Summers 1 Katie Summers ENGL 305 Psychoanalytic Essay 9 October 2014 The Unconscious Mind, in Henry James The Turn of the Screw Ross C. Murfin, author and Professor of English states in his essay entitled Psychoanalytic Criticism and The Turn of the Shrew states: Freud s theories are either directly or indirectly concerned with the nature of the unconscious mind. Freud didn t invent the notion of the unconscious; others before him had suggested that even the supposedly sane human mind was conscious and rational only at times, and even then at possibly only one level. But Freud went further, suggesting that the powers motivating men and women are mainly and normally unconscious (303). In his novel The Turn of the Screw, Henry James plays with this notion that the unconscious mind greatly affects--and arguably controls--the conscious mind of men and women. Looking through the Freudian lense of personality theory, conceivably, James uses the main character and Comment [1]: Great strong statement! Love that you went that far. narrator of the novel, the unnamed governess, to show readers the effect of the unconscious mind on the character s conscious actions. Furthermore, even though James keeps the powers that motivate the governess hidden to readers, they arguably still see how her actions reflect the deterioration of her mind. In order to fully demonstrate how James character, the governess, displays Freud s theory that the powers hidden in one s unconscious mind motivate the conscious mind-- specifically through her behavior--readers need a basic understanding of Freud s personality theory. According to Saul McLeod, a Psychology lecturer at the University of Manchester, Comment [2]: These are all good claims, but I'm just leaving the intro feeling a little underwhelmed. I think you could maybe arrange this information into a thesis statement that really wows! It is great right now, but I think that would be a bit more powerful to change that up. Comment [3]: Yeah, it seems to me like it's very lengthy by your over-expenditure of words. See if you can cut down some qualifiers and descriptive phrases and just cut it down to your core points. Also, though I'm not the expert, I'd be careful about saying what James does or doesn't do if you're going to be analyzing one of the characters. Make it seem more as if it is her unconscious driving her, as per your thesis, as opposed to the author. Comment [4]: You already established this, so I would just say "the governess"
Summers 2 Freud developed a topographical model of the mind, whereby he described the features of mind s structure and function. In this model the conscious mind is seen as the tip of the iceberg, with the unconscious mind a repository of a cauldron of primitive wishes and impulse kept at bay and mediated by the preconscious area (Sigmund Freud s Theories). In this model, Freud breaks down the iceberg into three different parts: the id, the ego, and the superego. The id, the Comment [5]: impulses? plural Comment [6]: Block quote? Maybe technically? part of the iceberg completely submerged in the unconscious, is driven by one s libido and consists of the inherited components of one s personality, including the sex instinct. The second part of the iceberg, the ego, found in both the unconscious and conscious mind, gains purpose Comment [7]: "the sex instinct" seems a bit weird..sexual instinct maybe? Very small thing... from fulfilling the desires of the id. However, the ego--because it wavers between the unconscious and conscious, it only fulfills the desires of the id in ways that are socially acceptable. The last part of Freud s iceberg, the superego, also found in both the unconscious and conscious mind, ensures that the one s conscious actions are in tune with social standards and norms. (Sigmund Freud s Theories). However, as seen in James character development of the governess, sometimes the id, ego, and superego become unbalanced, the iceberg begins to falter. According to Freud s personality theory, Much of what lies in the unconscious mind has been put there by consciousness, which acts as a censor, driving underground unconscious or conscious thoughts or instincts that it deems unacceptable...repressed to an unconscious state, Comment [8]: take out "it" Comment [9]: Maybe I don't fully understand the ego, but I thought it was more of a governing force for the id and mediator between the id and the superego. Where did you get the information that it gains purpose from fulfilling desires of the id? Comment [10]: Also, check construction. Weird clauses going on here. Comment [11]: this is a bit awkward...an iceberg faltering? Maybe find a different verb. Love that you're bringing back the metaphor, but maybe another wording would work better in this instance. they emerge only in disguised forms: in dreams, in language, in creative activity that may produce art, and in neurotic behavior (Murfin 303-304). The governess falls in the latter of these disguised forms: her repressed thoughts and instincts emerge from her neurotic behavior. The first emergence of the governess s neurotic behavior, which demonstrates how her Comment [12]: Good transition. I see what you mean now! repressed thoughts--her unconscious--affect her conscious actions, begins with her fabrication of apparitions. And as mentioned above, even though James does not let readers know explicitly Comment [13]: Obviously this is your work and at the college level, but I was typically taught not to be self-referential in my writing.
Summers 3 what desires and instincts the governess is repressing, they still can deduce that these desires brewing in her unconscious eventually affect her conscious actions, i.e. her invention of the ghosts. When talking to the children--miles and Flora--the governess takes great care not to discuss topics which might be viewed as inappropriate or unsuitable for them. She states, Comment [14]: very strong and clear statement here!! Your argument is definitely not weakened by the fact that the repressed desires are not defined. though, that this task is nearly impossible because all roads lead to Rome, and there were times when it might have struck us that almost every branch of study or subject of conversation skirted forbidden ground. Forbidden ground was the question of the return of the dead in general and of whatever, in especial, might survive, for memory, of the friends little children had lost (78-79). She spends much of her time avoiding any kind of topic which might be strewed as improper, which, in turn, causes her to become nervous and anxious. The amount of energy she spends Comment [15]: strewed? Doesn't that mean to scatter? do you mean misconstrued? avoiding and, essentially, suppressing these forbidden grounds has a clear effect on her actions. She becomes almost delusional and starts seeing ghosts, which she claims the children can see as well. The children, however, cannot see the ghost, and after the governess urges Flora to see the ghosts she, without a convulsion of her small pink face, not even feign to glance in the direction of the prodigy [the apparition] I announced, but only, instead of that, turn at me an expression of hard still gravity, an expression absolutely new and unprecedented and that appeared to read and accuse and judge me--this was a stroke that somehow converted the little girl herself into a figure portentous (102). Flora, in this exchange, seems not to see the apparition, probably because there is no ghost. It is a fabrication built up by the governess s suppressed desires and instincts. Not only does her fabrications of the apparitions show readers how the governess s repressed desires affect her actions, but also her confusing and her sometimes inappropriate behavior towards Miles and Flora. Again, readers are unaware of all the forbidden grounds the Comment [16]: talk about the quote some more! Why is it important the the daughter gives her a look of such harsh judgment? Could this be representing her superego?? Could her daughter be the embodiment of repression? Comment [17]: I think you might be better served to refer to the reader less. Maybe just say "demonstrates" here? Comment [18]: Didn't you use a quote that explained what the forbidden grounds were?
Summers 4 governess s superego works at keeping suppressed; however, the effect arguably influences her actions. Arguably, her interactions with the children might act as a mirror into the governess s Comment [19]: I don't quite get what you're saying here...forbidden grounds that work at keeping suppressed? unconscious. Oftentimes, the governess seems obsessed, and almost infatuated, with the children; however she seems to use this infatuation as an escape. She claims, Of course I was under the spell, and the wonderful part is that, even at the time, I perfectly know I was. But I gave myself up to it; it was an antidote to any pain, and I had more pains than one (43). These pains she confesses to suffer from arguably reside in her subconscious, the same pains which cause an imbalance in her actions. Upon meeting Flora, the governess claims this little girl who accompanied Mrs. Grose affected me on the spot as a creature too charming not to make it a Comment [20]: but doesn't she say that she perfectly knew what was going on? Wouldn't that negate that it is in the subconscious? Maybe add a bit more and acknowledge that part of it. great fortune to have to do with her. She was the most beautiful child I had ever seen, and I afterwards wondered why my employer hadn t made more of a point to me of this. I slept little that night--i was too much excited (30). The governess s reaction to meeting Miles mirrors that of Flora s. To the governess, Miles exudes a purity and innocence she deeply admires. Their relationship, though, seems to go further than what society deems acceptable and appropriate. For example, in a conversation with Miles about his returning to school, the governess claims, I was slow to find anything that he had plenty of time, after a minute, to continue with his suggestive but inconclusive smile: You know, my dear, that for a fellow to be with a lady always--! His my dear was constantly on his lips for me, and nothing could have expressed more the exact shade of sentiment with which i desired to inspire my pupils than its Comment [21]: Just needs caps fond familiarity (83). This exchange between the governess and Miles seems extremely sensual, and quite inappropriate for a conversation between an adult and a child. Arguably, whatever thoughts the governess tries to repress in her subconscious show up in her interactions with the children, especially Miles. Comment [22]: I personally don't see it as so sensual, though that may just be me in my innocence. But if you can argue it that way, I concur with Nora's point that you need to run a marathon with it! Comment [23]: Come on...bring in some Freud here! He loves the sensual stuff. :) Just add a quite statement about how it is even stronger example because it seems to be a manifestation of a repressed sexual desire.
Summers 5 Another emergence of the governess s neurotic behavior--arguably the ultimate emergence of her neurotic behavior--demonstrating how her repressed thoughts lead to the deterioration of her mind, materialize in Miles death. In the last chapter of James novel, the governess and Miles discuss why his school has expelled him. Miles claims he said things [to] those I liked...they must have repeated them. To those they liked (118-119). Comment [24]: You say arguably a lot. It may be true, but generally you want to avoid such qualifiers in your paper. Also, as an argumentative paper, this particular one is pretty much always implied. Comment [25]: Though still appropriate in some cases! You needn't take them all out! Comment [26]: can you find another way to introduce this idea? I just find it a tad cheesy when you reference chapters or points in the book, you know? Readers cannot know for sure what Miles alludes to here; however, the vagueness suggests Miles s allusion to sex or even homosexuality. This vagueness, though, also suggests the importance of keeping these desires and instincts repressed in the unconscious. The Comment [27]: SO GOOD!! :) governess claims, though, My face must have shown him I believed him utterly; yet my hands-- but it was for pure tenderness--shook him as if to ask him why, if it was all for nothing, he had condemned me to months of torment (118). Here, as mentioned above, the governess s reaction seems sensual, and therefore, inappropriate. Furthermore, as the governess and Miles talk about why he has been expelled, her anxiety and nervousness begins to surface and she starts to see another apparition. She explains that at Comment [28]: Elaborate on sensuality because Freud. Here I think it should be a lot easier to do, especially if you briefly explore the implications of "months of torment" for being in Miles' presence ;) this, with a moan of joy, I enfolded, I drew him close; and while I held him to my breast, where I could feel in the sudden fever of his little body the tremendous pulse of his little heart, I kept my eyes on the thing at the window and saw it move and shift its posture (117). It is with this embrace in which Miles s poor heart stops. The energy from the governess s anxiety from seeing the apparition arguably caused Miles to also become frightened, and essentially cause his heart to give out. The repressed desires and instincts of both the governess and Miles tangled with their conscious actions, just like the two of them get tangled trying to avoid the apparition. This entanglement, though, ultimately ends in Miles s death. Comment [29]: "Caused" here and "cause" later; minor tense issue. Comment [30]: I like it and I think your points work well in argument, for the most part it's just stylistic points to save you from cleaning them up later and a clarity issue here and there. Also, a conclusion would be nice to cap off this surely very proud paper! Comment [31]: Oh, also I see from your works cited that you only have one source. Personally, I'd add another outside source and the book itself. Comment [32]: Conclusion? Overall really strong paper Katie! My points may be more indicative of my personal style, but I think you have a super strong draft!
Summers 6 Works Cited Murfin, Ross C. Zacharias, Greg W. The extraordinary flight of heroism the occasion demanded of me : Fantasy and Confession in The Turn of the Screw. The Turn of the Screw. Ed. Peter G. Beidler. Boston: Bedford/St. Martin s, 2010. 320-332. Print.