How does E. M. Forster use imagery in A Room with a View?

In order to intensify Lucy's conflict with convention and to convey the force of her muted passion, Forster uses imagery drawn from music. Music lifts her out of herself and permits her to see, at least for the moment, the irrelevance of prescriptive standards: "She was then no longer either deferential or patronizing; no longer either a rebel or a slave". By force of will, she transforms Beethoven's tragic sonatas, for example, into expressions of triumph. Lucy, moreover, instinctively suits her music to her mood or situation. In Italy where she can acknowledge the elemental, she leans toward Beethoven. When she plays for Cecil and his guests in London, she performs the decorous Schumann, who suggests to her "the sadness of the incomplete." It is as if she has some intimations that she is now denying the demands of life, and so cannot play her beloved Beethoven in these artificial surroundings. At Windy Corner she plays the erotic garden music from Gluck's Armide and makes her audience restless (as if they reflect her own conflicts), and she also finds it impossible to play the sensual garden sequence from Parsifal in George's presence, since she is sexually distraught at this time. When she plans to renounce the call of passion, she indulges in the artifices (for her) of Mozart.