the hive's smooth operation. For Beebe, Lucy represents a challenge.

Mr. Beebe holds a theory about Lucy, which he discusses with Cecil, unaware of their engagement. Beebe believes that one day Lucy's musical talent will harmonize with her peaceful lifestyle, making her both "heroically good, heroically bad." In his diary, he envisions Lucy as a kite held by Miss Bartlett. In a subsequent diary entry, the kite's string snaps. Thus, Mr. Beebe feels let down upon learning about Lucy's impending marriage to Cecil. Ultimately, when he discovers Lucy's affection for George, Beebe expresses genuine concern for her for the first time. However, his thoughts on Lucy's future with George remain unclear; his sole aim is to assist Lucy.

Minnie Beebe

Mr. Beebe oversees the education of his niece, Minnie. The young girl admires Lucy as a role model and demonstrates her own Emersonian potential by insisting on sitting outside at the pub.

Cuthbert Eager

Mr. Eager serves as chaplain for both the English expatriates residing near Florence and the tourists. He plays a role in keeping these two groups separate. The expatriates protect their knowledge and access to authentic Florence from the uninformed tourists with their guidebooks. Occasionally, an exceptional tourist will visit Florence. Only these individuals are welcomed by Mr. Eager into the expatriate circle. Lucy receives such an invitation. However, Mr. Beebe's inclusion of others in the outing discourages Mr. Eager from taking her to "tea at a Renaissance villa."

George Emerson

George Emerson, the younger, "has a view too." Liberated from religious constraints by his father's progressive educational approach, George is a classic melancholic, burdened by excessive knowledge. Mr. Beebe identifies several books George has absorbed—works that often lead to a bleak outlook on life. Reflecting the Freudian influences of the time, George's melancholy could be alleviated by intimacy. Fortunately, Mr. Emerson quickly realizes that Lucy's issue can also be resolved by love. The two young individuals meet, and love takes hold.

George dismisses a society that restricts him from expressing affection or running freely through suburbia. "He had sighed among the tombs at Santa Croce because things wouldn’t fit; . . . after the death of that obscure Italian he had leant over the parapet by the Arno and said to [Lucy]: 'I shall want to live, I tell you.'" While playing tennis, he displays his desire to live, radiating like the sun. By the novel's conclusion, George and Lucy, akin to Phaeton and Phoebus, demonstrate that life should be embraced fully in each moment.

Mr. Emerson

Mr. Emerson possesses a unique perspective that liberates him from conforming to any particular social hierarchy or mechanical group. As a man influenced by the Enlightenment, he values experience and science, drawing inspiration from figures like Jean-Jacques Rousseau in his educational philosophy. In terms of comic theory, Mr. Emerson is the wise elder who may appear as an irritable old man. He sees his life’s mission as that of an educator—aiming to liberate young minds so they can form decisions and personal beliefs based on experience rather than societal dictates. This is evident during his interaction with the child at Santa Croce, where he is appalled by a child playing in the dark of a church instead of enjoying the sunshine. Mr. Emerson "is kind to people because he loves them," a sincerity that unsettles those used to the manipulations of individuals like Charlotte and Cecil.

Mr. Emerson plays a significant role in the novel, as his simple act of swapping rooms disrupts societal norms irreparably. The Emersons occupy rooms with a view, allowing them to appreciate Italy's beauty and the importance of passion in life. By offering his room to Lucy, Mr. Emerson gives her a glimpse of this perspective—a view she ultimately embraces as her own. His actions open up a discussion on the societal assumptions regarding religion, gender, education, art, and music, showing Lucy that there are alternative viewpoints.

Freddy Honeychurch

Much like Lucy, society expects Freddy to assume his position as the master of Windy Corner. In Part I, Charlotte portrays Freddy as a chivalrous figure who would defend his sister’s honor against any threat. However, Freddy lacks the finesse of chivalrous calculation. When confronted with Cecil’s medieval proposal for his sister’s hand, he impulsively responds, “Take her or leave her; it’s no business of mine!” Freddy doesn’t intellectualize his thoughts; he acts spontaneously. Embodying the comic spirit, Freddy is a "seize the day" character. His reactions to Cecil and other social missteps reflect this. While Mr. Beebe philosophizes about the Garden of Eden, Freddy simply asks, “what about this bathe?” Enough talk, Freddy suggests, let’s have some fun.

Despite this, Freddy attempts to learn proper manners, though he often ends up with bruises instead. He is constantly self-conscious about his handling of Cecil, which troubles him. Although he dislikes Cecil, he cherishes his sister. Freddy tries to imitate Cecil after getting to know him, but George disrupts this learning process. George also encourages Freddy’s natural philosophy. Freddy believes in the concept of "freedom of the individual"—as long as it doesn’t harm others.

Lucy Honeychurch

Lucy, the main character, hails from a middle-class background but is elevated in society through her connections with the aristocracy. Her journey to maturity involves gaining a deeper understanding of life. Throughout this journey, she struggles to shape herself into the ideal woman to satisfy her mother, her mentor Charlotte, and her fairy-tale suitor Cecil. Along this path, she could have followed the example of the Miss Alans, who embody a type of feminine independence within Cecil’s societal norms. Instead, Lucy becomes “a rebel who desired, not a wider dwelling-room, but equality beside the man she loved.” Her choice leads her to “break the whole of life.” By embracing this destruction and finding true happiness, she becomes a symbol for others, demonstrating that women can share an equal perspective with men.

Lucy’s name highlights her symbolic significance. Derived from the Latin word for light, her name reflects her natural inclination towards light (especially sunlight), nature, and beautiful vistas throughout the story. However, the world that seeks to claim her is an “army of darkness,” where societal conventions, fashion, and indoor spaces are the only views to be appreciated. Such a shadowy existence is incompatible with those who belong to the light. Lucy’s challenge is to remain true to herself and maintain a clear vision or conform to societal expectations and lose her essence. Her journey toward embracing her true nature as a person of light is revealed by how much she stands in the shadows. Her ultimate realization comes when she finds herself lost in darkness before Mr. Emerson. This darkest moment gives way to the radiant joy she finds with George.

Mrs. Honeychurch

Mrs. Honeychurch, the widowed mother of Lucy and Freddy, presides over Windy Corner. The house was an investment by her husband, an honest solicitor, and its early presence in what was becoming a suburb of London led the newly arrived aristocracy to mistakenly see the Honeychurches as having noble roots. By the time the error was realized, the family had already been elevated to the upper class.

Mrs. Honeychurch is opposed to feminism and distrusts passion. Even though she manages her own household, she takes pride in upholding traditional gender roles. She is critical of women who do not adhere to their expected roles, warning “beware of women altogether”—particularly women writers. She praises men for embodying their chivalrous roles. Recognizing the transformation in Lucy when she plays music, Mrs. Honeychurch hopes Lucy will “never live a duet.”

Eleanor Lavish

The phrase “Miss Lavish is so original” is frequently used to describe this emblem of early 20th-century liberated women. Society views her as a radical and worldly-wise individual and accepts her in that role. This acceptance and encouragement reflect the upper class's traditional ability to purchase and appreciate superficially rebellious artists, art, or individuals. In some ways, Miss Lavish plays the role of the fool. She might seem to grasp how lifeless society is, yet she cannot bring herself to leave its confines. She remains the entertainer, not a source of wisdom, as she lacks genuine concern for others. In contrast, Mr. Emerson cares deeply and successfully rescues a soul from society’s grip.

As a novelist, Miss Lavish serves as a mirror to Forster. Her novel about an Italian romance draws inspiration from Lucy. The book is intended to trap Lucy in the “army of darkness,” but instead, it has the opposite effect. Lucy sees only a partial reflection of herself in the novel and begins the process of completing her own self-discovery.

Harry Otway

Sir Harry Otway, a member of the local aristocracy in Sussex and a friend of the Honeychurch family, recently acquired the Cissie and Albert cottages from Mr. Flack. To many local residents, these cottages have marred the traditional main street. In modern terms, they are examples of rapid, careless development that ignores established aesthetics. Otway's failure to prevent their construction has drawn much criticism from his peers. He now seeks to remedy the situation by finding suitable tenants. Here, "suitable" implies uniformity. Otway hopes to find tenants matching specific class, race, and ethnic criteria. This kind of screening will become a staple in suburbs attempting to exclude minorities throughout the twentieth century. Within the novel, Otway embodies another likable person unable to keep up with changing times. Notably, it is Cecil who “assists” him in completing the search.

Phaethon

In Greek mythology, Phaethon was granted permission by his father, Helios, to drive the sun chariot for a day. Unable to control the horses, the chariot began to scorch the earth until Zeus struck Phaethon down with a thunderbolt, casting him into the river Po. He serves as the mythological parallel to George, a railroad worker who will successfully steer a new kind of chariot.

Phoebe

During the outing to Fiesole, the carriage driver requests permission to pick up his “sister.” In reality, Phoebe is his girlfriend, and they behave like young lovers right under Mr. Eager’s watchful eye. Her name evokes the Titan daughter of Uranus and Gaea in Greek mythology, symbolizing brightness and the moon. Thus, she represents femininity and the passion of the night, with all the mystery such symbolism entails. Phoebe serves as a counterpart to Lucy; Lucy becomes a guiding light for others seeking to escape the “army of darkness.”

Cecil Vyse

Cecil arrives late in the narrative with an aura reminiscent of the medieval era, much like a Gothic sculpture. His head is slightly elevated above the normal line of sight, evoking the image of the refined saints that stand sentinel at the entrances of French cathedrals. More significantly, Cecil embodies a form of male sexuality rooted in Rome, contrasting with George's fervent sexuality, which is tied to Renaissance Florence. Within the context of Forster's novel, Rome, as the Pope's seat, symbolizes the core of Europe's somber medieval traditions. As a Gothic figure, Cecil is associated with the ideals of chivalry, celibacy, rigid norms, and the severe attitudes that led to witch burnings—misogynistic and wary of physical desire. Cecil is the ideal suitor for a Victorian mother, having proposed to Lucy three times. Lucy finally accepts his proposal, coinciding with the day Sir Harry Otway secures tenants for his rental property. This timing is fitting, as Cecil perceives relationships through a feudal lens, viewing Lucy as a masterpiece that will enhance his own value.

Mrs. Vyse

Cecil's mother symbolizes the dimmed potential Lucy might face. "Mrs. Vyse was a pleasant woman, yet her individuality, like many others, had been overshadowed by London . . . the overwhelming force of destiny had subdued her." She openly discloses the aims of the societal elite who stand against the Emersons and Lucy's natural desires. She instructs Cecil to "make her one of us." As a prominent figure in society, her opinion on whether someone is suitable is held in high regard, and Lucy gradually earns her approval.