1. The Turn of the Screw Ch. 21-24 Abby, Margaret, Colin, Nick

2. Chapter 21 pg.50 “Oh, I see her perfectly from here...She’ll never speak to me again.” “You’ve the cleverest little person to deal with. They’ve made them--their two friends, i mean--still cleverer even than nature did; for it was wondrous material to play on! Flora has now her grievance, and she’ll work it to the end.” These quotes show the governess’s new-found feelings towards Flora after the scene at the lake. It seems that the governess thinks Flora is lying about not being able to see the ghost of Miss Jessel, so she is heated and decides to play the children as she believes they played her. Do you think that Flora is telling the truth and really can not see the ghosts? Has she truly been corrupted by the ghosts or is she naturally corrupt?

3. Chapter 21 The governess then sends Mrs. Grose away with Flora in order for her to be one-on-one with Miles, thinking he will tell her the truth. “I think he wants to give me an opening. I do believe that--poor little exquisite wretch!--he wants to speak.” How is the governess’s plan irrational? Does her manipulation have the kids’ best interests at heart or has the governess taken her quest too far?

4. Chapter 21 Mrs. Grose reveals to the governess that her letter to the uncle was never sent because Miles took it, and that he must have been expelled from school for stealing and wickedness. Governess tells Mrs. Grose “your eyes are open even wider than mine.” “I seemed to myself, for the instant, to have mastered it, to see it all. ‘I’ll get it out of him. He’ll meet me--he’ll confess. If he confesses, he’s saved. And if he’s saved---’” “Then are you?” Is the governess going to these extreme measures to prove herself to others that the ghosts are real? Does she want to justify her sanity? Is her primary concern for Miles and saving his soul from Quint?

5. Chapter 22 The chapter begins right after Mrs. Grose has left the estate with Flora. She fears the worst for both herself and for Miles. She is an emotional wreck, and strugglles to protect both herself and Miles. “I welcomed the consciousness that I was charged with muich to do, and I caused it to be known as well that, left thus to myself, I was quite remarkably firm.” (53) It is full of self-reflection and analyzing of her situation. The governess fears for Miles, as anticipation builds and there is a great deal of suspense and foreshadowing.

6. Chapter 22 “The stamp of publicity had of course been fully given by her confinement and departure, and the chanage itself was now ushered in by our nonobservance of the regular custom of the schoolroom.” (53) “Here at present I felt afresh--for I had felt it again and again--how my equilibrium depended on the success of my rigid will, the will to shut my eyes as tight as possible to the truth that what I had to deal with was, revoltingly, against nature.” (54) There is foreshadowing when the governess comes to the realization that she is alone in the house with Miles. The description of the emptiness of the house seems to indicate something will happen. Additionally, we begin to question whether or not the ghost of Quint has posessed Miles. It it has, the reader begins to question the nature of the governess in relation to the children, specifically Miles. We begin to question whether or not the governess and Miles have Freudian motives and pre- concieved notions about the ghost that are not influenced by their own experiences.

7. Chapter 23 "You would certainly seem to have seen, these twenty-four hours, a good deal more of it than for some time before. I hope," I went on bravely, "that you've been enjoying yourself." "Oh, yes, I've been ever so far; all round about -- miles and miles away. I've never been so free." - What does Miles mean by saying that he has never been so free? Is that Quint’s presence in him?

8. Chapter 23 "It was partly to get you to do something," I conceded. "But you know, you didn't do it." "Oh, yes," he said with the brightest superficial eagerness, "you wanted me to tell you something." "That's it. Out, straight out. What you have on your mind, you know." "Ah, then, is that what you've stayed over for?" He spoke with a gaiety through which I could still catch the finest little quiver of resentful passion; but I can't begin to express the effect upon me of an implication of surrender even so faint. It was as if what I had yearned for had come at last only to astonish me. "Well, yes -- I may as well make a clean breast of it. It was precisely for that."- - How does he know? What are the implications ?

9. Chapter 24 “The appearance was full upon us that I had already had to deal with here: Peter Quint had come into view like a sentinel before a prison. The next thing I saw was that, from outside, he had reached the window, and then I knew that, close to the glass and glaring in through it, he offered once more to the room his white face of damnation.” Is Quint really there?

10. Chapter 24 “It came to me in the very horror of the immediate presence that the act would be, seeing and facing what I saw and faced, to keep the boy himself unaware. The inspiration--I can call it by no other name--was that I felt how voluntarily, how transcendently, I might.” If Miles can’t see/feel Quint’s presence, how are we to believe that it’s not just the governess being crazy?

11. Chapter 24 “It was like fighting with a demon for a human soul, and when I had fairly so appraised it I saw how the human soul--held out, in the tremor of my hands, at arm's length--had a perfect dew of sweat on a lovely childish forehead. Is she looking at Miles and thinking he is “the human soul”? “The face that was close to mine was as white as the face against the glass, and out of it presently came a sound, not low nor weak, but as if from much further away, that I drank like a waft of fragrance.” Miles’ face? Is she scaring him so much that he screams? Is this what she “drank”?