Look Back in Anger

Pdf fan Tap here to download this LitChart! (PDF)

Jimmy Porter Character Analysis

Jimmy is the “angry young man” of the play, usually found spouting tirades against the complacency of the British upper classes, and especially against his wife Alison and then his lover Helena. Born working class but highly educated, like his friend and roommate Cliff, but has an ambivalent relationship with his educated status, seeing himself mostly as a working class man and yet frustrated that his education can do nothing to affect his class status. “He is a disconcerting mixture of sincerity and cheerful malice, of tenderness and freebooting cruelty.” Jimmy “alienates the sensitive and insensitive alike,” and his “blistering honesty, or apparent honesty…makes few friends.” Jimmy is a frustrated character, railing against his feelings of alienation and uselessness in post-war England.

Jimmy Porter Quotes in Look Back in Anger

The Look Back in Anger quotes below are all either spoken by Jimmy Porter or refer to Jimmy Porter. For each quote, you can also see the other characters and themes related to it (each theme is indicated by its own dot and icon, like this one:
Class and Education Theme Icon
). Note: all page and citation info for the quotes below refers to the Penguin Books edition of Look Back in Anger published in 1982.
Act 1 Quotes

He is a disconcerting mixture of sincerity and cheerful malice, of tenderness and freebooting cruelty; restless, importunate, full of pride, a combination which alienates the sensitive and insensitive alike. Blistering honesty, or apparent honesty, like his, makes few friends. To many he may seem sensitive to the point of vulgarity. To others, he is simply a loudmouth. To be as vehement as he is is to be almost non-committal.

Related Characters: Jimmy Porter
Page Number: 9-10
Explanation and Analysis:

In these stage directions, we're introduced to Jimmy Porter, a young English man around whom the play revolves. Jimmy is married to Alison Porter, but unlike his wife, he wasn't born into a wealthy family. Jimmy is often angry, although it's often hard to understand what, exactly, he's so angry about--Jimmy himself seems not to know. As the stage directions explain, Jimmy's anger is somehow "non-committal"; it's as if his anger destroys everything in its path, including Jimmy's own willpower. He's furious with England for losing its power and for abandoning the lower class; he's furious with his wife and his friends--and yet at the end of the day his fury just cancels out, leaving him right where he was to begin with.

A+

Unlock explanations and citation info for this and every other Look Back in Anger quote.

Plus so much more...

Get LitCharts A+
Already a LitCharts A+ member? Sign in!

Oh heavens, how I long for a little ordinary human enthusiasm. Just enthusiasm—that’s all. I want to hear a warm, thrilling voice cry out Hallelujah! Hallelujah! I’m alive! I’ve an idea. Why don’t we have a little game? Let’s pretend that we’re human beings, and that we’re actually alive.

Related Characters: Jimmy Porter (speaker), Alison Porter, Cliff Lewis
Page Number: 15
Explanation and Analysis:

Jimmy isn't a particularly brilliant, likable, or extraordinary person--and yet he likes to claim that he's superior to everyone around, for the simple reason that he's more "alive" than his peers. The genius of Jimmy's pronouncement is that it's impossible to disprove: everybody is alive in the literal sense, so it's never entirely possible to disprove Jimmy's insistence that he's somehow "more" alive than everyone else. Jimmy belittles his wife, Alison, and his friend, Cliff Lewis, by accusing them of being too passive and lifeless; somehow, he claims, they're acting like inanimate beings, blundering through life according to other people's rules. Jimmy condescendingly offers to show his wife and friend how to be alive by teaching them a game--the point being that Jimmy lives according to the truth that "we're actually live," whereas Alison and Cliff can only grasp at real life in a performance.

I hate to admit it, but I think I can understand how her Daddy must have felt when he came back from India, after all those years away. The old Edwardian brigade do make their brief little world look pretty tempting. All homemade cakes and croquet, bright ideas, bright uniforms…What a romantic picture. Phoney too, of course. It must have rained sometimes. Still, even I regret it somehow, phoney or not. If you’ve no world of your own, it’s rather pleasant to regret the passing of someone else’s.

Related Characters: Jimmy Porter (speaker), Alison Porter, Colonel Redfern
Page Number: 17
Explanation and Analysis:

In this passage, Jimmy looks at a notice for an upcoming concert, at which the music of the famous British composer Ralph Vaughan Williams will be featured. The mention of Vaughan Williams makes Jimmy think of Alison's father, Colonel Redfern, who had previously complained that modern life "isn't what it used to be." Colonel Redfern is unabashedly nostalgic for England's Edwardian age--i..e, the age when England still controlled a huge chunk of the world's people and resources, and the British Empire hadn't yet collapsed upon itself.

Jimmy has previously been hostile to the Colonel's worldview, claiming that nostalgia is a childish, sentimental emotion. Here, however, Jimmy seems to sympathize with the Colonel, and understands his genuine desire to go back to the past, when life was surely better. The passage illustrates the paranoia and self-contradictions of Jimmy's worldview: for Jimmy, there are no rules or prohibitions except "aliveness." Thus, Jimmy can simultaneously believe that nostalgia is an evil, and yet feel nostalgia himself--the rules don't apply to him.

Pusillanimous. Adjective. Wanting of firmness of mind, of small courage, having a little mind, mean spirited, cowardly, timid of mind. From the Latin pusillus, very little, and animus, the mind. That’s my wife! That’s her, isn’t it? Behold the Lady Pusillanimous.

Related Characters: Jimmy Porter (speaker), Alison Porter
Page Number: 22
Explanation and Analysis:

In this passage, Jimmy looks up a word, "pusillanimous," and then defines it for his friend, Cliff. Jimmy uses the definition to allude to his wife, Alison, and her supposed small-mindedness--even though Alison is in the room with them. Further, Jimmy claims that if he were to mispronounce the word, Alison would probably correct him in public.

The passage is an example of how part of Jimmy's anger stems from the fact that he is somewhat insecure about his lower-class origins. In England, speech and pronunciation are crucial to one's success in life, to a degree that many Americans would find unfathomable (as George Bernard Shaw said, "the minute an Englishman opens his mouth he makes some other Englishman despise him"). At the same time, Jimmy uses the definition of this "big word" to hurt his wife, Alison, who has been a calm, passive character so far--i.e., in Jimmy's mind, the definition "pusillanimous."

When you see a woman in front of her bedroom mirror, you realise what a refined sort of butcher she is…Thank God they don’t have many women surgeons! Those primitive hands would have your guts out in no time. Flip! Out it comes, like the powder out of its box. Flop! Back it goes, like the powder puff on the table.

Related Characters: Jimmy Porter (speaker), Alison Porter
Page Number: 24
Explanation and Analysis:

Jimmy continues to berate his wife, even while she's performing the most banal of tasks--here, for instance, Jimmy makes fun of Allson for the way she applies makeup to her face and does the ironing, suggesting that Alison, and all woman for that matter, are incompetent when it comes to using their hands.

Jimmy's tirade is a veiled defense of his own masculinity. Jimmy constantly tries to distinguish himself from weak, fragile women like his wife--his speech reinforces some of the classic female stereotypes (they don't know how to do physical work, they're no good with their hands, they're weak, they could never be surgeons). By distinguishing himself from his wife, Jimmy implicitly tries to make himself a figure of importance--even though it's pretty clear by now that he's not.

I can’t think what it was to feel young, really young. Jimmy said the same thing to me the other day…I suppose it would have been so easy to say “Yes, Darling, I know just what you mean. I know what you’re feeling.” It’s those easy things that seem to be so impossible with us.

Related Characters: Alison Porter (speaker), Jimmy Porter
Page Number: 28
Explanation and Analysis:

In this passage, Alison is alone with Cliff, her husband's friend. Alison describes the feelings of loneliness and nostalgia she's often felt. But she also explains that her husband, Jimmy, has felt the same sorts of feelings. Instead of offering her husband comfort, Alison has pretended not to know what Jimmy is talking about. It would be easy for Alison to comfort her husband, but she refuses to do so.

The passage indicates that the toxic relationship between Jimmy and Alison might not be a one-way street: Alison seems to deny Jimmy love in the same way that Jimmy denies her love (though "who started it" remains unclear). The passage reiterates the importance of nostalgia to the characters' lives: they're always thinking about the vanished past, even if they feel guilty for doing so. In the present, the tragedy of "happy couple" is that they're really not so different from each other, but because of failures of communication, they remain constantly at odds and unhappy.

Alison: He actually taunted me about my virginity. He was quite angry about it, as if I had deceived him in some strange way. He seemed to think an untouched woman would defile him.
Cliff: I’ve never heard you talking like this about him. He’d be quite pleased.

Related Characters: Alison Porter (speaker), Cliff Lewis (speaker), Jimmy Porter
Page Number: 30
Explanation and Analysis:

Alison and Jimmy didn't have sex before they were married, despite Alison's family's fears that they had. Indeed, Alison was a virgin before she married Jimmy--a fact that she confesses to Cliff in this scene. Cliff says that Jimmy would be happy to hear Alison talking about him so frankly: such talk would fit his notions of "real talk" and "really living." Alison agrees with Cliff, and yet shows no signs of deciding to talk to Jimmy--the alienation between Alison and her husband continues.

The discussion of Alison's virginity would have been shocking to the play's first audiences--and yet here, the point of the speech is how un-shocking it really is: there's a fundamental incompatibility between Jimmy's notions of sex and Alison's notions of sex, which would go away if only Jimmy and Alison would be frank with each other. But Alison seems too afraid and spiteful, and Jimmy seems like too much of a bully, to have a frank conversation about sex.

There’s hardly a moment when I’m not—watching and wanting you. I’ve got to hit out somehow. Nearly four years of being in the same room with you, night and day, and I still can’t stop my sweat breaking out when I see you doing—something as ordinary as leaning over an ironing board. Trouble is—Trouble is you get used to people.

Related Characters: Jimmy Porter (speaker), Alison Porter
Page Number: 33
Explanation and Analysis:

In this passage, we get one of the most complex views of Jimmy's character. Jimmy is a mess of contradictions, especially when it comes to his wife Alison. Jimmy complains that it's easy to get used to things over time--and yet when he's talking about Alison, he insists that he's still highly attracted to her beauty, even after four years of marriage.

Jimmy gets used to people, and yet he can't ever entirely get used to Alison--he still finds her enchantingly lovely. Jimmy both loves and hates Alison: on one hand, he thinks of her as the "light of his life." And yet, on the other hand, Jimmy thinks of Alison as an outlet for his insecurity and self-hatred.

If you could have a child, and it would die. Let it grow, let a recognisable human face emerge from that little mass of indiarubber and wrinkles. Please—if only I could watch you face that. I wonder if you might even become a recognisable human being yourself.

Related Characters: Jimmy Porter (speaker), Alison Porter
Page Number: 37
Explanation and Analysis:

In this crucial passage, Jimmy takes his contempt for Alison's way of life even further than we've seen up until now. Jimmy tells Alison that he wants Alison to have a child that dies. He thinks that such an experience would make Alison a tougher, more sincere human being--one who would "live fully," as Jimmy does.

The passage is shocking and, as always with Jimmy, contradictory. Jimmy thinks that pain is the only way to achieve "true life," but in order to lead Alison there, he seems to condone the death of their own child. Furthermore, in wanting to cause so much suffering and pain for Alison (a person he professes to love deeply), Jimmy seems to be turning his back on the full range of human emotions: in other words, by focusing so exclusively on pain and suffering as roads to real life, Jimmy neuters his own understanding of what life can be.

In terms of the plot, of course, this passage is also vital because it shows Jimmy essentially "cursing" Alison to her fate. At this point, Alison really is pregnant with their child, though she hasn't told Jimmy yet. And Alison will go on to have a devastating miscarriage, just as Jimmy spitefully wishes for her here.

She’ll go on sleeping and devouring until there’s nothing left of me.

Related Characters: Jimmy Porter (speaker), Alison Porter
Page Number: 38
Explanation and Analysis:

Jimmy concludes Act I by claiming that Alison is eating him alive. In an uncertain modern-day environment, Jimmy doesn't know what to make of his own life: he's unsure what path to take, who to love, etc. In his frustration, Jimmy takes out his anger on his wife, Alison. And yet Jimmy hypocritically claims that it's Alison who's emasculating him, preventing him from living the life he deserves. Jimmy's comments are clearly self-serving: it's easier for him to be an underachiever and blame Alison than it is for him to try to succeed and fail on his own.

The image of Alison devouring Jimmy alive is important for the rest of the play, because it reinforces the fact that Jimmy thinks of himself as a victim, through and through. Even when he has psychologically abused his wife to the point where she can barely open her mouth Jimmy thinks of himself as the repressed, devoured one.

Act 2, Scene 1 Quotes

Everything about him seemed to burn, his face, the edges of his hair glistened and seemed to spring off his head, and his eyes were so blue and full of sun. He looked so young and frail, in spite of the tired line of his mouth.

Related Characters: Alison Porter (speaker), Jimmy Porter
Page Number: 45
Explanation and Analysis:

In this passage, Alison describes how she met Jimmy Porter years ago. Jimmy was sunburnt and red-skinned, the very embodiment of youth and vitality, with a touch of rebellion, sadness, and violence. In retrospect, it's possible to read Alison's interpretation of Jimmy's appearance as almost demonic--a sign that she should never have married him. But at the time, Alison thought of Jimmy as an ideal suitor: he was both strong and weak, masculine and frail. She thought that by marrying Jimmy, they could help one another equally. Furthermore, Alison seems to have thought of Jimmy as a symbol of rebellion against her upperclass family; Jimmy symbolized everything her stuffy, reserved parents disapproved of.

We could become little furry creatures with little furry brains. Full of dumb, uncomplicated affection for each other…And now, even they are dead, poor little silly animals. They were all love, and no brains.

Related Characters: Alison Porter (speaker), Jimmy Porter
Related Symbols: Bear and Squirrel
Page Number: 47
Explanation and Analysis:

In this passage, Alison describes a game that she used to play with her husband, Jimmy. Alison and Jimmy would pretend to take on the attributes of two animals: Alison would be the squirrel (small, timid, etc.), while Jimmy would be the bear (large, masculine, dangerous). Playing such a game would allow Alison and Jimmy to escape their problems for a little while, and show their love for one another through play and innocent fun.

The passage is interesting because it shows Alison in the throngs of nostalgia: Alison claims that she and Jimmy no longer play the "game" anymore. Actually, Jimmy and Alison do seem to play "bear and squirrel" when they're together, in the sense that Jimmy is loud and aggressive and Alison is meek and quiet. Alison's remark suggests that the game used to be a way for her to escape the pressure of being a human being for a while, and yet her current situation seems more savage and animalistic still. The passage has a sad, rueful tone, as if Alison is pondering her old mistakes, mistakes that led her into a loveless marriage.

One day, when I’m no longer spending my days running a sweet-stall, I may write a book about us all…and it won’t be recollected in tranquility either, picking daffodils with Auntie Wordsworth. It’ll be recollected in fire, and blood. My blood.

Related Characters: Jimmy Porter (speaker), Alison Porter, Cliff Lewis, Helena Charles
Page Number: 53
Explanation and Analysis:

Jimmy is an interesting character because he embraces art and literature, yet sees most traditional literature as being feminized and weak-willed. Here, he tells Alison and Cliff that one day he'll write a book about his experiences, into which he'll pour his own blood and tears. The book, he insists, will be violent and energetic. He contrasts it with the works of the poet William Wordsworth, who wrote about nature, daffodils, and other supposedly "timid" topics. Jimmy sees himself as a potentially great, perhaps Modernist author, and yet he seems not to have the drive or the initiative to write a novel. He's too busy being angry with his friends and his wife.

Oh, don’t try and take his suffering away from him. He’d be lost without it.

Related Characters: Alison Porter (speaker), Jimmy Porter
Page Number: 54
Explanation and Analysis:

In this passage--maybe the truest line in the whole play--Alison interrupts Helena as she tries to comfort Jimmy. Helena sees that Jimmy is frustrated and angry with the world, and tries to offer him some encouragement. Alison tells Helena that Jimmy enjoys his own suffering; he's basically a masochist.

Jimmy's love for pain and suffering might seem counterintuitive, and yet it fits with everything we know about him. Jimmy a malcontent: he takes out his rage and hatred on his wife and friends, but never seems to do anything to change his life in any concrete way. Jimmy is so frightened of failure that he'd prefer to be unhappy and blame others for his unhappiness than to shoot for success and potentially fail. Thus, he'd rather blame his wife for emasculating him than try to write a book about his life. For Jimmy, there's a kind of comfort in believing that the world is out to get him, because such a belief absolves Jimmy of any real responsibility for his own suffering (whenever anything bad happens to him, it's Alison's fault, or someone else's).

Anyone who’s never watched somebody die is suffering from a pretty bad case of virginity.

Related Characters: Jimmy Porter (speaker), Helena Charles
Page Number: 57
Explanation and Analysis:

Jimmy remembers his experiences during the era of Spanish Civil War (i.e., late 1930s), during which he was only a child. Jimmy's father saw some horrible carnage (he was even wounded in battle, and back at home, Jimmy watched him die slowly). Jimmy is talking to Helena about his life experiences, and Helena is forced to admit that she's never actually seen someone die. Jimmy characterizes Helena's ignorance of death as a form of "virginity."

The passage should remind us of Jimmy's remarks about Alison's (literal) virginity: he seemed to prefer a wife who'd already had sex to one who was a virgin. Here, Jimmy seems to savor the fact that Helena is a virgin to death, because it confirms that Jimmy is the toughest, most mature person in the room. There's an undeniable sexual side to Jimmy's self-touting; he seems sexually attracted to Helena, even as he calls her a mere "virgin" to real life. One could even say that Jimmy's sexual attraction to women is dependent upon his feeling of having more toughness and life experience than they do. As much as he complains about Alison's upper-class roots, he wouldn't dream of marrying anyone who was more working-class and experienced than he.

I rage, and shout my head off, and everyone thinks “poor chap!” or “what an objectionable young man!” But that girl there can twist your arm off with her silence.

Related Characters: Jimmy Porter (speaker), Alison Porter
Page Number: 59
Explanation and Analysis:

In this passage, Jimmy tries to find the words to express his feelings. He's full of hatred and rage, but can't explain what, exactly, he finds so hateful. Here, however, Jimmy explains that he can't stand the double-standard in his society. People pity him and condescend to him because he's angry al the time, and (implicitly) because he seems like a working-class figure. And yet Alison's passivity in the face of other people's suffering is accepted as a more "natural" kind of behavior. Jimmy argues that to be silent in the face of other people's suffering (whether those other people are the working classes in general, starving people around the world, etc.) is a truly insane reaction.

The passage is one of the best pieces of evidence for the idea that Osborne, even as he mocks his protagonist, doesn't entirely disagree with him. Jimmy is an abusive man, and yet he seems to understand the problems of the world more clearly than Alison does: he refuses to turn his back on other people's poverty, alienation, etc. The passage is also a great example of why John Osborne was known as one of the "Angry Young Men" of England during the 1960s: his writings used angry, unbalanced protagonists to critique what he saw as the injustices of the modern world.

Where I come from, we’re used to brawling and excitement. Perhaps I even enjoy being in the thick of it. I love these two people very much. And I pity all of us.

Related Characters: Cliff Lewis (speaker), Jimmy Porter, Alison Porter
Page Number: 60
Explanation and Analysis:

In this passage, Helena tries to understand how Alison and Jimmy's relationship can survive while they're constantly fighting with each other so vehemently. Cliff, who's living in the house as well, explains to Helena that Jimmy and Alison manage to get along in part because they fight so much, not in spite of it. Cliff explains that Helena's confusion about Alison's fighting is the result of her upper-class background: in a working-class family, like the one Cliff grew up in, people fought all the time to solve their problems. While such a way of life might seem violent and unorthodox, it's probably more emotionally honest than the other extreme, the one seen more commonly in upper-class environments; i.e., a way of life in which people never have fights of any kind, but just swallow their anger and resentment.

Act 2, Scene 2 Quotes

I always believed that people married each other because they were in love. That always seemed a good enough reason to me. But apparently, that’s too simple for young people nowadays. They have to talk about challenges and revenge. I just can’t believe that love between men and women is really like that.

Related Characters: Colonel Redfern (speaker), Jimmy Porter, Alison Porter
Page Number: 67
Explanation and Analysis:

In this passage, Colonel Redfern tries to understand what goes on between Alison and jimmy. Alison insists that she continues to love Jimmy, and Jimmy says the same about Alison--and yet from the Colonel's perspective, they just fight all the time, and aren't compatible in the slightest. Alison explains that their fighting is a part of their love: it's because they love one another that they're so good at getting under one another's "skin." Furthermore, Alison's love for Jimmy is partly the result of her desire to rebel against her parents and her own background; love, by itself, is too simple to explain why she's married to Jimmy.

The Colonel's reaction to Alison is fascinating: instead of denouncing her for staying married to an angry man, he throws up his hands and admits he can't understand his daughter. He reminisces about the "good old days," in which people married for love and love alone (pretty strange to hear the elder character in a play talking  about marrying for love as a phenomenon of the past--usually it's the other way around). Colonel Redfern, one could say, is a stand-in for the audience itself (most people who saw this play would have been shocked by the idea of Alison's angry marriage to Jimmy). Redfern doesn't understand the marriage, but he comes to accept it.

You’re hurt because everything is changed. Jimmy is hurt because everything is the same. And neither of you can face it. Something’s gone wrong somewhere, hasn’t it?

Related Characters: Alison Porter (speaker), Jimmy Porter, Colonel Redfern
Page Number: 68
Explanation and Analysis:

Alison, who's usually quiet and noncommittal about her feelings, sums up the relationship between Jimmy and Colonel Redfern succinctly. Jimmy is angry because he sees his world as staying "the same"--nothing is changing for the better for the lower class--while the Colonel is sad because the world has changed so much since he was a young man--Britain is no longer a global power, and the "good old days" of colonialism and Edwardian manners are gone. Both the Colonel and Jimmy blame each other for the world's problems, and yet they're both the world's victims.

Alison's observations show that she's a good observer of human nature, and that, during her long periods of silence, she's listening very closely to her husband and father. Indeed, Jimmy seems furious with life for being static: he feels emasculated and isolated by the sameness and homogeneity of his life. Colonel Redfern, on the other hand, is nostalgic for his youthful days in India--days that he couldn't possibly recreate now that India has fallen out of British control.

Act 3, Scene 1 Quotes

I suppose people of our generation aren’t able to die for good causes any longer. We had all that done for us, in the thirties and the forties, when we were still kids. There aren’t any good, brave causes left.

Related Characters: Jimmy Porter (speaker), Cliff Lewis
Page Number: 84
Explanation and Analysis:

In this famous passage, Jimmy insists that there are no more "good, brave causes"--all the great political causes of the world were fought for in the 30s and 40s, leaving the young men of the 50s and 60s to a dull, morally ambiguous life. Jimmy, who's obsessed with fighting and "real life," wishes that he could fight for a pure political cause of some kind, but no such cause presents itself to him. His father fought in the Spanish Civil War, and Jimmy has spent the succeeding years wishing he could fight in a war of his own. Jimmy is so irrationally nostalgic that he pines for danger and violence, if only to break up the suffocating sameness of his life with Alison (and now Helena).

As many critics have pointed out, however, Jimmy has made up his mind much too soon--in the years immediately after Osborne's play was released, "angry young men" could fight for or against all sorts of great causes, such as nuclear disarmament, the war in Indochina, civil rights for women and minorities, etc. Jimmy isn't unfulfilled--he's just not looking hard enough.

Act 3, Scene 2 Quotes

The heaviest, strongest creatures in this world seem to be the loneliest.

Related Characters: Jimmy Porter (speaker)
Page Number: 94
Explanation and Analysis:

In this passage, Jimmy Porter has just finished berating Alison for not sending flowers to Mrs. Tanner, who's had a fatal stroke. As he sees it, humans should reach out to one another in times of crisis, no matter what class they belong to. And yet in the passage, Jimmy sums up his position by talking about himself, not Mrs. Tanner or Alison. Strong creatures, he claims, are always the loneliest.

The point of Jimmy's speech seems to be that Jimmy himself, in trying to change Alison and change the way people behave around each other, has actually cut himself off from other people: because he's so pugnacious and so committed to his ideals, he's almost impossible to get along with. As always, Jimmy is both partly right and maddeningly self-absorbed. He's probably correct to say that Alison should have sent flowers to Mrs. Tanner, but he concludes his argument with the arrogant point that he, a strong, heavy creature, has the noble burden of being alone. Jimmy loves the idea of being alone: being alone is proof that he's a real iconoclast, not just a "sheep," like Alison. There's an unmistakable machismo in this quote, summing up Jimmy's worldview.

I don’t want to be neutral, I don’t want to be a saint. I want to be a lost cause. I want to be corrupt and futile!

Related Characters: Alison Porter (speaker), Jimmy Porter
Page Number: 95
Explanation and Analysis:

In this climactic passage, Alison finally shows some of the emotion that Jimmy has been craving throughout the play. For the most part, Alison has been shy and closeted, at least around her husband. But here, she shocks everyone, including Jimmy, with a sudden, terrifying emotional outburst. She screams that she has no desire to be neutral and more. Instead, she wants to express her emotions and her visceral humanity, just as Jimmy does. Because Alison has recently had a miscarriage, she now finds the despair and the anger to scream out at the universe. Like Jimmy, she's come to see the world as an unfair, painful place--and just like Jimmy, she wants to strike out against the word, even if she knows that her attempts will always be "futile."

Jimmy has spent the entire play trying to get Alison to show some emotion--i..e, be sincere with him--and now that she's finally shown emotion, Jimmy can barely look at her. (It's characteristic of Jimmy that he gets exactly what he wishes for, and then realizes it's not what he thought it would be.) The passage represents, in short, a moment of catharsis for Jimmy and Alison: a sudden outburst of pain, grief, and fury. While Alison's cathartic outburst might be painful, it's also reparative. Because she's let out her long-repressed emotions, Alison can hopefully come to live her life more honestly now. The main ambiguity of the ending, however, is whether Alison and Jimmy have really changed their lives, or if Alison's outburst is just part of an endless cycle of repression, catharsis, and more repression.

Get the entire Look Back in Anger LitChart as a printable PDF.
Look back in anger.pdf.medium

Jimmy Porter Character Timeline in Look Back in Anger

The timeline below shows where the character Jimmy Porter appears in Look Back in Anger. The colored dots and icons indicate which themes are associated with that appearance.
Act 1
Class and Education Theme Icon
Disillusionment and Nostalgia Theme Icon
Love and Innocence Theme Icon
...apartment at the top of an old Victorian house. When the curtain rises, we see Jimmy Porter and Cliff Lewis, seated on opposite sides of he stage and reading newspapers. There... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
In the first stage direction, Osborne describes Jimmy as “a disconcerting mixture of sincerity and cheerful malice” and says, “to be as vehement... (full context)
Class and Education Theme Icon
Disillusionment and Nostalgia Theme Icon
Gender Theme Icon
Jimmy complains that the Sunday papers are boring, and also that they make him “feel ignorant.”... (full context)
Suffering and Anger vs. Complacency Theme Icon
Jimmy decides that he’s hungry, to which Cliff replies that he’ll get fat. Jimmy denies this:... (full context)
Class and Education Theme Icon
Gender Theme Icon
Love and Innocence Theme Icon
...to do. Cliff “kisses her hand and puts her fingers in his mouth.” He tells Jimmy that Alison is a beautiful girl. Jimmy responds, “that’s what they all tell me,” and... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Disillusionment and Nostalgia Theme Icon
...by Bishop Bromley, who said that Christians should aid the manufacture of the hydrogen bomb. Jimmy asks if this moves Alison, and she says that it does. He claims surprise. Reading... (full context)
Suffering and Anger vs. Complacency Theme Icon
Gender Theme Icon
Love and Innocence Theme Icon
Jimmy asks Alison to make some tea. She looks up at him, and asks if he... (full context)
Suffering and Anger vs. Complacency Theme Icon
Disillusionment and Nostalgia Theme Icon
Jimmy says that he hates Sundays. “Always the same ritual. Reading the papers, drinking tea, ironing…Our... (full context)
Class and Education Theme Icon
Disillusionment and Nostalgia Theme Icon
Cliff brings the conversation back to newspapers. Jimmy summarizes another article that he says was written by a man like Colonel Redfern “casting... (full context)
...and asks what he should do. She says that he should take his trousers off. Jimmy agrees. Alison says she can iron them now. Cliff agrees, and starts taking off his... (full context)
Disillusionment and Nostalgia Theme Icon
Love and Innocence Theme Icon
Jimmy begins to scan the Radio Times for a concert, and finds one by Vaughan Williams.... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Gender Theme Icon
Love and Innocence Theme Icon
Neither Cliff nor Alison responds to his tirade, even when Jimmy gives Cliff a kick. Jimmy changes the subject, asking whether Alison’s friend Webster is coming... (full context)
Suffering and Anger vs. Complacency Theme Icon
Disillusionment and Nostalgia Theme Icon
Gender Theme Icon
Love and Innocence Theme Icon
Jimmy begins to say that he hasn’t felt that enthusiasm since—and Alison interrupts him, saying that... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
...that he’s sleepy, and doesn’t feel like going to work at the sweet stall tomorrow. Jimmy changes the subject back to Madeline—“she had more animation in her little finger than you... (full context)
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
Alison asks Jimmy, “very quietly and earnestly,” not to go on. He turns from the window to look... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
Cliff tries to get Jimmy to back off from the tirade, but Jimmy says that he couldn’t provoke Alison anyways,... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Disillusionment and Nostalgia Theme Icon
Jimmy turns his attack to Alison’s brother Nigel, saying that he “is just about as vague... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
Alison continues ironing—this is the only sound in the room. “Cliff stares at the floor.” Jimmy recovers from his tirade by again looking out the window. It starts to rain. Then... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
Jimmy says that he looked up the word pusillanimous recently, and found that it’s a perfect... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
Jimmy picks up a dictionary. He tells Cliff that if he’s pronouncing pusillanimous wrong, Alison will... (full context)
Suffering and Anger vs. Complacency Theme Icon
Disillusionment and Nostalgia Theme Icon
Love and Innocence Theme Icon
Jimmy is watching Alison from across the room. Her “face seems to contort, and it looks... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
...arms round her waist, and kisses her. She smiles, and gives his nose a tug. Jimmy watches from his chair.” He doesn’t react. Alison suggests to Cliff that they have a... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Gender Theme Icon
Love and Innocence Theme Icon
Cliff returns to the newspapers, and Alison to her ironing. After a while, Jimmy snaps at both of them for making too much noise. His foot twitches. Then he... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
The church bells begin to ring outside. Jimmy yells out the window at them to stop. Alison tells him to be quiet—she doesn’t... (full context)
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
Cliff, fooling around, says to Jimmy, “well, shall we dance?” He begins to push Jimmy around the apartment floor, but Jimmy... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
Jimmy and Cliff begin to fight. They fall onto the floor in the center of the... (full context)
Suffering and Anger vs. Complacency Theme Icon
Disillusionment and Nostalgia Theme Icon
Love and Innocence Theme Icon
...As he walks away, Alison says that she’s forgotten what it’s like to feel young. Jimmy said something similar the other day, and Alison pretended not to listen to him, in... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
Cliff suggests that Alison tell Jimmy now —“after all, he does love you. You don’t need me to tell you that.”... (full context)
Suffering and Anger vs. Complacency Theme Icon
Gender Theme Icon
Love and Innocence Theme Icon
Alison tells Cliff, to his surprise, that she and Jimmy didn’t sleep together before marrying. Once they were married, Jimmy taunted Alison for being a... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Alison gets up, holding the folded clothes. She asks Cliff whether he thinks Jimmy is right about “everything.” Cliff responds that he and Jimmy are both working people, and... (full context)
Suffering and Anger vs. Complacency Theme Icon
Gender Theme Icon
Love and Innocence Theme Icon
Alison asks if she should tell Jimmy about the baby. Cliff puts his arm around her and says that it’ll be all... (full context)
Class and Education Theme Icon
Love and Innocence Theme Icon
Cliff says he doesn’t know why the hell Alison married Jimmy, and Jimmy asks if the two of them would have been better off together. Cliff... (full context)
Class and Education Theme Icon
Cliff says that he thinks Alison is beautiful, and that Jimmy does too, but is “too much of a pig to say so.” Jimmy says that... (full context)
Class and Education Theme Icon
Love and Innocence Theme Icon
Alison goes to look for one in her handbag. Jimmy, “trying to re-establish himself,” begins to tease Cliff, who is getting “more like a little... (full context)
Class and Education Theme Icon
Gender Theme Icon
Alison discovers that she doesn’t have any more cigarettes, and Jimmy yells to Cliff (who is “dragging Jimmy along the floor by his feet”) to go... (full context)
Class and Education Theme Icon
Love and Innocence Theme Icon
Jimmy stands beside Alison, who is still rummaging in her purse. “She becomes aware of his... (full context)
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
Jimmy says that he can hardly get through a moment without feeling attracted to Alison, and... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Gender Theme Icon
Love and Innocence Theme Icon
Jimmy puts his head against Alison’s stomach, but she is “still on guard a little.” Then... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Gender Theme Icon
Love and Innocence Theme Icon
Jimmy asks what Cliff meant by saying “don’t forget,” when he left the room. Alison says... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
Alison is worried by “this threat of a different mood,” but Jimmy goes on to call her “a beautiful, great-eyed squirrel.” Alison “nods brightly, relieved.” Jimmy begins... (full context)
Class and Education Theme Icon
Love and Innocence Theme Icon
Jimmy asks why she thinks she’s happy, and Alison says, “everything just seems all right suddenly.”... (full context)
Class and Education Theme Icon
Gender Theme Icon
Love and Innocence Theme Icon
Jimmy’s mood has changed. Cliff jokes that Jimmy was supposed to makes some tea, and when... (full context)
Class and Education Theme Icon
Disillusionment and Nostalgia Theme Icon
Gender Theme Icon
Jimmy remarks that just a few minutes ago, things seemed to be going well. Quoting Shakespeare,... (full context)
Class and Education Theme Icon
Gender Theme Icon
Jimmy says that Webster, who he thinks is gay, is one example. He believes that Webster... (full context)
Disillusionment and Nostalgia Theme Icon
Gender Theme Icon
Love and Innocence Theme Icon
As he speaks, Jimmy has been picking through Alison’s handbag. Cliff asks him if that isn’t Alison’s private property,... (full context)
Class and Education Theme Icon
Gender Theme Icon
Jimmy asks Alison what Helena wanted. Alison says that Helena is coming over. Helena is working... (full context)
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
Jimmy says to Alison that he hopes she will one day learn suffering. He wants something... (full context)
Suffering and Anger vs. Complacency Theme Icon
Disillusionment and Nostalgia Theme Icon
Gender Theme Icon
Love and Innocence Theme Icon
Jimmy says, ostensibly to Cliff but also partly to himself and Alison, that he has “never... (full context)
Act 2, Scene 1
Suffering and Anger vs. Complacency Theme Icon
...the stove pouring boiling water into a teapot. She wears a slip and no shoes. Jimmy plays the trumpet from across the hall. The table in the center of the room... (full context)
Class and Education Theme Icon
Gender Theme Icon
...but nevertheless expects to receive respect from all people, including other women like Alison. “In Jimmy,” the stage direction says, Helena “arouses all the rabble-rousing instincts of his spirit.” She has... (full context)
Suffering and Anger vs. Complacency Theme Icon
...have changed now that she’s not on her own. Alison asks if Helena has told Jimmy that tea is ready. She says that she knocked on the door of Cliff’s room,... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
Helena asks Alison if Jimmy drinks. Alison, “rather startled,” says that he isn’t an alcoholic. There is a pause while... (full context)
Class and Education Theme Icon
Gender Theme Icon
Love and Innocence Theme Icon
...to be happening as much since she’s around. “Perhaps he finds my presence inhibiting—even if Jimmy’s isn’t.” Alison says that she and Cliff are just “fond of each other,” but Helena... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Gender Theme Icon
...some other pleasure.” Helena says it’s hard to believe they’re so lazy, and asks whether Jimmy approves. Alison says, “it’s what he would call a question of allegiances.” Then she explains,... (full context)
Class and Education Theme Icon
Love and Innocence Theme Icon
...They get along well because of Cliff’s kind temperament. It was different with Hugh Tanner, Jimmy’s childhood friend (Hugh’s mum helped Jimmy start his sweet stall). The couple moved in with... (full context)
Class and Education Theme Icon
Disillusionment and Nostalgia Theme Icon
Alison says that she met Hugh on her wedding night and disliked him immediately. Jimmy was “pathetically anxious” that his friend and his wife would get along. They all got... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
...Alison says that her mother had taken stewardship of Alison’s wealth after the marriage. Instead, Jimmy and Hugh started using Alison’s connections to invite themselves to parties, hoping to find money... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Disillusionment and Nostalgia Theme Icon
Love and Innocence Theme Icon
Helena says that she can’t understand why Alison acted that way—or why she married Jimmy. Alison says that “there must be about six different answers.” For one thing, her family,... (full context)
Suffering and Anger vs. Complacency Theme Icon
Disillusionment and Nostalgia Theme Icon
...Hugh. Alison says that her relationship with him only got worse, and that Hugh and Jimmy even disrupted some of Nigel’s political events. Then Hugh, who was writing a novel, decided... (full context)
Class and Education Theme Icon
Alison suspects that Hugh’s mum and Jimmy both blame her for the quarrel, and for Hugh’s leaving the country. She doesn’t dislike... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
Helena asks why Alison hasn’t told Jimmy about the baby, and Alison assures her that it couldn’t be another man’s child—“I’ve never... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Helena grabs Alison’s arm. She says that Alison must fight, or escape—otherwise, Jimmy will kill her. Cliff enters. He asks if the tea is ready. Alison says it... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Jimmy says that “anyone who doesn’t like real jazz, hasn’t any feeling either for music or... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Then Jimmy launches into another attack on Alison’s friends, while Cliff and Helena eat their meal and... (full context)
Class and Education Theme Icon
Jimmy says he’s thought of a new song, one that is from the perspective of a... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
Helena asks why Jimmy is being so “unpleasant,” “offensive,” and “tiresome.” Jimmy “roars with laughter,” and teases Helena for... (full context)
Class and Education Theme Icon
Disillusionment and Nostalgia Theme Icon
Love and Innocence Theme Icon
Then Jimmy lets fly an attack against Helena, saying that this is a cheap trick to win... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Gender Theme Icon
Jimmy says that he knew from the moment he met Alison’s mother that she would stop... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Disillusionment and Nostalgia Theme Icon
Jimmy gives an example of Alison’s mother’s dirty tactics of motherly protection. She jumped to terrible... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Gender Theme Icon
Jimmy asks Alison if Helena has really won her back. Helena cuts in—“You’ve no right to... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Disillusionment and Nostalgia Theme Icon
Gender Theme Icon
Jimmy smiles at Alison, who is still at her dressing table, and “hasn’t broken.” Helena is... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Disillusionment and Nostalgia Theme Icon
...and says that a little thing like going to church doesn’t merit all this fuss. Jimmy says that if she can’t understand that, she isn’t so “clever” after all. Helena says... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Jimmy asks why Helena is still around, given that her play has already finished up. Helena... (full context)
Class and Education Theme Icon
Disillusionment and Nostalgia Theme Icon
Love and Innocence Theme Icon
Jimmy says that on that day, they were in a hurry to marry—it seems hard to... (full context)
Class and Education Theme Icon
Disillusionment and Nostalgia Theme Icon
Jimmy asks Alison if she’s going to be swayed by Helena. Her friend, he says, is... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Disillusionment and Nostalgia Theme Icon
Gender Theme Icon
Helena says, calmly, that if Jimmy weren’t so far away, she’d have slapped him. Jimmy asks Helena if she has ever... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Disillusionment and Nostalgia Theme Icon
Love and Innocence Theme Icon
Jimmy says that Helena hasn’t answered his question, and she replies that she has never seen... (full context)
Suffering and Anger vs. Complacency Theme Icon
His mother may have pitied his father, Jimmy says—but she didn’t care as he did. “At the end of twelve months,” he says,... (full context)
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
Without looking at Alison, Jimmy asks why she lets people do these things to him, when, he says, “I’ve given... (full context)
Suffering and Anger vs. Complacency Theme Icon
Disillusionment and Nostalgia Theme Icon
Gender Theme Icon
Jimmy is “hardly able to get his words out.” “My heart is so full, I feel... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Jimmy says that Alison might want to return to him someday. When that happens, he says,... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Gender Theme Icon
Love and Innocence Theme Icon
...here.” Helena asks what’s wrong with him. Cliff says that he may not agree with Jimmy, but that doesn’t mean that he’s on Helena’s side. Her presence has made things worse... (full context)
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
...Redfern will arrive around “tea-time” the next day. She hopes that Alison’s departure will cause Jimmy to “come to his senses, and face up to things.” (full context)
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
...phone. Helena says it was “Sister somebody.” Alison speculates that it was a hospital, as Jimmy is unlikely to know anyone in a convent. She says they should get going. Jimmy... (full context)
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
To Alison, Jimmy says that he remembers Hugh’s mum’s reaction to their wedding photo. She rhapsodized over how... (full context)
Suffering and Anger vs. Complacency Theme Icon
Alison and Helena exit. Jimmy “looks about him unbelievingly,” rising to lean against the dresser. The teddy bear is nearby.... (full context)
Act 2, Scene 2
Disillusionment and Nostalgia Theme Icon
...bewildered by it.” He says, to both himself and Alison, that this is beyond him. Jimmy “speaks a different language from any of us.” He asks where Jimmy has gone. (full context)
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
Alison says that Jimmy is seeing Hugh’s mum, because she’s had a stroke and her son is away. She... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
...to be occupying himself with.” He’s never been able to understand it, and thinks that Jimmy is probably “quite clever in his way.” Alison says, without interest, that Jimmy has tried... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
...and the Colonel interprets this to mean that she was “afraid of being disloyal” to Jimmy. Alison laughs at this, saying that Jimmy thought she was disloyal to write to her... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
...himself, and the Colonel agrees that everyone involved deserves some blame. Yet he says that Jimmy is “honest enough” and that Alison’s mother “acted in good faith as well.” Of Alison... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Alison tells the Colonel what Jimmy said about her mother and the worms. The Colonel responds with a mild “I see,”... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Disillusionment and Nostalgia Theme Icon
Love and Innocence Theme Icon
...“revenge.” Colonel Redfern looks baffled. Alison confirms that “some people do actually marry for revenge.” Jimmy, she says, complicated her life by throwing down the “gauntlet.” Colonel Redfern says, “your husband... (full context)
Suffering and Anger vs. Complacency Theme Icon
Disillusionment and Nostalgia Theme Icon
Colonel Redfern says that Jimmy might be right—he might be a relic of the Edwardian past. He left England for... (full context)
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
Cliff says that Jimmy will return soon, and asks Alison to wait for him. She refuses, and Helena says... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
...make herself some. Cliff asks if she’s staying, and she says yes. She asks what Jimmy will do when he finds out, and wonders if he might look up Madeline. Cliff... (full context)
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
Helena asks if he’s staying. Cliff says that he’s leaving, in case Jimmy is about to come in from the London train. He’s had a hard day, and... (full context)
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
Jimmy reads Alison’s letter: “I need peace so desperately, and, at the moment, I am willing... (full context)
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
Helena says that Jimmy should stop being so selfish, and tells him that Alison is going to have a... (full context)
Act 3, Scene 1
Disillusionment and Nostalgia Theme Icon
Love and Innocence Theme Icon
...is once again a Sunday. Helena’s belongings have replaced Alison’s in the apartment. Cliff and Jimmy sit in armchairs reading the paper, as they did in Act 1. Helena is ironing.... (full context)
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
Jimmy asks if his pipe smoke bothers Helena, and she says that she likes it. Jimmy... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Jimmy says that he suspects “somebody’s been sticking pins into my wax image for years.” Then... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
The “whole point of a sacrifice,” Jimmy says, “is that you give up something you never really wanted in the first place.”... (full context)
Class and Education Theme Icon
Disillusionment and Nostalgia Theme Icon
Love and Innocence Theme Icon
Cliff says that he has just read that, and Jimmy says, “I think you’re actually acquiring yourself a curiosity, my boy.” He summarizes some gossipy... (full context)
Suffering and Anger vs. Complacency Theme Icon
Gender Theme Icon
Love and Innocence Theme Icon
Then Jimmy asks if he saw Helena talking to a reverend the other day. She says that... (full context)
Class and Education Theme Icon
Gender Theme Icon
Jimmy changes the subject to a song that he made up that day, then suggests some... (full context)
Gender Theme Icon
Cliff and Jimmy begin to fight and roll on the floor, and Jimmy begins to gain the upper... (full context)
Gender Theme Icon
Love and Innocence Theme Icon
Jimmy “flops into his armchair,” and says that Cliff looks like “Marlon Brando” (in A Streetcar... (full context)
Class and Education Theme Icon
Gender Theme Icon
Cliff goes on to say that the sweet stall suits Jimmy because he is “highly educated,” but he needs something “a bit better.” The other thing,... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Gender Theme Icon
Love and Innocence Theme Icon
Jimmy suggests that Helena find Cliff a rich friend, because that’s what he wants. Cliff says,... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Disillusionment and Nostalgia Theme Icon
Gender Theme Icon
Love and Innocence Theme Icon
Jimmy asks, “why, why, why, why do we let these women bleed us to death?” He... (full context)
Suffering and Anger vs. Complacency Theme Icon
Gender Theme Icon
Love and Innocence Theme Icon
...dry it in his room. Cliff exits. Helena crosses back to the ironing board, and Jimmy says that he’s “sick” of seeing her ironing. He tells her to get “glammed up”... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
Jimmy says that Cliff is leaving, and Helena says that he’s already told her. She says... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
Jimmy says that he’ll close the sweet stall, and they’ll leave together. Helena agrees. He says... (full context)
Act 3, Scene 2
Suffering and Anger vs. Complacency Theme Icon
Disillusionment and Nostalgia Theme Icon
Love and Innocence Theme Icon
The scene opens just a few minutes later. Jimmy is playing his jazz trumpet across the hall. Helena is standing at the table pouring... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
...to apologize. Alison protests that it was “unfair and cruel” to return. She has adopted Jimmy’s sense of dramatic timing, she says, but it is in “bad taste.” She says that... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
...protests, “Helena, don’t bring out the book of rules,” and Helena says that Alison is Jimmy’s wife, and that she has never forgotten her friend’s “right” to him. Alison says that... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Gender Theme Icon
...that she regrets coming here, and that she didn’t intend to break up Helena and Jimmy. Helena says that she believes that, but that it makes things seem even worse. Alison... (full context)
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
Alison says that Helena wrote that she loved Jimmy, and Helena confirms this. Alison says that she couldn’t believe this at first, but then... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Disillusionment and Nostalgia Theme Icon
Helena says that she has discovered “what is wrong with Jimmy…He was born out of his time.” Alison agrees. Helena says that there’s no place for... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
Helena says that she sees now that it’s “over” between her and Jimmy. Alison’s presence reminds her how wrong the situation is. She says, “he wants one world... (full context)
Class and Education Theme Icon
Gender Theme Icon
...isn’t “logical,” it’s “right.” Offstage, “the trumpet gets louder.” Alison says that Helena shouldn’t leave Jimmy, because he needs her. He wants something specific from women, she says—a “cross between a... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
The trumpet eventually stops, and Helena calls Jimmy to speak with them. Jimmy asks if Alison is still there, and Helena says that... (full context)
Suffering and Anger vs. Complacency Theme Icon
Alison replies that it was her first loss. Jimmy looks at her, then looks back at Helena. She crosses to him, and says that... (full context)
Suffering and Anger vs. Complacency Theme Icon
Disillusionment and Nostalgia Theme Icon
Helena says that she’ll get Alison a hotel room. Jimmy says that he always knew that Helena would eventually leave him when the going got... (full context)
Suffering and Anger vs. Complacency Theme Icon
Disillusionment and Nostalgia Theme Icon
Alison says that she’s sorry, and Jimmy says that she never sent any flowers to Hugh’s mum. She starts to move, but... (full context)
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
Jimmy asks if Alison remembers the first night they saw each other. He said that she... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Love and Innocence Theme Icon
...saint. I want to be a lost cause. I want to be corrupt and futile!” Jimmy watches “helplessly.” She says that the “human being inside [her] body” has gone. She had... (full context)
Class and Education Theme Icon
Suffering and Anger vs. Complacency Theme Icon
Disillusionment and Nostalgia Theme Icon
Love and Innocence Theme Icon
Jimmy says “with a kind of mocking, tender irony,” that they’ll go be happy in their... (full context)