Unequivocal emotional inclinations : the
rhythmic use of violet in A room with a view
著者（英） Ayumi Takagi
journal or
publication title
Core
number 20
page range 37‑52
year 1991‑03‑20
URL http://doi.org/10.14988/pa.2017.0000014879
U neq u i v o c a l Emotional l n c l i n a t i o n s : The Rhythmic U s e o f V i o l e t
i n A Room w i t h a V i e ω
Ayumi Takagi
37
E. M. Forster in his lecture on the novel， Aspects 01 the Novel， represents a novel as a fiction of prose which exists both in巳rmsof tim巴"and value." As品 novelconsists of letters， words， and sentences in th巴right order， it has inevitably a story" concerned deeply with t1mぷ， Forster says. However， it is its expression of value rather than its おatureas time‑sequence that gives much meaning to a nove .l As the novelist em‑
ploys intelligent technical d巴vicesin writing a nove ，llaying stress on th巳
causality of events or introducing unre旦litiesinto the action， the novel obtains such non‑technical aspects as fantasy" and prophecy." Moreover， a novel in which the plot and its other elements are well organized even‑ tuallY becomes something配 stheticallycompact， something which might have been shown by the novelist straight aw呂y，only if he had shown it straight away it would riever have become beautiful."l It becomes a work of art.
As the method to make this aesthetic unity out of a novel， Forster repre‑ sents two sorts of technique pattern，" the pictorial design of the struc‑ ture of the plot，品nd rhythm，"the musical effect of repetition in the novel It is rhythm， how巳ver，which Forst巴rfinds more cong巳nialand is con‑ sidered by critics as an essential element of his novels.zRhythm" is，
38 Unequivocal Emotional Inclinations
品ccordingto F orster， something巴quiva1entin the novel to the opening phrase diddidy‑dum" of Beethoven's fifth symphony， which has the effεct of binding the nove1 from insid巳， working together with the other gre丘t巴r rhythmic movement residing among 1arge divisions. 1ts "repetition p1us variation必 and W呂xingand waning"4 work on the reader's m巴moryand make toward establishing the beauty of the nov巳l
A Room with a View， which 日quiredabout six years to be comp1eted， is called by F orster himself，thε ll1C巳st.，，5 1t is a1so revi巳wedby critics as technically well‑constructed，" and its technica1 ingenuity is large1y ascribed to the use of rhythms."6 The nove1 d巴呂lswith an English girl， Lucy Honeychurch's awakening to the巴motionalr巳a1ityof life during her Italian journey and the subsequent confusion which lasts unti1 she r巴estab‑ lishes her life upon that reality by marrying the m叩 whomshe loves. Forster shows the importance of the emotiona1 life of an individua1， and Lucy finally escapes the tota1 denial of her inner truth" with the aid of Mr. Emerson， who is its righteous proponent Still， she wavers between her own emotiona1 urge and th巴codesof soci巴ty. As in other nove1s Forster emphasizes th巴dangerof leading a 1ife which go巴sagainst one's genuine inclin抗ionsby facilely conforming to the norms of society. As Wi1fred Stone says，Forster is fascinated by th喧problemof honesty and the difficulties of being honestηwith onese1C Against this di1emm昌be‑ tween persona1， spontaneous inclinations and the imposed socia1 cod巳s， one of the recurrent signs，vio1巳t，"appears8 and revea1s Lucy and many other characters' oscillation between the demands of their authentic desir巴
and their anxiety over their own resp巴ctability.
Lucy Honeychruch， in the precarious process of b日coming an adu1t. l且unchesinto an Italian journey with the expectation of obtaining a wider
39 scope in her vi巴w of life. Yet， her growth is blocked as well as tightly controlled. Lucy is chaperoned by Charlotte Bartlett， her cousin and old‑maid who considers it her duty to make Lucy travel decorously by shielding her from all the inconveniences. Itali旦npenslOns are gen巴rally deliberate replicas of English g巴nt明 1society， where people looked them over for a day or two b巴forespeaking， and often did not find out that they would 'do' till they had gone" (p. 3). People are required to act accord‑ ing to the code of respectabilit)人 andthose who break this implicit rule immedi丘telybecome outsiders; for instanc巴， the Emersons who spe呂ksuch words as stomach" and bath" regardless of dec旦nt"conv巴ntions. As Lucy aptly exclaim丸 山Ihardly believ巴thatall kinds of other things are just outside'" (p. 2)， th巴p日culi品rityand exclusiveness of the society of Eng‑
lish tourists ar巴broughtinto light as contrasted with th尽freeand lively atmosphere of Florenc巳outside.
In the Bertolini Lucy feels frustrated and foolish. Though she wぉ
brought up in a rich suburbian culture， she has compelling inclinations within h巴rself. As Victorian gentlewom巴ndid， shεplays th巳piano，butう
according to the standards of a drawing room， her pref巴rence for th巴
direct" Beethoven signifies sheer p巳rversity"(p. 30)， and her perform‑ ance displ旦ystoo much passion. She also feels vague dissatisfaction to‑ ward th巴conventionalesteem of the f巳malevirtue of modesty and troubles Charlotte， who is its advocate. This conflict within herself， which be‑ comes apparent during h巳rItali品njourney， is at th巴outsetnot r巴alizedby Lucy h巳rself. Therefore， wh巳nMr Emerson m品kesan offer of exchang‑
ing rooms， she is not offendedぉ Charlotteis， for she is impervious to the implication of the incident which is k問 nly perceived by Charlotte Although some odd f巴elingoccurs to her， Lucy feels aloof and simply
40 Unequivocal Emotional lnclinations allows Charlotte to take charge of the mattεr
1t is during her conversation with Mr. Beebe and Miss Catharine Alan that Lucy learns the meaning of the inciden.t Their recurr巳ntdiscussion over her question whether Mr. Emerson is nice or not is car巳fully set forth by Forster since it foreshadows the nature of Lucy's succeeding trouble Mr. Beebe describes Mr. Emerson to be nice and ti陀some"(p. 8) because of his speaking the exact truth. He巴xplains:
1 differ from him on almost every point of any importance， and so， 1 expect‑1 may say 1 hope‑you will differ. But he is a type on巴 disagrees with rather than deplores. When he first came here he not unnaturally put people's backs up. He has no tact and no manners一1don't mean by that that he has bad manners‑
and he will not keep his opinions to himself." (p. 8)
Miss Alan says， N 0， he is not tactful; yet hav巴youev巴rnoticed that there ar巴peoplewho do things which are most indelicate， and yet at the same time ‑ beautiful?'" (p. 10). While declaring their cons巴quentdis‑
昌greem巴ntwith Mr. Emerson， Mr. Beebe and Miss Alan suggest that Mr Emerson has some virtue which balances his lack of consideration for so‑ cial conventions of decency. They obliquely point out that the und巳ト
lying quality of an action and manners are different questions， and they find it difficult to judge Mr. Emerson only by his neglect of propriety The point is not und巴rstoodby Charlotte， who is fully occupied with th巳
apparent ill manners of Mr. Emerson and equates delicacy" with beauty."
Lucy， however， becomes dimly aware of the ide品 When Charlotte makes a fuss over the matter of the rooms， Lucy wonders whether the acceptance might not have b巴enless delicate and more beautiful" (p. 12)
The Emersons begin to exert influence on Lucy， but her巳steemof them
remains uncertain， and her attitude toward them also fluctuates between approval and disapprova .l For example， she is impressed by Mr. Emerson during her solitary wandering in Santa Croce且ssh日acknowledgesthat he shows r巴spectnot to the remains of the lofty， religious ardor of the Middle Ag白 butto an Italian woman who confers a benefit on an injured child. Lucy is ev巴n"dete.rmined to be gracious to them [the Emersons ，]beautiful rather than delicate， and， if possible， to erase Miss Bartlett's civility by some gracious r巴f巴renceto the pl巴品santrooms" (p. 21). Still， wh巳nth巴
Emersons loudly assert th巴irown disbelief in the genuineness of the reli‑ gious enthusiasm before the crowd of English touristsヲshewas sur巳th丘t she ought not to be with th巴semen . . . ." (p. 23). Similarly， when Lucy faints on th巴 spotof the murder且tPiazza Signori呂 andis helped by George Emerson， sh巴feelsstrong sympathy for him. F or George， who is taught to巴ntertainviews similar to those of his father， frankly admits his fear of blood instead of hiding or rationalizing it. However， when she finds thitt they must return to the Bertolini， she is piqued to discover that he does not forget h巴rclumsy swoon， either. George's lack of considera‑ tion for respectability embitters her. Lucy sympathizes with the posture of the Emersons to accept physical and emotional r巳alitiesin life，9 but she holds back at their lack of consideration for its social aspect. They appeal to her when alone， but she hesitates to be involved with them孔nd acts on the general norms under the pressure of other people.
Forster us巴sviolets when ch品racterswaver between the two modes of behavior: whether to follow their巴motlon品1urge or the general norms of r巳spectability. Violets repr自 白ltthe force of the natural inclinations of people around Lucy， and they品re most directly conn巳cted with the Emersons. They are initially mentioned by Miss Catharin巳Alanduring
42 Un巴quivocalEmotional Inclinations
the conversation with Mr. Beebe and Lucy ov巴rthe repeated topic whether Mr. Emerson is nice or not 悶issAlan's response to the ques tion is in the n巴g呂tive. Then Mr. Beebe says， 1 consider that you are bound to class him as nice， Miss Alan， aft巴rthat business of the violets'"
(p. 36). Miss Alan replies，
No， 1 cannot forget how they [th己 Emersons
1
beh呂ved at Mr Eag巳r's lecture且tSanta Croce. Oh， Poor Miss Honeychurch' It really was too bad' N 0， 1 hav巴 quitechanged. 1 do not like the Em巳rsons. They are not nice." (pp. 36‑37)The detail of the business of th巳violets"is not given here， but violets are presented as an evidenc巳ofthe incident which may hav巴testifiεdto Mr. Emerson's niceness. The flowers ar巳connectedwith his virtue other than social which works toward counterbalancing Miss Alan's preoccupa田
tion with what is socially proper. If we recall the statement of hers about Mr Emerson， we can connect the reason for her final disapprobation of him to indelicacy" though she earlier linked the violets to beauty"
Even if violets ar巳 introduc巴din the novel quite unobtrusively， their presence b巳comesmor巴 andmore striking. At first they ar巴 asymbol which indicates contrastive mod回 ofbehavior of p巴ople around Lucy.
However，且sLucy's emotional involvement with George Emerson deepens， the conflict of these modes becomes her inward problem as wel .l Violεts become a symbol concerned with Lucy and G巴orge.
During the driv巴toFiesole with Mr. Eager， Mr. Beebe， Charlotte， Miss Lavish， and the Emersons， Lucy behaves primly， but she secretly envies the Italian cab‑driver and his so‑called sister who disregard the pro‑ prieties andenjoy them田lv四 WhenMr. Eager criticizes the couple's
behavior， she allows herself to be allied with him by letting him sθparate thεm in spite of Mr. Emerson's protest. For呂11her observance of the proprieties， she has no sense of satisfaction. However， after she parts from the rest of the party and ]oms the driver， she feels a sense of joy when some violets ar巳givento her by this coachman， and the world s巳ems to be beautiful and direct" (p. 67). B巳causeof her limited Italian， Lucy is led by the man to the plain where George is， and eventua11y is kissed by G巴orgeamong the flowers.
From h巴rfeet the ground sloped sharply into the view， and violets ran down in rivul巴tsand streams and c且taracts，Hngatmg the hi11side with blue，巳ddyinground the tree stemsぅ co11巴cting into pools in the hollows， covering the grass with spots of azur巳
foam. But never ag丘inwere they in such profusion; this terrace was the we11‑head， the primal source whence beauty gushed out to water the e呂rth.(pp. 67‑68)
Lucy has a radiant expr目sionon her face when she fa11s into the violets， and we are told later that at that moment she adored Georg巳 乱sa hero" or a god." Th巴violetsare an emblem of her spontaneous feeling of love for him which h旦snothing to do with the sanction of social norms.
N evertheless， the kiss， which is an act of love， is ch品ngedinto an insult by Charlotte，who stood brown against the view" (p. 68) and snatched Lucy away from George. As sh巴isalmost entirely absorbed in the propriety， she depriv巴sthe action of its orgina ，lspiritual meaning; thus the kiss bφ comes one of George's exploits，" and he is pronounced a cad." It is hinted to Lucy that the incident is昌 thingyou could not t巳11her [Mrs Hon巴schurch]"(p. 78)， and she is persuaded to make it a secret. In addi司 tion， Charlotte subtly disapproves of the巳ffusion of Lucyうsmnocent
44 Unequivocal Emotional Inclinations・
feeling for George by asking， What would have happened if 1 hadn't arrived'" (p. 75). Charlotte teach巴sLucy to regard her own spontaneous emotions with disapprova l.
In Italy Lucy for the first time feels the conflict between the personal inclinations of an individual and the social codes both outsid巴 呂ndinside herself， but she hesitates to pass judgment between them by herself組 d conforms to others. As Frederick McDowell says，Lucy is a woman who registers the effects of an emotional awakening before she can acknowl‑ edge its existence and causeプ10In P art II. after r巳turningto Englandうshe is still under the impact of her exp巴riencein Italy without fully realizing its meaning. On the one hand， she cannot repress her own emotions; re‑
S叩 tfulof her flight to Rome，" she dislikes Charlotte more than ever，呂nd she judges Mr. Emerson to be such a nice old man" (p. 98). Moreover， she becomes a rebel who desired， not a wider dwelling‑room， but equality beside the man she loved" (p. 110)ー Onthe oth巴rhand， sh巴triesto ignor巳
her favorable feeling for G巴orge;she falsifies th巴nameof Mr. Emerson in speaking of Italy， and she desperately attempts to connect herself with Cecil Vyse who loves her as he loves a work of Leonardo da Vinci and simply tries to take her into another drawing room
Lucy's conscious endeavor not to h丘V巴anythingto do with the Em巴r‑ sons is， however， nullified by Cecil who installs them in Summer Street in order to fright印 gent巴巴1neighbors. The conflict which she felt in Italy returns with the motif of violets. When Lucy is shocked to know th丘ther plan to install the Miss Alans in Cessie villa is spoilt by C巳cil'sinvita‑ tion of some unspecified Emersons， Mr. Beebe from good intention un‑ folds th巳Florentineepisode of violets conc巳rnedwith the Miss Alans and the Emersons. The detail of the巴pisodeis disclosed for the first time
the Emersons d巴coratedthe room of the Miss Alans without their consent and appe昌i巴dintensely to their direct desire for all their care for good manners. Moreover， the violets remind Lucy of Georg巳'skiss r乱therthan of the conversation with Miss Catharin巴Alan. Attempting to abate Lucy's embarassmentぅ Mr.B凹 b巴 ironieallyamplifies it by saying， Yes， 1 al ways connect those Florentin巴Emersonswith violets' " (p. 114).
As Kenneth Churchill points out， violets serve as a basis of irony"
when th巳tworelated incidents丘reunited by Mr. Beebι11 The reference to violets in Mr. Beebe's speech reintroduces th巴 oldtheme of the first half of the novel by recalling the w呂veringbetwe巴n b巴auty"and delicacy，"
but it also r巴pr巳sents the theme this time as L ucy' s巳X1g巳nt，llln己r problem. Stone explains the difference of Part 1 and P且rtII， thus
in Part 1 the room with a vi巴w is a hotel room overlooking the Arno， and the p巳opl巳 品reidle tourists. In P呂rtII it is the drawing room of a villa in Summer Street， a fancy country suburb in Surrey， and the people are serious citizens trying to work out their d巳stini巳s.12
In Part II Lucy is making a crucial choice in her own life. As the Emer‑
sons move into her neighborhood， she can no longer avoid facing the trouble. As the thematic conflict b巳tweenprivate inclinations and the so cial code of propriety becomes an imperativ巴 problemfor Lucy， the con‑ flict becomes more acut巴than巳V巳r. Violets symbolize the need to choos巳
and resolve th巴conflict
Neverthel己ss，in Part II Lucy repeats the same process呂sin Italy; she is again attracted by Georg巳 昌nd then tries to suppress the feeling Though she considers her engagem白ltto Cecil as d巴cid巴d she su日巴rs
46 Unequivocal Emotional Inclinations
from reminders of Italy which work against h巴rdetermination. When she meets Georg巴 again，he has just bathed in the Sacred Lake， forgetting all manners， and sh巴isonce again impressed by his figure like a h針。 ora
god" in spite of her pretentious care for manners. Lucy even feels that For a moment the visible world faded away， and memori巳sand emotions alone seemed real" (p. 141) Still she attributes her own feeling to nerves instead of acknowledging its natu日 However，the description of their love scene among violets of Florence which is ins巴rtedinto呂 novelby Miss Lぉrishis read to Lucy and George by Cecil. George kisses Lucy again， 在nd she is forced to decide on her丘ttitudetoward George and CeciL
Even旦fterthe巴vent，Lucy still refuses to realize her own emotional demands. Her predicament is品ttributedwholly to Charlotte's breach of confidence. Lucy fails to understand the implication of the shock of George's second kiss， but she takes it且shis second insult. Forc巳dto set‑ tle the matter by h巴rself，she dismisses him. George， however， confesses his love for Lucy in a frank but dignified manner， and he also points out to her that she obeys not herself but CeciL As Lucy und巳rstandshis ex‑ planation of Cecil's character， she finally decides to break her engage ment， but she still c昌nnotfollow her genuine feeling for George. During the interview with Cecil， she is scared by his keen detection of a new voice" (p. 172) in her品ndbeautifies the cause of th巳brokenengagement with the convenient catchword，independence." At this moment Lucy acts in the worst way by selecting pr巴tenserather than the auth巴nticityof fをel‑ ing， which Forster describes:
She [Lucy] gave up trying to understand herselfう andjoined the
vast armies of the benight巴d，who follow neither the heart nor the brain， 泊dmarch to their destiny by catchwords (p.174)
B巴causeof h巳raccumulated li巳sto herself and to people around her， sh巳
is forced to live against her true desire. 1n order to escape from George whom she loves and from the mess which she created of her own life. she feigns enthusiasm over th巳 plan to go to Greece with the Miss Alans Wh巳nher巴motionallife and actual life are about to be divided forever， Mr. Emerson warns h巳ragainst the strong influence of the unequivocal emotion of love ov巴ran individua ，lsaying， 'Though you fly to Greec，日
and never se巴himagain， or forget his very nameう Georgewill work in your thought till you die'" (p 202). He alone can s乱veLucy from the dang巳rcaused by the denial of inner life by exposing h巳rauthentic feel ings to both to herself and oth巳rs. Finally th日emotionalaspect of Lucy's life is reconciled with the social aspect by her marriage to George， although sh喧isexpelled from her soci日tybecause of her breach of truth‑ fulness to the affection and social巴xpectations of hぼ family and her friends
In the background of Lucy's oscillation Forster s巴tsthe Emersons and the Miss Alans in opposition， especially in Part 11. The Emorsons are invit巴dto Summer Street instead of th巴 MissAlan久 間dLucy marries G巳orgeinstead of going to Greece with th巴 MissAlans. She chooses to live likεthe Emersons by following her inclinations， not lik巴 theMiss Alans who prefer conforming to the social norms.
Nevertheless， Forster stress出 thepossibility that Lucy might liv巴lik巳
the Miss Alans. As Lionel Trilling points out， he d巴scribesLucy， who rejected Georg喧 againsther genuine desire with the same words as he
48 Unequivocal Emotional lnclinations
describ巴d Miss Catharine Alan・ beaut匂y，"、autumn孔""remi山mおscent of spr口ing，"and pathetic."13 The parallelism between Catharine Alan and Lucy is further strengthened by violets， since both of them are connected with the Emersons by the memory of the flowers. Despite their car巴for the proprieties， Lucy and Catharine Alan both receive a strong impact from the Em巳rsonsー
Even if Lucy quickly feels在versiontoward Charlotte， she is quite slow in detecting巴vilin Miss Catharine Alan. Stil 1.Miss Catharine Al且nhas且
serious conflict in her personality because of her neglect of the emotional impulse within hers巴lf. When she spe旦ks of the unconventional Miss Lavish， she fluctuates betw巴enher toleration" and her better judgement，"
in other words， between her free judgment and her care for th巴social standards. This self‑conflict of hers is also pointed out by Mr. Beebe， who says to Cecil and Freddy Honeychurch about h巴rplan to go to Greece
Isn't Romance capricious! 1 never notic巳itin you young people; you do nothing but play lawn‑tennis， and say that Romance is dead， while the Miss Alans are struggling with all the w伺ponsof propriety against the terrible thing. 'A really comfortable p旦n‑ sion at Constantinople1' So they call it out of d巴cency，but in their hearts they want a pension with magic windows opening on the foam of perilous s回 sin fairyland forlorn1 N 0 ordinary view wil1 content the Miss Alans. They want the Pension Keats." (p 177)
As he impli巴s，Miss Catharine Alan is divided between her predilections for the propri巴tiesand her true desire. Though she attaches priority to the former over the latter， she cannot entir巳lyneglect the impulse of the
49 latter. She launches into the journey， the mad career" (p. 185) according to Mr. Beeb巴， in the wild hope to satisfy it. However， as we see in her travel to Italy， she cannot fully respond to the d巴mandsof her emotions since she clings to the social standards. The pathetically comical de‑ scription of Miss Alan suggests the futility of such a liお お sheleads and as Lucy is on the point of leading.
Furth巳rmor巳，Lucy is also following Charlotte in life in spit巴ofher dis‑ like for her， and she herself is shocked when it is pointed out by Mrs Hon巴ychurch. In almost all parts of the novel Charlotte is叩 tirelyobe‑ dient to the proprieties. At the close of the nove ，lhowever， George sug‑ gests the possibility that she also unconsciously h品sapproved of his and Lucy's love He reveals the fact th呂tshe int巴ntlOn在llylet Lucy meet Mr Emerson at the rectory， saying， Th巴 sightof us h品untedher‑or sh巳
couldn't have described us as she did to her friend There are det昌ils‑it burned. 1 read the book afterwards'" (p. 209). What he mentions is the description of violets by Miss Lavish which made them r剖 lizethat the love sc巳nein the novel was th巳irown. This suggestion of George that Charlotte might have been obsessed by violets helps explain the apparently irrelevant memory of Charlott日aboutthe c呂rriagedriver with a violet be‑ tween his teeth (p. 146). Churchill says about this remembr旦nceof Char‑ lotte
The d巳tailis to her [Charlotte] inconsequential‑and the fact that lt IS so IS on色ofthe m叩 ylight touches that go to reinforce the overall picture of her as one who is irredeemably on th巳sideof convention against life.14
About Lucy's accusation ag丘instCharlotte's breach of secrecy， he also
50 Unequivocal Emotional lnclinations: says:
The choice of the vio1ets， and nothing e1se， to bring out in three words ('There are vio1ets') the contrast between Lucy， who associates so much with violets， and Charlotte， who is eternally denied the kind of v1slOn Lucy has had， magnificently demon‑
strat巳sthe self‑etfacing economy with which the novelist can achieve a powerfu1 effect by the gent1est of touches.15
Churchill maintains only the difference and contrast between Lucy旦nd Charlotte. However， George's opmlOn makes it possible to det巴ct in Charlotteヲsremembrance of vio1ets her hidden inclination for what is εmotionally rea l. As
J
ohn S. Martin points out， G巴orge1S mstrum巴nt旦1"in uniting Lucy品ndCharlotte，16 but violets also suggest 1atent resemb‑ 1ance between them
By establishing parallelism as well as contrast between Lucy and Miss Catharine Alan丘町1between Lucy and Charlotte， E. M. Forster shows the difficulty and necessity of acknowledging the importance of one's emotiona1 judgmen .t F or the genuin巴inclinationsare unequivoca1; Miss Catharine A1an and Charlotte remain under their influenc巳howevereagerly th巴yr巴pressthem Their characterizations suggest the vehement friction between th巴 巴motionaldemands of an individual and norms of society， but the nove1 still claims that oneラs socia1 life shou1d be founded on his or her inner truth. And F orster says，Life is easy to chronicle， but bewi1dering to practise， and we we1come 'nerves' or any other shibbo1eth that will cloak our persona1 desire" (p. 142). Even Lucy's salvation is， as Frederick Crews points out，a 1ast‑minute rescue" which is accomplished on1y by乱cceptingGeorge.17
Thus many important char呂ctersare concerned with vio1喧tsm vanous
contexts of the novel. Though in巳ach case the precise role丘nd the intensity with which this symbol is r巳presenteddiff巴rs，it is more or less connected with spontan巳ous inclinations or passions of an individual1S Therefore， the charact巴rsare judged by their relations to the flower. In other words， the violet with its repetition and variation" makes the novel coherent， helping produce th巳thematicdilemma between emotional judg‑ ment of an individual and the sanction of society. By the rhythmic use of violets Forster effectiv巴lyshows th巴difficultyand necessity of following personal inclin丘tionsin A Room with a View
Notes
1. E. M. ForsterヲAspectsof the Novel (London: Edward Arnold， 1974)， p. 61 Z. E. K. Brown s呂ys，，The expanding symbols is of special use when the idea
or feeling the novelist is rendering is subtle or otherwise elusiv巴 "(E. K Brown， Rhythm in the Novel [Toronto: University of Toronto Press， 1957]， p.55). He shows the effectiveness of the use of the rhythm by citing many evidences from F orsterうsnovels. J且mesMcConkey says that Forsterうsown novels depend for much of their effect upon the use of rhythm. Indeed For‑ sterラsuse of musical devices is closely旦lliedto his voice and to the prophetic utterance." (J呂mesMcConkey， The Novels of E. M. Forster [Ithaca: Cornell Uni‑ versity Press， 1958 ，]p. 97)
3. Aspects of the Novel， p. 115 4. Ibid， p. 115
5. E. M. F orsterラA View without a Room，" A Room with a Vie四 (London Edw且rdArnold， 1977)， p. 210. All the quotations from the novel are found in this edition， and they are cited in the text by page numbers only
6. Frederick Crews maintains. 'Like the earlier novel [Where Angels Fear to Trea ，JdA Room With [sic] a View gets its complexity not from theme but from comic tangle and the interpenetration of 'rhythms.' (Frederick C. CrewsE.M.
Forster: Perils of Humanism [Princeton: Princeton University Press. 1962 ，]p 88)
7. Wilfred Stone. The Cave and the Mountain: A Study of E. M. Forster (Stanford
52 Unequivocal Emotional Inclinations Stanford University Press， 1967)， p. 218
8. The rhythm of the violet is pointed out by such critics as McConkey， Crews， and by Kenneth Churchill. McConkey discusses the meaning of violets in connection with the images of light and darkness. (McConkey， pp 98‑99). On the changing role of violets， which I de乱1with in this paper， Kenneth Churchill made an excellent observation in his commentary on the novel in Notes on Literature，" included in E. M. Forster， ed. Yuichi Nagasaki (Tokyo: Eichosh，呂1980)， pp. 22‑34
9. Lionel Trilling says that the novel de且Iswith the physic且1reality， whose importance is pointed out by Mr. Emerson. (Lionel Trilling， E. M Forster [London: The Hogarth Press， 1959 ，]p. 86)
10. Frederick P. W. McDowell， E. M. Forster (Boston: Tw勾ne Publishers， 1982)， p. 20
11. Churchill， p. 25 12. Stone， p. 218.
13. Lionel Trilling， pp. 93‑94 14. Churchill， p. 25.
15. Ibid.， p. 26
16. John S呂yreMartin， E. M. Forster: The Endless Journの(London:Cambridge University Press， 1976)， p. 92
17. Crews， p. 82
18. Crews says th在tflowersin general are in evidence when passion is in ques‑ tion." (Crews， p. 88)
