Henry James' The Turn of the Screw
Peter G. Beidler informs us that there have been “hundreds” of analyses of Henry James’ spine-tingling novella, The Turn of the Screw (189). Norman Macleod suggests that James himself seems to be “an author intent on establishing a text that cannot be interpreted in a definite way” (Qtd in Beidler 198). Yet, the vast majority of analyses of The Turn of the Screw seem to revolve around two sub-themes: the reality of the ghosts and the death of Miles both of which are used to answer the question of the governess’s mental stability: is she a hero or a deranged lunatic? As Beidler points out, “It is an amazingly fine creepy, scary, soul-shuddering ghost story or, alternatively, it is an amazingly fine psychological case study of a neurotic young woman” (189). These two views of the governess seem to dominate the analytical world in terms of readings, typically being one view or the other and seldom being anything else. Unfortunately, most of the myriad readings focus only on the visible events as related by the governess. However, there is much that we are not told but that is pertinent to an accurate reading. Bruce Fleming argues that what we are not told in The Turn of the Screw is as important as what we are told (135). Wolfgang Iser suggests that there are “gaps” or holes within the sequence of the text. He further suggests that it is the reader’s responsibility to fill-in those gaps (Qtd in Beidler 226). The facts “not in evidence” are equal in importance to the information laid out before us. What happens “off-screen” or “off-stage” is just as important as what happens in front of the audience. Much of what we do not see and are not told impacts what we do see and are told so g...
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In Mary Downing Hahn’s “The Ghost of Crutchfield Hall,” Downing Hahn shows that sometimes the best of people who deserve the best end up getting the worst. In this companion book, you will see the difference between the two main characters; Sophia and Florence. You will also find out about the setting and what dangers can go on at Crutchfield Hall. You will see what something in the book symbolizes, including the cat and the mice, and the cold. I will show you Sophia’s mind and her thoughts, and what she is planning on doing, more about her death, and possibilities of what could’ve happened.
For my Lenten spiritual reading, I chose to read The Screwtape Letters by C.S. Lewis. This book is about a junior demon, named Wormwood, who is learning how to tempt his “patient” and capture his soul, and is mentored by his uncle, a senior demon named Screwtape. Throughout the novel, Screwtape instructs his nephew how to exploit vices and how to how to twist his values so he will stray from god and into damnation. I initially chose this book because I liked the author, and because I’ve been told the book was a good read.
The classic ghost story, the Turn of the Screw, is filled with loose-ends and ambiguity. Are the ghosts real or imagined? Is the Governess a heroine or anti-heroine? Are the children really as innocent as they seem? In the novel, Henry James rarely provides an in-depth character that the reader actually gets to know. From the young romantic governess, to the intelligent ten year old, James keeps his characters morally ambiguous in order to further the “Unsolved mystery” style.
The Turn of the Screw by Henry James continues to stir up an immense amount of controversy for such a short novel. Making a definite, educated decision on the actual truth considering the countless inquiries that develop while reading this story proves more difficult than winning a presidential election. That being understood, taking one particular side on any argument from a close reading of the story seems impossible, because the counter argument appears just as conceivable. Any side of the controversy remains equally disputable considerably supported by textual evidence from the novel. One issue which, like the rest, can be answered in more than one ways is why Mrs. Grose believes the Governess when she tells her about her ghost encounters. Usually one would second-guess such outlandish stories as the ones that the governess shares throughout the story, yet Mrs. Grose is very quick to believe our borderline-insane narrator. One of the explanations for such behavior could be the underlying fact that Mrs. Grose and the governess have a similar socio-economic background, therefore making them somewhat equals even if the governess does not always seem to think that way. This fact makes them susceptible to trusting and believing each other, and to believing that the ghosts are there, for the people that the ghosts are presenting used to be servants and therefore from a similar socio-economic background. To add on to that, Bruce Robbins proposes in his Marxist criticism of The Turn of the Screw that the idea of a ghost is synonymous to that of a servant, subconsciously making the two lower-class workers of Bly more vulnerable to believe that the ghosts were real; in other words, servants we...
The existence of the ghosts in The Turn of the Screw has always been in debate. Instead of directly discussing whether the ghosts are real or not, this essay will focus on the reliability of the governess, the narrator of the story. After making a close examination of her state of mind while she is at Bly, readers of The Turn of the Screw will have many more clues to ponder again and to decide to what extent the governess can be believed. While critics like Heilman argue that there are problems with the interpretation that the governess was psychopathic, textual evidence incorporated with scientific research show that the governess did go through a period of psychical disorder that caused her insomnia, out of which she created hallucinations.
...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.
The Turn of the Screw by Henry James has been the cause of many debates about whether or not the ghosts are real, or if this is a case of a woman with psychological disturbances causing her to fabricate the ghosts. The story is told in the first person narrative by the governess and is told only through her thoughts and perceptions, which makes it difficult to be certain that anything she says or sees is reliable. It starts out to be a simple ghost story, but as the story unfolds it becomes obvious that the governess has jumps to conclusions and makes wild assumptions without proof and that the supposed ghosts are products of her mental instability which was brought on by her love of her employer
In the passage from the opening of “The Pupil” by Henry James, the author’s portrayal of the three characters, Mrs. Moreen, Pemberton, and Morgan Moreen, and the odd relationships between them set the mood of the story. James’ satirical tone, indirect characterization, and third-person limited point of view depict these relationships as one where all are involved somehow to manipulate and use each other.
In "The Turn of the Screw" by Henry James, the main character, the governess, is so deluded and lonely that she will do anything necessary to reduce these horrifying feelings and not feel them. She decides that the way to do that is to possibly find love and instead she seems to have found a strange infatuation with her employer. But, sadly because she is located in a country house in Essex, such a longing is not possible to define. When the governess realizes this, she seems to apparently replace her unreciprocated feelings in the shape of ghostly spirits. It possibly is her way of "getting out." Without fully realizing this, the governess has chosen to be an unreliable narrator. Seeing the ghostly spirits which make appearances in this invisible relationship, allows her to feel as though she, herself was a part of an invisible relationship. But in all actuality, there is no relationship because the employer seems to keep ignoring her. When the governess becomes tired of these ghosts, she turns to other characters to fulfill her "goals."
... the Screw, it seems quite clear that the supernatural events the governess records were merely only real in her unstable mind and were the result of some internal issue. Her insanity drover her through a chain of assumptions and hallucinations. Nonetheless, the book altogether was very ambiguous. It is rare that one would find information explicitly confirmed or established. Because of the book’s obscurity, one can draw many conclusions and opinions about the book. From reading this book, the reader will find that establishing a right or wrong answer is unattainable. Although one may be able to support their theory thoroughly, it is ultimately based upon the matter of one’s interpretation. However, no matter how you interpret the story, the credibility of the governess’ narration, will still remain questionable due to the book‘s obscurity of events and dialogue.
I will argue that it is the narrative frames enclosing The Turn of The Screw that are largely responsible for the reception the book has received. They serve two main purposes; one, to build up an element of suspense and tension before the governess's account actually begins, thus heightening the potential for horror and terror in the text; and two, to cast uncertainty on the reliability of the narrators and hence to increase the ambiguity and scope for interpretation of the text. In fact, I will argue that these frames do not assist the reader in interpreting the action, but are actually used by James to deliberately confound the reader and foster an ambiguous atmosphere.
In his 1948 essay, Robert Heilman explores the suggestion that The Turn of the Screw is a symbolic representation of the conflict between good and evil. Heilman interprets the apparitions of Peter Quint and Miss Jessel as evil forces. He explains that the ghosts only appear to the governess because evil lurks in subtlety before it strikes. It is the duty of the governess to "detect and ward off evil." She must protect the children from the awful ghosts. The governess describes Miles and Flora as beautiful little cherubs whose only fault is their gentleness (James, 18-19). Heilman views the children's beauty as a "symbol of the spiritual perfection of which man is capable." Heilman explains the ghosts' attempts to reach the children by explaining that evil forces will always try to conquer and possess the human soul. Heilman continues to draw from the descriptions of Miles and Flora to support his theories. He points out that the two children are described as having an "angelic beauty" and a "positive fragrance of purity" (James 9, 13). The governess describes them as if they are perfect and beautiful in every way. This repeated vision of beauty, radiance, and innocence parallels the image of Eden. The house at Bly also resembles this image, "I remember the lawn and the bright flowers..." (James 7). The governess makes mention of the "golden sky" and of Flora's "hair of gold," which Heilman believes connects Bly and Flora with these images of golden hues (James 7, 9).
James, Henry, Deborah Esch and Jonathan Warren. The turn of the screw. New York: W.W. Norton, 1999. Print.
This book leaves it to the reader to determine whether the Governess is guilty or not, depending on its extremely ambiguous text. The Turn of the Screw is the definition of a mystery book. Although unlike the usual mystery books, the end reveals no definite answer to the reader. It only leaves the audience even more confused with their own theories. For the reader, the theme of ambiguous issues is a recurring problem and there is no possible way of finding out what truly happened.
Much is said of the internal reality of the characters in Henry James's novel Washington Square. It is seen as a "psychological novel" where most of the action takes place in the minds of the characters. In an essay titled, "Washington Square: A Study in the Growth of an Inner Self," James W. Gargano addresses the internal reality of the character Catherine Sloper. Within the essay, Gargano argues that "James anatomizes the process by which Catherine's active, secret existence transforms her into an imaginative woman" (129). Although a few of his premises seem far-fetched, I agree with the major arguments of his critique. Most of his examples support his thesis well.