A Room With A View | Analysis

In the beginning of the novel Forster presents repression within the English class system resulting in a life with no view which is represented by the actual fact that Lucy and Charlotte did not have the rooms overlooking the Arno that they expected. Charlotte presents the stiff and conventional population that is positioning Lucy again. Charlotte's "protecting embrace" offered Lucy the "experience of fog". She needs Lucy to respond in a "ladylike" way and wants her to avoid any improper behaviour with young men. Charlotte retains Lucy back again from expressing her true feelings with George Emerson perhaps because of being humiliated herself in a love affair many years previously. "I've met the type before. They seldom keep their exploits to themselves. " It has prevented Charlotte from since true love is accessible therefore presents to Lucy "the complete picture of an cheerless, loveless world" with no view. Forster also shows the audience that there are romantic features hidden inside her. That is shown when she secretly tells Neglect Lavish about George and Lucy's kiss who then proceeds to write her novel about any of it. This same repression is seen with Lucy who takes on her piano with enthusiasm exhibiting that only through her music can Lucy truly point out herself usually she is merely an ordinary conventional girl. "If Miss Honeychurch ever calls for to reside as she takes on, it'll be very thrilling" (p30) Mr Beebe is looking forward to the moment when Lucy can liberate from Charlotte and lead a far more vibrant and daring life. When Lucy results to her home in Britain "the drawing room curtains at Windy Part had been pulled to meet for the carpet was new and deserved cover from the August sunshine. They were heavy curtains, achieving almost to the ground, and the light that filtered through them was subdued and varied". The pulling room curtains protect the furniture from the damaging rays of the sun, just as Lucy has been safeguarded in Italy by Charlotte. There is no view and the light has been clogged. This symbolises how Lucy is repressed and avoided from seeing the true nature of life. They can be denied the wonder of your "view". Cecil also attempts to safeguard Lucy along with his confining ideas. Cecil's frame of mind towards women is arrogant and dismissive: he treats Lucy's ideas as though they may be of "feminine inconsequence" and desires her to conform to an image of any Leonardo painting of unknown and quietness, in which he is always dominant. When Lucy thinks of Cecil "it certainly is in a room" and one "without view" (p99). This illustrates how Cecil is repressing Lucy's emotions, providing her with a life of monotony and so preventing her viewing the true view of life.

Forster uses Italy to awaken Lucy to new ways of pondering and the opening up of windows to see the world. "The well-known world experienced split up, and there emerged Florence, a marvelous city where people thought and did the most incredible things" that has "the energy, perhaps to evoke passions, good and bad, and bring them to speedy fulfilment" (p51). Italy is uninhibited by school restrictions and this sensation of equality and freedom shakes the foundations of Lucy's prior view of the world. It is a location where anything can happen. Lucy's take on life initially begins to open up by George and Mr Emerson swapping rooms. "I've a view, I have a view. . . That is my son. . . his name's George. He has a view, too. " Mr Emerson is talking about their views of the river, however the Forster intends the written text to have a double meaning. The Emersons' view has to do with more than the quality of their rooms and Forster signifies a metaphorical meaning in that the Emersons have a superior view of life which is a lot freer and much more exciting. Miss Lavish takes her Baedeker guidebook and subsequently loses her in Santo Croce when "for just one ravishing second Italy appeared" to Lucy. Inside the church he fits the Emersons who show her how to enjoy the chapel by pursuing her center not by her guidebook. Their philosophic view helps Lucy in her exploration of her own life and the planet. "The pernicious appeal of Italy worked on her, and instead of acquiring information, she began to be happy". Furthermore when Lucy witnesses the murder and the Italian falls at her toes she is overcome the spontaneity of the occurrence. When she regains consciousness after fainting and it is rescued by George, she realises that she "as well as the dying man, possessed crossed some religious boundary". Lucy begins to appreciate that her image of the entire world based how others think she should be has been replaced by spontaneous response and fresh instinct. A new view is opening up for her. "She contemplated the River Arno, whose roar was suggesting some sudden melody to her ears". This view of the river symbolises the fantastic change inside Lucy and the trip to find her true view of life. Lucy however is not reborn into a passionate woman until she is kissed by George. "The view was creating finally". Forster is displaying how Lucy's discovery of her view mirrors her personal discovery. Her encounters in Italy change her, presenting her new eyes to view the entire world, and a view of her own heart and soul as well.

Finally Lucy at will last gains independence to look out of windows. She is able to see clearly what she would like from life. George instructs her that Cecil only perceives her as an subject to be respected and can never love her enough to offer her freedom, while George adores her for who she truly is. "Conventional, Cecil, you're that, for you might understand beautiful things, nevertheless, you have no idea how to utilize them; and you wrap yourself up in fine art and books and music, and would try to wrap up me. I will not be stifled, not by the most glorious music, for people are definitely more glorious, and you hide them from me. " She then breaks off her proposal with Cecil and in doing this she breaks the sociable code of modern culture. A last minute meeting with Mr Emerson convinces Lucy to say that and act after her love for George. "How he managed to strengthen her. It had been as if he had made her see the full of everything simultaneously. " At the end of the book George and Lucy have eloped and also have came back to the same Pension in Italy and look out from the same home window to the future world. Although they both look out to the same view of Italy it is with an extremely different view of the world. George's view is becoming clear through his romantic relationship with Lucy who has given him a point to his lifetime and Lucy's view has transformed both psychologically and by breaking away from her social course. They both have a literal and metaphorical "room with a view" one that entails living for as soon as and not simply for modern culture.

In summary Forster's subject "A Room with a View" is very affective because through Lucy's eye we have strayed through the roadways of Florence and came back slightly changed, unable to go through the world in the same old way. We all need the room expressing our personal truths and the openness and liberty to love that the views in Forster's book represent.

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