7
Chapter
I
Introduction
Vanity Fair
written by William Makepeace Thackeray is generally recognized
as his masterpiece, through which he established his important position in the
history
of English literature. In the novel, Thakeray profoundly exposes the social
evils and
reality
of the times through realism and satire.
Numerous survey
s attempt
to make
some explorations of its elements of realism and satire
that contribute much to its
great success.
Thackeray
utilizes satire to
make
criticism
s
of the life of the bourgeoisie and
ar
istocracy
, which is
sharp, penetrating and unique. His
Vanity Fair
fully embodies his
viewpoint that a novel should reflect nature and reality, and transmit the real
situation
and true feelings.
The style of
Victorian fiction
is realism, with representativ
es of Charles Dickens
and William Makepeace Thackeray.
“
T
hey experiment while still applying some
conventions of the 18th century novel, in the comic and garrulous vein.
Thus, in the
1830s, 40s and 50s, the novels of success concocted social panorama,
witt
y
conversation and satire as in Thackeray’s ambitious
Vanity Fair
” (Ioana Zirra
, 2003:
210).
Cruikshank, Thackeray, and the Victorian Eclipse of Satire Frank Palmeri
Popular and critical understandings have often contrasted the eighteenth
century as
the go
lden age of satire in Britain with the nineteenth century as the age of the
realist
ic novel, in which satire play
s
at most a fugitive and subordinate role.
S
atire
occupies a prominent position by the late 1820s,
providing
evidence of a turn toward
comedy
that is noticeable in works such as Charles Dickens's Pickwick Papers
(1836
37).
Later
narrative satire continued to play a role through the thirties that can
be seen in Thomas Love Peacock's Crotchet Castle (1831), Thomas Carlyle's
Sartor Resartus (1833
34), and
-in a very late example
-William Makepeace
Thackeray's The Snobs of England (1846
47). Strong visual satire also persisted
well into the twenties
. Many contemporary works
implied sharp criticism of the
British social system
and
narrative and visua
l satire thus persisted as
possibilities for the expression of sustained cultural and political critique
with
representations of social issues and political leaders were comic, typically good
natured and decent
(Frank
Palmeri, 2004:
753).
Many earli
er writ
ers utilize satire to expose
ugliness of their
contemporary
time. Satire makes description vivid and euphemistic, with deep meaning. In
the
following argumentation the connotation and function of satire are presented
first.
Then panorama of the satire
in V
anity Fair
is indicated to present an overall
impression, derivating strategic schemes and targets of satire.
8
II
Brief
Discussion of
Satire
2.1
Definition of satire
Satire in the literary field means a
literary work, which exposes and ridicules
human vices
or folly. Historically perceived as tending toward didacticism, it is
usually intended as a moral criticism directed against the injustice of social
wrongs. It may be written with witty jocularity or with anger and bitterness
(
Columbia Electronic Encyclop
edia
(
应写明编者的姓氏
)
,
2003: 203).
S
atire
can also be defined as
a technique used in the performing arts, fiction,
journalism, and occasionally in poetry and the graphic arts. Although satire is
usually
witty, and often very funny, the primary purpose of satire is no
t primarily humor but
criticism of an individual or a group in a witty manner
(
Wikipedia
, 2005: 128).
Parody,
burlesque, exaggeration and double entendre are all devices frequently used
in
satir
ica
l speech and writing
(
ibid.
2003: 203).
2.2 Function of S
atire
Satire is applied to
expose
the vices and follies
that
the author
hates
and that are
expounded with imperfect tenderness.
Satire usually has a very definite target, which
may be a person or group of people, an idea or attitude, an institution or a
so
cial
practice. In any case the targ
et is held up to a ridicule
which
is often quite merciless,
and
sometimes very angry
????
;
ideally in the hope of shaming it into reform. A very
common, almost defining feature of satire is a strong vein of irony or sarcas
m, in fact
satirical writing or drama very often professes to approve values that are the
diametric
opposite of what the writer actually wishes to promote.
Historically the function of satire is to present the c
riticism of
the
emperors
and corrupt
ed
social
system and so on
in veiled ironical terms
, mocking social
misbehaviors or
making serious and even frightening commentaries on
some
social
issues
taking place throughout Europe and United States
(
Bierce
, 1993:
97).
2.3 Examples of satire
Numerous satiric
masterpieces emerged in the world literary arena, such as
Jonathan Swift’
s
Gulliver's Travels
(1726)
,
a classic children's adventure story, it is
actually a biting work of political and social satire by an Anglican priest,
historian,
and political comment
ator. Anglo
Irish author Jonathan Swift parodied popular
travelogues of his day in creating this story of a sea
loving physician's travels to
imaginary foreign lands.
In the book the author
ridicules academics, scientists, and
Enlightenment thinkers who va
lue rationalism above all else, and finally, he targets
the human condition itself.
A great American satirist was Mark Twain. For example, his novel
Huckleberry
Finn
is set in the ante
bellum
s
outh, in a world where the moral values Twain wishes
to promote
are completely turned on their heads. His hero, Huck, a rather simple but
9
good
hearted lad
,
is ashamed of the “sinful temptation” that leads him to help a
runaway slave.
(Wikipedia
)
.
Satire has become the widely used scheme to disclose the reality, both i
n
the
W
est and in
the E
ast.
"Ugliness of Officialdom"
is a Chinese satire t
o expose the
corruption of the feudal bureaucratic officialdom and the darkness, sketch
ing
a broad
picture of the social life.
III
Panorama of S
atire in
Vanity Fair
3
.1 Overall evalua
tion
of
satire
in
Vanity Fair
Vanity Fair,
A Novel without A Hero, published in 1847
8, gives a satirical
picture of a worldly society. The story
happened during
the Napoleonic wars, but
William Makepeace Thackeray, the author
of the novel,
intended to rep
resent his own
times. It follows the fortunes of two sharply contrasted characters, Becky
Sharp and
Amelia Sedley. Becky
uses her charm, wit
,
feminine wiles
and even immoral means
in an effort to climb the social ladder of early 19th century London, which
is in a
sharp contrast to her friend, Amelia,
a tender and innocent girl, who keeps her long
year affection to a dawdling playboy.
Thackeray was unrivalled in his power of representing all types of
character
s
on which it was possible for him to direct his
satire. He introduces us
into his novel with a metaphor of the fair.
A metaphor, it seems,
is
intended to
embody Thackeray's perception both of the novel and of the world it
depicts
(Virginia Woolf, 1935
: 27
)
.
This masterpiece represen
t
s
Thackeray’s philos
ophy of life
.
He drew the
world around him, as he saw it, extenuating nothing, but assuredly,
depicting
some human ugliness. He saw clearly enough
the seamy side of society: its
littleness, its meanness, its selfishness, its basen
ess, its false religionism
, its
secret
impurities
—
in a word which sums all up, its worldliness.
(
这一段话与摘要雷
同！！！！！
)
“
The reality
Vanity Fair
reveals
is the ugliness in a capitalist society. Thackeray
said describing the reality must expose much unpleasant facts
”
(The
Works
of
William
Makepeace
Thackeray, 1995: 93). Thackeray made clear, both in his role
as the n
arrator of
Vanity Fair
and in his private correspondence about the book, that
he meant it to be not just entertaining, but instructive. Like all satire, Vanity Fair
has
an objective and a moral.
“
Vanity Fair
is the work of a mind, at once accompli
shed and subtle, which has
enjoyed opportunities of observing many and varied circles of
the
society. . . his
genteel characters... have a reality about them... They are drawn from actual life,
not
from books
or
fancy; and they are presented by means of br
ief, decisive yet always
most discriminative touches” (
John Forster
???(In an inserted note, only the
surname of the writer appears!!!)
,
1848). Charlotte Bronte, whose admiration for
his genius was boundless, called him “the legitimate high priest of Truth”
.
3
.2 Brief introduction
to
the author
—
A satirical moralist
William Makepeace Thackeray was one of the chief literary figures in the
10
Victorian Era, and his individuality has had a marked influence on the work of
his successors there can be no manner o
f doubt. As a painter of manners, as a
satirist, a critic, a stylist, he takes a very high rank, and the qualities that
enabled him to excel in these various capacities constitute a great writer of
fiction (James Oliphant
, 1997: 56
)
.
Thackeray, whose s
atiric novels are often regarded as the great upper
class
counterpart to Dickens's panoramic depiction of lower
class Victorian society
.
Following Jane Austen and Charles Dickens in drawing his material
from
contemporary life, Thackeray helped to widen the
range by dealing with new phases
of society. Following the same writers, but reaching a higher success, he touched
the
limits of realism in dialogue. He came to see himself as a Satirical
Moralist, with a
responsibility both to amuse and to teach. He aime
d not only to expose the false
values and practices of society and its institutions and to portray the selfish,
callous
behavior of individuals, but also to affirm the value of truth, justice, and
kindness.
This double aim is reflected in his description o
f himself as satiric and kind: "under
the mask satirical there walks about a sentimental gentleman who means not
unkindly
to any mortal person."
Though Thackeray set his novel a generation earlier, he was actually writing
about his own society (he eve
n used contemporary clothing in his illustrations for the
novel). Thackeray saw how capitalism and imperialism with their emphasis on
wealth,
material goods, and ostentation had corrupted society and how the inherited
social
order and institutions, includi
ng the aristocracy, the church, the military, and the
foreign service, regarded only family, rank, power, and appearance. These
values
morally crippled and emotionally bankrupted every social class from servants
through
the middle classes to the aristocrac
y. High and low, individuals were selfish and
incapable of loving.
Until the publication of Vanity Fair, Thackeray was known as a humorous writer;
he wrote regularly for Punch. Thackeray regarded humor as doing more than
making
readers laugh, "the best hu
mor is that which contains most humanity, that which is
flavored throughout with tenderness and kindness. “He was compelled to write the
truth about what he saw and how he understood what he saw: N
o
writer was better
gifted than Thackeray for this kind of
satire because no faculty is more proper to
satire than
reflection. Reflection is concentrated
attention
increases a hundred
fold the force and duration of emotions. He
attention, and concentrated
,
who is immersed in
the contemplation of a vice, feels a ha
tred of vice, and the intensity of his hatred is
measured by the intensity of his contemplation” (Hippolyte Adolphe Taine
,
1917
:
158
)
The author is in possession of the motives, species, results, as a naturalist
is of his
classifications being sure of his
judgment, and has matured it. In this case the most
natural weapon is serious irony.
3
.3 A novel without a hero
“There is no hero in “Vanity Fair” and its subtitle is
“
A Novel without a Hero
”
,
which
is the
original title
. There are two explanations for
this
subtitle: one point
11
deems that no hero is due to no character becomes the central role”
(
D
．
Cecil,
1934:66
)
;
when the
novel was published in the journal
“Punch”
with
the sub
title
of
"A Sketch of British
S
ociety",
which
also demonstrates this point.
“
Another
point
believes that
it
has no
“
heroic
character
"
.
A
hero is a
supereminent
figure
who
has
aptitude to
change social environment
while
the role
s in the novel
are all the common
people suffering from the environment and the time”
(
Anthony Trollope,
1983: 91
)
.
The two
points
are not contradictory and can be unified.
“
Thackeray did not
take
an excellent heroic protagonist. He
mentions in
the first chapter that the book is
written
on
vulgar trivial matter.
I
f
a
reader only admire
s
the
great heroic deeds
, he’d
better give up this novel
as early as possible
” (Harry Furniss
, 1911: 6117
)
.
“Thackeray
believed
that the ideals and noble sentiments belong to the field of poetry
and tragedy
while a
realistic fiction should reflect the tru
th
and
true feelings
”
(
N
．
Frye,
1967: 33
)
. He is determined to write
a group of ordinary people
in
the tide of the
times, such as bankrupt
Mr. Sedley
,
wealthy Mr.
Osborne
and
George Osborne
, who
died in the last ditch, etc.
Even Rebecca Shar
p
, although
she refused to yield to the
e
nvironment, she still did not overcome her environment. Their bitter suffering is
not
a tragedy but a mockery of life.
Vanity Fair is said by its author to be a novel without a hero, which is
undoubtedly a truth. Furthermore, although there are two heroine
s, Rebecca
Sharp and Amelia Sedley, who are called the puppets by Thackeray, they
do
not make up for this omission, since one is without a heart, and the other
without a head (Robin Gilmour, 1982: 26).
It is so satiric that the whole novel which lack a her
o, the purpose of which is to
represent the reality which is at once the charm and misery here. Thackeray
’
s
contemporaries testify to how deeply Vanity Fair struck its first readers as a new
kind
of fiction remarkable for its fidelity to actual experience.
When Thackeray hit on Vanity Fair as his title (replacing the original
“
The Novel
Without a Hero
”
), he found an image and focus that turned his
satiric
sketches into an
integrated vision of English society. The image comes from John Bunyan
’
s allegory,
The
Pilgrim
’
s Progress (1678).
“
Bunyan
’
s fair mirrors Thackeray
’
s world where
money is the prime motive for action and relationship. Both Bunyan and
Thackeray
use the word
“
vanity
”
in its biblical sense, drawing on Ecclesiastes and its
well
known statement: V
anity of vanities, Saith the Preacher; all is vanity
”
(Robin
Gilmour, 1982: 28). The Latin root, vanus, meaning
“
empty
”
helps to locate
Thackeray
’
s use of the word and to remind us of its link to ideas of insubstantiality
and nothingness.
General
ly speakin
g,
fiction
s
always
boast their
alluring figure
s
,
however,
Vanity
Fair not only
has no
hero
and
even
the
positive character
s
are rare. “
The characters in
the novel
all bear
much
defect
. Thackeray
regarded
D
ob
bin as
a fool, Am
e
lia selfish.
He said that he d
i
d
not intend to write a perfect or near perfect
person. Everyone apart
from D
ob
bin is ugly and vicious in the soul. A traditional novel ends with satisfactory
fairness: a kind person has a good reward while a
villain
suffers what he deserves.
Thackeray tho
ught it was unreasonable. Success is similar to winning the lottery by
coincidence or chance
”
(
Harry Furniss
,
1911
: 272). The moderate, kind, smart people
12
are often impoverished and unsuccessful while the selfish, stupid, sinister people
are
always free fr
om problems.
IV
Strategic schemes of satire in Vanity Fair
4.1 Constant
commentaries
“
In the Preface or Pendennis Thackeray defines a novel as a sort of confidential
talk between writer and reader
”
(Robin Filmour, 1982: 34). He made satiric
commentaries wit
h his voice of puzzling as well as intrusive, playing now the fool,
now the preacher, now the man of the world, now the man of sentiment.
Thackeray
’
s narrator is distinguished by his conversational, personal tone.
The informal style of the novel puts us in
a more private, familiar world where
the narrator can respond to his characters and to his hypothetical reader in
a
more casual and intimate fashion. The narrator
’
s fallible commentary
provokes our own response to the characters. By responding, we endow t
hem
with a life resembling that of real people and turn their world into one
“
that
has somehow overlapped with our own. (Robin Filmour, 1982: 35)
This overlapping is also managed more directly by the frequent breaking of
dramatic illusion when the narrator
moves out of the fictional world into the world of
the reader. For example, after introducing the rich Miss Crawley, he
proceeds to
generalize:
“
What a dignity it gives an old lady, that balance at the banker
’
s!
”
To
ensure recognition of the relevance of
this irony to actuality, he involves the reader,
creating an elaborate hypothesis about
“
your
”
life:
“
your wife
”
and
“
your little girls
”
work busily to please the wealthy relative.
“
You yourself, dear sir, forget to go to
sleep after dinner
...
Is it so, or i
s it not so? I appeal to the middle classes.
”
Characteristically, the narrator himself is not immune:
“
Ah, gracious powers! I wish
you would send me an old aunt.
”
(ch. 9) Moments like these break down the barrier
between fiction and life, asserting a paral
lel between the narrative and our own lives.
Fiction is no longer another reality but a way back to this one,
provoking
self
confrontation.
Vanity Fair is oddly straightforward in its fusing of technique and theme. In
a
novel about the vanity of the world
all wear the fool
’
s garb of motley shown on the
original cover: narrator, characters and reader.
“
Thackeray
’
s narrator is more dramatically conceived and helps to make the
commentary itself dramatic, and the reader in his turn needs to be alert to
the
nar
rator
’
s changing tones and attitude
”
(Ina Ferris, 1983: 12). The author also
remarked his heroines as
“
puppets
”
–
“
The famous little Becky Puppet
”
,
“
the Amelia
Doll
”
.
The preface shows that Thackeray
’
s characteristic
skepticism
is not only
turned in, as it
were, to his fictional world, but outwards to his reader as well.
Part of the purpose of the
“
Novel without a Hero
”
is to probe and question the
habitual assumptions the reader brings with him to reading a novel, sometimes
to the extent of deliberately di
scomposing his normal confidence in the author.
(Ina Ferris, 1983: 12)
T
he narrator's commentary serves other purposes. It bridges past and present.
13
Without Thackeray's own voice, the melancholy and the compassion of his attitude
to
Vanity Fair might escap
e us. It is needed merely as relief from a spectacle that might
otherwise be unbearably painful
a
nd not only morally painful, but mentally
impoverished. The characters, the best as well as the worst, are almost without
ideas;
the intellectual atmosphere of
the novel is provided by the commentary.
By presenting the narrator's comments and reactions as well as the
characters'
feelings and reactions, Thackeray gives the novel a richer, more complex, and
subtle
texture. Juliet McMaster
, a famous British writer
,
believes that the narrator's
commentary, which she calls alternately inane, snug, cloying, or cynical,
forces the
reader to react, thereby giving the characters a kind of life and making them feel
like
autonomous beings.
4.2 Caricatures
Thackeray not o
nly wrote but also illustrated his novel, the only major
Victorian novelist to do so. Vanity Fair is illustrated profusely with full
-
page
engravings, smaller dropped
in woodcuts, and pictorial capitals. The author
used the drawings skillfully and sarcastic
ally to supplement, interpret, and
sometimes add to the text.
(Robin Filmour, 1982: 25)
The author intended his illustrations to be an integral part of the novel. The first
letter of every chapter is incorporated into a drawing; almost every chapter includ
es a
full
page drawing with an inscription at the bottom and one or more drawings
of
various sizes. The drawings supplement or complement the text in various ways.
The caricatures are applied as a scheme to satirize the figures. Joseph is a typical
instanc
e; he is lazy, fat, stupid and love fads, drinking and eating, ridiculed repeatedly
in the novel.
For example, t
he meaning of the initial drawing for Chapter 4 is obvious; Becky
is angling for a fat fish, Jos
eph
. There is irony in the fact that Jos
eph
, who
distinguishes himself by how much he eats and drinks, is himself in danger of
being
caught and eaten by Becky. Continuing the fish metaphor, Mr. Sedley tells
his wife,
"But mark my words, the first woman who fishes for him, hooks him" (
p.
43). Besides
fla
ttering Jos
eph
with references to his knowledge of foods, Becky lures Jos
eph
by
knitting a green purse, the purse symbolizing money and the green perhaps
suggesting
Becky's envy of the Sedley's affluence; she shyly implies that she is making it for
him.
Th
ough Becky is in a natural setting in the drawing, the buildings in the background
maintain Thackeray’s emphasis on the society.
Each monthly number of Vanity Fair carried as its subtitle
“
Pen and Pencil
Sketches of English Society
”
, advertising the parall
el attractions of the
illustrations and perhaps attempting to capitalize on Thackeray
’
s already
established reputation as an illustrator of his own work. (Robin Filmour,
1982:
55)
The author actually satirizes all the characters in the novel, calling them
puppets
and the whole fiction as a puppetry as the final drawing show:
Ah! Vanitas Vanitatum!
W
hich of us is happy in this world? Which of us has
his desire? or, having it, is satisfied?
-come, children, let us shut up the box and the puppets, for our play
is played out.
(
p
.
67)
And the caricature draws two children are looking at the puppets in their
box,
showing that the whole story is just a satiric puppetry. The pursuit of
vanities are
vainly, fortune and status futile and meaningless.
For another examp
le, the caricature in the Chapter 18 is of his kind: it shows a
tall clown bowing with wary mockery to the little strutting figure of Napoleon,
while
soldiers can be seen through the
“
O
”
of
“
Our
”
. This meeting of the clown and the man
of destiny catches w
ell the posture of mocking subservience adopted by Thackeray
’
s
comic muse, when his
“
surprised story
”
finds itself
“
hanging on to the skirts of
history
”
. (
Ch
.
18) A more subtle use of Napoleon can be seen in the caricature in
Chapter 64, where Becky dresse
d as Napoleon looks out over the Channel to England.
Here Thackeray completes the comic parallel between the social climber and
the
“
Corsican upstart
”
which has run throughout the novel. Becky began her social
“
campaign
”
shortly before Napoleon made his re
turn to France, and like him she ends
up in exile after her defeat. In her case Boulogne, the favorite haven in Victorian
times
for bankrupts and other exiles from English respectability (hence the title
“
A
Vagabond Chapter
”
)
4.3 Satirical ending
The act
ual ending bears no resemblance to conventional happy endings.
The
novel bears a satirical ending.
Dobbin no longer loves Amelia, and she knows it.
There is no poetic justice, i.e., the virtuous are rewarded and the wicked are
punished.
The resilient Becky
has wormed her way back into respectable English society,
presumably she may have murdered Jos
eph
for the money. The novel at last concludes
with a pessimistic statement
that
may be applied to almost all, if not all the characters:
"Ah! Vanitas Vanitatum!
" which of us is happy in the world? Which of us has his
desire? or, having it, is satisfied?" (page 822).
We can see the endings of the main characters as follows.
Dobbin gets his
desired Amelia after acknowledging that she is not worth his devotion and t
hat he
wasted his life. Amelia's desire to marry Dobbin is fulfilled, but her desire arises
far
too late, for she has worn out his love for her.
Becky may have regained her respectability again, but will her Bohemian nature,
with its need for excitement an
d risk, satisfied
with a
long with a staid conventional
life
.
With the last sentence of the novel, Thackeray reduces his characters to puppets,
artifacts which are controlled by the puppet master or the narrator as stage
manager.
Ordinarily such a puppet i
mage would undercut our sense of the characters' reality,
but
it
strengthens
the effect.
Thackeray deliberately
satirizes
different levels or kinds
of reality that the characters, like puppets, are created
.
4.4 Themes
The author aims
to satirize the foll
owing themes:
First, v
anity. Vanity, which takes a variety of forms, is a major motivation of
individuals and characterizes society.
We cam refer to
the following definitions of
15
vanity from the
dictionary
: "Vain and unprofitable conduct or employment of ti
me";
"The quality of being foolish or of holding erroneous opinions"; "The quality of
being
personally vain; high opinion of oneself; self
conceit and desire for admiration."
Another meaning of vanity could possibly be the vanity mirror; this
meaning relat
es
to the use of mirrors in the text and the drawings.
Second, s
ociety's values. Individuals and society are driven by the worship of
wealth, rank, power, and class and are corrupted by them. Consequences of
this
worship are the perversion of love, friend
ship, and hospitality and the inability to
love.
Third, s
elfishness. Everyone is selfish in varying degrees. As little Georgy
ironically writes in an essay. “An undue love of Self leads to the most monstrous
crime and occasions the greatest misfortunes bo
th in States and Families” (page 698).
The selfishness of characters like Becky, Jos
eph
Sedley, and Lord Steyne is obvious;
however, even apparently selfless characters like Amelia, Dobbin, and Lady Jane
are
selfish.
4.5 Contrasts and coexistence of cont
radictions
The author arranges
the coexistence and contrast of the contradiction
s
to achieve
satiric effects.
4.5.1
Contrast of two heroines
Thackeray
’
s irony invites the reader to find his interest not in identification with
the destiny of a single protagonist
but in the parallels and contrasts between two
characters whose natures seem morally opposed.
“
Becky is active where Amelia is
passive, knowing where she is
naïve
, witty and articulate where she relies on dumb
feeling. The difference between them could eve
n be described in some such large
general terms as an opposition between worldliness and unworldliness
”
(Ina Ferris,
1983: 16).
The reader becomes involved in a continual process of comparison which starts
to loosen the hard edge of the initial antithesis;
unconventional insights emerge. We
quickly realize that Becky
’
s irreverence has a certain moral validity as a response to
the snobbish, money
worshipping society portrayed in Vanity Fair, and that her
wordly acumen is a source of laughter and satire. Amel
ia
’
s maidenly devotion to
George suddenly looks blind and foolish, but we are soon aware that
herunworldliness
is not as straightforward as it seemed at first, that it is made possible by the
cushion of
wealth and conceals selfishness and sentimentality to
o.
Through Becky Sharp Thackeray explores the public, social possibilities
of Vanity Fair, through Amelia Sedley he investigates its private, individual
possibilities. Where Becky belongs to the world of picaresque with its
emphasis on success, Amelia belo
ngs to the world of romance where feeling is
the primary value. Becky
’
s way of life ends in
“
bankruptcy,
”
but Amelia
’
s
alternative is hardly more satisfying. Under scrutiny, the way of romance turns
out to be as disappointing as most things in Vanity Fair.
(Robin Filmour, 1982:
39)
While Becky has been playing high society games, the widowed Amelia
16
has been living in obscurity with her bankrupt parents. (Robin Filmour, 1982:
30)
And the running parallel and contrast between Amelia and Becky provides
the nar
rative backbone of Vanity Fair, but the same principle of pairing and
contrast between characters is at work elsewhere, amplifying and enriching
the baldness of the original opposition between worldliness and unworldliness,
and adding further dimensions to
the theme of vanity in the novel. (Ina Ferris,
1983: 16)
4.5.2
Satire and sentiment
It is characteristic of Thackeray that the moment in the novel when
“
Satire and
Sentiment
”
are brought into effective partnership, and those contrasts of irony and
feeling bala
nced. It offers the poignant spectacle of privacy invaded, of indifferent
fingers
“
poking into the feathers, shampooing the mattresses, and clapping the
wardrobe drawers to and fro
”
(Ina Ferris, 1983
: 16
)
For example, the Sedley auction is the pivotal scen
e in the fifth monthly number,
and one might note the skilful way in which it not only combines
“
Satire and
Sentiment
”
in itself, but effects a bridge between these different tones in the two
halves of the number.
4.5.3
Fashion and War
The increasing momentum o
f to the battle of Waterloo, taking place offstage, is
Thackeray
’
s most brilliant and important narrative refusal in Vanity Fair. Although the
battle itself is given only a short paragraph in the text, its presence seems to bulk
large
in our experience of
the novel. Waterloo is a decisive event in the lives of the
principal characters and in the life of their society. In Thackeray
’
s handling Waterloo
is an event within Vanity Fair itself, for he continually emphasizes the concurrence
of
the military and the
fashionable campaigns by bringing Becky to the
“
perpetual
military festival
”
at Brussels,
“
where all the Vanity Fair booths were laid out with the
most tempting liveliness and splendor
”
. (ch. 28), and making it the scene of her social
triumph.
“
It is this
interplay between fashion and war, coming to a splendid climax in
the escape from Brussels of the fat dandy Joseph Sedley, which keeps Waterloo
within
the comic, satiric mode of the novel while allowing its more serious
implications to
emerge through forc
e of contrast
”
(Ina Ferris, 1983: 26)
The chances of war sharpen the appetite for acquisition in Vanity Fair.
From a
character we may have pigeon
holed as entirely worldly, he is Rawdon Clawly, when
out of love of Becky he prepares a list of all his fashio
nable belongings
–
dressing
case, fur
lined cloak, chain and ticket,
dueling
pistols
–
and leaves them
behind for her to sell if need be, going off to battle in his oldest and savviest
uniform
and epaulets, leaving the newest behind, under his wife
’
s guard
ianship. (ch. 30)
The renunciation of fashion which Rawdon makes willingly is forced on Joseph
Sedley by rumor and panic. Joseph is the novel
’
s chief narcissist, displaying in a gross
but harmless and comic form the tendency to look in mirrors and adorn on
e
’
s person
whom he shares with a more subtle narcissist like George Osborne. The
“
stout
17
civilian
”
, as he is many times called, appears in Brussels dressed as a military dandy
in his braided frockcoat, foraging cap and moustaches described in chapter
32 (on
e
relishes the
brilliance
of Thackeray
’
s comic substitution here, making Joseph
’
s
experience of the war function in ironic counterpoint to that of the real
soldiers
offstage).
The interplay of fashion and war is brought to a splendid comic climax: the razo
r
that shaves off the dandy
’
s plumage stands in for the
sabers
that in a different kind of
novel would be seen clashing at Quatre Bras. And the implications of this scene
reach
out beyond the comic subversion of military fiction to a larger symbolic meanin
g. Just
as Joseph loses his military
style frock
coat and expensive toilette items to Isidor,
escaping from Brussels in a
“
plain black coat
”
which makes him look like
“
a
flourishing, large parson of the Church of England
”
, so too does the battle of Waterlo
o
mark the beginning of the end of the quasi
aristocratic style of military dandyism as a
dominant force in the world of the novel. (Ina Ferris, 1983: 36)
4.5.4
Illusion and reality
It is
im
possible to distinguish between illusion and reality
.
Motivated by
self
interest, the characters practice hypocrisy, they misrepresent themselves both
to
others and to themselves, and they lie. Some characters deliberately choose
their
illusions or fantasies over the truth. Thus, every character deludes others
and/or is
self
deluded
.
The false portrayal of human nature and activities in novels, romance, and
literary conventions is distinguished from real life.
V
Satirical targets in Vanity Fair
The novel Vanity Fair is a satire and it has many satirical targets to represent the
Victorian novelist style, satirical realism. The satiric targets are shown as follows:
5.1
Gentleman
Thackeray rejects the older concept of a gentleman as a man of rank and leisure,
i.e., a member of the gentry or aristocracy. The true gentleman, as well as t
he true lady,
is recognized by moral character, being considerate, benevolent, and diligent.
Amelia,
Lady Jane, and Dobbin are among the few real ladies and gentlemen in this novel.
A concern in Thackeray's writing
s
, as in the writing
s
of many other middle
class
Victorian novelists, is the question of what a gentleman is. The traditional concept
of
a gentleman is a man of family and fortune who does not work; it is a
class
based
concept which excluded most middle class men. Having in mind this
definition,
T
hackeray said that it took three generations to make a gentleman. The middle
classes,
who were growing in number, wealth, and power, did not want to wait to be
accepted
as gentlemen. To make the concept of the gentleman more inclusive, writers
identified
c
haracter and moral values as the criteria for recognizing a gentleman. Thackeray
uses
both concepts of the gentleman in Vanity Fair. He uses the older definition
ironically
in connection with characters like Lord Steyne and Sir Pitt Crawley, the
father; th
e
new definition is applied to the honorable
–
and honest
–
William Dobbin.
Fashionable society accepts Lord Steyne as indisputably a gentleman even
18
though his immoral lifestyle is notorious. Despite his open womanizing and
other
vices, his "distinguished cour
tesy" toward his wife in public "caused the severest
critics to admit how perfect a gentleman he was, and to own that his Lordship's
heart
at least was in the right place" (page 576). Appearance and status are what matter
in
determining who is a gentleman,
not character or virtue or the whole life of a man.
In private, where society cannot see or hear his treatment of his wife or
other
female dependents, Steyne is heartless or ungentlemanly. He savagely abuses his
wife,
Lady Steyne, and daughter
in
law, Lad
y Gaunt, verbally to force them to invite Becky
to their home. Moreover, "
t
o see his wife and daughter suffering always put his
Lordship into a good humor" (page 757). To emphasize the irony,
Thackeray uses
Steyne's title, "his lordship." When Lady Gaunt d
efies him to strike her, he replies, "I
am a gentleman, and never lay my hand upon a woman, save in the way of
kindness"
(page 575). He is brutal in his advice to Becky, when she reveals that she has
cheated
Miss Briggs out of her money and ruined her fina
ncially: “Ruined her? Then why
don't you turn her out?' the gentleman asked” (page 571). In both of these
incidents,
the term "gentleman" is used ironically for satiric purpose; Steyne is
simultaneously
and ironically, a sadistic brute and a perfect gentle
man. This concept of the gentleman
contrasts with the newer one Thackeray espouses.
Thackeray explicitly identifies what the true gentleman is and who of his
characters is a true gentleman. On the one hand, his concept democratizes the
concept
of the gentl
eman because a man of any class who has the requisite character and
integrity could be a gentleman. On the other hand, Thackeray sets such a
high
standard for the gentleman that very few men actually fit his definition of a
true
gentlemen, though there are
many who regard themselves and are regarded as
gentlemen using the standards of Vanity Fair. Thackeray distinguishes
between the
few true gentlemen and the more numerous group whose claim to being gentlemen
is
based on externals, not ideals
.
The new conce
pt of the gentleman can degenerate into the recognition of
appearance, position, wealth, and a conformity to decorum. Sir Pitt Crawley, the
son,
is the model of the prig who places money and advancement before generosity,
honor,
and kindness. He is able to
listen to Rawdon's request for help and sympathize with
him after Rawdon assures him he is not asking for money. On this
occasion,
Thackeray describes Sir Pitt, ironically, as "a real old English gentleman, in a word
–
a
model of neatness and propriety" (pa
ge 636). He is wearing a starched cravat with his
dressing gown!
5.2
Lady
Redefining the gentleman requires redefining the lady, so that the lady, too, is no
longer a class
based concept. Like the gentleman, the lady must have character and be
virtuous, thoug
h the nature of her character and her specific virtues differ from those
of the gentleman.
The new concept of the lady, like that of the gentleman, can degenerate into the
recognition of appearance, position, wealth, and a conformity to decorum. As
Amelia
exemplifies the new true lady, so Becky expresses the corrupted concept of a
lady, a
19
concept whose criteria would be easier to meet and would undoubtedly be
more
widely acceptable
.
5.3
Main characters: Becky Sharp & Amelia Sedley
In fact, Thackeray is satiri
zing every character in the novel.
The dominant class
in this novel, as in Thackeray's society, is the middle class, and the middle class is
the
mercantile, capitalist society. The predominant middle class value is money,
as
exemplified by Mr. Osborne. The
consequences of this focus are spiritual and
intellectual
emptiness,
a
twisted
morality,
and
corrupted
emotions,
particularly the
inability to love and an incapacity for friendship.
Thackeray's presentation of his characters as a gradual “unfolding in a
c
ontinuously widening present”; the characters have the same weaknesses, vanities
and foibles throughout, the only change being “our knowledge of them.”
Becky Sharp
Thackeray is deliberately manipulating his
“
little Becky Puppet
”
. (p.p. 37,
William Makepea
ce Thackeray
’
s Vanity Fair, by Robin Filmour)
Born with no
advantages, in a society that values rank and wealth, Becky makes her way
to the
highest levels of society through her own resources, with determination,
intelligence,
hard work, and talent. She is
resourceful and bounces back from every reversal. At the
same time, her behavior and character are morally indefensible; she
constantly
manipulates others, she lies, she cheats, she steals, she betrays Amelia, and
perhaps
she even commits a murder.
Becky
becomes the vehicle of the satire, especially in the early part of the novel,
where she exposes and deflates the vanity of others. Despite her own
fakery, she
retains the support of the reader because most of her conflicts involve
despicable
characters and
our indignation is directed toward them rather than toward Becky. Her
early victories offer a sense of release and justice, as in her skillful
“
routing
”
of
George Osborne who begins with a simple gesture. George
“
walked up to Rebecca
with a
patronizing
,e
asy swagger. He was going to be kind to her and protect her. He
would even shake hands with her, as a friend of Amelia
’
s; and saying
“
Ah, Miss Sharp!
How
dy
doo?
”
held out his left hand towards her, expecting that she would be quite
confounded at the honor
. The next paragraph begins Becky
’
s rout.
“
Miss Sharp put
out her right fore
finger, and gave him a little nod, so cool and killing
”
that George is
completely taken aback. From this moment his discomfort only grows as Becky
turns
the tables on George and p
roceeds to patronize him. (ch.14) In such scenes Becky is
an ally of the author, furthering his puncturing of vanity. (p.p. 38, William
Makepeace
Thackeray
’
s Vanity Fair, by Robin Filmour)
But she is also a satiric target herself, taking her place alongsid
e George,
Joseph, Miss Crawley, and the other citizens of Vanity Fair. She shares
their
worldliness and narrow vision. Thackeray keeps firmly in sight her ruthless
self
centeredness, placing her early among the
“
Faithless, Hopeless,
Charityless
”
inhabitant
s of the Fair (ch. 8). As the novel progresses, Becky
’
s
destructiveness becomes increasingly apparent, summed up in the famous
20
mermaid image of Chapter 64. The image grows out of the narrator
’
s ironic
defense of himself before the squeamish
“
polite public
”
which recoils from a
frank description of
“
vice
”
. (Robin Filmour, 1982: 38)
This double function of Becky points to that complexity of role that has led to so
much critical controversy about her character and about Thackeray
’
s attitude to her.
Amelia Sed
ley
Amelia seems to be the conventional heroine, sweet, passive, self
sacrificing,
gentle, tender, and loving. And Thackeray calls her a heroine for many times, but
he
contradicts himself at other times and says she is not a heroine (he also
refers to
Beck
y as a heroin
e and not a heroine). In addition, he repeatedly calls Amelia “weak”
and “selfish”. Of Dobbin's faithful love and decades
long submission to her,
Thackeray
mentioned
that finally “he will find her not worth having”. Thackeray
wrote his mother
that “
My object is not to make a perfect character or anything like it.
Don't you see how odious all the people are in the book (with the
exception of
Dobbin), all there lies a dark moral I hope. What I want is to make a set
of people
living without Go
d in
the world (only that is a cant phrase) greedy pompous mean
perfectly self
satisfied for the most part and at ease about their superior virtue.”
5.4
Marriage
Using this technique of generalizing from the individual,
the author
exposes the
mercenary and impers
onal basis of marriage in an acquisitive, money
oriented,
status
conscious society.
Becky's desperate attempt to lure Jos
eph
into marriage gives Thackeray the
opportunity to discuss society's institutionalization of husband hunting, which
“is
generally, an
d with becoming modesty, entrusted by young persons to their mammas”
(page 32). He then lists the approved and conventional activities by which
young
ladies find husbands. Amelia's idolatry of George is contrasted with Miss
Maria
Osborne's feelings for her
fiancé or, to be more accurate, for his financial and social
standing, which leads to a discussion of mercenary marriages in fashionable
society
(pages 134
5).
We can take
Maria’
s example
. Her fiancé, Frederick Bullock, Esq., is equally
mercenary and refu
ses to marry unless Maria's dowry is increased; he changes his
mind only after Mr. Osborne threatens to horsewhip him, Mr. Osborne
removes his
money from the Bullock firm, and Frederick's father and the senior partners
of
Bullock, Hulker, and Bullock urge
him to go through with the marriage. The horrors
of marriages arranged for financial and family considerations are revealed by
the
Steyne family's alliances (pages 555
60)
Marriage becomes a mercenary pursuit and calculated game for self
enrichment.
So Mrs
. Bute
“
played for Bute and won him at Harrowgate
”
(ch. 11), while the
unhappy Lady Steyne is more brutally
“
sold
”
to Lord Steyne (ch. 47). In their pursuit
of social status and money the inhabitants of Vanity Fair create a distorted
value
system. Love is
equated with money, as in the statement that Miss Crawley
“
had a
balance at her banker
’
s which would have made her beloved anywhere
”
(ch. 9).
21
In a novel of domestic life, there are no happy marriages because of the egotism,
selfishness, folly, and false va
lues of individuals and of society. Similarly, selfishness,
vanity, snobbery, and/or materialism affect every child
parent relationship.
In the early 19th century England, people
regarded
marriage
as
the simplest form
of
gaining
wealth. At this point, both
men and women are
trying to
achieve this goal.
A lot of people
married a title, or status
rather
than their own spouse
.
Thus marriage
seem to be
the only way out of poor life
or lower social background. It is not
infrequent in most societies.
5.5
Human as co
mmodities
Regarding others as commodities or objects to be used for one's own ends
is
widespread, almost universal, in this society. Miss Crawley uses Miss Briggs,
Becky,
and her relatives to amuse herself and drops them without a pang when they no
longer
suit her needs. In turn, she and her fortune are commodities which her relatives
want
to secure for themselves. After a stroke incapacitates Sir Pitt and his son takes
control
of the estate, Sir Pitt becomes a worthless object and is kept out of sight.
Thi
ngs, possessions are more important than people. Ironically, people's
possessions outlast them or their wealth, as shown by the numerous auctions
resulting
from bankruptcy or death.
As a mother Becky, who expresses neither love nor interest in her son, be
comes
an object for him. He admires her appearance and her possessions: “She came like
a
vivified figure out of the Magasin des Modes
–
blandly smiling in the most beautiful
new clothes and little gloves and boots. Wonderful scar
ves
, laces, and jewels glitte
red
about her... She was an unearthly being in his eyes, superior to his father
–
to all the
world: to be worshipped and admired at a distance” (
p.p.
449). There follows a list of
things in her room which define her for little Rawdon.
5.6 Dark side of huma
n nature
Thackeray once wrote to Robert Bell:
“
The novel is to indicate, in cheerful terms,
that we are for the most part an abominably foolish and selfish people
“
desperately
wicked and all eager after vanities
”
(
Edgar F. Harden
, 1994: 423). So we can see
that
the whole novel is full of dark side of human nature.
“
The Victorian imagery of heavy
or stifling air captures the indefinable way in which Vanity Fair generates
the
profound and vague dissatisfaction with life to which Thackeray refers here.
Life in
Vanity Fair is soiled
”
(Robin Filmour, 1982: 27)
Thackeray again and again points out that the folly, social climbing,
hypocrisy,
cruelty
,
avarice, loveless
ness, and selfishness exhibited by individual characters have
their origin and counterpart in soci
ety as a whole. These values are learned early, as
the anecdote of the three children happily playing, until told that the sister
of one of
them had a penny. All three ran to ingratiate themselves with the penny
holder and
followed her, “marching with grea
t dignity,” toward a lollipop stall (page 263).
5.7 Distorted value system
To show the connection between the individual's values and behavior and
22
society's, Thackeray often generalizes from a particular situation or individual's
action
to the behavior a
nd value of societies. He universalizes the greedy fawning of the
Crawleys over Miss Crawley's £70,000 into a common behavior in society: “What
a
dignity it gives an old lady, that balance at the banker's! How tenderly we look at
her
faults if she is a rel
ative” (page 104).
Vanity Fair satirizes the snobbery and social climbing of a time when the
influx of new wealth from industrialization and the rise of stockjobbing was
loosening the old class barriers and providing opportunities for parvenus like
Becky.
On this level Vanity Fair is best read in conjunction with Thackeray
’
s
Book of Snobs, published almost concurrently in
Punch
as The Snobs of
England. (Ina Ferris, 1983: 27)
John Bunyan
’
s idea of vanity clearly appeal to Thackeray with his early and
continu
ing interest in shams, fakes, illusions, and with his melancholy sense of
life. For all its seriousness and incisiveness in exposing cultural values,
Vanity
Fair is a comic masterpiece exhibiting comedy
’
s joy in the sheer vitality and
resilience of life. (
Robin Filmour, 1982: 28)
We can take Becky Sharp for example.
One of Becky's weaknesses is the desire
to be respectable and accepted into "the best" or fashionable society. As a
token
gesture toward the rules governing a lady's behavior, she hires, but doe
s not pay, Miss
Briggs to be her companion. She achieves her goal of respectability after
she is
presented to King George IV at court. This presentation vouches for her social
status
and, of course, her character, so that some of "the best" foreigners and
"the best
English people too" visited her. The emptiness of her achievement soon
manifests
itself; "Her success excited, exalted, and then bored her" (page 597).
It shows that
f
ashionable society is snobbish and hypocritical in addition to being uninterest
ing.
5.8
Gossip and rumor
Gossip is central to Vanity Fair and to its theme of unreality. The narrator
relies on gossips like Tom Eaves for information and reports constantly
what
“
the world
”
said of so and so. Moreover, his own style with its intimate tone,
hints, unfinished sentences, and trailing speculations mimics the manner of
gossip. (Robin Filmour, 1982: 33)
“
All these works to underline the elusive and insubstantial language of tumor
becomes a moving force and therefore a reality
”
(Robin Filmour, 1982
: 33). In this
way Becky and Rawdon can
“
live well on nothing a year
”
for several years solely on
the basis of reputation and rumor. Mrs. Bute Crawley exhibits a similar reliance on
the
power of suggestion when she dressed her daughters so well for the mar
riage market
that
“
it began almost to be belicved that the four sisters had had fortunes left them by
their aunt
”
. (ch. 39) The narrator calls this behavior
“
lying
”
, and in Vanity Fair lies
dominate. Its very language becomes deceptive, for this world has
“
no particular
objection to vice, but an insuperable
repugnance
to hearing vice called by its proper
name
”
(ch.64).
Reality is hidden or ignored as the creation of false appearance becomes the
norm and the central
“
fact
”
of existence. So Becky
’
s
“
happier d
ays
”
are not days of
23
innocence but days
“
when she was not innocent, but not found out
”
(ch. 64).
VI
Achievements through satire in Vanity Fair
Vanity Fair boasts an important status in the history of English literature.
Many
details of the truth
and the sche
me of satire
portray a specific aspect of the society and
an era of fragmentation. “At that time only the French Stendhal and Balzac used
this
kind of
writing, he is still a g
rassroots writer in the history of the British novel
”
(McGraw
－
Hill, 1955: 162). To describe the truth, Vanity Fair breaks the
conventional writing of fiction. This novel can be said to open a new position in
the
history of the deve
lopment of British realism novels.
Thackeray is good at narrating interesting
and lively stories
by satire
full of
humor and tactful dialogues. He wrote lighthearted and not strenuous, even in the
not
very brilliant part of the novel, readers can also go very fluent reading,
feeling it
attractive.
Vanity Fair is a portrait of a
vari
ety
of vanities and corruption, indicating a
chaotic upper and middle class of the 19
th
century. It is also a miniature of
numerous declining societies, full of rumor, deception, hypocrisy as well as
human
’
s struggle in the society. Satire is an efficient
scheme to represent the
characteristics of the communities and
human
minds, which is euphemistic as
well as
forceful
.
(
与摘要雷同！！！
)
This novel is masterpiece of satire, whose schemes and artistic effects are worth
further study.
进一步修改意见
小王：
你写论文下了一定的功夫。
但是问题还有不少，必须好好进一步修改。
1
．
目录做了修改，务必按照目录修改。
2
．
第一章必须为前言，
前言起码包括你写的论题的有关文献综述，论文要点以及
结构。
3
．
夹注不规范，夹注中只写明作者姓氏，出版年代：页码。不必说明文章或书
的
标题。
4
．
在论文中的关键词后面打括号，说明其汉语对应词。
5
．
文章中的所有大小标题应与目录保持一致。
6
．
论文还有明显的语法错误，须仔细改正
，特别注意时态的运用
。
7
．
书名总是采用斜体。如
Vanity Fair
总是用斜体！！！
8
．
引文，不论是直接的引文还是间接的引文，
最后的句点总是在夹注之后。
24
9
．
参考文献不规
范，必须使之规范化。
10
．
结尾应归纳论文要点和你自己的观点，文章的意义和局限性，并指
出今后进一步研究的方面。
11
．
论文摘要、前言和结尾都应指出要点，但必须采用不同的表达方式。
12
．
努力细心修改，然后再把论文传给我看看。
13
．
多读几遍，一边修改，一边熟悉论文，做好答辩的准备。
谭老师
25
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