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A literary criticism on the turn of the screw by henry james

The role of class-consciousness 5.

Henry James finished the work on the story in 1897 and published the text which consisted of twelve chapters plus a prologue between January and April of 1898. James agreement to publish his story in Colliers Weekly was connected to the precondition that he would publish it also as a book.

In 1908, James published his complete works under the title "The Turn of the Screw: The New York Edition. Thus, James was not only familiar with the cases of ghost apparitions but used these informations for his ghost stories among which The Turn of the Screw surely became the most important to date.

In the preface of his 1908 edition he stressed however the fact that Peter Quint and Miss Jessel were not ghosts in the traditional sense as the Society of Psychical Research where observing.

The question was and still is: Is The Turn of the Screw a ghost story in the typical sense?

Or is it on the other hand, it the story of a young, psychologically deranged and sexually repressed woman who sees the ghosts because of her inner struggles? In my paper, I will examine some of the character traits of the main protagonist, the governess and attempt to shed some light on the conspicuous elements apparent in The Turn of The Screw.

  • On the basis of his appearance, Quint is seen as the serpent, and Heilman quotes from the book;
  • To make up the formula for the realization of his disastrous story, the author simply added the gross stupidity of Mrs Grose;
  • The arrival of the new governess poses another threat to her prospects of rising above her present station;
  • And on the next page we are told;
  • Further doubt about his true intentions is aroused by the fact that, in letters to certain other literary friends, he seemingly went out of his way to belittle the story's value;
  • Her language is often highly biblical cf.

Subjectivity and the one-sided flow of information The Turn of The Screw is told from a strictly subjective perspective. It aims to provide the reader with trustworthy background information about the governess and all other characters in the story. This is done by the character of Douglass, a man who procured the original manuscript of the story and whom the other characters themselves note, must have been in love with the governess or at least have been in a closer relationship.

Douglass is the only source of information for the little group of listeners as he is the only one familiar with the content of the story. The manuscript contains the notes and accounts of the governess who functions as the real storyteller. She is the only witness and source of information for Douglass. This one-sided flow of information from the governess through the manuscript to Douglass is perhaps the most important foundation of later ambiguities in the story.

First, he has to rely on the reports of the governess since she is the only available observer. He corresponds to the need of his listeners to present the story in a gruesome manner and combines his personal experiences and memories with the information of the manuscript. Douglass creates the image of a benevolent, inexperienced beautiful young woman and tries to convince the listeners by describing her as a charming, most agreeable person.

In utilizing a character like Douglass who lets one look through his looking glass, real facts become difficult to obtain. It is even questionable if the story as a whole is fictional or at least largely rearranged by Douglass in order to make it more appealing.

He tries to portray the picture of the governess as one who was taken advantage by her employer and leaves no doubt to her credibility, which in turn aims to prepare the reader to accept all comments and explanations about the ghost appearances and all other presented facts without doubt. This image later is called into question when her behaviour towards the children and Mrs. Grose shows her unlovely, darker traits of character and reveals the sharp discrepancy between the two different images of the governess.

The basic problem about the limited perspective and the lack of other contributing characters is that we are prone to accept everything first hand. There is no proof, no definite fact that one can rely on but only transcribed accounts of a woman with questionable ambitions.

Ambiguous communication Already in the first chapter we find a recurring pattern of equivocal communication and assumptions.

Analysis: Henry James´ The Turn of the Screw

At her arrival at Bly, the governess assumes that Mrs. Grose is happy about her arrival, although this is not that much signalled by Mrs. Without any evidence or clear statement, she finds that the hesitant Mrs. Grose shares her enthusiasm and decides that she must be happy.

Grose remains unclear about Miles true character but makes only ambiguous statements about him: Grose equivocal statements makes the governess assume that Miles must be bad and an injury to others although there seems to be no clear evidence except for the letter from school.

The confusion about Miles and Flora is in some extent caused by Mrs. The veiled communication of the women characterizes the novel as much as the narrowed perception of the governess and her assumptions. Both women do not talk straight about what happened at Bly, especially about the mysterious case of Miss Jessel and Peter Quint. In this, also the children seem to follow a kind of conspiracy in not casting a light at this case; Miles avoids the topic consistently.

An argument supportive to the deceptive nature of the governess is her invented communications with the ghosts, in particular on one encounter with the ghost of Miss Jessel. When asked by Mrs. But it could also be argued that the governess is delusional, that she invents these instances because of her inmost fear that she might end as Miss Jessel — in misery with an illegitimate child and unrequited love. A person not present but highly communicative is the uncle who at the beginning of the story instructs the governess not to contact him at all about the children but rely on herself.

He is a young and attractive man who uses his power over the governess - and other women - to get them to agree to his demands.

  1. Quite apart from their moving into old houses, however, James and his governess were further united in the sense that both were victims of an indifferent world; James yearned for the recognition of his readership and theatre audiences EDEL p. So, as Goddard puts it, ".
  2. The Turn of the Screw is more than just a ghost story. His mouth's wide, and his lips are thin,.
  3. James agreement to publish his story in Colliers Weekly was connected to the precondition that he would publish it also as a book. If this was the case, then there is little doubt that he received ample food for thought from publications of the Society for Psychical Research, of which F.

This exertion of his influence on the governess has several effects; the governess assumes that the master has faith in her judgements and that leaves all commitment to her decisions. This ambiguity caused by the uncles orders is interpreted by the governess as meaning that under no circumstances whatsoever she is allowed to contact him which of course puts an immense pressure on her.