Sheila Birling Flashcards
Sheila is..
Strong-minded: “I don’t believe I will. So you be careful?
Sharp: “he’s giving us the rope — so that we’ll hang oursele Selfish: “you used the power you had I…! to punish the girl Moral: “But these girls aren’t cheap labour — they’re people
Sheila’s language makes her seem childish at first
1) The stage directions say she’s “very pleased with life and rather excited”.
2) She uses slang expressions like “squiffy” which remind the audience that Sheila belongs to a younger generation.
3) When she gets the ring she’s very excited, and looks to her mother for approval when she says “Look — Mummy — isn’t it a beauty?”
4) She jokes with Gerald, but the stage directions say that she’s
“hall serious, half playful”. Her childishness might be a way to hide “serious” concerns about her relationship with Gerald.
But shes more mature
Sheila behaves childishly at the beginning, but what she learns over the evening makes her feel she has to be herself and break away from her parents.
1) She has wise instincts — she sees what the Inspector is doing, and knew Gerald’s absence was suspicious.
2) She’s not naive — she knows men use prostitutes and knows about dirty old men like Alderman Meggarty.
3) As the Inspector says, she “isn’t living on the moon”. and as she says to her father, “I’m not a child.”
Sheila becomes a bit like the inspector herself
She reveals Eric’s drinking problem to her mother.
She contradicis and undermines her parents, like the Inspector does.
When she’s giving the ring back to Gerald she tells her father, “Don’t interfere”.
4). She shocks Eric by telling him that his mother refused to help Eva/Daisy. The Inspector move the discussion on quickly by suddenly startling the listeners, and Sheila does the same.
Sheila sees that the Inspector attacks the others’ confidence by asking questions. He does thi down the “wall” which they’ve put between themselves and the girl — Sheila wants to do the
“Oh - how horrible”
When Sheila hears about Eva’s death, she responds with “Oh – how horrible!”, showing her immediate emotional reaction. The exclamation “Oh” highlights her shock, while the adjective “horrible” reflects her genuine horror at the girl’s suffering. This contrasts with the cold detachment of her parents, showing that Sheila is already beginning to take the situation seriously. Priestley uses her response to suggest that younger people are more capable of empathy and change, promoting his message that a more compassionate, responsible society is possible through the next generation.
“But these girls aren’t cheap labour
- they’re people”
When Sheila says, “But these girls aren’t cheap labour – they’re people,” she begins to challenge her father’s capitalist mindset. The phrase “cheap labour” reflects the dehumanising way the upper class treats workers, but Sheila’s correction – “they’re people” – shows a growing awareness of social injustice. This moment marks a key point in her transformation, as she moves from being passive to morally engaged. Priestley uses Sheila to promote his message of social responsibility, suggesting that society must learn to treat everyone with empathy and respect, regardless of class.
“Pretty?”
Here, it can be inferred that Sheila’s grief was greater due to Eva being pretty. This demonstrates Sheila’s warped view of the world, as the value of someone’s life depends on their outward beauty.
“I know I’m to blame – and I’m desperately sorry.”
- Acceptance of Responsibility:
Sheila openly admits her fault, using the phrase “I know I’m to blame.” The personal pronoun “I” shows that she isn’t trying to shift the blame like her parents do. This sets her apart from the older generation.- Emotive Language – “desperately sorry”:
The adverb “desperately” emphasises how deeply she regrets her actions. It suggests she is not just apologising out of obligation, but feels genuine guilt. - Character Development:
This moment is a key turning point in Sheila’s character. At the start, she seems immature and shallow, but here she shows emotional growth and moral awareness. Priestley uses her as a symbol of hope and change. - Priestley’s Message:
Through Sheila’s response, Priestley presents the younger generation as more capable of change and more socially responsible. He’s encouraging the audience to reflect on their own actions and be willing to admit mistakes—something essential in a post-war society.
- Emotive Language – “desperately sorry”:
“Very pleased with life and rather excited” (Stage directions)
• This stage direction introduces Sheila as content, carefree, and privileged. The phrase “very pleased with life” reflects her upper-class comfort — she has no awareness of hardship, and her life is shaped by wealth and protection.
• The word “excited” suggests she is youthful and optimistic, possibly a little naive. She’s clearly looking forward to her engagement and the future it promises.
• Priestley uses this to show how ignorant Sheila is of the real world, especially of the working-class struggles — making her later transformation more dramatic.
“squiffy”
• “Squiffy” is informal slang for drunk, which would be considered inappropriate in formal, upper-class speech — especially for women.
• This shows Sheila’s modern, youthful personality and separates her from her traditional, reserved parents.
• Her use of slang highlights the generational divide — one of the key themes of the play — as the younger generation is shown to be more relaxed, open-minded, and eventually, more willing to accept responsibility.
“Look — Mummy — isn’t it a beauty?”
The term “Mummy” is childish and affectionate, showing Sheila’s immaturity and dependence on her parents for approval.
• Her excitement over the engagement ring reflects how she has been raised to value appearances and marriage as a goal — rather than having her own independence.
• The phrase “isn’t it a beauty?” suggests she’s more focused on the material aspect of the engagement than its emotional meaning, reinforcing Priestley’s critique of superficial upper-class values.
• Looking to her mother for approval also shows Sheila’s lack of confidence and individuality at this point in the play.
Half serious, half playful” (Stage directions)
This shows emotional complexity beneath Sheila’s surface-level playfulness.
• While she jokes with Gerald, the “half serious” part suggests she has real concerns, perhaps suspecting that his loyalty isn’t as strong as he claims.
• It hints that Sheila isn’t completely naive — she’s perceptive, but perhaps afraid to confront the truth directly.
• Priestley uses this subtle unease to foreshadow later revelations and show that Sheila is capable of growth and emotional insight.
