Henry James’ the Turn of the Screw, written in the Victoria era, tells a ghost story of a governess’s experience with two children in the house. By presenting the story in a symbolic way, the ambiguous narrative of the ghost story suggests an inner conflict of immorality and innocence in the governess. It also seems to imply a loss of insanity and a tragedy as a result of the oppression of desire. This paper will argue that chapter 23 is the most crucial part of the story, because it is the first moment the Governess found the weakness of the ghosts and has a real confrontation with the ghost indirectly through Miles. Miles’ suggestion of going out drives her to the wall, which leads to the tragic end that the only way for governess to protect Miles is to hold him in her, even it is too tight to kill him. The paper will first analyze important scenes in chapter 23. Then it will reveal the symbolic meanings and the latent conflicts in the story, which is significant to their “battle” in chapter 23 and the ending.
Before chapter 23, Flora is finally “corrupted” by Miss Jessel as the governess perceives, which signifies a failure of the governess to protect the children. The sudden change not only leaves the governess faces Miles alone, but also forces the governess to make a resolution. The governess realizes that the situation is “demanding […] only another turn of the screw” (79). And the final turn of the screw which push her into an extremely “unusual direction” (79) takes place in chapter 23.
The chapter starts with a vague dialogue between governess and Miles who are left alone. The governess first denies that they are not absolutely alone, implying the existence of the ghosts. However, Miles seems to accept that by answer...
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...riumph, Miles breaks that by asking for going out, which breaks her last nerve and sanity. The only thing the governess can do to defense her power and her innocence is to hold Miles tightly till his death so that “[Quint] has lost [Miles] forever” (87).
In conclusion, since the governess perceives the fight between the ghosts and her represents her inner fight of immoral and moral, the confrontation in chapter 23 is the last turn of the screw as the governess finally discovers the weakness of the ghost and it is the last chance for her to win. Mile’s request starts a quiet “fight” between them and drives the whole story to an extreme direction that the governess at last loses her sanity with an excessive protection that kills Miles. The story thus seems to imply an insanity and tragedy as a result of oppressed desire and sexuality in the special period of time.
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...
Miles Pruitt is the center of this story; he is going through life in attempt to avoid the hardships it throws at him. He has to cope with the misfortunes that come with love, and by the end of the story, Miles will finally come to realize that his decisions to go through life untouched will not pay off.
...eives nothing from the children. It should be obvious to the reader at this point that the children are obviously in no way doing any wrong and are telling the truth to the best of their knowledge. The continual obsession of the governess over maintaining the protection and innocence of the children gets so severe that it causes Flora to come down with a serious fever and Miles grows seemingly weaker and sicker without his sister there with her.
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
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
James’s narrating character the Governess matches his personality, as they are both involved in the story but connect better with an bystander's point of view rather than a person actively involved. Within his young adulthood its was clear that “he often preferred to withdraw in solitude to read and write.” (Wolf.)James also physically isolated himself from society by moving into the English countryside perhaps making him the perceptive person he was described as. The young governess in Turn of the Screw, observed a connection with her charges but does not actively maintain a relationship with them; they branch into a relationship outside of governess and charge, as they are two separate entities (James 70.) She does not have the same close relationship to the children that the previous governess and manservant did. James’s advertent personality is evidently shown in his character of the young governess as he uses it to present the other characters as the focus of his story rather than the young lady herself.
The Turn of the Screw by Henry James is usually read as a ghost story in which the central character, the governess, tries to save the souls of two children possessed by evil. However, the short-story can be also analyzed from many different perspectives, as we come upon a number of hints that lead to various understanding of certain scenes. One of the possible interpretations is the psychoanalytical one, in which we interpret the events either from the point of view of the governess or from the perspective of the two children. I will concentrate on the problem of the governess who, restricted by her own problems and moral dilemmas, projects her fears on her pupils and in this way harms the children. What causes her moral corruption and gradual maddening lies deep in her psyche. Both the Victorian upbringing and the social isolation of a poor village tell her to restrict her sexual desires evoked by the romance reading. The result is tragic. The governess becomes mad and the children psychologically destabilized and scared of the adults. The story ends with the governess strangling the boy in a hysteric fit. The Turn of the Screw is a very popular work of literature, with reach history of critical interpretations where not much can be added, therefore my essay is mostly based on The Turn of the Screw. A History of Its Critical Interpretations 1898 1979 by Edward J. Parkinson.
...le older and a chance to show off her bravery emerges in the form of Flora making her escape, she doesn’t even consider playing the part of the hero, she simply follows her father’s orders, and even that she goes back on when she leaves the gate open. She doesn’t daydream of action and excitement anymore; she instead imagines herself in a love story.
In a criticism on Henry James’s story The Turn of the Screw, Strother Purdy suggests that large amounts of sexual passion may be assumed to exist underneath the surface of the narrative. Purdy says that under a Freudian interpretation of the story, the sexual element is easily recognized and is used as the whole source of the action. According to this theory, the governess wishes to impress her master because she is in love with him and, therefore, exceeeding her authority with the children. Although the governess only sees her master twice, Purdy refers back to what Douglas had said,” it was the beauty of her passion.” Since the master is not impressed by her initial and ordinary course of governessing, she must make up some life-threatening danger to the children so she can rescue them and win the masters love and affection. She figures the danger must be terrible because he told her he did not want to be bothered with matters dealing with the children. He basically tells her he cares nothing for the children. Purdy suggests the governess is unconscious in doing this because she is sexually repressed and cannot admit her sexual motives to herself
The phantoms, Miss Jessel and Quint, appear to be enemies of the children and the Governess but never display iniquity toward the living, compromising their positions, in the story, as foes. Mrs. Grose recollects the relationship between Miles and Quint, prior to the death of the latter, revealing how Quint "spoil[ed] him" (James 177). With this, Henry James leaves his readers ambivalent about whether the connotation of "spoil", in this instance, is positive or negative. While the dictionary defines "spoiled" as being ruined or damage, the author may use the term in the same way a warmhearted grandparent pampers a grandchild. The evil nature of Quint and Miss Jessel remains debatable. "They harassed [the Governess]", constantly (James 213). Aside from their affect on the Governess's mental state of mind, Miss Jessel and Quint do no harm to anyone. Even this offense is tenable. As the Governess does not mention who "they" are, it is equally likely that she is referencing Flora and Miles as she is the wraiths of Jessel and Quint. With ambiguity, the two children can be viewed as either prey of the evil or as the wickedness themselves. Mrs. Grose, in consultation with the Governess, discloses "that he was definitely and admittedly bad" (James 177). What "he" she is referring to, Quint or Miles, is a mystery. The obscurity of this statement shows the immoral
Smith, Nicole. "Critical Analysis of “Turn of the Screw” by Henry James with Literary Crticism in Context." Articlemyriad. (2011): 1-4. Print.
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...
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).
...and her attitude to her father and his work began to change. So while the killing was underway her and her brother were picking up sticks to make a teepee out of. Suddenly there was a lot of commotion and Flora was running free. Her father told her to shut the gate. She ran to the gate and just had just enough time to close it. Instead of closing the gate she opened it wide and let the horse run free. Laird got there just in time to see her do it. When her father and Henry showed up they thought that she didn’t get there in time. They simply got the gun and the knives they used and jumped in the truck. On the way out they stopped and picked up Laird who was begging to go.
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 ...