In the very first chapter, Mr. Emerson demonstrates how this is done when he offers his and George’s superior room, the room with a view, to Lucy and her chaperone, Miss Bartlett. Unfortunately, this also flies in the face of convention and is refused by the ladies at first, lest they be in social debt to Mr. Emerson, an unfamiliar man of lower class standing. It is part of Mr. Emerson’s character and philosophy that he continues to do charitable things for others, not because of a belief in heavenly recompense, but out of love and conviction. He is, after all, a Socialist who the reader is led to believe is also an atheist because he is a Socialist and because he did not have George baptized. Mr. Emerson (with George’s help) manifests this yet again when he fills the Miss Alans’s room with violets for their sheer pleasure. Mr. Emerson has his heart and his mind in harmony.
In his 1960 paper, “The Limits of Mythology,” Frederick C. Crews examines the ways E.M. Forster plays out the balancing of Nietzche’s Apollonian and Dionysian principles throughout his works.

The Dionysian principle is the experience of the heart, and the Apollonian is the experience of the head.

For Forster, the Apollonian, however important, is alone uninformed and misguided.  A world of “measure and moralism” is disjointed. The suffocating world of Edwardian society is Apollonian without the Dionysian element. The society itself is in a muddle as its heart and head are separated. It is medieval, as the title to chapter eight suggests, and as the resolution of the story confirms with the final chapter’s title, “The End of the Middle Ages”. In the places and societies of the novel, Forster contrasts the stifling muddle of England’s and English society’s “Middle Ages” to the wisdom of the classically united Apollonian and Dionysian principles of Florence, a major site of the Renaissance in Italy and a city filled with passion and lovers, and the novel’s conclusion in Athens, the seat of democracy, art, philosophy and the place where George and Lucy’s love is consummated.
A Room With a View, of course, is about resolving the muddles of young Lucy and George. It is only by finding one another, making a true connection, that they will find happiness. Mr. Emerson pleads with Lucy, who he sees as a “poor girl” in a muddle of her own, to get to know his son better. But first they must bring their heads and hearts into harmony.

George suffers from existential crisis, and only love can set him free.
Lucy is in a crisis of her own. Her head and heart are at war, but, perhaps, it is better to say that she has a true nature at war with the repression of her family, class, and society. Mr. Beebe is a an observer of her true nature as well as Mr. Emerson, and in this way he stands in as a lesser voice of the author.
Throughout A Room With a View, Forster uses the aesthetic, particularly music, to create the bridge between Lucy’s head and the heart. 
While Forster favors the Apollonian world view, the Dionysian experience is the precursor to uniting the head and the heart so that the Apollonian is not reduced to mere “officialism.” As Mr. Beebe observed, it is in art that Lucy finds this harmony.
For Forster, there is a good reason that art can do this: it is the only thing in the world that has complete harmony.
Art, then, is man’s example of complete harmony in passion and order. When Lucy plays, it is her first entrance into that harmony; her head and heart become united. When she plays Schumann for Cecil Vyse and her family in chapter eleven, however, this does not happen.
