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The Turn of the Screw

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."
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