Sheila Birling Flashcards
(18 cards)
1
Q
FINISH THE QUOTE (ACT 1)
‘Look-…
A
…Mummy- isn’t it a beauty?’
2
Q
FINISH THE QUOTE (ACT 2)
‘but you’re…
A
…forgetting I’m supposed to be engaged to the hero of it’
3
Q
FINISH THE QUOTE (ACT 3)
‘That’s probably the…
A
…best thing you’ve said tonight. At least it’s honest.”
4
Q
FINISH THE QUOTE (ACT 2)
‘mother, she…
A
…died a horrible death- don’t forget’
5
Q
FINISH THE QUOTE (ACT 2)
‘He’s giving us the…
A
…rope so that we’ll hang ourselves’
6
Q
FINISH THE QUOTE (ACT 1)
‘but these girls…
A
…aren’t cheap labour, they’re people’
7
Q
FINISH THE QUOTE (ACT 3)
‘(bitterly) I…
A
…suppose we’re all nice people now’
8
Q
FINISH THE QUOTE (ACT 3)
‘It’s you two…
A
…who are being childish- trying not to face the facts’
9
Q
FINISH THE QUOTE (ACT 1)
‘I know I’m…
A
…to blame- and I’m desperately sorry’
10
Q
ACT 1: ‘but these girls aren’t cheap labour, they’re people’
A
- her assertive tone & rejection of the phrase ‘cheap labour’ show her moral awakening; she begins to question the values she’s grown up with.
- humanising the workers; challenges her father’s capitalist mindset & the idea that social status justifies exploitation.
- empathy sets her apart from the older generation, highlighting her capacity for change & conscience.
- Priestley uses this moment to directly confront the audience with the play’s message (about dignity, fairness + the need for social awareness across class & gender lines)
11
Q
ACT 1: ‘I know I’m to blame- and I’m desperately sorry’
A
- Sheila’s admission of guilt shows her growing self-awareness & responsibility for her actions.
- phrase ‘desperately sorry’ emphasises her sincere remorse, highlighting her moral growth compared to the older generation’s denial.
- willingness to accept blame contrasts with her parents’ reluctance to acknowledge their role in Eva’s fate.
- This moment reflects guilt & the theme of social responsibility - Sheila takes ownership of her part in the tragedy and begins to recognise the importance of her actions on others’ lives.
12
Q
ACT 1: ‘Look- Mummy- isn’t it a beauty?’
A
- The word ‘Mummy’ & excited tone show Sheila’s immaturity & childishness early in the play.
- Materialistic focus on the ring (‘a beauty’) reflects her privileged, upper-class lifestyle.
- Priestley uses this moment to highlight the contrast between her shallow concerns & the serious issues soon revealed.
- Her early naivety makes her later transformation more dramatic, reinforcing the theme of generational change & moral development.
- Sheila’s value is tied to appearances and marriage, reflecting gender roles in Edwardian society.
13
Q
ACT 2: ‘but you’re forgetting I’m supposed to engaged to the hero of it’
A
- Sarcastic tone (‘supposed to be’ / ‘hero’) shows Sheila’s growing disillusionment with Gerald after the truth about Eva.
- Irony in calling him a ‘hero’ exposes hypocrisy in middle/upper-class men’s behaviour & society’s romanticised expectations.
- Signals a shift in Sheila’s character; she’s no longer naive/blindly loyal, showing growth & moral independence.
- Priestley criticises gender expectations; men like Gerald are praised despite immoral actions, while women are expected to forgive, linking to gender & power.
- Undermines romantic ideal of marriage; Priestley critiques the class-based & image-focused nature of Edwardian relationships.
14
Q
ACT 2: ‘Mother, she died a horrible death- don’t forget’
A
- Switch from ‘Mummy’ to ‘Mother’ signals maturity; Sheila distances herself from childish dependence, asserting emotional independence.
- Direct address shows her challenging Sybil’s coldness, breaking social norms of polite, submissive daughters.
- Emotive & dysphemistic language (‘horrible death’) forces others (& audience) to confront the brutal reality of Eva’s suffering.
- ‘Don’t forget’ acts as a moral warning; Sheila refuses to let issue be brushed aside, showing growing responsibility.
- Reinforces generational divide & rejection of her parents’ values; Priestley presents her as a symbol of hope & change
15
Q
ACT 2: ‘He’s giving us the rope so that we’ll hang ourselves’
A
- dysphemistic metaphor of ‘rope’ & ‘hang ourselves’ suggests self-destruction; Sheila recognises the Inspector’s method: letting them expose their own guilt.
- Sharp, insightful tone shows her intelligence & emotional growth; quick to understand the Inspector’s deeper purpose.
- Reflects her growing moral awareness & distance from her family’s denial.
- Reinforces the generational divide; younger characters accept guilt, older ones deflect it.
- Priestley uses her awareness to align the audience’s perspective with Sheila’s, promoting self-reflection & social responsibility.
- Challenges her family’s power; no longer passive, she warns them of the consequences of their actions.
16
Q
ACT 3: ‘(bitterly) I suppose we’re all nice people now’
A
- Stage direction ‘bitterly’ shows Sheila’s frustration with her parents’ lack of remorse — she’s emotionally distant and disillusioned.
- Sarcasm in ‘nice people’ exposes the hypocrisy of the upper class pretending innocence after doing real harm.
- Sheila rejects superficial respectability; showing she’s internalised the Inspector’s message about guilt and responsibility.
- emphasises generational divide; younger characters change, older ones go back to normal.
- Priestley uses this line to challenge the audience; are we truly ‘nice’ if we don’t change after wrongdoing?
17
Q
ACT 3: ‘That’s probably the best thing you’ve said tonight. At least it’s honest.’
A
- Sheila values truth over appearances; even harsh honesty is better than lies, showing how far she’s matured.
- Shows emotional detachment from Gerald; she’s no longer romanticising him, linking to gender & power
- The phrase ‘at least’ suggests disappointment, but also a hint of respect for honesty; she’s grown more discerning.
- Reinforces theme of responsibility; Sheila now judges others based on moral integrity, not social standing.
- Priestley uses her shift to reflect the ideal future generation: honest, reflective, & socially aware.
18
Q
ACT 3: ‘It’s you two who are being childish- trying not to face the facts’
A
- Sheila reverses the stereotype; instead of being the childish daughter, she now accuses her parents, showing complete role reversal.
- The alliterative phrase ‘face the facts’ reflects Priestley’s message: accepting truth & responsibility is what makes us mature.
- Highlights the generational divide; the younger generation own their mistakes, while the older deny them.
- Tone is firm & dismissive; Sheila refuses to let her parents downplay the situation, showing strength & moral clarity
- Priestley uses her voice to criticise those who avoid change, urging the audience to reflect on their own accountability
