1.2.3. Sheila Birling
At the beginning of the play Sheila is a very naive and unripe young woman. She decides on her life adapting to her parents opinion .That makes her subjected to her parents. She really is in love with Gerald Croft and does not see this alliance as a marriage of business as her parents do. She demonstrates her love in her jealous reaction about the spring and the summer before ,when Gerald Croft did not meet her frequently .
When the inspector starts the examination she finds herself deeply involved into Eva Smith´s
fate. Being confronted with the inspector′s photograph , Sheila is really shocked identifying Eva Smith .
Suddenly Sheila feels responsible for her deeds and behaviour .She starts thinking about the kind of person she is : This starts the alternation of her interior attitudes. She is candid and admits that she was the customer who exerted her influence and initiated Eva´s dismissal from Milwards where Eva worked after being fired by Arthur Birling. Sheila recognises that Eva was not guilty in that situation but her own bad temper was to be blamed. She even wanted her mother never to go shopping at Milwards again. That shows how immature Sheila was at that time , as she did not think about all sorts of consequences for Eva´s life being dropped out of her job. Short time after that she felt guilty and bad about her behaviour and told her father the story to get some advice , but he expressed that it was an irrelevant occurrence.
She is afraid that she is the only one next to her father , who is responsible for Eva´s death . But the inspector gives her some hints that she and her father were not the only ones to be blamed for Eva´s death.
She shows compassion and sentimentality. She wants to turn back the time to change her behaviour. She matures in this situation. She fully accepts her guilt and learns about responsible behaviour .
Sheila shows that she took a warning from the past as she says that > ... I will never , never do it again to anybody .< *10.
After she recognises that Gerald Croft had an affair with Eva Smith , she starts thinking about the kind of persons she is going to live with. This starts the alternation of her exterior attitudes. She separates herself emotionally from the others.
Later on as the inspector left the house , she insists upon her guilt unattached to what the others say.
She remains calm, and refuses taking the engagement rings from Gerald to get some time to ponder things over. She separates from her parent´s opinion and behaviour for the first time , and she recognises , that she is not able to accept her parent′s attitudes . Sheila is amazed and concerned that her parents are not willing to learn anything from the situation.
At the end of the play Sheila underwent a drastic change in character . She was a immature , giggling woman , who allowed her parents to shape her life , but now she reaches strength of character. She gets independent and shows that she learned about her responsibility to others , who are less fortunate in life than herself. She develops compassion and sympathy for all fellow men , not only for her class of society.
Her willingness to learn from this experience is contrasting to her parents´ behaviour. Only Eric joins her development, as it shows that the younger generation is more flexible and able to criticise and change itself.
1.2.4. Eric Birling
Eric Birling is Mr. and Mrs. Birling´s son. He is a young and rich man working at his
father′s factory. He is the heir of the Birling factory and plans to get a higher
responsible position in the factory until he will inherit . But he is still under his father′s
control and oftentimes he is not able to suit him.
> Mr.Birling : Unless you brighten your ideas , you′ll never be in a position to let
anybody stay or tell anybody to go. It′s time you learnt to face a few responsibilities .
That′s something this public-school-and-Varsity life you′ve had doesn′t seem to teach
you.< *11
Mr. Birling is not really prepared to divide the power in his factory , for that is the
key element in his self - comprehension.
Because Eric is not allowed to fulfil his job with the kind of responsibility he wants
to have , he does not want to adjust his private life to any responsibility. If there is
any problem he always turns to the most comfortable solution. That is the way he got
an alcoholic , to avoid to recognize with his superficial life , his dissatisfying work and
with his parents who are not able to give love, understanding and trust to him.
He shows real emotions , first of all sentimentality about the end of Eva´s and his unborn
baby′s life. And a bad conscience about Eva favouring suicide before marriage ,
because she knew him being an alcoholic and a thief.
In fact he recognises that Eva showed more conscience and greater ability to look
through all facades of the Birlings´ characters and behaviours than he was able to .
She decided to deny the money Eric offered her , for she knew it was stolen. She
recognised that Eric was an unripe young man , who was subjected to his father′s
plans for his life.
Eric was not able to tell his parents about her pregnancy. He hid their relationship
and stole some money from the factory to give it to her .This made it plain to her , that she
should not marry him. She knew him being too weak to bear up the marriage against his parents and their attitudes about a lower classed daughter-in-law. That is why Eric is also to be blamed for Eva Smith´s death.
He thinks that it does not matter whether inspector Goole was a real police officer , or
not. He thinks that the things turned out about himself and his family are more
important than the question whether this story may have serious consequences for the
participants , for example for his father losing his knighthood.
>Sheila: It doesn′t much matter now, of course- but was he really a police inspector?
Birling: Well, if he wasn′t, it matters a devil of a lot. Makes all the difference.
Sheila: No, it doesn′t.
Birling: Don′t talk rubbish. Of course, it does.
Sheila: Well, it doesn′t to me. And it oughtn′t to you, either.
Mrs Birling: Don′t be childish, Sheila.<*12
[...]
>Sheila: But it doesn′t make any real difference, y`know?
Mrs Birling: Of course, it does.
Eric: Eric : No, Sheila`s right. It doesn′t.<*13
In a way he joins Sheila′s development in character, as he is able to criticise himself at
the end of the play , but his faults will haunt him for a long time: >I′m not likely to
forget.<*14
1.2.5. Gerald Croft
Gerald Croft is the son of Sir George and lady Croft an old country family. The Crofts also own a factory "Croft Limited " and "they are business rivals to the Birlings". Gerald wants to marry Sheila Birling. It seems that next to love there are other reasons for this relationship, for example a very positive financial business-effect that two rivals of the past can merge with each other now. His parents are not participating the engagement party. Even though they tolerate Gerald′s decision , they obviously think, that though Sheila comes from a very rich family , their son could have chosen better out of a higher social class .
In the beginning it is not clear whether Gerald is also to be blamed for Eva Smith´s death , just like the others. But then the inspector says that Eva changed her name after her discharge from Milwards into the alias "Daisy Renton". At that moment Gerald Croft gets really a shock. He has to admit that he met Daisy in a bar among prostitutes , which is not a place a man in love planning to marry ought to be. Gerald offered Eva/ Daisy to live in the apartment of a friend then. At first he just wanted to protect her, but he claims that it was inevitable for him to start a love affair with her.
>She told me she `d been happier than she `d ever been before.<*15
But Gerald left her after a while and gave her enough money to see her through for the next time.
Gerald feels bad because it came out that he was unfaithful to Sheila and he worries about his reputation.
He is confused about Eva´s death and wants to make up his mind by himself , in opposite to Sheila who acquaints her feelings to all the others.
>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 little while.<*16
When the inspector left the house Gerald investigates and finds out that there is no inspector Goole at the police office and that no young woman has died at the infirmary that night. Suddenly Gerald joins his parents-in-law´s behaviour and easement about the news that the whole story is a fake. That shows he is not able to learn from his mistakes for. He easily ignores all sorts of consequences for his mistress / Daisy′s life , who exists in reality as he confessed.
Gerald entirely gets rid of the unpleasant story and continues to feast after all that has happened. Actually he wants to give Sheila the engagement ring , as if he had never admitted
having had an affair with another woman.
1.2.6. Inspector Goole
Inspector Goole is a mysterious person. He doesn′t work for the police, but he knows everything about the Birling family Birling and Gerald.
In the first act Inspector Goole interrupts the harmony of the family circle, which is a situation of man different emotions and great exciements. This emotional situation makes it more difficult for the others to deviate from the truth.
He starts to interrogate each person alone and one after the other. >One line of inquiry at a time. Otherwise we′ll be talking at once and won′t know where we are. if you´ve anything to tell me, you´ll have an opportunity of doing it soon.<*17 or later >One line of inquiry at a time. Otherwise there´s a muddle. <*18 He decides to examine that way for he wants to let anyone know everybody′s fault. He separates every interlocutor and makes the others criticise.
The inspector doesn′t care about Mr. and Mrs.Birling trying to suppress him. He does not feel that the Birlings are outclassing him and he treats them as equals. He even sometimes uses irony or sarcasm , to shake the Birlings´ self confidences and beliefs.
> Mr.Birling: We were having a nice little family celebration tonight...<*19 >Inspector: I was in the infirmary looking what was left of Eva Smith. A nice little promising life there I thought..<*20
Inspector Goole says he just wants to find out every influence on Eva Smith´s life that led to her suicide. >And that′s why I′m here, and why I′m not going until I know all that happened<*21, but in reality he wants them take note of it , for he already knows everything of the past. He is no supernal person with supernatural abilities, but he seems to be omniscient and personifies everybody´s conscience. He wants to make the family including Gerald aware of their faults.
The inspector makes all characters feel guilty for what they did to Eva Smith. But some of them only regret their behaviour for they fear some punishment, for example Mr. Birling is afraid of losing the knighthood or Eric is afraid of bearing the responsibility for his theft or Gerald fears not to become engaged to Sheila.
Near the end of the play the older generation hopes that inspector Goole had been a part of a fakery , but later on he seems to be a forerunner of reality. Perhaps he came to give every participated person a chance to admit their faults and guiltiness and to act dignified in the second examination .
At the end there has to be said that there is the possibility that the Inspector could have been showing each of them a different picture every time. That would mean that there had been different women treated like that. But as a matter of fact all participants should not only feel guilty for Eva Smith´s death but for their faults treating other people.
I think Goole can be seen as the personified moral of the play. He carries the guilty conscience of all the characters and shows it to them.
Four different aspects carried by inspector Goole can be found in four different passages of the play :
¬ In the passage of the first act as Mr. Birling is in the middle of a speech to Eric and Gerald about >a man has to make his own way - has to look after himself - and his family too<*22. He is cut off when the maid Edna tells Mr. Birling that an Inspector calls to see him. This might be a secret message by J.B Priestly enunciating that we don′t live to look only after our families and friends but should care about other people and their fates , too.
¬ The inspector criticises the superficial behaviour of the upper-class against the working-class. He defends Eva`s demand for a raise: >But after all it′s better to ask for the earth than to take it.<*23 He shows in his behaviour that he is against the Birlings lifestyle of class distinction. He thinks the poor have any right to aim high and to require a better lifestyle
from those , who own the world and are not willing to divide .
¬ There is another moral statement in the passage as Mrs. Birling puts every blame for Eva Smith´s situation and way of death on the unborn baby′s father. She thinks of Sheila as a kind of "woman of the street" without any morality. Later on she finds out that this irresponsibl man was her son Eric. And it becomes clear that Eva rejected taking the money that Eric had stolen and rejected marrying Eric even though she was in a tight squeeze. As a moral you could say something like :" Don′t put the blame too far away , it might catch you again. "
¬ The last statement of Inspector Goole is including the main message and the most important warning which Priestley wants to make aware of:
,,[...] 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. Good night."*24
This means something already written in the bible, you should treat others like you want to be treated and that everyone is responsible for his neighbour. It also means that there should not exist any social classes, that everybody is as valuable as another, and no one is superior to the other.
1.3. About Priestley`s plot and structure by using a description of the tension graph to show how Priestley led the reader to the climax of the play and the surprising end
This is a picture of the tension graph, which shows the the telephone rings evaluation of the tension of the story which the author J.B.Priestley used. You can see by the balloons what the story is about and you can see by the graph what emotional movement the audience goes through.
The whole play takes place in the Birlings´ house, in only one location which is the dining room. There are three possibilities for the characters to act in this room , the first possibility is that the character is in the room , the second possibility is that the character is out of the room , the third possibility is that the character is just coming into or leaving the room . The story is continuous, as there is no retrospective and no preview act .
The play is in a very compact way structured and there is nothing that distracts the audience from the central theme, that means there is no sub-plot going on.
In act one Priestley starts to introduce the characters and establishes the idea of a happy and united family looking forward to the future with a degree of confidence. Priestley also gives many hidden hints that not everything is as positive as it seems to be. But nothing makes the audience expect the shock of the Inspector′s visit and his pronouncement that a girl named Eva Smith had committed suicide.
Later on we get to know that Mr.Birling and Sheila are involved with Eva Smith´s life and the audience gets faster and faster more and more information about Eva´s relationships to Mr.Birling and Sheila and hidden hints about her relationship to the others.
In act two the tension increases as Gerald has to confess his love affair with Eva Smith / Daisy Renton .Sheila realizes that all of them are implicated in Eva Smith´s life and way of death .Then Mrs Birling shows her > Samaritan < character in her behaviour as she denied the charity committee′s help for Eva. Additionally she tries to shift the blame for the girl′s suicide on to the unknown father of the unborn child. The tension is heightened at this point by the dramatic entrance of Eric.
In act three Eric is questioned by the inspector and confesses that he is an alcoholic , a thief , the father of the unborn child . Now at last it is clear that there is no family unity. There is a big gap between the parents and the children, for the children were not able to come to the parents with their problems and the parents were not prepared to accept their children the way they are and to help them. They just stayed on their prejudices against everyone who is different from them even against their own children.
After the departure of the inspector the tension falls and the story develops to an anti-climax as the Inspector′s identity is suddenly put into doubt and later on the existence of Eva as one person is called into question . The tension is at it′s lowest point as the two generations confirm their different views about the question of guilt in their own behaviour.
The story develops suddenly to the climax as a phone call announces that a police inspector is on his way to ask some questions about a girl who has just died at the infirmary. This development is as shocking as it is surprising for the characters and the audience. It leaves the question why the story starts over again .
In my opinion there is some supernatural power that sent someone to punish the old Birlings. They had the chance - inspector Goole - to look over their lives, to criticise their behaviour in order to restore some morality but they are the only ones who did not learn anything neither from their faults nor from the inspector′s moral statements. They provoked fate as they were so happy about they had a narrow escape, therefore fate strikes back again.
2. Biography - Historical background about the author′s life
J.B. Priestly
John Boynton Priestley was a British journalist, novelist, playwright, and essayist. He was born 1894 in Bradford , West Yorkshire in the North of England He was the son of a prosperous schoolmaster. His mother died when he was very young. Priestley worked as a junior clerk in a firm (1910-1914) after attending Bradford Grammar School until he was sixteen years old. In Bradford Priestley began to write poetry for his own pleasure and later on he tried to contribute some articles to local and London papers.
Priestley served in English regiments in the first world war and survived the front lines in Flanders. Since 1919 he studied literature, history and political science at Bradford and Cambridge.1919 Priestley married Emily Tempest, who died young in 1925. He received his bachelor of arts in 1921. Lateron he married Mary (′Jane′) Wyndham Lewis, but this connection did not last for long, later she married D.B. Wyndham Lewis the biographer and satirist.
From 1922 he worked as a journalist in London. There he started his career as an essayist and critic and worked with various newspapers and periodicals.
The BRIEF DIVERSIONS , as his first collection of essays was called, appeared in 1922.
With his novel The Good Companions Priestley was able to gain international popularity.
Priestley started to write plays in the 1930s with such popular comedies as DANGEROUS CORNER (1932), LABURNUM GROVE (1933), and TIME AND CONWAYS (1937).Later on
Priestley founded a production company, the English Plays, Ltd.
In 1938-39 Priestley worked successfully as the director of the Mask Theatre in London.
He wrote about 50 plays and several books for example the ENGLISH JOURNEY (1934), LITERATURE AND WESTERN MAN (1960) and his memoirs, MARGIN RELEASED (1962).
In the time of World War II John Boynton Priestley gained fame as ′the voice of the common people′. Therefore he worked as a radio broadcaster , who was more patriotic than a publisher for Churchill. Lateron, as the Cold War started it′s development, Priestley was known as a supporter for the Campaign for Nuclear Disarmament.
In 1946-47 he took part in a UNESCO conference representing the U.K.
In 1953 he married Jacquetta Hawkes, the archaeologist and writer. They moved to Warwickshire in Kissing Tree House, situated near Stratford-upon-Avon.
In 1955 they wrote the travel book DOWN A RAINBOW together ,which was based on their journey in New Mexico . In 1977 J.B. Priestley accepted the prestigious Order of Merit after refusing both knighthood and peerage some years ago.
"I can′t help feeling wary when I hear anything said about the masses. First you take their faces from ′em by calling ′em the masses and then you accuse ′em of not having any faces." (from Saturn Over the Water, 1961)
Priestley died on August 14, 1984.
Priestley published over 120 books during his career, which continued nearly sixty years.
Priestley published 21 books between 1964 and 1978. Most of the books were light and optimistic in their tone . Priestley wrote essays for the ′middle brow′ audience. The topics and themes are numerous. For example the LETTER TO A RETURNING SERVICEMAN (1945) , ′Britain and the Nuclear Bombs′ (1957) , ′Disturbing′ (1967), PARTUCULAR PLEASURES (1975 ).
Here are some of Priestley´s selected works:
- THE CHAPMAN OF RHYMES, 1918
- THE BALCONNINNY, AND OTHER ESSAYS, 1921
- BRIEF DIVERSIONS, 1922
- PAPERS FROM LILLIPUT, 1922
- I FOR ONE, 1923
- FIGURES IN MODERN LITERATURE, 1924
- THE ENGLISH COMIC CHARACTERS, 1925
- ed.: ESSAYIST PAST AND PRESENT, 1925
- ed.: FOOLS AND PHILOSOPHERS, 1925
- J.B. PRIESTLEY, 1926
- (ESSAYS OF TODAY AND YESTERDAY); GEORGE MEREDITH, 1926
- (ENGLISH MEN OF LETTERS); TALKING: AN ESSAY, 1926
- ed.: THE BOOK OF BODLEY HEAD VERSE, 1926
- (THE PLEASURES OF LIFE SERIES); OPEN HOUSE, 1927
- THOMAS LOVE PEACOC, 1927
- THE ENGLISH NOVEL, 1927
- ADAM IN MOONSHINE, 1927
- BENIGHTED, 1927
- APES AND ANGELS, 1928
- TOO MANY PEOPLE, 1928
- ENGLISH HUMOUR, 1929
- THE GOOD COMPANIONS, 1929 - film 1932, dir. by Victor Saville; film 1956, dir. by J.Lee Thompson
- FARTHING HALL, 1929 (with H. Walpole)
- ANGEL PAVEMENT, 1930
- FARAWAY, 1932
- DANGEROUS CORNER, 1932
- (THE ENGLISH HERITAGE SERIES); SELF-SELECTED ESSAYS, 1932
- ENGLISH JOURNEY, 1933
- ALBERT GOEST THROUGH, 1933
- I′LL TELL YOU EVERYTHING, 1933
- LABURNUM GROVE, 1933 - film 1936, dir. by Carol Reed
- ROUNDABOUT, 1933
- WONDER HERO, 1933
- EDEN END, 1934
- CORNELIUS, 1935
- DUET IN FLOODLIGHT, 1935
- THE GOOD COMPANIONS, 1935 (play adaptation)
- BEES ON THE BOAT, 1936
- SPRING TIDE, 1936 (as Peter Goldsmith)
- THEY WALK IN THE CITY, 1936
- TIME AND THE CONWAYS, 1937
- I HAVE BEEN HERE BEFORE, 1937
- MIDNIGHT ON THE DESERT, 1937
- MYSTERY AT GREENFINGERS, 1937
- PEOPLE AT SEA, 1937
- TIME AND THE CONWAYS, 1937
- I HAVE BEEN HERE BEFORE, 1938
- WHEN WE ARE MARRIED, 1938 - film 1942, dir. by Lance Comfort
- THE DOOMSDAY MEN, 1938
- JOHSON OVER JORDAN, 1939
- RAIN UPON GODSHILL, 1939
- ed.: OUR NATION′W HERITAGE, 1939
- script: JAMAICA INN, based on Daphne Du Maurier′s novel, film 1939, dir. by Alfred Hitchcock, screen adaptation Sidney Gillant, Joan Harrison, J.B. Priestley
- BRITAIN SPEAKS, 1940
- OUT OF THE PEOPLE, 1941
- JOHNSON OVER JORDAN, 1941 - play: music by Benjamen Britten, choreography by Anthony Tudor
- BRITAIN AT WAR, 1942
- BLACK-OUT IN GRETLEY, 1942
- BRITISH WOMEN GO TO WAR, 1943
- DESERT HIGHWAY, 1944
- THEY CAME TO A CITY, 1944
- HOW THEY ARE AT HOME?, 1944
- THREE MEN IN NEW SUITS, 1945 -
- AN INSPECTOR CALLS, 1946- - film 1954, Guy Hamilton
- EVER SINCE PARADISE, 1946
- BRIGHT DAY, 1946
- RUSSIAN JOURNEY, 1946
- EVER SINCE PARADISE, 1946
- AN INSPECTOR CALLS, 1947
- THE LONG MIRROR, 1947
- MUSIC AT NIGHT, 1947
- THE ROSE AND CROWN, 1947
- THE ARTS UNDER SOCIALISM, 1947
- THEATRE OUTLOOK, 1947
- JENNY VILLIERS, 1947
- THE GOLDEN FLEECE, 1948
- THE HIGH TOBY, 1948
- THE LINDEN TREE, 1948
- HOME IS TOMORROW, 1949
- THE OLYMPIANS, 1949
- DELIGHT, 1949
- GOING UP, 1950
- SUMMER DAY′S DREAM, 1950
- BRIGHT SHADOW, 1950
- SUMMER DAY′S DREAM, 1950 (with J. Hawkes)
- FESTIVAL AT FARBRIDGE, 1951
- THE PRIESTLEY COMPANION, 1951
- WRITINGS OF J.B. PRIESTLEY, 1951
- DRAGON′S MOUTH, 1952
- MOTHER′S DAY, 1953
- PRIVATE ROOMS, 1953
- TREASURE ON PELICAN, 1953
- TRY IT AGAIN, 1953
- THE OTHER PLACE, AND OTHER STORIES OF THE SAME SORT, 1953
- LOW NOTES ON A HIGH LEVEL, 1954
- THE MAGICIANS, 1954
- A GLASS OF BITTER, 1954
- JOURNEY DOWN A RAINBOW, 1955 (with J. Hawkes)
- ALL ABOUT OURSELVES, 1956
- THE SCANDALOUS AFFAIR OF MR. KETTLE AND MRS. MOON, 956
- THE ART OF THE DRAMATIST, 1957
- TYHOUGHT IN THE WILDERNESS, 1957
- TOPSIDE, 1958
- THE GLASS CAGE, 1958
- THE STORY OF THEATRE, 1959
- LITERATURE AND WESTERN MAN, 1960
- ed.: FOUR ENGLISH NOVELS, 1960 (with O.B. Davis)
- ed.: FOUR ENGLISH BIOGRAPHIES, 1960 (with O.B. Davis)
- WILLIAM HAZLITT, 1960
- CHARLES DICKENS, 1961
- SATURN OVER THE WATER... , 1961
- THE THIRTY-FIRST OF JUNE, 1961
- THE SHAPES OF SLEEP, 1962
- MARGIN RELEASED, 1962
- ed.: ADVENTURES IN ENGLISH LITERATURE, 1963
- SIR MICHAEL AND SIR GEORGE, 1964
- MAN AND TIME, 1964
- A SEVERAD HEAD, 1964 (dramatisation of novel by I.Murdoch)
- LOST EMPIRES, 1965
- THE MOMENTS, AND OTHER PIECES, 1966
- SALT IS LEAVING, 1966
- IT′S AN OLD COUNTRY, 1967
- THE WORLD OF J.B. PRIESTLEY, 1967
- OUT OF TOWN, 1968
- THE IMAGE MEN, 1968
- ALL ENGLAND LISTENED, 1968
- ESSAYS OF FIVE DECADES, 1968
- TRUMPETS OVER THE SEA, 1968
- THE PRINCE OF PLEASURE AND HIS REGENCY, 1811-1820, 1969
- ANTON CHEKHOV, 1970
- THE EDWARDIANS, 1970
- SNOGGLE, 1971
- OVER THE LONG HIGH WALL, 1972
- VICTORIA′S HEYDAY, 1972
- THE ENGLISH, 1973
- OUTCRIES AND ASIDES, 1974
- A VISIT TO NEW ZELAND, 1974
- THE CARFITT CRISIS AND TWO OTHER STORIES, 1975
- PARTICULAR PLEASURES, 1975
- FOUND, LOST, FOUND; OR THE ENGLISH WAY OF LIFE, 1976
- INSTEAD OF THE TREES,1977
- SEEING STRATFORD, 1982
- MUSICAL DELIGHTS, 1984
3.0. Notes
J.B.Priestley "An Inspector Calls", Schönigh Verlag
*1 page 10 , lines 24+25
*2 page 11 , lines 16+17
*3 page 15 , line 16
*4 page 15 , line 17
*5 page 15 , lines 17+18
*6 page 22 , lines 32+33
*7 page 51 , lines 8+9
*8 page 51 , lines 15+16
*9 page 51 , line 20
*10 page 28 , line 29+30
*11 page 20 , lines 18-22
*12 page 62 , lines 24-31
*13 page 63 , lines 26-29
*14 page 59 , line 31
*15 page 42 , lines 28+29
*16 page 43 , lines 23-26
*17 page 25 , lines 35+36, page 26 lines 1+2
*18 page 16 , lines 33-35
*19 page 25 , lines 19+20
*20 page 25 , lines 23-25
*21 page 29 , lines 1+2
*22 page 13 , lines 29+30
*23 page 19 , lines 34+35
*24 page 60 , lines 23-27
4.0. Literature
Biography of "John Boynton Priestley" , in "books and writers" ,
written by Kuusankosken kaupunginkirjasto 1999 , Internet
"Priestley, J.B. ( John Boynton ) "
in the Microsoft Encarta encyclopaedia 2000
" An Inspector calls " , by J.B. Priestley
Schöningh Verlag
" An inspector calls" ,
in the " Kindlers Literaturlexikon " , 1982
