Vanity Fair

by William Makepeace Thackeray

Overview

Set against the backdrop of the Waterloo campaign during Napoleon’s Hundred Days, Vanity Fair tells the story of two very different women: Rebecca (Becky) Sharp and Amelia Sedley. Their education complete, Becky and Amelia set out into the world, where their lives follow different paths from a moral, social, and material perspective. Becky’s beauty, wit, and will take her far until her selfish, self-serving behaviour sets her adrift, while Amelia, whose goodness defines her, finds her patience and endurance tested as poverty becomes the defining struggle of her existence.

Vanity Fair, which takes its title from a chapter in John Bunyan’s Pilgrim’s Progress, remains William Makepeace Thackery’s masterpiece, and has inspired many film adaptations over the years, including the 2004 Mira Nair-directed version starring Reese Witherspoon as the indomitable Becky.

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Product Details

BN ID:	2940000753156
Publisher:	B&R Samizdat Express
Publication date:	09/05/2013
Sold by:	Barnes & Noble
Format:	eBook
File size:	697 KB

About the Author

William Makepeace Thackeray was a nineteenth century English novelist who was most famous for his classic novel, Vanity Fair, a satirical portrait of English society. With an early career as a satirist and parodist, Thackeray shared a fondness for roguish characters that is evident in his early works such as Vanity Fair, The Luck of Barry Lyndon, and Catherine, and was ranked second only to Charles Dickens during the height of his career. In his later work, Thackeray transitioned from the satirical tone for which he was known to a more traditional Victorian narrative, the most notable of which is The History of Henry Esmond. Thackeray died in 1863.

Read an Excerpt

Vanity Fair

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By William Makepeace Thackeray

OPEN ROAD INTEGRATED MEDIA

Copyright © 2017 Open Road Integrated Media, Inc.
All rights reserved.
ISBN: 978-1-5040-4580-3

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CHAPTER 1

Chiswick Mall

WHILE THE PRESENT CENTURY WAS in its teens, and on one sunshiny morning in June, there drove up to the great iron gate of Miss Pinkerton's academy for young ladies, on Chiswick Mall, a large family coach, with two fat horses in blazing harness, driven by a fat coachman in a three-cornered hat and wig, at the rate of four miles an hour. A black servant, who reposed on the box beside the fat coachman, uncurled his bandy legs as soon as the equipage drew up opposite Miss Pinkerton's shining brass plate, and as he pulled the bell at least a score of young heads were seen peering out of the narrow windows of the stately old brick house. Nay, the acute observer might have recognized the little red nose of good-natured Miss Jemima Pinkerton herself, rising over some geranium pots in the window of that lady's own drawing-room.

"It is Mrs. Sedley's coach, sister," said Miss Jemima. "Sambo, the black servant, has just rung the bell; and the coachman has a new red waistcoat."

"Have you completed all the necessary preparations incident to Miss Sedley's departure, Miss Jemima?" asked Miss Pinkerton herself, that majestic lady; the Semiramis of Hammersmith, the friend of Doctor Johnson, the correspondent of Mrs. Chapone herself.

"The girls were up at four this morning, packing her trunks, sister," replied Miss Jemima; "we have made her a bow-pot."

"Say a bouquet, sister Jemima, 'tis more genteel."

"Well, a booky as big almost as a haystack; I have put up two bottles of the gillyflower water for Mrs. Sedley, and the receipt for making it, in Amelia's box."

"And I trust, Miss Jemima, you have made a copy of Miss Sedley's account. This is it, is it? Very good — ninety-three pounds, four shillings. Be kind enough to address it to John Sedley, Esquire, and to seal this billet which I have written to his lady."

In Miss Jemima's eyes an autograph letter of her sister, Miss Pinkerton, was an object of as deep veneration as would have been a letter from a sovereign. Only when her pupils quitted the establishment, or when they were about to be married, and once, when poor Miss Birch died of the scarlet fever, was Miss Pinkerton known to write personally to the parents of her pupils; and it was Jemima's opinion that if anything could console Mrs. Birch for her daughter's loss, it would be that pious and eloquent composition in which Miss Pinkerton announced the event.

In the present instance Miss Pinkerton's "billet" was to the following effect: —

The Mall, Chiswick, June 15, 18

MADAM, — After her six years' residence at the Mall, I have the honour and happiness of presenting Miss Amelia Sedley to her parents, as a young lady not unworthy to occupy a fitting position in their polished and refined circle. Those virtues which characterize the young English gentlewoman, those accomplishments which become her birth and station, will not be found wanting in the amiable Miss Sedley, whose industry and obedience have endeared her to her instructors, and whose delightful sweetness of temper has charmed her aged and her youthful companions.

In music, in dancing, in orthography, in every variety of embroidery and needlework, she will be found to have realized her friends' fondest wishes. In geography there is still much to be desired; and a careful and undeviating use of the backboard, for four hours daily during the next three years, is recommended as necessary to the acquirement of that dignified deportment and carriage, so requisite for every young lady of fashion.

In the principles of religion and morality, Miss Sedley will be found worthy of an establishment which has been honoured by the presence of the Great Lexicographer, and the patronage of the admirable Mrs. Chapone. In leaving the Mall, Miss Amelia carries with her the hearts of her companions, and the affectionate regards of her mistress, who has the honour to subscribe herself,

Madam, Your most obliged humble servant, BARBARA PINKERTON

P.S. — Miss Sharp accompanies Miss Sedley. It is particularly requested that Miss Sharp's stay in Russell Square may not exceed ten days. The family of distinction with whom she is engaged, desire to avail themselves of her services as soon as possible.

This letter completed, Miss Pinkerton proceeded to write her own name, and Miss Sedley's, in the fly-leaf of a Johnson's Dictionary — the interesting work which she invariably presented to her scholars, on their departure from the Mall. On the cover was inserted a copy of "Lines addressed to a young lady on quitting Miss Pinkerton's school, at the Mall; by the late revered Doctor Samuel Johnson." In fact, the Lexicographer's name was always on the lips of this majestic woman, and a visit he had paid to her was the cause of her reputation and her fortune.

Being commanded by her elder sister to get "the Dictionary" from the cupboard, Miss Jemima had extracted two copies of the book from the receptacle in question. When Miss Pinkerton had finished the inscription in the first, Jemima, with rather a dubious and timid air, handed her the second.

"For whom is this, Miss Jemima?" said Miss Pinkerton, with awful coldness.

"For Becky Sharp," answered Jemima, trembling very much, and blushing over her withered face and neck, as she turned her back on her sister. "For Becky Sharp: she's going too."

"MISS JEMIMA!" exclaimed Miss Pinkerton, in the largest capitals. "Are you in your senses? Replace the Dixonary in the closet, and never venture to take such a liberty in future."

"Well, sister, it's only two-and-ninepence, and poor Becky will be miserable if she don't get one."

"Send Miss Sedley instantly to me," said Miss Pinkerton. And so venturing not to say another word, poor Jemima trotted off, exceedingly flurried and nervous.

Miss Sedley's papa was a merchant in London, and a man of some wealth; whereas Miss Sharp was an articled pupil, for whom Miss Pinkerton had done, as she thought, quite enough, without conferring upon her at parting the high honour of the Dixonary.

Although schoolmistresses' letters are to be trusted no more nor less than churchyard epitaphs; yet, as it sometimes happens that a person departs this life who is really deserving of all the praises the stone cutter carves over his bones; whois a good Christian, a good parent, child, wife, or husband; who actually does leave a disconsolate family to mourn his loss; so in academies of the male and female sex it occurs every now and then that the pupil is fully worthy of the praises bestowed by the disinterested instructor. Now, Miss Amelia Sedley was a young lady of this singular species; and deserved not only all that Miss Pinkerton said in her praise, but had many charming qualities which that pompous old Minerva of a woman could not see, from the differences of rank and age between her pupil and herself.

For she could not only sing like a lark, or a Mrs. Billington, and dance like Hillisberg or Parisot; and embroider beautifully; and spell as well as a Dixonary itself; but she had such a kindly, smiling, tender, gentle, generous heart of her own, as won the love of everybody who came near her, from Minerva herself down to the poor girl in the scullery, and the one-eyed tart-woman's daughter, who was permitted to vend her wares once a week to the young ladies in the Mall. She had twelve intimate and bosom friends out of the twenty-four young ladies. Even envious Miss Briggs never spoke ill of her; high and mighty Miss Saltire (Lord Dexter's granddaughter) allowed that her figure was genteel; and as for Miss Swartz, the rich woolly-haired mulatto from St. Kitt's, on the day Amelia went away, she was in such a passion of tears that they were obliged to send for Dr. Floss, and half tipsify her with salvolatile. Miss Pinkerton's attachment was, as may be supposed from the high position and eminent virtues of that lady, calm and dignified; but Miss Jemima had already whimpered several times at the idea of Amelia's departure; and, but for fear of her sister, would have gone off in downright hysterics, like the heiress (who paid double) of St. Kitt's. Such luxury of grief, however, is only allowed to parlour-boarders. Honest Jemima had all the bills, and the washing, and the mending, and the puddings, and the plate and crockery, and the servants to superintend. But why speak about her? It is probable that we shall not hear of her again from this moment to the end of time, and that when the great filigree iron gates are once closed on her, she and her awful sister will never issue therefrom into this little world of history.

But as we are to see a great deal of Amelia, there is no harm in saying, at the outset of our acquaintance, that she was a dear little creature; and a great mercy it is, both in life and in novels, which (and the latter especially) abound in villains of the most sombre sort, that we are to have for a constant companion so guileless and good-natured a person. As she is not a heroine, there is no need to describe her person; indeed I am afraid that her nose was rather short than otherwise, and her cheeks a great deal too round and red for a heroine; but her face blushed with rosy health, and her lips with the freshest of smiles, and she had a pair of eyes which sparkled with the brightest and honestest good-humour, except indeed when they filled with tears, and that was a great deal too often; for the silly thing would cry over a dead canary-bird; or over a mouse, that the cat haply had seized upon; or over the end of a novel, were it ever so stupid; and as for saying an unkind word to her, were any persons hard-hearted enough to do so — why, so much the worse for them. Even Miss Pinkerton, that austere and godlike woman, ceased scolding her after the first time, and though she no more comprehended sensibility than she did Algebra, gave all masters and teachers particular orders to treat Miss Sedley with the utmost gentleness, as harsh treatment was injurious to her.

So that when the day of departure came, between her two customs of laughing and crying, Miss Sedley was greatly puzzled how to act. She was glad to go home, and yet most woefully sad at leaving school. For three days before, little Laura Martin, the orphan, followed her about like a little dog. She had to make and receive at least fourteen presents — to make fourteen solemn promises of writing every week: "Send my letters under cover to my grandpapa, the Earl of Dexter," said Miss Saltire (who, by the way, was rather shabby). "Never mind the postage, but write every day, you dear darling," said the impetuous and woolly-headed, but generous and affectionate Miss Swartz; and the orphan little Laura Martin (who was just in round-hand), took her friend's hand and said, looking up in her face wistfully, "Amelia, when I write to you I shall call you Mamma." All which details, I have no doubt, Jones, who reads this book at his Club, will pronounce to be excessively foolish, trivial, twaddling, and ultra-sentimental. Yes; I can see Jones at this minute (rather flushed with his joint of mutton and half pint of wine), taking out his pencil and scoring under the words "foolish, twaddling," &c., and adding to them his own remark of "quite true." Well, he is a lofty man of genius, and admires the great and heroic in life and novels; and so had better take warning and go elsewhere.

Well, then. The flowers, and the presents, and the trunks, and bonnet-boxes of Miss Sedley having been arranged by Mr. Sambo in the carriage, together with a very small and weather-beaten old cow's-skin trunk with Miss Sharp's card neatly nailed upon it, which was delivered by Sambo with a grin, and packed by the coachman with a corresponding sneer — the hour for parting came; and the grief of that moment was considerably lessened by the admirable discourse which Miss Pinkerton addressed to her pupil. Not that the parting speech caused Amelia to philosophise, or that it armed her in any way with a calmness, the result of argument; but it was intolerably dull, pompous, and tedious; and having the fear of her schoolmistress greatly before her eyes, Miss Sedley did not venture, in her presence, to give way to any ebullitions of private grief. A seed-cake and a bottle of wine were produced in the drawing-room, as on the solemn occasions of the visits of parents, and these refreshments being partaken of, Miss Sedley was at liberty to depart.

"You'll go in and say good-by to Miss Pinkerton, Becky!" said Miss Jemima to a young lady of whom nobody took any notice, and who was coming downstairs with her own bandbox.

"I suppose I must," said Miss Sharp calmly, and much to the wonder of Miss Jemima; and the latter having knocked at the door, and receiving permission to come in, Miss Sharp advanced in a very unconcerned manner, and said in French, and with a perfect accent, "Mademoiselle, je viens vous faire mes adieux."

Miss Pinkerton did not understand French; she only directed those who did: but biting her lips and throwing up her venerable and Roman-nosed head (on the top of which figured a large and solemn turban), she said, "Miss Sharp, I wish you a good morning." As the Hammersmith Semiramis spoke, she waved one hand, both by way of adieu, and to give Miss Sharp an opportunity of shaking one of the fingers of the hand which was left out for that purpose.

Miss Sharp only folded her own hands with a very frigid smile and bow, and quite declined to accept the proffered honour; on which Semiramis tossed up her turban more indignantly than ever. In fact, it was a little battle between the young lady and the old one, and the latter was worsted. "Heaven bless you, my child," said she, embracing Amelia, and scowling the while over the girl's shoulder at Miss Sharp. "Come away, Becky," said Miss Jemima, pulling the young woman away in great alarm, and the drawing-room door closed upon them for ever.

Then came the struggle and parting below. Words refuse to tell it. All the servants were there in the hall — all the dear friends — all the young ladies — the dancing-master who had just arrived; and there was such a scuffling, and hugging, and kissing, and crying, with the hysterical yoops of Miss Swartz, the parlour-boarder, from her room, as no pen can depict, and as the tender heart would fain pass over. The embracing was over; they parted — that is, Miss Sedley parted from her friends. Miss Sharp had demurely entered the carriage some minutes before. Nobody cried for leaving her.

Sambo of the bandy legs slammed the carriage door on his young weeping mistress. He sprang up behind the carriage. "Stop!" cried Miss Jemima, rushing to the gate with a parcel.

"It's some sandwiches, my dear," said she to Amelia. "You may be hungry, you know; and Becky, Becky Sharp, here's a book for you that my sister — that is, I — Johnson's Dixonary, you know; you mustn't leave us without that. Good-by. Drive on, coachman. God bless you!"

And the kind creature retreated into the garden, overcome with emotion.

But, lo! and just as the coach drove off, Miss Sharp put her pale face out of the window and actually flung the book back into the garden.

This almost caused Jemima to faint with terror. "Well, I never" — said she — "what an audacious" — Emotion prevented her from completing either sentence. The carriage rolled away; the great gates were closed; the bell rang for the dancing lesson. The world is before the two young ladies; and so, farewell to Chiswick Mall.

CHAPTER 2

In Which Miss Sharp and Miss Sedley Prepare to Open the Campaign

WHEN MISS SHARP HAD PERFORMED the heroical act mentioned in the last chapter, and had seen the Dixonary, flying over the pavement of the little garden, fall at length at the feet of the astonished Miss Jemima, the young lady's countenance, which had before worn an almost livid look of hatred, assumed a smile that perhaps was scarcely more agreeable, and she sank back in the carriage in an easy frame of mind, saying —"So much for the Dixonary; and, thank God, I'm out of Chiswick."

Miss Sedley was almost as flurried at the act of defiance as Miss Jemima had been; for, consider, it was but one minute that she had left school, and the impressions of six years are not got over in that space of time. Nay, with some persons those awes and terrors of youth last for ever and ever. I know, for instance, an old gentleman of sixty-eight, who said to me one morning at breakfast, with a very agitated countenance, "I dreamed last night that I was flogged by Dr. Raine." Fancy had carried him back five-and-fifty years in the course of that evening. Dr. Raine and his rod were just as awful to him in his heart, then, at sixty-eight, as they had been at thirteen. If the Doctor, with a large birch, had appeared bodily to him, even at the age of threescore and eight, and had said in awful voice, "Boy, take down your pant —"? Well, well, Miss Sedley was exceedingly alarmed at this act of insubordination.

(Continues...)

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Table of Contents

Before the Curtain

ix

I

Chiswick Mall

11

II

In Which Miss Sharp and Miss Sedley Prepare to Open the Campaign

18

III

Rebecca Is in Presence of the Enemy

29

IV

The Green Silk Purse

38

V

Dobbin of Ours

52

VI

Vauxhall

64

VII

Crawley of Queen's Crawley

78

VIII

Private and Confidential

87

IX

Family Portraits

97

X

Miss Sharp Begins to Make Friends

105

XI

Arcadian Simplicity

112

XII

Quite a Sentimental Chapter

128

XIII

Sentimental and Otherwise

137

XIV

Miss Crawley at Home

150

XV

In Which Rebecca's Husband Appears for a Short Time

171

XVI

The Letter on the Pincushion

181

XVII

How Captain Dobbin Bought a Piano

190

XVIII

Who Played on the Piano Captain Dobbin Bought

200

XIX

Miss Crawley at Nurse

213

XX

In Which Captain Dobbin Acts as the Messenger of Hymen

225

XXI

A Quarrel About an Heiress

236

XXII

A Marriage and Part of a Honeymoon

246

XXIII

Captain Dobbin Proceeds on His Canvass

256

XXIV

In Which Mr. Osborne Takes Down the Family Bible

263

XXV

In Which All the Principal Personages Think Fit to Leave Brighton

278

XXVI

Between London and Chatham

300

XXVII

In Which Amelia Joins Her Regiment

309

XXVIII

In Which Amelia Invades the Low Countries

316

XXIX

Brussels

326

XXX

"The Girl I Left Behind Me"

341

XXXI

In Which Jos Sedley Takes Care of His Sister

351

XXXII

In Which Jos Takes Flight, and the War is Brought To a Close

364

XXXIII

In Which Miss Crawley's Relations Are very Anxious About Her

383

XXXIV

James Crawley's Pipe is Put Out

395

XXXV

Widow and Mother

414

XXXVI

How to Live Well on Nothing a Year

426

XXXVII

The Subject Continued

436

XXXVIII

A Family in a Very Small Way

452

XXXIX

A Cynical Chapter

468

XL

In Which Becky is Recognized by the Family

479

XLI

In Which Becky Revisits the Halls of Her Ancestors

489

XLII

Which Treats of the Osborne Family

502

XLIII

In Which the Reader has to Double the Cape

510

XLIV

A Roundabout Chapter between London and Hampshire

521

XLV

Between Hampshire and London

532

XLVI

Struggles and Trials

542

XLVII

Gaunt House

551

XLVIII

In Which the Reader is Introduced to the Very Best of Company

561

XLIX

In Which We Enjoy Three Courses and a Dessert

574

L

Contains a Vulgar Incident

582

LI

In Which a Charade is Acted Which May or May Not Puzzle the Reader

593

LII

In Which Lord Steyne Shows Himself in a Most Amiable Light

613

LIII

A Rescue and a Catastrophe

625

LIV

Sunday After the Battle

635

LV

In Which the Same Subject is Pursued

645

LVI

Georgy is Made a Gentleman

663

LVII

Eothen

677

LVIII

Our Friend the Major

686

LIX

The Old Piano

699

LX

Returns to the Genteel World

711

LXI

In Which Two Lights are Put Out

718

LXII

Am Rhein

733

LXIII

In Which We Meet an Old Acquaintance

745

LXIV

A Vagabond Chapter

759

LXV

Full of Business and Pleasure

777

LXVI

Amantium Irae

786

LXVII

Which Contains Births, Marriages, and Deaths

803

Afterword

823

Selected Bibligraphy

831

A Note on the Text

832

Reading Group Guide

INTRODUCTION

"Ah! Vanitas Vanitatum! Which of us is happy in this world? Which of us has his desire? or, having it, is satisfied?" —Vanity Fair

A bewitching beauty who bends men to her will using charm, sex, and guile. An awkward man who remains loyal to his friends, even when those friends don't deserve his affection. A mother who cannot get over the loss of her husband and devotes her life to her child. Though written in 1847-48, William Makepeace Thackeray's Vanity Fair is peopled by types who remain familiar today. The novel's early nineteenth-century setting immerses us in a strange world of social stratification, moral strictures, and self-conscious sentiment. Yet its characters—from dissolute playboys and self-important heirs to judgmental aunts and finicky gourmands—are instantly recognizable.

None of the novel's characters is more memorable than Becky Sharp, one of Victorian literature's most remarkable creations. While Thackeray's narrator takes pains to expose Becky's subterfuges and to insinuate sexual immorality and even murder, we cannot help but admire her intelligence and élan. Alone among the novel's major characters, she is not content to live out the life she was born into—that of a governess. Lacking money and family, she uses the only tools at her disposal, sex and cunning, to seek advancement in the world. Her success in gaining entrée to society's most exclusive circles, despite the hostility of her husband's family and a chronic lack of cash, is a testament to Becky's audacity and brilliance, her ultimate downfall notwithstanding.

Thackeray juxtaposes Becky's story with that of Amelia Osborne, the naïve, sentimental daughter of a wealthy merchant who goes bankrupt partway through the book. Her artless modesty and devotion to her first love, the good-for-nothing George Osborne, contrast sharply with Becky's amoral machinations and social climbing. Yet as a paragon of womanhood, Amelia also falls short. Her passivity, her maudlin illusions, and her selfish exploitation of William Dobbin, a man who devotes his life to her, make her less than completely sympathetic; near the end of the book, Dobbin himself declares that he has wasted his life in pursuit of someone who is not worthy.

Dobbin alone comes through the book with dignity. He is, as Thackeray declares, a true gentleman. But in the end, having achieved what he long sought—marriage to Amelia—Dobbin too is disillusioned, fonder of his daughter and his History of the Punjab than he is of his wife, though he would never admit as much.

Thackeray interweaves the stories of these three main characters into an exuberant narrative that's chockablock with indelible secondary characters and cynical aperçus that illuminate all manner of human folly. His withering gaze lands on both lords and ladies, exposing the mean-spirited pretensions and craving for distinction that permeate the whole social world. By placing the social skirmishes and family clashes of his characters against the backdrop of the Napoleonic Wars,Vanity Fair invites us to contemplate the pervasiveness of human strife—and the damage that our egotism and self-delusion do every day.

ABOUT WILLIAM THACKERAY

William Makepeace Thackeray was born in Calcutta in 1811, but sent to England at the age of six. He was educated at Charterhouse and at Trinity College, Cambridge. In 1833 he settled in Paris, after a major financial loss, and tried his career as a painter. It was here that he met nineteen-year-old Isabella Shaw, upon whom he based many of his virtuous but weak heroines, and whom he married in 1836. A year later they settled in London, where Thackeray turned seriously to journalism. His writing for periodicals includedYellowplush Correspondenceich appeared inFraser's Magazine and then in 1841 in book form. Around this time personal and domestic pressures caused the already helpless Isabella to subside into a state of complete and permanent mental collapse, and the subsequent breakdown of the marriage formed a central part of Thackeray's consciousness. His early work centered around rogues and villains, most famously in The Luck of Barry Lyndon (1844; revised as The Memoirs of Barry Lyndon, Esq. in 1856), and in his masterpiece, Vanity Fair, which appeared in monthly parts in 1847-48 and which most clearly reveals his socially satirical edge. The Book of Snobs, which originally appeared as a series in Punch, also attacks Victorian society with vicious wit. Thackeray's later novels include The History of Pendennis (1848-50), The History of Henry Esmond, Esq. (1852), The Newcomes (1852-53), The Virginians (1857-59), which is the sequel to Henry Esmond, and The Adventures of Philip (1861-62). He also wrote a series of lectures, The English Humorists of the Eighteenth Century (1852-53), and numerous reviews, articles, and sketches, usually in the comic vein. From 1860 to 1862, he also edited Cornhill Magazine. Thackeray died suddenly on Christmas Eve, 1863.

A CONVERSATION WITH MIRA NAIR, DIRECTOR OF THE 2004 MOTION PICTURE OF VANITY FAIR

What challenges did you and the screenwriter, Julian Fellowes, face in adapting this novel?

Vanity Fair has been one of my favorite novels since I was sixteen years old. I know it very well, as does Julian Fellowes, who adapted the screenplay. Besides maintaining Becky Sharp as the narrative spine of the film, I was keen to preserve the democratic swirl of the book and to that effect wanted to keep all the important subplots alive. I wanted to preserve Dobbin as the moral center of the story, give Rawdon weight so that his love story with Becky could become credible and affecting, show Amelia's mettle so she doesn't sink into becoming the whimpering companion to Becky's fire. Sometimes we amalgamated a few characters into one person (Lady Southdown, for instance) to preserve the hypocrisy, ambition, and greed that is of course the foundation of what Thackeray referred to as Vanity Fair.

In depicting England, I followed Thackeray completely. In writing Vanity Fair, he essentially wrote the cinema verité of his day, peppering his novel with enormous amounts of authentic detail, creating life in all directions. That is my joy as a director as well: to amplify the frame with a heightened reality that crackles with life. I didn't forcibly infuse "my culture" into the movie—Thackeray has laced the entire novel with India, the dream of India, the luster of the colonies, making clear that at this time the middle classes in England were, for the first time, enjoying the wealth that came from the colonies. Oriental details pepper his book: he wrote in detail of how pashmina shawls were coveted, chinoiserie furniture, Indian embroideries, inlaid marble—you name it. I simply took these details and ran with them.

What are your thoughts on Becky Sharp? How would a woman like her fare in today's world?

Becky is a complicated character. I wanted to preserve her complexity, her ambition, her folly, yet work with an actor like Reese who is just plain irresistible to watch. Reese was my first and only choice for playing Becky Sharp; she has wit, guile, and that enticing quality called Appeal that makes an actor a movie star. It was delicious working with her—she is an old pro in her young tiny bones: always impeccably prepared, a great listener, and calm and generous with her fellow actors. She never tires.

Aside from Becky, who are your favorite characters in the novel?

Dobbin was one of my favorites. His character was familiar to me from scores of Hindi movies I watched growing up: the hero's best friend afflicted by unrequited love—usually played by the "silent-yet-deadly" actors like Raaj Kumar. Dobbin was the moral center of the story and needed to be played by an actor who was not afraid to be transparent about his emotion, yet not be boring in suffering. Rhys Ifans, thank you, thank you!

What do you think Vanity Fair has to offer to readers and viewers of the twenty-first century?

The philosophy inherent in the novel and what I call the yogic question Thackeray posed—"Which of us is happy in this world? Which of us has his desire? or, having it, is satisfied?"—is a timeless one, as much of a mystery today as it was in 1848.

DISCUSSION QUESTIONS

Becky Sharp is without doubt the novel's most intelligent and interesting character. Yet in frequent asides, the novel's narrator goes out of his way to expose her stratagems and condemn her motives. What do you think of the narrator's constant moralizing—about Becky as well as the novel's other characters?
 

Becky's disgrace occurs after her husband walks in on her intimate dinner with Lord Steyne. Do you think Rawdon's assumption—that Becky and Lord Steyne were lovers—is justified? Or was Becky, as she argues, merely using her charms to advance her husband's career? And why doesn't the usually omniscient narrator let us know conclusively what really happened?
 

Vanity Fair is subtitled A Novel without a Hero. Yet William Dobbin certainly seems to be a hero, at least when judged against the novel's other principal characters. In what ways does he differ from a conventional romantic hero? Does he, too, display any of the vanity, hypocrisy, and self-deception common to the other characters in the novel?
 

Amelia is lauded by the narrator as a paragon of womanhood, though he admits that some people, especially other women, don't see her charms. Yet Amelia's excessive grief over her scapegrace husband's death, her hapless passivity in the face of poverty, her spoiled son's eager embrace of wealth and position, and her unthinking exploitation of Dobbin's devotion certainly make us wonder about how much good her goodness does in the real world. Are Amelia's sentimental illusions and steadfast virtue in the end preferable to Becky's hard-headed realism and unscrupulous scheming?
 

Near the end of the book, Becky presses Amelia to marry Dobbin by revealing the unsavory truth about Amelia's late husband. How do you explain this uncharacteristic altruism on Becky's part, given the animosity between her and Dobbin?
 

Thackeray peoples his novel with many colorful secondary characters. Were any especially well drawn or true to life? Which did you find most amusing, pathetic, or loathsome?
 

How does the world depicted in Vanity Fair, with its self-conscious morality and well-defined social strata, compare to our world today? What is different, and what remains the same?
 

Thackeray's narrator sprinkles the novel with frequent stinging asides, such as "Did we know what our intimates and dear relations thought of us, we should live in a world that we should be glad to quit," and "What bitter satire is there in those flaunting childish family portraits, with their farce of sentiment and smiling lies." What did you think of the sentiments expressed in these remarks and others throughout the novel? Did you find any that were especially on target or out of bounds? What do they add to the novel?
 

What other novels could you compare with Vanity Fair, either for the scope of their social observation, or for their pairing of unattractive "good" and charismatic "bad" female characters?
 

Editorial Reviews

"I do not say there is no character as well drawn in Shakespeare [as D'Artagnan]. I do say there is none that I love so wholly."
—Robert Louis Stevenson

"The lasting and universal popularity of The Three Musketeers shows that Dumas, by artlessly expressing his own nature in the persons of his heroes, was responding to that craving for action, strength and generosity which is a fact in all periods and all places."
—Andreé Maurois

From the Publisher

"I do not say there is no character as well drawn in Shakespeare [as D'Artagnan]. I do say there is none that I love so wholly."
—Robert Louis Stevenson

"The lasting and universal popularity of The Three Musketeers shows that Dumas, by artlessly expressing his own nature in the persons of his heroes, was responding to that craving for action, strength and generosity which is a fact in all periods and all places."
—Andreé Maurois

EBOOK COMMENTARY