Indian Ink and A Room with a View are both set in different eras. A Room with a View is set in the Edwardian era when, like the central character in the book, people were beginning to challenge Victorian attitudes about emotion and sexuality and old ideas about class and religion. It was published in 1908 and was Forster's third novel. Forster's characters, like Forster himself lived in the time of the British Empires pinnacle. The novel is about a young woman, Lucy Honeychurch, whose love for a British socialist and experiences in Florence cause her to question the values that society has imposed on her. It is particularly interesting that the novel is set in Florence, which was the centre of the Renaissance. The word renaissance means rebirth and this could be symbolic of the rebirth of Lucy's ideas and values. Indian Ink is written as a play and is set in the 1930s and 1980s. In the 1930s the scene is set in India which belongs to the British Empire. At this time a young poet named Flora Crewe who is visiting finds herself poised between two very different societies. The 1980s section of the play is set in England where sixty years after the poet has died, her sister and the son of the artist that Flora associated with come together. Although it is written as a play it reads as though it has been written as a novel as it is very descriptive describing even the colour of Flora's `cornflower blue dress'.
Lucy, the central character in A Room with a View is the child of the noveau rich. Like Flora she is young charming and likeable. At the beginning of the novel Lucy is relatively uninformed and gradually throughout the book learns more about not only Italy but herself. By the end of the novel like Flora, Lucy is a strong and...
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...than in A Room with a View, perhaps this is also to show the difference and similarities in the two cultures. Both writers use humour differently. Forster gently mocks his characters, he is not harsh and this allows the reader to develop affection for them. Stoppard's characters however are humorous themselves in the things that they say, this also allows for a deeper understanding of the characters but in a different way to Forster. The central characters in Indian Ink and A Room with a View are presenting Stoppard `s and Forster's ideas through their growing experiences and changing ideas in the foreign countries they are visiting.
Bibliography
Books
Indian Ink - Tom Stoppard
A Room with a View - E.M Forster
The Oxford Encyclopedic English Dictionary
Video
Hat and Dust
A Room with a View
Internet
www.amazon.com
www.tstoppardbib.com
E.M. Forster 's A Room with a View tells the story of Lucy Honeychurch 's excursion to Italy with her older, unmarried, less wealthy cousin, Charlotte Bartlett. Lucy’s time in Italy proved the notion that Italy can have great affects on anyone. While in Italy, Lucy met a distinctive group of people who were also residing at the Pension Bertolini. The group included clergy members, a writer, and some who just loved to travel the world. They were of various social statuses, temperament and political views. Most of the members of the group were older than Lucy and offered worldly, insightful, wisdom. The pension guests opened Lucy’s eyes, heart and mind to diversity in people, perspectives and opinions. Lucy 's exposure to thoughts and
View , the character’s name was Lucy. Mrs. De Winter in the novel, Rebecca, looks back
Linda is a woman in an awkward situation, she is a character driven by desperation and fear. She knows all the problems that are occurring in the house but I feel bad for her because every time she tries to speak she
...le the battling winds of motivation, but ends up changing between them, never settling on one, and preventing the reader from making a concrete decision about her true nature. Perhaps Linda is both overlooked and undervalued and as corrupted by materialism as Willy, but it is nearly impossible to say that she is one or the other. Linda bends to each force in different parts of the play. She is loving and hateful. She is offense and defense. Trying to find a single description to fit the ever-changing Linda is like trying to catch a single leaf in the midst of a hurricane.
Several different literary elements work in tandem to produce the magic seen in E. M. Forster's A Passage to India. Because this novel was presented to the world less than a decade after World War I, the fantastic and exotic stories of India seized the attention of the relatively provincial society of the day, and the novel's detailed presentation of Hinduism certainly excited the imaginations of thousands of readers. Benita Parry supports this assertion when saying, "Hinduism takes its place at the core of the novel just as it lies at the heart of India" (164).
Crouched behind a square column of the porch of an old late-Victorian frame home, now shelter for squatters, Lew was watching for Molly. Molly is an unassuming yet attractive young woman who makes her living dancing at a local ‘gentleman’s’ club called the Lucky Lady. She lives in a second floor apartment of The Hanright Home, a rundown Gothic Revival house split into six apartments. Lew lives in the apartment next door.
Lucy’s description of her early disease is particularly upsetting. Her family, overwhelmed by financial and emotional turmoil because of the stress of her illness, is not as visible as the part they actually played. Lucy’s mother was a somewhat blurred figure who seemed to disappear by the middle of the book and portrayed her father as a particularly vague individual. However, the day-to-day trappings of illness force her to rely on her mother, whose relationship is one of the most disturbed, and moving. Early on she comments that when she was a child she didn't understand that her mother's anger was caused by depression, but she never elaborates on this observation. Her mother compares being brave with being good, and says: "At a time when everything in my family was unpredictable and dysfunctional… here I had been supplied with a formula of behavior for gaining acceptance and, I believed, love. All I had to do was perform heroically and I could personally save my entire family.” Her words to Lucy to be brave, not to cry and not to give in to suffering and pain, only added to Lucy's burdens. Yet, one feels deeply sad for her simply because she is a mother with five children, a job, and constant money problems. She was a victim of depression even before Lucy's illness, driving into the city five days a week for Lucy's chemotherapy and radiation treatmen...
her to the New Woman of the period. It also implies that Lucy is unhappy with her social
In conclusion, Lucy’s internal struggle with the decision to follow her heart or the expectations of society is the main theme of the novel A Room with a View. Throughout the book, Forster uses various motifs such as the setting, the two men and the obvious symbol of the room with a view. Ultimately, Lucy chooses what will truly make her happy by being with her true love George. Forster makes it obvious that doing what makes one content is the best choice.
Some may see the interaction between Mariam and Laila in A Thousand Splendid Suns as no more than a cup of tea, but after reading How to Read Literature Like a Professor, it is evident that it is much more powerful. In chapter 2 of his book, “Nice to Eat With You”, Foster addresses that in literature, a meal scene is not always just a meal scene. For
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.
The style of writing in both of these pieces have a big impact on the perspective of the audience. In one story it is written in a style that allows the reader to establish a closer connection with the character while in the other story it adds more emotion to the story.
In this book, Lucy is one of the children featured as protagonist. Her name came from C.S. Lewis’s goddaughter, Lucy Barfield. Throughout the book, the view point is almost always from Lucy (Emerson). She was even the first to find the wardrobe leading into Narnia (Lewis 8). Emerson said, “So in a sense, at least The Lion, the Witch, and the Wardrobe is Lucy’s story” (Emerson).
These journal entries showcase how the characters are unable to see Lucy the same way they did at the beginning of the novel. By extension, she is no longer perceived as human but some kind of creature. The intertextuality of the text displays how through the perspectives of multiple character view Lucy during these shifts, she reverts from personhood to ‘thinghood’ consistently throughout the collection of letters and journal entries that make up the novel. To put it simply, Lucy is like a ticking time-bomb due to her lack of control over her own consciousness, this essentially makes her vulnerable to the by dark supernatural evil invading England. It is up to the group of advisories to protect and rule over her. The group of advisories assumes responsibility over the situation, as Lucy’s condition worsens over time, solely because cultural relativism of the period leads them to believe that man is responsible for governing women. The way that the group of male advisories addresses Lucy, frame their relationships with her and even name her are methods used to cope with the changes that she embodies, as both a “New Woman” and as an emerging vampire. The
Question Answered: Present the ways in which cross-cultural experiences strengthen a continuous development of the world environment.