Ever since the new governess shows up to the household, Bly, in The Turn of the Screw, the story of the residents’ lives change forever. Things go from peaceful, beautiful, and orderly to chaotic, ugly, and messy. Every step the governess makes seems to worsen things, but why? Is it the children making things go awry? Or could it be the ghosts messing with the balance of the peace? Or maybe, is it the one person who you would expect to trust the most who is doing the most damage. The protector is the destroyer. The savior is the killer. In The Turn of the Screw, by Henry James, the governess is insane because all her actions from sleeping and sensing demons, to assuming far-fetched notions and being the hero in every situation demonstrates …show more content…
to the reader that the story could not be possible unless she was insane. The first sign that leads the reader to believe the governess is insane is her lack of sleep.
Within the first 24 hours of the governess arriving at Bly the governess immediately notes that she “slept little that night” (7) . She attributes it to excitement, but the most common sign of insanity is restlessness. Not only was she not sleeping that night, but she thought she heard a child crying and footsteps outside her door and chose to ignore them. Her job as the governess is to handle things like that, but instead she stays in her room, wide awake. Later in the book, after the ghosts had been introduced, she again, didn’t sleep. Instead she went to Miles’s room where an odd conversation ensued and “a gust of frozen air”, which turned out to be Miles, blew out the candle (64). Only an insane governess would have a long conversation with her pupil in the middle of the night. The next time we catch her not sleeping, she runs into Peter Quint late at night, only to come back to her room to find that “Flora’s little bed was empty” (40). Time and time again we see the governor’s restless sleeping patterns and moreover, we see what odd things seem to occur during these …show more content…
hours. The governess also makes many assumptions throughout the book that prove her insanity.
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
(25). Over the entirety of the book, the governess makes assumptions that are too stretched to be sane and they all led to worse accounts. Another trait of the governess that confirms she is insane is her need to be the hero. It is great to be optimistic about a situation, but to have the undying need to be the savior for everyone can turn into a nasty habit. The first time she obviously shared her views on being the hero was when she was “at the helm” of the ship (9). She was referring to herself as the captain of Bly and the children. Later in the book, after the ghosts have been introduced she states that she “was capable of meeting to shelter [her] pupils” (24). She is saying that she can and will protect Miles and Flora with all her heart and be the hero. Soon after she tells that she “find[s] a joy in the extraordinary flight of heroism” which is wonderful; except for that it is insane to find joy in a situation where your charges are supposedly trying to be killed by demons (27). Later, when she considers running away after seeing Ms. Jessle again, she knows there is “a sense that [she] must stay” to protect the kids (58). She is not the protector of the children; she is the reason they need protection. Lastly, at the end of the book she says that she would “rather die than hurt a hair of you” (64). This is completely insane because she has hurt him through her belief in the ghosts and by holding him out of school. The governess’s search for heroism being the motive behind each action is another testament to why she is insane. Another factor to prove the governess’s insanity is the similarities between her and the ghosts that could not be merely coincidental. Once she mentions that she overtook Ms. Grose “on the staircase [and they] went down together” (11). Then, much later in the book, the governess “saw that there was someone on the stair” (39). The governess saw Peter Quint where she was earlier in the book. This could have been a coincidence once, but this happened several more times. On her first day, she was up on the tower with Flora, and then later, she saw the ghost “at the very top of the tower to which, on the first morning, little Flora had conducted me” (15). She sees the ghost exactly where she was again.The second time she saw the ghost, she went outside to the exact place he was and she “applied [her] face to the pane and looked, as he had looked” (20). She is practically one and the same with the ghosts and it can not be merely coincidental. Not only was the governess in the same place as the ghosts, but she could also sense them without even looking up like when she was sitting by the pond with Flora and she “began to take in with certitude, and yet without direct vision, the presence, at a distance, of a third person” (28). How could she sense the ghost unless she was insane? The biggest signal of her insanity was when she saw Ms. Jessle but Flora and Ms. Grose did not see her, saying “she isn’t there” (71). The governess must truly be insane if she can sense the ghost and follow their exact movements. Throughout The Turn of the Screw, the governess’s insanity is almost masked by confusion and distractions, but it is still there. She is still insane because through all of her actions, in the end, she scares Flora into sickness and frightens and smuggles Miles to death. If that isn’t insanity, what is? Her story of ghosts and demons is just her attempting to mask her insanity, but the truth is, nothing can mask that.
How can a girl who condemned seventy two to a death sentence and drank a charm to kill a man’s wife, a man she has slept with on more than one occasion be the victim? It’s possible when the town she lives in is worse than her. Although Abigail Williams is typically thought of as the antagonist of Arthur Miller’s The Crucible, she is in fact a victim as much as any other tragic character in the play.
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 issue whether the governess was insane or not may never be solved. Not only because critics seem to be able to find as much evidence as possible to prove their arguments but also, the reliability of the account of the governess colors the whole story with great ambiguity. We are not certain of the state of mind of the governess when she wrote down the story and when she related the story to Douglas. However, as we closely examine the state of mind of the governess, her reliability does appear to be in question. Beidler provided two readings of The Turn of the Screw and in the second one he declared: ¡§the governess saw only what she wanted to see¡¨ (Beidler 9). She was so exhausted from her prolonged insomnia that she envisioned a story with ghosts for herself to fulfill her growth as a governess.
A series of strange occurrences take place at Bly causing the governess and the reader to question her sanity. Bly, located in Essex, England, can be looked upon as a reputable location for ghost sightings because their have been nearly 1,000 reports of ghost sightings in the UK just in the past 25 years. This gives insight that the governess could possibly be sane and does in fact see ghosts. The governess is complete sane because she experiences supernatural presences on the watchtower, at the lake, and in Miles’ room.
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.
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.
In the beginning of The Turn of The Screw, the tone is very joyful and dreamy. The story begins with Douglas and friends all telling each other scary stories. It is very peaceful and everyone is enjoying the stories being told. The tone is very joyful as represented by “Is n’t anybody going? It was almost the tone of hope. Everyone will stay!” (James, 6). This shows that everybody is having fun telling each other scary stories and are willing to stay and wait to here the story from Douglas. It was very hopeful as the stories being told were pleasant for the people around the campfire. The tone remains positive at the beginning of the governess’s story. The governess arrives at the house and sees this beautiful girl who is very polite and is too good for her own self. The governess is very happy that she was able to get the position for the job and to experience all of it that she believes that it is almost a dream. This is shown when she says such a place as would somehow, for diversion of the you idea, take all colour out of story-books and fairy-tales”(James, 16). This proves that the governess believes that everything such as Bly, the place in which they are s...
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.
When the governess first arrives at the small town of Bly to begin her assignment over the niece and nephew of her employer, she describes her self as having gone through many ups and downs in terms of her emotional and possibly mental state. She says, "I remember the whole thing as a succession of flights and drops a little see saw of write throbs and the wrong" (page 121). It appears evident even from the beginning of the story that the governess is not in an 'even keeled' state of mind, neither stable nor calm enough to hand the task set before her in any means.
and tries to protect them. In the classic novel, The Turn of the Screw, the governess and the
this point of view that Mrs. Grose somehow also had a hand in Ms. Jessel's
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
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 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.
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).