A Love Story in E.M Forster’sA Room with a View

From this day you must be a stranger to one of your parents. ---Your mother will never see you again if you do not marry Mr. Collins, and I will never see you again if you do’” (97). Mrs. Bennet makes a fuss over trivial things and is partial to exaggeration. These attributes prompt her children and husband to see her as unimportant and harmless. Although her word is ineffective in her household, Mrs. Bennet’s persistence to marry her daughters is ceaseless: “Not yet, however, in spite of her disappointment in her husband, did Mrs. Bennet give up the point. She talked to Elizabeth again and again; coaxed and threatened her by turns” (97). Mrs. Bennet can’t see past her marital ideals for her daughters and can’t understand why they don’t concern themselves as ardently as she does with them. In a fit of anger, Mrs. Bennet claims to disown Elizabeth for refusing Mr. Collin’s proposal by stating, “’But I tell you what, Miss Lizzy, if you take it into your head to go on refusing every offer of marriage in this way, you will never get a husband at all --and I am sure I do not know who is to maintain you when your father is dead’” (98). Elizabeth’s mother thinks that her threats have weight but all the Bennet children know her warnings are hollow. Even when Lydia runs away with Wickham and brings shame to the Bennet family, Mrs. Bennet is only concerned with the fact that Lydia is getting married: “She was now in an irritation as violent from

In portraying the dichotomy of virtue between Boyer and Sanford, Foster means to convey the moral sense in courting a chaste man like Boyer, and the great error in pursuing a libertine like Sanford. It is Foster’s intent to show Eliza’s carefree indecision as a hindrance to her true happiness and ultimately as the reason for losing Boyer. Conversely, Peter Sanford acts as a moral foil to the virtue of Reverend Boyer; he is charming, but manipulative, deceptive, and rakish. It is the author’s intent to portray Major Sanford as the type of man to which women of inconsistent virtue were likely to be drawn. Eliza is shown as not caring about Sanford’s past indiscretions (and ultimately suffering for it), saying “a reformed rake makes the best husband” (Foster, p.49). The social convention of the day was for women to marry quickly and smartly; it is Foster’s intent to illustrate how a woman active in society life and frivolous in her affairs will ultimately end up being a woman with no

It is also notable that the protagonist’s room is located at the top of the mansion and was formerly a nursery. At the top of the mansion, she is far away from everyone and everything and can only look out from her barred window. This is similar to the tale of Rapunzel, a girl trapped in a tower with no one to communicate with. The narrator’s room being a former nursery and playroom may also give insight to John’s attitude towards her, in that he sees her as a child that needs to be pacified and doted on rather than a grown woman that can make her own choices about her illness and its treatment. The yellow wallpaper that decorates the room is what catches the narrator’s eye, as she finds it unbearably

Lucy lectures Eliza on her “coquettish” ways and suggests that she be cautious in her attempt to rebel (7). However, Eliza does not heed Lucy’s advice and continues her quest for her ideal husband.

The reader’s first real introduction to the Victorian society and the women within is through Lucy Westenra and Mina Murray’s letters to each other. The letters reveal both of their characters and in their diary entries, the way the men act towards them. This reveals the society's view of women, often thinking of them as being below men, silly and childlike. When Lucy is introduced, she comes off

     A Room with a View, by Edward Morgan Forster, presents the story of Lucy Honeychurch, a young woman belonging to English “high society.'; Foster places this young maiden in a state of conflict between the snobbery of her class, the “suitable and traditional'; views and advice offered by various family members and friends, and her true heart’s desire. This conflict “forces Lucy Honeychurch to choose between convention and passion (Bantam Intro-back cover),'; and throws her into a state of internal struggle, as she must sift through the elements of her “social conditioning'; and discern them from her true emotions and desires. Foster develops and utilizes Lucy’s internal struggle as a means of transforming her from

The story begins in a hotel placed in Italy where a “muddle” takes place over the switching of rooms for a view. In these first few pages the main character describes Mr. Emerson the man who had offered his room as having some childness aspect but “not the childishness of senility” (pg 4). The author in my eyes is trying to draw a connection to the character and his reformist views and tie childness into Mr.Emerson as his matching views are new and young. The two characters introduced hold a large role in being the authors symbols of the peaking liberal social class mostly relevant in Italy unlike the sober aged ideals displayed in Windy Corner, Lucy’s childhood home in England. Another display of this conflicting culturalism is shown by the support of Lucy, Charlotte, and others in Mrs. Lavish, who was a struggling italian author in pursuit of writing a new novel paralleled with Mrs.Honeychurch’s outburst over the misuse of a woman's time and place when hearing about the female writer. Mrs. Honeychurch

Although the isolation that defines much of Jane Eyre’s life seems only alienating, it also proves to be enriching, for Jane uses that isolation as a basis to truly appreciate the love she discovers when her family is revealed to her after she gains a large inheritance from a distant relative. She would not have been able to truly find and value the love in her family if not for the despair experienced early in life, as that despair led her to her family. She uses her loneliness to gather strength when it is most needed, allowing her to totally heal from the trauma of the red-room and enjoy the eternal warmth her new loving life

Another small but important window scene takes place after Clarissa returns home to discover that her husband has been invited to Millicent Bruton’s lunch party but she has not. After reading the message about the party on a notepad, she begins to retreat upstairs to her private room, “a single figure against the appalling night.” As she lingers before the “open staircase window,” she feels her own aging, “suddenly shriveled, aged, breastless… out of doors, out of the window, out of her body and brain which now failed…” Again, there is a hint of danger as death is portrayed as a somewhat alluring transcendental experience,

Lucy Honeychurch is a dynamic protagonist in A Room with a View and her voyage to Italy drastically changes her perspective about conforming to society. Lucy is from the English middle class, and her family sends her to Italy with her cousin Charlotte for a cultured experience to become more sophisticated and educated. This vacation is irregular; Lucy develops a romantic relationship with George, and she challenges her past judgements of English society. This vacation signifies the beginning of Lucy’s growth as an individual. The title A Room with a View states the progression of Lucy Honeychurch’s accidental journey of introspection and her desire to find independence and escape from English social norms.

Elizabeth also possesses moral strength. She constantly tries to restrain Lydia's frivolity and inability to do what is fitting, or just plain good manners, in what looks to be a losing battle. When Lydia interrupts Collins' reading aloud of a sermon, Elizabeth bids her to hold her tongue. She strongly feels the impropriety and shame of Lydia's constant and avid seeking out of male attention and company. When Lydia is invited by Mrs. Forster to join the regiment in Brighton, Elizabeth endeavours to make her father stop Lydia. Unlike her father, who never restrains Lydia but rather enjoys the sight of her making a fool of herself,

A Room with a View by E.D. Forster explores the struggle between the expectations of a conventional lady of the British upper class and pursuing the heart. Miss Lucy Honeychurch must choose between class concerns and personal desires.

Whereas Charlotte’s personality was overwhelming, like a string on a kite that keeps it from going further (354), Cecil holds Lucy back and confuses her in another way. Cecil’s extreme passiveness further stifles Lucy’s vigor and free-thinking. To put it bluntly, the man is a sissy. Cecil is too busy bending his nose into books to grow a straight backbone. Charlotte never challenged Lucy because she was always too concerned about sheltering her and keeping up high class appearances. Cecil never challenged Lucy because he just plain did not know how to do so. Cecil never possessed a spirit that would

England has always had a rich history of interesting cultural traditions but arguably none as prevalent as marriage. Marriage, the union of two people with emotional ideals and expectations, are brought on by many different factors that include: for love, for money, for climbing social status, escapism, survival, etc. In Jane Austen’s novels, she focuses on the importance of marriage in her world because she wanted to emphasize how marriage is the most important life event of a woman as this would determine her place in society. Persuasion shows readers good and bad examples of marriage: the amiable Crofts and other couples such as Sir Walter & Lady Elliot and the Smiths. Jane Austen uses the Crofts to support the importance of marriage

The narrator describes the entire mansion from the hedges to the gates, to the garden as “the most beautiful place ever”. All of it is beautiful except for the bedroom in which she is kept in, but again the room selection was not her choice. “I don’t like our room a bit. I wanted one downstairs that opened on the piazza and had roses all over the window, and such pretty old-fashioned chintz hangings! But John would not hear of it.” The room had previously been a child’s nursery, and had bars on the window. Though she recently had a child, her newborn did not occupy this nursery. The baby was looked after by Johns’ sister, something he had also arranged, and the narrator had very little contact with her child. As the story progresses, the narrator begins to fill more and more trapped by the room and completely obsessed with the “repellent, almost revolting” yellow wallpaper that surrounds her. In many of her secret