The Turn of the Screw - PDF Flipbook
By Henry James - Pre-intermediate
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E A D I N G
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T R A I N I N G .
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H e n r y James
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R e to ld b y M a u d Jackson A c t i v it ie s b y J u stin R a in e y
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Editor: Richard Elliott Design and art direction: N adia Maestri Com puter graphics: M aura Santini, Simona Corniola Illustrations: Anna and Elena Balbusso Picture research: Laura Lagomarsino
© 2004
Black Cat Publishing, an im print of Cideb Editrice, Genoa, Canterbury
First edition: April 2004
Picture credits: By courtesy of the National Portrait Gallery, London: 5; Phillips, The International Fine Art Auctioneers, UK / Bridgeman Art Library: 7; © Birmingham M useum s and Art Gallery / Bridgeman Art Library: 43; New York Historical Society, N ew York, USA / Bridgeman Art Library: 85.
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ISBN 88-530-0120-8 Book ISBN 88-530-0121-6 Book + CD Printed in Italy by Litoprint, Genoa
Catvtavts Introduction
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t/ie S crew PraiM ftu
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P art
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P a rt
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P a rt
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P a rt
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P a rt
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P a rt
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P a rt
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P a rt
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P a rt
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P a rt
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D o s s ie r s
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Governesses and upper-class children
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Puritanism
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INTERNET FILM PROJECT THE IN N O C E N T S
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INTERNET PR O JE C T
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8. 15. 25. 33 . 4 0 . 5 4 . 6 2 . 7 0 . 8 2 , 8 8 , 9 6 , 1 0 0 , 10 8, 122 _________________________ 125
F ir s t C e r t i f i c a t e in E n g lis h e x a m i n a t i o n - s t y l e e x e rc is e s T: g r a d e s 6-7 T r i n i t y - s t y l e e x e r c i s e s ( G r a d e s 6 - 7 ) T h is s t o r y is r e c o r d e d in f u l l. T h e s e s y m b o ls in d ic a te t h e b e g in n in g a n d en d o f th e e x t r a c t s lin k e d t o t h e lis t e n in g a c tiv it ie s
H e nr y J am es (1913) by John Singer Sargent.
I n
t r o
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[Henry James w as b o rn in 1843 in N ew York City. His family was prosperous and cultured. They often travelled to Europe and lived there for long periods while H enry w as grow ing up. His father was a learned 1 N ew England m oralist w hose Puritan 2 beliefs h ad a strong influence on his children. H enry w as educated by private tutors until he w as twelve and then w ent to schools in Boulogne, Paris, Geneva, and Bonn. W hen his family returned to the U nited States, he finished his schooling at New port, Rhode Island then entered H arv ard Law School. However, a year later he left H arv ard and started to think seriously of a writing career. He began writing reviews and critical essays, which were published in
1.
l e a r n e d : well e d u c a t e d ; w h o h a d r e a d a lot o f b o o k s.
2.
P u r i t a n : f o r a n e x p l a n a t i o n o f P u r i t a n i s m , s e e t h e d o s s i e r o n p. 8 5.
>V ^ ‘t The Atlantic Monthly. 1 His first novel - Watch and Ward - was published in instalments in 1871. Four years later, he spent a year in Paris in the com pany of em inent literary figures such as Turgenev, Flaubert, and Zola. The following year, 1876, he settled in London and published his second novel, Roderick Hudson. This w as followed by a constant stream of novels, essays, and short stories. The following are his best know n novels: The American (1877), The Europeans (1878), Daisy Miller (1879), Washington Square (1880), The Portrait of a Lady (1881), The Bostonians (1886), The Aspern Papers (1888), The Spoils of Poynton (1897), What Maisie Knew (1897), The Turn of the Screw (1898), The Awkward Age (1899), The Sacred Fount (1901), The Wings of the Dove (1902), The Ambassadors (1903), and The Golden Bowl (1904). He died in 1916. A recurrent them e in Jam es's fiction is the culture clash betw een Americans and Europeans. As an Am erican w h o spent m ost of his life in Europe, he was very well placed to see the contrasts betw een the two cultures; Daisy Miller and The Portrait o f a Lady, for example, both revolve around this central idea. A nother major concern in his w ork is the child's view of the adu lt world; What Maisie Knew and The Turn of the Screw are both subtle explorations of this theme. The Turn of the Screw is also a ghost story. In this it differs from m ost of James' other novels, which are realistic. It has, however, one thing in com m on with all his fiction: it is profoundly ambiguous, and in this respect it anticipates M odernism. The story is a sim ple one. A yo ung wom an, w ho is the narrator of the story, accepts a position as governess to tw o children in a country house. The children are orphans. Their uncle - w ho is also their g u a rd ia n - lives in London. Therefore, the governess will be completely responsible for the children and alone in the house, except 1.
The A tla n tic M o n th ly : p restig io u s A m erican literary m agazine.
6
for the children an d the servants. In this rather lonely situation, the governess begins to see ghosts. M any questions rem ain unansw ered at the end of The Turn of the Screw. Are the children in the story - Miles and Flora - little angels or little devils? Does the governess really see the ghosts, or is she hallu cin atin g them ? Is the g ov erness a remarkable an d heroic yo ung w om an, or is she m ad an d cruel? Are the governess's actions influenced by Puritan ideas? And, if so, w hat does James seem to be saying about Puritanism? W hen Oscar W ilde read it, he wrote, 'I think it is the m ost w onderful, lurid, poisonous 1 little tale, like an Elizabethan tragedy. I am greatly im pressed by it.'
Lessons (19th century) by Helen Hallingham. 1.
p o i s o n o u s : p o i s o n is a s u b s t a n c e , like a r s e n i c o r c y a n i d e , t h a t , if i n g e s t e d , will b e f a t a l . W i l d e u s e s t h e a d j e c t i v e ‘p o i s o n o u s ’ m etap h o rically to m e a n deeply disturbing.
Q
M atch th e dates w ith th e correct events in James’ life. An exam ple has been done fo r you.
Date
Event
1843
He s e ttle d in London.
1855 1871 1876 1881 1898 1916
He s ta r te d a tte n d in g school a f t e r his e a rly e d u ca tio n w it h p riv a te tu to rs .
The Portrait o f a Lady w as published. He w as b o rn in N ew Y o rk City.
The Turn o f the Screw w as published. He died. His f i r s t novel Watch and Ward w as published in The Atlantic Monthly.
Q
W h a t is th e significance o f these people and places in H en ry James’ life? •
o
his f a t h e r
•
H a rv a rd Law School
•
Paris
•
London
•
F la u b e rt
W h a t two them es recu r in James’ fiction? W hich w o rks illu s tra te this? Them e
T itle
•
•
•
•
8
In w h a t w a y does The Turn o f the Screw d iffe r fro m James’ o th er works? W h a t does it have in common? ^
The Turn o f the Screw poses five unansw ered questions. W h a t are they?
Before you read Q
W h a t are th e typical ‘in gredients’ o f a ghost story?
0
W o rkin g w ith a p a rtn e r consider th e tim e , the setting and the place.
^
W rite a v e ry unoriginal ‘spooky’ opening paragraph by answering these questions: — W h a t tim e o f day is it? — W h a t tim e o f th e y e a r is it? — W h a t is th e w e a th e r like?
Q
Give yo ur m ain character a nam e and age. —
W h e re is th e m a in c h a ra cte r? Is h e /sh e alone?
—
W h a t is h e /sh e doing? W h e re is he/she?
—
W h e re is he going? W h a t is happening? Describe th e locatio n.
■w G akfi petMp
21 chsWi -
M
Prologue
7
t w a s C h r is t m a s Eve. W e s a t a r o u n d t h e f i r e in t h e o ld h o u s e a n d lis t e n e d t o a g h o s t s t o r y . W h e n t h e s t o r y
w a s fin is h e d , s o m e o n e s a id t h a t i t w a s t h e o n ly case he k n e w o f in w h i c h a g h o s t h a d a p p e a r e d t o a c h ild . D o u g la s sa id , ‘Y es, t h a t g iv e s t h e s t o r y a n o t h e r t u r n o f t h e s c r e w . 1 1 k n o w a g h o s t s t o r y i n v o l v i n g two c h ild r e n . I a m t h e o n l y p e r s o n w h o has e v e r h e a r d it . I t is t o o h o r r i b l e . ’ ‘Oh, h o w d e lic io u s ! s a id o n e o f t h e w o m e n , b u t he ig n o r e d h e r. L o o k in g a t m e , he s a id , ‘ i t is t h e m o s t h o r r i b le s t o r y I h a v e e v e r h e a rd .’ ‘T h e n p le a s e s i t d o w n a n d t e l l u s ,’ I s a id . ‘ 1 c a n ’t . T h e s t o r y is w r i t t e n d o w n , a n d t h e m a n u s c r i p t is a t m y
1.
gives th e story a n o th e r tu rn of th e s c r e w : a d d s m ore tension and
in te re st to th e story.
h o u s e in tow n. I will have to ask a serv an t to send it here. E v e r y o n e cried out w ith disappointm ent.
‘ Is i t f r o m y o u r o w n e x p e r ie n c e ? ’ I a s k e d . ‘Oh, t h a n k G o d , n o ! ’ he s aid. ‘ D id y o u w r i t e i t d o w n ? ’ ‘ No. T h e m a n u s c r i p t is o ld a n d is w r i t t e n in t h e m o s t b e a u t i f u l h a n d w r i t i n g . A w o m a n ’s h a n d w r i t i n g . She h a s b e e n d e a d f o r t w e n t y y e a rs . She s e n t m e t h e m a n u s c r i p t b e f o r e she d ie d . ’ W e w e r e all l is t e n in g n o w , a n d s o m e b o d y s a id t h a t p e rh a p s D ou g la s w a s in lo v e w i t h t h e la d y . ‘N o ,’ he said. ‘She w a s a c h a r m in g p e rs o n , b u t she w a s t e n y e a rs o ld e r t h a n I. She w a s m y s i s t e r ’s g o v e rn e s s w h e n I w a s a t u n iv e r s it y . I m e t h e r w h e n I c a m e h o m e in th e v a c a t io n . W e o f t e n
w e n t f o r w a lk s t o g e t h e r .
1 lik e d
her
e x tr e m e ly , a n d 1 t h i n k she lik e d m e to o , be ca u s e she t o l d m e th e s to r y . She h a d n e v e r t o l d a n y o n e , a n d I h a v e n e v e r t o l d a n y o n e .’ He lo o k e d a t m e a g a in . ‘ I s e e ,’ I sa id . ‘ She w a s in lo v e . ’ ‘ H o w c le v e r y o u a re ! Y es, she w a s in lo v e . T h a t c a m e o u t in th e s t o r y . I u n d e r s t o o d it, a n d she k n e w I u n d e r s t o o d it, b u t w e n e v e r t a l k e d a b o u t it . T h e m a n u s c r i p t c a n be h e re in a f e w d a y s . I w il l re a d i t t o y o u t h e n . ’ ‘W h o w a s sh e in lo v e w i t h ? ’ a s k e d s o m e o n e . ‘ I w il l t e l l y o u w h e n t h e m a n u s c r i p t a r r iv e s . N o w I m u s t go t o b e d ,’ s a id D o u g la s , a n d he l e f t t h e r o o m . E v e r y o n e w a s e a g e r 1 t o h e a r t h e s t o r y . S o m e p e o p le s t i l l t h o u g h t t h a t D o u g la s h a d b e e n in lo v e w i t h t h e la d y . W e w e r e all a m a z e d t h a t he h a d n o t t o l d t h e s t o r y in all th o s e y e a r s — f o r t y y e a rs ! — a n d t h a t m a d e us e v e n m o r e i m p a t i e n t t o h e a r it.
1.
e a g e r : full o f i n t e r e s t o r d e s i r e .
F o u r d a y s la t e r , th e m a n u s c r i p t a r r iv e d . A f t e r d in n e r , w e s a t a r o u n d t h e f i r e a g a in . D o u g la s t o l d us t h a t t h e m a n u s c r i p t d id n o t r e a l ly b e g in a t t h e b e g in n in g o f t h e s t o r y . ‘ I w i l l e x p la in th e c ir c u m s t a n c e s , ’ he s a id . H e t h e n t o l d us t h a t t h e la d y in q u e s tio n — h is f r i e n d — w a s t h e y o u n g e s t d a u g h t e r o f a p o o r c o u n t r y p a r s o n . 1 A t t h e age o f t w e n t y , sh e a n s w e r e d a n a d v e r t i s e m e n t in t h e n e w s p a p e r . A g e n t l e m a n n e e d e d a g o v e r n e s s f o r h is n ie c e a n d n e p h e w . 2 In h is r e p l y t o h e r l e t t e r o f a p p li c a t io n , t h e g e n t l e m a n a s k e d h e r t o c o m e t o L o n d o n t o m e e t h im . She w a s v e r y n e r v o u s w h e n she a r r iv e d a t h is h o u s e . T h e g e n t l e m a n w a s h a n d s o m e , y o u n g , a n d s in g le . She h a d n e v e r se e n s u c h a n a t t r a c t i v e m a n . H e w a s lik e a m a n f r o m a d r e a m o r a n o v e l. H e w a s c h a r m in g , k in d , a n d liv e ly . She t h o u g h t h e m u s t be v e r y r ic h , b e c a u s e he h a d a h o u s e in L o n d o n a n d a n o t h e r e v e n la r g e r h o u s e in t h e c o u n t r y . T h e c o u n t r y h o u s e w a s c a lle d B ly. I t h a d b e lo n g e d t o h is f a m i l y f o r g e n e r a t io n s . H e w a n t e d h e r t o go t h e r e im m e d i a t e ly . H e e x p la in e d t h a t he w a s t h e g u a r d ia n 3 o f h is n e p h e w a n d n ie c e , w h o s e p a r e n t s h a d d ie d in In d ia t w o y e a r s b e fo r e . S in c e he h a d n o w i f e a n d n o e x p e r ie n c e o f c a r in g f o r c h ild r e n , h e n e e d e d s o m e o n e t o t a k e o v e r t h e r e s p o n s i b il it y . H e w a n t e d h e r t o be t h a t p e r s o n . H e p it ie d 4 t h e p o o r c h ild r e n a n d w a n t e d t o d o e v e r y t h in g p o s s ib le t o h e lp t h e m . T h e l i t t l e b o y w a s a t b o a r d in g s c h o o l, 5 b u t
1.
p a r s o n : v i c a r ; p r i e s t in t h e P r o t e s t a n t c h u r c h .
2.
h i s n i e c e a n d n e p h e w : h i s b r o t h e r ’s d a u g h t e r a n d s o n .
3.
g u a r d i a n : ( h e r e ) , p e r s o n r e s p o n s i b l e f o r h i s b r o t h e r ’s c h i l d r e n .
4.
p i t i e d : f r o m t h e v e r b ‘t o p i t y ’, f e l t s o r r y f o r .
5.
b o a r d i n g s c h o o l : p r i v a t e s c h o o l f o r u p p e r - c l a s s c h i l d r e n in w h i c h t h e c h i l d r e n live a t t h e s c h o o l t h r o u g h o u t t e r m - t i m e a n d o n l y g o h o m e in th e holidays.
h e r e t u r n e d t o B ly f o r th e h o lid a y s . M r s G ro s e , t h e h o u s e k e e p e r , 1 h a d b e e n w i t h t h e f a m i l y f o r m a n y y e a rs . She w a s an e x c e lle n t w o m a n . T h e r e h a d b e e n a n o t h e r g o v e rn e s s , b u t she h a d d ie d . A t t h a t p o i n t in D o u g la s ’ s s t o r y , s o m e o n e a s k e d a q u e s tio n : ‘W h a t d id t h e la s t g o v e rn e s s d ie o f ? ’ ‘T h a t w i l l c o m e o u t in t h e s t o r y , ’ D o u g la s r e p lie d b r u s q u e ly , th e n
he
c o n tin u e d :
‘T h e
young
w om an
was
n e rv o u s
about
a c c e p tin g th e p o s it io n o f g o v e r n e s s a t B ly. I t s o u n d e d lo n e ly a n d g r i m . 2 She t h o u g h t a b o u t i t f o r t w o d a y s t h e n w e n t b a c k t o th e g e n t l e m a n ’s h o u s e a n d a c c e p te d t h e p o s it io n . T h e s a la r y 3 w a s v e r y g o o d .’ ‘A n d she w a s a t t r a c t e d t o t h e y o u n g m a n , ’ I sa id . ‘She s a w h im o n ly t w i c e , ’ s a id D o u g la s . ‘T h a t w a s t h e b e a u t y o f h e r p a s s io n ,’ I re p lie d . ‘H e t o l d h e r t h a t o t h e r c a n d id a te s f o r g o v e rn e s s h a d re fu s e d . They w ere
a f r a id . T h e s i t u a t i o n
s o u n d e d s tr a n g e , p a r t ic u l a r ly
bec a u se he in s is te d t h a t th e g o v e rn e s s m u s t n e v e r c o n t a c t h im . She m u s t do e v e r y t h in g h e rs e lf, w i t h o u t d is t u r b in g h im . W h e n m y f r ie n d a g re e d t o be g o v e rn e s s a t Bly, t h e g e n tle m a n lo o k e d v e r y re lie v e d . 4 He t o o k h e r h a n d a n d th a n k e d h e r. She n e v e r s a w h im a g a in .’ T h e n D o u g la s o p e n e d t h e m a n u s c r i p t a n d b e g a n t o re a d .
1.
h o u s e k e e p e r : th e w o m a n responsible for m a n a g in g the house; she g i v e s o r d e r s t o all t h e o t h e r f e m a l e s e r v a n t s in t h e h o u s e .
2.
grim : u n attractiv e; depressing.
3.
sa la ry : incom e; pay; m o n ey .
4.
relieved : c o n te n t to be release d fro m a d u ty or task.
V
T
E
S
Compare th e setting o f The Turn o f the Screw to yo ur sto ry fro m p. 9. It is probably v e ry d iffe re n t. A nsw er th e same questions: a. W h o is / are th e m a in c h ara cter(s)? A re th e y alone?
b. W h a t tim e o f th e d a y is it?
c. W h a t tim e o f th e y e a r is it?
^
A story inside a story A story m ust have someone who tells it - ‘th e s to ry te lle r’; this person m ust have someone to te ll the sto ry to - ‘th e audience’ (reader or listener). In th e prologue th e re are fo u r stories (1 to 4 ). S tory 1 is told in story 2, which is to ld in story 3, which is to ld in sto ry 4. Com plete the table below w ith th e missing in fo rm atio n .
Teller
Story
How?
governess
1 2
governess
3
o ra lly
4
Q
Audience
D ouglas’ guests
H e n ry James
a. The prologue is set on tw o d iffe re n t days. W h a t are they? b.
Match these days w ith th e ir dates 24/12
a.
2. 25/12
b.
3. 31/12
c.
4. 1/1
d.
1.
□
□ □ □ 15
V
Q
E
S
Douglas creates a n ticip atio n fo r a ghost story. H o w does he do this? Choose fro m th e list below and p u t th e m in to th e o rd er in w hich he presents th em . The firs t has been done fo r you. You should exclude TW O fro m th e list. a. Q
He p o s tp o ne s te llin g th e s to r y f o r f o u r days.
b. [
The w o m a n in th e s to r y w as his governess.
c.
His s to r y is special because i t is a b o u t t w o ch ild re n .
d.
Q
[T]
He te lls his audience ‘It is th e m o s t h o rrib le s to r y I have ever h e a rd ’.
^
e. Q
He k n e w th e p erson inv o lv e d in th e s to ry .
f.
He had to ld th e s to r y o n ly to a fe w people.
Q
g. Q
He had n e ve r to ld th e s to r y before.
h. Q
He w as g ra te fu l t h a t th e s to r y w a s n o t his o w n experience.
W h a t is th e significance o f these tim e expressions? a. 'te n y e a rs ’ ........................................................................................................... b. ‘t w e n t y y e a rs ’ ................................................................................................... c.
@
‘f o r t y y e a rs ’ ........................................................................................................
A nsw er these questions: a. H o w d id Douglas k n o w th e governess? b. W h y ca n ’t Douglas te ll th e s to r y im m e d ia te ly ? c. W h o w as th e governess in love w ith ? d. H o w did th e governess fin d o u t a b o u t th e job ? 1.
Q
h e r fa t h e r to ld her
2. Q
h e r n e ig h b o u r to ld h e r
3. Q
she read an a d v e rtis e m e n t in a n e w s p a p e r
e. H o w m a n y tim e s d id th e governess m e e t h e r e m p lo y e r? 1.
16
Q
once
2.
tw ic e
3. Q
th re e tim e s
C
f.
T
V
T
E
S
W h ic h is NOT a reason w h y th e g e n tle m a n w a n te d th e ch ild re n to have a governess?
0
1. Q
he had to go to India
2. O
he w as single and inexpe rie nced w it h ch ild re n
3. O
he f e lt s o rry f o r th e m
The m ystery a t Bly a. Put th e words in th e ju m b led sentences in to th e ir correct order. 1.
d id / la s t /o f /w h a t/ d ie / th e /g o v e r n e s s ?
2.
o th e r /th e /r e fu s e d /c a n d id a te s /h a d /w h y ?
3.
m u s t/g o v e r n e s s / th e / a g a in /w h y /c o n t a c t/ h im /n e v e r ?
b. Can w e answ er an y o f these questions? Keep th e unansw ered questions in m ind as you read th e story. Q
The Turn o f the Screw is a novella: a long, short story. It does not have chapters but parts. A uthors can give these chapters or parts titles. James never used ch apter title s , fo r instance. W e w ill tr y to give the te n parts o f The Turn o f the Screw a title . You w ill fin d a sim ilar exercise in FCE Paper 1 (Reading com prehension). W o rkin g w ith yo ur p a rtn e r, which title s fo r th e Prologue do you p re fe r and why? One title is inap p ro priate. W hy? a.
Douglas begins his s to ry .
c. The governess o f Bly.
b. The m y s te ry o f Bly. d. W h e n w ill Douglas s t a r t his s to ry ?
L o o k in g a h e a d n
Q
G etting to kn ow th e characters. Listen to th is e x tra c t fro m th e beginning o f P art I. W rite th e names o f th e characters. The firs t has been done fo r you. a. th e housekeeper: M rs Grose b. th e niece: ........................................ c. th e nephew : ...................................
17
1/L& C / ia r a c ic r s
I
f t e r I a c c e p te d t h e p o s it io n o f g o v e r n e s s , I f e l t s u re t h a t I h a d m a d e a m i s t a k e . I w a s a n x io u s a b o u t i t f o r t h e n e x t t w o d a y s a n d o n t h e lo n g c o a c h r id e t o B ly. H o w e v e r , w h e n I a r r iv e d in t h e e v e n in g o f a b e a u t i f u l s u m m e r d a y , t h e p la c e s e e m e d t o o f f e r m e a f r i e n d l y w e lc o m e . T h e w i n d o w s o f t h e g r e a t h o u s e w e r e o p e n , a n d a p a ir o f m a id s 1 lo o k e d o u t . T h e h o u s e k e e p e r — M r s G r o s e — s t o o d a t t h e f r o n t d o o r , a n d a l i t t l e g ir l h e ld h e r h a n d . H e r n a m e w a s F lo ra , a n d sh e w a s t h e m o s t b e a u t i f u l c h ild t h a t I h a d e v e r se en . M rs G r o s e t r e a t e d m e w i t h g r e a t c o u r t e s y . She s h o w e d m e m y r o o m , w h i c h w a s o n e o f t h e l a r g e s t a n d b e s t b e d r o o m s in t h e h o u s e . A f t e r a ll m y a n x ie t y , t h i s w a s a p le a s a n t s u r p r is e . T h e o n ly t h i n g t h a t s e e m e d s tr a n g e w a s t h a t M r s G ro s e w a s o b v io u s l y so g la d t o see m e — sh e s e e m e d e n o r m o u s l y r e lie v e d b y m y a r r iv a l .
1.
20
a pair o f m a id s : t w o f e m a l e s e r v a n t s .
P a rt l M r s G r o s e a n d I d e c id e d t o m o v e F lo r a ’s l i t t l e w h i t e b e d i n t o my
ro o m .
I w a n te d
to
be
w ith
her
a lw a y s
and
ta k e
fu ll
r e s p o n s i b il it y f o r h e r. A s w e s a t a t d in n e r , I a s k e d M r s G ro s e , ‘ D oe s t h e b o y lo o k lik e h e r ? ’ ‘Y e s !’ r e p lie d M r s G ro s e . ‘ M a s t e r M ile s 1 is a b e a u t i f u l c h ild ! He com es h o m e f r o m school on F rid a y .’ T h e n e x t d a y I a s k e d F lo r a t o s h o w m e r o u n d t h e h o u s e a n d g a rd e n s . She a g re e d w i t h g r e a t p le a s u r e . T h e h o u s e s e e m e d lik e a c a s tle in a f a i r y s t o r y , 2 a n d F lo ra , w i t h h e r g o ld e n h a ir a n d h e r b lu e d re s s , w a s t h e f a i r y . T h a t e v e n in g a l e t t e r a r r i v e d f o r m e f r o m m y e m p l o y e r . I t w a s o n ly a f e w w o r d s , b u t e n c lo s e d w i t h h is n o t e w a s a n o t h e r l e t t e r . ‘T h is ,’ w r o t e m y e m p l o y e r , ‘ is f r o m
t h e h e a d m a s t e r o f M ile s ’
s c h o o l. P lease r e a d t h e l e t t e r a n d r e s p o n d t o i t. I d o n ’t w a n t t o k n o w a n y th in g a b o u t it . ’ I o p e n e d t h e h e a d m a s t e r ’s l e t t e r a n d re a d it . T h e l e t t e r w a s so d i s t u r b i n g t h a t I d id n o t s le e p t h a t n ig h t , a n d t h e n e x t m o r n i n g I d e c id e d t o d is c u s s i t w i t h M r s G ro s e . ‘ M r s G ro s e , w h a t c a n i t m e a n ? T h e h e a d m a s t e r s a y s t h a t M ile s m u s t le a v e t h e s c h o o l. H e is n o t i n v i t e d t o r e t u r n ! ’ M r s G r o s e b lu s h e d , 3 ‘ B u t w h y n o t ? W h a t h a s M a s t e r M ile s d o n e ? ’ sh e a s k e d . ‘T h e h e a d m a s t e r d o e s n o t s a y c le a r ly . H e s i m p l y s a y s t h a t M ile s c a n n o t c o n t i n u e a t t h e s c h o o l. I t m u s t m e a n t h a t he h a s d o n e s o m e t h in g b a d a n d t h a t t h e h e a d m a s t e r d o e s n o t w a n t h im n e a r th e o th e r c h ild re n .’
1.
M a s t e r M i l e s : a s M r s G r o s e is a s e r v a n t , s h e m u s t a d d r e s s t h e c h i l d r e n p o l i t e l y a s ‘M a s t e r ’ a n d ' M i s s ’.
2.
f a i r y s t o r y : c h i l d r e n ’s s t o r y a b o u t m a g i c a l b e i n g s ( f a i r i e s ) .
3.
b l u s h e d : w e n t r e d in t h e f a c e f r o m e m b a r r a s s m e n t .
21
‘W h y d o e s he s a y s u c h c r u e l t h in g s ? M a s t e r M ile s is o n ly t e n y e a r s o ld ! W h e n y o u see h im y o u w il l u n d e r s t a n d . ’ ‘ H a v e y o u e v e r se e n h im do a n y t h i n g b a d ? ’ I a s k e d h e r. ‘O f c o u rs e I h a v e ! H e is a c h ild , a f t e r a ll ! ’ ‘Y o u lik e c h il d r e n w i t h a n a u g h t y 1 s p i r i t ? ’ I a s k e d , th e n a d d e d , ‘ So d o I! B u t n o t so n a u g h t y as t o c o r r u p t o t h e r c h i l d r e n . ’ M r s G ro s e la u g h e d a n d s a id , ‘A r e y o u a f r a i d h e ’ll c o r r u p t yo u ? ’ T h e n e x t d a y I a s k e d h e r, ‘W h o w a s t h e la d y w h o w a s h e re b e fo re ? ’ ‘T h e l a s t g o v e rn e s s ? She w a s y o u n g a n d p r e t t y — a lm o s t as y o u n g a n d p r e t t y as y o u . ’ ‘ H e s e e m s t o lik e us y o u n g a n d p r e t t y ! ’ I said . ‘Oh, he did. H e lik e d e v e r y o n e y o u n g a n d p r e t t y . ’ T h e n she s e e m e d t o fe e l sh e h a d s a id s o m e t h in g t h a t she s h o u ld n o t h a v e s a id . ‘ I m e a n t h a t ’s his w a y — t h e m a s t e r ’s .’ ‘ B u t o f w h o m d id y o u s p e a k f i r s t ? ’ M r s G ro s e b lu s h e d . 'O f t h e m a s t e r , o f c o u rs e . W h o e ls e ? ’ ‘ D id t h e la s t g o v e r n e s s t h i n k t h a t M ile s w a s n a u g h t y ? ’ ‘She n e v e r s a id s o .’ ‘ D id she d ie h e r e ? ’ ‘ N o ,’ s a id M rs G ro s e . ‘She w e n t a w a y . ’ ‘ D o y o u m e a n t h a t she b e c a m e ill a n d w e n t h o m e ? ’ ‘ N o. She w e n t h o m e f o r a s h o r t v a c a t i o n , b u t she n e v e r c a m e b a c k . T h e n I h e a r d t h a t s h e w a s d e a d .’ ‘B u t o f w h a t? ’ 1 asked. ‘ H e n e v e r t o l d m e . P lease, M iss, 2 I m u s t r e t u r n t o m y w o r k . ’
1.
n a u g h t y : b a d ( t h e w o r d is u s e d t o d e s c r i b e c h i l d r e n ) .
2.
M iss : p o lite f o r m o f a d d r e s s t o a s in g le lady.
C
Q
T
'/
E
S
Put these events fro m P a rt I into th e ir correct order. The firs t event has been done fo r you. You w ill not use one event. R em em ber th a t she and h er re fe r to the governess. a. □
She is pleased by h e r b e d ro o m .
b. □
Flora ta ke s th e governess f o r a w a lk a ro u n d th e house and gardens.
c. □
She m e e ts Flora and M rs Grose.
d. □ e.
M rs Grose te lls h e r a b o u t th e p revio us governess.
□
She re c e iv e s a l e t t e r f r o m M ile s ’ h e a d m a s te r s a y in g th e c h ild c a n n o t r e tu r n t o th e school.
f.
m
The governess a rriv e s a t Bly.
g- □
She and M rs Grose decide t h a t Flora should sleep
h. □
Miles r e tu rn s to Bly f r o m b o a rd in g school.
in th e sam e roo m .
Q
Contrast: The T urn o f th e Screw is a s to ry o f c o n tra s ts . An obvious d iffe re nce between tw o o r m ore th in g s (C a m b rid g e I n te rn a tio n a l D ic tio n a ry o f E nglish).
P art I contrasts th e governess’s feelings o f a n x ie ty and w o rry w ith her feelings o f re lie f and satisfaction. a. Com plete th e tab le w ith examples o f these contrasting feelings.
A nxiety
R elief
She th o u g h t she had m ade a m is ta k e c o m in g to Bly. She liked h e r b e d ro o m (one o f th e larg e st and b e st in th e house). The p revio us governess had le f t Bly m y s te rio u s ly .
25
'/
A
T
E
S
b. Check th e m eaning and pronunciation o f the words below. Match opposites in th e list below to m ake contrasting parts.
a n x ie ty san ity
corruption doubt
good
c e rta in ty
innocence re lie f
evil
madness
W e w ill see these contrasts during th e story.
c. On th e basis o f w h a t w e le a rn t in b w h a t co ntrast does Miles represent?
Q
P art I introduces m ore questions th a t need an answ er. W h a t are they? To help you, go back to th e governess’s feelings o f a n x ie ty you id en tified in exercise 1.
Q
a. Look a t this sentence. W h a t is w rong w ith it? 7 spoke to Miles a n d Flora b u t she d id n ’t a nsw er m e ' Correct it.
b. Read again fro m ‘The next day ....’ till ‘Mrs Grose blushed. “O f the m aster, o f course. ’’’ The pronoun he is used tw ice. 1.
W h o is th e governess re fe rrin g to?
2.
Is M rs Grose re fe rrin g t o th e same p erson as th e governess?
c. M rs Grose knows m ore th a n she says. W h a t tw o things does she kn o w th a t she doesn’t te ll th e governess a t th e end o f P art I? Discuss yo ur ideas w ith yo ur p a rtn e r.
26
V
^
E
S
a. W hich o f th e events th a t you ordered in exercise 1 (p. 25) do you th in k is th e m ost im p o rta n t in P art I? Discuss yo ur choice w ith yo ur p a rtn e r. b. W ould this choice m ake a good title fo r P art 1 or is som ething missing? Com pare a ‘The governess arrives a t Bly' w ith b ‘W h a t really happened a t Bly?’ Both are possible title s fo r P art I a is a ‘to p ic ’ title : a title th a t sum m arises th e m ain even t o r subject; b is ‘th e m a tic ’: a title th a t a ttem p ts to not only re fe r to th e topic b u t achieve some stylistic e ffec t as w ell. W hich (a o r b) do you prefer? T h in k about this as you prepare to choose title s fo r th e parts o f th e story.
T: GRADES 6-7
^
Topic — Village and C ity Life In th e prologue and in th e firs t p a rt o f th e sto ry w e have a co ntrast betw een th e London life o f th e rich gentlem an and th e rem oteness o f Bly, set deep in th e countryside. W hich phrase indicates th a t it is a long w a y away? • •
W h e re do yo u live? In t h e c ity o r in th e c o u n trys id e ? I f a c ity, describe it. Is i t big? Is it a ca p ita l city ? Tell y o u r p a rtn e r a b o u t it.
•
I f th e c o u n try sid e , describe w h e re yo u live, th e view s, th e speed o f life.
•
N ow w it h a p a rtn e r discuss th e a d va n ta g es and d isa d va n ta g es o f b o th c ity and c o u n tr y life.
•
B ring som e p ic tu re s in to class to help you.
27
A
C
T
V
T
E
S
L o o k in g a h e a d
FCE O In exercise 1(p. 25) one event did not come fro m P art I: Miles returns to Bly fro m boarding school. Listen to this short e x tra c t fro m th e beginning o f P art II. For questions 1-5, choose the best answ er A, B or C. 1
2
3
4
5
Q
W he n Miles re tu rn e d hom e, th e governess w as A
□
a n g ry w it h him .
B
Q
a n g ry w it h th e b o y ’s h e a d m a ster.
C
□
a n g ry w it h Mrs Grose.
The governess th o u g h t Miles A
Q
needed love.
B
Q
k n e w n o th in g .
C
Q
w as v e ry special.
The governess w a n te d to speak A
□
as soon as possible in p riv a te w it h M rs Grose.
B
Q
as soon as possible w it h th e child ren .
C
Q
as soon as possible w it h th e he a d m a ste r.
W h a t did th e governess decide to do? A
Q
She decided to w r it e to he r e m p loyer.
B
Q
She decided to w r it e to M iles’ h e a d m aste r.
C
Q
She decided n o t to do a n y th in g .
M rs Grose th o u g h t th e go ve rn ess’ decision w as A □
rig h t.
B
Q
in a p p ro p ria te .
C
Q
im pulsive.
In exercise 2c (p. 26) w e saw th a t Miles represented a contrast. W hich p a rt o f th e contrasting p a ir (positive/negative) is highlighted in this listening extract?
28
h e n l i t t l e M ile s c a m e h o m e , I w a s s h o c k e d 1 th a t th e
h e a d m a s te r
had
w r itte n
th a t
l e t t e r a b o u t s u c h a c h a r m i n g p o li t e b o y . T h e re w a s s o m e t h in g d iv in e a b o u t h im t h a t 1 h a v e n e v e r seen in a n y o t h e r c h ild . He s e e m e d t o k n o w n o t h i n g in t h e w o r l d e x c e p t lo v e . A s s o o n as I c o u ld h a v e a p r i v a t e c o n v e r s a t io n w i t h M r s G ro s e , I e x p r e s s e d m y p e r p l e x i t y a n d a n g e r a b o u t t h e h e a d m a s t e r ’s l e t t e r . ‘T h a t l e t t e r is g r o t e s q u e ! I t ’s r id ic u lo u s ! M y d e a r w o m a n , look a t h im !’ She s m ile d a n d s a id , ‘ I lo o k a t h im all t h e t i m e . W h a t w i l l y o u s a y in a n s w e r t o t h e l e t t e r ? ’ I m a d e a d e c is io n . ‘ N o t h i n g ! ’ ‘A n d t o M ile s ’ u n c le ? ’ I w a s c le a r a n d d e c is iv e . ‘ N o t h i n g ! ’ ‘A n d t o t h e b o y h i m s e l f ? ’ 1w a s w o n d e r fu l. ‘ N o th in g !’
c S c r c a r _______
‘ I t h i n k y o u a re r i g h t , a n d i ’ ll h e lp y o u i f I c a n ,’ s a id M r s G ro s e , a n d she k is s e d m y c h e e k . W e e m b r a c e d lik e s is te r s , a n d I f e l t g la d o f h e r su p p o rt. ‘W i t h h e r h e lp , ’ I t h o u g h t , ‘ l w i l l p r o t e c t t h e s e p o o r b e a u t i f u l c h i l d r e n ! ’ In
my
ig n o r a n c e , c o n f u s i o n ,
and
p e rh a p s v a n ity ,
I
t h o u g h t t h a t 1 c o u ld te a c h t h e b o y w h e n h is v a c a t i o n w a s o v e r. B u t in f a c t i t w a s 1 w h o le a r n e d t h e le s s o n s . I le a r n e d t h i n g s 1 h a d n o t le a r n e d in m y s m a ll r e s t r i c t e d lif e . In a w a y , i t w a s t h e f i r s t t i m e I h a d k n o w n sp a c e a n d a ir a n d f r e e d o m . I w a s o f f m y g u a r d . 1 T h e c h il d r e n g a v e m e so l i t t l e t r o u b le : t h e y w e r e e x t r a o r d i n a r i l y g e n tle . I t m i g h t be t h a t w h a t h a p p e n e d a f t e r w a r d s m a d e th o s e e a r ly d a y s s e e m p e r f e c t . T h e c h a n g e w a s lik e t h e a t t a c k o f a w il d b e a s t. In t h e f i r s t w e e k s i t w a s s t i l l s u m m e r , a n d , w h e n t h e c h ild r e n h a d g o n e t o bed, t h e r e w a s s t i l l an h o u r o f l ig h t w h e n I c o u ld go f o r a w a l k a lo n e . T h is w a s m y f a v o u r i t e t i m e o f d a y . D u r in g t h a t h o u r, I r o a m e d 2 a r o u n d t h e g ro u n d s , 3 e n jo y in g th e b e a u t y a n d d i g n i t y o f th e
p la c e .
I i m a g in e d
my
e m p lo y e r
c o m in g
to
me
and
c o m p l i m e n t i n g m e o n m y w o r k . I t h o u g h t m y s e l f a r e m a r k a b le y o u n g w o m a n . W e ll, I m u s t h a v e b e e n a r e m a r k a b le y o u n g w o m a n t o c o v e r u p 4 t h e r e m a r k a b le t h i n g s t h a t s o o n b e g a n t o h a p p e n . O n e e v e n in g , as I w a s w a l k i n g , I i m a g in e d t h a t m y e m p l o y e r a p p e a re d
b e fo re
m e a n d s m ile d
a t me w ith
a p p r o v a l. T h e n ,
s u d d e n ly , i t s e e m e d as i f w h a t I h a d i m a g in e d h a d c o m e t r u e ! T h e r e he s to o d , a t t h e t o p o f o n e o f t h e t w o t o w e r s o f t h e g r e a t h o u s e ! B u t n o — i t w a s n o t h im . I h a d n e v e r se e n t h i s m a n b e fo r e .
30
1.
I w a s o f f m y guard : I did n o t e x p e c t a n y d a n g e r .
2.
roam ed : w a lk e d w ith no c lear direction.
3.
g r o u n d s : l a n d a n d g a r d e n s a r o u n d a bi g h o u s e .
4.
c o v e r up : k e e p s e c r e t .
T h e r e a l is a t io n m a d e m e fe e l f r i g h t e n e d a n d a lo n e . I t h o u g h t , ‘T h is m a n h a s b e e n l iv i n g in t h e h o u s e a ll t h e t i m e , a n d I d id n o t k n o w i t ! ’ I t w a s a f r i g h t e n i n g t h o u g h t . T h e m a n w a s n o t w e a r in g a h a t. T h is g a v e h im t h e i n f o r m a l a p p e a r a n c e o f s o m e o n e in f a m i l i a r s u r r o u n d in g s . W e w e r e t o o f a r a p a r t t o ca ll o u t t o e a c h o t h e r , b u t w e s t a r e d 1 a t e a c h o t h e r . I s a w h im as c le a r ly as I see t h e l e t t e r s o n t h i s pa ge . H e w a l k e d t o t h e o t h e r side o f t h e t o w e r , s t i l l l o o k i n g a t m e . T h e n he d is a p p e a r e d f r o m m y s ig h t . W h e n 1g o t b a c k to th e house it w a s g e ttin g d a rk . I w e n t to m y r o o m a n d t h o u g h t a b o u t t h e p e r s o n I h a d s een o n t h e t o w e r . He m u s t be a t r a v e l l e r , w h o , p a s s in g B ly, h a d d e c id e d t o h a v e a c lo s e r lo o k
a t th e
house
and
g ro u n d s.
To
do
so w i t h o u t
a s k in g
p e r m i s s i o n w a s v e r y b a d m a n n e r s , a n d t h e w a y he s t a r e d a t m e w a s b a d m a n n e r s t o o . ‘A t le a s t he is g o n e n o w , ’ 1 t h o u g h t t o m y s e l f . ‘W e s h a ll see n o m o r e o f h i m . ’ As t h e d a y s p a s s e d , 1 t r i e d n o t t o t h i n k a b o u t t h e s t r a n g e m a n . In s t e a d , I t h o u g h t a b o u t m y w o r k . M ile s a n d F lo r a w e r e a p le a s u r e t o te a c h . T h e y f i l l e d m y d a y s w i t h j o y . T h e o n ly d a r k s p o t in o u r lif e t o g e t h e r w a s t h e q u e s t i o n o f w h a t h a d h a p p e n e d a t M ile s ’ s c h o o l. H e n e v e r m e n t io n e d it , a n d I d id n o t a sk. I w a s c o n v in c e d t h a t he w a s i n n o c e n t — t o o i n n o c e n t a n d p u r e f o r t h e h o r r i b le d i r t y w o r l d o f s c h o o l. O f c o u rs e , I w a s u n d e r t h e c h i l d r e n ’s s p e l l , 2 a n d I k n e w I w a s . T h e ir c h a r m m a d e m e f o r g e t m y o w n p r o b le m s . M y fa m ily had w r it t e n m e som e d is tu rb in g le tte rs : th in g s w e re n o t g o in g w e ll a t h o m e . B u t w i t h m y c h il d r e n n o t h i n g e lse s e e m e d t o m a t t e r . T h e y w e r e so b e a u t i f u l a n d g e n tle !
1.
s t a r e d : looked in te n s e ly fo r a long tim e.
2.
spell : m agic; e n c h a n t m e n t .
T
'/
Q
E
S
A nsw er these questions. Com pare yo ur answers w ith yo ur p a rtn e r. a. H o w d id th e governess w a n t to help th e ch ildren? b. W h a t d id she like d o in g in th e evening? c. W h o d id she im ag in e m eeting ? d. W h o did she see and w here? e. H o w did she spend h e r days?
0
Find the line th a t anticipates problem s ahead in the story.
Q
Crossword a.
Find th e m ystery w ord. It is a possible title fo r P art II.
6. ... b u t on a rriv in g she f e l t ...
1. frig h te n in g / th e ty p e o f s to r y y o u w r o te b e fo re th e
7. F lo ra ’s h a ir
prologue
8. th e o w n e r o f th e m a n u s c rip t
2. Flora’s b ro th e r 5
3. th e housekeeper o f Bly,
7
4
M r s .......... 4 . th e h o usekeeper d id th is
w h e n th e governess asked
□
q ue stio n s a b o u t w h a t had
□
□
□
□
happened b e fo re her a rriv a l a t Bly 5. th e governess f e lt th is on
1 0
□
□
□
[
□
»
] □
□
□
□
□
□
□ □ □ □ an □ □ □ □ □ □ □ □ □ □ □ □
h e r jo u r n e y to Bly
□ □ b.
□
3 □
□
□
Can you give P art II any o th e r titles?
33
A
Q
C
T
T
V
E
S
The firs t sighting Look a t these tw o sentences: 1.
On one occasion she saw a ghost.
2. On several occasions she saw a ghost. The Past Sim ple (saw) is used to express single events in th e p a st (1) and re p e ated a c tio n s in th e p a st (2). (2) can be re-expressed: ‘she used to see a g h o s t.’ a.
The fo llo w in g sentences come fro m th e governess’ d e s c rip tio n o f w h a t she saw one e ven in g on h e r d a ily a w a lk . W h ich sentences can be r e w r it te n w ith ‘used t o ’? C om plete th e ta b le as in th e exam p le.
Sentence 0
Used to
On one occasion she saw a ghost.
— no
0 0 On several occasions she saw a ghost. a.
D u rin g t h a t hour, I ro a m e d a ro u n d th e grounds.
b.
I im a g in e d m y e m p lo y e r co m in g to me and c o m p li m e n tin g me on m y w o rk .
c.
1 th o u g h t m y s e lf a re m arkab le you ng w om a n .
d.
One evening, as I w as w a lk in g , I im a gin e d th a t m y e m p lo y e r appeared b e fo re me.
e.
T here he stood, a t th e to p o f one o f th e tw o to w e rs o f th e g re a t house!
34
R ew rite
She used to see a yes
ghost.
b.
W h a t makes the sighting ‘frig h te n in g ’? (th in k about yo ur ‘spooky’ story).
The n a rra to r’s descrip tio n o f w h a t she saw introduces a n o th e r im p o rta n t them e: th e co ntrast betw een san ity and madness (‘is she m ad...?’ See the In tro du ctio n p. 7). W h a t tw o ‘d a rk spots’ w ere th e re in th e governess’s life a t th e tim e of the sighting?
L o o k in g a h e a d Q
Listen to this e x tra c t fro m th e beginning o f P art III. W hich o f th e th re e titles is th e m ost appropriate? a. The w o m a n a t th e w in d o w . b. The child a t th e w in d o w . c. The m a n a t th e w in d o w .
C E © F o r
questions 1-4, co m p le te th ese sentences w ith th e m issing
in fo rm atio n . 1
The governess saw s o m e o n e ..............................................
2
She u n d e rs to o d t h a t th e person she saw w a s ..................... and w a s ........................
3
W h e n she w e n t outside, th e v i s i t o r ........................
4
Looking in to th e d in in g ro o m she saw t h a t M rs Grose looked
35
o
Ill
n e g r e y S u n d a y e v e n in g , j u s t b e f o r e c h u r c h ,
I
e n t e r e d t h e d i n i n g - r o o m a lo n e . I s a w s o m e o n e o u ts id e
th e
w in d o w ,
lo o k in g
in .
It w a s th e
s t r a n g e m a n I h a d se e n b e f o r e o n t h e t o w e r ! H e w a s m u c h c lo s e r t h a n t h e l a s t t i m e , a n d he m a d e m e c o ld w i t h f e a r . H e lo o k e d s t r a i g h t a t m e , a n d I c o u ld see t h a t he r e c o g n is e d m e . T h e n he lo o k e d q u ic k l y r o u n d t h e r o o m . H e w a s l o o k i n g f o r s o m e o n e else. S u d d e n ly I w a s s u re t h a t he w a s l o o k i n g f o r M ile s ! T h is k n o w le d g e m a d e m e c o u ra g e o u s. I ra n o u t o f th e ro o m , o u t o f th e house, a nd r o u n d t o t h e p la c e w h e r e he h a d s to o d , o u t s i d e t h e d i n i n g - r o o m w in d o w . B u t, w h e n I g o t t h e r e , m y v i s i t o r h a d v a n is h e d . T h e g r o u n d s w e r e s i le n t a n d e m p t y . I t u r n e d t o t h e w i n d o w a n d lo o k e d in , as he h a d lo o k e d in. J u s t t h e n , M r s G ro s e e n t e r e d t h e d i n i n g - r o o m , as I m y s e l f h a d e n t e r e d i t b e fo r e . She s a w m e , as I h a d se e n h im . She w e n t p a le — h a d
I
t u r n e d w h i t e lik e t h a t ? — t h e n sh e l e f t t h e r o o m q u ic k ly , j u s t as I h a d d o n e . I w o n d e r e d w h y she w a s f r ig h t e n e d .
36
M r s G ro s e r a n r o u n d t h e h o u s e t o t h e d i n i n g - r o o m w in d o w . ‘W h a t ’s w r o n g ? ’ she c rie d , as sh e c a m e u p t o m e . ‘Y o u ’re as w h i t e as a s h e e t. Y o u lo o k a w f u l . ’ I h e ld h e r h a n d in m in e . ‘W h e n I w a s in t h e d in i n g - r o o m , ’ I s a id , ‘ I s a w s o m e o n e l o o k in g in t h r o u g h t h e w in d o w , j u s t as y o u d id . B u t i t w a s m u c h w o r s e . I s a w a s tr a n g e m a n . ’ 'H a v e y o u se e n h im b e f o r e ? ’ ‘Y e s — o n c e . O n t h e o ld t o w e r . ’ ‘W h y d i d n ’t y o u t e l l m e ? W a s he a g e n t l e m a n ? ’ ‘ N o .’ ‘W a s he s o m e o n e f r o m t h e v ill a g e ? ’ ‘ N o .’ ‘ B u t i f he is n ’t a g e n t l e m a n — ’ ‘W h a t is he? He is a h o r r o r . ’ ‘A horror?' ‘ I d o n ’t k n o w w h a t he is !’ M r s G ro s e lo o k e d r o u n d th e e m p t y g r o u n d s t h e n s a id , ‘ L e t ’s go to c h u rc h n o w .’ ‘ I c a n ’t le a v e t h e c h il d r e n . ’ ‘A re y o u a f r a id t h a t he is a d a n g e r t o t h e c h il d r e n ? ’ ‘Y es. A r e n ’t y o u ? ’ ‘W h a t d o e s h e lo o k lik e ? ’ ‘ H e h a s n o h a t , ’ 1 s a id . ‘ H is h a ir is re d a n d c u r ly . H e ha s a lo n g p a le fa c e . H is e y e s s t a r e in t e n s e ly . H e is t a l l . ’ M r s G r o s e ’s fa c e w e n t w h i t e a g a in as 1 d e s c r ib e d h im . ‘ H e lo o k s lik e an a c t o r , ’ I s a id . ‘ Is he h a n d s o m e ? ’ a s k e d M r s G ro s e . ‘Ye s. V e r y . ’ ‘A n d h is c lo t h e s ? ’
‘T h e y a re e le g a n t, b u t t h e y a re n o t h is o w n . ’ ‘T h e y ’r e t h e
m a s t e r ’s c l o t h e s , ’ s a id
M rs
G r o s e , p a le
and
a g it a te d . ‘Y o u k n o w h im , t h e n ? ’ I a s k e d . ‘Y e s. H e is P e te r Q u in t. H e w a s t h e m a s t e r ’s p e r s o n a l s e r v a n t w h e n t h e m a s t e r liv e d h e re . T h e y w e r e h e re t o g e t h e r la s t y e a r , b u t t h e n t h e m a s t e r l e f t a n d Q u i n t s ta y e d . F o r s o m e t i m e h e w a s h e re , in c h a r g e , 1 b u t t h e n — ’ ‘ H e l e f t to o ? W h e r e d id he g o ? ’ ‘ H e d ie d ! ’ c r ie d M r s G ro s e . ‘Y es. M r Q u i n t is d e a d .’
1.
i n c h a r g e : in a p o s i t i o n o f r e s p o n s i b i l i t y .
39
Q
W h a t does Mrs Grose do th a t th e governess says was ‘...just as I had done'? Com plete th e spaces w ith th e missing in form atio n . a. The governess saw a m a n o u tsid e th e d in in g -ro o m w in d o w . ........................................ s a w ......................................... o u tsid e th e d in in g r o o m w in d o w . b. The m a n (P e te r Q u in t) looked in fr o m o u ts id e and saw a frig h te n e d governess. .........................................looked in f r o m o u tsid e and saw
W h a t e ffec t do you th in k these rep etitio n s have? Discuss yo ur ideas w ith y o u r p artn er.
W hich one is P eter Quint? W hy?
40
C
Q
T
'/
T
E
S
a. On th e basis o f w h a t you have read so fa r, w h a t does P eter Q u int have in common w ith th e last governess? b.
Decide if th e fo llo w in g sentences tru e o r false? C orrect th e sentences th a t are false. T 1.
For a p e rio d o f tim e b o th P eter Q u in t and th e last governess w e re alone w it h th e child ren .
2. Peter Q u in t le n t his m a s te r clothes. 3. P eter Q u in t is dead.
c.
F
□ □ □ □ □ □
I f th e present governess has seen P eter Q uint, w ho do you th in k she w ill see next?
^
P art III is alm ost exclusively in th e fo rm o f a dialogue betw een the n a rra to r and Mrs Grose. Role play th e dialogue ta k in g it in tu rn s to play both roles.
^
‘S anity o r madness’? W h a t support is th e re fo r th e n a rra to r in P art III?
W hich o f these title s do you prefer? Discuss yo ur choice w ith your p a rtn e r. a. The m an a t th e w in d o w . b. P eter Q u in t. c. The governess sees P eter Q u int. d. M rs G rose’s s to ry .
41
G o v ern esses and
upper-class children Dhe m ain action of The Turn of the Screw is set in the 1840s. At th a t time, a g en tlew o m a n h a d one w a y of succeed ing in life: she m u s t m a r r y . In o r d e r to a t t r a c t a h u s b a n d , s h e h a d to h a v e m o n ey . U ntil th e M a rrie d W o m e n 's P ro p e r ty Acts of 1870 a n d 1882, all a w o m a n 's p ro p e rty becam e h e r h u s b a n d 's as so on as she m arried . For a m a n of the m id d le classes, cho osin g the rig h t w ife c o u ld m e a n a b ig d iffe re n c e in h is fin a n c ia l fo r tu n e s . A m idd le-class w o m a n w h o h a d no m o n ey therefore h a d v ery little chance of m a rry in g at all. The situ atio n w as m a d e w o rse by the fact th at th ere w e re ov er half a m illion m o re w o m e n th an m en in E n g l a n d a n d W a le s . T h e o n ly w a y a g e n t l e w o m a n w i t h n o m o n ey co uld m ake an incom e w as b y b ecom in g a governess. W h en she w o rk e d as a g overness in the 1840s, C h arlo tte Bronte e a rn e d £20 a y e a r p lu s fo o d a n d a c c o m m o d a tio n , a n d £4 w a s d e d u c te d for la u n d ry . A y o u n g m aid -o f-all-w o rk e a rn e d ab o u t £9 a y ear p lu s food a n d ac co m m o dation ; a skilled artisa n ea rn ed a b o u t £75 a y ea r; a n d a m id d le -c la s s fa m ily w ith £200 a y e a r co u ld afford to keep a servant. T hese figures m ak e it clear th at a y o u n g , single, m idd le-class w o m a n w ith no m oney , w h o b ecam e a g o v e r n e s s in o r d e r to s u p p o r t h e rs e lf, h a d n o p o s s ib ility of c h a n g in g h e r life later on: she h a d to re m a in a g ov ern ess - a n d re m a in sin g le - all h e r life. C h a rlo tte B ronte e s c a p e d th is fate only b y beco m ing one of the g re atest novelists of the n in etee n th
42
c e n t u r y . T h e g o v e r n e s s in The T u rn o f the Screw w a s n o t so fo rtu n ate. A lth o u g h M rs G rose says th a t the g o v ern ess is 'p re tty ' a n d D o u g la s calls h e r 'a c h a rm in g p e r s o n ', sh e n e v e r m arries. She is still single a n d still a g o vern ess ten y ears after the events of th e story, w h e n she n a rra te s th e m to D o u g las. A s far as w e k n o w , she is still single at the age of fifty, w h e n , ju st before her d eath, she sen d s the m a n u s c rip t to D ouglas. U p per-class ch ild re n w ere all ed u c a te d at h o m e u n til th ey w ere eig h t years old. The g ov erness ta u g h t th em re ad in g , w ritin g , an d a r i t h m e t i c . A t th e a g e o f e i g h t , b o y s w e r e u s u a l l y s e n t to b o a r d i n g s c h o o l, w h e r e th e y le a r n e d s u c h s u b je c ts as L atin , G reek, h isto ry , a n d algebra. G irls re m a in e d at ho m e, w h e re the g o v ern ess ta u g h t th em F rench, d ra w in g , w a te r-c o lo u r p ain tin g , a n d m u sic. T he g o v e rn e s s , h a v in g re c e iv e d a g irl's e d u c a tio n herself, co u ld n o t teach the classical subjects th a t boys learn ed at b o a rd in g school. Girls d id n o t get the o p p o rtu n ity to learn those su b jects u n til g irls ' b o a r d in g sch oo ls a n d w o m e n 's co lleg es at u n i v e r s i t i e s b e g a n to o p e n in th e 1 8 6 0 s, as a r e s u l t o f th e V ictorian fem inist m o v em ent. A g o v ern ess in the 1840s, then, liv ed in an u p p er-class h o u se as a social e q u a l of the fam ily for w h ich she w o rk e d : she too w as a lady. But h e r life w a s v ery differen t from those of the o th er ladies in the h o u seh o ld . Because she h ad no m o n ey , she w a s un lik ely to m a r r y . I n s t e a d , s h e m u s t w o r k in s o m e o n e e l s e 's h o u s e , p re p a rin g y o u n g lad ies for the life she herself co u ld n ev e r have: the life of a w ife a n d m o th e r w ith a h o m e of h er ow n.
The situ atio n o f w o m en has changed considerably since th e m id 19th century. Com plete th e tab le sum m arising th e situ atio n o f m iddle-class w om en th e n and now.
Then
N ow
• For a w o m a n to succeed
•
in life she had to m a rry . •
On m a rria g e , a w o m a n ’s p ro p e rty does n o t becom e h e r h u s b a n d ’s.
• A m id d le -cla ss w o m a n w it h no m o n e y had lit tle chance o f m a rry in g .
a.
b.
W h a t is th e significance o f these am ounts o f money? 1.
£20
2.
£9
3.
£200
4.
£75
Com plete th is chain o f cause and e ffect ‘I f a m id d le -cla ss w o m a n d id n ’t have m o n e y she 1 ..................... and i f she 2
she had to becom e a governess and i f
she 3 .......................she w o u ld p ro b a b ly s ta y a governess all her life .’
a. W hich diagram (a, b o r c) best illustrates th e in fo rm a tio n contained in paragraph 4 , p. 4 4 . The Education o f Upper-class Children b
a Girls
Boys
The age o f 8
Girls
Boys
Girls
c Boys
The age o f 8
Girls
T
Boys
G irls
Boys
The age o f 8
Girls
n
Boys
b. W h e n did th e e d u catio n o f u pper-class c h ild re n change and why? c. W h y could a g overness n o t te a c h L a tin , G re e k , h is to ry and algebra? W h y was a governess in m id -V ic to ria n England considered ‘a lady'? W h a t is th e s itu a tio n to d a y in y o u r country? A re th e re any d ifferences in education betw een classes in yo ur country? W rite a short paragraph sum m arising them .
L o o k in g a h e a d W hich o f these events do you NOT expect to occur in P art IV? a. Q
Mrs Grose te lls th e n a r r a t o r a b o u t P eter Q uin t.
b. Q
The m a s te r re tu rn s f r o m London t o Bly.
c. Q
The n a r r a t o r sees th e last governess.
N o w read P a rt IV and check i f you w e re rig h t.
46
IV rs G ro s e a n d I h a d a lo n g c o n v e r s a t io n t h a t e v e n in g . I h a d se e n h im , a n d sh e h a d se e n n o t h in g , b u t she d id n o t s e e m t o t h i n k I w a s m a d . W e d e c id e d t o p r o t e c t t h e c h ild r e n f r o m Q u in t. I t w a s c le a r t o m e t h a t he w a n t e d th e m t o see h im . ‘ B u t t h e y w o n ’t see h i m , ’ I s a id . ‘ I w il l p r o t e c t t h e m . ’ M rs G ro s e t o l d m e t h a t Q u in t h a d s p e n t a l o t o f t i m e w i t h M ile s . ‘ He p la y e d w i t h M ile s . H e w a s t o o in d u lg e n t w i t h h im . He w as m u ch to o fre e .’ 'T o o fr e e w i t h m y b o y ? ’ I s a id . ‘T o o fr e e w i t h e v e r y o n e ! ’ M rs G ro s e re p lie d . ‘ H e w a s a b a d m a n . I k n e w it, b u t th e m a s t e r d id n ’t . ’ ‘A n d y o u d id n ’t t e l l h im ? ’ ‘Oh, t h e m a s t e r d o e s n ’t lik e t r o u b le . A n d I w a s a f r a id o f Q u in t. He w a s so c le v e r .’ ‘W e r e n ’t y o u a f r a id f o r t h e c h ild r e n ? T h o s e in n o c e n t l i t t l e liv e s ? T h e y w e r e y o u r r e s p o n s i b il it y . ’
47
‘N o, th e y
w e r e n ’t! T h e y w e re
Q u in t’s r e s p o n s ib ility . The
m a s t e r t r u s t e d h i m . ’ T h e p o o r w o m a n b u r s t i n t o te a r s . ‘Q u in t w a s in c h a rg e o f t h e c h ild r e n f o r m o n t h s . T h e n , o n e w i n t e r m o r n in g , a l a b o u r e r f r o m t h e v illa g e f o u n d h im d e a d o n t h e r o a d . A p p a r e n t l y Q u in t h a d b e e n d r i n k in g a t th e p u b lic h o u s e . O n h is w a y h o m e , he s lip p e d o n t h e ice a n d h i t h is h e a d .’
P a r t IV O v e r t h e n e x t f e w d a y s , I t h o u g h t a b o u t m y p o s it io n a t B ly. 'M y j o b , ’ I t h o u g h t , ‘ is t o p r o t e c t t h e c h ild r e n . T h is n o w a p p e a rs v e r y d i f f i c u l t . I w il l h a v e t o be h e r o ic t o d o m y j o b w e ll. B u t I will d o i t w e ll! A n d he s h a ll k n o w h o w w e ll I p r o t e c t e d t h e m ! ’ M ile s a n d F lo ra w e r e t h e m o s t lo v a b le c h ild r e n in t h e w o r ld , a n d t h e y w e r e a lo n e . T h e y h a d n o p a r e n t s t o p r o t e c t t h e m . T h e y h a d n o t h i n g b u t m e , a n d I — w e ll, I h a d th e m . I b e g a n t o w a t c h t h e m c lo s e ly . I w a s in a s t a t e o f s u s p e n s e — w a i t i n g f o r s o m e t h in g t o h a p p e n — t h a t c o u ld h a v e e n d e d in m a d n e s s . B u t 1 d id n o t h a v e t o w a i t lo n g . O n e a f t e r n o o n , I w e n t f o r a w a l k w i t h F lo ra . M ile s s ta y e d in t h e h o u s e , r e a d in g a b o o k . F lo r a im a g in e d a s t o r y in w h i c h sh e a n d 1 w e r e c h a r a c t e r s . She t o l d m e t h e s t o r y as w e w a lk e d b y t h e la k e . T h e la k e , sh e s a id , w a s t h e Sea o f A z o f . 1 W e s to p p e d , a n d I s a t d o w n a n d b e g a n s e w i n g 2 w h ile F lo r a c o n t in u e d w i t h h e r s t o r y . I s u d d e n ly re a lis e d t h a t s o m e o n e w a s w a t c h in g us f r o m t h e o t h e r s ide o f t h e Sea o f A z o f. I d id n o t lo o k u p f r o m m y s e w in g , a n d y e t I k n e w t h a t a t h i r d p e r s o n w a s p r e s e n t . I lo o k e d a t F lo ra , w h o w a s a b o u t t e n m e t r e s a w a y . ‘W i ll s h e see i t ? ’ I w o n d e r e d , a n d I w a i t e d f o r a c r y o f i n t e r e s t o r f e a r f r o m h e r. B u t F lo r a d id n o t c r y o u t. T h is is m o r e f r i g h t e n i n g t h a n a n y t h i n g else in m y s t o r y : in s t e a d o f c r y in g o u t, she t u r n e d h e r b a c k t o t h e w a t e r a n d f e l l s ile n t. T h e n I lo o k e d u p a n d s a w w h a t 1 h a d t o see. W h e n I w a s a lo n e w i t h M r s G ro s e t h a t e v e n in g , I t h r e w m y s e l f i n t o h e r a r m s a n d c rie d , ‘T h e y know'. T h e c h ild r e n know'.’ ‘T h e y k n o w w h a t ? ’ a s k e d M r s G ro s e . ‘A ll t h a t w e k n o w , a n d p e r h a p s e v e n m o r e ! ’ I re p lie d . ‘T w o h o u r s a g o , in t h e g a rd e n , F lo r a s a w !’
1.
th e S ea o f A zof : i n la n d s e a c o n n e c t i n g w i t h t h e Black Sea.
2.
sew ing : m a k in g o r r e p a irin g c lo th es .
49
'D id sh e te ll y o u ? ' ‘ N o ! T h a t ’s t h e h o r r o r o f it ! She k e p t i t s e c re t. She d id n ’t s a y a n y t h i n g t o m e , b u t I c o u ld see t h a t sh e k n e w . ’ ‘ D o y o u m e a n she k n e w he w a s t h e r e ? ’ a s k e d M r s G ro s e . ‘ N o — she! A w o m a n d re s s e d in b la c k . She a p p e a r e d o n th e o t h e r s id e o f t h e la k e .’ ‘ H a v e y o u e v e r se e n h e r b e f o r e ? ’ ‘ N o , b u t y o u h a v e , a n d Flora h a s ! I t w a s t h e o t h e r g o v e rn e s s , t h e o n e w h o d ie d !’ ‘ M is s J e s s e l? ’ ‘Y e s .’ ‘ H o w c a n y o u be s u r e ? ’ ‘A s k F lo ra ! N o — d o n ’t a s k h e r. She w o n ’t t e l l y o u . S h e ’ll lie .’ ‘O h ! D o n ’t s a y s u c h t h i n g s ! ’ c r ie d M rs G ro s e . ‘ I k n o w i t ’s t r u e ! ’ I re p lie d . ‘ F lo r a d o e s n ’t w a n t m e t o k n o w a b o u t it . I s a w t h a t w o m a n , s t a n d in g o n t h e o t h e r s id e o f t h e la k e , s t a r in g a t F lo r a w i t h th o s e t e r r i b l e e ye s! She w a n t s F lo ra ! She w a n t s t o t a k e F lo r a f r o m us! T hat's w h a t F lo r a k n o w s ! ’ ‘W h a t d id she lo o k lik e ? ’ a s k e d M r s G ro s e . ‘H e r c lo th e s w e re po o r. She w a s v e r y b e a u tifu l. B u t she lo o k e d e v il.’ ‘Y e s ,’ s a id M r s G ro s e . ‘ M is s Jessel w as e v il. T h e y w e r e b o t h e v il . ’ ‘ I k n o w y o u d i d n ’t t e l l m e t h i s b e fo r e b e c a u s e y o u t h o u g h t y o u s h o u ld n ’t s p e a k o f s u c h th in g s . B u t n o w y o u m u s t t e l l m e . W h a t d id sh e d ie o f? W a s t h e r e s o m e t h in g b e tw e e n t h e m ? ’ 1 ‘Y e s .’ ‘ In s p it e o f t h e d if f e r e n c e —? ’
1.
52
W as th e re so m e th in g b e tw e e n th e m ? : w e r e th e y lov ers?
P art iv ‘Y es. E v e n t h o u g h sh e w a s a la d y a n d he w a s j u s t a c o m m o n s e rv a n t.’ ‘W h y d id s h e le a v e ? ’ ‘Oh, she c o u ld n ’t h a v e s t a y e d . ’ ‘W h a t d id she d ie o f ? ’ ‘ 1 d o n ’t k n o w . I d i d n ’t w a n t t o k n o w . I im a g in e d , a n d w h a t I im a g in e d w a s t e r r i b l e . ’ W h e n I h e a r d t h is , I b u r s t i n t o t e a r s a n d t h r e w m y s e l f i n t o M rs G r o s e ’s a r m s a g a in . ‘ I w a n t e d t o p r o t e c t t h e c h ild r e n , b u t I c a n ’t! I t ’s f a r w o r s e t h a n I t h o u g h t ! T h e y a re l o s t ! ’ I d r ie d
m y te a rs
and
s a id , ‘ D o y o u
h e a d m a s t e r ’s l e t t e r c a m e , y o u t o l d
re m e m b e r, w h e n
me th a t
th e
M ile s h a d b e e n
n a u g h ty ? W h a t d id y o u m e a n ? ’ ‘W e ll, w h e n Q u in t w a s h e re , M ile s s p e n t h o u r s w i t h h im . I t h o u g h t i t w a s w r o n g . M ile s s h o u ld h a v e b e e n w i t h M is s Jessel. O n e d a y I s p o k e t o h e r a b o u t it , b u t sh e ig n o r e d m e . So I s p o k e t o M ile s . I m e n t io n e d t h a t he o f t e n d is a p p e a r e d w i t h Q u in t a n d s p e n t h o u r s w i t h h im . M ile s s a id t h a t w a s n o t t r u e ! T h e n I s a id t h a t i t w a s w r o n g f o r a y o u n g g e n t le m a n t o s p e n d h o u r s w i t h a c o m m o n s e r v a n t , a n d he s a id t h a t 1 w a s a c o m m o n s e r v a n t t o o ! ’ ‘W h e n M ile s w a s w i t h Q u in t, w h e r e w a s F lo r a ? ’ ‘She w a s w i t h M is s Jessel. T h a t w a s w h a t t h e y a ll w a n t e d ! ’ ‘A h ! ’ I s a id . ‘ I t is j u s t as I fe a r e d . I m u s t w a t c h t h e m m o r e c lo s e ly t h a n e v e r ! ’
53
'/
A
E
S
P a rt IV has 3 m ain events: 1
M rs Grose te lls th e n a r r a to r a b o u t P e te r Q u in t.
2
The n a r r a to r sees th e la s t governess.
3
M rs Grose te lls th e n a r r a to r a b o u t Miss Jessel.
M rs Grose tells th e n a rra to r about P eter Q uint. For questions 1-5, choose th e an sw er (A, B, C o r D) w hich you th in k fits best according to th e te x t. 1
2
A f t e r h e r co n v e rs a tio n w it h th e governess, M rs Grose A Q
th in k s th e governess is m ad.
B Q
d o e sn ’t th in k th e governess is m ad.
C Q
th in k s th e y are b o th m ad.
D Q
th in k s she is m ad.
The governess is co n vinced P e ter Q u in t A Q
does n o t w a n t to be discovered.
B Q
w a n ts th e n a r r a t o r t o see him .
C !
! w a n ts to be seen b y th e ch ild re n .
D Q 3
4
w a n ts to see h im .
P eter Q u in t A [_
s p e n t a lo t o f tim e w ith Miles.
B Q
d id n ’t spend m u ch tim e w it h Miles.
C Q
s p e n t a lo t o f tim e w it h th e m a s te r.
D Q
s p e n t a lo t o f tim e w it h M rs Grose.
W h a t w a s th e m a in reason w h y P eter Q u in t had such in flu e n c e a t Bly?
54
A Q
The c h ild re n lik e d h im .
B Q
The m a s te r tr u s te d him .
C [ ]
He w as clever.
D H
He w as a ttra c tiv e .
C
5
^
T
T
E
S
H o w did Peter Q u in t die? A Q
In an a ccident.
B Q
He w as m u rd e re d .
C □
He kille d h im se lf.
D Q
He d ra n k h im s e lf to death.
The n a rra to r sees th e last governess. M atch th e answers (A-J) to th e questions (1-10). An exam ple (1G) has been done fo r you. There is one question th a t does n o t have an answer. W hich one is it and w h a t is th e answer? Question 1.
H o w does th e governess co n sid e r
A nsw er A □
2.
3.
B □
e ve n ts a t Bly?
C
□
4.
6.
D
□
E
□
T h e y have no
W h a t w as Flora d o in g w h e n th e
p a re n ts and th e y
governess realised som eone w as
are in danger.
w a tc h in g her?
F □
Peter Q u in t.
W h a t w as ‘more frightening than
G
ra
It is heroic.
H
□
I
□
H e r m a ste r.
J □
The fa c t th a t Flora
W h o did M rs Grose a t f i r s t t h in k th e governess had seen?
8.
She w a n ts t o ta ke Flora.
W h e re did th e governess see th e
anything else in m y story’? 7.
She w ill lie a b o u t w h a t she know s.
W h y do th e ch ild re n need
‘th ir d p e rs o n ’? 5.
B e a u tifu l and evil.
W h o doe sn ’t k n o w a n y th in g a b o u t
p ro te c tin g ?
She w as te llin g th e g overness a story.
h e r jo b o f p ro te c tin g th e c h ild re n ?
W h y d id n ’t th e governess w a n t to
d id n ’t c ry o u t.
te ll Flora a b o u t w h a t she had seen? 9.
W h a t w as th e w o m a n ‘dressed in
black’ like? 10. W h a t, a cco rd in g to th e governess, does Miss Jessel w a n t?
55
C
C E
T
'/
E
S
For questions 1-14 read th e te x t below and look carefu lly a t each line. Some o f th e lines are correct, and some have a w o rd w hich should not be th ere. I f a line is correct p u t a tic k ( / ) by th e line num ber. I f a line has a w ord w hich should n ot be th ere, w rite th e w o rd by th e line num ber. There are tw o exam ples (0 and 0 0 ). 0 A f t e r see in g th e w o m a n b y th e side lake, th e g o v e rn e ss 00
rushes to fin d M rs Grose, te llin g h er th a t Flora ‘k n o w s ’. She
.....
1 says th a t Flora saw th e fig u re o f a w o m a n a t th e lake and
............
2 said h e r n o th in g . Across th e lake, a w o m a n appeared and
............
3 d id s im p ly s to o d th e r e . The g o v e rn e s s h a d n e v e r seen
............
4
h e r b e f o r e , b u t sh e s a y s , F lo r a a n d M rs G ro s e k n o w
............
5 her: Miss Jessel. Mrs Grose is confused a t f ir s t and c a n n o t be
............
6 understand w h y th e governess is so sure about w h a t th a t she
............
7 has seen. N e v e rth e le s s , th e g o ve rn e s s in s is ts t h a t F lo ra
............
8
kn o w s a b o u t Miss Jessel and t h a t i f asked a b o u t seeing h er
............
9
she w ill lie. N ow, th e governess’s m o s t g re a te s t fe a r is n o t
............
10 seeing th e ghost b u t ra th e r o f understa n din g th e tr u th a b o u t
............
11 Flora: th e child sure is in te ra c tin g w ith th e g host w ith o u t h er
............
12 k n o w in g . The g o v e rn e s s ’s a n x ie ty is added due to b y th e
............
13 news th a t Miles spent long periods o f tim e w ith Peter Q u in t.................. 14 described by th e housekeeper as having a bad and influence
............
on th e child.
Madness o r sanity? a. W h y d id n ’t Flora c ry o u t? W h a t tw o possible a n sw e rs are th e re ? Discuss y o u r ideas w it h y o u r p a rtn e r. b. C onsider th e th re e m a in e ve n ts w e sa w in exercises 1-3. Give P art IV a title . C om pare y o u r ideas w it h o th e r s tu d e n ts in y o u r class.
56
A
^
C
T
T
E
S
Mrs Grose tells th e n a rra to r about Miss Jessel.
‘The Turn o f the Screw is p ro fo u n d ly a m b ig u o u s ’ (In tro d u c tio n ). a.
W h a t does Mrs Grose te ll us about Miss Jessel? W h a t doesn’t she te ll us? Fill in th e tab le below. Miss Jessel W h a t w e learn •
W h a t w e don’t learn •
•
b. W h a t e ffec t do these unansw ered questions have?
L o o k in g a h e a d o
Q
Look a t th e fo u r statem ents below. W o rkin g w ith yo ur p a rtn e r, decide if th e y are tru e o r false. Then listen to th e e x tra c t fro m th e beginning o f P art V to check. T
1. The governess w a n te d th e c h ild re n to k n o w she k n e w th e ir secret. 2. The ch ild re n sh o w e d a lo t o f a ffe c tio n . 3. Flora and M iles could n o t c o n c e n tra te on th e ir lessons. 4. Miles learned easily even a w a y fr o m school.
□ □ □ □ □ □ □ □
57
F
V w a t c h e d a n d w a it e d . D a y s p a s s e d a n d n o t h i n g u n u s u a l h a p p e n e d . M y fe a r s f o r t h e c h ild r e n — a n d e v e n s o m e a w f u l m e m o r ie s o f m y o w n — g r e w m o r e v iv id . I w a s c a r e f u l n o t t o s h o w t h e m t h a t I k n e w t h e i r s e c re t, b u t t h i s w a s d i f f i c u l t , b e c a u s e t h e i r s e c r e t m a d e t h e m e v e n m o r e in t e r e s t in g t o m e . I w a s s t i l l u n d e r t h e s p e ll o f t h e i r c h a r m a n d in n o c e n c e , e v e n w h e n 1 s u s p e c te d t h a t t h e y w e r e d e c e iv in g m e . 1 1 s h o w e d e v e n m o r e a f f e c t i o n t o t h e m t h a n b e fo r e . I w a s a f r a id t h a t t h e y m i g h t t h i n k i t s tr a n g e t h a t 1 k is s e d a n d e m b r a c e d t h e m so o ft e n . T h e n I n o t ic e d t h a t t h e y k is s e d a n d e m b r a c e d m e m o r e o f t e n to o , and I w o n d e re d w hy. T h e y s e e m e d v e r y e a g e r t o p le a s e m e . T h e y w o r k e d h a r d a t t h e i r le s s o n s , p e r f o r m e d
1.
58
little
th e a tric a l show s, and
d e c e iv in g m e : d e lib e r a te ly giving m e a false im p re ss io n .
le a r n e d
'P a rt V B * 5* p o e m s . L o o k in g b a c k , I a m s u r p r is e d t h a t I d id n o t t h i n k a b o u t f i n d in g a s c h o o l f o r M ile s . I w a s c o n t e n t t o k e e p h im w i t h m e a t B ly. H e w a s c le v e r e n o u g h t o le a r n t h in g s o n h is o w n . H e s e e m e d t o be u n d e r s o m e in f lu e n c e t h a t m a d e h im w a n t t o le a r n .
6mo
I h a d b r o t h e r s m y s e lf, a n d I k n e w t h a t l i t t l e s is te r s c o u ld a d o re t h e i r o ld e r b r o t h e r s . B u t I h a d n e v e r se e n a n o ld e r b r o t h e r t r e a t h is l i t t l e s i s t e r w i t h so m u c h c o n s id e r a t io n . T h e y n e v e r a rg u e d . T h e y w e r e a lw a y s in a g r e e m e n t w i t h e a c h o t h e r . In d e e d , I t h i n k t h e y s o m e t im e s a g re e d t o d e c e iv e m e . O n e e v e n in g , 1 s a t in m y r o o m r e a d in g la te i n t o t h e n ig h t . F lo ra w a s a s le e p in h e r l i t t l e w h i t e b e d in t h e c o r n e r o f m y r o o m . S u d d e n ly I f e l t t h a t s o m e t h in g w a s m o v in g in t h e h o u s e . I t o o k a c a n d le , w e n t o u t i n t o t h e c o r r id o r , a n d c lo s e d a n d lo c k e d t h e d o o r q u ie t ly . 1 w a lk e d t o t h e s ta ir c a s e . M y c a n d le w e n t o u t, b u t t h e f i r s t l ig h t o f d a w n 1 m a d e i t p o s s ib le t o see w i t h o u t it . 1 t h e n s a w t h a t t h e r e w a s s o m e o n e o n t h e s ta ir s . H e w a lk e d u p t h e s t a ir s a n d s to p p e d in f r o n t o f t h e g r e a t w in d o w . H e lo o k e d a t m e , a n d 1 lo o k e d a t h im . I t w a s Q u in t. H e s e e m e d lik e a liv in g h u m a n b e in g . I t w a s lik e m e e t in g a c r i m i n a l in t h e h o u s e la te a t n ig h t . A n d y e t I w a s n o t a f r a id , a n d 1 k n e w t h a t he k n e w t h a t I w a s n o t a f r a id . T h e o n ly u n n a t u r a l t h i n g a b o u t o u r m e e t in g w a s t h a t w e s ta r e d a t e a c h o t h e r in s ile n c e . ‘ P e rh a p s I m y s e l f a m a g h o s t , ’ I t h o u g h t . Then
he tu r n e d
and
d is a p p e a r e d
in to
th e
d a rk n e s s
o f th e
s ta irc a s e . I r e t u r n e d t o m y r o o m a n d s a w t o m y h o r r o r t h a t F lo r a ’ s l i t t l e b e d w a s e m p t y . T h e n F lo r a s te p p e d o u t f r o m b e h in d t h e c u r t a in . ‘W h e r e h a v e y o u b e e n ? ’ s h e a s k e d .
1.
t h e f i r s t l ig h t o f d a w n : t h e l i g h t t h a t c o m e s j u s t b e f o r e t h e s u n r i s e s .
59
i/ie % rtL 0y~ {/l c Screw ____ ‘W e r e y o u lo o k in g o u t o f t h e w in d o w ? D id y o u t h i n k I w a s w a l k i n g o u t s id e ? ’ ‘W e ll, I t h o u g h t s o m e o n e w a s ,’ F lo r a re p lie d , lo o k in g u p a t m e w i t h h e r b e a u t i f u l b lu e e yes. ‘ D id y o u see s o m e o n e o u t t h e r e ? ’ ‘O h n o , ’ sh e s a id , a n d 1 t h o u g h t t h a t sh e w a s ly in g . A f t e r t h a t , 1 s le p t v e r y l i t t l e a t n ig h t . W h e n F lo r a w a s a s le e p , I w o u ld g o o u t t o t h e s ta ir c a s e , b u t I n e v e r m e t Q u in t t h e r e a g a in . O n c e , lo o k in g d o w n t h e s ta ir c a s e , I s a w a w o m a n s i t t i n g o n o n e o f t h e l o w e r s t a ir s w i t h h e r b a c k t o m e a n d h e r h e a d in h e r h a n d s . She lo o k e d v e r y sad. T h e n sh e v a n is h e d w i t h o u t lo o k in g r o u n d a t m e , b u t I k n e w i t w a s M is s Jessel. F o r t e n n ig h t s I s ta y e d a w a k e la te , w a i t i n g a n d w a t c h in g . O n t h e e le v e n t h n ig h t , I w e n t t o s le e p a t m y n o r m a l h o u r , b u t I a w o k e a t o n e o ’c lo c k a n d s a t u p s t r a ig h t , as i f a h a n d h a d to u c h e d m e . F lo r a ’s b e d w a s e m p t y a g a in . She w a s b e h in d t h e c u r t a in , lo o k in g o u t o f t h e w in d o w . She d id n o t s e e m t o n o tic e t h a t 1 w a s a w a k e . ‘ M is s Jessel m u s t be o u t s i d e ! ’ 1 t h o u g h t . Q u ic k ly a n d q u ie t ly , I w e n t o u t i n t o t h e c o r r id o r . I w a n t e d t o f i n d a n o t h e r w in d o w , so t h a t 1 c o u ld lo o k o u t a n d see w h a t F lo r a w a s s e e in g . I p a u s e d b y M ile s ’ b e d r o o m d o o r a n d t h o u g h t , ‘ Is he t o o a t th e w in d o w , w a t c h in g ? ’ T h e n I e n t e r e d a n e m p t y r o o m , w e n t t o th e w in d o w , a n d lo o k e d o u t. T h is r o o m w a s b e n e a th t h e o ld t o w e r . In th e m o o n l ig h t I s a w s o m e o n e s t a n d in g o n t h e l a w n , 1 lo o k in g u p a t s o m e t h in g a b o v e m e . T h e r e w a s c le a r ly a n o t h e r p e r s o n a b o v e m e — t h e r e w a s s o m e o n e o n t h e t o w e r . B u t t h e p e r s o n o n t h e la w n w a s n o t M is s Jessel: i t w a s p o o r l i t t l e M ile s h im s e lf !
1.
60
law n : a r e a o f s h o rt c u t g rass.
V
Q
E
S
The n a rra to r’s nights are disturbed by fo u r people. W ho are they? And w h ere w ere they? H ow are th e y described? Fill in th e tab le w ith th e missing in fo rm a tio n . Person
W h ere w ere they?
P eter Q u in t
H ow are th e y described? ‘He seemed like a liv in g h u m a n be in g .’ ... ‘a c rim in a l’.
In h e r b e d ro o m .
Miss Jessel
On th e law n.
FCE©
For questions 1-4 choose th e answ er (A, B, C or D) w hich you th in k fits best according to th e te x t. 1
The governess k n e w P e te r Q u in t A □
w as a fra id .
B
Q
k n e w she w a s a fra id .
C
Q
k n e w she w a s n ’t a fra id .
D 2
□
The governess th o u g h t Flora A
d id n ’t w a n t to te ll h e r w h o she had seen o u t o f th e w in d o w .
B
□
C
w as a fra id t o te ll h e r w h o she had seen o u t o f th e w in d o w . Q
D 3
w a s n ’t a fra id .
□
h a d n ’t seen a n yo n e o u t o f th e w in d o w . w o u ld te ll h e r la te r w h a t she had seen.
H o w did th e governess k n o w t h a t th e w o m a n on th e lo w e r sta irs w a s Miss Jessel? A
Q
She saw h e r face.
B
Q
She recognised h e r voice.
C
Q
W e are n o t to ld .
D
62
□
She in tro d u c e d h e rs e lf to th e governess.
4
W h o did th e governess t h in k Miles w a s p ro b a b ly lo o k in g up at? A
Q
P eter Q u in t.
B
Q
H erself.
C
□
Flora.
D
Q
Miss Jessel.
Discuss yo ur answers w ith yo ur pa rtn e r.
E xplain th e significance o f these o rd in a l/c a rd in a l num bers in P a rt V. a. tw ic e b. te n c. e le v e n th
O
‘Sanity o r madness? In P art III, exercise 4 on p. 41 you w e re asked; ‘W h a t support is th e re fo r th e n a rra to r in P art III? ’ In P art V, w h a t evidence can you fin d to support th e position th a t th e governess is mad? Sum m arise yo ur ideas in a short paragraph.
Grammar ‘ (M iles) w a s clever enough to learn th in g s o n his o w n ’ — ‘enough’ g e n e ra lly fo llo w s a d je c tiv e s e.g.: He is n ’t old enough... — a n d can be fo llo w e d b y th e in f in i t i v e e.g.: ...to v o te
C E O
For questions 1-5, com plete th e second sentence so th a t it has a sim ilar m eaning to th e firs t sentence, using th e w o rd given. Do not change th e w o rd given. You m ust use betw een tw o and five words, including th e w o rd given. There is an exam ple a t th e beginning (0). 0
It w as to o d a rk to see Miss Jessel clearly, light T here .. V Y J ? f ! 2 ugh.Jjght
t 0 see Miss Jessel clearly.
63
E
1
S
W ith th e in fo r m a tio n given, th e re a d e r c a n ’t m a ke clea r decisions a b o u t w h a t is happening. got The r e a d e r ..............................................t o m a ke clea r decisions a b o u t w h a t is happening.
2
W h a t Miles did a t his school w a s bad enough f o r h im to be expelled, serious W h a t Miles did a t his s c h o o l............................................... t h a t he w as expelled.
3
The governess a ccepted th e jo b a ft e r h a v in g m e t th e m a s te r once, convince M e e tin g th e m a s te r o n c e ..............................................th e governess to acce p t th e jo b .
4
The go ve rn e ss’s fa t h e r w as to o p o o r to p ro v id e his d a u g h te r w it h a p riv a te incom e. w asn ’t The go ve rn e ss’s f a t h e r ............................................... to p ro v id e his d a u g h te r w it h a p riv a te incom e.
5
Flora is yo u n g enough t o sleep in th e sam e ro o m as th e governess, can F lo ra ’s age m e a n s ............................................... in th e sam e ro o m as th e governess.
Q
‘Does th e governess really see th e ghosts, o r is she hallucinating th em ? ’ (In tro d u ctio n , p. 7) W e are h a lf-w a y th rough The Turn o f the Screw. W hose side are you on? a.
Divide yo u r class in to tw o groups: One s u p p o rts th e a rg u m e n t t h a t th e governess re a lly sees th e ghosts, w h ile th e o th e r su p p o rts th e p o s itio n t h a t th e governess is im a g in in g th e m . Use th e s to r y so f a r to s u p p o rt y o u r p o s itio n .
64
b.
In te rv ie w A f t e r yo u have fin is h e d , w o r k w it h a s tu d e n t fr o m th e o th e r group. T ry and persuade h im /h e r o f y o u r p o sitio n .
S o m e u s e fu l la n g u a g e To p re s e n t y o u r o p in io n : First... First o f all... Then, what is more... Another fa c t is...; Finally.... To express a d iffe re n c e o f o p in io n : Well, I can see your point but...
I don't agree... Flaveyou considered?
W h a t title w ould you give to P a rt V? W hich o f these title s do you prefer? T ry and add an o th er to th e list. a.
Sleepless n ig h ts.
b.
The house o f sp irits,
c.
W h a t has Miles seen?
d.
N ig h t v is ito rs ,
e.........................................
L o o k in g a h e a d Before listening to th is e x tra c t fro m P art V I consider these tw o questions: •
‘Did yo u see som eone o u t th e re ? ’ th e governess asked Flora. The c hild said ‘n o ’ b u t th e governess th o u g h t she w as lying. W h o did she p o ssib ly see?
•
W h a t w a s Miles d o in g on th e la w n late a t n ig h t?
Listen to th is e x tra c t fro m th e beginning o f P a rt V I and answ er these tw o questions. Check yo ur answers w h en you read P art VI.
VI h a d n o o p p o r t u n i t y t o t a l k t o M rs G ro s e u n t i l la te t h e n e x t e v e n in g . M rs G ro s e w a s a g r e a t h e lp t o m e : she ssih a re d m y t e r r i b l e s e c re ts , a n d sh e b e lie v e d m e . B u t she h a d n o i m a g in a t io n . S he s t ill t h o u g h t t h e c h ild r e n w e r e b e a u t if u l c h a r m in g l i t t l e a n g e ls . She c o u ld n o t im a g in e t h e t h i n g s t h a t w o r r i e d m e m o s t . A s t i m e w e n t o n , a n d t h e c h ild r e n c o n t in u e d t o s e e m h a p p y , M r s G ro s e s t o p p e d w o r r y i n g a b o u t t h e m a n d b e g a n w o r ry in g a b o u t m e. W h e n I fin a lly fo u n d th e tim e to te ll h e r w h a t had h a p p e n e d t h e n ig h t b e fo r e , w e w e r e s i t t i n g t o g e t h e r in t h e e v e n in g lig h t, s e w in g . T h e c h ild r e n w e r e w a l k i n g u p a n d d o w n th e la w n . M ile s w a s r e a d in g a b o o k t o F lo ra . I t o l d h e r a b o u t s e e in g M ile s o u ts id e o n t h e la w n a t o n e o ’c lo c k in t h e m o r n in g . I h a d g o n e t o h im i m m e d i a t e ly . W h e n he s a w m e , he w a lk e d t o w a r d s m e s e re n e ly . T o g e t h e r w e w e n t u p t h e s t a ir s w h e r e Q u i n t h a d w a i t e d f o r h im a n d d o w n t h e c o r r id o r w h e r e I h a d w a t c h e d a n d w a it e d , t o h is
66
I
[7 l c 7 u m
( d l / i c S c r e w _____
e m p t y r o o m . W e w a lk e d in s ile n c e . I f e l t a k i n d o f t r i u m p h , b e c a u s e i t s e e m e d im p o s s ib le f o r h im t o e x p la in w h y he h a d b e e n o u ts id e . H e w a s in a t r a p ! 1 ‘Y o u m u s t t e l l m e n o w , ’ I s a id . ‘T e ll m e t h e t r u t h . W h y d id y o u g o o u t s id e ? ’ H e s to o d t h e r e s m ilin g lik e a lit t l e f a i r y p rin c e . I ca n s till see t h a t w o n d e r f u l s m ile . ‘ I f I te ll y o u , w ill y o u u n d e r s t a n d ? ’ he a s k e d g e n tly . ‘Y e s .’ ‘ I d id i t b e c a u s e I a m t i r e d o f b e in g g o o d a ll t h e t im e . I w a n t e d y o u t o t h i n k I w a s bad, f o r a c h a n g e .’ T h e n he k is s e d m e , a n d I n e a r ly b u r s t i n t o te a r s . ‘ B u t I m i g h t n o t h a v e s e e n y o u , ’ I s a id . ‘ I t o l d F lo r a t o g o t o t h e w in d o w , so t h a t y o u w o u l d lo o k o u t o f t h e w in d o w t o o ! ’ he s a id , s m ilin g e v e n m o r e . I c o u ld n o t t e l l h im w h a t I s u s p e c te d . I c o u ld n o t be t h e f i r s t t o m e n t io n t h e h o r r o r s w e w e r e e x p e r ie n c in g . / w a s t h e o n e w h o h a d f a lle n i n t o a t r a p ! W e e m b r a c e d a g a in . T h e n h e s a id , s m ilin g a g a in , ‘T h in k h o w b a d I could b e !’ ‘ H e k n o w s h o w b a d he c o u ld b e ,’ I s a id t o M rs G ro s e . ‘A n d t h a t ’s w h a t h e s h o w e d t h e m a t s c h o o l.’ ‘Y o u ’ re a lw a y s c h a n g in g y o u r o p in i o n ! ’ p r o t e s t e d M r s G ro s e . ‘ I d o n ’t c h a n g e : I ’ m j u s t b e g in n in g t o u n d e r s t a n d . I a m s u re t h a t t h e f o u r o f t h e m m e e t c o n s t a n t ly . N e i t h e r o f t h e c h ild r e n h as e v e r m e n t io n e d M is s Jessel o r P e te r Q u in t. A n d M ile s h a s n e v e r t a l k e d a b o u t h is s c h o o l. W e s i t h e re a n d w a t c h t h e m , a n d t h e y s e e m b e a u t i f u l a n d in n o c e n t , b u t a ll t h e t i m e t h e y a re t h i n k i n g a b o u t t h e d e a d ! H e is n o t r e a d in g t o h e r n o w : t h e y a re t a l k in g
1.
68
H e w a s i n a t r a p : a t r a p is s o m e t h i n g h u n t e r s u s e t o c a t c h a n i m a l s . The expression m ean s he had no w ay to escape.
/'■»
‘Y e s, I d o lik e it , b u t yo u k n o w w h a t a b o y w a n t s ! M y u n c le m u s t c o m e h e re , a n d y o u m u s t d e c id e w h a t t o do . Y o u w il l h a v e t o t e l l h im e v e r y t h i n g . ’ ‘A n d w h a t w i l l y o u h a v e t o t e l l h im , M ile s . H e w i l l a s k yo u q u e s t io n s t o o . ’ ‘W h a t q u e s t i o n s ? ’ 'H e w i l l a s k y o u a b o u t y o u r s c h o o l. He c a n ’t s e n d y o u b a c k th e re —’ ‘ 1 d o n ’t w a n t t o go b a c k . I w a n t t o g o t o a n e w s c h o o l.’ He s a id i t w i t h o u t a n y s ig n o f e m b a r r a s s m e n t ; he w a s s e re n e . I t h o u g h t , ‘ I f w e d o s e n d h im t o a n e w s c h o o l, he w i l l p r o b a b l y be e x p e lle d f r o m t h a t o n e t o o . ’ I t s e e m e d so t r a g ic , so u n n a t u r a l. I f e l t s u c h p i t y f o r h im t h a t I e m b r a c e d h im , c r y in g , ‘ D e a r l i t t l e M ile s !’ He l e t m e k is s h im . ‘W h a t ’ s w r o n g , o ld l a d y ? ’ he a s k e d in h is usual fr ie n d ly w a y. ‘ Is t h e r e n o t h i n g t h a t y o u w a n t t o t e ll m e ? ’ He t u r n e d a w a y f r o m
m e a n d lo o k e d a t t h e w a ll. A g a in he
s e e m e d lik e a p a t i e n t in a c h i l d r e n ’s h o s p it a l. ‘ I ’v e t o l d y o u , ’ he s a id . ‘ I t o l d y o u t h i s m o r n in g . I w a n t y o u t o le a v e m e a lo n e .’ I s to o d u p b y th e b e d . W h a t he s a id w a s so p a t h e t ic a n d d ig n i f i e d . G o d k n o w s I n e v e r w a n t e d t o h a r a s s 1 h im . I j u s t d id n o t w a n t t o a b a n d o n h im — t o lose h im . ‘ I ’v e b e g u n a l e t t e r t o y o u r u n c le ,’ I s a id . ‘W e ll, th e n , f i n is h i t ! ’ I w a i t e d a m i n u t e . ‘W h a t h a p p e n e d b e f o r e ? ’ He lo o k e d u p a t m e a g a in . ‘ B e fo r e w h a t ? ’ ‘ B e fo r e y o u c a m e b a c k . A n d b e f o r e y o u w e n t a w a y . ’
1.
94
h a r a s s : to tro u b le , an n o y , a n d irrita te continually.
l Jar£ vui
H e w a s s i le n t f o r s o m e t i m e , b u t he c o n t i n u e d t o lo o k a t m e. ‘W h a t h a p p e n e d ? ’ he r e p e a t e d . S o m e t h in g in h is v o ic e s e e m e d f o r t h e f i r s t t i m e t o a d m i t t h a t s o m e t h in g t e r r i b l e h a d h a p p e n e d . I s a t o n t h e b e d a g a in . I t h o u g h t I h a d o n e m o r e c h a n c e t o p o s se s s h im . ‘ D e a r l i t t l e M ile s ! I w a n t t o h e lp y o u so m u c h ! I w o u ld n e v e r h u r t y o u ! P lease h e lp m e t o s a v e y o u ! ’ B u t I k n e w in a m o m e n t t h a t I h a d g o n e t o o f a r . 1 A c o ld w in d b le w as i f f r o m a b r o k e n w i n d o w . T h e b o y s c r e a m e d in j o y o r t e r r o r . I s to o d u p in t h e d a r k n e s s . ‘T h e c a n d le is o u t ! ’ I c rie d . ‘ 1 b le w i t o u t, d e a r ! ’ s a id M ile s .
1.
g o n e to o fa r : sa id t o o m u ch ; b e e n t o o explicit.
95
A
RC E Q
V
For questions
E
S
1-8,choose th e a nsw er (A, B, C or D) which you th in k fits
best according to th e te x t. 1
W h ic h w o r d best describes M rs G rose’s re a c tio n w h e n th e governess says she had m e t a frie n d ?
2
A
Q
H o rro r.
B
Q
Pity.
C
Q
A m u s e m e n t.
D
Q
Surprise.
H o w m a n y lies did th e governess te ll M rs Grose?
□
A
□
B C
□
D 3
4
5
Three. Four. Five.
W h y does th e governess decide to w r it e to th e c h ild re n ’s uncle? A
Q
To p ro ve she is n ’t a fra id o f Miles.
B
Q
Because M rs Grose asked her.
C
Q
To te ll h im a b o u t th e h e a d m a s te r’s le tte r.
D
Q
She hopes t o see h im again.
W h a t had th e governess been d o in g b e fo re she w e n t to M iles’s ro om ? A
Q
She had been w r it in g F lora a s to ry .
B
Q
She had been w r it in g a le tte r.
C
Q
She had been t r y in g to s ta r t a le tte r.
D
Q
She had been lis te n in g a t his door.
W h e n th e governess cam e in to M ile s’s ro o m he w as
□
A
□
B C D
96
□
T w o.
□
□
sleeping. re a ding a book. ly in g on his bed aw ake. lo o k in g o u t o f th e b e d ro o m w in d o w .
A
6
E
S
W h ic h o f th e fo llo w in g does Miles NOT w a n t? A
7
V
Q
To go t o a n e w school.
B
□
His uncle t o com e to Bly.
C
Q
The governess t o leave h im alone.
D
Q
To re tu r n t o his old school.
W h a t w as M iles’s re a c tio n to th e ne w s t h a t th e governess w as w r it in g a le t te r t o his uncle? A
Q
A nger.
B
Q
D isin te re st.
C
Q
A m u s e m e n t.
D 8
□
W h y d id th e candle go ou t? A B C D
0
Sadness.
□
□
□
□
The w in d o w w a s bro ke n. T he governess b le w i t o ut. M iles b le w i t out. W e d o n ’t kn o w .
In th e governess’s sto ry Miles appears as a disturbing child both fo r w h a t he says and w h a t he doesn’t . a. W h a t does he say o r do in P a rt VIII t h a t is d is tu rb in g ? b. W h a t does he decide n o t to say in P a rt VIII t h a t is d is tu rb in g ?
W h a t tw o things does th e governess say in P art V III th a t support the idea th a t she is perhaps mad?
97
V
EC E Q
T
E
S
For questions 1-10, read th e te x t below and decide w hich answ er (A, B, C o r D) best fits each space. There is an exam ple a t th e beginning (0). T h e m e e t in g (0 )..C... th e g o v e rn e s s an d M ile s in h is b e d r o o m has (1)
th e in g re d ie n ts o f suspense. The tw o (2 )
Miles is an angel and th e governess is m ad (3) th e governess is sane — com e (4 ) are no clear a n sw ers (5)
in te rp re ta tio n s — Miles is a devil and
a t th is p o in t o f th e s to ry . There
w a y and th e re a d e r has to decide f o r h im
o r h e r s e l f . B o t h c h a r a c t e r s h a v e d i s t u r b i n g ( 6 ) ......... t o t h e i r p e rs o n a litie s: Miles is secre tiv e and th e governess is (7) lo n e ly , h o u s e a t n ig h t a n d c a n d le s t h a t b lo w ( 8 ) d is t u r b in g ( 9 ) (10)
A d a rk a d d t o th e
Jam es c re a te s a n d w h ic h has d e lig h te d re a d e rs
its p u b lic a tio n .
0
A am ong
B w it h
C be tw e e n
D fr o m
1
A each
B every
C all
D a lo t
2
A oppose
B s u p p o rt
C opposing
D s u p p o rtin g
3
A fo r
B on
C to
D a g a in st
4
A fa c e -to -fa c e
B b a c k -to -b a c k
C e n d -to -e n d
D side -b y-side
5
A n e ith e r
B e ve ry
C e ith e r
D a ny
6
A q u a litie s
B aspects
C side
D n a tu re
7
A obsess
B obsession
C obsessive
D obsessing
8
A out
B up
C o ff
D in
9
A a tm o s p h e ric
B e n v ir o n m e n t
C c lim a te
D a tm o s p h e re
A fr o m
B fr o m
C since
D a ft e r
10
98
IN T E R N E T P R O J E C T
The Turn of the Screw is o n e of th e m o s t f a m o u s g h o s t s to rie s in lite ra tu re in E n g lis h . T r y a n d fin d s o m e m o r e b y o th e r fa m o u s n o ve lis ts . W h ic h w o u ld y o u like to r e a d ? U s e th e In te r n e t o r a n e n c y c lo p a e d ia to h e lp y o u .
A r e th e r e a n y f a m o u s s u p e r n a tu r a l s to rie s in th e lite ra tu re of y o u r la n g u a g e ? D o e s th e a r e a w h e r e y o u live h a v e a n y g h o s t s to rie s (h a u n te d h o u s e s e tc .)? T r y a n d w rite a s h o rt s u m m a r y of o n e of th e m in E n g lis h .
99
T
E
S
L o o k in g a h e a d Q
Some dram atic events take place in P art IX. One is w hen the governess asks Flora this question: ‘W h ere, m y dear, is Miss Jessel?’ W h a t do you th in k Flora’s reaction to this question w ill be? W hich of these reactions do you expect? Discuss yo ur ideas w ith your p artn er. Go back and check when you read P art IX. a.
Q Flora p re te n d s n o t to u n d e rs ta n d .
b.
Q Flora laughs and goes o f f to play.
c.
Q Flora s ta r ts to c ry and te lls th e governess a b o u t Miss Jessel.
d.
Q Flora s ta rts to c ry and te lls th e governess t h a t she never w a n ts to see he r again.
0
Listen to this ex tra c t fro m th e beginning o f P art IX. For questions a - f com plete th e sentence w ith a w o rd or short phrase. a.
W h e n th e governess w o n d e re d w h e re Flora was, Miles was
b. Mrs Grose d id n ’t k n o w ....................... c. The governess believed t h a t Flora w as w i t h ....................... d. The governess th o u g h t Miles w as w i t h ....................... e. The governess w ill ask Luke t o ....................... f.
100
The governess d id n ’t w a n t to w a it w h ile Mrs Grose p u t on
IX >
jf
M
a
he n e x t d a y M ile s a n d F lo ra w e r e b r i l l i a n t a t t h e i r les n s. I t w a s as i f t h e y w a n t e d t o lesso
c o m fo rt and
crm o m p e n s a te m e . L a te r, M ile s a s k e d m e i f 1 w o u ld lik e t o h e a r h im p la y th e p ia n o . W e w e n t t o th e m u s ic r o o m , a n d he b e g a n t o p la y . I s a t th e r e , u n d e r h is in flu e n c e , f o r a lo n g tim e . I d id n o t k n o w h o w m u c h t i m e h a d p a sse d. T h e n , s u d d e n ly , I s a t u p s tr a ig h t . I f e l t as i f I h a d s le p t, b u t in f a c t 1 h a d s im p ly f o r g o t t e n . W h e re w a s F lo ra all t h is tim e ? I a s k e d M ile s t h i s q u e s tio n . He c o n tin u e d t o p la y f o r a m in u t e , t h e n re p lie d , ‘H o w s h o u ld I k n o w , m y d e a r ? ’ I lo o k e d in m y r o o m , b u t F lo r a w a s n o t th e r e . 1 t h o u g h t she m i g h t be w i t h M r s G ro s e , so I w e n t t o h e r r o o m , b u t M r s G ro s e h a d n o t s e e n F lo ra . ‘S h e ’s n o t in t h e h o u s e . S h e ’s g o n e o u t , ’ 1 s a id . ‘W i t h o u t a h a t ? ’ a s k e d M r s G ro s e . ‘ M is s Jessel n e v e r w e a r s o n e ,’ I s a id . ‘ S h e ’s w i t h her? ’ a s k e d M r s G ro s e . ‘A n d w h e r e is M a s t e r M ile s ? ’ ‘Oh, h e ’s w i t h Q u in t. T h e y ’ re in t h e s c h o o l r o o m . M ile s p la y e d t h e p ia n o t o d i s t r a c t m e w h i l e F lo r a w e n t o u t , ’ I s a id .
io i
. S c r e w _______
c
'W ill y o u le a v e h im —? ’ ‘ So lo n g w i t h Q u in t? Y e s — I d o n ’t m i n d t h a t n o w . ’ ‘ B e c a u s e o f y o u r l e t t e r ? H a v e y o u w r i t t e n i t ? ’ sh e a s k e d . I t o o k t h e l e t t e r o u t o f m y p o c k e t a n d p u t i t o n t h e ta b le b y t h e f r o n t d o o r . ‘ L u k e w i l l p o s t i t , ’ I s a id . L u k e w a s o n e o f t h e s e r v a n t s . 1 o p e n e d th e d o o r a n d w e n t o u t. M r s G ro s e h e s it a t e d . ‘ I t ’s c o ld o u t s i d e , ’ sh e s a id . ‘W e s h o u ld w e a r o u r h a ts a n d c o a t s . ’ ‘ I h a v e n o t i m e f o r t h a t , ’ I s a id , ‘ i f y o u i n s is t o n g e t t i n g y o u r h a t a n d c o a t, I w i l l g o w i t h o u t y o u . ’ ‘ I w o n ’t s t a y in t h e h o u s e a lo n e w i t h th e m ,’ s a id M r s G ro s e , h u r r y i n g d o w n t h e s te p s . W e w e n t s t r a i g h t t o t h e la k e . ‘ E v e r s in c e w e s a w M is s Jessel b y th e la k e ,’ 1 s a id , ‘ F lo r a h a s a lw a y s w a n t e d t o g o t h e r e o n o u r w a lk s .
I th in k
she
has gone th e re
to d a y ,
and
h e r b ro th e r
d is t r a c t e d m e so t h a t F lo r a c o u ld g o a lo n e . ’ ‘ D o y o u t h i n k t h e c h ild r e n r e a l ly ta lk a b o u t t h e m ? ’ a s k e d M rs G ro s e . ‘ I ’ m c e r t a in o f i t . ’ W h e n w e re a c h e d t h e la k e , w e d id n o t see F lo ra . ‘ She h a s t a k e n t h e b o a t ! ’ I s a id , s e e in g t h a t t h e b o a t w a s g o n e f r o m it s u s u a l p la c e . ‘She h a s u s e d i t t o g o t o t h e o t h e r s id e .’ M rs G ro se lo o k e d a t th e o t h e r side o f th e lake. ‘T h e n w h e r e is i t ? ’ ‘ She h a s h id d e n i t . ’ ‘O n h e r o w n ? T h a t c h ild ? ’ ‘S h e ’s n o t o n h e r o w n , a n d a t s u c h t i m e s sh e is n o t a c h ild ; she is a n o ld w o m a n . ’ W e w a lk e d m in u t e s , w e
a ro u n d
fo u n d
th e
th e
la k e t o
th e
b o a t h id d e n
o t h e r s id e . A f t e r t e n
b e h in d
s o m e t a l l g ra s s .
P a s s in g t h e b o a t, w e s u d d e n ly s a w F lo ra . M r s G ro s e r a n u p a n d
102
JJar£ ix e m b r a c e d h e r. I w is h e d t h a t m y r e l a t i o n t o t h e c h ild r e n w a s as s im p le as h e rs . ‘W h e r e is y o u r h a t ? ’ a s k e d F lo ra . ‘W h e r e is yours, m y d e a r ? ’ I re p lie d . ‘A n d w h e r e is M ile s ? ’ s a id F lo ra . ‘ I ’ll t e l l y o u i f y o u ’ ll t e l l m e — ’ ‘W h a t ? ’ ‘W h e r e , m y d e a r, is M is s J e s s e l? ’ M r s G ro s e c r ie d o u t in p a in a t m y w o r d s . I lo o k e d u p a t h e r, t h e n I t o o k h e r h a n d in m in e . ‘S h e ’s t h e r e ! ’ I c rie d . M is s Jessel s to o d o n t h e o t h e r s id e o f t h e la k e . I f e l t j o y t h a t f i n a l l y I h a d e v id e n c e . ‘ M r s G ro s e c a n see h e r ! ’ I t h o u g h t . ‘A t la s t, m y d e a r o ld f r i e n d w i l l k n o w t h a t I a m n o t c r u e l o r m a d ! ’ I lo o k e d a t t h e p a le d e m o n w i t h g r a t i t u d e in m y e ye s, a n d 1 t h i n k she s a w it. She s t o o d in t h e s a m e p la c e t h a t M r s G ro s e a n d I h a d s to o d a f e w m i n u t e s e a r lie r . F lo r a d id n o t e v e n lo o k in t h e d ir e c t i o n I in d ic a te d . She s ta r e d a t m e . She s e e m e d t o a c c u s e a n d ju d g e m e . I c a lle d o u t t o h e r, ‘ S h e ’s there, y o u u n h a p p y l i t t l e t h i n g ! There, a n d y o u see h e r as w e ll as y o u see m e ! ’ I h a d t o l d M r s G ro s e t h a t , a t s u c h ti m e s , F lo r a w a s n o t a c h ild . H e r e w a s m y p r o o f . 1 F lo r a lo o k e d lik e a n o ld , o ld w o m a n . She s ta r e d a t m e w i t h a lo o k o f in t e n s e r e p r o b a t io n . 2 S u d d e n ly I re a lis e d t h a t M r s G r o s e ’s fa c e w a s re d a n d sh e w a s p r o t e s t i n g in a lo u d v o ic e : ‘W h a t d o y o u see, M is s ? I c a n ’t see a n y t h i n g ! ’ I h e ld h e r a r m a n d t u r n e d h e r in t h e d ir e c t i o n o f t h e g h o s t, p o i n t i n g m y f i n g e r a t it . ‘ D o n ’t y o u see h e r? Look! T h e r e sh e is! M y d e a r w o m a n , look!’
1.
p r o o f : evidence.
2.
rep rob ation : stro n g cond em n atio n ; very negative ju d g em en t.
103
T /ie 'Turns c j t/ic Sccrew She lo o k e d a n d s a id , ‘ N o. I see n o t h i n g ! ’ H e r v o ic e w a s f u l l o f c o m p a s s io n a n d a ls o o f r e l i e f t h a t sh e c o u ld n o t see. ‘T h e r e ’s n o t h i n g t h e r e , M is s F lo r a ,’ s a id M r s G ro s e in a c o m f o r t i n g v o ic e . ‘ H o w c o u ld M is s Jessel be t h e r e w h e n w e k n o w t h a t she is d e a d ? L e t ’s go h o m e , m y d e a r . ’ F lo r a c o n t i n u e d t o s t a r e a t m e w i t h r e p r o b a t i o n . I t s e e m e d t o m e f o r a m o m e n t t h a t a ll h e r c h ild is h b e a u t y v a n is h e d . She w a s h a r d ; she w a s a lm o s t u g ly . She t u r n e d t o m e a n d s a id , ‘ I d o n ’t k n o w w h a t y o u m e a n . I see n o b o d y . I see n o t h i n g . I n e v e r have. I t h i n k y o u ’ re c r u e l. I d o n ’t lik e y o u ! ’ F lo r a e m b r a c e d M r s G ro s e a n d b u r s t i n t o t e a r s . ‘T a k e m e a w a y ! ’ sh e c r ie d . ‘O h , t a k e m e a w a y fr o m h e r!’ ‘ F ro m m e ? ’ I asked, h o rrifie d . ‘ F r o m y o u ! ’ she c rie d . M r s G ro s e lo o k e d a t m e d is m a y e d . I c o u ld s t i l l see t h e g h o s t on th e o t h e r s id e o f t h e la k e . ‘O h, F lo ra , I ’v e lo s t y o u ! ’ I s a id . ‘ I h a v e i n t e r f e r e d , a n d she h a s s h o w n y o u h o w t o r e s p o n d . G o o d b y e . T a k e h e r a w a y , M r s G r o s e .’ M y d e a r o ld f r i e n d h u r r i e d o f f w i t h th e c h ild . I c a n n o t r e m e m b e r w h a t h a p p e n e d a f t e r t h a t . I t h i n k I la y d o w n o n t h e g ra s s a n d c r ie d f o r a lo n g t i m e , b e c a u s e a f t e r w a r d s I f e l t c o ld a n d w e t . W h e n I g o t b a c k t o t h e h o u s e , M r s G ro s e a n d F lo r a h a d g o n e t o b e d . F lo r a s le p t in M rs G r o s e ’s r o o m t h a t n ig h t . W h e n t h e m a id b r o u g h t te a t o m y r o o m , I d id n o t a s k h e r w h e r e M ile s w a s . H e h a d w a n t e d t o be fr e e , a n d n o w he w a s . B u t a t e ig h t o ’c lo c k he c a m e in a n d s a t b y m e in s ile n c e . T h e n e x t m o r n in g , M rs G ro s e c a m e t o t e l l m e t h a t F lo r a w a s ill. ‘She h as a f e v e r , M iss. A n d a ll n i g h t she w a s c r y in g a n d w o r r y i n g
104
a b o u t y o u . She k e p t a s k in g 1 i f y o u w e r e c o m in g in. I’ m a f r a id she n e v e r w a n t s t o see y o u a g a in ! ’ ‘Y es. I se e .’ ‘A n d sh e t o l d m e t h a t th e r e r e a l ly was n o o n e , y e s t e r d a y , b y th e la k e .’ ‘Yes. A n d y o u b e lie v e h e r. N a t u r e m a d e t h e m c le v e r , a n d t h e i r d e m o n ic f r ie n d s h a v e m a d e t h e m c le v e r e r s till. So h a v e y o u c o m e t o a s k m e t o le a v e B ly? I h a v e a b e t t e r id e a . You s h o u ld g o a n d t a k e F lo r a w i t h y o u . T a k e h e r t o h e r u n c le . L e a v e m e h e re w i t h M ile s . I t h i n k he w a n t s t o s p e a k . P e rh a p s I c a n s t i l l h e lp h im . L a s t n ig h t he c a m e a n d s a t w i t h m e b y t h e f i r e . I t h o u g h t he w a n t e d t o s p e a k th e n . F lo r a c a n go t o t h e i r u n c le , b u t I d o n ’t w a n t t h e i r u n c le t o see M ile s y e t . M ile s n e e d s a l i t t l e m o r e t i m e . ’ M y f r i e n d s e e m e d d is t u r b e d b y t h is . ‘ M o r e t i m e ? ’ 'W e ll, a d a y o r t w o . T h e n p e r h a p s he w i l l s p e a k , a n d he w il l be o n m y s id e . Y o u see h o w i m p o r t a n t t h a t is, d o n ’t y o u ? ’ S till she s e e m e d d is t u r b e d a n d e m b a r r a s s e d . ‘ D o n ’t y o u w a n t t o le a v e ? ’ I a s k e d f i n a ll y . ‘ I ’ ll g o ,’ she s a id , a n d h e r e x p r e s s io n c h a n g e d . T h e a n x i e t y w a s g o n e , a n d she s h o o k m y h a n d , ‘ i ’ ll g o t h i s m o r n i n g . I c a n ’t s t a y . ’ ‘ D o y o u m e a n t h a t , s in c e y e s t e r d a y , y o u h ave s e e n —? ’ ‘ I ’v e h e a rd ! I ’v e h e a r d F lo r a s a y t h e m o s t h o r r i b le t h i n g s ! ’ M rs G ro s e s a t d o w n a n d b u r s t i n t o te a r s . ‘ O h, t h a n k G o d !’ I s a id . ‘W h a t do y o u m e a n , “ t h a n k G o d ” ? ’ ‘It ju s tifie s m e .’ ‘ i t c e r t a i n l y d oe s, M is s !’
1.
kep t ask in g : ask ed repeatedly.
Petri ix 'W h a t d id sh e s a y ? ’ ‘O h, th e m o s t s h o c k in g t h i n g s . ’ ‘A b o u t m e ? ’ ‘Y e s. I d o n ’t k n o w w h e r e she l e a r n t s u c h la n g u a g e .’ ‘ I d o ! ’ I s a id , la u g h in g . ‘Y o u ’ re r i g h t . I h a v e h e a r d t h a t k in d o f la n g u a g e b e fo r e ! I m u s t g o n o w . I m u s t g e t M is s F lo r a a w a y f r o m h e re ! F a r a w a y f r o m
them'.’ ‘T h e n y o u t h i n k , i f y o u t a k e h e r a w a y f r o m h e re , sh e ca n be d i f f e r e n t — she c a n be fr e e ? A n d y o u b e lie v e m e , e v e n t h o u g h y o u sa w n o th in g y e s te rd a y ? ’ ‘ I b e lie v e !’ she re p lie d . ‘O u r e m p lo y e r w il l h a v e r e c e iv e d m y l e t t e r b y n o w , ’ 1 sa id . ‘ I ’m a f r a id y o u r l e t t e r w a s n e v e r p o s te d , M is s ,’ s a id M r s G ro s e . ‘W h a t h a p p e n e d ? ’ ‘ I d o n ’t k n o w . P e rh a p s M a s t e r M ile s t o o k it. Y e s te r d a y , w h e n I c a m e b a c k w i t h M is s F lo r a I s a w t h a t t h e l e t t e r h a d g o n e . I t w a s n o t o n t h e t a b le w h e r e y o u p u t it . L a te r , I a s k e d L u k e i f he h a d p o s te d it. H e s a id he h a d n o t se e n i t . ’ ‘ I f M ile s t o o k it, he p r o b a b l y r e a d i t a n d d e s t r o y e d i t . ’ ‘T h a t m u s t be w h a t h a p p e n e d a t s c h o o l,’ she s a id . ‘ He m u s t h a v e s to le n th in g s . M a y b e he s to le l e t t e r s ! ’ ‘W e ll, in t h i s l e t t e r I o n ly a s k e d o u r e m p lo y e r t o c o m e h e re . P e rh a p s t h a t is w h y M ile s c a m e t o m y r o o m la s t n ig h t . H e w a n t e d t o c o n fe s s . Y o u m u s t g o n o w . L e a v e m e w i t h M ile s . H e ’ll c o n fe s s . I f he c o n fe s s e s , h e ’s s a v e d . A n d i f h e ’ s s a v e d — ’ ‘T h e n yo u a r e ? ’ T h e d e a r w o m a n k is s e d m e a n d s a id g o o d b y e . ‘ I ’ll s a ve y o u ! ’ sh e c r ie d as she w e n t . ‘ I ’ ll t e l l t h e m a s t e r t h a t y o u a re h o n e s t ! ’
107
V
Q
T
E
S
a. Put these events fro m P art IX in to th e ir correct order. a. □
b. □ c.
The governess fin d s th e b o a t h idden b e hin d long grass. The governess sees Miss Jessel.
□
The governess and Mrs Grose decide to lo o k f o r Flora by th e lake.
d. □
The g o v e rn e ss decides t h a t M rs Grose and F lo ra s ho u ld
e.
The governess is sure t h a t Flora has ta k e n th e boat.
leave Bly, leaving h e r alone w it h Miles. □
f.
The governess asks Flora w h e re Miss Jessel is. □
The governess suspects t h a t Miles has ta k e n th e le t te r she
g- □
has w r it t e n to his uncle. h. □ i. □
The governess and Mrs Grose fin d Flora.
j-
Mrs Grose te lls th e governess t h a t Flora has a fe ve r.
Flora te lls th e governess t h a t she doe sn ’t like her.
□
k. □
Mrs Grose te lls th e governess t h a t Flora has said ‘h o rrib le th in g s ’.
I.
H
M rs G rose te lls th e g o ve rn e s s t h a t she c a n n o t see Miss Jessel.
b. W o rk in g in a sm all group choose th e six even ts t h a t you th in k are th e m ost im po rtant; •
th e n three;
•
th e n one.
c. W h ic h e v e n t have o th e r groups in y o u r class chosen? Use this event as a basis fo r yo ur title fo r P art IX. 0
‘I t justifies m e .’ (said the governess) a.
W h a t does ‘i t ’ re fe r to? Choose th e correct answ er (1, 2 or 3)
1. EH EH 2. 3. EH
108
F lo ra’s sa ying h o rrib le th in gs. F lo ra ’s a b ility to im it a te a d u lt language. F lo ra ’s sayin g t h a t she n e ve r w a n ts to see th e governess again.
C
T
V
T
E
S
b. W h e re do th e governess and Mrs Grose th in k Flora ‘le a rn t such language’? c. W h y does the governess feel justified? d. Mrs Grose makes th e governess a promise: ‘I’ll save you!’ Look at th e fo llo w in g sentences. W ho is speaking? W h o is being spoken to? Reply m aking a prom ise (use will). 1.
‘I’ II be w o r rie d u n til I k n o w y o u ’ve a rriv e d s a fe ly .’
2. Q
‘G o in g o u t a g a in ? A r e n ’t y o u g o in g to h e lp m e t i d y th e lib ra ry ? ’
3. Q
‘M ary, yo u h a v e n ’t p olished th e s ilv e r y e t.’
4. Q
‘Yes, yo u can b o r r o w m y pen b u t I w a n t it b a ck.’
5.
Q
‘W e ’re v e ry h a p p y w it h o u r p re s e n t b u tch e r. W h y should w e change to y o u ? ’
rc j e O
Read Mrs Grose’s le tte r to her sister. For questions 1-15, th in k o f the w ord which best fits each space. Use only one w o rd in each space. There is an exam ple a t th e beginning (0).
M i/ dearest sister, I have im p o r t a n t
(1)............
(0) ..PjS.WS...
to tell ifou. Some weeks have passed
I last wrote to ijou. I am leaving B lij. You w ill remember in
mij last le tter I m en tion ed the arrival o f a new governess fo r M ile s a n d F lo ra a n d I t o ld ijou she was a plea sant
(2 )............. fro m
the previous
wom an.
S in ce th en , te rrib le th in g s have h a p p e n e d here. The la d ij is convinced she has (3) ..............ghosts. (4) is disturbing is th a t she has described a man a n d a woman. You remember Q u in t a n d M iss Jessel, who w orked here before ( 5 ) ................ deaths, d o n 't i/ou? The governess believes th a t the ghosts o f those tw o have a special e vil rela tio n sh ip ( 6 ) ............... the children. C e rta in lif Q u in t a n d M iss Jessel were b a d people b u t u n til a recent event / (7) ............... n o t fu lh / believe her.
109
A
C
T
'/
T
E
S
O ne d a ij we were ( 8 ) ................fo r F lora by the lake. I he governess saw n o t onhf the c h ild b ut s a id she saw the g h o s t o f M iss Jessel, ( 9 ) .................. / saw nothing. The governess dem anded F lora to te ll her th a t she also c o u ld see the g ho st. P o or F lo ra was te rrib ly shocke d a n d has s a id th a t she never ( 1 0 ) ............... to see the governess again. The same n ig h t / was alone w ith the c h ild in my room when / h ea rd her say the ( 11) .............. horrible things about the governess, things so evil fo r such an angel ( 12 ) ................Flora. Perhaps o u r governess (13) ............... rig h t a n d the e vil influence o f Q u in t a n d Jessel is real. / am (14) .............. Flora to her uncle in London. H e r brother M ile s w ill ( 1 5 ) ..............a t B ly fo r a couple o f days w ith the governess. She believes he w ill confess w h a t he knows. G o d p ro te c t us! Pray fo r me my dearest sister. / w ill w rite from London. Your ever loving sister
Q
Im agine someone who knows nothing about events a t Bly reads Mrs Grose’s lette r. A nsw er h is /h e r questions. An exam ple (0) has been done fo r you. (0) W h a t is Bly? J.t.j.s th e house.w here.M rs,G rose..lives,.w ith.F Jora.gnd.M jJes..^, a.
W h o are Flora and Miles?
b.
W h o w as ‘th e pre vio u s w o m a n ’? W h o w as Q uint?
c.
W h y did th e governess d e m a n d Flora te ll h e r t h a t she had also seen th e ghost?
d.
W h y is M rs Grose ta k in g Flora to h e r uncle and n o t h e r paren ts?
e.
W h a t w ill Miles ‘c o n fe ss’?
110
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C
T
V
T
E
S
L o o k in g a h e a d a.
The governess and Miles are the sole characters o f th e closing p a rt to th e story. W h a t do you th in k could happen? W hich o f the follow ing events do you th in k is possible or im probable? Decide w ith your p a rtn e r. Check yo ur ideas a fte r you have read P art X. ] M iles’ uncle comes to Bly. Miles o rd e rs th e governess to leave Bly. | Miles dies.
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