This paper aims at seeking new answers to the existing questions regarding Villette by applying basic conceptions of the object relations theory, which has taken place of Freudian psychoanalytic theory since 1955, and has been quoted to explain human phenomenon in various fields including culture, art, and religion in the 21st century. Since several recently-published articles on Villette are still permeated with Freudian conceptions as well as the Freudian vocabulary, I think it is necessary to interpret the novel in the perspective of object relations theory, which is based on the firm belief that 'self' is understood only as ‘a self in relation to an other.’From Ronald Fairbain’s ‘Psychological Inner Structure,’ a new angle can be gained on the psychological dynamics among the doubles of Lucy Snowe. At the same time, the puzzling appearances of Nun Ghost, which is the most disturbing factor of the text, can be incorporated into a unified meaning in accordance with Melanie Klein’s ‘Position Conception.’ Especially, a piercing insight can be given into the scene of Lucy’s desperate struggling with the fake ghost in the bed, as her fragmenting the ghost can be interpreted as her overcoming the fear of loss at Klein’s ‘depressive position.’Judging from the object relations theory, Lucy Snowe’s ‘morbid’ character apparently shows the distinct symptoms of schizoid personality disorder. To this ‘morbid’ Lucy, Paul Emmanuel plays the role of healer or therapist and provides the therapeutic process, which can be aptly interpreted by D. W. Winnicott’s theory of ‘True Self’ and ‘False Self’ as well as Melanie Klein’s ‘Position Conception.’ In the same context, the psychological space of Villette functions as an incubator to facilitate Lucy’s psychological maturity and the death of Paul Emmanuel can be viewed as the author’s scheme to put a stress on Lucy’s ability to be alone. In this sense, it could be said that Villette is a psychodrama representing the case study of Lucy Snowe to illustrate the object relations theory on the stage.