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
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
...stingly, Lucy reveals a furtive desire to escape the traditional constraints that are placed upon her. Prior to being pleased with her committed relationship, Lucy complains, “why can’t they let a girl marry three men, or as many as want her, and save all this trouble?” (Stoker 92). Her desire for three husbands suggests a latent sensuality that connects her to the New Woman; she is torn between the need to conform and the desire to rebel (Senf 42). On the night of Lucy’s initial vamping, Mina witnesses her friend in the cemetery of Whitby: “it seemed to me as though something dark stood behind the seat where the white figure shone, and bent over it. What it was, whether man or beast, I could not tell” (Stoker 144). For Lucy, this exceedingly sexual scene acts as an exaggerated fulfillment of her earlier sexual curiosity regarding polygamy (Prescott & Georgio 502).
English Views In the seventeenth century, the English and many other Eastern countries came to the “new land” for a vast amount of reasons. Many of these foreigners came for religious freedom, some to seek fortune, and others were convicts being deported. However, for those who came across the sea, there was one thing they were not planning to have conflict with when they arrived. The natives, or as the English called them “savages”, which were a distinction on how some viewed these natives, had made this land their home long before settlers came exploring.
Lucy?s friends decide to join together to combat what ever is ailing Lucy. In hopes of some help, Lucy?s friend Dr. Seward asks an old mentor of his by the name of Dr. Van Helsing to come to London and solve this puzzling illness. When Dr. Van Helsing arrives in London and sees Lucy, he is the only one that knows almost immediately what has happened and what they are up against. The character of Dracula rarely appears in the story because this creates suspense and magnifies the fear of the unknown. The theme of good versus evil is developed throughout the book in many ways.
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.
The initial interaction between Lucy and Cheng Huan at the store creates an interesting dynamic of uneven attraction. Objects and figures within the frame emphasizes this fact, such as an unconscious Lucy in the center. The organization of objects, and set-pieces in the shot is referred to as the setting. As an integral component in mise-en-scene, setting helps locate the actors and even control how the story is. The one-sided adoration prevalent in this scene exemplifies the possible alternative motivations behind Cheng’s kindness. In these shots, Lucy’s face always points towards the camera so that the audience can see both characters clearly, and while Lucy sleeps, Cheng stares at her with considerable intensity. By acknowledging his lust, many of his actions can be interpreted in a completely different way. At (46:22) Cheng ...
Much like Madeline, Lucy becomes a victim of involuntary sleepwalking where she too is stuck in a “dream-world,” yet looking at Freud’s theory of dreams, how can we completely agree on the idea that she was not also acting on her ID? (???) states that “The symptoms (of sleep walking) are not simply a matter of individual affliction-they point to a shadowy world of dreams, repressed desires and the supernatural outside the rational daylight world of an increasingly affluent, increasingly materialistic Victorian society.” The idea of “repressed desires,” exposed in our dreams described by Freud is evidently seen in Lucy. By walking out alone at night we see the emergence of the New Woman being revealed through her sleep walking. This contradicts the “Angel in the House” figure who is “Dearly devoted” to a man, because a typical Victorian woman
The room describes the narrator. The room was once a nursery so it reminds her that she has a baby which she is not able to see or hold. The room was also a playroom so it reminds her once again that she cannot play with or watch her baby play. The room has two windows which she looks out of and sees all the beautiful places she cannot go because of her husband. The bars on the windows represent a prison which her husband has put her in to heal from her illness.
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 the novel Villette, by Charlotte Bronte, Lucy Snow comes in contact with a multitude of characters who are not always new to her throughout her story in Villette. Often times they are character who the reader was already introduced to earlier in the novel and she simply does not always make that connection, for reasons that vary with each character. On a superficial level, misrecognition is used to build suspense in the novel, but on a deeper level misrecognition and recognition is a tool used to allow Lucy to open up to the readers and other characters more than she had in the past.
The window in the story that Louise kept staring much of the time in the story represents the opportunities and the freedom that stood in the way of her life once her husband was dead. Through the window,Louise can see fluffy clouds, blue skies, and treetops. She smells a coming rainstorm; she can hear people and singing birds through the window. All she goesthrough her renewed life suggests new life and a spring of rebound joy. Indulged in this new...
John prescribes rest for her and places her into a room which is covered in yellow wallpaper that she finds repulsive. One thing that is very important is how the room used to be a nursery. This is ironic because she is almost treated as a...
She lives her life on her own terms than that of the views of society. She is the minority in her way of thinking that is okay not to have love and life figured out by the time she is 30 years of age. All her aspirations are laughed at by her friend Lucy, whom puts her down for trying make a better life for herself instead of following with the etiquettes of society. “Forgive my plainness, Eliza. It is the task of friendship, sometimes to tell disagreeable truths. I know your ambition is to make a distinguished figure in first class society; to shine in the gay circle of fashionable amusements..(Foster 27). Instead of encouraging Eliza, Lucy dashes her
The writer uses third-person limited omniscient point of view to tell the story. The author can read through Elizabeth Bates’s mind and perc...
One theme in this story is forbidden freedom. The freedom represents Louise’s independence that she receives from hearing about the death of her husband. Louise is only able to dream of that independence for a little time since in the end her husband turned out to be alive. Another theme is the oppression of her marriage. Even though Louise describes her husband as loving and caring she still feels joy after hearing he is dead. The motif of this story is weeping which is something Louise either does or thinks about doing throughout the story. She even imagines herself weeping over Mr. Mallard’s dead body. The only time she is not weeping is when she is thinking of her new found freedom. An important and most used symbol throughout the story would be the open window. After hearing about her husband’s death she goes upstairs where she barricades herself in her room starring out the window. Louise gazes through this open window during most of the story. While looking out the open window she dreams of her endless freedom and the opportunities it