In the book, The Turn of the Screw, by Henry James, there are many different views on what is actually occurring. A woman was offered a job as the governess by the owner of a large estate. He told her that all she needed to do was to watch his niece and nephew and also take care of the estate. She took the job because she was enticed by the man and was eventually introduced to the others on the estate. Soon after she became acquainted with the others on the grounds, she started noticing strange situations transpiring. There is little mentioned by the others in the book to allow for a strong interpretation of the circumstances appearing to the governess which leads me to believe that she has a mental illness and shows multiple signs of …show more content…
insanity. The governess’s madness was first clear when she went on one of her occasional walks while the children were sleeping. A thought occurred to her that it would be nice to meet someone while on her excursion about the grounds. Just when she was thinking this, she saw a man. The governess had mentioned to herself while on her stroll, “What arrested me on the spot- and with a shock much greater than any vision had allowed for- was that my imagination had, in a flash, turned real. He did stand there!” (James 15). To her surprise she did spot a man atop of the tower that Flora had just showed her the previous day. The governess had known and been acquainted with everyone at the estate, leading to the belief that the man she saw was not really there. There was another sighting of the same figure outside the dining room window. The governess did not tell anyone of the first sighting but this time she had told Mrs. Grose. Mrs. Grose had told her that the figure she saw was that of Peter Quint, a former worker who had been said to be dead. Mrs. Grose also explained how Peter was very close with everyone, especially Miles, the owner of the estate’s nephew. When the governess heard this she became uneasy after seeing someone, said to be dead, just outside of the window peering in. She had described the encounter saying, “I was a screen-I was to stand before them. The more I saw, the less they would. I began to watch them in a stifled suspense, a distinguished excitement that might well, had it continued too long, have turned to something like madness,” (James 27). The governess was starting to stress and become crazy due to the fact that even though Mrs. Grose identified the character as Peter Quint, the governess was the only one to actually see him. This shows that the governess is making up the sightings and is showing signs of insanity. While along the water’s edge, the governess noticed another character near Flora. The governess became frightened but Flora had not seemed to notice anything off the beaten track. The governess described this situation saying, “My heart had stood still for an instant with the wonder and terror of the question whether she too would see; and I held my breath while I waited for what a cry from her, what some sudden innocent sign either of interest or of alarm, would tell me. I waited, but nothing came,” (James 29). Later explaining this encounter to Mrs. Grose, who again said nothing about seeing the figures herself, told her that the being she saw was the previous governess, Miss Jessel. Every time the governess had seen the figures they did not lead to anything climactic yet, she was still fearful that something bad will happen. The governess at this time was starting to become deprived of sleep. She had said, “I laid down by book, rose to my feet, and, taking a candle, went straight out of the room and, from the passage, on which my light made little impression, noiselessly closed and locked the door,” and, “My candle, under a bold flourish, went out, and I perceived, by the uncovered window, that the yielding dusk of earliest morning rendered it unnecessary. Without it, the next instant, I saw that there was someone on the stair,” (James 39). When the governess gets up and walks around in the night, she has many sightings of figures. The lack of sleep may be causing her to hallucinate, leading to the multiple sightings. After the governess had seen what looked to be Miss Jessel sitting on the stairs, she returned to check on the children.
She noticed that the kids were not where they were supposed to be. Flora was behind the window curtains and Miles appeared to be on the lawn. The children had a reputation of being innocent so the governess made the assumption that an outside factor had made the children act up. Soon after she made this assumption, Flora had gone missing. The governess thinks that the outside factor that was affecting Flora was Miss Jessel. While the governess was searching, she found Flora by the water where Miss Jessel was first spotted near her. The governess, stressed and confused, questioned Flora on why she was by the water and where the ghost of Miss Jessel was. Flora was very puzzled when the governess asked about Miss Jessel. Due to the fact that Flora had not seen the ghost and no one but the governess had seen the characters, it confirms that only the governess has seen the figures when it read, “She looked, even as I did, and gave me, with her deep groan of negation, repulsion, compassion- the mixture with her pity of her relief at her exemption- a sense, touching to me even then, that she would have backed me up if she could. I might well have needed that, for with this hard blow of the proof that her eyes were hopelessly sealed I felt my own situation horribly crumble,” (James 71). Now that the governess has noticed she was the only one seeing the …show more content…
apparitions, she questioned whether she was sane or not. The governess realizes that she is in a state of insanity and her stress levels are highly elevated.
She feels that she can no longer properly work and function in Bly and planned on running away. It did not take much time before she changed her mind. The governess saw Miss Jessel crying and realized she needed to stay and help the children from the ghosts. The governess says, “She looked at me as if she heard me, but I had recovered myself and cleared the air. There was nothing in the room the next minute but the sunshine and a sense that I must stay,” (James 58). She needs to stay because she still fears for the safety of the children. Since the governess does not know the difference between reality and make believe, she decides that it is in her best interest to stay and protect the children from the ghosts, even if the ghosts were not truly
there. The governess was going off the deep end due to all of the stress and tension from the figures she had been spotting. She again spotted Peter Quint gazing into the window. She started to lose control of her tears and pointed to the window, in hopes that Miles would see Peter, but he did not. She grabbed Miles trusting that she could save him from the ghost. In this action she had eventually strangled and suffocated Miles to his evident death. Finally noticing what she had done she said, “I caught him, yes, I held him- it may be imagined with what a passion; but at the end of a minute I began to feel what it truly was that I held. We were alone with the quiet day, and his little heart, dispossessed, had stopped,” (James 87). She was only trying to save and protect the boy but she unmistakably took his breath away, and eventually his life. The governess just could not handle the stress and responsibility of protecting the children. She had become insane from her misconceptions of reality, sleep deprivation, and destruction of the boy’s life. Only the governess could see the ghosts leading to the belief that there are, in reality, no ghosts and she has a mental illness.
The Turn of the Screw by Henry James continues to stir up an immense amount of controversy for such a short novel. Making a definite, educated decision on the actual truth considering the countless inquiries that develop while reading this story proves more difficult than winning a presidential election. That being understood, taking one particular side on any argument from a close reading of the story seems impossible, because the counter argument appears just as conceivable. Any side of the controversy remains equally disputable considerably supported by textual evidence from the novel. One issue which, like the rest, can be answered in more than one ways is why Mrs. Grose believes 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 equals 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 we...
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.
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
From the first interactions with the young children, the governess's infatuation with their uncle, her employer, eventually proved to be her own failure in every fashion. In talk with the head maid, Ms. Grose, the governess explained her meeting with her employer and how she had fallen in love with him on their first meeting. Ms. Grose then began to explain that that was the nature of the her employer, to draw a women he could entrust his estate to, and that the governess was not the only one so taken by him to leave the infatuated governess without further communication.
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.
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.
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.
and tries to protect them. In the classic novel, The Turn of the Screw, the governess and the
The Turn of the Screw by Henry James has been the cause of many debates about whether or not the ghosts are real, or if this is a case of a woman with psychological disturbances causing her to fabricate the ghosts. The story is told in the first person narrative by the governess and is told only through her thoughts and perceptions, which makes it difficult to be certain that anything she says or sees is reliable. It starts out to be a simple ghost story, but as the story unfolds it becomes obvious that the governess has jumps to conclusions and makes wild assumptions without proof and that the supposed ghosts are products of her mental instability which was brought on by her love of her employer
She believes she is actually protecting the children against an outside evil, which happens to coincide with her drive to demonstrate heroism and devotion to the master. According to Purdy, the governess conjures up ghosts because she invited them and willed them to come. Purdy feels the housekeeper plays her trump card and the governess' concern is not for the children but for all that would become of her, her bargain with the master, her relationship, and her passion for him. Purdy finds the following quotes to show her passion for the master and show that this serves as the motive of action.
...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.
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.