The Turn of the Screw Study Guide
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Chapter XVIII

Chapter Summary

The morning after a tense confrontation, the governess notices that Miles and Flora perform unusually well at their lessons, as if smoothing over recent friction. Miles charms her further by offering to play piano for her, an act she compares to David playing for Saul. Lulled by his music, the governess loses track of time and suddenly realises Flora has vanished.

She and Mrs. Grose search the house and grounds without success. The governess concludes that Flora has gone out to meet Miss Jessel, while Miles has deliberately kept her occupied—a coordinated plan, she insists, arranged with Quint. She places her sealed letter on the hall table for dispatch, then rushes outside hatless into the damp afternoon, with Mrs. Grose hurrying after her.

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Original Text
The next day, after lessons, Mrs. Grose found a moment to say to me quietly: “Have you written, miss?” “Yes—I’ve written.” But I didn’t add—for the hour—that my letter, sealed and directed, was still in my pocket. There would be time enough to send it before the messenger should go to the village. Meanwhile there had been, on the part of my pupils, no more brilliant, more exemplary morning. It was exactly as if they had both had at heart to gloss over any recent little friction. They performed the dizziest feats of arithmetic, soaring quite out of _my_ feeble range, and perpetrated, in higher spirits than ever, geographical and historical jokes. It was conspicuous of course in Miles in particular that he appeared to wish to show how easily he could let me down. This child, to my memory, really lives in a setting of beauty and misery that no words can translate; there was a distinction all his own in every impulse he revealed; never was a small natural creature, to the uninitiated eye all frankness and freedom, a more ingenious, a more extraordinary little gentleman. I had perpetually to guard against the wonder of contemplation into which my initiated view betrayed me; to check the irrelevant gaze and discouraged sigh in which I constantly both attacked and renounced the enigma of what such a little gentleman could have done that deserved a penalty. Say that, by the dark prodigy I knew, the imagination of all evil _had_ been opened up to him: all the justice within me ached for the proof that it could ever have flowered into an act. He had never, at any rate, been such a little gentleman as when, after our early dinner on this dreadful day, he came round to me and asked if I shouldn’t like him, for half an hour, to play to me. David playing to Saul could never have shown a finer sense of the occasion. It was literally a charming exhibition of tact, of magnanimity, and quite tantamount to his saying outright: “The true knights we love to read about never push an advantage too far. I know what you mean now: you mean that—to be let alone yourself and not followed up—you’ll cease to worry and spy upon me, won’t keep me so close to you, will let me go and come. Well, I ‘come,’ you see—but I don’t go! There’ll be plenty of time for that. I do really delight in your society, and I only want to show you that I contended for a principle.” It may be imagined whether I resisted this appeal or failed to accompany him again, hand in hand, to the schoolroom. He sat down at the old piano and played as he had never played; and if there are those who think he had better have been kicking a football I can only say that I wholly agree with them. For at the end of a time that under his influence I had quite ceased to measure, I started up with a strange sense of having literally slept at my post. It was after luncheon, and by the schoolroom fire, and yet I hadn’t really, in the least, slept: I had only done something much worse—I had forgotten. Where, all this time, was Flora? When I put the question to Miles, he played on a minute before answering and then could only say: “Why, my dear, how do _I_ know?”—breaking moreover into a happy laugh which, immediately after, as if it were a vocal accompaniment, he prolonged into incoherent, extravagant song. I went straight to my room, but his sister was not there; then, before going downstairs, I looked into several others. As she was nowhere about she would surely be with Mrs. Grose, whom, in the comfort of that theory, I accordingly proceeded in quest of. I found her where I had found her the evening before, but she met my quick challenge with blank, scared ignorance. She had only supposed that, after the repast, I had carried off both the children; as to which she was quite in her right, for it was the very first time I had allowed the little girl out of my sight without some special provision. Of course now indeed she might be with the maids, so that the immediate thing was to look for her without an air of alarm. This we promptly arranged between us; but when, ten minutes later and in pursuance of our arrangement, we met in the hall, it was only to report on either side that after guarded inquiries we had altogether failed to trace her. For a minute there, apart from observation, we exchanged mute alarms, and I could feel with what high interest my friend returned me all those I had from the first given her. “She’ll be above,” she presently said—“in one of the rooms you haven’t searched.” “No; she’s at a distance.” I had made up my mind. “She has gone out.” Mrs. Grose stared. “Without a hat?” I naturally also looked volumes. “Isn’t that woman always without one?” “She’s with _her?_” “She’s with _her!_” I declared. “We must find them.” My hand was on my friend’s arm, but she failed for the moment, confronted with such an account of the matter, to respond to my pressure. She communed, on the contrary, on the spot, with her uneasiness. “And where’s Master Miles?” “Oh, _he’s_ with Quint. They’re in the schoolroom.” “Lord, miss!” My view, I was myself aware—and therefore I suppose my tone—had never yet reached so calm an assurance. “The trick’s played,” I went on; “they’ve successfully worked their plan. He found the most divine little way to keep me quiet while she went off.” “‘Divine’?” Mrs. Grose bewilderedly echoed. “Infernal, then!” I almost cheerfully rejoined. “He has provided for himself as well. But come!” She had helplessly gloomed at the upper regions. “You leave him—?” “So long with Quint? Yes—I don’t mind that now.” She always ended, at these moments, by getting possession of my hand, and in this manner she could at present still stay me. But after gasping an instant at my sudden resignation, “Because of your letter?” she eagerly brought out. I quickly, by way of answer, felt for my letter, drew it forth, held it up, and then, freeing myself, went and laid it on the great hall table. “Luke will take it,” I said as I came back. I reached the house door and opened it; I was already on the steps. My companion still demurred: the storm of the night and the early morning had dropped, but the afternoon was damp and gray. I came down to the drive while she stood in the doorway. “You go with nothing on?” “What do I care when the child has nothing? I can’t wait to dress,” I cried, “and if you must do so, I leave you. Try meanwhile, yourself, upstairs.” “With _them?_” Oh, on this, the poor woman promptly joined me!
Source text: Project Gutenberg #209. Public domain worldwide.
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Chapter XVIII turns on a masterpiece of dramatic irony: the governess reads Miles's piano performance as chivalric magnanimity, yet the very quality she admires—his ability to hold her attention completely—is the mechanism of her undoing. James renders the scene in the governess's own rapturous idiom, so that her susceptibility to beauty becomes indistinguishable from her failure of vigilance. The phrase "I had only done something much worse—I had forgotten" is the chapter's pivot, converting aesthetic pleasure into moral dereliction.

The biblical allusion to David and Saul is carefully chosen. David's music soothed a king tormented by an evil spirit; here the roles are inverted—the child's music subdues the adult charged with protecting him, and the "evil spirit" is, in the governess's reading, already inside the room. The allusion simultaneously flatters Miles (as a figure of grace and artistry) and indicts him (as an agent of supernatural manipulation), sustaining the novella's central ambiguity.

The governess's interpretation of events as a coordinated conspiracy between the living children and the dead servants crystallises here with new confidence: "He found the most divine little way to keep me quiet while she went off." Her calm assurance—noted even by herself—marks a psychological shift from anxious suspicion to something approaching certainty, which readers may find either validating or alarming. Mrs. Grose's bewildered echoing of "Divine?" functions as a gentle ironic check on the governess's rhetoric.

The corrective substitution "Infernal, then!" delivered "almost cheerfully" is one of James's most unsettling tonal touches. The governess's near-gaiety signals that she has moved beyond dread into a kind of gothic purposefulness; the hunt has begun. Her decision to leave the sealed letter on the hall table—finally releasing it after carrying it in her pocket—signals a commitment to external authority even as she herself rushes out without hat or coat, mirroring the hatless Miss Jessel and enacting a symbolic dissolution of the boundary between herself and the ghost she pursues.

The chapter's closing image—two women stepping into a damp, gray afternoon, one dragged forward by urgency, the other by the horror of being left alone "with them"—compresses the novella's power dynamics neatly. Mrs. Grose's capitulation is comic in rhythm but serious in implication: the governess's authority over her companion now rests entirely on the terror she has installed. Whether that terror reflects reality or projection remains, as always, unresolved.

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✎ Mr. Shifflett's Note
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