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Pensione Bertolini
The window to Miss Lucy
Honeychurch's (main character) room does not open to a view.
The dank back alley that confronts the young English lady
and her chaperone, Charlotte Bartlett (the inevitable poor
relation), is distressing, yet Lucy and her aunt do not choose
to handle this dilemma directly (main character approach-be-er).
Whispering about their disappointment in the communal dining
room draws attention to their plight. Mr. Emerson decides
(story driver) they must immediately change rooms with himself
and his son, George (impact character): "I have a view.
And so does George. . . . I don't care what I see outside.
My vision is within." Horrified at the stranger's forward
approach (overall story inhibitor), the ladies leave the table.
A consultation with Mr. Beebe, another guest of the pensione,
and soon to become (overall story signpost 1) vicar of Lucy's
village, is necessary to reassure Charlotte the Emersons'
gesture is perfectly all right. These opening scenes introduce
the overall story of psychology - different manners of thinking:
Charlotte: You think
I ought to have accepted. You think I have been narrow-minded?
The scenes also illustrate
the overall story problem of control, exemplified by straitlaced
Aunt Charlotte - and the solution of uncontrolled, observed
in the freethinking Emersons. The story goal revolves around
what is to become of Lucy, a girl of much promise with whom
everyone has an interest. Mr. Beebe, listening to her perform
passionately at the piano, identifies her solution of uncontrolled:
Mr. Beebe: If Miss Honeychurch
ever takes to live as she plays, it will be very exciting
- both for us and for her.
For Lucy is just as
uptight as Charlotte.
In
Santa Croce with no Baedeker
Concerned for George's
future, Mr. Emerson enlists Lucy's help: "My poor boy
has brains (impact character problem-logic), but he's very
muddled." He explains the circumstances (impact character
domain-universe) of his brooding son's upbringing: "Free
from all the superstition that leads men to hate one another
in the name of God." After Lucy responds with a cause
and effect kind of solution (logical problem solving style):
"Has your son any particular hobby?" — she
excuses herself: "My cousin will be most anxious if I
don't get back this instant." Mr. Emerson expresses pity
for her constraints (main character problem-control), to which
Lucy retorts — "Poor girl? On the contrary. I think
myself a very fortunate girl. I'm thoroughly happy and having
a splendid time" (main character issue-denial).
As an example of control
as the overall story problem, Charlotte and Eleanor Lavish
find themselves lost on the other side of the plaza. Eleanor
will not allow Charlotte to consult her Baedeker guide: "We
will simply drift" (overall story solution-uncontrolled).
Eleanor further announces to her new acquaintance:
Miss Lavish: I have
my eye on your cousin, Miss Lucy Honeychurch. 'The young English
girl transfigured by Italy.' And why should she not be transfigured?
(story goal-becoming)
Lucy, on her way back
to the hotel, takes in the statues of nude men — all
at once she witnesses the blood lust of real men engaged in
a fight to the death. George catches Lucy as she faints, and
assumes care for her well being (main versus impact character
thematic issue-morality). Sheet white, Lucy utters one of
her many untruths: "I'm perfectly well" (main character
issue-denial).
Leaning over a bridge
together, George informs Lucy: "Something tremendous
has happened. Something's happened to me, and to you"
(main versus impact character signpost 1-understanding). His
steadfast faith (impact character resolve) in this change
is what drives their relationship.
The
Reverend Beebe, The Reverend Eager, Mr. Emerson, Mr. George
Emerson, Miss Eleanor Lavish, Miss Charlotte Bartlett and
Miss Honeychurch drive out in carriages to see a view; Italians
drive them.
Miss Honeychurch is
most interested in the display of affection between the Italian
driver and his "sister" (main character concern-subconscious).
Wandering through the poppies, George takes Lucy into his
arms and without words tempestuously kisses the Edwardian
beauty. Alarmed, Charlotte drags Lucy back to the hotel. Using
reverse psychology (overall story domain), she prods Lucy's
conscience (overall story focus): "I have failed in my
duty to your mother (overall story thematic issue-responsibility),
she will never forgive me when you tell her." Much to
Charlotte's relief, Lucy determines: "Why need mother
hear of it?" (main character issue denial)
Home
Back in Surrey, Lucy
continues to behave according to how she thinks others wish
her to act (main character problem-control). She accepts the
priggish Cecil Vyse's offer of marriage (main character signpost
2-conscious).
Officially
Engaged
Cecil suffers through
the obligatory (overall story catalyst) engagement (overall
story thematic counterpoint-commitment) party. He expresses
his opinion as such to Lucy, accelerating her eventual distaste
of his personality: "When I do think of you it is always
in a room." Apparently, with no vista. Cecil and Lucy
awkwardly embrace — Lucy recalls (overall story forewarning-memory)
George's ardor. Comparing the two, she cannot help but envision
(overall story requirement) a future (overall story cost)
with Cecil will lack passion.
London
In Mrs. Vyse's well-appointed home
Mrs. Vyse approves of
her son's betrothed: "Lucy is becoming (story goal) one
of us!"
An antidote to the strictures
of Mrs. Vyse's parlor is the scene in which Lucy is reacquainted
with George. Bare-naked. Freddy Honeychurch, Mr. Beebe, and
George are skinny-dipping when caught out by Cecil, Mrs. Honeychurch,
and Lucy. Lucy's immediate response (main character signpost
3-preconscious) is to laugh — hand covered over her mouth,
of course.
How
Miss Bartlett's boiler was so tiresome.
"Poor Charlotte"
writes that her ". . . boiler is to be had out."
Mrs. Honeychurch thinks: "It would be very nice if we
asked her to stay. Give her a holiday. . ." (overall
story focus-conscience). Lucy, Freddy, and Cecil object: "Please
. . . spoil us by not asking her to come" (overall story
direction-temptation). Mrs. Honeychurch reprimands all, and
plans for Charlotte's temporary (overall story signpost 3-being)
stay.
"Under
a Loggia"
A romance set in Italy
As Lucy and George play
tennis, Cecil reads aloud a passage from Eleanor Lavish's
lavish roman à clé (French for "novel with
a key"). It describes the kiss between the heroine and
hero: "She wandered as though in a dream" (main
character thematic counterpoint). Lucy is furious with Charlotte
— the chaperone had obviously, and in great detail, recounted
her cousin's indiscretion to the romance novelist (overall
story direction-temptation). George takes this opportunity
to kiss Lucy again (main versus impact character direction-temptation).
Lying
to George
Lucy gives George a
dressing down:
Lucy: Mr. Emerson, go
out of this house and don't come back into it again as long
as I live here.
George: You don't mean
you're going to marry that man. . . . He wants you for a possession.
. . . I love you. I want you to have your own thoughts and
ideas and feelings, even when I hold you in my arms (main
versus impact character domain-physics)....Do you understand
how lucky people are when they find what's right for them?
(main versus impact character concern-obtaining)...This tremendous
thing has happened between us...you have to understand that
(main versus impact character benchmark)!
Lucy: I have no idea
what you're talking about....I will not listen to one more
word!
Lying
to Cecil
Lucy coolly explains
to Cecil she cannot possibly marry him, citing the very reasons
(main character focus-logic) why George had been against the
match. Cecil is taken quite aback, and questions her decision
(story driver):
Lucy: If you think I'm
in love with someone else, you are very much mistaken!
Cecil:...I only meant
that, there's a force in you that I hadn't known of up 'til
now.
Lucy: If a girl breaks
off her engagement everyone thinks: 'Oh, she has someone else.
She hopes to get someone else'... it's brutal!
Lying
to Mr. Beebe, Mrs. Honeychurch, Freddy, and the servants
After dismissing her
fiancé, Lucy continues to avoid addressing her personal
problem — he instead concentrates on making plans to
disappear (main character focus-logic):
Lucy: You must help
me persuade (overall story domain-psychology) mother.
Charlotte: What?
Lucy: But don't you
see....I must get away. Ever so far, before it's known.
Charlotte: What?
Lucy: That I've broken
off my engagement. He mustn't get any ideas!
Charlotte: You mean
Mr. [George] Emerson might think it's on his account?
Lucy: Oh Charlotte,
how slow you are.
Lying
to Mr. Emerson
Lucy keeps up the pretense
that she does not care for George. The elder Mr. Emerson calls
Lucy on her deception — the reason she is running away
is because she is in love with George "body and soul."
No longer able to deny (main character unique ability) the
truth she finally stops (main character growth) lying, and
declares with great exasperation: "Well, what did you
all think?" (overall story signpost 4-conceiving; story
limit optionlock)
Pensione
Bertolini
"Music and life
mingle" for Lucy (judgment-good) as the newlyweds begin
their happily ever after. Lucy and George honeymoon in Florence
— kissing on the window ledge of their room with a view
(outcome-success).
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