Inspector has a sense of intensity about him, making him intimidating. The audience can tell from this that tension will be created between the characters of Birling and the Inspector, as they are, for different reasons, mutually intolerant of time-wasting; both the Inspector and Birling wish for the interrogation to be over quickly, as the Inspector wants his information and Birling wants to resume his celebratory evening. Tension is built up between the pair when Birling persists in ‘cutting in’ to the Inspector.

Additionally, whereas Birling is acquiring an angrier tone throughout the interview, the Inspector has a steady ambience all the way through. Birling has an entirely different relationship with his son-in law Gerald, though. Birling is almost sucking up to Gerald, as he and Gerald’s father are in the same business. He even states that Gerald could have done better for himself than Sheila. This shows some cracks in the family unit, and reveals Birling’s desperation for success. Sheila and Gerald’s relationship also sparks some tension within the household.

It’s is obvious that their relationship lacks the bonding and trust it should possess, seeing as they are engaged. Sheila says ‘Now I really feel engaged’ on receiving the ring, suggesting that she didn’t feel like that before. This is also collaborated when Sheila mentions last summer, when she didn’t see Gerald much. He says he was on business, to which she replies ‘That’s what you say’. Gerald goes on to admit his guilt near to the end of the act, but insists that that the Inspector doesn’t have to know about it.

The Inspector’s intelligence goes further than he is currently letting on, which Sheila is aware of, so she replies ‘(laughs… ysterically)… he knows… You’ll see. You’ll see. ‘ The Inspector creates an atmosphere in the house, by simply doing his job, and exposing the faults of each individual character. He identifies Sheila’s temper and jealousy when he reveals the story of Sheila’s involvement in his case. He also uncovers Gerald’s infidelity, separating the fantasy from the reality in terms of the ‘perfect’, high class family. It seems as though the family members are exploring each others personalities as much as the Inspector is, which creates an uneasy atmosphere, as they all discover something about the others that they wish they hadn’t.

The timing of Inspector Goole’s arrival is also atmospheric. Just as Birling is telling Gerald that ‘a man has to look after himself and his own’, the Inspector appears to show him the result of people living that way; a girl loses her job twice and kills herself. The audience can also perceive how the characters react to the photo, and to themselves, as a further indication of the personality of the character, and their involvement in the suicide of the girl. Subtle hints given by Priestley also play a part in producing atmosphere and tension.

From early on in the play, the atmosphere seems slightly false or forced, just as when Birling informs Gerald that he is too good for his daughter. Gerald replies that both he and he parents are very happy with the engagement, therefore it is interesting for the audience that Lord and Lady Croft did not attend the engagement party. It is also obvious from the first act that Eric is nervous about something, as he is drinking quite heavily, and what little he does say, is irritable.

The simile ‘like bees in a hive’ is used to describe Birling’s contempt for equality; the imagery symbolises everyone working together and being the same as one another. Bees also sting, so this is suggesting that he thinks equality and working together can have a negative effect. Birling continues by calling a socialist society ‘nonsense’, also proving his disdain for equality. This could create tension between the characters and the audience. Language devices are used to explore tension in Act 1. Dramatic irony is a dominant device, present throughout the act.

It is established as the audience know the outcomes of Birling’s ignorant predictions in Act I Scene I. Declarations that the Titanic was ‘unsinkable’ and that in his opinion, ‘there is no chance of war’ were dissimilar from the reality, as the audience would have already experienced. This gives the audience an advantage and gets them more involved. Structure of the play adds slight tension, but also realism, to the text, as people don’t always wait for the other person to finish. Birling practises this frequently, for example, when he cuts off the Inspector to reinforce his innocence.

Birling’s monologue also tells the audience a lot about him, as he shows his stupidity and ignorance throughout. Birling attempts to show his knowledge in his speech, along with his importance, but the outcome has the completely opposite effect, as the audience merely think him ignorant. The climax aids the tension of the act by leaving a cliff hanger and creating suspense. The Inspector says ‘Well? ‘ to Sheila and Gerald after they have had a discussion outside, and discovered Gerald’s deceitfulness. It was almost as if the Inspector knew what they were discussing, and was waiting for them to uncover it themselves.

This adds to the atmosphere because it seems like the Inspector knows all that he needs to, he is simply trying to make the family realise that just because they have money, doesn’t mean they are any different to anyone else of a lower class. In conclusion, J. B Priestley uses many techniques to create atmosphere and tension in Act I Scene I. Stage directions are used by, for instance, Birling, as he shows his true character by interrupting others and possessing an angry tone. Lighting is used to symbolise the change of mood and presence, adjusting to the new balance of characters onstage.

The Inspector himself brings a number of unanswered questions with him, some unconnected to his case, with his name and manner. The language and actions also contribute to the shift of atmosphere in the scene, by revealing extensions of each character bit by bit. Subtle hints from Priestly, alongside the climax of the scene, bring additional tension and suspense, as the audience can get involved with what’s going on. The details of the scene are what really consume the audience, enveloping them with interest and intrigue, so they can perceive events how they wish, to generate tension of their own.