“One's sensitive nerve, what a nuisance it is!”
— Lilia Herriton reflects on her own feelings and the difficulties they cause.
Archivist's Choice
Where Angels Fear to Tread
E.M. Forster (1920)
Genre
Historical Fiction / Romance
Reading Time
180-240 min
Key Themes
See below
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An English family's attempt to 'rescue' an orphaned baby from its Italian father exposes their cultural biases and the tragic results of colonial-era meddling.
Synopsis
Lilia Herriton, an English widow, marries Gino Carella, a poor Italian, during a trip. Her brother-in-law, Philip Herriton, tries to stop it but fails. Lilia's marriage is unhappy, and she dies after giving birth to a son. The Herriton family, especially Philip and his sister Harriet, are horrified at an English child being raised Italian. They send Harriet and their friend Miss Abbott to Italy to get the baby. Harriet's attempts to negotiate fail, so Philip goes a second time. Miss Abbott, however, grows fond of Gino. Harriet tries to kidnap the baby, which accidentally kills the child. This forces Philip to face his own biases and the pointlessness of their actions. Gino grieves intensely, and Philip admits his part in the kidnapping attempt. Miss Abbott chooses to stay in Italy, leaving Philip to deal with his regrets and a new understanding of cultural differences and his family's destructive interference.
Reading time
180-240 min
Difficulty
Medium
Pacing
Moderate
Mood
Thought-provoking, Melancholy, Satirical, Reflective
✓ Read this if...
You enjoy social commentary wrapped in a story of cultural clash and personal growth.
✗ Skip this if...
You prefer fast-paced plots with clear-cut heroes and villains.
Plot Summary
Lilia's Scandalous Engagement
Lilia Herriton, a young widow from Sawston, England, is sent on a European tour by her late husband's family, the Herritons, to broaden her horizons and find an English husband. In Italy, she falls in love with Gino Carella, a younger, lower-class Italian man from Monteriano, and they become engaged. This news shocks the conservative Herriton family, especially Mrs. Herriton and her son Philip, who see the match as a scandal. They believe Lilia is making a mistake and that Gino only wants her money, even though Lilia genuinely cares for him.
Philip's Failed Intervention
Philip Herriton, at his mother's urging, travels to Monteriano to persuade Lilia not to marry Gino. He expects to find a vulgar man and a foolish Lilia. However, Philip is charmed by Monteriano's beauty and its people, including Gino. While he still dislikes the match socially, he finds Gino genuinely fond of Lilia, if in a simple way. Philip's attempts to intervene fail, and Lilia marries Gino, to the Herritons' dismay. Philip returns to England somewhat changed by his Italian experience.
Lilia's Unhappy Marriage and Death
The marriage between Lilia and Gino, though initially passionate, quickly sours. Lilia feels isolated and bored in Monteriano, struggling with the language and cultural differences. Gino, though still loving, becomes possessive, and their romance fades into arguments. Lilia writes increasingly desperate letters to her English family about her unhappiness. Lilia tragically dies in childbirth, leaving behind a baby boy. Her death, while sad, creates a new problem for the Herriton family: the future of her Italian child.
The Baby's Existence and Harriet's Mission
After learning of Lilia's death and her infant son, the Herriton family faces a new problem. Mrs. Herriton, always concerned with appearances, believes the child must be brought to England and raised as an English gentleman, away from Italy and Gino. Philip, though hesitant, agrees. Harriet Herriton, Philip's rigid sister, is sent to Monteriano to retrieve the baby. Her mission is presented as a moral duty, saving the child from an 'unsuitable' upbringing, though it is influenced by her own judgmental views.
Harriet's Failed Negotiation
Harriet arrives in Monteriano with Miss Caroline Abbott, Lilia's former companion, who feels responsible for Lilia's memory. Harriet immediately clashes with Gino due to her insensitivity and cultural arrogance. She tries to buy the baby from him, offering money for his son. Gino, deeply insulted by this approach, refuses. He sees Harriet's actions as a profound insult to his love for his son and his family honor. Miss Abbott, seeing the tension, tries to mediate, but Harriet's rigid manner only makes things worse, preventing any peaceful solution.
Philip's Second Trip to Italy
Because Harriet cannot get the baby, Philip is again sent to Monteriano, this time with Miss Abbott. Philip, hoping for a more diplomatic approach, tries to reason with Gino. However, he finds Gino's bond with his son far stronger and more genuine than he expected. Philip sees Gino's deep love and devotion to the infant, which challenges his ideas about the Italian man. He begins to question the morality of the Herriton family's mission, feeling uneasy and guilty about trying to separate a father from his child.
Miss Abbott's Growing Affection for Gino
During their stay in Monteriano, Miss Abbott watches Gino with his son. She is moved by his tender care and love for the baby, which contrasts with the Herritons' cold approach. Her initial support for the Herritons shifts, and she begins to see Gino as a loving father, not a villain. She finds herself drawn to his authentic emotions and the Italian way of life. This growing respect for Gino makes her an unwilling participant in the Herritons' plan, and she quietly encourages Philip to rethink their actions.
The Kidnapping Attempt
Driven by her strong belief and a desperate desire to complete her mission, Harriet, without telling Philip or Miss Abbott, tries to kidnap Lilia's baby. She takes the infant from Gino's house and runs. Gino, finding the baby gone, chases her. In the ensuing struggle, the baby is accidentally crushed and killed. This tragic event directly results from Harriet's fanatical determination and the cultural conflict between the English and Italian worlds. The tragedy leaves everyone devastated.
The Aftermath and Philip's Realization
The baby's death deeply shocks everyone. Gino is consumed by grief and rage, initially blaming Harriet. Philip is horrified and remorseful, realizing the terrible results of his family's interference. He confronts Harriet, who remains unrepentant, holding onto her distorted sense of moral rightness. Philip finally sees his family's destructive arrogance and the injustice they caused. He experiences a powerful awakening, understanding the true value of human connection and the destructive nature of cultural bias.
Gino's Grief and Philip's Confession
Immediately after the baby's death, Gino, consumed by grief and a desire for revenge, confronts Philip. In an emotional moment, he violently attacks Philip, injuring him. During this encounter, Philip, bleeding, makes a surprising confession to Gino: he loves Miss Abbott. This unexpected declaration, born from the raw emotion, reveals a deeper part of Philip's character and his growing ability for genuine feeling, a contrast to his earlier emotional restraint. Gino is momentarily stunned by the confession, pausing his attack.
Miss Abbott's Choice and Philip's Regret
Following the tragic events, Miss Abbott makes a decision. She chooses to stay in Monteriano, comforting Gino in his grief. She reveals her own affection for Gino, confirming her commitment to him and the Italian way of life. This choice leaves Philip heartbroken and alone. He returns to England, carrying the burden of the baby's death and the loss of Miss Abbott. He faces his own emotional shortcomings, his family's destructive pride, and the tragedy caused by their meddling. He is a changed man, marked by regret and a new understanding of human complexity.
Principal Figures
Philip Herriton
The Protagonist
Philip transforms from a detached, intellectually superior Englishman into a man capable of profound emotion and regret, recognizing the destructive nature of his family's cultural arrogance.
Lilia Herriton (née Theobald)
The Catalyst/Victim
Lilia attempts to break free from societal constraints but ultimately succumbs to cultural misunderstandings and personal unhappiness, leading to her tragic death.
Gino Carella
The Antagonist/Sympathetic Figure
Gino experiences the joy of fatherhood and the profound grief of loss, ultimately finding a new connection with Miss Abbott, demonstrating resilience and authentic emotion.
Miss Caroline Abbott
The Supporting/Moral Compass
Miss Abbott evolves from a passive observer to an active participant, choosing love and cultural understanding over societal expectations, finding her true place in Italy.
Harriet Herriton
The Antagonist
Harriet remains unyielding in her rigid moral convictions, becoming a tragic figure whose actions lead to catastrophe but without personal growth or remorse.
Mrs. Herriton
The Supporting/Antagonist
Mrs. Herriton remains largely unchanged, insulated by her social position and prejudices, her schemes ultimately leading to tragedy for others.
Mr. Theobald
The Mentioned
Not applicable, as he is deceased and only mentioned.
Lilia's Baby (or Lilia's Son)
The Plot Device/Victim
As an infant, the baby has no arc; his tragic death serves as the devastating culmination of the cultural conflict.
Themes & Insights
The Clash of Cultures
The novel explores the contrast between English and Italian cultures. The English characters, especially the Herritons, represent repression, social decorum, and intellectualism, often with arrogance and prejudice. The Italian characters, especially Gino, embody passion, spontaneity, and a connection to natural emotions, often seen as uncivilized by the English. This clash leads to communication problems, misunderstandings of values (e.g., Harriet trying to buy the baby), and tragic outcomes, showing the dangers of cultural insensitivity. The beauty of Monteriano and its people challenge the English characters' preconceived notions.
“It is not possible for a man to be a gentleman who dresses badly and has an untidy room.”
Repression vs. Passion
A main theme is the tension between emotional restraint, common in the English Herritons, and uninhibited passion, seen in Gino and Italian life. Philip, initially detached, slowly recognizes his own feelings through his time in Italy and his affection for Miss Abbott. Lilia's marriage to Gino is an attempt to escape the emotional emptiness of her English life. The novel suggests that while uncontrolled passion can cause problems, complete repression is stifling and destructive, preventing real human connection. The tragic events highlight the destructive power of denying natural emotions.
“One could not be angry with him for long. He was too simple, too natural, too much of a man.”
The Nature of Love and Family
Forster examines different types of love and family bonds. The Herritons' 'love' for Lilia and her baby is often based on duty, social obligation, and ownership, rather than true affection. Their desire to 'save' the baby is more about family honor than the child's well-being. In contrast, Gino's love for his son is fierce, instinctive, and genuine, showing a primal, unconditional bond. Miss Abbott's evolving affection for Gino also explores love that crosses social barriers. The baby's tragic death shows how distorted ideas of love and family, mixed with prejudice, can lead to devastating results.
“He loved the child, not as a plaything, but as a part of himself, a thing of flesh and blood which he had created.”
Moral Responsibility and Interference
The novel examines the ethics of interfering in others' lives, especially across cultures. The Herritons consistently believe they know what is best for Lilia and her child, assuming a moral superiority that justifies their meddling. Their actions, driven by misguided duty and cultural prejudice, lead to tragedy. Philip's gradual realization of his family's destructive arrogance and his own involvement forces him to confront the high cost of such interference. The story warns against imposing one's values on others, particularly when those values come from unexamined privilege and cultural bias.
“One must not be sentimental over a baby, but it was a little hard that it should be born and die for the sake of English propriety.”
Plot Devices & Literary Techniques
The Grand Tour
A traditional educational journey used to expose characters to new experiences and cultures.
The Grand Tour serves as the initial catalyst for the entire plot. It is meant by the Herritons to refine Lilia and find her a suitable English husband, but it ironically leads her to Gino and a rejection of English propriety. Later, it brings Philip, Harriet, and Miss Abbott to Italy, forcing them into direct confrontation with a foreign culture. This device is crucial for juxtaposing English provincialism with Italian vibrancy and initiating the cultural clashes that drive the narrative. It's a setting that facilitates both personal awakening and tragic misunderstanding.
Cultural Irony
The use of situations where actions intended to uphold English superiority lead to its downfall or reveal its flaws.
Forster frequently employs cultural irony to highlight the Herritons' hypocrisy and the folly of their ethnocentric views. For example, Philip's initial mission to 'save' Lilia from Gino only reveals Gino's genuine, if unrefined, affection. The Herritons' desire to bring the baby to England to give him a 'proper' upbringing ultimately results in his death at the hands of Harriet, the embodiment of English 'propriety'. This irony serves to critique the perceived moral superiority of the English characters and underscore the destructive nature of their prejudices.
Symbolism of Italy/Monteriano
Italy, specifically Monteriano, represents passion, authenticity, and a connection to the natural human spirit.
Monteriano is not just a setting; it is a character in itself, symbolizing an alternative to the sterile, repressed world of Sawston, England. It embodies beauty, history, and a more uninhibited way of life, where emotions are openly expressed and human connections are primal. Its influence gradually transforms Philip and fully embraces Miss Abbott, while it ultimately rejects and destroys Harriet. The ancient city walls, the vibrant street life, and the passionate inhabitants all contribute to this symbolic representation, serving as a foil to English repression and a catalyst for change.
The Baby as a MacGuffin
An object or character that serves primarily to drive the plot and motivate characters' actions.
Lilia's baby, though an innocent character, functions as a MacGuffin. The child himself has no agency, but his existence and the question of his upbringing become the central point of contention that propels the Herritons back to Italy and instigates the climax of the story. Both the Herritons and Gino are motivated by their desire for the child, each for vastly different reasons, making the baby the focal point around which all the cultural and personal conflicts converge, ultimately leading to the tragic resolution.
Critical analysis
Notable Quotes
“Life is a public performance, and we are all actors.”
— Philip Herriton muses on the performative nature of social interactions.
“People come to Italy for all sorts of reasons, but they always come for the wrong one.”
— Miss Abbott's cynical observation about English tourists' motivations for visiting Italy.
“It is so easy to be good in England.”
— A character reflects on the comparative ease of maintaining social propriety in England versus Italy.
“Where angels fear to tread.”
— The famous line from Alexander Pope's 'An Essay on Criticism,' frequently referenced and titular to the novel, describing rash or inexperienced action.
“To lose one's head in a foreign country is a privilege.”
— Philip Herriton contemplates the liberating effect of being away from familiar social constraints.
“They were not in the least alike; indeed, they were so different that they could hardly understand each other.”
— Describing the fundamental incompatibility and mutual misunderstanding between two characters.
“How dare she be happy without us?”
— Mrs. Herriton's indignant reaction to Lilia's newfound happiness and independence.
“The English are not a musical people. They have no ear for music.”
— An Italian character's observation on the English lack of musical appreciation.
“The tragedy of life is not that it ends so soon, but that we wait so long to begin it.”
— A reflection on missed opportunities and the delay in truly living.
“It is so difficult to be original, and yet so easy to be original, if only one does not try.”
— A paradox about the nature of originality and authenticity.
“Love and understanding do not always go hand in hand.”
— A poignant observation on the complexities of human relationships.
“One does not come to Italy for the climate, but for the life.”
— A character distinguishes between superficial reasons for travel and deeper, more profound motivations.
“There are some people who can't be happy unless they're making other people miserable.”
— A critical assessment of a manipulative or negative character's motivations.
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Key Questions (FAQ)
The central conflict revolves around the clash between English propriety and Italian spontaneity, specifically manifest in the Herriton family's attempts to control Lilia's life choices and later, the fate of her infant son. Their rigid adherence to social conventions and their desire to 'rescue' the baby from its Italian upbringing create a series of misunderstandings and tragic events.
About the author
Edward Morgan Forster was an English author, best known for his novels, particularly A Room with a View (1908), Howards End (1910) and A Passage to India (1924).
