Criticalon A Room With A View Essay Example

Lucy must also confront the prejudice that seems ingrained in the upper class of that time. Later in the story, both the father and son face ridicule from Cecil Vyse, Lucy's fiance. Although I did not know much about Forster's personal life, I was aware of the societal attitudes towards homosexuality during his time, especially considering his association with the Bloomsbury group.

The Bloomsbury group, consisting of members who deliberately rebelled against the constraints of Victorian society, had a significant impact on the avant-garde in art and literature in Britain. F.R Leavis criticized Bloomsbury as being superficial and elitist, which could be considered as a reflection of the class prejudice that Forster faced. The novel A Room with a View can be analyzed through queer theory, as evident from its inclusion in the gay books list of sales in the UK. While some view it as a social commentary, I found Forster's injection of generalized machismo through the character of the elder Emerson noteworthy. This viewpoint, though outdated in contemporary society, is often present in the works of many gay writers, albeit expressed differently. Reading the novel, one can start applying queer theory with some knowledge of Forster, which can be further enhanced by watching the acclaimed film adaptation of the same title that highlights the homo-erotic influence within the story. As John Guest aptly describes Oscar Wilde in his introduction, a deeper understanding of such a multifaceted character can only be gained through the subsequent pages.The "Muddle" in the novel refers to Lucy's confused state of mind, as described by Forster. This confusion arises from the upheaval of all her previous values. Through Forster's skilled

writing, the characters in the story can be categorized into three distinct groups.

The characters in the book provide insight into the conventional and exclusive values of Edwardian society. These characters include the Honeychurches, Miss Bartlett, Cecil Vyse, his mother, and the British chaplain Mr. Eager. The latter demonstrates not only his rude behavior towards Italians but also accuses the elder Emerson of murder. This bigotry, although seemingly inherent, may be balanced by the contrasting characters in the second group, such as the Emersons, and Bebe and Freddy Honeychurch.

The final camp in the novel is occupied by Miss Alan and Miss Lavish. Forster seems to provide a comprehensive portrayal of society, as perceived by him. Through the use of a third person omniscient tone, the confusion experienced by Lucy is explained to the reader. Additionally, the reader gets insight into the flaws and shortcomings of almost all the characters in the novel, except for two. Forster intentionally leaves the Emersons mysterious and puzzling to both the other characters and the reader.

We see them [Emerson's] enjoying their own form of socializing and kindness. Early in the novel, after hearing that two women guests at the pensione love cornflowers, the Emerson's go out into a field and gather armfuls of them. Then, they place them around their room as a surprise. This act of spur-of-the-moment kindness serves as a perfect example of something that, although completely harmless and very thoughtful, someone like Miss Bartlett [portrayal of Edwardian society?] would deem rather unacceptable10.

The symbolism in the novel is noteworthy, both within the story and in the title A Room with a View. The title holds symbolic significance as it

represents not just a physical space but also represents the opportunity for Lucy to have her own perspective and think independently. The initial part of the narrative takes place in Italy, which also carries symbolic meaning. Italy symbolizes passion, camaraderie, and is often associated with art from the Renaissance period, which means "rebirth".

Forster himself visited Italy and Florence with his mother during his early years, which would have given him a sense not only of the country but also its people. Although the later sections of the novel are set in England, which is often associated with a "medieval" or "Gothic" atmosphere, symbolizing caution and lack of spontaneity, it is possible to see both countries portrayed in Forster's characters of George Emerson and Cecil Vyse. Cecil Vyse, who could be seen as a typical representation of the British gentry, is both comic and threatening.

Forster portrays Cecil as a medieval figure, resembling a Gothic statue. Cecil is tall, refined, and appears to hold himself with a strong will. His oiled hair, expensive suits, pince-nez glasses, and pocket watch all serve as clear indications of his traditional approach to life. Additionally, Forster suggests possible symbolism in regard to his celibacy, stating that a Gothic statue implies such, while a Greek statue signifies a more fruitful existence.

If Cecil represents the Gothic, then George could be seen as the Greek counterpart. George is comfortable with his unkempt attire and messy hair, showing little concern for societal conventions regarding clothing. This is even more apparent in the film adaptation. Furthermore, George eagerly joins Freddy and Mr. Beebe for a nude bathing session, displaying his carefree nature. However, their activity is

interrupted by Mrs. Honeychurch, Lucy, and Cecil, who are fully clothed and would never participate in such behavior.

Re-reading this novel, it is evident how easily Queer theory can be applied to the text. Scholars have argued that the term 'comradeship' holds great significance for Forster, as other influential writers used it as a euphemism for homosexuality. In particular, Oscar Wilde frequently employed it as a metaphor for homosexual love. After reading the novel, one is more inclined to agree with this argument, as Forster not only portrays physical love but also eternal love through Lucy and George's presence by the Arno River—their connection is portrayed as eternal comradeship.

The text suggests that the relationship celebrated by Forster may not be heterosexual, but rather homosexual. Additionally, the tower in the Piazza Signoria is used as a symbol to glorify male love in the novel. Forster portrays this phallic symbol, the tower of the palace, as rising like a roughened golden pillar from the darkness below.

The tower appeared to be more than just a structure on the earth, instead it seemed to be an unattainable treasure pulsating in the calm sky. This description not only suggests sexuality, but also elevates the male organ by placing it in the esteemed position of a golden treasure. After reading this novel, participating in class, and working in small groups, further research was conducted. With the abundance of available works, Tarir Rahman's book "The Double-plot in E. M." was examined as well.

Forster's A Room with a View offers insight into various symbols related to passion and self-fulfillment. These symbols, which have been observed by myself and others, are central to the

novel's exploration of passion and fulfillment. They include the presence of flowers, particularly the cornflowers in Miss Alan's room and the field where George kisses Lucy. Additionally, water serves as a symbol, such as the river where George throws Lucy's picture postcards and the pond where George, Freddy, and Mr. Bebe play. Light and springtime are also significant symbols in the novel.

By drawing on the knowledge acquired from reading A Room with a View, novels by Dickens, Carey, Eliot, and plays by Ibsen, it becomes evident that the author employs symbolism to convey underlying thoughts and emotions. However, these symbols can be open to various interpretations. As readers, we make assumptions about the author's identity. Taking into account theories by Stanley Fish and Michel Foucault, with the latter aiding me in understanding the true essence of the author, questions regarding symbolism can be potentially addressed in the following manner.

The water imagery in the text is of great significance as the narrative progresses. The throwing of Lucy's cards into the water reveals its true meaning as an unstoppable, purifying force. Despite the fact that Lucy's cards were covered in blood, the water represents cleansing. Alternatively, the final words of chapter four, "whose roar was suggesting some unexpected melody to her ears," can offer a new perspective on the scene of intimacy between Lucy and George. The roar described could symbolize the overwhelming attraction Lucy feels towards George. Interestingly, the Arno River seems to be a popular subject among gay writers, as seen in Oscar Wilde's poem "By the Arno." This points to underlying symbolism within the novel.

The water in the pool of the bathing scene

not only represents a desire for both a connection with nature and an intimate physical contact with members of the same sex, but also carries a sense of innocence. However, there is also an element of eroticism present in Forster's portrayal. Forster uses watery imagery to describe the surroundings in Italy when George and Lucy share their first kiss. The flowers flow down like rivulets and streams, watering the hillside in blue and swirling around the tree trunks, creating pools. Additionally, water imagery ends the novel, as the final sentences reveal that George and Lucy are aware of a love that is more mysterious than usual, and they can hear the river carrying the winter snows into the Mediterranean.

The presence of the Mediterranean in this scene enhances the water imagery and reconnects us with homosexuality, as Forster describes the love portrayed here as mysterious and unconventional. It is possible that Forster is alluding to the same kind of love that Lord Alfred Douglas vividly described thirteen years earlier in his poem "Two loves". By closely examining this novel, as with many other classics, one can discover that the spaces between the lines reveal more about the author than the actual text. In doing so, Forster may have disregarded the advice of Mr. Wilde, who once proclaimed that an artist should create beautiful things without incorporating any aspects of their own life into them.