Abstract
Although Henry James was always alert to speech and dialogue, his achievement derives largely from the study of human psychology and character, and he is often perceived as a “writer of thought.” The essence of Jamesian style has found an apt correlative in musical discourse and, more specifically, in the language and conventions of opera. James’ The Turn of the Screw evidences an interest in the physical qualities of characters’ speech and recurrently resorts to musical or performative imagery. Silence, however, is at the heart of the novella: Victorian sexual taboo, secrecry shrouding past events, the firstperson narrator’s self-censorship and above all, the soundless presence of the ghostly. Benjamin Britten’s opera adaptation is faithful to James’ text, yet introducing fascinating elements: the definite musical character of the ghosts of Quint and Miss Jessel; their presence on stage frees them from the constraint of the Governess’ narrative filter in the source text; the opera’s focus on Quint, rather than the Governess, sets the homoerotic theme into relief and even suggests the ghost as the origin of the narration.
Highlights
TO BEGIN AT THOUGHTIn The Principles of Psychology (1890), William James wrote perceptively on language as a mirror image of thought and personal consciousness: There is not a conjunction or a preposition, and hardly an adverbial phrase, syntactic form, or inflection of voice, in human speech, that does not express some shading or other of relation which we at some moment feel to exist between the larger objects of our thoughts
I began by focusing on James’ reputation as a “writer of thought,” a stylist who, paradoxically, used language to record mental activity that is necessarily silent. He was fascinated with speech and dialogue, his achievement derives largely from the study of human psychology and character
The essence of his style has found an apt correlative in musical discourse, since “music affects us by perception of the senses, which provoke emotional reactions” (Conlon 2013: 447)
Summary
In The Principles of Psychology (1890), William James wrote perceptively on language as a mirror image of thought and personal consciousness: There is not a conjunction or a preposition, and hardly an adverbial phrase, syntactic form, or inflection of voice, in human speech, that does not express some shading or other of relation which we at some moment feel to exist between the larger objects of our thoughts. It is the real relations; if we speak subjectively, it is the stream of consciousness that matches each of them by an inward coloring of its own. In either case the relations are numberless, and no existing language is capable of doing justice to all their shades. In either case the relations are numberless, and no existing language is capable of doing justice to all their shades. (James 2007: 245)
Sign-in/Register to view highlights & summary Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
