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A ROOM WITH A VIEW

E.M. Forster

Context

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Edward Morgan Forster was born on January 1, 1879, in London, into an upper middle lass !amily.

"is !at#er, an ar#itet, died two years later, and t#e young Forster was raised by #is mot#er and #is

great aunt. $#ese women remained in!luential o%er Forster !or mu# o! #is li!e, w#i# s#eds some

lig#t on #is pre!erene !or strong !emale #araters in #is no%els.

Forster graduated !rom &ing's College, Cambridge, in 19(1 and resol%ed to pursue #is writing. "e

tra%eled in )taly and *reee wit# #is mot#er, and wor+ed as a tutor in *ermany in 19(. )n t#e same

year #e publis#ed #is !irst no%el, Where Angels Fear to Tread. The Longest Journey -19(7 and A

Room with a View -19(8 soon !ollowed. Forster wrote t#e !irst #al! o! A Room with a View during a

stay in )taly wit# #is mot#er. $#e no%el s#ows #is support !or t#e new, liberal soial be#a%iors o! t#e

Edwardian age, in ontrast to t#e more sober ideals pre%alent during /ueen 0itoria's reign. E%en in

#is early wor+, Forster's style distinguis#ed itsel! as lig#ter and more on%ersational in dition t#an

t#e Englis# no%elists w#o preeded #im. "is ritial yet sympat#eti %iews o! people and t#eir

interations mar+ed #im as a master o! #arater and soietal analysis. )n 191(, #is no%el Howard's

End was publis#ed to great publi alaim. A Passage to India -192 was publis#ed in 192, and is

+nown as #is most omplex and mature wor+.

$#e years between t#e turn o! t#e entury and 3orld 3ar ) were an optimisti time !or England. 4s

liberal Edwardian ideals slowly mo%ed in o%er t#e old 0itorian ways, a general optimism began to

pre%ail, mani!ested in t#e belie! t#at man mig#t be made better t#roug# a more liberal eduation.

$#roug#out #is li!e, Forster stressed t#e importane o! indi%iduality and good will, emp#asi5ing #is

belie! in #umanity's potential !or sel!6impro%ement. Forster beame an ati%e member o! a

mo%ement o! writers and t#in+ers +nown as t#e loomsbury *roup, a number o! intelletuals de!ined

in part tby t#eir radial opposition to 0itorian traditions and manners. )nluded among t#e ot#er

members o! t#e group were 0irginia 3ool! and Jo#n Maynard &eynes.

Cambridge o!!ered Forster a !ellows#ip in 192, and #e remained t#ere until #is deat# on June 7,

197(. "e aepted an rder o! Merit in 199. 4long wit# #is no%els, Forster also publis#ed s#ort

stories, essays, and t#e !amous ritial wor+, Ase!ts o" the #o$el. "e also ollaborated wit# Eri

Cro5ier on t#e libretto to t#e opera %illy %udd& ailor& omposed by en:amin ritten. "is

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A ROOM WITH A VIEW

E.M. Forster

no%el (auri!e& about a #omosexual man, was publis#ed, aording to #is wis#es, a!ter #is deat#, in

1971.

;ummary

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Luy "oney#ur#, a young upper middle lass woman, %isits )taly under t#e #arge o! #er older

ousin C#arlotte. 4t t#eir pension, or guest#ouse, in Florene, t#ey are gi%en rooms t#at loo+ into

t#e ourtyard rat#er t#an out o%er t#e ri%er 4rno. Mr. Emerson, a !ellow guest, generously o!!ers

t#em t#e rooms belonging to #imsel! and #is son *eorge. 4lt#oug# C#arlotte is o!!ended by Mr.Emerson's la+ o! tat and propriety, s#e !inally does agree to t#e swit#. Luy is an a%id young

pianist. Mr. eebe, wat#es #er passionate playing and predits t#at someday s#e will l i%e #er li!e

wit# as mu# gusto as s#e plays t#e piano.

Luy's %isit to )taly is mar+ed by se%eral signi!iant enounters wit# t#e Emersons. )n ;anta Croe

#ur#, *eorge omplains t#at #is !at#er means well, but always o!!ends e%eryone. Mr. Emerson

tells Luy t#at #is son needs #er in order to o%erome #is yout#!ul melan#oly. Later, Luy is wal+ing

in t#e <ia55a ;ignoria, !eeling dull, w#en s#e omes in lose ontat wit# two =uarreling )talian men.

ne man stabs t#e ot#er, and s#e !aints, to be resued by *eorge. n t#eir return trip #ome, #e

+isses #er, mu# to #er surprise. ;#e +eeps #is ras# be#a%ior a seret.

n a ountry outing in t#e #ills, Luy wanders in sear# o! Mr. eebe and t#e superilious #aplain,

Mr. Eager. "owe%er, t#e )talian ab dri%er leads #er instead to *eorge, w#o is standing on a terrae

o%ered wit# blue %iolets. *eorge sees #er and again +isses #er, but t#is time C#arlotte sees #im

and #astises #im a!ter t#ey #a%e resurnedreturned to t#e pension. ;#e lea%es wit# Luy !or >ome

t#e next day.

$#e seond #al! o! t#e boo+ enters on Luy's #ome in ;urrey, w#ere s#e li%es wit# #er mot#er, Mrs.

"oney#ur#, and #er brot#er, Freddy. 4 man s#e met in >ome, t#e snobbis# Ceil 0yse, proposes

marriage to #er !or t#e t#ird time, and s#e aepts #im. "e disappro%es o! #er !amily and t#e ountry

people s#e +nows, !inding t#em oarse and unsop#istiated. $#ere is a small, ugly %illa a%ailable !or

rent in t#e town, and as a :o+e, Ceil o!!ers it to t#e Emersons, w#om #e meets by #ane in a

museum. $#ey ta+e #im up on t#e o!!er and mo%e in, mu# to Luy's initial #orror.

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A ROOM WITH A VIEW

E.M. Forster

*eorge plays tennis wit# t#e "oney#ur#es on a ;unday w#en Ceil is at #is most intolerable. 4!ter

t#e game, Ceil reads !rom a boo+ by Miss La%is#, a woman w#o also stayed wit# Luy and

C#arlotte at t#e pension in Florene. $#e no%el reords a +iss among %iolets, and Luy reali5es t#atC#arlotte let t#e seret out. )n a moment alone, *eorge +isses #er again. Luy tells #im to lea%e, but

*eorge insists t#at Ceil is not t#e rig#t man !or #er, #arateri5ing Ceil as ontrolling and

appreiati%e o! t#ings rat#er t#an people. Luy sees Ceil in a new lig#t, and brea+s o!! #er

engagement t#at nig#t.

"owe%er, Luy will not belie%e t#at s#e lo%es *eorge? s#e wants to stay unmarried and tra%el to

*reee wit# some elderly women s#e met in )taly, t#e Miss 4lans. ;#e meets old Mr. Emerson by

#ane, w#o insists t#at s#e lo%es *eorge and s#ould marry #im, beause it is w#at #er soul truly

wants. Luy reali5es #e is rig#t, and t#oug# s#e must !ly against on%ention, s#e marries *eorge,

and t#e boo+ ends wit# t#e #appy ouple staying toget#er in t#e Florene pension again, in a room

wit# a %iew.

Analysis

$#e boo+ depits Luy's struggles as s#e emerges as #er own woman, growing !rom indeision to!ul!illment. ;#e struggles between strit, old6!as#ioned 0itorian %alues and newer, more liberal

mores. )n t#is struggle Luy's own idea o! w#at is true e%ol%es and matures. "er trip to )taly opens

#er s#eltered eyes to ideas and people unli+e t#ose s#e #as +nown growing up in t#e Englis#

ountryside. ;#e also noties #ow !reely )talian lasses seem to mix, and reali5es t#at t#e soial

boundaries s#e #as always regarded as !ixed are atually arbitrary. "er experiene wit# t#e

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A ROOM WITH A VIEW

E.M. Forster

Emersons s#ows #er t#at t#ere an be beauty in t#e t#ings t#at are onsidered improper, and

C#arlotte's betrayal s#ows #er t#at propriety is not always t#e best :udge o! w#at is true.

"a%ing more learly !ound #ersel! in )taly, Luy's real test lies at #ome, w#ere s#e must on!ront #er

old !amiliar surroundings. ;#e is still unertain, #owe%er, and on!used about w#at to t#in+ about #er

new experienes. $#at s#e missteps and beomes engaged to t#e pretentious and domineering

Ceil s#ows #er suseptibility to t#e pressures o! soiety. 4s #er bold piano playing suggests, s#e is

ut out !or a more daring li!e, i! only s#e ould ut #ersel! away !rom t#e restriting soial boundaries

t#at engul! #er. $#e Emersons, as !ree6t#in+ing, modern, trut#6lo%ing people, are #er deli%erers !rom

t#e grips o! soiety. )t is t#is !reedom t#at allows #er to see beyond t#e ditates o! propriety t#at

!orbid #er marriage to t#e lower6lass *eorge and, t#ere!ore, to !ollow #er #eart.

*eorge is troubled by existential worries in )taly. "e doesn't understand #ow li!e an be truly :oy!ul

and wort#w#ile w#en it is always s#adowed by enigma, symboli5ed by t#e =uestion mar+ t#at #e

#angs on t#e wall o! #is #otel. Luy, t#oug# autious, is lo%ing by nature and en:oys li!e e%en w#en it

#allenges #er understanding. $#e two are united by a s#ared appreiation !or beauty, w#i# mig#t

be aptured in t#eir lo%e o! %iews@ Luy adores t#e %iew o! t#e 4rno t#roug# t#e pension window,

w#ile *eorge's !irst memory is o! #imsel! and #is parents ga5ing at a %iew. Ea# possesses w#at t#e

ot#er needs@ *eorge !inds simple :oys staying wit# t#e "oney#ur# !amily, w#ile Luy !inds t#e

ourage to reogni5e #er own indi%iduality t#roug# #er ontat wit# t#e Emersons.

A Room with a View is one o! Forster's early wor+s, and is not as omplex as t#e more

mature Howard's End and Passage to India. "owe%er, its strengt# lies in its %i%id ast o! #araters,

#umorous dialogue, and omedi play upon t#e manners o! t#e day, and in Forster's engaging,

sympat#eti exploration o! Luy's #arater.

C#araters

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Lucy Honeychurch 6 4 young woman !rom ;urrey w#o doesn't +now w#at s#e wants. "er piano

s+ills s#ow t#at s#e #as potential !or great passions and t#e ability to reogni5e trut# e%en i! it means

brea+ing t#e soial odes t#at are expeted o! #er. ;#e grows into a woman t#roug# t#e ourse o!

t#e boo+, #oosing to !ollow t#e true instints o! lo%e -as represented by *eorge o%er t#e tedious

!alsities perpetuated by pretentious upper lass soiety -as represented in Ceil.

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A ROOM WITH A VIEW

E.M. Forster

Charlotte Bartlett 6 Luy's older, poorer ousin and an old maid, C#arlotte aompanies Luy to

)taly as a #aperone, and attempts to up#old w#at is Aproper.A ;#e #as old6!as#ioned notions and

does not appro%e o! t#e Emersons. ;#e seems to onspire against t#e #appiness o! e%eryone wit##er tiresome and loying manner, but in t#e end, s#e mysteriously assists Luy to pass into !inal

marital #appiness.

George Emerson 6 4 young man wit# a passionate desire !or trut#, and at t#e beginning o! t#e

boo+, a !altering #opelessness t#at li!e is not atually wort# li%ing. $#oug# #e is o! a lower soial

lass, #e !alls in lo%e wit# Luy in )taly, and s#e beomes a beaon o! #ope to #im in #is sear# !or

:oy and meaning. "e enourages #er not to marry Ceil and #elps #er to !ollow t#e true ways o! #er

#eart.

Mr. Emerson 6 Besribed, alternately, as being bot# ungentlemanly and beauti!ul, Mr. Emerson

means well but onstantly o!!ends proper soietal on%entions wit# #is abrupt manner o! spea+ing

and #is blatant #onestly. 4n a%id reader, #e espouses liberal %alues, and also plays a role in #elping

Luy to surrender #ersel! to #er true desires e%en i! it means %iolating soial taboos. "is wi!e is

dead.

Cecl Vyse 6 $#e disli+able man w#o beomes Luy's !iane !or a s#ort period o! time. Ceil is

pretentious and despises all t#e ountry people o! Luy's town, !inding t#em unsop#istiated and

oarse in omparison to t#e a!!luent London soiety #e is used to. "e sees Luy not !or #ersel! but

as an abstrat %ision t#at #e #as #ung upon #er. "e treats people wit#out +indness or respet. Ceil

tries to be aut#oritarian and manly, but is atually aw+ward and sel!6onsious.

Mrs. Honeychurch 6 Luy's #eer!ul, tal+ati%e, good6natured, and warm6#earted mot#er, w#o

always says w#at's on #er mind. "er #usband is dead.

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A ROOM WITH A VIEW

E.M. Forster

Mr. Bee!e 6 $#e retor in Luy's town, a tat!ul and pleasant man w#o aims to use #is in!luene to#elp %arious #araters. "e ta+es a li+ing to t#ose w#o are #onest, but sees t#e good in almost

e%eryone. "e supports Luy all t#roug# t#e boo+ until s#e deides to marry *eorge, w#en #e oddly

turns against t#e idea.

"re##y 6 Luy's younger brot#er, w#o is energeti and lo%es tennis, swimming, and t#e study o!

anatomy. "e disli+es Ceil and li+es *eorge.

The Mss Alans 6 sually re!erred to in t#e plural, t#ese two old spinster sisters, Cat#arine and

$eresa 4lan, stay at t#e same pension as Luy and t#e ot#ers in Florene. $#ey are mild6mannered

and %ery proper, but t#ey #a%e an ad%enturous strea+ t#at will e%entually ta+e t#em tra%eling all o%er

t#e world.

Mss La$sh 6 4n ostentatious writer w#o also stays in t#e same pension in Florene, and #opes to

write no%els about )talian li!e. ;#e is outspo+en and le%er, but also abrasi%e. ;#e despises Englis#

people tra%eling abroad and belie%es s#e alone +nows t#e AtrueA )taly? #owe%er, #er

unon%entionality !alls %ery lose to on%entional ideas.

Mr. Eager 6 $#e ritis# #aplain in Florene. "e is rude to )talians, un+ind to t#e Emersons, and

perpetuates a !alse rumor t#at Mr. Emerson murdered #is wi!e.

Mnne 6 Mr. eebe's rambuntious 1D6year6old niee, w#o stays wit# t#e "oney#ur#es during a

dip#t#eria epidemi.

%r Harry Ot&ay 6 4 loal in Luy's town w#o buys t#e two %illas, Cissie and 4lbert, subse=uently

letting one out to t#e Emersons.

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A ROOM WITH A VIEW

E.M. Forster

;ummary 4nalysis

C#apters 162

→

page 1 o!

Summary

Miss Luy "oney#ur# is a somew#at na%e young woman sent on #oliday to )taly under t#e

#arge o! #er older ousin, Miss C#arlotte artlett. $#e two are staying at t#e ertolini <ension inFlorene. $#e story opens around t#e dinner table at t#e pension, w#ere Luy and #er ousin lament

t#at t#oug# promised rooms in t#e !ront o! t#e pension, t#ey #a%e been gi%en rooms in t#e ba+,

wit# no %iew. ne o! t#e ot#er guests, Mr. Emerson, o!!ers to swit# rooms wit# t#em, as #e and #is

son *eorge, a =uiet young man, #a%e a %iew !rom t#eir two rooms. "owe%er, #is generous o!!er is

%iewed wit# suspiion by t#e ot#er pension guests, :ust as #is abrupt and open manner o!!ends t#eir

own Aupper lassA notions o! tat!ul be#a%ior. C#arlotte re!uses t#e o!!er.

Mr. eebe, a lergyman w#o one wor+ed in Luy's paris# and will be returning t#ere in a !ew

mont#s, ma+es a surprise appearane. "e is now %aationing at t#e pension, w#i# exites and

pleases Luy. "e interedes in order to #elp t#e Emersons sa%e !ae, and t#e two parties do swit#

rooms. 4!!ixed to t#e wall in *eorge Emerson's !ormer room, C#arlotte !inds a large =uestion mar+

drawn on a piee o! paper.

$#e next day, Luy goes out !or a !irst loo+ at Florene, under t#e guidane o! anot#er pension

guest, t#e Ale%er,A energeti Miss Eleanor La%is#. La%is#, a writer, laims s#e an s#ow Luy At#e

true )taly,A and ta+es away #er opy o! aede+er's guideboo+. 4!ter losing t#eir way, t#ey !inally

rea# ;anta Croe #ur#, w#ere Luy's ompanion beomes distrated by an a=uaintane and

abandons #er. "owe%er, Luy !inds t#e two Emersons inside t#e #ur#, and t#e t#ree admire t#e

!ine *iotto !resoes and ar%ed tombstones. $#e >e%. Cut#bert Eager is leading a tour t#roug# t#e

#ur# and Mr. Emerson o!!ends #im by loudly ritii5ing #is leture on *iotto's !resoes. 4lone

toget#er, *eorge spea+s to Luy about #is !at#er's !ran+ manner o! spea+ing and #ow it o!!ends

e%eryone despite #is good intentions. $#en Mr. Emerson and Luy wal+ toget#er and #e explains #is

son's mysterious melan#oly, saying t#at *eorge's trouble is t#at #e is distressed t#at t#e At#ings o!

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A ROOM WITH A VIEW

E.M. Forster

t#e uni%erse...don't !it.A "e as+s Luy to ma+e *eorge reali5e At#at t#ere is a Ges,A a :oy!ulness in t#e

world itsel!. $#en C#arlotte arri%es on t#e sene and w#is+s #er unesorted ousin away.

Luy plays t#e piano at t#e pension on a rainy a!ternoon, w#ile Miss Cat#arine 4lan, an old wealt#y

woman, and Mr. eebe disuss t#e ot#er guests, partiularly t#e Emersons, w#o #a%e !allen out o!

nearly e%eryone's !a%or. Miss Cat#arine deides t#at t#ey are Anot nie,A and points out, At#ey don't

understand our ways. $#ey must !ind t#eir le%el.A Luy says t#at s#e t#in+s t#e Emersons are nie.

$#e rain #as leared, and Luy, on a rebellious impulse, deides to go outside, wanting to ta+e t#e

irular eletri tram. "er elders disappro%e o! t#e notion, and s#e sadly agrees to wal+.

3al+ing in Florene, Luy !eels disontented and dull, t#in+ing t#at Anot#ing e%er #appens to me.A

;#e buys some p#otograp#s o! )talian artwor+s. ;uddenly, as s#e enters t#e <ia55a ;ignoria, s#e

omes near two )talians bi+ering about a debt. 4s one turns toward #er, blood pours !rom #is mout#

w#ile t#e ot#er stabs #im in t#e ba+. Luy !aints, seeing *eorge out o! t#e orner o! #er eye as s#e

!alls. ;#e awa+es next to #im on t#e steps nearby, apologi5ing !or #ersel!. *eorge insists on wal+ing

#er to t#e pension? Luy tries to e%ade #im w#ile #e ollets #er !allen postards. "e ommands #er

to wait, and t#ey wal+ ba+ toget#er. "e suddenly t#rows t#e postards into t#e >i%er 4rno,

explaining upon rigorous =uestioning t#at t#ey were o%ered in blood. Luy, !earing gossip and

disappro%al, as+s *eorge not to tell anyone about #er A!oolis# be#a%iorA -!ainting and being aug#t

in #is arms. 4s t#ey ga5e down to t#e roaring ri%er, Luy sums up t#eir experiene saying, A"ow

=ui+ly t#ese aidents do #appen, and t#en one returns to t#e old li!e.A *eorge simply says

mysteriously, A) s#all probably want to li%e.A

Commentary

Forster's boo+ presents detailed analyses o! and ommentary on t#e soial mores and tensions o!

#is day. $#e opening #apters are mostly onerned wit# #is master!ul !les#ing out o! a ast o!

#araters. $#e pension guests are ulled !rom t#e Abetter lass o! tourist.A $#at is, t#ey ome !rom

wealt#y, supposedly better6eduated !amilies o! good breeding and soial standing. $#ey identi!y

t#emsel%es t#roug# polite, genteel on%entions o! spee# and manners and aept and re:et all

ot#ers based on t#eir aordane wit# t#ese and ot#er standards.

1. 1

. C#apters 162 -page

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E.M. Forster

D. →

2. page o!

. Luy, t#e boo+'s main #arater, is somew#at impetuous, but #as led a s#eltered li!e up until

now and beomes easily on!used by t#e no%elty o! )taly and t#e presene o! t#e Emersons,

w#o onstantly seem to !ly in t#e !ae o! propriety. "er own !amily is well6o!!, but #er ousin

C#arlotte's is not? #ene C#arlotte's sense o! obligation to Luy and t#e "oney#ur# !amily,

w#o #a%e partially paid !or #er :ourney. ! t#e ot#er pension members, t#e Emersons are

learly o! t#e wrong lass. utspo+en Mr. Emerson startles t#e ot#ers, w#o are austomed

to %eiling t#eir own t#oug#ts under polite i%ilities. "is son *eorge is desribed !rom t#e start

as =uiet, Aperplexed,A and Asorrow!ul.A $#e lergyman, Mr. eebe, is t#e only wise

#arater66t#oug# able to interat agreeably wit# e%eryone, #is inner t#oug#ts are re%ealed

to be on a more remo%ed and sop#istiated le%el t#an most o! t#e ot#er guests.

. 3it#in t#e !irst #apter, Luy as+s C#arlotte about Mr. Emerson, =uestioning A"a%e you e%er

notied t#at t#ere are some people w#o do t#ings w#i# are most indeliate, and yet at t#e

same time66beauti!ulHA C#arlotte responds A4re not beauty and deliay t#e same t#ingHA

$#ese =uestions !orm t#e rux o! Forster's exploration o! t#e nature o! beauty and t#e ways

in w#i# re!ined soiety an !ail to appre#end a wilder, less aut#ori5ed +ind o! beauty and

trut#. Luy begins to understand t#at s#e an #arbor a personal, indi%idual idea o! beauty

t#at exists outside o! soiety's o!!iial standards.

7. $#e ountry o! )taly ontains beauty t#at is at one re!ined -great artwor+ and ar#iteture

and pedestrian -its people and ountryside. )taly is A#aoti,A and Adangerous,A and its

unpreditability opposes t#e rigidity o! ritain and its upper lasses. $#e in!luene o! t#is

!oreign land an #allenge and possibly nulli!y t#e usual ties t#at #old ritis# #ig# soiety

toget#er. Luy, t#oug# t#e produt o! years o! Englis# breeding, is still suseptible to ot#er

in!luenes. "er piano playing summons up a sense o! A%itory,A and ta+es #er into a world o!

beauty ompletely separate !rom soiety? s#e o!ten emerges !rom t#ese somew#at sensual

emotions !eeling a %ague desire to experiene more t#an #er limited li!e #as allowed t#us !ar.

8. Luy #as been taug#t t#at men and women #a%e strit roles in soiety66t#at men s#ould be

#i%alrous and women an be strong as long as t#ey remain Aladyli+e.A C#arlotte laims t#at

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A ROOM WITH A VIEW

E.M. Forster

woman's mission Ais to inspire ot#ers to a#ie%ement, rat#er t#an to a#ie%e t#emsel%es.A

Luy !eels oasionally rebellious toward t#ese ideas? s#e is !ull o! impulses t#at alternately

guide or on!use #er. Miss La%is#, t#e old, unmarried no%elist, is t#e boo+'s mostunon%entional !emale #arater? #owe%er, #er snooty attitude toward )taly and remar+s

about t#e simpliity and rudeness o! )talians plaes #er wit#in t#e same soial bra+et as

t#e rest. For instane, s#e willingly see+s out t#e Aad%entureA o! getting lost in Florene !or its

own sa+e, but one lost, s#e #as rea#ed a limit, and insists upon =ui+ly !inding t#e way

ba+, ne%er stopping to admire t#e beauty o! t#e plaes t#at are passed by.

9. $#e no%el is narrated in a t#ird6person omnisient tone. Forster's #araters are re%ealed

t#roug# bot# t#eir own dialogue and t#e narrati%e, w#i# tends to probe t#eir t#oug#ts and

expose w#at t#ey are really t#in+ing. $#e petty snobberies o! t#e pension guests are easily

exposed by Forster's pen, espeially regarding attitudes toward t#e ritis# lower lasses and

t#e )talians. !ten, Forster gently po+es !un at #is #araters or belittles t#em, s#owing t#eir

!allaies, on!usions, and wea+nesses as well as t#eir good intentions. Luy reei%es mu#

o! t#is inward attention, and most o! t#e ot#er main #araters reei%e some. "owe%er,

Forster does not enter t#e minds o! t#e Emersons, so t#ese two men appear as mysterious

to t#e reader as t#ey do to t#e rest o! t#e pension guests. I<4>4*>4<"

C#apters 67

→

page 1 o!

Summary

Luy deides to aompany C#arlotte !or t#e day rat#er t#an go on an outing wit# Mr. eebe and t#e

Emersons, as s#e !eels on!used by t#e odd situation wit# *eorge. )n t#e <ia55a ;ignoria -w#ere

t#e murder too+ plae t#e day be!ore, t#ey !ind Miss La%is#, w#o as usual is exulting in #er idea o!

t#e real )taly and ma+ing snide remar+s about Englis# tourists.

Luy and C#arlotte t#en ome aross t#e tiresome and snooty #aplain, Mr. Eager, w#o #as

onnetions wit# t#e expatriate Englis# ommunity in Florene. "e in%ites Luy and C#arlotte to

ome out !or a trip into t#e ountry o! Fiesole t#e !ollowing day. Luy !inds s#e #as lost #er respet

10





A ROOM WITH A VIEW

E.M. Forster

!or bot# Miss La%is# and Mr. Eager. Mr. Eager disusses #is distaste !or Mr. Emerson, explaining

t#at #e one wrote !or a ;oialist paper, and re%ealing t#at #e belie%es Mr. Emerson to #a%e

murdered #is own wi!e, t#oug# #e pro%ides no substantiating e%idene.

C#arlotte aepts t#e in%itation !or a dri%e into t#e ountry, but reali5es a!ter Mr. Eager departs t#at

t#ey #a%e also planned to dri%e wit# Mr. eebe and Miss La%is#, w#o displeases Mr. Eager wit# #er

audaity. 3#ile C#arlotte is planning w#o will sit wit# w#om in t#e arriages, Luy admits A) don't

+now w#at ) t#in+, or w#at ) want.A ;#e #as gotten a letter !rom #er mot#er w#i# in!orms #er t#at

some !riends, t#e 0yses, are staying in >ome. C#arlotte wants to do anyt#ing t#at will please #er

ousin, and Luy expresses #er desire to :oin t#ese !riends in >ome.

$#e outing to Fiesole ta+es plae t#e next day, but to e%eryone's surprise, t#e group onsists not

only o! Luy, C#arlotte, Miss La%is#, Mr. eebe, and Mr. Eager, but also t#e Emersons, w#o were

in%ited by Mr. eebe. $#ey are dri%en by a young )talian man w#o all t#e w#ile ourts #is sweet#eart

-also )talian at t#e !ront o! t#e ar. Luy is en%ious o! t#em, reali5ing t#at t#ey are t#e only ones

en:oying t#e trip at all, w#ile t#e ot#ers deride t#e lower lasses and admire t#e #omes o! wealt#y

ex6pats. Finally t#e )talians +iss, at w#i# point Mr. Eager ommands t#e girl to lea%e !or su# la+ o!

deeny. Mr. Emerson argues wit# t#is old6#earted deision, delaring t#at t#e in!luenes o!

AspringA are as admirable in man as in t#e nature t#ey #a%e ome to appreiate.

E%eryone roams around in t#e #ills, admiring t#e somew#at #a5y %iew. Luy aompanies C#arlotte

and Miss La%is#, w#o are ag#ast t#at *eorge's pro!ession is At#e railway.A $#ey as+ Luy to lea%e

t#em alone to t#eir ritiisms, and s#e tries to diso%er t#e w#ereabouts o! Mr. eebe and Mr. Eager

by ommuniating wit# t#e )talian dri%er in %ery rudimentary )talian. $#e dri%er leads #er instead to a

beauti!ul terrae o%ered wit# blue %iolets, w#ere s#e enounters *eorge. $#e dri%er ries out,

ACourage Courage and lo%eA *eorge is standing at t#e terrae's brin+, Ali+e a swimmer w#o

prepares.A "e turns around w#en s#e arri%es, and, in an instant, o%erome by t#e radiant beauty o!

t#e !lowers and Luy among t#em, +isses #er. ;uddenly C#arlotte appears, alling !or Luy.

$#e party returns to Florene in t#e arriages, but a lig#tning storm soon begins. *eorge wal+s

#ome. $#ey nearly dri%e into an exploded tram wire w#i# #ad been #it by a lig#tning bolt. E%eryone

!eels worried and t#en relie%ed, w#ile Luy tries to explain to C#arlotte t#at s#e is blameless !or t#e

inident in t#e %iolets, remar+ing, A) want to be trut#!ul...)t is so #ard to be absolutely trut#!ul.A

C#arlotte om!orts #er wit# t#e prospet o! tal+ing it o%er t#at nig#t at bedtime. "owe%er, t#at nig#t,

t#e soul6bearing session o! sel!6understanding t#at Luy #oped !or ne%er ours. C#arlotte instead

11



A ROOM WITH A VIEW

E.M. Forster

simply demands to +now #ow Luy intends to AsileneA *eorge, ma+ing insinuations against #is

#arater. Luy wants to tal+ to *eorge to settle t#e matter? C#arlotte disappro%es. C#arlotte as+s

w#at would #a%e #appened i! s#e #ad not appeared in t#e %iolet terrae, but Luy annot pro%ide ananswer. C#arlotte announes t#at t#ey will at# t#e morning train at eig#t !or >ome. $#ey begin to

pa+. Luy tries to s#ow warmt# !or C#arlotte, w#o ma+es Luy !eel obligated toward #er, until Luy

!inally promises not to tell #er mot#er about w#at #as #appened wit# *eorge. *eorge appears

outside t#e window and rings t#e doorbell, but Luy blows #er lamp be!ore #e an see #er. C#arlotte

appears in t#e #all and as+s *eorge to #a%e a word in pri%ate. Luy ries out, A)t isn't true. )t an't all

be true.A C#arlotte silenes #er and t#ey lea%e !or >ome t#e next morning.

1. 1

.

C#apters 67 -page

→

page o!

Kow t#at Luy #as to +eep a seret about !ainting and being arried by *eorge, s#e #as to on!ront

t#e !at o! #er aloneness !or t#e !irst time66s#e #as ne%er #ad to +eep anyt#ing seret be!ore, and

!inds t#e solitude Aoppressi%e.A $#e independene to t#in+ on #er own sares #er. ;#e is also a!raid

t#at *eorge understands t#e t#ings t#at on!use #er@ t#is would suggest t#at t#e %alues s#e #as

+nown all #er li!e are insu!!iient.

)n #er new state o! mind, Luy !inds #ersel! repulsed by Miss La%is#'s pretentiousness and Mr.

Eager's prying uriosity? s#e notes At#e g#oulis# !as#ion in w#i# respetable people will nibble a!ter

blood. *eorge Emerson #ad +ept t#e sub:et strangely pure.A $#is t#eme o! t#e in#umanity o!

ArespetableA people ontinues on t#e dri%e into t#e ountry, w#ere Mr. Eager will not tolerate t#e+issing )talians, and !ores t#em to separate. Mr. eebe, on t#e ot#er #and, pri%ately dubs t#e young

)talian man A<#aet#on,A w#o dro%e t#e #ariot o! t#e sun in *ree+ myt#, and t#e woman

A<ersep#one,A w#o was abduted to t#e underworld and %isits eart# only in spring and summer. "e

seems to see somet#ing godly and di%ine in t#ese lower6lass )talians. $#e disparity between t#e

%iews o! t#ese two representati%es o! t#e C#ur# s#ows Forster's willingness to allow t#e C#ur#'s

12







A ROOM WITH A VIEW

E.M. Forster

role to be !airly ambiguous66t#oug# Mr. Eager en!ores a moral ode in!luened as mu# by soiety

as by religion, Mr. eebe is as willing to see di%inity in t#e poor as in t#e ri#. Meanw#ile, Mr.

Emerson protests t#e deision to separate t#e lo%ers on more #uman terms, alling it Aa de!eatAbeause it Aparted two people w#o were #appy.A "is omment about spring existing in bot# nature

and man points out t#at t#e separation o! i%ili5ation !rom nature may only ause un#appiness and

on!inement.

$#e )talian dri%er leads Luy to *eorge, alt#oug# s#e #as tried to as+ #im, using a !ew )talian words,

w#ere to !ind Mr. eebe. $#us, despite #er attempts to !ind #er way ba+ to soiety, )taly itsel!,

embodied in t#e are!ree dri%er, #as ot#er ideas !or #er. $#e terrae is desribed as At#e primal

soure w#ene beauty gus#ed out to water t#e eart#,A w#i# mar+s *eorge's +iss as a part o! t#is

essential, uni%ili5ed, raw beauty, w#i#66li+e Luy's musi66an transend soial barriers. *eorge

seems to #a%e been about to :ump !rom t#e terrae? t#e dri%er's ry may #a%e been a signal to Luy

to gi%e up #er !ear o! trespassing upon soiety's regulations in t#e name o! lo%e, and !or *eorge to

reonsider t#e meaning o! lo%e and in order to !ind t#e ourage to li%e. $#is entire sene is, #owe%er,

#ig#ly ambiguous, and Forster's deliberate re!usal to lari!y lends it an aut#enti !eeling o! abrupt

on!usion mixed wit# t#e lear !ore o! ati%e passion.

3#en C#arlotte alls !or Luy, s#e interrupts At#e silene o! li!e,A w#i# suggests t#at t#e most

important aspets o! li!e -beauty, musi, lo%e are t#ose t#at are !elt on a non6%erbal le%el. *eorge,

!or example, is entirely silent t#roug# t#is #apter and t#e next, and C#arlotte's %oie ta+es o%er t#e

text as mu# as C#arlotte #as ta+en #arge o! Luy. Mr. Eager twie tells Luy to #a%e ACourage...

ourage and !ait#,A during t#e lig#tning storm, e#oing t#e )talian dri%er at t#e terrae. "owe%er, Mr.

Eager urges #er to belie%e t#at t#ey will remain sa!e -based on sienti!i e%idenes !rom t#e

#arm!ul, wild !ores o! nature, w#ereas t#e dri%er urged Luy and *eorge to #a%e ourage and

embrae t#ose !ores t#at run against i%ili5ation.

Luy longs to understand #ersel!, but C#arlotte is onerned mainly wit# +eeping up appearanes,

lea%ing Luy !eeling old and #elpless. C#arlotte wants Luy to really lo%e #er, but +nows t#at Luy'sa!!etion !or #er is not lo%e, but rat#er a longing !or sympat#y. $#e end o! t#e !irst boo+ !inds

C#arlotte maneu%ering and ontrolling e%eryt#ing, w#ile *eorge and Luy remain separated. *eorge

passes outside t#e window wit# t#e %iew t#at began t#e boo+, and Luy sits inside t#e room@ s#e

#as been returned into t#e soiety and t#e traditions to w#i# s#e #as always belonged66but now s#e

#as a seret w#i# will ine%itably ause #ange. ;#e is still on!used, and says t#at s#e wants Ato

13



A ROOM WITH A VIEW

E.M. Forster

grow older =ui+ly,A in order to understand and resol%e t#e on!liting tensions t#at were introdued

to #er li!e w#ile in Florene.

1. <re%ious

. C#apters 861(

D. →

2. page 1 o! D

5. Summary

. Most o! t#e seond #al! o! t#e boo+ ta+es plae around t#e "oney#ur# residene at 3indy

Corner, on ;ummer ;treet in a small ountry town in t#e ;urrey #ills o! England. )t is a

wealt#y town !illed wit# members o! t#e leisure lass. Luy #as been #ome !rom )taly !or a

wee+. 4 young man named Ceil 0yse, o! t#e 0yse !amily w#om C#arlotte and Luy %isited

in >ome, %isits, and, !or t#e t#ird time, as+s Luy to marry #im. Luy's mot#er, Mrs.

"oney#ur#, and #er brot#er, Freddy, obser%e t#is proess !rom t#e drawing room. Mrs.

"oney#ur# appro%es o! t#e mat#, :udging Ceil to be brig#t, ri#, genteel, and well6

onneted, but Freddy #as reser%ations t#at #e an't !ully explain.

7. Ceil enters t#e room wit# t#e news t#at Luy #as aepted #is proposal. E%eryone

expresses t#eir #appiness, and Ceil suggests t#at Luy ta+e mot#er and brot#er out to t#e

garden to tell t#em about it, w#ile #e writes to #is mot#er. 4lone, Ceil re!lets upon #ow #e

ame to +now Luy in >ome and admired #er !or #er retiene, pituring #er li+e a painting

by Leonardo, w#om #e lo%ed A!or t#e t#ings t#at s#e will not tell us,A t#ings Anot o! t#is li!e.A

"e proposed twie in )taly, and t#oug# s#e gently re!used #im, t#ey remained on good terms.

"e as+ed permission !rom bot# Mrs. "oney#ur# and Freddy on t#e most reent attempt as

#e wanted support, and Freddy was somew#at rude in #is response.

8. Mr. eebe, now retor o! ;ummer ;treet, arri%es to #a%e tea wit# t#e "oney#ur#es. "e

brings news t#at two %illas, named Cissie and 4lbert, #a%e been boug#t by ;ir "arry tway

!rom a Mr. Fla+. 3it#out mentioning t#e engagement, Ceil disusses Luy wit# Mr. eebe,

w#o ompares Luy to a +ite waiting to !ind its wings and !ly away. Ceil suggests t#at t#e

ord #as !inally been ut, and announes t#eir engagement, t#en inwardly regrets, too late,

14







A ROOM WITH A VIEW

E.M. Forster

t#e arrogane suggested by t#e metap#or. Mr. eebe is ta+en aba+ but manages to wis#

t#e ouple well.

9. 4 !ew days later, Ceil and Luy attend a garden party at w#i# Ceil !inds t#e loal

population #ig#ly pro%inial. $#e topi o! Mr. eebe omes up, and Luy remembers t#e

#aplain in Florene, Mr. Eager, w#o aused Mr. Emerson o! ApratiallyA murdering #is

wi!e? #owe%er, s#e #anges t#e name to "arris to protet t#e Emersons. )n #er %e#ement

expression o! #atred !or Mr. Eager, Luy surprises Ceil, w#o !inds #er ranting to be

unwomanly.

1(. $#e arriage dri%es past t#e two ugly little ottages, Cissie and 4lbert, w#ere t#ey !ind ;ir

"arry tway, w#o regrets t#at #e an't ta+e t#em down beause Mrs. Fla+, a si+ old

woman, still in#abits 4lbert. "e must t#ere!ore !ind a suitable tenant !or Cissie, someone w#o

isn't t#e AwrongA sort o! person. Luy suggests t#e spinster Miss 4lans, w#om s#e met in

Florene, and proposes to write to t#em, as t#ey need a #ome. Mrs. "oney#ur#, #owe%er,

suggests !inding younger male tenants66people w#o are going up rat#er t#an down in t#e

world.

11. Ceil and Luy wal+ t#e rest o! t#e way #ome, and Ceil expresses #is disappro%al o! ;ir

"arry, w#om #e regards as brainless. Luy as+s #im w#et#er it matters so mu#, and Ceil

says t#at it matters %ery mu#. Ceil wants to wal+ in t#e woods, as+ing i! Luy would !eel

more om!ortable t#ere t#an in a room, and Luy assents t#at s#e would, more t#an in a

room wit# no %iew. 4t a learing, Ceil as+s i! #e an +iss #er, and s#e agrees, but #e

reali5es too late t#at #e #as as+ed aw+wardly and s#ould #a%e simply +issed #er.

1. C#apters 861( -page

1D. →

12.page o! D

1. Luy, Freddy, and Mr. eebe's niee Minnie are #itting tennis balls and #atting about Cissie

0illa wit# Mrs. "oney#ur#. Freddy re%eals t#at #e #as #eard t#e name o! t#e new tenants@

Emerson. Mrs. "oney#ur# wants to +now w#at Emersons t#ey are, to deide i! t#ey are

t#e rig#t +ind. Freddy says t#at t#ey are !riends o! Ceil, w#i# worries Luy. Mr. eebe

15





A ROOM WITH A VIEW

E.M. Forster

remembers t#e Emersons in Florene but doubts w#et#er su# people would be !riendly wit#

t#e wealt#y 0yses. "e reall t#at t#e Emersons !illed t#e room o! t#e Miss 4lans wit# blue

%iolets upon #earing t#at t#e women lo%ed !lowers, and desribes it as an at Asoungentlemanly and yet so beauti!ul.A

1. Mr. eebe mentions t#at Mr. Emerson, t#oug# %ery li+eable, was said to #a%e murdered #is

wi!e, w#i# reminds Mrs. "oney#ur# o! t#e name "arris t#at Luy mentioned in t#e

arriage. Luy !inds Ceil inside and #ides #im !or in%iting people a!ter s#e as+ed t#e Miss

4lans but says s#e t#in+s #is AnieA !riends will probably be better. Ceil re%eals t#at #e #as

planned to get ba+ at ;ir "arry's snobbis#ness by in%iting some lower6lass Emersons, a

!at#er and son, w#om #e met in t#e Kational *allery, and w#o #ad been to )taly. Ceil laims

t#at t#e lasses s#ould mix and says #e belie%es in demoray, but Luy says t#at #e

doesn't +now w#at demoray is. ;#e auses #im o! being disloyal, and berates #im !or

inter!ering wit# #er plans to in%ite t#e Miss 4lans. Ceil t#in+s inwardly t#at bringing t#e

Emersons to 3indy Corner will ma+e Luy less snobbis#, as well as reating entertainment

suitable !or t#e AComi Muse.A

17. $#e opening lines o! #apter 1( bring two t#emes into !ous. $#e "oney#ur# drawing6

room's urtains protet t#e !urniture !rom t#e damaging rays o! t#e sun, :ust as Luy #as

been proteted in )taly by #er ousin C#arlotte, and as Ceil will attempt to protet #er later

in t#e boo+ wit# #is on!ining ideas. $#e urtains also symboli5e #uman limitations@ people

are pre%ented !rom +nowing t#e glory o! #ea%en beause i! t#ey ould see it, it would be

AintolerableA to t#em. )nside, t#e !urniture and Luy may !eel sa!er, but t#ey are denied t#e

beauty o! a A%iew.A

18. "owe%er, Forster's desription o! t#e eart#ly world, as seen in t#e partiular drawing6room, is

one o! pleasantness. Freddy and Mrs. "oney#ur# ertainly #a%e t#eir !aults66Freddy is still

young and #is be#a%ior toward Ceil is =uite rude, w#ile Mrs. "oney#ur# an at times be

somew#at petty and obsessed wit# i%ilities, but bot# are sympat#eti #araters. $#roug#t#eir on%ersation, Ceil is portrayed as a less t#an pleasant person be!ore #e e%en ma+es

an appearane into t#e narrati%e66Freddy's #onesty gi%es extra weig#t to t#e sense o!

mistrust #e #as !or Ceil.

19. Ceil is assoiated in t#is #apter wit# t#e Middle 4ges, and ontinues to be t#roug#out t#e

boo+. $#is #apter, alled AMedie%al,A begins t#e story o! Luy's entanglement wit# #im,

16



A ROOM WITH A VIEW

E.M. Forster

w#ile t#e last #apter o! t#e boo+, A$#e End o! t#e Middle 4ges,A represents t#e !inal end o! it

one and !or all. Ceil's resemblane to t#e *ot#i statues o! saints suggests bot# #is soial

and #is p#ysial aw+wardness@ li+e a saint, #e seems di!!erent !rom e%eryday people. "isprudis#ness and -as will be seen re!usal to ta+e part in sport add to t#e sense o!

estrangement w#i# amounts to a saintly elibay.

(. 4long wit# #is appearane, Ceil's medie%al assoiations suggest t#at #e #olds t#e old

#i%alri notions o! ourtly lo%e, in w#i# Luy would be obliged to play t#e part o! t#e

passi%e medie%al lady w#o was disussed in t#e opening paragrap#s o! #apter 2. Luy,

#owe%er, is !irst desribed as sitting, outdoors, wit# t#e %iew o! ;ussex be#ind #er, as i!

#o%ering on a magi arpet. Mr. eebe later tal+s o! Luy as a +ite still being #eld down to

eart#, w#o will soon !ind #ersel! and begin to !ly. $#oug# engaged, Luy seems unwilling to

relin=uis# #er !reedom. E%en as Ceil omes inside wit# t#e news o! t#eir engagement, s#e

remains outside, #er #o%ering state s#owing t#at s#e an not yet !ollow #er impulses66

somet#ing still +eeps #er tied down.

1. C#apters 861( -page D

. →

D.page D o! D

2. $#e disussion o! !enes in #apter 9 s#ows #ow Ceil aepts t#e belie! t#at t#ere exist

immo%able and eternal barriers between soial lasses. Ceil !eels t#at t#ese barriers are

!ored on #im rat#er t#an reated by #im. Mrs. "oney#ur# says, A!enes are !enes,A

suggesting t#at t#e !ene is t#ere and one's attitude toward it and be#a%ior are a matter o!

#oie. For #er, t#e lass boundaries t#at s#ould #a%e pre%ented #er !amily !rom beoming

so #ig#ly regarded in t#e neig#bor#ood #a%e instead bent and been made looser by #er

pleasant personality and by s#eer good lu+.

. Luy's growt# to woman#ood began in t#e !irst #al! o! t#e boo+, but =ui+ens in t#e seond

#al!. "a%ing learned more o! #ersel! in )taly, it !alls upon #er to ta+e t#is +nowledge ba+ to

#er #ome and try to use it in #er old en%ironment, a di!!iult tas+. ;#e #as reali5ed -#apter

1(, t#at s#e must #a%e e=uality wit# t#e man s#e lo%es. Ceil's attitude toward women is

arrogant and dismissi%e@ #e treats #er ideas as i! t#ey are o! A!eminine inonse=ueneA

17





A ROOM WITH A VIEW

E.M. Forster

-#apter 9 and wants #er to on!orm to an image o! a Leonardo painting o! mystery and

=uietness, in w#i# #e is always dominant and t#e only one able to ma+e :udgements. "er

outburst against Mr. Eager in #apter 1( ma+es #im uneasy@ #e assoiates it wit# amusularity t#at an only, !or #im, exist in men.

. Ceil #ardly +nows t#e real Luy, but #as instead onstruted an image o! w#at an obedient

wi!e s#ould be. 3#en s#e tells #im t#e Emersons' true name -#apter 9, it is t#e most

intimate t#ing s#e #ad e%er re%ealed to #im. "e disregards #er !eelings about t#e people s#e

#as lo%ed all #er li!e, and tries to ma+e #er see #er own world t#roug# #is eyes. Kot only

does #e disappro%e o! people li+e Mr. eebe and ;ir tway, but #e laims t#at it matters

greatly to disappro%e o! su# people, suggesting t#at s#e s#ould :oin #im in #is

ondemnations.

7. C#apters 11612

8. →

9.page 1 o! D

30. Summary

D1. Luy goes to stay wit# Ceil's !amily in London, w#ere s#e reei%es a letter !rom C#arlotte,

!orwarded !rom 3indy Corner. C#arlotte #as !ound out t#at t#e Emersons are mo%ing to

;ummer ;treet. Luy and C#arlotte #ad a !alling6out in >ome and #a%e not been on su#

good terms sine t#en. C#arlotte wants Luy to tell #er mot#er and Ceil about w#at

#appened wit# #er and *eorge Emerson in t#e %iolets, but Luy writes ba+ reminding

C#arlotte t#at s#e #ersel! made Luy promise not to tell #er mot#er.

D. Ceil and #is mot#er introdue Luy to t#e London soiety t#at t#ey +now, and Luy reali5es

t#at in t#is urbane, sop#istiated world w#ere e%eryone seems a little bored wit# e%eryt#ing,

s#e will need to beome somew#at estranged !rom #er own past. ;#e plays t#e piano !or #er

#osts, but re!uses to play eet#o%en, Ceil's re=uest, and instead plays mourn!ul ;#umann.

Mrs. 0yse is t#rilled wit# #er and as+s Ceil to ma+e Luy Aone o! us.A Luy #as a bad dream

t#at nig#t !rom w#i# s#e awa+es wit# a s#rie+.

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DD. a+ at ;ummer ;treet, Mr. eebe ta+es Freddy to all on t#e Emersons, w#o are mo%ing

into t#eir new #ouse. $#eir rooms are !ull o! boo+s written by t#e latest no%elists and

p#ilosop#ers, w#i# impresses Freddy. *eorge appears and Freddy in%ites #im !or a swim int#e !orest pool. Mr. Emerson also arri%es, spea+ing p#ilosop#ially about a return to Kature.

D2. Mr. eebe aompanies t#e young men into t#e woods, aw+wardly and unsuess!ully trying

to ma+e on%ersation on su# topis as Kature and )taly. *eorge and Mr. eebe brie!ly

debate w#et#er t#eir li%es are ruled by oinidene, as Mr. eebe suggests, or Fate, as

*eorge #ea%ily belie%es. 4t t#e pool, Freddy exitedly strips and :umps in, and *eorge

apat#etially !ollows. Mr. eebe is on%ined to :oin t#em. $#ey tentati%ely start a water !ig#t,

w#i# esalates until t#ey are running na+ed around t#e pool and tossing lot#es

e%eryw#ere.

D. ;uddenly Mrs. "oney#ur#, Luy, and Ceil are seen ma+ing t#eir way down t#e pat# on

t#e way to %isit old Mrs. utterwort#, a neig#bor. Ceil tries to ta+e ommand, but e%eryt#ing

is #aoti, wit# Freddy #iding in t#e bra+en and Mr. eebe in t#e pond. *eorge, wit# only

#is pants on, greets Luy, w#o bows.

D. Ceil, Luy, and Mrs. "oney#ur# #a%e tea wit# Mrs. utterwort#, w#ere Luy re!lets t#at it

is impossible to plan a#ead !or situations. ;#e #ad been planning to bow w#en s#e met

*eorge, but t#e situation and #is As#out o! t#e morning starA made #er bow seem

inappropriate, a meaningless gesture. Ceil is ross wit# Mrs. utterwort#, w#om #e

despises, w#ile Luy, aware !rom C#arlotte's tea#ing t#at e%eryone #as !aults, tries to

smoot# o%er #er !ian's urtness.

D7. C#apters 11612 -page

D8. →

D9.page o! D

2(. 4!ter tea, Mrs. "oney#ur# is upset wit# Ceil, w#o be#a%ed rat#er rudely toward Ms.

utterwort#. ;#e doesn't t#in+ t#at Ceil's sop#istiation and !ine upbringing :usti!y #is

arrogant attitude. Luy !inds t#at #er worlds are beginning to las# as s#e tries to de!end

Ceil against #er mot#er. )n t#e proess, s#e mentions C#arlotte's letter, w#i# Mrs.

19





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"oney#ur# as+s about again at dinner, in=uiring w#et#er C#arlotte's boiler #as been

repaired yet. Bespite Luy and Ceil's ob:etions t#at t#ey !ind #er tiresome, Mrs.

"oney#ur# deides to in%ite C#arlotte to 3indy Corner. Ceil is insolent and disgusted byt#e entire on%ersation. Luy !eels t#at t#e g#osts surrounding #er trip to )taly are returning.

21. $#oug# tormented by internal doubts as to w#at s#e s#ould do, Luy #andles t#e external

situation wit# ourage. 3#en s#e meets *eorge at t#e >etory, t#ey bot# put aside s#yness

and spea+ o! )taly. *eorge seems to be in better spirits t#an #e one was. $#e narrator o! t#e

story interedes to explain t#at Luy t#in+ s#e lo%es Ceil and is ner%ous about *eorge, and

doesn't reali5e t#at t#e re%erse is atually true.

2. C#arlotte arri%es, on!using e%eryone by s#owing up at t#e wrong train station, missing Mrs.

"oney#ur# w#o was waiting at a di!!erent station, and ta+ing a ab to 3indy Corners.

ne s#e arri%es, Luy, Ceil, Freddy, Freddy's !riend Mr. Floyd, and Minnie try to persuade

#er not to pay t#em ba+ !or t#e ab !are, w#i# Freddy paid. 4 long protrated disussion

results in w#i# Freddy and Ceil try to tri+ C#arlotte into paying less, but Minnie interedes,

and !inally Luy goes into t#e #ouse to get #ange !rom a maid. C#arlotte !ollows #er and

=ui+ly begins as+ing w#et#er Luy #as told Ceil about *eorge. Luy ob:ets, saying t#at

*eorge won't present anyone any problems by being a Aad.A ;#e tries to exuse #is +iss by

saying t#at #e was simply arried away in a moment o! beauty, and ated irrationally, but t#at

it amounts to not#ing. Get s#e ma+es a little slip in #er explanation@ w#en telling C#arlotte

t#at it ma+es a di!!erene w#en you are o%erome by someone beauti!ul, s#e identi!ies t#e

person as a he and not a she.

2D. Luy's musi, as Mr. eebe notied earlier in t#e boo+, is a window into #er mood and t#e

wor+ings o! #er soul. $#e eet#o%en w#i# impressed Mr. eebe so mu# in )taly !or its

sound o! %itory #as now been supplanted, in Ceil's #ome, wit# t#e sad tragi =uality o!

;#umann. 4rt, a world w#i# is assoiated in t#e boo+ wit# t#e eternal and magni!ient, is

seen #ere to be :ust as suseptible to #uman trauma and wea+ness as t#e rest o! li!e66it isnot a transendene o! de:etion but t#e expression o! it. Luy's bad dreams also s#ow #er

misgi%ings about t#e upoming li!e t#at s#e will be expeted to li%e.

22. Mr. Emerson and *eorge belie%e in t#e e=uality o! t#e sexes, and Mr. Emerson in #apter 1

#opes !or a time w#en men and women will be on e=ual terms. )n t#e world o! nature, #e

seems to suggest, one sex does not dominate t#e ot#er, and t#e body is not despised. "e

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A ROOM WITH A VIEW

E.M. Forster

states t#e belie! t#at w#en people ease to be as#amed o! t#eir bodies and men and women

are e=ual, it will eu=ale=ual a return to t#e garden o! Eden, a paradise. Mr. Emerson's words

debun+, spei!ially, t#e in!luene o! C#ristian morality, w#i# asserts t#at t#e body's urgesare sin!ul and t#at woman -beginning wit# E%e is a temptress and a soure o! sin.

2. $#e bat#ing sene t#at !ollows s#ows Freddy, *eorge, and Mr. eebe, all !rom %ery di!!erent

soial enla%es, strip down and enter t#e water. $#eir bundles o! lot#es on t#e ban+ are t#e

trappings o! soiety, to w#i# t#ey must return? but t#ey are !or t#e moment !ree to at

play!ully, li+e #ildren. )n t#e proess, t#e lot#es are t#rown around? Freddy #as on t#e

lerial waistoat and *eorge #as on Mr. eebe's #at, and all soial ategories beome so

on!used as to be meaningless. *eorge beomes #eer!ul, beause !or one #e an li%e

outside t#e soietal on!ines t#at usually limit #im, and express :oy and be part o! beauty

wit#out being o!!ensi%e. $#e intrusion o! Luy, #er mot#er, and Ceil, =ui+ly brings

e%eryt#ing ba+, and at one t#e narrati%e roots itsel! again in soial distintions.

2. C#apters 11612 -page D

27. →

28.page D o! D

29. Luy #as been well taug#t in #andling soial situations, but s#e #as not yet learned to +now

#ersel!. $#us, #er +nowledge o! #ersel! is on!ined to t#e way s#e interats wit# ot#ers. 4s a

woman, s#e #as not been enouraged to t#in+ #er own t#oug#ts, but to !ind #er plae wit#in

a soiety dominated by men. $#e ourse o! e%ents t#at !ollows, partiularly wit# t#e

Emersons, will #elp #er to reali5e #er true desires. ;#e is too a!raid o! t#e t#ings s#e truly

wants to pursuet#empursue t#em, as t#ey !ore #er to re%olt against e%eryt#ing s#e #as

+nown t#us !ar.

(. "owe%er, t#e !eelings Luy #as !or *eorge do persist, mani!esting t#emsel%es

subonsiously, as in t#e slip in #er spee# to C#arlotte. ;#e doesn't reali5e yet, but

e%entually t#ese !eelings will ontinue to rise, unstoppable, between #ersel! and t#e

restritions t#at #old #er down.

1. C#apters 1617

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E.M. Forster

. →

D.page 1 o!

54. Summary

. )t's ;unday and t#e "oney#ur#es get ready to go to #ur#. 4!ter #ur#, Luy sees t#e

Emersons smo+ing in t#eir garden. Luy !ormally introdues t#em to #er mot#er, and t#e

Emersons say t#ey are t#in+ing o! lea%ing beause t#ey #a%e #eard t#at t#e Miss 4lans

were planning to li%e t#ere. *eorge says t#at t#ere is no way to ma+e e%eryone #appy, :ust

as anyone w#o stands in t#e sun must ast a s#adow somew#ere. Mrs. "oney#ur#

agrees.

. C#arlotte appears but re!uses to spea+ wit# t#e Emersons, bowing at t#em !rom t#e

arriage. *eorge somew#at aw+wardly aepts an in%itation to play tennis wit# t#e

"oney#ur#es t#at a!ternoon? Luy !inds #is aw+wardness endearing. Mr. Emerson

enourages #is son to go, w#i# Luy ta+es as a sure sign t#at *eorge #as not told #is

!at#er about t#e +isses in Florene. ;#e is delig#ted at t#e reali5ation, t#in+ing t#at t#e +iss

must not #a%e been an exploit, and t#at *eorge must not lo%e #er.

7. Freddy, Floyd, and *eorge want to play tennis, and need one more to ma+e a set o! !our.

Ceil re!uses on t#e grounds t#at #e is a bad player, Minnie must stay inside and obser%e

t#e ;abbat#, so Luy plays. Ceil bot#ers t#em all by reading and riti=uing a bad no%el out

loud. 4!ter t#e game, #e reads to Luy and *eorge, w#o reali5e t#at t#e boo+, w#i# ta+es

plae in Florene and onerns a woman named Leonora, must be by Miss La%is#, writing

under t#e pseudonym o! Josep# Emery <ran+.

8. *eorge and Luy are less interested in Ceil's boo+ t#an t#e beauti!ul %iew !rom 3indy

Corner. *eorge explains t#at all %iews are ali+e, made o! air and distane, but wit#somet#ing supernatural added t#at ma+es t#em un!orgettable to ertain people. "e

remembers #is !irst memory@ #is mot#er and !at#er and #imsel! loo+ing out into t#e distane.

Ceil gets !rustrated sine #e annot diret t#e on%ersation t#e way #e wants, but Luy

implores #im to stay and read on. "e reads part o! a #apter about a man embraing a

woman standing in a !ield o! %iolets in spring. Luy suggests t#at t#ey #a%e tea, #oping to

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E.M. Forster

a%ert disaster. n t#e way inside, #owe%er, Luy and *eorge !ind t#emsel%es alone, and

*eorge +isses #er again.

9. Luy !eels determined to sti!le t#e lo%e t#at s#e #ardly reali5es is rising between #er and

*eorge, and exuses #ersel! !rom tea in order to tal+ to C#arlotte. ;#e auses C#arlotte o!

telling Miss La%is# t#e seret o! t#e +iss in t#e %iolets, and wants C#arlotte to tal+ to *eorge

and set t#ings straig#t, w#i# C#arlotte does not %olunteer to do, so Luy summons *eorge.

Luy insists t#at #e lea%e and ne%er return to 3indy Corner. *eorge urges #er not to marry

Ceil, w#o #e says is pretentious, materialisti, and onerned only wit# gaining mastery

o%er Luy's !eelings. *eorge prolaims #is lo%e !or Luy and says t#at #e wants to lo%e #er

but also #a%e #er t#in+ !or #ersel!. *eorge says t#at i! s#e doesn't understand w#at #e is

saying, #e must !ae dar+ness.

(. *eorge lea%es, and Luy !inds #ersel! torn by strange emotions. Freddy again as+s Ceil i!

#e'll play tennis, but Ceil again re!uses. Luy suddenly reali5es t#at Ceil is Aintolerable,A

and deides to brea+ o!! t#e engagement.

1. C#apters 1617 -page

. →

D.page o!

2. Luy brea+s o!! #er engagement wit# Ceil, saying t#at s#e suddenly sees #ow di!!erent t#ey

are. $#oug# ta+en aba+, Ceil ta+es it rat#er well, but wants to +now #er reason !or not

lo%ing #im. ;#e explains t#at #is onstant s#eltering o! #er and attempts to de!ine #ow s#e

s#ould t#in+ are on%entional and insulting. "e tries to wrap #er up in boo+s and musi but

denies #er t#e beauty o! people and o! li!e. Ceil !eels t#at Luy #as re%ealed to #im t#e trut#

about #imsel!, and t#at #e sees #er as s#e really is !or t#e !irst time.

. Ceil lea%es Luy and s#e resol%es not to marry, but to +eep #er liberty. "owe%er, #er

resol%e to !ollow t#is pat# denies #er w#at #er #eart and brain +now to be true, and t#is

plunges #er into a +ind o! dar+ness.

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E.M. Forster

. Ceil's snide and loat#some #arater is !ully de%eloped in t#ese #apters. "is re!usal to

play tennis s#ows t#at #e is not able to perei%e t#at t#e ot#ers want #im to play regardless

o! w#et#er #e is a good player. "e t#en proeeds to bot#er t#e players wit# readings !rom#is no%el, w#i# only distrat t#em. "is sel!6absorbed nature and insensiti%ity to ot#er

people, as well as #is !a%oring o! boo+s bot#er Luy somew#at. ut until *eorge tells #er

exatly w#y s#e s#ould not marry Ceil, s#e doesn't reali5e exatly w#at annoys #er and to

w#at extent.

7. *eorge's spee# on %istas s#ows #is !at#er's in!luene o%er #im. "is omparison o! %iews to

rowds s#ows t#at in people as in landsapes, t#ere an emerge somet#ing #ig#ly power!ul

in t#e olleti%e w#ole w#i# t#at annot be appreiated in :ust one indi%idual. I<4>4*>4<"

4s *eorge points out to Luy, Ceil doesn't %alue #uman li!e, w#i# *eorge #arateri5es as

AsaredA -#apter 1. 4s >ose Maauley #as pointed out in #er boo+, The Writings o" E. (.

Forster& all t#e ma:or #araters in t#e boo+ w#o an be identi!ied wit# t#e !ores o! AgoodA

s#are a !lexible appreiation o! ot#er people t#at a%oids t#e strit morali5ing and pigeon6

#oling o! traditional %alues.

8. Luy's brea+6up wit# Ceil re%eals t#e better side o! #is nature. "a%ing reali5ed #ow !oolis#

#e was to try to master Luy, #e !inally sees #er !or w#at s#e is, an independent woman

rat#er t#an a passi%e wor+ o! art. $#is too6late understanding o! Luy gi%es #im a gallant and

noble side t#at was in%isible be!ore@ s#e grants #im a personal enlig#tenment t#at #e ould

not #a%e ot#erwise reei%ed, :ust as ot#er #araters in t#e boo+ enlig#ten #er. ;#e

o%erreats to #is omment about #earing #er spea+ in anot#er %oie, #owe%er, and #er

subonsious guilt about lo%ing *eorge s#ows t#roug# in #er !iere, unalled6!or assertion

t#at t#ere is no one else.

9. Luy's resolution to ome to +now #ersel! by re!using to marry, #owe%er, only suppresses a

%ery real part o! #ersel!@ #er lo%e !or *eorge. ;#e uses t#e ideas o! women's liberty to

esape #er true emotions. "er denial o! t#is %ery basi trut# about #ersel! leads #er toplunge #ersel! into w#at Forster alls t#e dar+ness, li%ing a li!e o! !alsity.

7(. C#apters 186(

71. →

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E.M. Forster

7.page 1 o! D

73. Summary

72. Mr. eebe reei%es a letter !rom t#e Miss 4lans stating t#at t#ey #a%e deided to tra%el to

*reee and per#aps Constantinople, and t#e t#oug#t o! t#e two spinsters amuses #im so

mu# t#at #e pays a all at 3indy Corner to tell Luy. n t#e road, #e passes Ceil and

Freddy, on t#eir way to bring Ceil to t#e station. Freddy tells Mr. eebe about t#e brea+6up.

7. $#e "oney#ur# #ouse is in a tumult, as t#e winds t#reaten Mrs. "oney#ur#'s !lowers.

Luy plays Mo5art in t#e drawing room, !eeling despondent. Mr. eebe deides to relie%e

e%eryone by ta+ing C#arlotte and Minnie out !or tea at t#e ee#i%e $a%ern. Mr. eebe !inds

out !rom Luy t#at t#e !amily #as not appro%ed o! #er deision. Luy, meanw#ile, is using #er

!amily as an exuse to :usti!y #er sadness, w#i# #as anot#er ause s#e doesn't reali5e !ully.

7. Mr. eebe tells #er about t#e Miss 4lans' trip, and Luy suddenly deides t#at s#e must go

wit# t#e two old women in order to get away and +now #er own mind. Mr. eebe and

C#arlotte disuss t#e situation o%er t#eir trip to get tea, and C#arlotte urges #im t#at t#ere

must be omplete serey around t#e news o! t#e bro+en engagement. Mr. eebe tells

C#arlotte o! Luy's wis# to go to *reee, w#i# #e !inds problemati, but w#i# C#arlotte,

unexpetedly, !ully endorses. ;#e is mysteriously urgent about t#e importane o! Luy's trip,

and Mr. eebe agrees to #elp persuade t#e !amily to allow #er to go. ;eretly, #e belie%es in

elibay, and #opes t#at Luy may remain a %irgin i! s#e goes away.

77. a+ at 3indy Corner, Mr. eebe puts in a good word !or t#e idea o! t#e :ourney, and Luy is

allowed to go. ;#e is glad, but not as glad as s#e expeted to !eel.

78. )n London -#apter 19, Mrs. "oney#ur# and Luy %isit t#e Miss 4lans, w#o are pleased to

#a%e Luy :oin t#em. $#ey t#in+ Luy is still engaged. 4!ter t#e %isit, Mrs. "oney#ur# as+s

#er daug#ter w#y s#e won't di%ulge t#e trut#, but Luy re!uses to say t#at s#e is worried t#at*eorge will !ind out and will ontinue #is ad%anes. Mrs. "oney#ur# !eels #urt t#at #er

daug#ter wants to lea%e #ome, but Luy laims t#at s#e wants #er independene, t#oug#

s#e doesn't really +now w#at s#e wants. Mrs. "oney#ur# auses #er o! sounding li+e

C#arlotte.

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E.M. Forster

79. n t#e way #ome, t#ey pass Cissie %illa. Ko lig#ts are on, and t#e gate is padlo+ed. $#eir

dri%er in!orms t#em t#at t#e Emersons #a%e le!t. Luy !eels t#at all t#e energy spent on

going to *reee is unneessary. 4t t#e >etory, t#ey stop !or C#arlotte, w#o wants to go to#ur#. Mrs. "oney#ur# agrees to go wit# #er, but Luy re!uses, and is instead led into t#e

>etory's study.

8(. C#apters 186( -page

81. →

8.page o! D

8D. $#ere s#e omes aross Mr. Emerson, w#o begins to apologi5e !or *eorge's be#a%ior,

explaining t#at #e taug#t #is son to trust in lo%e, beause passions lead one to

understanding. "e as+s Luy not to be too #ars# on *eorge, and not to all #is be#a%ior

Aabominable,A espeially beause *eorge #as Agone under,A in t#e sense t#at #e will ne%er

!ind anyt#ing in li!e wort#w#ile again. "e explains t#at *eorge's mot#er !elt t#e same way

w#en s#e died. $#ey #ad deided not to #a%e *eorge bapti5ed, but w#en #e aug#t typ#oid

!e%er as a boy, s#e blamed #ersel! !or not bapti5ing #im.

82. Kow, Mr. Emerson says t#at *eorge an't bear to be near Luy and #er !amily and is ta+ing

#is !at#er to #is London rooms. Luy implores #im to stay, and re%eals t#at s#e is going to

*reee. Luy begins to lie about #er trip, laiming t#at s#e is going wit# Ceil. Finally s#e

tells Mr. Emerson t#at in trut# s#e is not going wit# Ceil, t#oug# s#e lies about t#e reasons

!or #is absene. Mr. Emerson tells #er t#at #e t#in+s s#e is in a Amuddle,A and is not listening

to t#e true wis#es o! #er soul. "e tells #er t#at s#e lo%es *eorge, w#i# s#o+s #er. "e

explains t#at no matter w#ere s#e goes or w#at s#e does, t#e lo%e will stay wit# #er beause

it is eternal. ;#e begins to ry, but as #e tells #er t#at dar+ness #as been reeping into #er

soul, s#e sees #ersel! learly at last. Mr. Emerson urges #er to at aording to w#at s#e+nows to be true, e%en i! ot#ers despise #er !or it.

8. )t is spring again -#apter (, and Luy and *eorge #a%e eloped and are staying in t#e

ertolini <ension, in a room wit# a %iew. *eorge !eels t#at many people and t#ings #a%e

#elped #im !inally !ind #appiness@ #is !at#er, Luy, and )taly among t#em. )n t#eir #appiness

toget#er, t#ey #ope t#at t#eir lo%ed ones will !orgi%e t#em in time and ome ba+ to t#em.

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$#ey rue!ully remember C#arlotte, and #er unpleasant manner. *eorge t#in+s t#at C#arlotte

+new, w#en Luy went into t#e study, t#at Mr. Emerson was t#ere, and allowed #er to go

anyway. Luy doubts t#is, but *eorge insists t#at #is !at#er saw #er be!ore Luy arri%ed.Luy wonders i! per#aps C#arlotte, ontrary to all #er ot#er be#a%ior, meant !or t#ings to

#appen as t#ey #a%e. *eorge t#in+s t#at underneat# it all, C#arlotte #as always #oped !or

t#e two to ome toget#er. $#ey !eel onsious o! t#eir re=uited lo%e !or one anot#er, but also

o! anot#er, more mysterious lo%e.

8. ;tarting wit# #apter 18, e%eryone begins to at irrationally, all beause o! Luy's irrational

be#a%ior. ;#e is e%en desribed as #ysterial as s#e spea+s wit# Mr. eebe, and #er need

to esape to *reee !rom proximity to *eorge in!ets e%eryone, !rom C#arlotte to Mr. eebe

to #er mot#er. Mr. eebe !inds C#arlotte's impassioned and #ig#ly mysterious manner %ery

on%ining, and also !eels ompelled by a #ig# regard !or elibay to pre%ent Luy !rom

marrying. $#is strange !ixation t#at Mr. eebe #as !or religion and %irginity is only brie!ly

s+et#ed out, but seems to be t#e only reason !or #is be#a%ior later in t#e boo+, w#en #e

stands in t#e way o! Luy and *eorge's #appiness by in!luening Mrs. "oney#ur# against

t#e mat#.

87. $#e song t#at Luy sings at #er piano in #apter 18 spea+s o! li%ing easily yet %aantly,

w#i# aptly desribes t#e li!e s#e #as reently set out to lead. "er desire to esape !rom

w#at s#e !ears beomes stronger t#an #er more true desires to onnet wit# *eorge. $#us

s#e beomes enmes#ed in t#e AmuddleA w#i# Mr. Emerson perei%es in t#e >etory. "is

ad%ie to #er aords to a belie! in At#e #oliness o! diret desire,A w#i# #olds t#at lo%e

emerges !rom t#e body's intuition and !rom t#e will o! t#e indi%idual. Just as Mr. Emerson

wis#ed !or men and women to be on e=ual terms as Kature intended, so #e wants Luy to

reali5e t#at Kature, t#e body, is t#e seat o! #er soul, and is t#e plae to sear# !or #er

answers.

88. 4s t#e Emersons tea# Luy to !ind #er indi%iduality and !ollow its guidane, Luy s#ows*eorge t#at t#ere is #appiness in li!e despite all o! t#e un+nowns. )n t#e !inal sene, *eorge

omments t#at t#ere's not#ing to ry at, so #e will laug#. Luy's presene and t#e entire

"oney#ur# !amily, #a%e trans!ormed *eorge !rom a morose young man into a person able

to experiene :oy.

89. C#apters 186( -page D

27



A ROOM WITH A VIEW

E.M. Forster

9(. →

91.page D o! D

9. $#e be#a%ior o! C#arlotte is le!t ambiguous at t#e end o! t#e boo+. Bid s#e really deide to

#elp Luy to !ind #er true lo%eH C#arlotte #ersel!, as re%ealed earlier in t#e story, one

denied #ersel! lo%e by beoming an old maid. )t is possible t#at s#e regrets #er #oie and

does not want to see #er young ousin ta+en up by t#e dar+ness !ore%er. "er at o! unsel!is#

be#a%ior may be t#e more AmysteriousA lo%e t#at *eorge and Luy !eel at t#e end o! t#e

boo+.

9D. 4t t#e time Forster wrote A Room with a View& new Edwardian ideals were replaing t#e old

0itorian soial norms. $#ese ideals were more liberal and open6minded, stressing t#e

possibility !or #uman impro%ement t#roug# a liberal eduation. Mr. Emerson's attempts to

tea# #is son aording to #is ideas ma+e #im seem li+e a spo+esperson o! t#e modern

sensibility. 3it#out #is guidane, Luy annot !ully ome into #er own? li+ewise, Forster

seems to suggest, wit#out t#e new rise in soial liberalism, women will remain on!ined in

t#e 0itorian sentiments t#at always plaed t#em at a le%el in!erior to men.

92. ;tudy /uestions

9. →9. Bisuss t#e role o! nature in t#e boo+ and its rele%ane to t#e struggles o! #araters to

ma+e deisions about t#eir li%es.

97. Buring t#e swimming sene, Mr. Emerson points out t#at man must return to nature. 3#en

riding in t#e arriage into t#e ountryside, #e also expresses t#e idea t#at man+ind s#ould

not detest t#e impulses !ound in nature, su# as t#e impulse !or lo%e, w#en t#ey our in

people. $#e boo+'s struture s#ows t#at nature and man are lin+ed. $#e lo%e between Luy

and *eorge is !ostered in spring and rea#es its onsummation in spring again, w#ereas t#e

oming o! autumn sets Luy's soul reeling into a metap #ysial dar+ness. Bar+ storm louds

settle o%er #er town on t#e day t#at s#e announes #er plans to go to *reee. 4ording to

Mr. Emerson's %iew and t#e %iew t#at t#e boo+ most sympat#etially presents, t#e best way

to li%e one's li!e is to be true to one's nature, and to !ollow it in spite o! all soietal pressures.

28

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A ROOM WITH A VIEW

E.M. Forster

nly t#roug# !ollowing nature will people !ind lo%e, and only t#roug# lo%e will t#ey be able to

understand ea# ot#er and t#e world. 4ll t#at is neessary is t#e ourage to listen to nat ure.

98. ibliograp#y99. →

1((. Forster, E. M. A Room with a View. Kew Gor+@ Bo%er <ubliations, )n., 199.

1(1. Bas, *. &., and Jo#n eer. E. (. Forster) A Human E*loration& +entenary

Essays.Kew Gor+@ Kew Gor+ ni%ersity <ress, 1979.

1(. Furban+, <. K. E. (. Forster) A Li"e. Kew Gor+@ "arourt, 1977.

1(D. Maaulay, >ose. The Writings o" E. (. Forster. Kew Gor+@ arnes and Koble, )n.,

197(.

1(2. "ow to Cite $#is ;par+Kote

1(. →

1(. FLL )L)*>4<")C C)$4$)K

107. MLA

1(8. ;par+Kotes Editors. N;par+Kote on 4 >oom wit# a 0iew.O ;par+Kotes.om.

;par+Kotes LLC. n.d.. 3eb. 11 May (1.

109. The Chicago Manual of Style

11(. ;par+Kotes Editors. N;par+Kote on 4 >oom wit# a 0iew.O ;par+Kotes LLC. n.d..

#[email protected]+notes.omIlitIroomI -aessed May 11, (1.

111. AA

11. ;par+Kotes Editors. -n.d.. ;par+Kote on 4 >oom wit# a 0iew. >etrie%ed May 11,

(1, !rom #[email protected]+notes.omIlitIroomI

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A ROOM WITH A VIEW

E.M. Forster

11D. )K $EP$ C)$4$)K

114. MLA

11. N$#eir on%ersation is aw+ward, espeially w#en s#e mentions 3i+#am, a sub:et

Bary learly wis#es to a%oidO -;par+Kotes Editors.

11!. AA

117. N$#eir on%ersation is aw+ward, espeially w#en s#e mentions 3i+#am, a sub:et

Bary learly wis#es to a%oidO -;par+Kotes Editors, n.d..

118. F$K$E

119. The Chicago Manual of Style

1(. C#iago re=uires t#e use o! !ootnotes, rat#er t#an parent#etial itations, in

on:untion wit# a list o! wor+s ited w#en dealing wit# literature.

11. 1 ;par+Kotes Editors. N;par+Kote on 4 >oom wit# a 0iew.O ;par+Kotes LLC. n.d..

#[email protected]+notes.omIlitIroomI -aessed May 11, (1.

1.

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