Downfall of the Governess in The Turn of the Screw by Henry James In the governess's insane pseudo-reality and through her chilling behavior, she managed to bring downfall to Flora and Miles, the children of Bly. With compulsively obsessive actions, irrational assumptions, and demented hallucinations, the governess perceived ghosts bearing evil intentions were attempting to corrupt and destroy the children she had taken the role of care for. In reality, the governess herself brought tragedy to the children through her own selfishness and insanity. From the first interactions with the young children, the governess's infatuation with their uncle, her employer, eventually proved to be her own failure in every fashion. In talk with the head maid, Ms. Grose, the governess explained her meeting with her employer and how she had fallen in love with him on their first meeting. Ms. Grose then began to explain that that was the nature of the her employer, to draw a women he could entrust his estate to, and that the governess was not the only one so taken by him to leave the infatuated governess without further communication. In restless sleep and longing for contact with those outside of Bly-- particularly her employer-- the governess placed hope in chance meetings of random individuals. In her walk in the yard, the governess began to wish for the sight of her employer who she was still madly in love with. The governess's desire to see him and receive his reassuring approval conceived the ghost of what was later revealed to be Peter Quint she believed she had seen. Later in her climax of interaction with her ghosts, the governess is afraid that the master will come home, for she is fearful of what he will think of her. ... ... middle of paper ... ...d in the governess's eyes. After feeling she had lost Flora to the ghost, when in reality the governess had scared the child to death, Miles still shown to be a ray of hope for the demented governess. She refused to leave him alone and began to become angry and suspicious of his corruption when he would ask of his desire for schooling. In the governess's last attempt to consume the children for herself, she sends Ms. Grose away with the sickly Flora and keeps Miles with her at Bly. After her last vision of Quint and with Miles dilapidated in her ineludable arms, the governess frightens Miles so that he collapses and dies, by the governess's conniving will, and to her own bane. Although the governess seemed to have good intentions, her root of mind was self-serving and deceptive. Works Cited: James, Henry. "The Turn of the Screw." Esch and Warren 1-85.
The main character, the Governess, is the perfect example of a morally ambiguous character. It is impossible to label her as purely good or evil, and much debate of this novel is on the trustworthiness of her narration. The Governess is a twenty year old daughter of a country parson who accepted the job of caretaker of two children. She's something of a romantic, being swept off her feet by her employer and viewing her job as a kind of calling. However, behind the innocent young woman, there are two ways of viewing her character. Some defend her as a sane heroine, while others claim she is an insane anti-hero...
In conclusion, it is not the ghosts, as the governess suspected, that are corrupting the children, but the governess herself, through her continually worsening hysteria that is corrupting the children. Both Peter Quint and Miss Jessel are not real ghosts that have the peculiar habit of appearing before the governess and the governess alone but they are merely the signs of the fragmenting mental state of the governess.
As humans, we can’t help but to jump to conclusions, but the governess’s assumptions are too misguided and are taken too far without substantial proof. When she first arrives at Bly, she automatically infers that Ms. Grose, although not showing any hint of it, is relieved that the governess is there and simply “wish[es] not to show it” (7). This could be the case, or, as it would seem to any sane person, Ms. Grose could just be unmoved by the governess’s arrival. Her second assumption with Ms. Grose is when they agree on one thing and the governess assumes that “on every question [they should] be quite at one” (9). Some people can hope that a person may have similar ideas to them, but they wouldn’t expect to agree on everything all the time. People understand that we all have different views, but obviously the governess does not. Then, the governess goes on to guess that Miles got kicked out of school because “he’s an injury to others” (11). She has no specific proof that shows he was kicked out for any reason but she is quick to make the inference. She hasn’t talked to the school, the uncle, or even Miles himself to find out what happened, but instead goes along with her own imagination. She also makes many assumptions about the ghost when she hasn’t even been talking to them. She deduces the ghost of Peter Quint “was looking for Miles” but she only had a feeling to base that off of
A series of strange occurrences take place at Bly causing the governess and the reader to question her sanity. Bly, located in Essex, England, can be looked upon as a reputable location for ghost sightings because their have been nearly 1,000 reports of ghost sightings in the UK just in the past 25 years. This gives insight that the governess could possibly be sane and does in fact see ghosts. The governess is complete sane because she experiences supernatural presences on the watchtower, at the lake, and in Miles’ room.
The governess sees a woman on the other side of the lake and jumps to the conclusion that Flora has seen her and is choosing to act like she didn’t. The child was playing with a boat and had her back turned to the lake. Why would she think that she had to have seen her? There is no proof and does not even ask the child if she saw anything. She automatically assumes it’s Miss Jessel, the previous governess who died and that she is after Flora. She tells her story to Mrs. Grose drawing her in more deeply into believing her crazy hallucinations and Mrs. Grose asks her if she is sure its Miss Jessel and the governess replies “Then ask Flora—she’s sure!” and then immediately comes back to say “no, for God’s sake don’t! She’ll say she isn’t—she’ll lie” ((James 30). She comes to the conclusion that the child will lie about it when there is no reason to suspect that she would. Again, this is her jumping to conclusions, because there is not any proof to say that the children have seen or know anything about the ghost’s. “Thus a very odd relationship develops between the governess and the children, for the more she loves them and pities them and desires to save them, the more she begins to suspect them of treachery, until at last she is convinced that they, in league with the ghosts, are ingeniously tormenting her’ (Bontly 726). “The ghosts appear, thus, when the governess is both aware of the corruption which threatens the children and convinced of her own power to preserve them untainted” (Aswell 53). It’s the governess fabricating all this up in her mind again so she can play the part of
...Kingston opinion towards her aunt. It is evident that she no longer believes that her aunt is a kind individual, but believes that she is an evil spirit who does not mean her well.
...ess her husband just so happens to die. Her husband has spent most of his nights with the couple’s personal servant, Sarah, who has conceived the children of this man. Ms. Gaudet also dislikes the children solely for the fact that they remind her much of her husband. Manon is soon granted her freedom when her husband is murdered by African- American rebels.
mother and her husband after her mother’s death. But Eudora Welty deliberately includes a selfish character of Fay in the family to shows the important of the memories they have. Laurel discovers the significant meaning of the memories and past to her, yet she could not survive in staying fully attached to it.
With these two divergent personas that define the grandmother, I believe the ultimate success of this story relies greatly upon specific devices that O’Connor incorporates throughout the story; both irony and foreshadowing ultimately lead to a tale that results in an ironic twist of fate and also play heavily on the character development of the grandmother. The first sense of foreshadowing occurs when the grandmother states “[y]es and what would you do if this fellow, The Misfit, Caught you” (1042). A sense of gloom and an unavoidable meeting with the miscreant The Misfit seem all but inevitable. I am certain that O’Connor had true intent behind th...
The death of Miles (presuming he is dead and not just unconscious) has a number of possible interpretations, too - he could have died from his fall, from Quint's extended hand or from some other cause. However, it omits the most important possibility as shown in the book, as a consequence of the removal of the strangulation subtleties; that of whether the governess herself killed him. Without this, the book's stunningly powerful ending, whereby the reader is left reeling from shock and subsequently disbelief (as the other possibilities come to the surface, such as the line "and his little heart, dispossessed, had stopped• is referring to an emotional heart rather than a physical one, and that the child is, in fact, still alive) is disappointingly absent. Whilst the žlm's ending is effective, it lacks the sheer power of the book's žnale. As with many book-to-žlm adaptions, a desire to change the ending is the žlm's
“I was literally able to find joy in the extraordinary fight of heroism the occasion demanded of me (324).” After the governess’s first vision of a ghost, she is delighted that so that she could use this opportunity as a tool to rise as a hero. She also comments that she would thus we able to “succeed where many another girl may have failed (324).” By rising as such a hero, eventually she would obtain the notice and approval by her master.
One of the most critically discussed works in twentieth-century American literature, The Turn of the Screw has inspired a variety of critical interpretations since its publication in 1898. Until 1934, the book was considered a traditional ghost story. Edmund Wilson, however, soon challenged that view with his assertions that The Turn of the Screw is a psychological study of the unstable governess whose visions of ghosts are merely delusions. Wilson’s essay initiated a critical debate concerning the interpretation of the novel, which continues even today (Poupard 313). Speculation considering the truth of the events occurring in The Turn of the Screw depends greatly on the reader’s assessment of the reliability of the governess as a narrator. According to the “apparitionist” reader, the ghosts are real, the governess is reliable and of sound mind, and the children are corrupted by the ghosts. The “hallucinationist”, on the other hand, would claim the ghosts are illusions of the governess, who is an unreliable narrator, and possibly insane, and the children are not debased by the ghosts (Poupard 314). The purpose of this essay is to explore the “hallucinationist” view in order to support the assertion that the governess is an unreliable narrator. By examining the manner in which she guesses the unseen from the seen, traces the implication of things, and judges the whole piece by the pattern and so arrives at her conclusions, I will demonstrate that the governess is an unreliable narrator. From the beginning of The Turn of the Screw, the reader quickly becomes aware that the governess has an active imagination. Her very first night at Bly, for example, “[t]here had been a moment when [she] believed [she] recognized, faint and far, the cry of a child; there had been another when [she] found [herself] just consciously starting as at the passage, before [her] door, of a light footstep.” The governess herself acknowledges her active imagination in an early conversation with Mrs. Grose, when she discloses “how rather easily carried away” she is. Her need for visions and fantasies soon lead her to believe that apparitions are appearing to her. It is from this point on that she begins to guess the unseen from the seen, trace the implication of things, and judge the whole piece by the pattern. After the first appearance of Peter Quint, the governess begins to make infe...
The ghost, however, loses little time in effecting a more solid manifestation, as a young woman runaway whom Sethe shelters, and by whom she comes to be dominated. She gives up her job to be with Beloved and while the girl ghost thrives, she and Denver are reduced to near starvation. It is only when Denver dares to come out of her isolation and invoke the help of the rest of her black community that Beloved can be sent back to her grave and Sethe and Paul D. reunited.
...y the governess brings him up, but also to “all the rest.” These equivocal words refer to the initiation to sex by the governess, which is reinforced by Mile’s pointing out that she “knows what a boy wants!” After Mrs. Grose and Flora leave Bly, the two are once again alone, faced with a tyrannical and silent environment leaving the governess thinking they epitomize “some young couple…on their wedding night.”
The next unclear situation is when the Governess learns of Miles’ expulsion. This is one of the main mysteries within this story. The question, “What does it mean? The child’s dismissed his school,” is the only question that the reader has throughout the conversation between the Governess and Mrs. Grose (165). Even though their conversation does inform the reader that the school has “absolutely decline[d]” Miles, it doesn’t clarify what exactly he has done to be expelled (165). The Governess comments, “That he’s an injury to the others” and “to corrupt” are her own opinions as to why Miles was expelled (165, 166). Nevertheless, her comment does not help the reader in any way because the remark in and of itself is unclear. Her first comment suggests that Miles might be causing physical harm to other students but her second ...