Another way in which Priestly builds dramatic tension is by gradually revealing that all of the characters are found to have played a part in the alleged murder of Eva Smith. Everytime the Inspector shows the photograph to a different character, a little more is revealed about their collective guilt. The photograph is a great device for moving the plot. Dramatic tension is also built through the use of dramatic irony.
The audience instantly knows that Mr. Birling is wrong, Mr. Birling is too arrogant to see the flaws in his logic. This builds tension, making the audience more involved because they are in possession of knowledge that the characters are not. He does this for a number of reasons.
For years to come, countries would be entrenched in the Cold War the long-lasting standoff between Capitalism and Communism. This quote, amongst other extraordinary pearls of ignorance from Mr. Birling, once again pulls the audience into the play, because they know more than the characters know. This gives the Inspector more credibility because the audience is aware of how accurate his statements are about the future.
The setting of the play is also a device used to communicate Priestly's message of social equality. Setting the play in , Priestly uses the setting to convey a sense of dramatic irony. And only 2 decades later, in , a Second World War occurred. JB Priestley communicates his ideas and beliefs of social equality and collective responsibility through Inspector Goole.
Showing the photograph of Eva Smith to only one character at a time is an extremely effective way of progressing the play, ensuring smooth continuity, because it is subtle. Analysing the evidence quote steadily I discovered, not that night but two nights later, when we met again — not accidentally this time of course - that in fact she hadn't a penny and was going to be turned out of the miserable back room she had.
It happened that a friend of mine, Charlie Brunswick, had gone off to Canada for six months and had let me have the key of a nice little set of rooms he had — in Morgan Terrace — and had asked me to keep an eye on them for him and use them if I wanted to.
So I insisted on Daisy moving into those rooms and I made her take some money to keep her going there. Carefully, to the Inspector. I want you to understand that I didn't install her there so that I could make love to her. 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. Gerald Croft How does Gerald redeem himself in the eyes of the audience in Act 2? However, did he really think about the long-term consequences for her when he started the relationship?
What was he doing in the palace bar anyway? This shows his lack of commitment to Sheila too. He had no serious thoughts about the future with her, but whilst he was with her, he did care for her.
She was a working class girl; he was an upper class young man. Toward the end of the play, Priestley uses Gerald to illustrate how the world with such class barriers in place will have a very conservative nature.
Gerald is clearly relieved, and so the audience can infer that the only worry he ever held was about the potential tarnishing of his reputation. He did not care for Eva. He did not rejoice in her being alive, only to rejoice in the preservation of his position. His own self-centered intentions will disappoint the audience hugely, with an audience in , being angered by his lack of empathy, reminding them of the upper classes often dodging of any fighting during World War 2.
However, weak morals dilute, his good intentions. Mr Birling is very pleased that Gerald is getting engaged to Sheila because his family are upper-class business owners, Mr Birling hopes they can join forces in business. He is also honest about his feelings 'I made her go to Morgan Terrace because I was sorry for her' he takes pity on Sheila and so we see a caring side to Gerald. Gerald gives himself away when he hears that Eva changed her name to Daisy Renton. Carefully, to the Inspector.