The Turn of the Screw Study Guide
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Chapter VII

Chapter Summary

The governess rushes to Mrs. Grose and declares that the children know about the ghosts. She describes witnessing Flora silently observe the apparition of a woman in black across the lake — a figure the governess now identifies as the dead former governess, Miss Jessel. She insists Flora deliberately concealed what she saw, and warns Mrs. Grose not to question the child, predicting Flora will lie.

Mrs. Grose confirms Miss Jessel's identity and, pressed by the governess, reveals that Miss Jessel and the valet Quint had an illicit relationship across a social divide, and that Miss Jessel subsequently left and died under circumstances Mrs. Grose chose not to investigate. The chapter ends with the governess breaking into tears, crying that the children are already lost.

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Original Text
I got hold of Mrs. Grose as soon after this as I could; and I can give no intelligible account of how I fought out the interval. Yet I still hear myself cry as I fairly threw myself into her arms: “They _know_—it’s too monstrous: they know, they know!” “And what on earth—?” I felt her incredulity as she held me. “Why, all that _we_ know—and heaven knows what else besides!” Then, as she released me, I made it out to her, made it out perhaps only now with full coherency even to myself. “Two hours ago, in the garden”—I could scarce articulate—“Flora _saw!_” Mrs. Grose took it as she might have taken a blow in the stomach. “She has told you?” she panted. “Not a word—that’s the horror. She kept it to herself! The child of eight, _that_ child!” Unutterable still, for me, was the stupefaction of it. Mrs. Grose, of course, could only gape the wider. “Then how do you know?” “I was there—I saw with my eyes: saw that she was perfectly aware.” “Do you mean aware of _him?_” “No—of _her_.” I was conscious as I spoke that I looked prodigious things, for I got the slow reflection of them in my companion’s face. “Another person—this time; but a figure of quite as unmistakable horror and evil: a woman in black, pale and dreadful—with such an air also, and such a face!—on the other side of the lake. I was there with the child—quiet for the hour; and in the midst of it she came.” “Came how—from where?” “From where they come from! She just appeared and stood there—but not so near.” “And without coming nearer?” “Oh, for the effect and the feeling, she might have been as close as you!” My friend, with an odd impulse, fell back a step. “Was she someone you’ve never seen?” “Yes. But someone the child has. Someone _you_ have.” Then, to show how I had thought it all out: “My predecessor—the one who died.” “Miss Jessel?” “Miss Jessel. You don’t believe me?” I pressed. She turned right and left in her distress. “How can you be sure?” This drew from me, in the state of my nerves, a flash of impatience. “Then ask Flora—_she’s_ sure!” But I had no sooner spoken than I caught myself up. “No, for God’s sake, _don’t!_ She’ll say she isn’t—she’ll lie!” Mrs. Grose was not too bewildered instinctively to protest. “Ah, how _can_ you?” “Because I’m clear. Flora doesn’t want me to know.” “It’s only then to spare you.” “No, no—there are depths, depths! The more I go over it, the more I see in it, and the more I see in it, the more I fear. I don’t know what I _don’t_ see—what I _don’t_ fear!” Mrs. Grose tried to keep up with me. “You mean you’re afraid of seeing her again?” “Oh, no; that’s nothing—now!” Then I explained. “It’s of _not_ seeing her.” But my companion only looked wan. “I don’t understand you.” “Why, it’s that the child may keep it up—and that the child assuredly _will_—without my knowing it.” At the image of this possibility Mrs. Grose for a moment collapsed, yet presently to pull herself together again, as if from the positive force of the sense of what, should we yield an inch, there would really be to give way to. “Dear, dear—we must keep our heads! And after all, if she doesn’t mind it—!” She even tried a grim joke. “Perhaps she likes it!” “Likes _such_ things—a scrap of an infant!” “Isn’t it just a proof of her blessed innocence?” my friend bravely inquired. She brought me, for the instant, almost round. “Oh, we must clutch at _that_—we must cling to it! If it isn’t a proof of what you say, it’s a proof of—God knows what! For the woman’s a horror of horrors.” Mrs. Grose, at this, fixed her eyes a minute on the ground; then at last raising them, “Tell me how you know,” she said. “Then you admit it’s what she was?” I cried. “Tell me how you know,” my friend simply repeated. “Know? By seeing her! By the way she looked.” “At you, do you mean—so wickedly?” “Dear me, no—I could have borne that. She gave me never a glance. She only fixed the child.” Mrs. Grose tried to see it. “Fixed her?” “Ah, with such awful eyes!” She stared at mine as if they might really have resembled them. “Do you mean of dislike?” “God help us, no. Of something much worse.” “Worse than dislike?”—this left her indeed at a loss. “With a determination—indescribable. With a kind of fury of intention.” I made her turn pale. “Intention?” “To get hold of her.” Mrs. Grose—her eyes just lingering on mine—gave a shudder and walked to the window; and while she stood there looking out I completed my statement. “_That’s_ what Flora knows.” After a little she turned round. “The person was in black, you say?” “In mourning—rather poor, almost shabby. But—yes—with extraordinary beauty.” I now recognized to what I had at last, stroke by stroke, brought the victim of my confidence, for she quite visibly weighed this. “Oh, handsome—very, very,” I insisted; “wonderfully handsome. But infamous.” She slowly came back to me. “Miss Jessel—_was_ infamous.” She once more took my hand in both her own, holding it as tight as if to fortify me against the increase of alarm I might draw from this disclosure. “They were both infamous,” she finally said. So, for a little, we faced it once more together; and I found absolutely a degree of help in seeing it now so straight. “I appreciate,” I said, “the great decency of your not having hitherto spoken; but the time has certainly come to give me the whole thing.” She appeared to assent to this, but still only in silence; seeing which I went on: “I must have it now. Of what did she die? Come, there was something between them.” “There was everything.” “In spite of the difference—?” “Oh, of their rank, their condition”—she brought it woefully out. “_She_ was a lady.” I turned it over; I again saw. “Yes—she was a lady.” “And he so dreadfully below,” said Mrs. Grose. I felt that I doubtless needn’t press too hard, in such company, on the place of a servant in the scale; but there was nothing to prevent an acceptance of my companion’s own measure of my predecessor’s abasement. There was a way to deal with that, and I dealt; the more readily for my full vision—on the evidence—of our employer’s late clever, good-looking “own” man; impudent, assured, spoiled, depraved. “The fellow was a hound.” Mrs. Grose considered as if it were perhaps a little a case for a sense of shades. “I’ve never seen one like him. He did what he wished.” “With _her?_” “With them all.” It was as if now in my friend’s own eyes Miss Jessel had again appeared. I seemed at any rate, for an instant, to see their evocation of her as distinctly as I had seen her by the pond; and I brought out with decision: “It must have been also what _she_ wished!” Mrs. Grose’s face signified that it had been indeed, but she said at the same time: “Poor woman—she paid for it!” “Then you do know what she died of?” I asked. “No—I know nothing. I wanted not to know; I was glad enough I didn’t; and I thanked heaven she was well out of this!” “Yet you had, then, your idea—” “Of her real reason for leaving? Oh, yes—as to that. She couldn’t have stayed. Fancy it here—for a governess! And afterward I imagined—and I still imagine. And what I imagine is dreadful.” “Not so dreadful as what _I_ do,” I replied; on which I must have shown her—as I was indeed but too conscious—a front of miserable defeat. It brought out again all her compassion for me, and at the renewed touch of her kindness my power to resist broke down. I burst, as I had, the other time, made her burst, into tears; she took me to her motherly breast, and my lamentation overflowed. “I don’t do it!” I sobbed in despair; “I don’t save or shield them! It’s far worse than I dreamed—they’re lost!”
Source text: Project Gutenberg #209. Public domain worldwide.
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Chapter VII functions as an expository climax in which the governess's suspicions crystallise into named accusations. The revelation of Miss Jessel's identity transforms the ghost from an anonymous threat into a figure with a social and moral history, anchoring the supernatural within the Victorian discourse of class transgression and female ruin. Mrs. Grose's reluctant confirmation — 'They were both infamous' — is carefully hedged: she corroborates the relationship but explicitly disclaims knowledge of Miss Jessel's death, a gap that James preserves to sustain interpretive ambiguity.

The governess's logic throughout the chapter is conspicuously circular. She asserts Flora 'knows' not because the child spoke but because she did not speak; silence becomes proof of guilt. This epistemological instability is central to the novella's design: the governess's certainty escalates in direct proportion to the absence of verifiable evidence. Her declaration 'I don't know what I don't see — what I don't fear!' is a syntactically inverted confession that her fear has outrun her perception.

James deploys free indirect discourse to keep the reader locked inside the governess's perspective. Phrases such as 'a figure of quite as unmistakable horror and evil' present interpretation as fact, and the reader must actively resist the narrative voice to notice that no independent witness confirms the apparition. Mrs. Grose's responses — gasps, pallor, a step backward — are produced by the governess's words, not by any shared vision, making her reactions evidence of the governess's rhetorical power rather than of supernatural reality.

The description of Miss Jessel — 'wonderfully handsome. But infamous' — encodes the Victorian fallen-woman archetype: beauty and moral corruption are presented as inseparable. Quint is dismissed as 'a hound' who 'did what he wished' with everyone, yet the governess insists Miss Jessel 'must have' desired the liaison too, distributing blame in a way that reflects the governess's own anxieties about female desire and social propriety. The phrase 'She was a lady' spoken with shame rather than dignity underscores how class and gender intersect to make Miss Jessel's transgression doubly scandalous.

The chapter closes on an image of maternal comfort and existential despair simultaneously: Mrs. Grose takes the governess to her 'motherly breast' even as the governess sobs 'they're lost.' This pairing of physical warmth with apocalyptic language captures the novella's governing tension between the domestic and the uncanny, and positions the governess as both protector and hysteric — a duality James refuses to resolve.

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✎ Mr. Shifflett's Note
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