A Room with a View (Barnes & Noble Classics Series) by E. M. Forster

By E. M. Forster

An enthralling story of the conflict among bourgeois repression and radical romanticism, E. M. Forster’s 3rd novel has lengthy been the preferred of his early works. a tender woman, Lucy Honeychurch, and her chaperon—products of right Edwardian England—visit a tempestuous, passionate Italy. Their “room with a view” permits them to check out a global some distance various from their very own, an international unconcerned with conference, unfettered via social rituals, and unafraid of emotion. quickly Lucy unearths herself guaranteed to an evidently “unsuitable” guy, the melancholic George Emerson, whose unsuitable advances she dare no longer publicize. again domestic, her pal and mentor Charlotte Bartlett and her mom, attempt to manage her into marriage with the extra “appropriate” yet smotheringly boring Cecil Vyse, whose surname indicates the imprisoning impact he could have on Lucy’s spirit.

A colourful gallery of characters, together with George’s riotously humorous father, Lucy’s sullen brother, the novelist Eleanor Lavish, and the reverend Mr. Beebe, line up on each side, and A Room with a View unfolds as a delightfully satiric comedy of manners and an immensely gratifying love tale.

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Extra resources for A Room with a View (Barnes & Noble Classics Series)

Sample text

A tour abroad therefore seemed an appropriate way to spend his first year out of school, a kind of gestation period before life began in earnest. The Forsters departed at the beginning of October, and it was immediately apparent that it would not be a perfect trip. In a letter to his friend Edward Dent, dated October 22, 1901, Forster wrote that the journey had got off to a 舠devilish start舡: 舠wrong tickets, unexpected arrival in Paris, sick headaches, quarrelling, lost luggage舡 (Selected Letters, vol.

I can hardly believe that all kinds of other things are just outside. 舡 舠This meat has surely been used for soup,舡 said Miss Bartlett, laying down her fork. 舠I want so to see the Arno. The rooms the Signora promised us in her letter would have looked over the Arno. The Signora had no business to do it at all. 舡 Lucy felt that she had been selfish. 舠Charlotte, you mustn舗t spoil me: of course, you must look over the Arno, too. I meant that. The first vacant room in the front舒舡 舠You must have it,舡 said Miss Bartlett, part of whose travelling expenses were paid by Lucy舗s mother舒a piece of generosity to which she made many a tactful allusion.

For a young man his face was rugged, and舒until the shadows fell upon it舒hard. Enshadowed, it sprang into tenderness. She saw him once again at Rome, on the ceiling of the Sistine Chapel, carrying a burden of acorns (p. 28). If Lucy is viewed as a work of art (as the title of chapter 9 proclaims), then so is George, and so, for that matter is Cecil, whom the narrator introduces to us as 舠mediaeval. Like a Gothic statue舡 (p. 85). Thus even the reader is made complicit in the mode of art appreciation; we are instructed to see Cecil that way, even as Forster points out the potential dangers of doing so.

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