A Room with a View
Chapters 11-15
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11 – “In Mrs Vyse’s Well-Appointed Flat”
12 – “Twelfth Chapter”
13 – “How Miss Bartlett’s Boiler was so
Tiresome”
TITLES
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The titles contribute to the overall comic effect.
They are jocular and detached as they specify
scene, lay out the cast of characters, and identify
thematic strands and symbolic motifs.
The most extreme example is the title of Chapter 6,
in which nearly all the characters thus far assembled
are listed as in a dramatis personae of a play. The
lengthy title concludes in a comic anticlimax: ‘[they: ]
drive out to see a view; Italians drive them’;
‘well-appointed’ flat - well equipped or furnished; properly
supplied
 => note the irony – what does the flat lack?
 ‘Miss Bartlett’s Boiler was so Tiresome” (plot)
=> what other significance do the words ‘tiresome’ or ‘boiler’
have?
‘Chapter 12’ => significance?
 the two chapters that function as the emotional and symbolic
pivots of the novel, Chapters 4 and 12 – the murder in the piazza
and the bathing scene at the Sacred Lake – have no titles.
 => draws attention to their importance - they cannot be reduced
to clever phrases in a satiric scheme.
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CHPT 11
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Introduction to London Society
Note the differences between the the society
described in Surrey, Summer Street and London.
Pg113: ‘..dinner party consisting of the grandchildren
of famous people..food was poor, but the talk had a
witty weariness that impressed the girl. One was
tired of everything, it seemed’ => society is not as
tight-knit; emphasises the intellectual over the body;
there is a general jaded or cynical air that is
probably part of the pretentious intellectualism.
Chpt 11
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Lucy is negatively influenced ‘impressed’ –
learns to ‘play the social game’ => Pg 113
“One launched into enthusiasms …
collapse..laughter”
Note choice of music – Schumann
‘its dejected phrases’ and ‘sadness of the
incomplete..’ are more appropriate for the
London crowd.
Note: description of Mrs Vyse. Compare to
Mrs Honeychurch
Chpt 11
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“ …her personality , like many other’s had
been swamped by London..” implies loss of
independence or individuality
“…she was mechanical, and behaved as if he
was not her son, but, so to speak, a filial
crowd” => note lack of intimacy, connection
and personal relationship. Detached and
distant.
Chpt 11
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“He saw the needful fire had been kindled in Lucy.
As she longed for attention, as a woman should, and
looked up to him because he was a man.” (p110) –
Chivalry
Lucy’s and Cecil’s relationship => appears slightly
more passionate, sparked by a new neediness on
Lucy's part. [she felt safe in the London flat]
Cecil's conclusion that Lucy has come to understand
her place as a woman and learned to respect him as
a man betrays his immaturity and lack of sensitivity.
Cecil's lack of response to Lucy’s nightmare =>
distance in their relationship, and it further
symbolizes Cecil's lack of sensitivity towards her.
Chapter 11 – Letters
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We should reflect on the use of letters thus far…
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References to letters and letter-writing in ch 5 (with
Charlotte sending and receiving letters)
Letter-writing in chapter 8 (Mrs Honeychurch’s letter to Mrs
Vyse)
What is conveyed in the concept of a letter?
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Something written – therefore not disputable?
Note the way the letter in Ch 8 reflects very little concrete
information – reflects society’s conventions of refinement
and tact.
Letters are important form of social communication and
interaction – even entertainment
Consider it’s use as a narrative tool.
Chapter 11 – Charlotte’s letter
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What is said?
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Charlotte is aware of George’s presence in Summer Street
Charlotte is still in contact with Miss Lavish
Lucy has suffered “a great misfortune”
Charlotte feels there is a need to ‘warn’ Lucy
What is not said?
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The kiss is not mentioned and is not even directly alluded
to
Charlotte has a poor regard for George (“He never
suggested giving Eleanor a cup of tea”)
Charlotte is still maintaining her “martyr” role (see ch 7, p
71)
Chapter 11 – Lucy’s reply
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What is said?
 The kiss is almost addressed (“When Mr Emerson forgot himself
on the mountain…”)
 She addresses practical considerations – such as rationalising
reasons for the absence of tea
 She asserts a sense of control (“You must see it would be too
absurd”)
 She asserts a new social strength (Cecil is aware of who the
Emersons are)
 She makes more assertive statements (“do not put ‘Private’
outside your envelope again”)
What is not said
 An admission of the kiss
 A direct statement of irritation at Charlotte’s attempt to spread or
incite “gossip”
Chapter 12
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Note Seasonal motifs? – Autumn (in contrast
to Spring in Part 1) “All that was gracious
triumphed” (p115) => presaging maturity
Theatrical presentation – Focus on Freddy
and Beebe as chorus-like commentators
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“I suggest we should hinder them” – Beebe’s
delight in social mischief echoes that of Chapter 6
Bees in classical and medieval times were often
associated with industry and celibacy. They make
honey so are associated with flattery. Beebe is
honey mouthed but also has a sting when
provoked
Chpt 12
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Note the quotation from RW Emerson’s
contemporary – Thoreau (p116 – “Mistrust all
enterprises that require new clothes”) –
foreshadowing of the later events of the chapter?
the trappings of civilization interfere with our
appreciation for natural simplicity.
Note the male-dominated world of the chapter.
Emerson’s philosophy of equality (equity) with
women is clearly indicated – (p117) “they shall be
‘comrades’. => ‘ideal relationship’
Freddy’s scepticism
Note Beebe’s response as Emerson descends the
stairs “We are to raise ladies to our level?” => what
does it suggest of his attitude to women?
Chpt 12 – bathing in ‘the Sacred lake’
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the ‘Sacred lake’ is presented as a kind of
pastoral Arcadia – an idealized rural setting
where nature is kind and men and women
can escape from the evils of society.
Motor cars, commerce, duty, authority and
class have no place here.
The place lies beyond seasonal change and
hopefully the intrusion of men.
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By putting their clothes away, the men have
put away all worldly considerations.
The sacred pool is a place of innocence and
childhood. this is emphasised by the use of
slangy or infantile language – ‘polly-wog’
‘apooshoo’, ‘kouf’,
Their actions are a demonstration of the kind
of natural innocence that has been largely
crushed by Society or the Church's
repressive attitudes towards the human body.
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The writing is playful, celebratory and lyrical –
grass is ‘sward’, weeds are ‘salad’ and the
sun is shedding the ‘most glorious heat’.
The description seeks to disrupt the mundane
and everyday. There are touches of the
burlesques becos you have 3 men rotating in
a diminuative, weed-filled pond’ like nymphs’
Chpt 6 and Chpt 12
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Like the Kiss in chpt 6, this incident implies a
baptism into life through extensive use of
water imagery.
In chpt 6, George is described as ‘a swimmer’
who prepares – Here in chpt 12, he falls into
an experience expressed in terms that are
mostly associated with water.
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in chpt 6 – there was a release of passion
Here there is much ‘male ragging and horse play,
splashing and spreading of water.
Effect on George is a release of inhibition and
sexual energy. The effect is wholly beneficial –
released from his gloom, ‘the forces of youth burst
out leading to great display of high spirits. P121
‘Michelangelesque on the flooded margin’ p120 is
also applied to George – associating him with vitality
and life while paradoxically idealising him as the
perfect youth worthy to be worshipped by the other
2 with deference.
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George appears in a comfortable alliance with nature:
"He regarded himself as dressed. Barefoot, barechested,
radiant and personable against the shadowy woods"
(123).
However, the swimming incident is described (regretfully
by narrator) as a moment of passing innocence; "On the
morrow the pool had shrunk to its old size and lost its
glory" (123).
Still, the experience changed its participants in a lasting
way : "It had been a call to the blood and to the relaxed
will, a passing benediction whose influence did not pass,
a holiness, a spell, a momentary chalice for youth" (129).
Religiously charged words like "benediction" and
"holiness" help convey the significance of this moment.
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High spirits shown here are exclusively male
and seem strangely excessive.
“Such a scene is magical and marginal and
seems at odds with the general pattern of the
text => it suggests an imaginative outbreak
on Forster’s part => a need to celebrate
masculine flirtation and camaraderie in a
manner that declares its power and sexual
appeal while simultaneously masking and
concealing these things.” [critic Markley]
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It is on George’s body, Markley argues, that
‘the gaze is chiefly concentrated’.
The bathing scene carries a sexual charge in
its language, in the space it opens in the
narrative for other longings, other resolutions.
Here Forster writes homosexual desire
without giving it either a name or an action.
[critic - Eric Haralson]
Chapter 12
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The culmination of the chapter comes with the
intrusion of the female presence (Lucy and Mrs
Honeychurch)
Note Cecil’s chivalrous actions: “Come this way
immediately…” (p122) => “he must lead women..”
Note Lucy’s & Mrs HC’s reaction ‘attempting the
tense, nonchalant expression …’
The comic incongruency of the women’s attempt at
formality: ‘Bow, Lucy; better bow’
Chapter 13
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The chapter opens with the concept of ‘rehearsal’
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Note the continued use of theatrical metaphor and motif
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“A fault in the scenery, a face in the audience, an interruption
of the audience onto the stage, and all our carefully planned
gestures mean nothing, or mean too much.” pg 125
Forster often presents scenes as staged theatre. In this way,
he emphasises the public role of each character on the social
stage and their behaviour often as ‘staged’ performances for
the public eye.
In staging the scenes and action, he reminds the
audience/reader that what we are witnessing (reading) is at a
remove from reality, is only a story.
He enjoys playing ‘games’ with the audience/reader;
rendering believable characters whilst denying their
substantiality.
Chapter 13
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Note thematic significance of the idea of ‘rehearsal’
– why does Lucy need to ‘rehearse’?
‘it is impossible to rehearse life’ pg 124
A ‘shift’ in Mrs Honeychurch’s view of Cecil?
‘the 2 civilisations had clashed’ pg 126
‘Cecil has told you to think so’ pg 125
Note the description of Windy Corner and its healthy
values: ‘the grittiness went out of life. It generally did
at Windy Corner …. Social machine was clogged, …
poured in a drop of oil.’ pg 127-8
Chapter 13 – Lucy’s resolve to not invite
Charlotte
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Note Lucy’s adamant, stubborn attitude.
‘…there was little view and no view of the
sky…’p126
‘…I wouldn’t do that with all this muddle…’ p127
Lucy displays an uncharacteristic unkind attitude in
the chpt. WHY?
Mrs Honeychurch:
“She is kind to everyone, and yet Lucy makes this
difficulty when we try to give her some little return.”
(p130)
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Note the delicacy in the term “difficulty”
Note the implications of the phrase “little return”
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Lucy’s fears:
“the ghosts were returning; they filled Italy, they
were even usurping the places she had known as a
child… “ (p130)
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Note the construction and language of the paragraph
Consider the way in which the events in Italy are seen as
“ghosts”.
Possible meanings:
Ghosts – faded memories of Italy’s passion and life, buried
deep in her subconscious – now resurfacing; they disturb
‘haunt’ her; difficulty of dealing with them.
Chapter 13 – Charlotte’s inevitable visit
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“I suppose Miss Bartlett must come, since
she boils eggs so well…” (p130)
“May me and Lucy get down from our
chairs?...We don’t want no dessert.” (p131)
Significance of Cecil’s tone and use of nonstandard ‘voice’ and construction.
Cecil is bored by the Honeychurch family's
domestic plans and insults them all by using
deliberately poor grammar. His tone is deeply
sarcastic.
Chpt 14
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The title of this chapter, "How Lucy Faced the
External Situation Bravely" refers ironically to
Lucy's tendency to deal with the surface of
situations rather than probing into the root
causes of her discomfort.
Refers to Lucy’s lack of self-reflection: ‘she
never gazed inward’. Pg 132. ‘…put it down to
nerves.’
‘Now Cecil had explained psychology to her one
wet afternoon, and the troubles of youth in an
unknown world could be dismissed.’ 132 => his
influence on Lucy is to obscure.
The Muddle
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Narrator tells us that Lucy "loved Cecil; George
made her nervous; will the reader explain to her that
the phrases should have been reversed?" (132).
Narrator’s direct appeal to us/reader suggests that
we know more about Lucy's life than she does.
=> involves us in watching Lucy’s development and
hoping that she will appreciate her feelings for
George in time.
Foreshadows Lucy’s change
Charlotte Bartlett (CB)
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Charlotte’s arrival at Windy Corner marked by familiar
‘martyr’ language
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“begged to be given an inferior spare room – something with
no view, anything.” (p132)
Comic ‘muddle’ – ‘she contrived to bungle her arrival’ (133)
Comic confusion and misunderstanding over the cab fare =>
the ‘boys and Cecil’ play a mean trick on Charlotte
=> trivial episode hides a deeper meaning => parallel to
Lucy’s own muddle – lack of clarity.
Novel beginning to draw similarities between Lucy and
Charlotte. c/r ‘come here old lady..’ (127)=> Possibility of
Lucy becoming a Charlotte if she rejects true love.
Episode also possibly draws attention to Charlotte’s
‘obsessive’ desire to ‘suffer’ (becos of her attitudes and beh)
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Notice the imagery in Beebe’s perceptions of
George
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“He will work off his crudities in time…”(c/f p148
Ch 15; ‘…the man was ill-bred. He didn’t put on
his coat after tennis’ ).
“He is waking up” (p133)
=> process of maturing and transforming
Like Lucy.
Chapter 14
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When Lucy and Charlotte are alone together, we
notice a significant change in Charlotte
 “Have you told him about him yet?” (p135) => she
is direct and purposeful.
Charlotte’s view remains unchanged:
 “How dreadful!” she murmured, “how dreadful, if
Mr Vyse should come to hear of it from some
other source.”
“Once a cad, always a cad. That is my poor
opinion.”
Lucy defends George. “..said the girl entering the
battle, ‘George is all right’….” (135)
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Lucy lies to Charlotte: ‘I think I can trust Cecil to
laugh at it.’ (135)
‘she knew in her heart she could not trust him, for he
desired her untouched’.
=> Lucy is wise enough to know Cecil’s desire to
possess her ‘untouched’. She does not however
realise the full extent of his desire to mould her as
his own.
Repressing her feelings for George is causing her to
lie. c/r chpt 13 ‘…wondering whether she would get
through the meal without a lie…’ (128)
Chapter 14 – the “unfortunate slip”
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In her defence of George, Lucy makes a Freudian
slip.
"Mr. Emerson lost his head. I fell into those violets
and he was silly and surprised. I don't think we
ought to blame him all that much" (136). => implies
George kissed her on impulse not design.
However…further disclosure:
“It makes such a difference when you see a person
with beautiful things behind him unexpectedly.”
(p136) => the unfortunate slip
Lucy unwittingly reveals her own feelings of passion
=> she too ‘lost her head’. The passion was mutual
Narrative
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Narrator cleverly hides this revelation in
Lucy’s grand speech in the defense of
George.
Narrator draws our attention to the ‘slip’ but
leaves Lucy unaware of any revelation =>
creating irony.
Chpt 15: The Disaster Within
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Why is the disaster within?
The true disaster is not the one Lucy attempts to
address. Once again she lacks self-reflection and
seeks to repress.
Opens with a further seasonal motif – Autumn
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What does this suggest?
Note the ‘reappearance’ of Phaeton – ‘rash, ill-fated ride’ –
this time contrasted by Apollo – ‘competent, unswerving,
divine.’
Suggests a chance for a mature conclusion to the muddled
affair.
Chapter 15
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In this chpt, there is again a polarisation of
Male and Female society.
This is reflected in the opposing forces of
Christianity (in the sense of Church) and
Paganism (p139) => the women prepare for
church while the men ‘sit in the sun.’ (139).
Yet the concern with clothes and fashion
imply that church going is a social rather
than a religious experience for the women.
Chapter 15
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“Lucy ignored the Sacred Lake and introduced them
formally” (p140)
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Note the revealing statement “she turned the conversation
to a less disturbing topic”
The reader learns more of the arrangements that
have brought the Emersons to Summer Street –
Note Cecil’s involvement and the impact upon the
Miss Alans – “George says the Miss Alans must go
to the wall.” (p141)
Chpt 15
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Lucy’s relationship with Cecil
Note the reversal of perceptions: Lucy’s
perception of Cecil ‘..this afternoon seemed
such a twittering sparrow.’ (147)
She finds it difficult to pay attention to him;
her attention is drawn to George. ‘…her
nerves refused to answer to the clang of
his… she gazed at the black head again
(George)…stroke it…’
Chpt 15
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Lucy compares George to Cecil – to Cecil’s
disadvantage. ‘All he (Cecil) said …pained her,
though he exuded tolerance from every pore;
somehow the Emersons were different.’ (140)
George is depicted as naturally affectionate ‘..put his
arm around his father’s neck’ => touches Lucy
deeply ‘like sunshine touching a vast landscape’
(142) Cecil is cold, undemonstrative.
George is vulnerable ‘his awkwardness went straight
to her heart: men are not gods after all’
Cecil: ‘the only relationship Cecil conceived was
feudal; that of protector and protected. He had no
glimpse of the comradeship after which the girl’s
soul yearned.’ (143)
Chpt 15
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‘George’s eyes laughed and Lucy suspected
that he and her mother would get on rather
well.’ (141)
George’s kindness vs Cecil’s selfishness. ‘he
never realised that it may be an act of
kindness in a bad player to make up a fourth’
(145) c/r Mr Emerson’s distress at the plight
of the Miss Alans.
Chpt 15
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Significance of tennis
Tennis has suggestive terminology – ‘doubles, deuce,
serve fault, advantage in and out, ser, love, match’.
=> for courtship and love.
Tennis vs Reading: Physical activity vs Mental activity.
Cecil favours intellectual pursuits at the expense of
the physical unlike George who does both.
Playing tennis with George appears to have enlarged
Lucy’s senses. ‘An how beautiful the Weald looked!’
(145) ‘noticing more things (views)’.
Chapter 15 – ending of chpt
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Return to the view
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Miss Lavish’s book (note the nom de plume – Joseph
Emery Prank)
“There’s an absurd account of a view in this book”
“The man was ill-bred…he didn’t do” (p148)
The chapter closes with Chapter 2 of Lavish’s novel
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“there came from his lips no wordy protestation such as
formal lovers use…” (p149)
George’s second kiss – opens the floodgates again =>
Lucy is determined to squelch it.