Pls can someone mark this AIC essay (AQA)

also does anyone know where to get marked (annotated) exemplar essays for aqa english lit? I do romeo and juliet, a christmas carol, an inspector calls, and power and conflict if that helps/matters Thanks!

Q: kind of vague but “how is eric presented?”

In his didactic morality play, An Inspector Calls, Priestley presents Eric as a sinful yet remorseful character who reminds the audience of their own ability to change. Held back by the constraining capitalist system, Eric is initially unable to truly act in a moral way and must conform to the beliefs of those around him. However, because of the Inspector’s righteousness, he is able to grow into a reverent young man, perhaps representative of post-war Britain’s chance to ‘grow’ politically by voting in a leftist government.

In the opening stage directions, we are introduced to Eric as a character with the potential to evolve despite his family’s suppression through the “pink and intimate” lighting and its shift. The adjective “intimate” suggests that the Birling family is close with one another, and that their relationships are very strong, like the “solid” furniture. However, as the play progresses and the investigation intensifies, we begin to see through their façade of closeness and familial bond. Already, the lighting shows the audience that the Birlings care deeply about their image in front of others and sets the premise for their continued denial of involvement in Eva Smith’s death to hold onto their false perception. The Inspector’s arrival prompts the “brighter and harder” lighting, which creates an interrogative atmosphere. The word “brighter” has connotations of light and intelligence, implying that the Inspector, who represents socialist values, is moral. Thanks to this pursuit of justice, Eric grows conscious of his actions and eventually embodies this ‘brighter’ message. Also, the word “harder” is a stark contrast to the soft “pink” lighting which suggests Eric will eventually shift and become the challenge to capitalism which Priestley is advocating for. Eric’s willingness to reform consolidates the audience’s desire to prefer him (and socialism) over the other Birlings and their life of deception and cruelty (capitalism). The symbolic pursuit of justice beckons the audience to action, reiterating the collective, moral responsibility everyone has to stand against oppression and inequality. It also perhaps reaffirms their choice to shift towards a socialist government under Clement Atlee.

Also in the stage directions, we see Eric presented as conflicted between his family’s expectations and morality. He is “half-shy” and “half-assertive”. This juxtaposing description suggests that Eric is oppressed, physically but also internally by the capitalist ideology. Firstly, his physical oppression is shown through the older generation’s later taunting and dismissal like when the parents tell their children to “hush”. However, the repetition of the word “half” could hold a dual meaning. It could hint towards Eric’s natural, internal capability to reform and refocus his guilt onto supporting the proletariat. Alternatively, it could suggest that Eric is unable to change until he receives external motivation, which in this case is the Inspector. He will remain in an internal conflict until this disruption occurs. This is important because it embodies Priestley’s ideas regarding social responsibility where he felt that it was the duty of the collective, rather than the individual, to work towards an egalitarian society. Regardless, it seems that Priestley is trying to educate his audience about the way that socialists should fight oppression in any way they can, and to do so, they must first reverse the internal oppression they face.

Later on in the play, Eric is developed as an aware character when he tells his father “Why shouldn’t they try for higher wages?”. At this point, Eric is challenging his father’s beliefs on strikes and how the workers are ungrateful. The pronoun “they” creates a metaphorical wall between the wealthy Birlings and the poorer factory workers. This showcases the extent of social inequality in Edwardian society as even our socialist construct aligns with a divisive doctrine here. This discussion would perhaps resonate with the post-war British society who were also ‘trying’ for higher wages and improved workers’ rights, prompting appreciation from the audience. It is important to note that during this discussion, the Inspector hasn’t arrived to question the family, but Eric seems to already be slightly subversive. Perhaps, through this, Priestley explores the innate potential the audience hold to bring change and wishes to inspire similar questioning.

The socialist playwright’s choice of genre in An Inspector Calls is also interesting. The use of a morality play is significant as it historically has been a form of drama used to impart noble lessons onto an audience. Using this medieval form in the 1940s could have been done to emphasise the need for social justice within society by likening it to previous messages of religious and moral importance. Eric personifies two of The Seven Deadly Sins which are lust and gluttony, specifically in terms of his alcoholism. However, due to the Inspector’s blunt interruption, he seems to repent for such deeds. Because of this, an audience may feel compelled to realise the honour of socialism as it reverses Eric’s sinful past. 

Towards the end of the play, Eric culminates as a repentant, altruistic character who has matured when he exclaims: “She’s dead…we all helped to kill her”. Initially, Eric’s conscience seems blurred when he describes his exploitation of Eva Smith as she was a “good sport” and he “threatened” her into submission. However, now he has become compassionate and empathetic. This contrast evidences his escape from his era’s patriarchal, oppressive beliefs which is further consolidated by this dialogue. The use of exclamation and blunt tone evokes a sense that he is now defiant, and no longer “half-shy” but fully “assertive”. The lack of a euphemism regarding the suicide represents his disregard for Edwardian expectations about how the upper class should behave. Eric’s use of the inclusive pronoun “we” differs from his previous statements in Act 1. There, he is still associating with the adherents of capitalism (his family), but here, he uses it to distribute the blame between them, representing beliefs about communal responsibility. The verb “helped” furthers this, as he doesn’t blame one single person, but instead implies they all contributed in some way. The words “kill” and “death” create an image of pain and irreparable damage, and highlight his awareness of the plight of the proletariats. He has grown conscious of their suffering and wishes to support them. 

Ultimately, Priestley presents Eric as a reformed, penitent character who reminds the audience of their own ability to change. He is able to grow into a reverent young man, perhaps representative of post-war Britain’s chance to evolve politically by voting in a leftist government under Atlee. An Inspector Calls serves as a celebration of such a transformation and could be an attempt to inspire similar change in others.