In “The Turn of the Screw” by Henry James, a woman, who is known as the governess is swooned by the handsome Master. She ends up taking care of Flora and Miles, his niece and nephew, in his country home. When the Governess gets there she is worried that the children would be smarter than her, but she ends up fawning over them. During her stay at Bly she ends up confiding in the head servant Mrs. Grose about the former governess and the children in her stead. Later on in the book the Governess ends up confiding solely to Mrs. Grose about the supposed spirits, at first Mrs. Grose believes her about the spirits because how else would she have known what they looked like, but who’s to say that Mrs. Grose is telling the truth about Mr. Quint and Mrs. Jessel. …show more content…
Grose is first introduced she is a kind and helpful servant, but later on she starts looking jealous. Mrs. Grose is the Governesses go-to when strange things starts occuring like when she sees a man on the roof with red hair, no hat, and clothes that are not his own and she tells Mrs. Grose everything even to the tiny details of this man, but is it really Peter Quint? Mrs. Grose is the only person we have to give us information about the spirit's identity, she could be making everything up and the Governess would not know the difference. Mrs. Grose could possibly be wanting the Governess to leave so she can have the children to herself, she might of even killed both Quint and Jessel. “Well, miss, you’re not the first - and you won’t be the last.” Mrs. Grose sounds jealous of the Governess because she has caught the attention of the Master and later on we find out she can not read, so Mrs. Grose could jealous of the Governess
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.
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
One issue which, like the rest, can be answered in more than one way is why Mrs. Grose believes in 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 equal 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 were ghosts....
Toward the end of the novel, the governess sees Ms. Jessel and tries to point her out to Flora and Mrs. Grose. However, Mrs. Grose questions the governess by wondering “[w]here on earth does [she] see anything?” (James 70). Even though Mrs. Grose claims that she does not see any figure, it is not certain that she is telling the truth. It is obvious that she is overwhelmed in this scene because Flora is fearful of the governess’ behavior. Mrs. Grose is merely trying to be rational and appeal to Flora’s anxiety over the governess’ temperamental and persuasive attitude. Another argument that could appeal to the governess’ insanity is that she is love struck by the master, causing her to be delusional. This is exemplified through her imagining that the master “would appear…and stand before [her] and smile and approve” (James 15). Nonetheless, she is not imagining any people because in the last scene of the novel, Miles recognizes Peter Quint’s presence by implying to the governess that he is in the room. If the governess was creating the ghosts in her mind, Miles would not verbally notice Peter Quint’s presence in the room. The governess is clearly sane and does not simply imagine the
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
Arthur Miller's play, The Crucible, is about the persecution of people falsely accused of being witches or believing in witches in Salem. Many people die in the village after a series of lies and unjust practices. Abigail Williams, after having had an affair with Proctor, begins this cycle of lies to make her feel more important in Salem. Her character includes both superiority and resentment throughout the play so far and the way she does it shows that she is rebelling against the compressed society.
The book questions their existence indirectly, by suggesting that the governess may be imagining things, as is made particularly evident when it appears that Grose and the children are unable to see the apparitions. The žlm does the same, as it follows the same narrative path, but utilises a few visual tricks as well - after all, in a žlm something is either on screen or it isn't; therefore, how do you make a ghost's appearance uncertain? Clayton solves this problem easily. When Quint is žrst sighted atop the tower, it is against the glare of the sun, Jessel's appearances at the lake always take place amongst tall, dark reeds, which act as an interesting camouŸage and Quint's žnal appearance in the garden is amongst human statues. These visual effects allow the audience to doubt what it is
The governess’s inability to make a speedy decision leads to her own distress. After witnessing the ghost of Peter Quinn, a former valet at the Bly estate, the governess describes herself as “stricken with death” (James 16). These emotions escalate consistently through the course of the novel, causing her to ponder more seriously whether or not she should tell the owner of Bly of these strange sightings. Due to the shaken mental state the governess develops because of the ghosts, and because one of the children under her care died during her time of service, the governess soon relieved herself of her duties at the country home estate. Conversely, had she written to the owner of Bly, detailing her concerns about
...t want to be the only one who does. It is another feeble attempt to prove her sanity to herself and to others. However, because she “is so easily carried away”, she soon believes that the children do in fact see the ghosts by reading into their every remark and behavior. By piecing all of this together, the governess proves to herself that she is not insane. The governess in The Turn of the Screw, is a highly unreliable narrator. From the beginning of the story, her energetic imagination is displayed to the reader. With this knowledge alone, it would not be irrational to conclude that she had imagined the appearances of Peter Quint and Miss Jessel. However, these facts in addition to her unsubstantiated inferences allow the reader to intelligently label the governess as an unreliable narrator. Works Cited Poupard, Dennis. “Henry James.” Twentieth-Century Literary Criticism: Volume 24. Ed. Paula Kepos. Detroit: Gale research.; 1990. 313-315.
There is no reason for the governess to be afraid. The existence of the ghosts has not even been confirmed. However, because she is insane, she overreacts. In addition, the governess wrongly convinces herself that the “ghosts” have corrupted her charges. While conversing with Mrs. Grose, she worriedly exclaims that Miles and Flora are “his and they’re hers!”
...gnorance and she felt rather motherless. This reflects on her attitude to her pregnancy, when she should become a mother for her own child, but also replaces a mother-figure for her brother Vardaman. Her perception of the journey to Jefferson is omitted in the story and we need to think of her confusing mind all the time. Through lack of control over her gullibility, she is seduced by Lafe at first and in hope for solving her problem, she is exploited by a druggist in Jefferson later on. But only owing to her solitude and no interest of her close surroundings, she gives away to desperation. Even if Dewey Dell looks for some support by her relatives, she doesn’t find any and with the desperate situation, she has to fight all alone on her side.
Abigail Williams is the troubled niece of Reverend Parris of Salem. She is an orphan; made so by brutal natives who killed her parents before her very eyes. The witch-hunt begins when Abigail is at the age of seventeen. She has a large role in this novel, especially on these dark events and also her relationship with John Proctor.
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).
In The turn of the Screw, the characters often communicated very indirectly with one another, hinting toward certain situations but never explaining them fully. At the beginning of this story, one of the first vague quotes, “he had been left, by the death of their parents in India, guardian to a small nephew and a small niece” depicts that Miles and Flora’s parents died in India (James 158). However, the details around their death are unknown and mysterious.