Narration in The Turn of the Screw
Henry James makes the governess the narrator because she keeps the
readers’ interest by also being involved in the story as a main
character. However, being involved on this personal level, it can make
the governess exaggerate at times and be over-emotional. Her
determined and curious nature makes her an ideal candidate to explore
the mysterious happenings, however her imagination keeps the reader in
suspense, as we are never sure how much she has exaggerated the story.
This also adds tension as the full picture is never revealed. This
choice of narrator is therefore challenged by Susan Hill’s description
that a narrator should be ‘unimaginative and straightforward’ as the
governess’ increasing exaggeration, hysteria and ambiguity make her
less than straightforward.
The governess’s character is established at the beginning of the novel
when she meets the master. Her impressionability is displayed when he
immediately charms her. She has little experience at being a governess
as it says she is ‘The youngest of several daughters of a country
parson’, which also indicates her simple country background. Her
naivety also makes her very romantic and imaginative. James writes
that she has ‘…come up to London from the country’ which hints that
the governess is very determined and eager for the job. Her trusting
nature is also revealed when she doesn’t question the master’s bizarre
rule; ‘that she should never trouble him again.’ She doesn’t question
him, as she is enthralled and under his spell, hinting at her
infatuation. This also could mean that the narrative would be biased
in his favour.
The governess first sees Peter Quint at dusk in the first few weeks of
her gove...
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...ry tragic and ambiguous
circumstances. It is very intense at the end, because it is just the
governess and Miles, and the governess is trying to force a confession
out of him. When he does confess, Peter Quint appears and the
governess immediately tries to protect the boy, seeing herself locked
in a battle of good versus evil, where she is good and Peter Quint is
bad. There are also several alternative reasons for Miles’ death open
for interpretation to the reader; either the governess smothered him,
shock (from seeing Quint), or Quint is involved somehow. The line
‘Peter Quint- you devil’ is in addition ambiguous. Miles is either
confessing that Peter Quint is a devil, or that he sees the governess
as tormenting him. James ends the story in this way because it leaves
the reader questioning how the boy died, and the narrator’s sanity is
also questioned.
In Pat Conroy’s, The Lords of Disciple, first person narration is used to develop the story. Seth Reilly, a writer and fiction author, talks about what first person narration is. Reilly states in his article for aspiring novelists, “First-person perspective is writing from the point of view of your narrator, putting across the world as they see it” (Reilly). While first person narration puts the reader in the narrator’s head, this point of view has multiple advantages and disadvantages. When talking about the advantages of first person narration Reilly states, “first person can effectively communicate how each moment feels; delivering sight, sound, smell, taste, and touch, all through the prism of your narrator” (Reilly). This is one of the
The pages 276-278 begin with a confrontation between the man and the thief. This extract presents a harsh and unforgiving side to the man's character which differs to his portrayal in earlier parts of the novel. He is previously presented as kind and morally upright which contrasts to the cruel and almost immoral way his character behaves in this moment of the novel.
Fear, resulting in chaos, and overturned lives affected the personal decisions of John Proctor, thus creating inner conflicts, as well as desperation in the story. In Arthur Miller's The Crucible, John Proctor's stand in a society where opinion drove fate created ignominy towards him and his beliefs. At first he hid his horrible sin inside, fearing the consequences. When he finally did, he was placed in a tangled labyrinth of feelings as to what his next action should be. Lastly, it's Proctor's defiance and integrity in his own self that proved him stronger than the entire community of Salem. Proctor's tremulous feelings and general unease of the situation built up to his defining point of confession. Theocracy came together to take coerce control Salem and it's actions. Proctor saw this and feared, for diabolism was a practice unheard of. Danforth states, "You must understand, sir, a person is either with the church or against it, there be no road between. We live no longer in the dusky afternoon and evil mixed itself with good and befuddled world. Now by God's grace the good folk and evil entirely separate"(63).
Interpreting The Turn of the Screw by Henry James from a Marxist point of view brings about serious social class distinctions and consequences of violation within that code. Miles and the unnamed Governess’ relationship demonstrate the wrongdoing of social and legal norms. The Governess’ indeterminate social status leave her as a forbidden woman in Victorian society taking on the role of primary caretaker to children, while Miles embodies the character of the absent master to whom the Governess feels intimately attracted. Mile’s union with rebellious, symbol of threat, Peter Quint, ultimately possesses him and lead to the breakdown of the social hierarchy. The Governess and Mile’s connection display the inappropriate boundary crossed between professional duties and desirable futures as a sexually active individual. Through the two characters moments alone, the rising apprehensions end in the governess’s infringement of social status as she employs to a mysterious sexual relationship with Miles.
One of the most well known plays of today's generation is The Crucible, written by Arthur Miller. The play was written in 1953 about the Salem Witch Trials that occurred in the late 1600's. Arthur did a careful job of researching the events that took place, and was able to portray them in his own words. About 40 years later, a movie was created about Arthur's play, directed by Nicholas Hytner. Although both portrayals had some major characteristics of each other, there were also some major differences as well. Both Miller and Hytner agreed on some things for The Crucible, they disagreed on other things as well.
The role of the Gogolian narrator is an unassuming revealer of what is hidden in the world. Revelations can be the world’s evils, morality, or a nation’s ultimate purpose. Gogol’s narrator is merely a puppet of his imagination and is kept within certain boundaries. Sometimes the narrator’s lack of transparency can make a story seem like a parable or folk tale like in “The Nose” and “Nevsky Prospect.” We can see this in what limited information the narrator is allowed to reveal to the reader and I will examine this theme in Gogol’s “Nevsky Prospect,” “The Nose,” and Dead Souls.
throughout the novel that Peter Quint’s corruption of Miles could have been of a sexual nature.
¨When societies come under stress these kinds of things happen. People start looking around for essentially human sacrifices. They start looking around for somebody they can blame.” Margaret Atwood proposes this in an interview with Bill Moyers. The kinds of things she is speaking of is exactly what we observe in The Crucible by Arthur Miller which tells the story of the Salem witchcraft trials where many were punished and killed. In Arthur Miller’s ¨Why I Wrote The Crucible¨ we witness innocent people being blacklisted for conspiring with communists. All of these defend what Margaret Atwood declared in her interview. When a society comes under stress, we always find someone to blame.
Peter Quint and Miss Jessel symbolize the indistinguishable nature of both the governess and Miles’s sexuality in Henry James’s The Turn of the Screw. Whether or not these ghosts actually exist in the literal sense, Quint’s presence evokes what could be construed as sexual desires in the governess while also reminding her of her social status. Similarly, Quint forces the reader to question Miles’s sexuality because of the implication that their past relationship was of a sexual nature. Miss Jessel, on the other hand, serves as the governess’s only reminder of the wickedness of her desire for a sexual self and ultimately, prevents her from acting upon those desires. These developments emphasize the mysteriousness of the connection between Miles and the governess and lead to a deeper sense of dismay about the true nature of their bond.
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
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 life, many people strive to find a person that is reliable and to separate the people that are unreliable. Unreliable can be defined as an adjective meaning not dependable. Having read through the short stories “The Tell-Tale Heart” by Edgar Allan Poe, “The Yellow Wallpaper” by Charlotte Perkins Gilman, and “Strawberry Spring” by Stephen King, it is reasonable to conclude that each of these stories has its own unreliable narrator. The most unreliable narrator, however, is the narrator/killer Springheel Jack from “Strawberry Spring” by Stephen King due to the narrator’s cognition problems and the violent nature of the murders.
Through out the short novella, 'The Turn of the Screw,' by Henry James, the governess continually has encounters with apparitions that seem to only appear to her. As Miles' behavior in school worsens so that he is prevented from returning, and as Flora becomes ill with a fever, the governess blames these ghosts for corrupting the children, Miles and Flora, and labels them as evil and manipulative forces in their lives. But why is it that these ghosts only seem to appear to the governess even when the children are present at the time of the sightings by the governess? Evidence from the short story leads the reader to believe that the ghosts are not real but are merely the evidence of the fragmenting sanity of the governess.
Through the first person narrator, Edgar Allan Poe's "The Tell-Tale Heart" illustrates how man's imagination is capable of being so vivid that it profoundly affects people's lives. The manifestation of the narrator's imagination unconsciously plants seeds in his mind, and those seeds grow into an unmanageable situation for which there is no room for reason and which culminates in murder. The narrator takes care of an old man with whom the relationship is unclear, although the narrator's comment of "For his gold I had no desire" (Poe 34) lends itself to the fact that the old man may be a family member whose death would monetarily benefit the narrator. Moreover, the narrator also intimates a caring relationship when he says, "I loved the old man. He had never wronged me. He had never given me insult" (34). The narrator's obsession with the old man's eye culminates in his own undoing as he is engulfed with internal conflict and his own transformation from confidence to guilt.
Henry James's Turn of the Screw was written in a time when open sexuality was looked down upon. On the surface, the story is simply about a governess taking care of two children who are haunted by two ghosts. However, the subtext of the story is about the governess focusing on the children's innocence, and the governess trying to find her own sexual identity. Priscilla L. Walton wrote a gender criticism themed essay about the Turn of the Screw, which retells certain parts of the story and touches on the significance they provide for the sexually explicit theme. Walton's essay is accurate because James purposely put an undertone of sexuality and identity confusion in the Turn of the Screw.