Ghosts
Analyzing The Turn of the Screw would be incomplete without exploring the key themes that various critics have pointed out in this mysterious tale. The most prominent and obvious theme is that of ghosts. When the governess arrives at Bly, she encounters some classic ghostly occurrences, such as the faint "cry of a child" and the sound of "a light footstep" outside her door. At first, she dismisses these sounds, but soon after, upon her second sighting of a man she believes to be an intruder, she decides to chase him. However, as the governess describes, when she turns the corner where the man was standing, "my visitor had vanished." When she initially sees Miss Jessel, she comments on the "identity of the apparition," a phrase often associated with ghosts. She uses this term again when she spots Quint on the stairs, though it's noteworthy that Quint appears "as human and hideous as a real interview," rather than faint or ethereal like many traditional ghosts.
Good versus Evil
Even though the ghosts appear as humans, the governess is adamant that they are malevolent, portraying her battle as a clash between good and evil. In her first discussion with Mrs. Grose about Quint, she describes the ghost as "a horror." Later, after recognizing the ghosts, she refers to them, even when they were alive, as "fiends." The governess is determined to protect the children from these evil entities, reassuring herself, "the children, in especial, I should thus fence about and absolutely save." However, after learning more about the children's past encounters with Miss Jessel and Peter Quint, she despairs, "I don't save or shield them! It's far worse than I dreamed—they're lost!" Despite this, she doesn't give up on her mission. At the story's end, as Mrs. Grose leaves with Flora to take her to her uncle's city home, the governess shares her strategy for Miles: "If he confesses, he's saved." That night, when she finally gets Miles alone and makes him say Quint's name, he asks, "Where?" searching for the ghost. At this point, the governess believes she has overcome evil, proclaiming, "What does he matter now, my own? ... I have you ... but he has lost you for ever!" Tragically, after Miles cries out and collapses into her arms, she realizes that even though she feels she has defeated the ghost, Miles has died in the process.
Insanity
Is it possible that the governess is hallucinating? Besides actual ghosts, this is another significant theory proposed by many critics. Clues in the novel suggest the governess might be imagining things. Notably, no one besides the governess has explicitly claimed to see any ghosts. When Miss Jessel's ghost appears before her and Mrs. Grose, the governess feels a "thrill of joy at having brought on a proof." However, the housekeeper does not see the ghost: "What a dreadful turn, to be sure, Miss! Where on earth do you see anything?"
Throughout the story, the governess herself hints at the possibility of madness. After the initial ghost sightings, she describes her state of being in "stifled suspense" while waiting for more supernatural occurrences, noting that if this condition had "continued too long," it might "have turned to something like madness." The governess goes through a much longer period without seeing ghosts during late summer and early autumn. Although she doesn't describe this phase as "stifled suspense," she acknowledges that one might expect the lack of ghostly appearances to "have done something toward soothing my nerves," but it does not. Given this and other examples of her anxious state, one might interpret the ghosts as mere hallucinations.
Battle Between Good and Evil
If the story is viewed as a ghost tale, the main theme that surfaces is the struggle between good and evil. To understand this theme fully, readers must consider the governess as a trustworthy narrator, agree with her belief that Quint and Miss Jessel are ghosts, and accept her perspective of them as malevolent entities trying to capture the innocent souls of the children. In this reading, the governess represents goodness, heroically attempting to rescue Flora and Miles. This interpretation of the story's central theme is strongly supported by key elements of setting, characterization, and imagery. Bly is initially portrayed as a sort of Garden of Eden, with its vibrant June foliage, freshness, warmth, and light, while the extraordinarily beautiful and seemingly pure children symbolize humanity's innocence before the Fall. The ghosts are depicted as embodiments of Satan from the Biblical narrative, invading the garden and introducing pain, corruption, and the knowledge of evil. Their sinister influence causes the atmosphere at Bly to change to one of "extraordinary chill and mortal coldness," and the children lose their initial innocence. Religious concepts and terms such as "atonement," "expiation," and "confession" further strengthen this interpretation of the events.
Psychological Interpretation of the Governess
Some readers choose to critically examine the governess, questioning whether her sightings are the result of a troubled mind. If the apparitions are simply her hallucinations, then she is the one who "haunts" Bly and victimizes the children. In these interpretations, the governess is not viewed as a logical and reliable woman but rather as someone controlled by her emotions. Her actions appear to be profoundly affected by her love for the master and her psychological turmoil, knowing her feelings are socially unacceptable and having agreed never to see him again.
In Bly's isolation, she channels her unfulfilled romantic desires for the master toward his house and its residents, manifesting her emotional distress as ghosts. This notion that the ghosts are her psychological counterparts is suggested in several scenes where she exchanges roles with them. For instance, after being startled by Quint looking through the dining room window, she steps outside, assumes his position at the window, and ends up frightening Mrs. Grose. On another occasion, she observes Miss Jessel sitting on the stairs "in an attitude of woe," and later finds herself in the same spot on the same stairs. Realizing this parallel, she hurries to the schoolroom, only to find Miss Jessel sitting at her desk. Additionally, she displays a sense of familiarity with the ghosts. Regarding Quint, she feels as though she "had been looking at him for years and had known him always," and upon encountering Miss Jessel in the schoolroom, she feels "it was I who was the intruder."
Epistemological Themes and Ambiguity
Some readers do not feel the need to choose between supernatural and psychological interpretations. They believe that searching for a singular, definitive meaning diminishes the story's impact and ignores its intentional ambiguity. These readers, comfortable with the idea that "truth" is inherently uncertain, tend to perceive multiple layers of meaning existing simultaneously within the narrative.
For them, the novel's main themes are epistemological, focusing on how the mind constructs its perception of experience and examining how human imagination operates under extreme pressure. They empathize with the governess, who must face the events at Bly without outside assistance. They also take note of her vivid imagination and her self-described habit of "writing scenarios" and "painting pictures."
For instance, during her initial tour of Bly, she imagines the house as "a castle of romance." As she explores the estate, she envisions the "charming story" of meeting the master. When she sees Quint on the tower, he appears "as definite as a picture in a frame." She also has a remarkable talent for forming hypotheses and organizing events around them. Once she concludes that the children are in contact with the apparitions, she firmly believes in their sinister intentions and "knows" the children's beauty and innocence are deceptive.
She tells Mrs. Grose that Flora saw Miss Jessel, despite lacking clear evidence. Furthermore, when Miles mentions his "unusual" situation during a discussion about his absence from school, she is convinced he is referring to his connection with Quint.
