How to Create an Elaborate Hoax
The back cover of our edition of Henry James’s The Turn of the Screw states that it is “Widely recognized as one of literature’s most gripping ghost stories,” but actually it is the story of the most fantastic con job ever perpetrated upon a person. Mrs. Grose and Miles are the two con artists, and the mark is the Governess. They prey upon her naiveté, and succeed in driving her mad with their hoax. It’s easy for things to be going on outside of our view since the story is told from the perspective of the Governess, who not only is unaware of hidden things, but also is only too willing to rationalize the extraordinary things that happen in full view.
Mrs. Grose is the chief conspirator, and as some have speculated a previous conquest of the Master’s (gradesaver.com). When the Governess arrives, she believed Mrs. Grose was so happy to see her that she was “on her guard against showing it to much” (7). Mrs. Grose wasn’t happy at all to see the latest in a long line of pretty young women to come to the house. She told the Governess, “You’re not the first - and you won’t be the last” (9). The elder woman might even be the “great awkwardness” that followed, or caused the death of the previous governess (5). As the only adult that the Governess felt she could talk to, Mrs. Grose was able to be the sole source of information on the past of Bly. It is from her that we learn how Miss Jessel and Quint died (of which she tells little), what they looked like, and that Quint even existed (let alone what he did to Miles), leaving the Governess to fill in the rest on her own.
The appearances of the ghosts themselves would have been easy to pull off, with help. The only logical and visible help that Mrs. Grose could get was Miles, who was just kicked out of school for being “an injury to others” (11). Mrs. Grose defends Miles, convinces the Governess to trust him, and says she’ll “stand by” her decision to not tell the Master or write to the school (14). Peter Quint the first ghost to physically manifest doesn’t appear until Miles arrives from school. When he makes himself known it is at dusk, and at a great distance. It could have very easily been Miles, dressed as Quint. This is also true of the second appearance of Quint, through the window in the dining room. The Governess claimed that “He appeared thus again with what I won’t say greater distinctness” (20). In the time it took her to go outside and around to the window, he could have gone the opposite direction and disappeared into the house.
Meanwhile, Mrs. Grose had begun appearing as Miss Jessel, on the other side of large lakes, far enough away to not be recognized, but close enough to be seen by the Governess. By this time the Governess regarded these figures as ghosts, because Mrs. Grose had identified the man as Peter Quint and told her that he was dead.
On the staircase, two methods were used to spook the Governess. When Quint appeared, it was light enough so she could see him without a candle, but dark enough for him to go “straight down the staircase and into the darkness in which the next bend was lost” (40). The Governess then accommodated them by not following him and going back to her room. This allowed Miles to sneak back upstairs to his room. The other method, used to make Miss Jessel disappear, involved an object that James (through the Governess) went out of his way to mention, the long glass mirror, which the Governess admitted a unfamiliarity with, “for the first time, I could see myself from head to foot” (7). Miss Jessel’s appearance on the stairs was the only time she appeared at night, and this allowed Mrs. Grose and Miles to hide the mechanics of the illusion. They were not always so lucky however when the Governess saw Miles outside one night they were caught red-handed. The excuse he came up with even the Governess found hard to believe, but she still had no reason, at that point, to suspect he was manufacturing the ghosts.
Miss Jessel’s second appearance at the lake required cracker-jack timing, and proved that the two were working together. First Miles distracted the Governess with his music; meanwhile Mrs. Grose took Flora and the boat to the other side of the lake. Mrs. Grose then returned in time to help the Governess search for Flora, leaving Miles alone and forgotten. When they found Flora it is hinted that even she was in on the scheme, the Governess says, “[she] stood before us on the grass and smiled as if her performance was now complete” (68). Now it was a matter of erecting a dressmaker’s dummy wearing Miss Jessel’s clothes, which the reader can assume because it was “exactly as she stood the other time,” and it was also “without movement” so it would match her previous appearance (70,71). Then all that was required to drive the Governess further over the brink was for Mrs. Grose to simply deny seeing the figure.
With the state of mind that the Governess was in, we can assume that the last appearance of Quint must have been a hysterical hallucination. It was just after dinner, in November and in England, which makes it either dark outside or near dark, and therefore the Governess and Miles were using candles. With a light on the inside and darkness outside, the reflection would make it impossible to see out the window (whether there is a real ghost there or not).
The stopping of Miles’s heart is more metaphorical than literal; it represented Miles telling the Governess the truth and her finally losing faith in him. It is also harder to believe that Miles died, because she goes on to another job and I find it hard to believe that another couple would trust a governess, with their children, who had a child die of a heart attack. The humiliation that the Governess felt after the incident, being tricked by a young boy and a housekeeper, is probably why she suppressed the story for so long.
Since the story ends before we can see the aftermath, we only have the Governess’s commentary to base our opinions of what really went on. It’s also possible that Douglas, who held the manuscript for many years, took it upon himself to remove the most embarrassing part of the story by simply omitting it. Thus proving to the prologue’s narrator Douglas’s true feelings for her.