How to Write a Grade 9 Post-1914 Prose/Drama Essay (WJEC Eduqas GCSE English Literature)

Inspector 

(taking charge, masterfully) Stop! 

They are suddenly quiet, staring at him. And be quiet for a moment and listen to me. I don’t need to know any more. Neither do you. This girl killed herself — and died a horrible death. But each of you helped to kill her. Remember that. Never forget it. (He looks from one to the other of them carefully.) But then I don’t think you ever will. Remember what you did, Mrs Birling. You turned her away when she most needed help. You refused her even the pitiable little bit of organized charity you had in your power to grant her. Remember what you did— 

Eric 

(unhappily) My God — I’m not likely to forget. 

Inspector 

Just used her for the end of a stupid drunken evening, as if she was an animal, a thing, not a person. No, you won’t forget. (He looks at SHEILA.) 

Sheila 

(bitterly) I know. I had her turned out of a job. I started it. 

Inspector 

You helped — but didn’t start it (Rather savagely, to BIRLING.) You started it. She wanted twenty-five shillings a week instead of twenty-two and sixpence. You made her pay a heavy price for that. And now she’ll make you pay a heavier price still. 

Birling 

(unhappily) Look, Inspector — I’d give thousands — yes, thousands— 

Inspector You’re offering the money at the wrong time, Mr Birling. (He makes a move as if concluding the session, possibly shutting up notebook, etc. Then surveys them sardonically.) No, I don’t think any of you will forget. Nor that young man, Croft, though he at least had some affection for her and made her happy for a time. Well, Eva Smith’s gone. You can’t do her any more harm. And you can’t do her any good now, either. You can’t even say ‘I’m sorry, Eva Smith.’ 

Sheila 

(who is crying quietly) 

That’s the worst of it. 

Inspector 

But just remember this. 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, and 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. Good night. 

He walks straight out, leaving them staring, subdued and wondering.

GCSE Eduqas English Literature Post-1914 Prose/Drama

Write about the theme of responsibility in An Inspector Calls and how it is presented at different points in the play. 

AO1 Comments

Each character had an individual connection with Eva and their actions influenced her fate, highlighting their shared responsibility 

The Inspector demands each character be held accountable and admit personal responsibility for the chain of events which led to Eva’s death

Sheila is the first character in the play to accept responsibility for her actions which demonstrates her courage and empathy

Eric initially offers marriage to Eva which shows some attempt at responsibility although he fails to protect her and their child

As Arthur and Sybil hold prominent positions within society, the Inspector implies they have an even greater responsibility to care for others

Priestley presents Eva as having a greater sense of moral responsibility than all of the other characters

Question focus

Informed personal response (AO1)

Write about the theme of responsibility in An Inspector Calls and how it is presented at different points in the play. 

Responsibility emerges as a dominant theme throughout An Inspector Calls and the Inspector is used to underscore the repercussions of one’s actions. Each character, regardless of the brevity of their connection with Eva, bears responsibility for her fate. The Inspector's phrase, “But each of you helped to kill her” signals their collective guilt and conveys Priestley’s message about the importance of social responsibility and compassion towards others. While the Inspector addresses the characters collectively, the phrase “each of you” also illustrates their individual accountability. [Makes pertinent references to the play to support the theme of collective guilt and social responsibility (AO1)] 

Priestley depicts Sheila as highly emotional in this scene through his stage directions,“crying quietly”, and she is the first character in the play (apart from the Inspector) to empathise with Eva’s predicament and to confess to having treated the girl poorly. The phrase “I had her turned out of a job. I started it” demonstrates her willingness to acknowledge her role in Eva’s demise, which shows her as a character capable of embracing accountability. [Shows perceptive understanding of Sheila’s character development (AO1)] 

However, the other members of the Birling family never fully acknowledge their shared responsibility for Eva’s death. Despite Eric’s offer of marriage to Eva later in the play that hints at some semblance of responsibility, as the father of her child he ultimately neglects his obligation to protect them both. The Inspector’s sardonic reminder to Mr Birling, “You’re offering the money at the wrong time” suggests that no amount of monetary compensation can undo the harm caused by their actions. It also conveys the lack of understanding on Birling’s part towards the gravity and irreversibility of Eva’s fate and his offer of money symbolises his shallow attempt at absolution, reflecting his capitalist mindset. Through the Inspector, Priestley suggests that members of society have a collective responsibility and moral obligation to protect each other and he contends that those like Arthur and Sybil, who hold prominent social positions, bear an even greater duty of care towards others. [Analyses Priestley’s broader social critique embodied by the Inspector's role and dialogue (AO1)] Thus the Inspector’s remark can be interpreted as a broader critique of capitalist values and the prioritisation of wealth over human empathy and morality.

Structural techniques

Openings

Endings

Foreshadowing

Juxtaposition

Chronological (or linear) structure 

Flashback and flash forward

Cyclical structure

Parallelism

MRS JOHNSTONE answers the door. 

EDWARD: Hello, Mrs Johnstone. How are you? 

MRS JOHNSTONE: You what? 

EDWARD: I’m sorry. Is there something wrong? 

MRS JOHNSTONE: No, I just... I don’t usually have kids enquiring about my health. I’m er... I’m all right. An’ how are you, Master Lyons? 

EDWARD: Very well, thank you. 

MRS JOHNSTONE looks at EDWARD for a moment. 

MRS JOHNSTONE: Yeh. You look it. Y’ look very well. Does your mother look after you? 

EDWARD: Of course. 

MRS JOHNSTONE: Now listen, Eddie, I told you not to come around here again. 

EDWARD: I’m sorry but I just wanted to see Mickey. 

MRS JOHNSTONE: No. It’s best... if... 

EDWARD: I won’t be coming here again. Ever. We’re moving away. To the country. 

MRS JOHNSTONE: Lucky you. 

EDWARD: But I’d much rather live here. 

MRS JOHNSTONE: Would you? When are y’ goin’? 

EDWARD: Tomorrow. 

MRS JOHNSTONE: Oh. So we really won’t see you again, eh... 

EDWARD shakes his head and begins to cry. What’s up? 

EDWARD: (through his tears): I don’t want to go. I want to stay here where my friends are... where Mickey is. 

MRS JOHNSTONE: Come here. She takes him, cradling him, letting him cry. No listen... listen, don’t you be soft. You’ll probably love it in your new house. You’ll meet lots of new friends an’ in no time at all you’ll forget Mickey ever existed. 

EDWARD: I won’t... I won’t. I’ll never forget. 

MRS JOHNSTONE: Shush, shush. Listen, listen Eddie, here’s you wantin’ to stay here, an’ here’s me, I’ve been tryin’ to get out for years. We’re a right pair, aren’t we, you an’ me? 

EDWARD: Why don’t you Mrs Johnstone? Why don’t you buy a new house near us? 

MRS JOHNSTONE: Just like that? 

EDWARD: Yes, yes. 

MRS JOHNSTONE: Ey. 

EDWARD: Yes. 

MRS JOHNSTONE: Would you like a picture of Mickey, to take with you? So’s you could remember him? 

EDWARD: Yes, please. She removes a locket from around her neck. 

MRS JOHNSTONE: See, look... there’s Mickey, there. He was just a young kid when that was taken. 

EDWARD: And is that you Mrs Johnstone? She nods: Can I really have this?

MRS JOHNSTONE: Yeh. But keep it a secret eh, Eddie? Just our secret, between you an’ me

Question focus

Form and structure (AO2)

Write about Mrs Johnstone and how she is presented at different points in the play. 

Russell depicts Mrs Johnstone as a sympathetic character throughout the play and this is also evident in this scene. Although she initially insists that Edward no longer visits, later she demonstrates her empathy and compassion. Structurally, Russell initially presents Mrs Johnstone’s hesitance but this evolves into a display of warmth towards Edward which reflects her maternal instincts for him. [Explores structure of the scene (AO2)]  Further, despite her challenging circumstances, as a character she maintains a cheerful disposition, as evidenced by her witty and light-hearted exchanges with Edward in this scene. The quip, “I don’t usually have kids enquiring about my health” illustrates her good-natured resilience. 

While her interaction with Edward is marked by humour, elements of superstition are also evident. The play follows conventions of Greek tragedy and this scene foreshadows the tragic events that occur later in the play. Mrs Johnstone’s remarks that “in no time at all you’ll forget Mickey ever existed” alludes to the inevitability of the tragic fate that awaits both of her sons. Apart from the opening scene, Blood Brothers unfolds in a chronological order and the audience are fully aware of Mickey and Edward’s tragic outcome which adds a level of doom to the play. This mirrors Mrs Johnstone’s own sense of foreboding and superstition throughout. Further, the cyclical structure of the play, opening and closing with Mrs Johnstone singing “Tell Me It’s Not True”, further underscores the inevitability of tragedy. [Explores the cyclical structure of the play and its function in reinforcing the themes of fate and inevitability (AO2)] 

Russell has structured the play into two parts and incorporates songs as part of its narrative. Indeed, Mrs Johnstone’s songs act as structural devices throughout the play to reveal different stages of the characters’ lives, for example, her marriage; the move to Skelmersdale; Mickey’s imprisonment and Linda and Edward’s affair. Mrs Johnstone’s struggles as a mother are conveyed through song and Russell uses the musical montage scenes to convey this passage of time. [Explores use of songs as structural devices to convey passage of time and key events (AO2)] 

Ralph saw that for the time being he was safe. He limped away through the fruit trees, drawn by the thought of the poor food yet bitter when he remembered the feast. Feast to-day, and then to-morrow…  

He argued unconvincingly that they would let him alone; perhaps even make an outlaw of him. But then the fatal unreasoning knowledge came to him again. The breaking of the conch and the deaths of Piggy and Simon lay over the island like a vapour. These painted savages would go further and further. Then there was that indefinable connection between himself and Jack; who therefore would never let him alone; never.

He paused, sun-flecked, holding up a bough, prepared to duck under it. A spasm of terror set him shaking and he cried aloud. 

“No. They’re not as bad as that. It was an accident.” 

He ducked under the bough, ran clumsily, then stopped and listened. 

He came to the smashed acres of fruit and ate greedily. He saw two littluns and, not having any idea of his own appearance, wondered why they screamed and ran. 

When he had eaten he went towards the beach. The sunlight was slanting now into the palms by the wrecked shelter. There was the platform and the pool. The best thing to do was to ignore this leaden feeling about the heart and rely on their common sense, their daylight sanity. Now that the tribe had eaten, the thing to do was to try again. And anyway, he couldn’t stay here all night in an empty shelter by the deserted platform. His flesh crept and he shivered in the evening sun. No fire; no smoke; no rescue. He turned and limped away through the forest towards Jack’s end of the island.

Language techniques

Examples

Language comments

Imagery, verbs, adverbs, repetition, simile

“limped”, “shivered”, “clumsily”

“unconvincingly” 

“Would never let him alone; never”

“lay over the island like a vapour”

• Imagery, verbs and adverbs depict his deteriorated state

• Repetition suggests a relentlessness

• Simile creates a feeling of doom

Question focus

Analysis of language (AO2)

Write about Ralph and how he is presented at different points in the novel.

As the novel’s protagonist, Ralph’s character is the primary lens through which the reader experiences the actions on the island. From the outset, Gelding presents Ralph as a confident and charismatic boy who quickly assumes a leadership position among the other boys. His athleticism and physical capability make him a natural choice for the boys to elect. However, the imagery in the extract demonstrates how, by this stage of the novel, Ralph’s physical and emotional state have deteriorated. The verbs “limped”, and “shivered” and the adverb “clumsily” illustrate his diminished strength and resilience and are in sharp contrast with his composed and confident demeanour at the beginning of the novel. [Examines shift in the use of language and imagery to depict Ralph’s declining physical and emotional state (AO2)] The extract also reveals his inner thoughts and fears and he attempts to reassure himself. The phrase “for the time being he was safe” suggests only a temporary and fragile security and illustrates the precariousness of his situation. He is described as arguing “unconvincingly” and the adverb conveys his self-doubt and fear as he is fully aware of the boys’ relentless savagery. [Intended effect of an adverb is explored (AO2)] Similarly, the repetition of the word “never” suggests a hopelessness and his certainty that he cannot escape Jack and the others. The breaking of the conch and the deaths of Piggy and Simon are described using a simile and these events “lay over the island like a vapour” which creates a feeling of doom and loss that haunts Ralph. The word “vapour” suggests that the impact of these events is both pervasive and inescapable. [Analyses use of repetition and simile to convey the hopelessness of Ralph’s situation (AO2)]