A Room with a View

The Novel’s Revelation and the Second Kiss

Lucy asks George about his mother, recalling that according to Mr. Eager she was murdered in the sight of God, but George once mentioned she could see as far as Hindhead—her first memory. Cecil closes the novel with a bang, making Lucy jump. He refuses to read further while George is present to “entertain” them. Lucy cleverly suggests reading silly things aloud is enjoyable, implying George can leave if he thinks them frivolous. This pleases Cecil by putting George in the position of a prig. Lucy opens the book and Cecil asks for chapter two. She glances at the opening sentences and realizes the novel contains a scene that matches her secret encounter with George in Florence—Miss Lavish has somehow printed their past in draggled prose. Lucy hands the book back with trembling hands, insisting it isn’t worth reading, calling it rubbish. Cecil reads aloud the passage describing Leonora sitting alone in Tuscany, carpeted with violets, with Florence visible in the distance—precisely where George kissed Lucy in the Loggia. George reads the passage about Antonio stealing up behind her and enfolding her in his “manly arms.” Cecil, oblivious, turns pages looking for a funnier passage. Lucy turns to George and sees his face. She manages to say they should go in to tea. She leads the way up the garden with Cecil following and George last. She thinks a disaster has been averted, but in the shrubbery, Cecil realizes he has forgotten the book and goes back for it. George, who loves passionately, blunders against Lucy in the narrow path. She gasps “No—” and for the second time is kissed by him. He slips back, Cecil rejoins her, and they reach the upper lawn alone.

CHAPITRE 16.

This chapter depicts a crucial turning point in Lucy’s emotional journey as she confronts the conflict between social convention and genuine feeling. The narrative follows Lucy through a confrontation with her cousin Charlotte Bartlett, a direct confrontation with George Emerson, and ultimately a decisive break from her engagement to Cecil Vyse. The chapter explores themes of self-deception, the difference between authentic and performed emotion, and the awakening of Lucy’s true self-awareness.

Lucy resolves to stifle her feelings

Following her disturbing encounter with George Emerson, Lucy determines to suppress her emotions despite the heightened danger of her situation. She retreats to her room to compose herself, deliberately constructing a narrative of falsehood that transforms George into a cad who behaved abominably and whom she never encouraged. Using her old defense mechanism of nerves and social convention, Lucy.armor herself against her genuine feelings and prepares to confront him, sending for Miss Bartlett to assist her in managing the situation.

Lucy confronts Charlotte about Miss Lavish

Upon Miss Bartlett’s arrival, Lucy reveals that Miss Lavish has published a novel containing a scene unmistakably based on the afternoon in February when George kissed Lucy on the hillside near the pine forest. Lucy accuses her cousin of breaking her promise and revealing this private moment to Miss Lavish, a charge Miss Bartlett reluctantly admits is true, having mentioned it in strictest confidence during tea in Rome. Miss Bartlett expresses remorse and suggests a man with a whip is needed to deal with such a cad, though she remains helpless when pressed for practical solutions. Lucy realizes her cousin intentionally maneuvered her into confronting George directly.

Lucy demands George leave the house

Lucy locates George in the dining-room where he has declined refreshments, sends Freddy and others away, and delivers a terse demand: he must leave the house and never return while she lives there. She speaks firmly, pointing to the door and explaining that she hates conflict but cannot tolerate his presence. George, however, ignores her dismissal and instead asks directly whether she intends to marry Cecil Vyse, launching into an unexpected and passionate defense of his case against the engagement.

George denounces Cecil and confesses his love

George delivers an impassioned critique of Cecil’s character, arguing that Cecil treats people as he treats books and paintings—something to be discussed but never truly known. He explains that Cecil shapes and forms Lucy rather than allowing her to develop her own thoughts and judgments, and that his father’s mispronunciation at the National Gallery first revealed Cecil’s fundamental snobbery and unkindness. George confesses his love for Lucy, acknowledging his own tendency to want to govern women while insisting his love differs from Cecil’s because he wants her to have her own thoughts even when held in his arms. He appeals to Miss Bartlett to understand that this is their last chance, explaining that youth and love matter intellectually.