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Essays on the turn of the screw
The turn of the screw summary
The turn of the screw summary
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With each turn of the figurative screw, more screws were loosened in the governess. The Turn of the Screw by Henry James is a story about a governess that slowly went insane. She saw the “ghosts” of deceased workers and her reactions to these visions made the children and Mrs. Grose, the housekeeper, fear and distrust her. The governess began showing signs of mental instability and throughout the book her condition worsened, until she was completely insane. From the very beginning of the book, the governess showed signs of mental instability. The first, and the only, time she met the uncle, she was instantly swept away by him; her youthful innocence and ideology betrayed her. She also showed an early obsession with the children. The governess admitted she is easily influenced and she even told Mrs. Gross that she was fond of the Uncle at their Harley Street meeting.“I’m rather easily carried away.” (James 8) The children were inarguably beautiful and could do absolutely no wrong in her eyes, …show more content…
The ghosts were hallucinations, and like many mental disorders, her condition escalated with every hallucination she saw. She began telling Mrs. Grose, her only friend and confidante at Bly manor, but a few discrepancies appeared. As the governess narrated her visions of the ghosts, she gave very few visual details, only location, body language, and what she felt as she saw them. Details of their appearance came when she told Mrs. Grose, who then filled in her own descriptions of the ex-coworkers Peter Quint and Miss Jessel. This only fueled the governess and allowed her to draw her own crazed conclusions. However, every time she told the kindly housekeeper of her visions, Mrs. Grose trusted her less and less, eventually causing the complete loss of trust between the two, leaving the governess alone in her fight against her unstable
The Screwtape Letters is a book made up of letters sent from one demon named Screwtape to another demon named Wormwood. Wormwood is a tempter trying to coerce a human away from Christianity, and Screwtape, his uncle, is attempting to assist him in his work though letters of advice. The human Wormwood tries to tempt, called The Patient by Screwtape, does end up defeating Wormwood’s attempts to trick him and makes it to heaven. However, it was not an easy process, and it was filled with strife, and in some cases, failure. He converted, relapsed, then returned to Christianity, but his second conversion was very much different from his first. His second conversion marks a major turning point in the book, from the Patient being easily fooled, and
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....
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.
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
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.
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 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.
with Mrs. Grose, she learns that they are ghosts and former employees of the Gentleman
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
...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.
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
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.
Turn of the Screw written by Henry James tells the story of a governess and her recollection of events at the country home of Bly. The story begins at a Christmas gathering where everyone is sharing different ghost stories around the fire. One man has a manuscript or diary of a former governess which details her experience at a “haunted house (302).” The audience begs for him to read it, and so he does. As soon as he begins to read the story, the book’s point of view shifts to the governess’s. Over the course of the governess’s interviews with her employer, she immediately falls in love with him. In an attempt to win her master’s approval, she becomes extremely protective over the children. She views herself as their guardian or rather their “hero” in shielding them from the ghosts that she assumes the children are communicating with. The question that strikes every reader is whether the ghosts perceived by the governess are real or not. This also questions the credibility of the governess’s narration. In reading Turn of the Screw, the governess is proven to be an unreliable narrator through her recollection of events at Bly. Because of the governess’s loves for the master and quest for heroism, her insanity is exposed through her hallucinations.
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).