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Annotated bibliography on mental illness in literature
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Observe that there is never any evidence that anybody but the governess sees the ghosts. She believes that the children see them but there is never any proof that they do. The governess believes the children are misbehaving, but the children are not ever seen necessarily behaving badly. Any behavioral changes they do exhibit are in response to the strain caused by the governess's ever-increasing strange behavior and emotional outbursts. The governess allows her affections and emotions to control her, and in the end, it costs Miles, the boy, his life. Her affection for the children can be very intense. When she first meets the children, she thinks they are perfect and adorable. She has tendency of hugging and kissing them repeatedly. For example, …show more content…
Young Miles, who stays with the governess after Flora departs, has also been affected by the emotional governess. The physical state of Miles throughout the final scene suggests to the reader that the governess's behavior is having a dangerous effect on the boy. The sweating, hard breathing, and weakness she describes begin even before she tells the boy that Quint is present. When Quint shows up the final time, the governess shrieks when he appears in the window. She tells Miles that he is at the window, but like his sister and Mrs. Grose, Miles cannot see the ghost either. He shouts, "Peter Quint - you devil!" but then yells "Where?" (102) because he cannot see him. And the governess's physical actions during this scene border on the violent - grasping and holding the boy and even shaking him. When the boy dies in her arms, the governess believes he has died of fear, but fear did not kill the boy. It was her own reaction to the ghost that causes her to accidently smother him as she held him in her arms. Her mental instability is obvious at the end of the story, after Miles death, when she proclaims his spirit “dispossessed” (103). She feels has if she has managed to save Mile’s from the evil desire of the
The climax of the story is when Miles is shot by the Bonewoman. The reader comes to realize that Miles’ choice to live life on the safe side was a mistake:
The characters in Empire Falls go through many changes throughout the novel. By the end of the novel Miles is changed drastically. He begins the novel as a slow moving, trusting, somewhat depressed individual. By the end of the novel, Miles has achieved an epiphany. No longer letting the world step on his dreams, Miles goes after with a roar the dreams and desires that have lain dormant for twenty years. His ex-wife, Janine, also comes to realize that the dreams she thought she had are not necessarily what she wants after all. Janine comes to accept herself for Janine, instead of flailing around wildly trying to find herself in outward appearances. Tick has learned a lesson that we all come to at some point in our lives, that people are not always good and there is danger in the world.
...just another person who wants to be friends and not think the ghost will hurt them or that there is anything scary about it. The tale capitalizes on the fact that an adult would be uneasy thinking that a child can play with a ghost without thinking twice, and even more uneasy that a child can see what they cannot, since adults are supposed to be wiser and more able to explain things. The imagination of a child, which can create some astonishing things, is a scary entity.
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....
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
...d in the governess's eyes. After feeling she had lost Flora to the ghost, when in reality the governess had scared the child to death, Miles still shown to be a ray of hope for the demented governess. She refused to leave him alone and began to become angry and suspicious of his corruption when he would ask of his desire for schooling.
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
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.
from Harley Street. The governess begins to suspect that the children can see the ghosts as well
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
However, the governess begins to become increasingly morally questionable as the story goes on, due to her seemingly more and more erratic theories and sightings concerning the ghosts. The
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.
... through her hug, squeezing the life out of him because of her own fears of the supposed ghosts. Miles response is so ambiguous it leaves the reader with only theories with no way of knowing for a fact what really happened.
I believe The Governess of the story was a heroine and was genuinely trying to save the kids from the ghosts of the past. While the story does a remarkable job at keeping the story ambiguous about her state of mind, the governess seems to truly trying to protect the children. She doesn’t want to upset their uncle and be fired from the job. The ghosts have a history there and the fact that they are attempting to capture the kids is plausible. As the story develops the ghost of Miss Jessel seemingly became more intensely angry with the governess’s effort to keep Flora away from her.