Study Guide to The Turn of the Screw and Daisy Miller by Henry James

Intelligent Education

• Publisher: Influence Publishers
• Year: 2020
• eBook ISBN: 9781645421993
• Edition: 1
• Topic: Study Aids
• Subtopic: Study Guides

A comprehensive study guide offering in-depth explanation, essay, and test prep for selected works by Henry James, a renowned American-British author. Titles in this study guide include The Turn of the Screw and Daisy Miller.As an author of the nineteenth-century, James's writing bridged the gap between literary realism and literary modernism. Moreover, James is considered a master of ghost stories, and the Turn of the Screw remains one of the most popular of the genre. This Bright Notes Study Guide explores the context and history of Henry James's classic work, helping students to thoroughly explore the reasons they have stood the literary test of time. Each Bright Notes Study Guide contains: - Introductions to the Author and the Work
- Character Summaries
- Plot Guides
- Section and Chapter Overviews
- Test Essay and Study Q&AsThe Bright Notes Study Guide series offers an in-depth tour of more than 275 classic works of literature, exploring characters, critical commentary, historical background, plots, and themes. This set of study guides encourages readers to dig deeper in their understanding by including essay questions and answers as well as topics for further research.

INTRODUCTION TO HENRY JAMES

LIFE (1843 - 1916)

Henry James is probably the outstanding American novelist and stylist. If he is not alone in that rank, he is accompanied by only three or four others, such as Hawthorne, Melville, Twain, and perhaps Faulkner. Even among those, who represent the best in American literature so far as novelists are concerned, James does seem to stand out if only on the basis of his prodigious lifetime of writing. James’s writing career extended from the late 1860s to the first two decades of the present century, and he was without question the first American novelist to truly bring his work into the mainstream of world literature. This is not to say that there were not great works in American literature before James’s major novels, but it is to say that James made the American novel something more than the product of an American. He made it an art form, a work as sophisticated as the well-written poem, and his works rank with the outstanding writers not only of America, but also of Europe.

The facts of James’s life are best seen in relation to his work, for James lived a quiet life and devoted himself to literature as a profession and as a way of life. The following is a brief summary of some of the important dates, but the next section (“Periods in James’s fiction”) views James’s works as the primary material for understanding him. The student should know at least the following: Henry James was born on April 15, 1843, in a house on Washington Square in New York City. James in his autobiography later told of the impressions he had of life because of the humanity he would observe in that respectable section of the great city. Henry’s father, Henry James, Senior, was a well-known figure in intellectual circles. He had inherited his wealth and spent much of his time in cultured activity. The novelist’s older brother, William, became famous as a philosopher, psychologist, and professor at Harvard University, and the brothers remained close, as their correspondence shows, throughout their lifetimes. Henry James, Senior, believed that his children should be exposed to the culture and life of Europe as a basic part of their life, so he took his sons there when Henry was still an infant. On their return from their first trip, they lived in New York again, but also stayed in Albany. In 1855 they returned to Europe again for three more years of education, some in school, some at the direction of tutors, and some led by the father, in Geneva, London, and Paris. During 1858-1859 the family stayed in Newport, Rhode Island, a very fashionable resort at that time, where Henry and William studied painting with John LaFarge, a well-known artist. In 1859-1860, however, they were in Europe again, this time in Geneva and also Bonn, Germany. In 1862, James entered the Law School at Harvard, while William entered the scientific school at the same university. In that same year, Henry sustained some mysterious injury to his back that kept him out of the Civil War. Around 1865 James began publishing his sketches, critical reviews, and stories, in such magazines as the famous Atlantic Monthly and the North American Review. It was just a year before this time that the young Henry James had decided on writing as his profession. The student should understand that James’s decision was not an idealistic, romantic outburst, but a reasoned and mature commitment to writing as a career. In 1869 James went to Europe, and although he returned to America on several occasions, one can say that from that year on James was a resident of the European continent. Most students of American literature see James’s expatriation as a pilgrimage in reverse of the normal pattern; it was a move, one must understand, made by an artist in order to give himself the proper perspective from which he could continue with his craft. James lived for the most part in London, but he spent some time in Paris, Rome, and other European cities. In 1915, although he was unmistakably an American in thought and art, James became a British subject in protest of American neutrality during that time of the First World War. James died in February, 1916.

PERIODS IN JAMES’S FICTION

Much more complete a view of James as a writer comes from looking at the stages in his long and fruitful writing career. F. W. Dupee in Henry James breaks that career into the following periods:

1. 1870s: This is James’s idealistic phase. He is learning his craft and developing his themes. The works are really not complicated and characters are clearly drawn without too much ambiguity or complexity. Still James achieved in this early period some of his most memorable characters, such as Christopher Newman in The American (1877) and Isabel Archer in The Portrait of a Lady (1881). Other important early works are Daisy Miller, 1879; The Europeans, 1878; and Washington Square, 1881.
2. 1880s: James in this period became more realistic. He began to deal with more complicated matters such as social institutions and political issues. Some important works are The Princess Casamassima, 1885; The Bostonians, 1886; and The Tragic Muse, 1887.
3. Late 1880s and Early 1890s: At this point, James turned to writing for the theatre with noticeably bad luck. He was humiliated on the night of the opening of his play Gum Domville, when the audience was vile to him. An interesting note is that a young critic, George Bernard Shaw, was at that performance.
4. 1890s: During this time James started tackling the problem of evil-evil in the sense of strong characters and their relationship to innocent victims. It was during this period, because James was constantly experimenting in the desire to develop his technique, that the reputation of James as a difficult writer arose. His longer, more complicated sentences became his standard type of writing in this period. The important works are “The Pupil,” 1891; What Maisie Knew, 1897; and The Turn of the Screw, 1898.
5. 1900s: F. O. Matthiessen, a critic, gave this first decade of the twentieth century the name “The Major Phase,” and the title is apt. James in this period, with an enormous burst of energy, wrote three major novels: The Ambassadors, 1903, but completed in 1901; The Wings of the Dove, 1902; and The Golden Bowl, 1904. These are James’s maturest efforts; they are complex, massive, and difficult novels, but they are among the best in our language. It was during this period that James began editing his own novels and writing his “Prefaces,” which are essays on the problems in writing his works and studies of the novel as art, for the New York Edition of his works.
6. Final Phase: James left two unfinished works at his death: The Sense of the Past, 1917; The Ivory Tower, 1917.

MAJOR THEMES IN JAMES’S FICTION

Like all writers, James is concerned with the human situation, he is interpreting characters and life. When one refers to the major themes of a particular writer, he is thinking of those subjects and preoccupations that persist in a writer, that appear in many, if not most, of his works. The critic R. P. Blackmur, in The Literary History of the United States, distinguishes three themes in James’s fiction: “international theme,” the theme of the artist in conflict with society, and “the theme of the pilgrim in search of society.” One can see that society is basic to James’s works; he is constantly evaluating what one society maintains as its values and how these values affect groups and individuals. Many times he contrasts that particular society with the activities and mores of another society. Basically, the two societies that persist in his works are those of America and Europe.

Two dominant images emerge, therefore, in the fiction:

THE INNOCENT

James usually poses an innocent figure. The person is not stupid, not unintelligent. What James means in an innocent person is one who has not been touched by deep experience in worldly matters. These innocents are eager for life and they usually see life in others as an object for their own desires. Usually, in a James novel, these intelligent and eager creatures are corrupted and spoiled by the sophisticated ones in whom the innocents think that the virtues they would like reside. The innocents are candid, and human. They have strength and respond with deep conviction when they see their ideals corrupted. They are almost always intelligent, and they naturally, without affectation, understand good and evil, right and wrong. The sophisticated ones prey on these innocents, because they substitute experience in the world for natural decency. However, the successes of the experienced are hollow. The strong figures in James are the natural good ones.

THE INTERNATIONAL THEME

Most of the things said about the heroes and heroines of a Jamesian work apply to this basic theme that James mastered and matured. The international subject is the study of the American abroad. These Americans are unaware of the conventions and formalities of Europe; they make mistakes, they have deficiencies intact and polish, but they have freedom, innocence, and grace, and these more than make up for their lack of experience. James contrasts the two societies very carefully: the American is not yet matured and he is awkward because he does not know how the society he is in expresses itself. He knows that there are deeper and lasting values in the society of Europe, but his natural way is usually in conflict with these values. Europe, on the other hand, does not have the vitality and youthfulness of the American world. Europe is a matter of convention, that is, formal responses in social situations. Every move, every act, is deliberate and committed in an established way. In James’s last works, Europe does seem to represent an ideal, but the innocent, vital American remains a serious threat to the established order.

If one will examine in the following pages Henry James’s Daisy Miller, he will see one of James’s earliest examinations of the international theme. It is surprisingly a very full look at the whole subject in its basic forms. Daisy Miller looks forward to The Portrait of a Lady and the great accomplishment in the character of Isabel Archer and also to The Wings of the Dove and the more complete and subtle characterization of Milly Theale. These later works are more complicated, more difficult in style, but Daisy Miller presents the essential ideas inherent in the international theme.

Daisy, as a character, is an innocent, but the whole problem of innocence, especially in contrast to the influence of evil, comes out most vividly in The Turn of the Screw. There the entire story examines the potential meanings, the ironies and ambiguities, of this basic theme. Together The Turn of the Screw and Daisy Miller are two of Henry James’s most popular stories. They contain his essential themes and his essential style. They are a good place for all students of James to begin.

THE JAMESIAN NOVEL

Henry James looked upon the novel as a work of art. In the truest sense of the word art, one can say James was one of the first writers to think of the novel in this way. James did not use the novel as a social document or as a forum for his philosophy. To James, the novel is a form complete in itself. Admittedly, he is difficult to read. The following is a synopsis of what one can expect to find in his works: First, a Jamesian novel is not a vehicle for something else. The story, plot, dialogue are complete within the work itself. Second, in a James novel, there is always what James referred to as the “central consciousness,” that is, a mind and person through whom the story is being presented to the reader. James is always conscious of how the reader is hearing and seeing his story. Basically, he stays away from the omniscient narrator except for occasional comments. The omniscient narrator means that the story is told from the point of view of the author. He knows all the characters and what they are thinking and doing. James usually attempts to tell the story from the point of view of a character in the work. In The Turn of the Screw, James tells the story from the point of view of the first person narrator. In Daisy Miller, the story is seen through the mind of Winterbourne. The reader can note there that the story is never seen from Daisy’s point of view. The story is about how Daisy is seen by others, especially Winterbourne. The reader should understand that James’s dominating technical device is point of view, the decision that the author had made on from whose eyes, ears, and mind he is going to tell the story to the reader. Third, the reader soon realizes that in James’s novels there are rarely, if ever, plain ornaments. Dialogue is never just plain talk; it is always moving the plot forward. Description always establishes a scene so that one can understand the direction of the work. Scenes are always full of meaning in relation to other things in the novel. Fourth, one can summarize all the above by saying that a Jamesian novel is always organic, all things are in relation to the whole. Nothing, not character, plot, story, scene, dialogue, description-nothing is isolated. All parts are related.

JAMES’S CRITICISM ON THE NOVEL

During his writing career James wrote many reviews, essays, and articles on writers and their works, but he made an outstanding contribution to the study of the novel in two separate parts of critical writings. First, from 1907 to 1917 there was issued a collected edition of Henry James’s works. Usually this edition is referred to as “The New York Edition” by James scholars. For this collection, James selected the works, chose to leave some of his less successful works out (although some of these, such as The Bostonians, are considered highly now), revised passages in the works, and for each volume wrote a critical preface. These prefaces contain some of the most sophisticated discussions of the art of the novel in all literature. Usually, in each preface James tried to explain how he came upon the story, what he referred to as the “germ.” Then James explained what possibilities he saw in the germ and the problems he was confronted with in developing the novel. In many cases James pointed to outstanding devices, techniques, and in many other cases James pointed out some of the mistakes he felt he had made. There are further discussions of the prefaces to The Turn of the Screw and Daisy Miller. These essays are surely among the most important documents on prose fiction, for they give an insight not only into the mind of a great writer, they also reveal the art of the novel.

Second, in September, 1884, James published in Longman’s, a magazine, an essay known as “The Art of Fiction.” It was written in reply to a lecture given by a Walter Besant, a Victorian novelist and historian. Besant’s lecture, “Fiction as a Fine Art,” has been forgotten except by literary scholars, but James’s essay has remained one of the most important studies on the art of fiction. One must realize that James was a forerunner of the present thought that the novel can be looked upon as a serious work of art. Some of the more important aspects of the essay are as follows: 1. “The only reason for the existence of a novel is that it does attempt to represent life.” He goes on to say that the “novel is history.” 2. “The only obligation to which in advance we may hold a novel . . . is that it be interesting.” James then adds that the ways to make a novel interesting are innumerable. 3. “A novel is in its broadest definition a personal, a direct impression of life: that, to begin with, constitutes its value, which is greater or less according to the intensity of the impression.” 4. James agrees that a novel cannot be written without a deep sense of reality, but the reality must come from an awareness of the extent of experience. In a famous metaphor James explains experience: “Experience is never limited . . . ; it is an immense sensibility, a kind of huge...

Table of contents

• Front Cover
• Title Page
• Copyright Page
• Contents
• 1) Introduction to Henry James
• 2) Introduction to The Turn of the Screw
• 3) Textual Analysis
• 4) Character Analyses
• 5) Critical Commentary
• 6) Essay Questions and Answers
• 7) Introduction to Daisy Miller
• 8) Textual Analysis
• 9) Character Analyses
• 10) Critical Commentary
• 11) Essay Questions and Answers
• 12) Selected Bibliography and Guide to Research