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Charlotte BrontëA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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Lucy returns to Rue Fossette. Mrs. Bretton begs her to stay longer, but Lucy does not wish to prolong the pain of leaving. John delivers her to the door and asks if he may write to her occasionally. Lucy accepts but later wonders if she should hope for him to follow through. Lucy’s first night back in the dormitory is restless; she vacillates between reason and feeling, emotions she personifies as women.
Madame Beck, the teachers, and the students enthusiastically welcome Lucy back to the school. The morning after she returns, M. Paul finds her in the kitchen weeping. He attempts to console her, but Lucy asks to be left alone. After breakfast, Ginevra comes to Lucy inquiring about the details of her stay with John—specifically, his reaction to Ginevra’s behavior at the concert. Lucy embellishes the story, making it seem as though John was greatly distressed by Ginevra’s offense.
One day when Lucy is attending M. Paul’s class with her students, a letter arrives from John. M. Paul delivers the letter to Lucy, who stows it away to read later. M. Paul is harsh to the class and several students (and Lucy) cry. M. Paul gives Lucy his handkerchief but then takes it back when he sees her gleefully tossing it in the air as she leaves to go read the letter. Lucy told him it was from a friend, but he says he can tell the tenor of the letter by her treatment of the handkerchief.
Anxious to read her letter alone, Lucy searches for a quiet place and finds it in the attic. She reads the letter, which is long and kind. Lucy is interrupted by a ghostly figure approaching her: “I saw in the middle of that ghostly chamber a figure all black and white; the skirts straight, narrow, black; the head bandaged, veiled, white” (316). Lucy runs from the room screaming for Madame Beck, who is entertaining her visiting family. Everyone goes to investigate, but the room is empty, and Lucy is distressed to find her letter gone.
Dr. John is at the school and goes up to see the commotion. He consoles Lucy and, taking her to warm by the fire, asks her why she is so upset over the loss of his letter. As they are talking, the letter falls from his pocket. John returns it to her but asks her to describe the ghost. Lucy refuses, as she does not want to be deemed mad. Plying her with the promise of more letters, John convinces Lucy to describe what she saw. He says it must be a hallucination due to her mental illness. In response to her pleas for a cure, he says, “Happiness is the cure—a cheerful mind the preventative: cultivate both” (322). Lucy, incredulous at the suggestion, asks how he cultivates joy. She returns to the subject of Ginevra, and John insists that he does not let anything, including lost love, cause him sadness for very long. He warns her to tell no one of the nun, as they would question her mental health. The attic search produces nothing, and everyone except Lucy forgets the incident.
Lucy has entered a season of happiness. John Graham has sent her four more letters. She replies to each with two letters, one for him and one for herself, stating her true feelings in the latter. Lucy visits La Terrasse once a week, and John cares for her as if she is his patient.
One evening John arrives at the school, surprising Lucy with an invitation to the theater. A famous star called Vashti is performing in Villette. He and Lucy will go to the performance without Mrs. Bretton, and Lucy fears how others will view the unchaperoned outing. She must dress quickly and goes to the attic to find a dress. Lucy sees a strange light in the attic but ignores it in her excitement.
While at the theater, Lucy observes Vashti and finds her diminished somewhat by age but still a captivating actress. The play is violent and gory but Lucy is captivated by Vashti's performance and how she channels fierce anger to deal with her pain. Lucy watches John’s face to see how he reacts to the play. She asks him what he thought of Vashti and he is unmoved: “[H]e judged her as a woman, not an artist: it was a branding judgment” (336). During the last act, a fire breaks out, and the crowd turns into a chaotic mob. John remains calm, helping Lucy and another girl with an injured shoulder get to safety outside. The injured girl’s father asks John to follow them to their hotel to attend to his daughter’s injuries. The man and his 17-year-old daughter are English. Lucy describes the girl’s striking appearance as she helps John care for her. John and Lucy then return home, passing the theater: The fire that started with a spark in the curtains has been extinguished.
With her return to the boarding school comes the threat Lucy’s depression may return. However, the promise of letters from John and weekly visits to her godmother buoy her. Lucy can now recognize her attraction to John and be honest with herself about her growing devotion. She believes herself to be strong enough to accept that he does not return her affections, resolving to live in the liminal space between her strong feelings and rational mind. It is a delicate dance that requires a tremendous amount of mental and emotional energy, as evidenced by her arduous process of responding to John’s letters in duplicate.
The author introduces Gothic elements in this section with the mysterious presence in the attic. The haunting shadow adds an element of terror and suspense but holds a deeper significance for the female protagonist. The spectral image in the attic, whether real or imagined, symbolizes Lucy’s hidden past and residual trauma. Her anxiety and fear have externalized as a haunting figure she cannot ignore. The irony of Lucy’s vision is that if she were to reveal the apparent hallucination, it might help alleviate some of her torment; however, doing so could also call her sanity into question.
Art once again proves a source of profound inspiration to Lucy when she attends the theatrical production. The actress’s name alludes to the Biblical story of Vashti, the queen of Persia who was banished and likely executed for her refusal to parade her beauty in front of visiting dignitaries. Vashti was succeeded by the Israelite Esther. The Vashti of Brontë’s narrative is an aging actress in the sunset of her career. However, she has not lost her fierce stage presence and gives a spellbinding performance as a rage-filled woman searching for justice and vengeance. Lucy is galvanized by this woman’s boldness and passion in defiance of gender norms that expected women to be meek and gentle. The author also illuminates Lucy’s rich and vivid inner life with her philosophical considerations of art, which becomes a type of religion to her. Despite the intense feeling of freedom Lucy feels viewing Vashti’s performance, her emotions continue to confine her. She sees herself as a slave to both reason and freedom, which she personifies as having a dynamic and often forcible hold on her physically and emotionally.
By Charlotte Brontë