Villette Gender

the varied interpretations of texts. It is from discussions about gender roles and expectations that have been able to understand the social construction of gender and the power of the patriarchy. Both Charlotte Brontë’s ‘Villette’ (1853) and Jane Austen’s ‘Emma’ (1815) use three dimensional female protagonists who must overcome obstacles to find their own places in a “man’s world”. Despite the differences between the contrasting female characters, their authors similarly use them to highlight the injustice and gender inequality entrenched in 19th century society.

Charlotte Brontë’s ‘Villette’ (1853) is open to feminist readings due to the construction of Lucy Snowe, the protagonist. Lucy, more than any Victorian heroine, shows internalised

‘Emma’ is a tale of marriages; it opens with the marriage of Miss Taylor and Mr. Weston and ends with more weddings (Johnston, 1997). Readers who misread Austen may interpret her discussion regarding marriage as an endorsement, but such is not the case; Austen uses these marriages to convey that it was a woman’s sole purpose (Johnston, 1997; Moffat, 1991). However, fiercely independent Emma defies social expectations of a woman in the 19th century. Emma is the personification of Austen’s advocacy of women’s rights and equality of the sexes (Moffat, 1991). Emma is a strong female, possessing the luxury of independence. Emma’s independence differs from Lucy’s, but creates a contrast between the two females; one must work for her independence, and the other has not need – Emma was born into wealth (Moffat, 1991; Newman, 1983). Like Lucy, Emma is a woman of faults and virtues, which makes her more accessible and relatable to

Her spiral into severe anxiety is triggered by the disparity between expectations of her; public and private (Bertrandias, 2001). In exploring the male dominated power structures of ‘Villette’, it is notable that the ‘ideal’ female is conveyed during the text – just not through Lucy. Polly has been taught since an early age that social standing and gender expectations are important and ought to contribute to her character. Polly uses her social skills to repress her emotions - her anger, grief and the hurt of her father’s absence – and Polly “wept under restraint, quietly and cautiously” (9) (Brennan, 2006; Brontë, 1853). Polly and Lucy share similarities; both orphaned, they repress their emotions, however, Lucy’s independent spirit and determination to not sink to complacency prevents her from conforming to the desired female; silent and submissive, like Polly (Brennan,