Sheila Flashcards
“Yes, go on mummy”
Act 1
- short sentence demonstrates that she lacks a voices and is disenfranchised, she is the microcosm of the voiceless women in 1912
- the diction “mummy”, reinforces a very infantile representation of sheila - preserved in a child like manner. This allows Sheila to be blinded by the true idea of capitalism and being prohibited from seeing the belligerent world, allows her to be indoctrinated(brainwashed)
- the sibilance shows that she lacks autonomy and acquiescent.
- Priestley has done this signify that drastic impacts socialism can have on someone.
• In Act 1, Sheila’s speech is short and simplistic, reflecting not only how society silences her as a young woman perceived as inferior but also highlighting her disenfranchisement (lack of a vote). This lack of voice could be seen as Priestley’s critique of the limited political agency women had during the Edwardian Era.
• Despite her privileged social status, Sheila remains oppressed and marginalised (group treated insignificantly). Her language, marked by terms like “mummy,” suggests an infantile and sheltered perspective, illustrating how her social class shields her from life’s harsh realities.
• Sheila’s mesmerisation at the “beauty” of the ring is almost ironic as she is only valued for her perceived “beauty” and external looks by society. The objectification extends to both the young females we encounter - Sheila and Eva.
• Both are similarly described as “pretty” showing how despite their differing social classes, they were both subject to the same oppressing and objectifying social perceptions.
Link to other key themes:
Social class:
Sheila is cocooned and almost shielded by her social class, compounded by the patriarchal expectations imposed upon her, resulting in her submissive and infantile presentation.
Older vs younger:
Sheila’s receptiveness to socialist ideals, characteristic of the younger generation, challenges entrenched generational views on society, particularly concerning women.
By the play’s end, she is hesitant about Gerald’s ring proposal, indicating her growing disillusionment with patriarchal norms, symbolising her liberation through socialism
“but these girls aren’t cheap labour they are people”
act 2
- the b and p plosive on “cheap labour” creates quite a harsh sound signifying how Sheila has realised the harsh and barbaric exploitation that is permitted by capitalists such as Mr Birling which is personified through his relationship with Eva Smith
- the noun “girls” connotes innocence, it further exacerbates this dehumanizing exploitation in the fact that capitalists willingly exploit the young, naïve and vulnerable
- the adjective “cheap” typically connotates to something with monetary value, so it is quite fascinating that Sheila is recognising the course of immoralities of capitalism, these capitalist ideologies of viewing people in terms of money and status are still deeply ingrained in her; she is not yet able to part ways with the ideology as for so many years she has been ceaselessly inculcated by capitalism
• Sheila’s vocabulary shift, particularly her focus on “girls,” exposes her father’s exploitative capitalism. “Girls” connotes innocence and vulnerability, suggesting Sheila now recognises how the upper class, imbued with capitalist views, preys on the disadvantaged.• This revelation, unimaginable for her sheltered past self, fuels her disgust with the dehumanising and unscrupulous behaviour of capitalists.
• The Inspector’s arrival frees her from the shackles of her oppressive privileged existence. Exposed to the human cost of excessive capitalism, she sheds her former self-serving docile perspective and embraces a humanistic outlook, valuing individuals over profit.• Thus, act one’s docile Sheila, cocooned (wrapped) in privilege, undergoes a metamorphosis (change) under the Inspector’s scrutiny. Her infantile facade crumbles, revealing an emerging champion for social justice. This symbolises the advancement of women’s rights in 1945, depicting women’s empowerment and their role in advocating for social justice for all oppressed members of society.
link to other key themes:
Capitalism vs socialism:
Socialism emancipates Sheila from the shackles of capitalism’s inherited oppressive ideals, allowing her to grasp the systemic consequences of capitalist ideologies on society at large. She comprehends how the older generations strive to preserve this dehumanising system.
“[rather wildly,with a laugh] No, he’s giving us the rope - so that we’ll hang ourselves (act 2)
Stage direction [wildly, with a laugh]:
• The stage direction “[wildly]” depicts Sheila’s disillusionment (seen the reality) with capitalist ideals and middle-class etiquette. She liberates herself from these constraints, embracing her unrestrained nature without apology.• Coupled with her [laugh], this suggests she finds capitalism absurd, laughing at its societal significance whilst laughing at how persistently delusional her parents are - they want shirk (avoid their responsibilities and moral wrongdoings
“rope” has fibres that are all intertwined, this symbolising how Sheila has recognised that everybody in society is intertwined with their responsibilities. Each individual is all woven into the fabric of our communities and society and not independent pieces, but interconnected threads creating a larger united body.
• Thus, Sheila understands, through the Inspector’s symbolic gesture of the “rope,” that she and her family bear a moral duty to protect the
“millions and millions” that suffer.
Link to other key themes:
Social class:
Sheila becomes a foil to her stagnant parents of the older generation. Act one’s docile Sheila, cocooned (wrapped) in privilege, undergoes a metamorphosis (change) under the Inspector’s scrutiny whereas hey parents remain entrenched in their dehumanising beliefs about social class.
Older vs younger:
Socialism emancipates Sheila from the shackles of capitalism’s inherited oppressive ideals, allowing her to grasp the systemic consequences of capitalist ideologies on society at large. She comprehends how the older generations strive to preserve this dehumanising system.
Guilt:
Sheila’s guilt and compassion catalyses her into becoming the Inspector’s proxy which she acts as a moral compass to her parents by to delivering the teachings of socialism.
“What he made me feel. Fire and blood and anguish” (act 3)
The Inspector’s proxy (taken on someone’s role when they leave):
• Following the Inspector’s final speech, Sheila serves as his proxy, exemplified by her precise emulation, including the deliberate repetition of the polysyndeton on “and.”
• This illuminates Sheila’s desperate attempt to emphasise the relentless consequences of lacking social conscience to her obdurate (stubborn) parents of the older generation and her fiancé indoctrinated with capitalist beliefs.
• Sheila is now a moral compass to her family, showcasing her evolution towards empathy as her use of the personal pronoun
“me” shows she now experiences genuine remorse.
• However, her awarenesh extends beyond personal remorse, she has developed an understanding of the systemic consequences of capitalist ideologies on society as a whole.
Links to other key themes:
Responsibility:
Sheila becomes disillusioned with capitalist ideologies as she recognises that everybody is inextricably linked to their responsibilities. Socialism has freed her from the shackles of her oppressive privileged existence
Social class:
The Inspector’s arrival frees her from the shackles of her oppressive privileged existence. Exposed to the human cost of excessive capitalism, she sheds her former self-serving docile perspective and embraces a humanistic outlook, valuing individuals over profit.
