Alone in her travels, Lucy follows the stars, trusting them to take her wherever it is she belongs. the next step in a long line of narrative maneuvers that require her to move interior matters outside, to tell her secrets, and to project her hidden self into visible spaces” (Heady 351). Chapter IV’s story is a tragedy in miniature, with the lifelong tragedy of Miss Marchmont’s lost love and Lucy’s short and so far cheerless life compared. M. Paul arranges for Lucy to become the headmistress of her own school before setting sail to Guadalupe to do missionary work. She struggles between her "evil stepmother" of Reason and the "angel" of Feeling, being schooled and instructed by the former and soothed by the later. The fact that Lucy was acquainted with a de Bassompierre in childhood, and that she just happens to meet another relative of that family (Ginevra) on her sea-crossing, are rather ludicrously unlikely taken together. This was a stylistic choice by Brontë and a commentary on the alienated and marginalized life of women like Lucy in her society. The character of Lucy is an odd one for her time: utterly unattached and unloved but utterly free. Desperately she tries to stifle the part of herself that yearns for more, focusing on the necessity of “knocking on the head” her longings and desires. Rue Fossette is where Madame Beck's pensionnat is located. This omission implies one of two things: that Lucy has made peace with her loss and her grief at the time of writing the text, or that death itself is meaningless. According to Ciolkowski’s reading, Brontë recognizes Victorian womanhood as “both invented and counterfeited,” and, in Villette, establishes a narrative that thwarts both literary and gender conventions. The reader will learn later that this is an important family name. Villette, Charlotte Brontë Villette is an 1853 novel written by English author Charlotte Brontë. The psychologically penetrating novel is less well-known than Jane Eyre but is frequently considered Charlotte Brontë's best work.
Taking a narratological approach to the text, Warhol seeks to explain the novel’s generic inconsistency by aligning it with one of the text’s other most infamous sources of bewilderment: Lucy’s narration. Lucy is not in debt despite her poverty and has no children, no parents to take care of her, no opinion of the community to keep up, no husband to direct her.
“I laughed as, indeed, it was impossible to do otherwise” (Brontë 84). While Brontë’s use of such a name is hardly a coincidence, I posit that Lucy’s own use of the name is likewise not coincidental. The return of the man-made and the emotionally significant to the natural world, at the same place where the nun was buried alive, serves as a type of emotional reincarnation or ouroboros for Lucy. Lucy resolves to go to London, which is not far distant. I don't see a free translation on the net but GradeSaver has a comprehensive summary below, http://www.gradesaver.com/villette/study-guide/short-summary/. The Question and Answer section for Villette is a great JSTOR. Nonetheless, her relief in telling M. Paul about herself, the comfort she takes in relaying to him her story, must be read as a parallel to the divulgence of a confessional, particularly coming from one so guarded as Lucy Snowe. During this passage it becomes clear that Lucy was a good student.
Although acting has “revealed itself” as part of her nature, Lucy rejects it, as it does not suit her carefully constructed characterization as cool, calm, and never prone to an “overheated imagination.” Thus, Lucy’s rejection of performance becomes a kind of performance in itself. Lyndall Gordon stated that Charlotte’s novels all represent Charlotte’s struggle to balance Reason and Passion, while not becoming overcome by either. M. Paul becomes a more significant part of her life; his role as a friend and companion grows. In conversation with Heady is Elizabeth Preston, who likewise tracks Lucy’s narrative progression as she navigates the split generic tracks of her story. It is not outside the realm of possibility that Lucy would meet these two people in the manner that she did, but it is still remarkably convenient for the plot. During her initially unwilling participation in the vaudeville at Madame Beck’s fête, Lucy discovers “a keen relish for dramatic expression.” Although Lucy even goes as far as to acknowledge this “newfound faculty” as “part of [her] nature,” she rejects it immediately, stating that such a passion “would not do for a mere looker-on at life” (131). The respect is such that Lucy decides to take Miss Marchmont’s offer. “Fables of Rebellion: Anti-Catholicism and the Structure of Villette.” ELH 53.4 (Winter 1986): 821-847. “Where evil occurs in the English novel, it is located on the continent, in dirty old abroad, in the gothic novel” (MacKay 218). For Heady, this narrative alternative ultimately takes the form of what she calls a “narrative conversion” (357). It is no wonder Lucy would see Polly, the object of so much of her unsaid jealousy and unresolved conflict, as an "it."
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