The Turn of the Screw
By Henry James
3.5/5
()
About this ebook
A young governess turns up at a country estate in Essex to care for Miles and Flora, two young orphans left in care of their absentee uncle. Soon after her tenure begins, the governess begins to see strangers walking the grounds, and interacting with the siblings in odd and disturbing ways. The governess begins to feel they are not wholly human—but rather are ghosts haunting Miles and Flora, and their influence upon the children has tragic consequences.
First published in 1898, Henry James’s sinister story of the psychological and physical effects of the malevolent figures has been adapted for film countless times, most notably as the basis for The Innocents (1961). It also served as inspiration for Alejandro Amenábar’s spectacularly eerie 2001 film The Others, starring Nicole Kidman, Christopher Eccelston, and Fionnula Flanagan.HarperPerennialClassics brings great works of literature to life in digital format, upholding the highest standards in ebook production and celebrating reading in all its forms. Look for more titles in the HarperPerennial Classics collection to build your digital library.
Henry James
Henry James (1843-1916) was an American author and master of literary realism. He split his time between America and Europe, eventually settling in England. Consequently, his novels are known for their interactions between American and European characters. He was one first American novelists to explore first-person consciousness and perception.
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Reviews for The Turn of the Screw
93 ratings102 reviews
- Rating: 3 out of 5 stars3/5At Bly, a country estate in 19th century England, a young woman is hired as a governess for two young children who have been recently orphaned after the death of their parents. The home belongs to the children’s uncle who, although their legal guardian, wants nothing to do with them. At first, all is seemingly well, as the governess is thoroughly charmed with the beauty, intelligence, and disposition of her charges. Soon enough, though, things take a serious turn for the worse when she begins to see the ghosts of two former employees of the estate who seem to have malicious intentions toward the children. But are these apparitions real and, if so, why is the governess the only one who can see them? Alternatively, is she slowly descending into madness, or afflicted by some other malady? What are the secrets that the children seem to be protecting? How does the uncle’s apparent indifference factor into the situation? What explains the ultimate fates that the children and the governess experience?Those are all excellent questions. Of course, one of the things that has kept The Turn of the Screw relevant fiction for more than a century is that Henry James never really answers any of them. Instead, he offers a psychologically complex gothic horror story that allows readers to decide—or at least try to—for themselves what actually happens. Certainly, the author’s innovations in this tale were hugely influential on many subsequent artists; over the years, the novella has inspired works in literature, film, theater, and even opera. What the book is not, unfortunately, is a particularly interesting or compelling narrative in the modern context. James wrote with a bloated, overly wordy style that severely minimized the impact of the suspense in the tale. Although described by some critics as “chillingly evil” and “sinister,” I found the story to fall well short of those marks, with the horrific elements often buried in long passages of verbose inner monologue from a very unreliable narrator. So, while I am glad to have read the book for its historical importance, it was not one that I especially enjoyed.
- Rating: 5 out of 5 stars5/5Chilling! That ending is utterly chilling!
- Rating: 4 out of 5 stars4/5Another genre classic that I hadn't read for a long time-and this time with good reason. James' way with a convoluted sentence often makes me want to scream, and having to backtrack to work out his intended focus does not make for a smooth flow in reading experience.
That said, there is a definite power in this tale, and it builds nicely in dread and atmosphere to a chilling conclusion. It is definitely a classic of the genre, but the movie THE INNOCENTS showed how it could have been done in a more straightforward, yet still distinctly superior, fashion, and Peter Straub's retelling in GHOST STORY is also a superior version.
Could easily have been a 5 star tale, and saying that, I've nudged it up from 3 to 4 this time around. It could be a long, long time before I want to read it again though. - Rating: 2 out of 5 stars2/5A ghost story with a horrific overtone.Victorian obscurity in expression, so not to say anything that could be objectionable. Took me a while to figure out what was worrying the governess.220
- Rating: 2 out of 5 stars2/5I have no freaking idea what I just read. It ended--if you can even call that an ending, which is up for debate--and I went back and re-read the last six chapters. It didn't really help.W.T.F????2 stars for a strong start and a cool story idea...he lost me after that.
- Rating: 2 out of 5 stars2/5Nogal moeilijk verhaal over verschijningen; de lezer wordt op het verkeerde been gezet. Thema's: onschuld kinderen, overbescherming door volwassenen.
- Rating: 3 out of 5 stars3/5This was my first Henry James story and I really enjoyed it. It was a short novel that can be characterized as a classic psychological thriller or ghost story from the 19th century. The story itself was not particularly scary, but I really enjoyed James' writing style and how he got inside the head of the main character as she starts to lose it later in the story. I will certainly read more of Henry James.
- Rating: 3 out of 5 stars3/5The Turn of the Screw by Henry James is billed as a psychological thriller. It is the story of an unnamed governess who agrees to care for two children at their uncle's estate, Bly. Her story is told through her journal entries. Her charges are "darlings" until one day while walking she meets menacing apparitions. I wanted to love this book as I do the classics. However, the writing was convoluted and this reader was very much distanced from the characters and felt like a passive bystander. It's saving grace was that is was only 131 pages. 2 1/2 stars
- Rating: 3 out of 5 stars3/5Not much to say about this one. It had great potential to be a really creepy Halloween tale, but just fell flat for me.
The writing was very good and typical of the writing in the late 1800s. - Rating: 2 out of 5 stars2/5A tale of a ghost in Victorian England.
- Rating: 4 out of 5 stars4/5Tangled Victorian prose spoils this otherwise good ghost story. The scene where the governess meets the spectre of Peter Quint on the stairs is genuinely scary. I don't think I would read this one again just for enjoyment, so I'm going to register & release it on BookCrossing.
- Rating: 4 out of 5 stars4/5An incredible blend of Gothic and Realism, "Turn of the Screw" sends the reader into a tailspin, questioning what is real and what is moral.
- Rating: 2 out of 5 stars2/5I had a college professor who issued a threat to our class via an anecdote about a prof from his own undergrad days. If a paper ran past the prescribed length, his professor would put a red line through anything remaining and write "ends abruptly" in the margin. I can only assume that's what happened to Henry James when he wrote this novel. I was listening to this on audiobook, and, even though the lady with the British accent said the recording had concluded, I just sat there thinking that there had to be a hidden track or something and if I sat in silence long enough, it would reveal itself.I've not looked in a while, but I'm pretty sure it says on my English degree that I'm supposed to give at least four stars to everything British, and especially everything written in the 19th century, so it's possible that rating this book poorly will result in my being stripped of my bachelor's degree. Meh. I wasn't using it much anyway except for a little blogging, a few book reviews, and some obscure references with which I pepper conversations to discourage others from engaging me in small talk.But really, what the heck did I just read? I get that the narrator is unreliable, I get why the references to (sexual?) misconduct are mostly communicated through significant facial expressions, and I get that I'm probably supposed to be confused. Sometimes these things make me enjoy a book and sometimes they don't. My experience with The Turn of the Screw is closer to the latter.Now, one thing I like is how the narrator always wants to face things directly in a household of people who are tiptoeing around issues and an employer who expressly directs her not to talk to him about anything. It demonstrates how crazy-making it is to want to have straightforward answers when everyone around you is either silent or speaks obliquely. It's difficult to know where one stands when the best one can hope for in the way of explanation is an arched eyebrow or perhaps, if one is lucky, a wink-wink, nudge-nudge. Would it kill them to just come out with it? (spoiler alert...(view spoiler))
- Rating: 2 out of 5 stars2/5I just didn't get it? It didn't get me? It literally did not pull me into the story or hold my true interest. Perhaps a second reading/listening in the future.
- Rating: 2 out of 5 stars2/5Intense? No. Boring.
- Rating: 3 out of 5 stars3/5Written in 1898 and republished numerous times Turn of the Screw has also been adapted for the stage, television and the big screen. Someone told me it was even mentioned in an episode of "Lost" (I wouldn't know). James's technique is to tell the story within a frame - one story within another. We are first introduced to a man at a Christmas party telling a tale of a governess. From there we are in the story, told from the point of view of the governess. She has been hired to look after two small children after their parents are killed and they are sent to live on an uncle's estate. Soon after the governess's arrival she starts to notice strange occurances, shadowy figures stalking the grounds. She learns they are former lovers and hired hands, back to supposedly recreate their relationship through the children.While James uses words like "hideous", "sinister", "detestable", and "dangerous", there is great debate as to exactly what he is describing as so terrible. He refers to evil again and again, but his ghosts are not the usual spectors. They only hint at danger rather than taking action and "attacking". The other great debate is whether the governess is insane (or goes insane while at Bly). Because no one else really backs up her ghost sightings you have to wonder.
- Rating: 2 out of 5 stars2/5Nogal moeilijk verhaal over verschijningen; de lezer wordt op het verkeerde been gezet. Thema's: onschuld kinderen, overbescherming door volwassenen.
- Rating: 4 out of 5 stars4/5Like most novels with ambiguous endings, this one has had me thinking over the past few days. It's a haunted house story, in the sense that the narrative follows a young governess as she moves into a country estate to be faced with the pair of ghosts that haunt the two children in her care, but it's by no means the typical "chills & thrills"-type horror novel. There's little scary about these supernatural beings but the fact that they seem bent on corrupting the children in some way, continuing the negative influence they'd had while alive. An influence towards what, one wonders, as there are implications but it's never made explicit. In fact, the majority of the novel is concerned with this sense of taboo - wrongs so unspeakable but titillating the characters can only speak around them in innuendo, trying to force each other into revelation first. I'd definitely recommend giving this a read, but expect (and embrace!) the loose ends.
- Rating: 4 out of 5 stars4/5Any writer can make a cemetery or haunted house scary, but a good writer can make terrifying the absolutely ordinary. Henry James does this in Turn of the Screw, which is a ghost story about a governess who finds herself stuck with loving but haunted charges.This mini-novel is densely written, so if you're fresh off Stephen King and want blood, gore, and one-liners, you're not going to find it here. Turn of the Screw is an old-fashioned gothic story, full of expensive manors and apparitions in the study. But if you can get through the dense language, you'll find a terrific atmosphere. At first everything will seem normal, but a sense of unease will creep up on you. You'll realize that there's something not quite right with the children or the governess. You'll feel the macabre before you can even put a name to it, and you'll start to question what is real and what is psychological. This is horror the way it used to be, and the way it should be again.
- Rating: 3 out of 5 stars3/5The Turn of the Screw by Henry James is billed as a psychological thriller. It is the story of an unnamed governess who agrees to care for two children at their uncle's estate, Bly. Her story is told through her journal entries. Her charges are "darlings" until one day while walking she meets menacing apparitions. I wanted to love this book as I do the classics. However, the writing was convoluted and this reader was very much distanced from the characters and felt like a passive bystander. It's saving grace was that is was only 131 pages. 2 1/2 stars
- Rating: 3 out of 5 stars3/5Disappointed after hearing all the praise of this novella, possibly was more shocking in its day and I’ve now become jaded by ghost stories. Lots of gothic atmosphere, tension and uncertainty. While the language wasn’t all that difficult, the style and manner of writing made it a bit difficult to get through. Long sentences with many clauses served to confuse me and lose the gist at times. Not really an enjoyable read so it felt longer and I was glad when it ended. Can’t recommend, but glad I filled in the gap of my reading of classic literature.
- Rating: 4 out of 5 stars4/5Narrated by Emma Thompson, I enjoyed re-reading this classic, gothic novella for the third time.
I know many readers are not impressed by this book, but I enjoyed it, (again). I know it's rather verbose, especially considering the length of the book, but I found more than a few of the sentences to be outright chilling.
I've always loved psychological horror and ambiguous stories, so this one hits most of the marks for me. My original rating of the book, at 4 stars, stands. - Rating: 3 out of 5 stars3/5I had never gotten around to reading this classic ghost story and it seemed appropriate for the pre-Halloween season. I am sure it was shocking in its time, but compared to Stephen King or Dean Koontz it's pretty tame.
- Rating: 4 out of 5 stars4/5I honestly don't remember much about this now? It was neither as impressive nor as unimpressive as I have heard. Fairly atmospheric, decent ambiguous ending. I'm glad I read it, if only because now I will get it when other books or movies are referencing it.
- Rating: 3 out of 5 stars3/5I've never read Henry James, but I love ghost stories, and this is one of the classic ghost stories. I loved the ambiguity-- but the dense language lost me from time to time. You can certainly see its influence on modern horror literature, film and pop culture.
- Rating: 3 out of 5 stars3/5Well, this was a strange little book and not at all what I expected from Henry James. I think I need someone to explain it to me. This is what I understood:a young governess is hired by a London gentleman to go to his country house and teach his young niece and nephew; the nephew was away at boarding school but has been sent home in disgrace and is not welcome back; the governess sees a strange man peering into a window but when she goes outside to find him he has disappeared; later she sees him on an upper story of the house; while out with the little girl the governess also sees a strange woman standing across the lake from them; these two ghosts seem to have some hold over the two children; the housekeeper identifies the two phantoms as a man who was the owner's valet and the previous governess who had a sexual relationship.Strange little book although I must say Carole Boyd did a great job of narrating it.
- Rating: 3 out of 5 stars3/5A second chance at Henry James. This one was still pretty wordy, but it pulled you along. Are there really ghosts? Do the others see them or know? Are they evil spirits? What is it they want?
There is a tension that runs through the whole book that ebbs and flows. There is also the thought that maybe some one is mad.
Definitely a good ghost story. - Rating: 4 out of 5 stars4/5Like most novels with ambiguous endings, this one has had me thinking over the past few days. It's a haunted house story, in the sense that the narrative follows a young governess as she moves into a country estate to be faced with the pair of ghosts that haunt the two children in her care, but it's by no means the typical "chills & thrills"-type horror novel. There's little scary about these supernatural beings but the fact that they seem bent on corrupting the children in some way, continuing the negative influence they'd had while alive. An influence towards what, one wonders, as there are implications but it's never made explicit. In fact, the majority of the novel is concerned with this sense of taboo - wrongs so unspeakable but titillating the characters can only speak around them in innuendo, trying to force each other into revelation first. I'd definitely recommend giving this a read, but expect (and embrace!) the loose ends.
- Rating: 4 out of 5 stars4/5Read with Shutter Island.
- Rating: 4 out of 5 stars4/5Any writer can make a cemetery or haunted house scary, but a good writer can make terrifying the absolutely ordinary. Henry James does this in Turn of the Screw, which is a ghost story about a governess who finds herself stuck with loving but haunted charges.This mini-novel is densely written, so if you're fresh off Stephen King and want blood, gore, and one-liners, you're not going to find it here. Turn of the Screw is an old-fashioned gothic story, full of expensive manors and apparitions in the study. But if you can get through the dense language, you'll find a terrific atmosphere. At first everything will seem normal, but a sense of unease will creep up on you. You'll realize that there's something not quite right with the children or the governess. You'll feel the macabre before you can even put a name to it, and you'll start to question what is real and what is psychological. This is horror the way it used to be, and the way it should be again.
Book preview
The Turn of the Screw - Henry James
THE TURN OF THE SCREW
Henry James
HarperPerennialClassicsLogo.jpgCONTENTS
The Turn of the Screw
Chapter I
Chapter II
Chapter III
Chapter IV
Chapter V
Chapter VI
Chapter VII
Chapter VIII
Chapter IX
Chapter X
Chapter XI
Chapter XII
Chapter XIII
Chapter XIV
Chapter XV
Chapter XVI
Chapter XVII
Chapter XVIII
Chapter XIX
Chapter XX
Chapter XXI
Chapter XXII
Chapter XXIII
Chapter XXIV
About the Author
About the Series
Copyright
About the Publisher
The Turn of the Screw
The story had held us, round the fire, sufficiently breathless, but except the obvious remark that it was gruesome, as, on Christmas Eve in an old house, a strange tale should essentially be, I remember no comment uttered till somebody happened to say that it was the only case he had met in which such a visitation had fallen on a child. The case, I may mention, was that of an apparition in just such an old house as had gathered us for the occasion—an appearance, of a dreadful kind, to a little boy sleeping in the room with his mother and waking her up in the terror of it; waking her not to dissipate his dread and soothe him to sleep again, but to encounter also, herself, before she had succeeded in doing so, the same sight that had shaken him. It was this observation that drew from Douglas—not immediately, but later in the evening—a reply that had the interesting consequence to which I call attention. Someone else told a story not particularly effective, which I saw he was not following. This I took for a sign that he had himself something to produce and that we should only have to wait. We waited in fact till two nights later; but that same evening, before we scattered, he brought out what was in his mind.
"I quite agree—in regard to Griffin’s ghost, or whatever it was—that its appearing first to the little boy, at so tender an age, adds a particular touch. But it’s not the first occurrence of its charming kind that I know to have involved a child. If the child gives the effect another turn of the screw, what do you say to two children—?"
We say, of course,
somebody exclaimed, that they give two turns! Also that we want to hear about them.
I can see Douglas there before the fire, to which he had got up to present his back, looking down at his interlocutor with his hands in his pockets. Nobody but me, till now, has ever heard. It’s quite too horrible.
This, naturally, was declared by several voices to give the thing the utmost price, and our friend, with quiet art, prepared his triumph by turning his eyes over the rest of us and going on: It’s beyond everything. Nothing at all that I know touches it.
For sheer terror?
I remember asking.
He seemed to say it was not so simple as that; to be really at a loss how to qualify it. He passed his hand over his eyes, made a little wincing grimace. For dreadful—dreadfulness!
Oh, how delicious!
cried one of the women.
He took no notice of her; he looked at me, but as if, instead of me, he saw what he spoke of. For general uncanny ugliness and horror and pain.
Well then,
I said, just sit right down and begin.
He turned round to the fire, gave a kick to a log, watched it an instant. Then as he faced us again: I can’t begin. I shall have to send to town.
There was a unanimous groan at this, and much reproach; after which, in his preoccupied way, he explained. The story’s written. It’s in a locked drawer—it has not been out for years. I could write to my man and enclose the key; he could send down the packet as he finds it.
It was to me in particular that he appeared to propound this—appeared almost to appeal for aid not to hesitate. He had broken a thickness of ice, the formation of many a winter; had had his reasons for a long silence. The others resented postponement, but it was just his scruples that charmed me. I adjured him to write by the first post and to agree with us for an early hearing; then I asked him if the experience in question had been his own. To this his answer was prompt. Oh, thank God, no!
And is the record yours? You took the thing down?
"Nothing but the impression. I took that here—he tapped his heart.
I’ve never lost it."
Then your manuscript—?
Is in old, faded ink, and in the most beautiful hand.
He hung fire again. A woman’s. She has been dead these twenty years. She sent me the pages in question before she died.
They were all listening now, and of course there was somebody to be arch, or at any rate to draw the inference. But if he put the inference by without a smile it was also without irritation. She was a most charming person, but she was ten years older than I. She was my sister’s governess,
he quietly said. She was the most agreeable woman I’ve ever known in her position; she would have been worthy of any whatever. It was long ago, and this episode was long before. I was at Trinity, and I found her at home on my coming down the second summer. I was much there that year—it was a beautiful one; and we had, in her off-hours, some strolls and talks in the garden—talks in which she struck me as awfully clever and nice. Oh yes; don’t grin: I liked her extremely and am glad to this day to think she liked me, too. If she hadn’t she wouldn’t have told me. She had never told anyone. It wasn’t simply that she said so, but that I knew she hadn’t. I was sure; I could see. You’ll easily judge why when you hear.
Because the thing had been such a scare?
He continued to fix me. You’ll easily judge,
he repeated: "you will."
I fixed him, too. I see. She was in love.
He laughed for the first time. "You are acute. Yes, she was in love. That is, she had been. That came out—she couldn’t tell her story without its coming out. I saw it, and she saw I saw it; but neither of us spoke of it. I remember the time and the place—the corner of the lawn, the shade of the great beeches and the long, hot summer afternoon. It wasn’t a scene for a shudder; but oh—!" He quitted the fire and dropped back into his chair.
You’ll receive the packet Thursday morning?
I inquired.
Probably not till the second post.
Well then; after dinner—
You’ll all meet me here?
He looked us round again. Isn’t anybody going?
It was almost the tone of hope.
Everybody will stay!
"I will—and
I will! cried the ladies whose departure had been fixed. Mrs. Griffin, however, expressed the need for a little more light.
Who was it she was in love with?"
The story will tell,
I took upon myself to reply.
Oh, I can’t wait for the story!
"The story won’t tell, said Douglas;
not in any literal, vulgar way."
More’s the pity, then. That’s the only way I ever understand.
"Won’t you tell, Douglas?" somebody else inquired.
He sprang to his feet again. Yes—tomorrow. Now I must go to bed. Goodnight.
And quickly catching up a candlestick, he left us slightly bewildered. From our end of the great brown hall we heard his step on the stair; whereupon Mrs. Griffin spoke. "Well, if I don’t know who she was in love with, I know who he was."
She was ten years older,
said her husband.
"Raison de plus—at that age! But it’s rather nice, his long reticence."
Forty years!
Griffin put in.
With this outbreak at last.
The outbreak,
I returned, will make a tremendous occasion of Thursday night;
and everyone so agreed with me that, in the light of it, we lost all attention for everything else. The last story, however incomplete and like the mere opening of a serial, had been told; we handshook and candlestuck,
as somebody said, and went to bed.
I knew the next day that a letter containing the key had, by the first post, gone off to his London apartments; but in spite of—or perhaps just on account of—the eventual diffusion of this knowledge we quite let him alone till after dinner, till such an hour of the evening, in fact, as might best accord with the kind of emotion on which our hopes were fixed. Then he became as communicative as we could desire and indeed gave us his best reason for being so. We had it from him again before the fire in the hall, as we had had our mild wonders of the previous night. It appeared that the narrative he had promised to read us really required for a proper intelligence a few words of prologue. Let me say here distinctly, to have done with it, that this narrative, from an exact transcript of my own made much later, is what I shall presently give. Poor Douglas, before his death—when it was in sight—committed to me the manuscript that reached him on the third of these days and that, on the same spot, with immense effect, he began to read to our hushed little circle on the night of the fourth. The departing ladies who had said they would stay didn’t, of course, thank heaven, stay: they departed, in consequence of arrangements made, in a rage of curiosity, as they professed, produced by the touches with which he had already worked us up. But that only made his little final auditory more compact and select, kept it, round the hearth, subject to a common thrill.
The first of these touches conveyed that the written statement took up the tale at a point after it had, in a manner, begun. The fact to be in possession of was therefore that his old friend, the youngest of several daughters of a poor country parson, had, at the age of twenty, on taking service for the first time in the schoolroom, come up to London, in trepidation, to answer in person an advertisement that had already placed her in brief correspondence with the advertiser. This person proved, on her presenting herself, for judgment, at a house in Harley Street, that impressed her as vast and imposing—this prospective patron proved a gentleman, a bachelor in the prime of life, such a figure as had never risen, save in a dream or an old novel, before a fluttered, anxious girl out of a Hampshire vicarage. One could easily fix his type; it never, happily, dies out. He was handsome and bold and pleasant, offhand and gay and kind. He struck her, inevitably, as gallant and splendid, but what took her most of all and gave her the courage she afterward showed was that he put the whole thing to her as a kind of favor, an obligation he should gratefully incur. She conceived him as rich, but as fearfully extravagant—saw him all in a glow of high fashion, of good looks, of expensive habits, of charming ways with women. He had for his own town residence a big house filled with the spoils of travel and the trophies of the chase; but it was to his country home, an old family place in Essex, that he wished her immediately to proceed.
He had been left, by the death of their parents in India, guardian to a small nephew and a small niece, children of a younger, a military brother, whom he had lost two years before. These children were, by the strangest of chances for a man in his position—a lone man without the right sort of experience or a grain of patience—very heavily on his hands. It had all been a great worry and, on his own part doubtless, a series of blunders, but he immensely pitied the poor chicks and had done all he could; had in particular sent them down to his other house, the proper place for them being of course the country, and kept them there, from the first, with the best people he could find to look after them, parting even with his own servants to wait on them and going down himself, whenever he might, to see how they were doing. The awkward thing was that they had practically no other relations and that his own affairs took up all his time. He had