Symmetry is a difficult term to justly define when dealing with subjects other than physical imagery and visual experience. In such examples, it is merely the matching of one image to another close beside. However, in literature, philosophy, and thought, it becomes a much more complicated subject to identify. Such is the case with the underlying harmony and balance in the story of The Turn of the Screw by Henry James. Within this story, symmetry appears subtly evident under the categories of persona, perspective, and plot. Each character represents and embodies another; the perspective of the governess is the exact opposite of reality; and ultimately, the story moves in a balanced manner, beginning with peace and harmony, life and hope; but finishing with chaos and disorder, death and despair. By exploring these facets, it appears that while James fantasizes and idealizes the concept of symmetry, perhaps he himself does not believe it to actually exist.
Miles and Flora are the embodiment of the dead characters Peter Quint and Miss Jessel. The vice and mischievous behavior of the deceased pair are evident in the persona of each child. While the governess does not discover nor believe this for the majority of the story, it appears it is a truth that James seeks to convey. Corruption creates its own symmetry. Its presence in one soul is reflected in another by way of its malicious activity and relentless pursuit of both. While the equal embodiment of these personas does display symmetry, it also demonstrates chaos because of the nature of the symmetry at hand—mirrored vice and corruption. This aspect of the story ultimately contradicts the symmetric qualities of harmony and balance, implying that there is actually no such thing as true symmetry.
While the impossibility of symmetry is highlighted throughout the book, the governess herself can see nothing but its existence all around her. She sees the best, the good, and the perfect in every aspect of her life—and she hopes for it too. All thoughts of disorder and corruption are dismissed when she looks upon what she sees as innocence and purity in the face of the children. She represents the ideal and fantastical picture of symmetry that James desires to portray. It is evident he admires it because of the way in which he pictures it within his book; however, he clearly outlines for the audience that the governess is not living in reality. She lives in a dream world of perfection—a world that simply does not exist.
To reaffirm this conclusion, eventually the governess’s own naivety shifts with the story as she begins to enter into reality—she no longer sees the world in terms of symmetry and perfection, but as it truly is: incredibly corrupt. Similar to the way that she was overly hopeful and trusting at the beginning of the story, she becomes overly pessimistic and skeptical at the end. Just as her character twists within the plot, so does the story itself. The large perspective of the book demonstrates a balanced, yet warped mirror image from the first half to the last half—the first being weighted by hope and perfection, and the last by despair and disorder. Overall, these features portray an ideal, but fantasy world of symmetry that is ultimately proven an impossibility altogether.
August 30, 2018