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Explore the development of Lucy’s character in the opening half of A Room with a View
Explore the development of Lucy’s character in the opening half of A Room with a View
Explore the development of Lucy’s character in the opening half of A Room with a View
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In E. M. Forster's A Room with a View, Lucy Honeychurch discovers both herself as an individual and her love for George Emerson. Through Lucy’s intelligence, charisma, and defiance against social norms and her elders, she is able to grow from a young child to a mature and confident adult. With each important person in her life reflecting a different aspect of respected society, Lucy is able to defy each of these people, therefore defying society. For example, Charlotte Bartlett represents the pull towards a life of spinsterhood rather than true love, Mr. Beebe represents the ideals of an Anglican woman, Mr. Emerson represents the ideals of the lower class, and her love interests, George and Cecil, represent her irrepressible feelings of both love and hate. Each of these characters, Charlotte, Mr. Beebe, Mr. Emerson, George, and Cecil, push Lucy to a different aspect of herself until she ultimately finds her own individuality, taking pieces of each ideal along the way. Charlotte Bartlett not only represents a life of spinsterhood for Lucy, but one of passive aggressive judgement. One example of her intense control over Lucy is her refusal of the Emersons’ rooms: “Miss Bartlett, in reply, opened her mouth as little as possible, and said ‘Thank you very much indeed; that is out of the question,’” (Forster 4). Charlotte goes on to …show more content…
By cutting herself and George off from the people who tried to manipulate them the most, she takes back control of her life and gives herself the voice she had searched for. Although the reader gets a taste of this voice through her music, it only develops when she feels she has no choice left but to use it. Lucy ultimately finds happiness and love through her healthy and equal relationship with
Miss Hancock is a strange yet charming character, who is classified as both round and dynamic. Miss Hancock is flashy, bizarre, with “too much enthusiasm.” But she is more than simply that. After a discussion on “The Metaphor”, she asks Charlotte talk about her own metaphor on her mother. Here, a different side of her is shown. “She
James Baldwin’s novel Giovanni’s Room is titled such for the purpose of accentuating the symbolism of Giovanni’s room. Within the novel Giovanni’s room is portrayed with such characteristics as being Giovanni’s prison, symbolic of Giovanni’s life, holding the relationship between Giovanni and David, being a metaphor of homosexuality for David and being a tomb underwater. These different portrayals of Giovanni’s room are combined within the novel to create an overall negative metaphor of homosexuality as perpetuated by society. These different portrayals of Giovanni’s room are dirty, suffocating and restricting; Baldwin is showing the reader that homosexuality can be understood as all of these things, detrimental as they are. The novel is a reflection upon the common belief in society that homosexuality is unnatural and wrong, causing homosexual men to turn societal negativity into self hatred.
In “Jane Eyre,” Charlotte Bronte depicts the helplessness of children who lack the ability to speak up for themselves. Being an orphan and living in the mercy of her relatives who mistreat her, Jane is unable to vent out her feelings of loneliness and her longing for a family because she has nobody to turn to. Jane, beaten by John, is locked up in the red room all by herself. Though engulfed with rage, Jane has no power to reason out for herself causing her to feel that she is not wanted to live at Gateshead.
In Pride and Prejudice, Elizabeth Bennet’s journey to love and marriage is the focal point of the narrative. But, the lesser known source of richness in Austen’s writing comes from her complex themes the well-developed minor characters. A closer examination of Charlotte Lucas, Elizabeth’s dear friend in Pride and Prejudice, shows that while she did not take up a large amount of space in the narrative, her impact was great. Charlotte’s unfortunate circumstances in the marriage market make her a foil to Elizabeth, who has the power of choice and refusal when it comes to deciding who will be her husband. By focusing on Charlotte’s age and lack of beauty, Austen emphasizes how ridiculous and cruel marriage can be in this time.
Contrastingly, Mrs. Darling, his wife, is portrayed as a romantic, maternal character. She is a “lovely lady”, who had many suitors yet was “won” by Mr. Darling, who got to her first. However, she is a multifaceted character because her mind is described “like the tiny boxes, one within the other, that come from the puzzling East”, suggesting that she is, to some extent, an enigma to the other characters, especially Mr. Darling. As well as this, she exemplifies the characteristics of a “perfect mother”. She puts everything in order, including her children’s minds, which is a metaphor for the morals and ethics that she instils in them. Although ...
First, readers can tell that Lucy Westenra’s position as a feminine character in this novel is there to support the masculine society. This can be seen through the text and Lucy’s thoughts and by her descriptions of the other characters who are also in the novel. While Lucy is writing letters back and forth with Mina, Lucy starts to represent her womanhood by writing to Mina, “You and I, Mina dear, who are engaged and going to settle down soon soberly into old married women, can despise vanity” (Stoker 78). The expectations of a woman during this time would be for them to settle down, start a family, and to take care of the family and their house. Next, Lucy is very willing and goes out of her way in order to please her husband, Arthur Holmwood. Lucy wrote “I do not know myself if I shall ever speak slang; I do not know if Arthur likes it; as I have never heard him use any as yet” (Stoker 78). In this quote, Lucy is saying that if her husband does not like it that she wil...
In Lucy Steele’s confession to Elinor that she is engaged to Edward Ferrars, we can see how the novel illustrates gossip as a cause of both internal conflict, in Elinor, and external conflict, present between Elinor and Lucy. Elinor becomes jealous because of Lucy’s boastful gossip about her life, placing the two into a conflict over romance. When the two meet, Lucy divulges in her relationship with Edwa...
Crater, Lucynell, tries to save a life that ends up being her own when she attempts to learn to speak and act as a normal human being. It is not a surprise when it is revealed that Lucynell is not mentally sound as many gothic and horror stories contain a character like so. Although Mrs. Crater claims her to be normal in every other womanly aspect, it is clear that she cannot speak nor can she function fairly normally with her random outbursts of screaming and tears. One example of this is on page 1019 when the first words that come out of her mouth other than screams and sobs are those of her trying to imitate the chickens. In reality, the loss of Lucynell’s voice represents that she ultimately has not discretion over her own life. It signifies that she is unable to take control and make her own decisions. Whether she knows it or not, she evidently tries to make her mother’s life more bearable by helping with what she can do around the house. Ironically, Lucynell is caught in the middle of the battle over greed between mom and mister. What she does when she speaks just as an imitation of birds, is open up the door for her to intervene and make her own decisions about her life. Ulitmately, Lucynell could have held the power to rule over her own life, but as a chance taken by her mother to “save” her daughter, Lucynell never had someone like Mr. Shiftlet who tried to teach her
It starts off small, with the obvious allusions to the summer house as being an abandoned mental asylum, with the “gates that lock”, and the room that Charlotte occupies where the “windows are barred”, and “It is stripped off—the paper—in great patches” that is “a smoldering unclean yellow” (Gilman 377). The oblivious narrator misses the evident implications that this room used to house a mental patient—and it is now housing another. A different symbol is the journal the narrator writes in; it shows how intellectual she really is, and how despite her physician’s orders, Charlotte knows that would really cure her. Although John has specifically told her not to exercise her imagination, the self-expression in her journal is the only way she can fully communicate. Charlotte already feels guilty because she wants to be “a help to John, such a real rest and comfort, and here I am a comparative burden already!” (Gilman 378). He has also denied her visits from her “stimulating” friends, and so the only outlet Charlotte has left is the ‘dead paper’ journal. By taking away his wife’s mental stimulation (her journal) and her ‘right’ to fanaticize, he is ultimately diminishing her as a person, by implying that she is not worthy of such luxuries. By continuing to write in the journal and rebelling against him in secret, Charlotte is an image of present day feminism—not subsiding to patriarchal
In the first few chapters Gaskell offers various examples of what the traditional woman of England is like. Margaret’s early descriptions in Chapter 7, characterize the beautiful, gentle femininity so idolized. Margaret is beautiful in her own way, she is very conscious of her surroundings. She is privileged in her own way by being in a respectable position in the tranquil village of Helstone. Throughout the beginning of the novel it is eluded that Margaret has the onset of a mature middle class mentality. During the planning of her beloved cousin Edith Shaw’s wedding, Margaret comments on Edith seemingly oblivious demeanor, as the house is chaos in preparations. Edith tries hard to please expectation of her social class. She is privileged and beautiful; angelic and innocent, she is the perfect idyllic, ignorant child bride, designed to please. For Margaret, “...the prospect of soon losing her companion seemed to give force to every sweet quality and charm which Edith possessed”(Gaskell, 7). It is in this passage that the readers familiarize themselves with Margaret’s keen ability to see and perceive the differences between her and her cousin’s manor. Edith poses the calm demure and angelic tranquility a woman is decreed to posses. Unsurprisingly at the brink of commotion Margaret observes that, “the whispered tone had latterly become more drowsy; and Margaret, after a pause of
Charlotte Brontë successfully expresses Jane's uneasiness of mind and her hidden craziness due to oppression through Bertha, the lunatic upstairs. The doubles share a somewhat similar lot in life and represent each other's progression towards freedom. Brontë gives insight into this doppelgänger effect by her use of language, mirrors, and physical closeness. Clearly, Bertha is a vehicle with which Jane's inner conflicts are brought to life, but a larger question remains: whether Jane is that same sort of vehicle for Charlotte Brontë herself.
Children develop normally by stimulation and from the experiences around them. Usually when a child is shut out from the world they will become developmentally delayed, but that is not the case with Jack. In the novel Room by Emma Donoghue, Jacks mother, Ma, has been kidnapped and held prisoner in a shed for seven years and five year old Jack was born there. This room is the only world he knows. But, despite being locked in a room for the first five years of his life, according to the four main points of development, Jack has developed normally intellectually, physically, socially, and emotionally.
After Lucy’s death the remaining characters feel various powerful kinds of emotions that help with avenging her death.
A Room With a View is a novel written by E.M. Forster in 1908. In the novel, the protagonist, Lucy, must choose between her limited but safe Victorian lifestyle and the opportunity of an exciting but scary Edwardian future. This choice is reflected in the attitudes of the two men she considers marrying, Victorian Cecil Vyse or the Edwardian George Emerson. The characters in A Room With a View have extremely contrasting attitudes and behaviors because some are Victorian and others are Edwardian.
Emerson. This played a great role in the title of the book discussing the importance of the room with a view. After receiving her room, Lucy ventured out to see what Italy was all about. As the narrator stated, it was “a magical city where people thought and did the most extraordinary things” (p. 45). Throughout the first few days of visiting, Lucy encountered a murder and had her very first kiss. This was very unusual for Lucy due to coming from the quiet Summer Street, England. Although the England revealed to us throughout this story is pleasant and inviting, it certainly does not have as great of an effect on the characters as Italy does. While visiting Italy, Lucy secretly fell in love with a man named George, but did not want to admit it. This romance caused her return back to England to become more difficult. Due to experiences gained in Florence, it is nearly impossible for Lucy to be content when coming home to the empty and dull Summer