Vanity Fair | novel by Thackeray | Britannica.com novel by Thackeray Moby Dick Vanity Fair, novel of early 19th-century English society by William Makepeace Thackeray , published serially in monthly installments from 1847 to 1848 and in book form in 1848. Thackeray’s previous writings had been published either unsigned or under pseudonyms; Vanity Fair was the first work he published under his own name. The novel takes its title from the place designated as the centre of human corruption in John Bunyan ’s 17th-century allegory Pilgrim’s Progress . The book is a densely populated multilayered panorama of manners and human frailties; subtitled A Novel Without a Hero, Vanity Fair metaphorically represents the human condition. Becky Sharp receives a proposal of marriage from Sir Pitt Crawley, illustration by William … Hulton Archive/Getty Images The novel deals mainly with the interwoven fortunes of two women, the wellborn, passive Amelia Sedley and the ambitious, essentially amoral Becky Sharp , the latter perhaps the most memorable character Thackeray created.

The adventuress Becky is the novel’s central character and the person around whom all the actors revolve. Amelia marries George Osborne , but George, just before he is killed at the Battle of Waterloo , is ready to desert his young wife for Becky, who has fought her way up through society to marriage with Rawdon Crawley, a young officer from an aristocratic family. Crawley, disillusioned, finally leaves Becky, and in the end virtue apparently triumphs when Amelia marries her lifelong admirer, Captain William Dobbin, and Becky settles down to genteel living and charitable works. The rich movement and colour of this panorama of early 19th-century society make Vanity Fair Thackeray’s greatest achievement; the narrative skill, subtle characterization, and descriptive power make it one of the outstanding novels of its period. The novel inspired a number of film and television adaptations , including a Hindi version, Bahurupi Bazar (1932). Indian film director Mira Nair directed another version in 2004.

Learn More in these related articles: Learn and talk about Vanity Fair (novel), 1848 novels, 19th-century British novels, British novels adapted into films, British satirical novels Media type Print Vanity Fair is an English novel by William Makepeace Thackeray which follows the lives of Becky Sharp and Emmy Sedley amid their friends and families during and after the Napoleonic Wars . It was first published as a 19-volume monthly serial from 1847 to 1848, carrying the subtitle Pen and Pencil Sketches of English Life, reflecting both its satirisation of early 19th-century British society and the many illustrations drawn by Thackeray to accompany the text. It was published as a single volume in 1848 with the subtitle A Novel without a Hero, reflecting Thackeray's interest in deconstructing his era's conventions regarding literary heroism . [1] It is sometimes considered the "principal founder" of the Victorian domestic novel. [2] The story is framed as a puppet play and the narrator, despite being an authorial voice , is notoriously unreliable .

Late in the narrative, it is revealed that the entire account has been 2nd- or 3rd-hand gossip the writer picked up "years ago" from Lord Tapeworm, British charge d'affaires in one of the minor German states and relative of several of the other aristocrats in the story but none of the main characters: "the famous little Becky puppet", "the Amelia Doll", "the Dobbin Figure", "the Little Boys", and "the Wicked Nobleman, on which no expense has been spared". [3] Despite her many stated faults and still worse ones admitted to have been passed over in silence, Becky emerges as the "hero"—what is now called an antihero —in place of Amelia because Thackeray is able to illustrate that "the highest virtue a fictional character can possess is interest." [1] The serial was a popular and critical success; the novel is now considered a classic and has inspired several film adaptations . In 2003, Vanity Fair was listed at #122 on the BBC's The Big Read poll of the UK's best-loved books.

[4] Contents Title[ edit ] A reprint of John Bunyan 's Plan of the Road from the City of Destruction to the Celestial City, including Vanity Fair as the major city along the path. The book's title comes from John Bunyan 's Pilgrim's Progress , [a] a Dissenter allegory first published in 1678. In that work, "Vanity Fair" refers to a stop along the pilgrim's route: a never-ending fair held in a town called Vanity, which is meant to represent man's sinful attachment to worldly things. [6] [7] Thackeray does not mention Bunyan in the novel or in his surviving letters about it, [8] where he describes himself dealing with "living without God in the world", [9] but he did expect the reference to be understood by his audience, as shown in an 1851 Times article likely written by Thackeray himself.

[10] In a letter to the critic Robert Bell —whose friendship later became so great that he was buried near Thackeray at Kensal Green Cemetery [11] —Thackeray rebutted his complaint that the novel could have used with "more light and air" to make it "more agreeable and healthy" with Evangelist's words as the pilgrims entered Bunyan's Vanity Fair: "The heart is deceitful above all things, and desperately wicked; who can know it?" [12] [13] From its appearance in Bunyan, "Vanity Fair" or a "vanity-fair" was also in general use for "the world" in a range of connotations from the blandly descriptive to the wearily dismissive to the condemning. By the 18th century, it was generally taken as a playground and, in the first half of the 19th century, more specifically the playground of the idle and undeserving rich. All of these senses appear in Thackeray's work.

[14] Summary[ edit ] The story is framed by its preface [15] and coda [16] as a puppet show taking place at a fair; the cover illustration of the serial installments was not of the characters but of a troupe of comic actors [9] at Speakers' Corner in Hyde Park . [17] The narrator, variously a show manager [15] or writer, [18] appears at times within the work itself and is highly unreliable, [19] [b] repeating a tale of gossip at second or third hand. [21] Rebecca Sharp ("Becky") is a strong-willed, cunning, moneyless, young woman determined to make her way in society. After leaving school, Becky stays with Amelia Sedley ("Emmy"), who is a good-natured, simple-minded young girl, of a wealthy London family. There, Becky meets the dashing and self-obsessed Captain George Osborne (Amelia's betrothed) and Amelia's brother Joseph ("Jos") Sedley, a clumsy and vainglorious but rich civil servant home from the East India Company .

Hoping to marry Sedley, the richest young man she has met, Becky entices him, but she fails. George Osborne's friend Captain William Dobbin loves Amelia, but only wishes her happiness, which is centred on George. Becky Sharp says farewell to the Sedley family and enters the service of the crude and profligate baronet Sir Pitt Crawley, who has engaged her as a governess to his daughters. Her behaviour at Sir Pitt's house gains his favour, and after the premature death of his second wife, he proposes marriage to her. However he finds that she has secretly married his second son, Captain Rawdon Crawley. (Becky very much regrets having done that; however, when she married Rawdon she had no idea that his father's wife would die so soon after). Sir Pitt's elder half sister, the spinster Miss Crawley, is very rich, having inherited her mother's fortune, and the whole Crawley family compete for her favour so she will bequeath them her wealth. Initially her favourite is Rawdon Crawley. But his marriage with Becky enrages her.

First she favours the family of Sir Pitt's brother, but when she dies, she has left her money to Sir Pitt's oldest son, also called Pitt. Chapter 32 ends with Waterloo : "No more firing was heard at Brussels—the pursuit rolled miles away. The darkness came down on the field and city, and Amelia was praying for George, who was lying on his face, dead, with a bullet through his heart. [22] Amelia's father, John Sedley, becomes bankrupt. George's rich father forbids George to marry Amelia, who is now poor. Dobbin persuades George to marry Amelia, and George is consequently disinherited. News arrives that Napoleon has escaped from Elba, so George Osborne, William Dobbin and Rawdon Crawley are deployed to Brussels, accompanied by Amelia and Becky, and Amelia's brother, Jos. George is embarrassed by the vulgarity of Mrs. Major O'Dowd, the wife of the head of the regiment. Already, the newly wedded Osborne is growing tired of Amelia, and he becomes increasingly attracted to Becky, which makes Amelia jealous and unhappy. He is also losing money to Rawdon at cards and billiards.

At a ball in Brussels, George gives Becky a note inviting her to run away with him. But then the army have marching orders to the Battle of Waterloo , and George spends a tender night with Amelia and leaves. The noise of battle horrifies Amelia, and she is comforted by the brisk but kind Mrs. O'Dowd. Becky is indifferent and makes plans for whatever the outcome (if Napoleon wins, she would aim to become the mistress of one of his Marshals...). She also makes a profit selling her carriage and horses at inflated prices to Jos, seeking to flee Brussels. George Osborne is killed at Quatre Bras , while Dobbin and Rawdon survive Waterloo . Amelia bears a posthumous son, who carries on the name George. She returns to live in genteel poverty with her parents, spending her life in memory of her husband and care of her son. Dobbin pays for a small annuity for Amelia and expresses his love for her by small kindnesses toward her and her son. She is too much in love with her husband's memory to return Dobbin's love. Saddened, he goes with his regiment to India for many years. Becky also has a son, named Rawdon after his father.

Becky is a cold, distant mother, although Rawdon loves his son. Becky continues her ascent first in post-war Paris and then in London where she is patronised by the rich and powerful Marquis of Steyne. She is eventually presented at court to the Prince Regent and charms him further at a game of " acting charades " where she plays the roles of Clytemnestra and Philomela . The elderly Sir Pitt Crawley dies and is succeeded by his son Pitt, who had married Lady Jane Sheepshanks, Lord Southdown's third daughter. Becky is on good terms with Pitt and Jane originally, but Jane is disgusted by Becky's attitude to her son and jealous of Becky's relationship with Pitt. At the summit of their social success, Rawdon is arrested for debt, possibly at Becky's connivance. [23] The financial success of the Crawleys had been a topic of gossip; in fact they were living on credit even when it ruined those who trusted them, such as their landlord, an old servant of the Crawley family. The Marquis of Steyne had given Becky money, jewels, and other gifts but Becky does not use them for expenses or to free her husband.

Instead, Rawdon's letter to his brother is received by Lady Jane, who pays the £170 that prompted his imprisonment. He returns home to find Becky singing to Steyne and strikes him down on the assumption—despite her protestations of innocence—that they are having an affair. Steyne is indignant, having assumed the £1000 he had just given Becky was part of an arrangement with her husband. Rawdon finds Becky's hidden bank records and leaves her, expecting Steyne to challenge him to a duel. Instead Steyne arranges for Rawdon to be made Governor of Coventry Island, a pest-ridden location. Becky, having lost both husband and credibility, leaves England and wanders the continent, leaving her son in the care of Pitt and Lady Jane. Two girls close up their box of dolls at the end of the story. As Amelia's adored son George grows up, his grandfather Mr Osborne relents towards him (though not towards Amelia) and takes him from his impoverished mother, who knows the rich old man will give him a better start in life than she could manage. After twelve years abroad, both Joseph Sedley and Dobbin return. Dobbin professes his unchanged love to Amelia.

Amelia is affectionate, but she cannot forget the memory of her dead husband. Dobbin mediates a reconciliation between Amelia and her father-in-law, who dies soon after. He had amended his will, bequeathing young George half his large fortune and Amelia a generous annuity. After the death of Mr Osborne, Amelia, Jos, George and Dobbin go to Pumpernickel ( Weimar in Germany ), [23] where they encounter the destitute Becky. Becky has fallen in life. She lives among card sharps and con artists, drinking heavily and gambling. Becky enchants Jos Sedley all over again, and Amelia is persuaded to let Becky join them. Dobbin forbids this, and reminds Amelia of her jealousy of Becky with her husband. Amelia feels that this dishonours the memory of her dead and revered husband, and this leads to a complete breach between her and Dobbin. Dobbin leaves the group and rejoins his regiment, while Becky remains with the group. However, Becky has decided that Amelia should marry Dobbin, even though she knows Dobbin is her enemy.

Becky shows Amelia George's note, kept all this time from the eve of the Battle of Waterloo, and Amelia finally realises that George was not the perfect man she always thought, and that she has rejected a better man, Dobbin. Amelia and Dobbin are reconciled and return to England. Becky and Jos stay in Europe. Jos dies, possibly suspiciously, after signing a portion of his money to Becky as life insurance, setting her up with an income. She returns to England, and manages a respectable life, although all her previous friends refuse to acknowledge her. Characters[ edit ] Becky and Emmy as girls, from one of Thackeray's illustrations at the beginning of the book. [24] Virtue rewarded; A booth in Vanity Fair. Emmy and her family encounter Becky by chance at a charity event on the last page of the novel. [25] George Osborne Mr. Joseph Entangled by Becky [26] Emmy Sedley (Amelia)[ edit ] Amelia, called Emmy, is good-natured but passive and naïve. Not very beautiful, she is frequently ignored by men and women but is well-liked by most men who get to know her because of her personality.

This popularity is then resented by other women. She begins the work as its heroine ("selected for the very reason that she was the best-natured of all") [27] and marries the dashing George Osborne against his father's wishes, but the narrator is soon forced to admit "she wasn't a heroine" after all [28] as she remains soppily devoted to him despite his neglect of her and his flirtation with Becky. After George dies in the Battle of Waterloo , she brings up little George alone while living with her parents. She is completely dominated by her spendthrift father, who, it is revealed, sells the annuity Jos had provided in order to finance one of failing investment schemes and by her increasingly peevish mother. Amelia becomes obsessed with her son and the memory of her husband. She ignores William Dobbin, who courts her for years and treats him shabbily until he leaves. Only when Becky shows her George's letter to her is Amelia able to move on, though she informs Becky that she has already written to Dobbin to ask him to come back. She eventually marries Dobbin.

In a letter to his close friend Jane Octavia Brookfield while the book was being written, Thackeray confided that "You know you are only a piece of Amelia, my mother is another half, my poor little wife y est pour beaucoup". [29] [c] [30] Within the work, her character is compared and connected to Iphigenia , [31] although two of the references extend the allusion to all daughters in all drawing rooms as potential Iphigenias waiting to be sacrificed by their families. [32] Her sacrifice of her child to her wealthy relatives is compared to the biblical Hannah . Becky Sharp (Rebecca)[ edit ] Main article: Becky Sharp (character) Rebecca Sharp , called Becky, is Amelia's opposite, an intelligent young woman with a gift for satire. She is described as a short sandy haired girl who has green eyes and a great deal of wit. Fluent in both French and English, Becky has a beautiful singing voice, plays the piano, and shows great talent as an actress. Without a mother to guide her into marriage, Becky resolves that "I must be my own Mamma".

[33] She thereafter appears to be completely amoral and without conscience and has been called the work's " anti-heroine ". [34] She does not seem to have the ability to get attached to other people, and lies easily and intelligently to get her way. She is extremely manipulative and, after the first few chapters and her failure to attract Jos Sedley, is not shown as being particularly sincere. Never having known financial or social security even as a child, Becky desires it above all things. Nearly everything she does is with the intention of securing a stable position for herself, or herself and her husband after she and Rawdon are married. She advances Rawdon's interests tirelessly, flirting with men such as General Tufto and the Marquis of Steyne in order to get him promoted. She also uses her feminine wiles to distract men at card parties while Rawdon cheats them blind. Marrying Rawdon Crawley in secret was a mistake, as was running off instead of begging Miss Crawley's forgiveness. She also fails to manipulate Miss Crawley through Rawdon so as to obtain an inheritance. Although Becky manipulates men very easily, she does not even try to cultivate the friendship of most women.

She is utterly hostile to Lady Bareacres [35] and Lady Jane, the Dobbin sisters, and Lady Steyne see right through her. Amelia and (initially) Miss Crawley are exceptions to the rule. Beginning with her determination to be her "own Mamma", Becky begins to assume the role of Clytemnestra . [36] Becky and her necklace from Steyne also allude to the fallen Eriphyle in Racine 's retelling of Iphigenia at Aulis , where she doubles and rescues Iphigenia. [37] In lesser contexts, Becky also appears as Arachne to Miss Pinkerton's Minerva [38] and as a variety of classical figures in the works' illustrations. Rawdon Crawley[ edit ] Rawdon, the younger of the two Crawley sons, is an empty-headed cavalry officer who is his wealthy aunt's favourite until he marries Becky Sharp, who is of a far lower class. He permanently alienates his aunt, who leaves her estate to Rawdon's elder brother Sir Pitt instead. Sir Pitt has by this time inherited their father's estate, leaving Rawdon destitute.

The well-meaning Rawdon does have a few talents in life, most of them having to do with gambling and duelling. He is very good at cards and billiards, and although he does not always win he is able to earn cash by betting against less talented gamblers. He is heavily indebted throughout most of the book, not so much for his own expenses as for Becky's. Not particularly talented as a military officer, he is content to let Becky manage his career. Although Rawdon knows Becky is attractive to men, he believes her reputation is spotless even though she is widely suspected of romantic intrigue with General Tufto and other powerful men. Nobody dares to suggest otherwise to Rawdon because of his temper and his reputation for duelling. Yet other people, particularly the Marquis of Steyne, find it impossible to believe that Crawley is unaware of Becky's tricks. Steyne in particular believes Rawdon is fully aware Becky is prostituting herself, and believes Rawdon is going along with the charade in the hope of financial gain. After Rawdon finds out the truth and leaves Becky for an assignment overseas, he leaves his son to be brought up by his brother Sir Pitt and his wife Lady Jane.

While overseas, Rawdon dies of Malaria. Sir Pitt Crawley, Baronet[ edit ] Rawdon Crawley's elder brother is ignorant, boorish, and mean. [14] He inherits the Crawley estate from his elderly father, and he also inherits from his wealthy aunt, Miss Crawley. Sir Pitt is very religious and has political aspirations, although not many people appreciate his intelligence or wisdom because there's not much there to appreciate. Somewhat pedantic and conservative, Sir Pitt does nothing to help Rawdon or Becky even when they fall on hard times. This is chiefly due to the influence of his wife Lady Jane who dislikes Becky because of her callous treatment of her son, and also because Becky repaid Lady Jane's earlier kindness by patronizing her and flirting with Sir Pitt. Miss Matilda Crawley[ edit ] The elderly Miss Crawley is everyone's favourite wealthy aunt. Sir Pitt and Rawdon both dote on her, although Rawdon is her favourite nephew and sole heir until he marries Becky. While Miss Crawley likes Becky and keeps her around to entertain her with sarcasm and wit, and while she loves scandal and particularly stories of unwise marriage, she does not want scandal or unwise marriage in her family.

A substantial part of the early section of the book deals with the efforts the Crawleys make to kowtow to Miss Crawley in the hope of receiving a big inheritance. Her portrayal is informed by Thackeray's time in Paris with his maternal grandmother Harriet Becher. [39] George Osborne[ edit ] George Osborne, his father, and his two sisters are close to the Sedley family until Mr. Sedley (the father of Jos and Amelia) goes bankrupt following some ill-advised speculation. Since George and Amelia were raised in close company and were childhood sweethearts, George defies his father in order to marry Amelia. Before father and son can be reconciled, George is killed at the battle of Waterloo, leaving the pregnant Amelia to carry on as well as she can. Raised to be a selfish, vain, profligate spender, handsome and self-obsessed, George squanders the last of the money he receives from his father and sets nothing aside to help support Amelia. After marrying Amelia, he finds after a couple of weeks that he is bored. He flirts with Becky quite seriously and is reconciled to Amelia only a short time before he is killed in battle.

William Dobbin[ edit ] The best friend of George Osborne, William Dobbin is tall, ungainly, and not particularly handsome. He is a few years older than George but has been friends with him since his school days even though Dobbin's father is a fig-merchant and the Osbornes belong to the genteel class and have become independently wealthy. He defends George and is blind to his faults in many ways although he tries to force George to do the right thing. He pushes George to keep his promise to marry Amelia even though Dobbin is in love with Amelia himself. After George is killed, Dobbin puts together an annuity to help support Amelia, ostensibly with the help of George's fellow officers. Later, Dobbin discreetly does what he can to help support Amelia and also her son George. He allows Amelia to continue with her obsession over George and does not correct her erroneous beliefs about him. He hangs about for years, either pining away over her while serving in India or waiting on her in person, allowing her to take advantage of his good nature. After Amelia finally chooses Becky's friendship over his during their stay in Germany, Dobbin leaves in disgust.

He returns when Amelia writes to him and admits her feelings for him, marries her (despite having lost much of his passion for her), and has a daughter whom he loves deeply. Joseph Sedley[ edit ] Amelia's older brother, Joseph "Jos" Sedley, is a " nabob ", who made a respectable fortune as a collector in India. Obese and self-important but very shy and insecure, he is attracted to Becky Sharp but circumstances prevent him from proposing. He never marries, but when he meets Becky again he is easily manipulated into falling in love with her. Jos is not a courageous or intelligent man, displaying his cowardice at the Battle of Waterloo by trying to flee and purchasing both of Becky's overpriced horses. Becky ensnares him again near the end of the book and, it is hinted, murders him for his life insurance. Publication history[ edit ] The 1847 prospectus for the Vanity Fair: Pen and Pencil Sketches of English Society serial, advertising it under William Makepeace Thackeray 's pen name Michael Angelo Titmarsh and under his own name. The title page of the 1848 first edition of Vanity Fair: A Novel without a Hero.

Becky's second appearance in the character of Clytemnestra , an illustration and caption by Thackeray that makes it clear he considered her to have killed Jos for his insurance money. [40] Thackeray may have begun working out some of the details of Vanity Fair as early as 1841 but probably began writing it in late 1844. [43] Like many novels of the time, Vanity Fair was published as a serial before being sold in book form. It was printed in 20 monthly parts between January 1847 and July 1848 for Punch by Bradford & Evans in London . The first three had already been completed before publication, while the others were written after it had begun to sell. [44] As was standard practice, the last part was a "double number" containing parts 19 and 20. Surviving texts, his notes, and letters show that adjustments were made—e.g., the Battle of Waterloo was delayed twice—but that the broad outline of the story and its principal themes were well established from the beginning of publication. [45] No. 1 (January 1847) Ch. 1–4 No.

2 (February 1847) Ch. 5–7 No. 3 (March 1847) Ch. 8–11 No. 4 (April 1847) Ch. 12–14 No. 5 (May 1847) Ch. 15–18 No. 6 (June 1847) Ch. 19–22 No. 7 (July 1847) Ch. 23–25 No. 8 (August 1847) Ch. 26–29 No. 9 (September 1847) Ch. 30–32 No. 10 (October 1847) Ch. 33–35 No. 11 (November 1847) Ch. 36–38 No. 12 (December 1847) Ch. 39–42 No. 13 (January 1848) Ch. 43–46 No. 14 (February 1848) Ch. 47–50 No. 15 (March 1848) Ch. 51–53 No.

16 (April 1848) Ch. 54–56 No. 17 (May 1848) Ch. 57–60 No. 18 (June 1848) Ch. 61–63 No. 19/20 (July 1848) Ch. 64–67 The parts resembled pamphlets and contained the text of several chapters between outer pages of steel-plate engravings and advertising. Woodcut engravings, which could be set along with normal moveable type, appeared within the text. The same engraved illustration appeared on the canary-yellow cover of each monthly part; this colour became Thackeray's signature, as a light blue-green was Dickens's, allowing passers-by to notice a new Thackeray number in a bookstall from a distance. Vanity Fair was the first work that Thackeray published under his own name and was extremely well received at the time. After the conclusion of its serial publication, it was printed as a bound volume by Bradford & Evans in 1848 and was quickly picked up by other London printers as well.

As a collected work, the novels bore the subtitle A Novel without a Hero. [d] By the end of 1859, royalties on Vanity Fair had only given Thackeray about £ 2000, a third of his take from The Virginians , but was responsible for his still more lucrative lecture tours in Britain and the United States. [47] [e] From his first draft and following publication, Thackeray occasionally revised his allusions to make them more accessible for his readers. In Chapter 5, an original "Prince Whadyecallem" [48] became "Prince Ahmed" by the 1853 edition. [49] In Chapter 13, a passage about the filicidal Biblical figure Jephthah was removed, although references to Iphigenia remained important. [49] In Chapter 56, Thackeray originally confused Samuel —the boy whose mother Hannah had given him up when called to by God —with Eli , [50] the old priest to whose care he was entrusted; this mistake was not corrected until the 1889 edition, [51] after Thackeray's death.

The serials had been subtitled Pen and Pencil Sketches of English Society and both they and the early bound versions featured Thackeray's own illustrations. These sometimes provided symbolically-freighted images, such as one of the female characters being portrayed as a man-eating mermaid . In at least one case, a major plot point is provided through an image and its caption. Although the text makes it clear that other characters suspect Becky Sharp to have murdered her second husband, there is nothing definitive in the text itself. However, an image reveals her overhearing Jos pleading with Dobbin while clutching a small white object in her hand. The caption that this is Becky's second appearance in the character of Clytemnestra clarifies that she did indeed murder him for the insurance money, [19] likely through laudanum or another poison. [52] [40] "The final three illustrations of Vanity Fair are tableaux that insinuate visually what the narrator is unwilling to articulate: that Becky...

has actually been substantially rewarded—by society—for her crimes." [53] One of the Thackeray's plates for the 11th issue of Vanity Fair was suppressed from publication by threat of prosecution for libel , so great was the resemblance of its depiction of Lord Steyne to Marquis of Hertford . [54] Despite their relevance, most modern editions either do not reproduce all the illustrations or do so with poor detail. This list is incomplete ; you can help by expanding it . Vanity Fair: A Novel without a Hero, London: Bradbury & Evans, 1848 Vanity Fair: A Novel without a Hero, Vols. I, II, & III, Leipzig: Tauchnitz, 1848 , reprinted 1925. Vanity Fair: A Novel without a Hero, Vols. I, II, & III, New York: Harper & Bros., 1865 . Contemporary reception[ edit ] The style is highly indebted to Henry Fielding . [23] Thackeray meant the book to be not only entertaining but also instructive, an intention demonstrated through the book's narration and through Thackeray's private correspondence.

A letter to his editor at Punch expressed his belief that "our profession... is as serious as the parson 's own". [44] He considered it his own coming-of-age as a writer [f] and greatest work. [29] Critics hailed the work as a literary treasure before the last part of the serial was published. In her correspondence, Charlotte Brontë was effusive regarding his illustrations as well: "You will not easily find a second Thackeray. How he can render, with a few black lines and dots, shades of expression, so fine, so real; traits of character so minute, so subtle, so difficult to seize and fix, I cannot tell—I can only wonder and admire... If Truth were again a goddess, Thackeray should be her high priest." [57] The early reviewers took the debt to Bunyan as self-evident and compared Becky with Pilgrim and Thackeray with Faithful. [44] Although they were superlative in their praise, [58] some expressed disappointment at the unremittingly dark portrayal of human nature, fearing Thackeray had taken his dismal metaphor too far.

In response to these critics, Thackeray explained that he saw people for the most part as "abominably foolish and selfish". [59] The unhappy ending was intended to inspire readers to look inward at their own shortcomings. Other critics took notice of or exception to the social subversion in the work; in his correspondence, Thackeray stated his criticism was not reserved to the upper class: ""My object is to make every body engaged, engaged in the pursuit of Vanity Fair and I must carry my story through in this dreary minor key, with only occasional hints here and there of better things—of better things which it does not become me to preach". [60] Analysis[ edit ] This section possibly contains original research . Please improve it by verifying the claims made and adding inline citations . Statements consisting only of original research should be removed. (August 2015) ( Learn how and when to remove this template message ) The novel is considered a classic of English literature, though some critics claim that it has structural problems; Thackeray sometimes lost track of the huge scope of his work, mixing up characters' names and minor plot details. The number of allusions and references it contains can make it difficult for modern readers to follow.

The subtitle, A Novel without a Hero, is apt because the characters are all flawed to a greater or lesser degree; even the most sympathetic have weaknesses, for example Captain Dobbin, who is prone to vanity and melancholy . The human weaknesses Thackeray illustrates are mostly to do with greed , idleness , and snobbery , and the scheming, deceit and hypocrisy which mask them. None of the characters are wholly evil, although Becky's manipulative, amoral tendencies make her come pretty close. However, even Becky, who is amoral and cunning, is thrown on her own resources by poverty and its stigma. (She is the orphaned daughter of a poor artist and an opera dancer.) Thackeray's tendency to highlight faults in all of his characters displays his desire for a greater level of realism in his fiction compared to the rather unlikely or idealised people in many contemporary novels. The novel is a satire of society as a whole, characterised by hypocrisy and opportunism , but it is not a reforming novel; there is no suggestion that social or political changes or greater piety and moral reformism could improve the nature of society. It thus paints a fairly bleak view of the human condition.

This bleak portrait is continued with Thackeray's own role as an omniscient narrator , one of the writers best known for using the technique. He continually offers asides about his characters and compares them to actors and puppets, but his cheek goes even as far as his readers, accusing all who may be interested in such "Vanity Fairs" as being either "of a lazy, or a benevolent, or a sarcastic mood". [61] As Lord David Cecil remarked, "Thackeray liked people, and for the most part he thought them well-intentioned. But he also saw very clearly that they were all in some degree weak and vain, self-absorbed and self-deceived." [62] Amelia begins as a warm-hearted and friendly girl, though sentimental and naive, but by the story's end she is portrayed as vacuous and shallow. Dobbin appears first as loyal and magnanimous, if unaware of his own worth; by the end of the story he is presented as a tragic fool, a prisoner of his own sense of duty who knows he is wasting his gifts on Amelia but is unable to live without her.

The novel's increasingly grim outlook can take readers aback, as characters whom the reader at first holds in sympathy are shown to be unworthy of such regard. The work is often compared to the other great historical novel of the Napoleonic Wars , Tolstoy 's War and Peace . [g] While Tolstoy's work has a greater emphasis on the historical detail and the effect the war has upon his protagonists, Thackeray instead uses the conflict as a backdrop to the lives of his characters. The momentous events on the continent do not always have an equally important influence on the behaviors of Thackeray's characters. Rather their faults tend to compound over time. This is in contrast to the redemptive power conflict has on the characters in War and Peace. For Thackeray, the Napoleonic wars as a whole can be thought of as one more of the vanities expressed in the title. A common critical topic is to address various objects in the book and the characters' relationships with them, such as Rebecca's diamonds or the piano Amelia values when she thinks it came from George and dismisses upon learning that Dobbin provided it.

Marxist and similar schools of criticism that go further and see Thackeray condemning consumerism and capitalism , however, largely overstate their case. [65] Thackeray is pointed in his criticism of the commodification of women in the marriage market, but his variations on Ecclesiastes 's " all is vanity " [66] are more personal than institutional. He also has broad sympathy with a measure of comfort and financial and physical "snugness". At one point, the narrator even makes a "robust defense of his lunch": [60] "It is all vanity to be sure: but who will not own to liking a little of it? I should like to know what well-constituted mind, merely because it is transitory, dislikes roast-beef?" [67] Despite the clear implications of Thackeray's illustration on the topic, John Sutherland has argued against Becky having murdered Jos on the basis of Thackeray's criticism of the " Newgate novels " of Edward Bulwer-Lytton and other authors of Victorian crime fiction.

[h] Although what Thackeray principally objected to was glorification of a criminal's deeds, his intent may have been to entrap the Victorian reader with their own prejudices and make them think the worst of Becky Sharp even when they have no proof of her actions. [68] Notes[ edit ] The "Becky doll" constructs her house of cards ^ "It beareth the name of Vanity Fair, because the town where it is kept is 'lighter than vanity." [5] ^ The narrator does claim to have first seen Dobbin, Amelia, and Jos at Pumpernickel on their European tour and that he is "the present writer of a history of which every word is true", [20] but, given his swift admission that most of his story has been gossip, this is either intended as a self-serving lie or a cheeky reference to a different work from the one before the reader. ^ French: "...is the rest." ^ In addition to its other intentions, the name was a jab at Thomas Carlyle 's "Lectures on Hero and Hero-Worship".

[46] ^ In the letter where he recorded these sums, Thackeray noted "Three more years please the Fates and the girls will have eight or ten thousand a-piece that I want for them: we must n't say a word against filthy lucre for I see the use and comfort of it every day more and more. What a blessing not to mind about bills." [47] ^ To a German visitor who told him he had learned to read English from Vanity Fair, Thackeray replied "And that's where I learned to write it". [56] ^ Examples include Carey's Prodigal Genius [63] and McAloon's defense of the work in The Telegraph . [64] ^ The trio of lawyers Becky gets to defend herself from the claims—Burke, Thurtell, and Hayes—are named after prominent murderers of the time, although this may have been a tease or commentary on the legal profession itself. Original courtesy of Wikipedia: — Please support Wikipedia. This page uses Creative Commons Licensed content from Wikipedia . A portion of the proceeds from advertising on Digplanet goes to supporting Wikipedia. We're sorry, but there's no news about "Vanity Fair (novel)" right now.

Limit to books that you can completely read online Include partial books (book previews) Oops, we seem to be having trouble contacting Twitter Support Wikipedia A portion of the proceeds from advertising on Digplanet goes to supporting Wikipedia. Please add your support for Wikipedia! Searchlight Group Digplanet also receives support from Searchlight Group. Visit Searchlight Copyright © 2009-2017 Digparty. All rights reserved. William Dobbin/Amelia Sedley - Works | Archive of Our Own William Dobbin/Amelia Sedley Amelia and Dobbin find a little peace. Language: Summary Fanvid: Kesha's "Die Young" meets Vanity Fair (1998 miniseries). It's all about George: hanging out with Dobbin, marrying Amelia, flirting with Becky at the Duchess of Richmond's ball, just being an arrogant prat (but pretty!) and causing trouble (even after dying at Waterloo). R.I.P. George, you self-absorbed dork (but yeah, pretty). Language: Amelia Sedley (Character) Amelia Sedley (Character) from Vanity Fair (2004) The content of this page was created by users. It has not been screened or verified by IMDb staff.

There may be more photos available for this character. To select more photos to be displayed in this character's gallery, click the Edit Photos link. Overview From Vanity Fair (2004) Amelia Sedley : [to Becky] If you have stolen my last night with him I will never forgive you! See more » Update You may correct errors and omissions on this page directly. Clicking the 'Update' button will take you through a step-by-step process. IMDb Everywhere Find showtimes, watch trailers, browse photos, track your Watchlist and rate your favorite movies and TV shows on your phone or tablet! George Osborne/Amelia Sedley - Works | Archive of Our Own George Osborne/Amelia Sedley Summary Fanvid: Kesha's "Die Young" meets Vanity Fair (1998 miniseries). It's all about George: hanging out with Dobbin, marrying Amelia, flirting with Becky at the Duchess of Richmond's ball, just being an arrogant prat (but pretty!) and causing trouble (even after dying at Waterloo). R.I.P. George, you self-absorbed dork (but yeah, pretty).

Language: Vanity Fair | William Makepeace Thackeray | Lit2Go ETC Thackeray, W. (1917). Vanity Fair. (Lit2Go ed.). Retrieved January 16, 2017, from Thackeray, William Makepeace. Vanity Fair. Lit2Go Edition. 1917. Web. < January 16, 2017. William Makepeace Thackeray, Vanity Fair, Li2Go edition, (1917), accessed January 16, 2017, This collection of children's literature is a part of the Educational Technology Clearinghouse and is funded by various grants . "Vanity Fair" Reviews & Ratings - IMDb IMDb trailers and videos full cast and crew trivia official sites memorable quotes Overview 57 out of 57 people found the following review useful: Thackeray would have been proud from Cambridge, UK 20 December 2000 Rarely has a classic work of literature been adapted for television so well. This is a marvellous retelling of William Thackeray's 19th century novel, successful in almost every possible way.

Purists may quibble that any attempt to adapt this sprawling bane of literature students' lives will always be doomed to failure simply because of the sheer size of it. But what makes this so good, particularly for those familiar with the novel, are two things: its total commitment to the spirit of 'Vanity Fair', and joyously perfect casting and acting. As readers of VF will know, the narrator plays a very important part in the book. His sly comments on the 'puppets' (as he often refers to the characters) that perform in his 'play' are frequently funny, exciting and always engaging. If VF is indeed 'a novel without a hero', it is no less engrossing for it. For the story is literally a Fair: characters come and go as the narrator sees fit while we the audience look on with amusement. We start with both Becky Sharp (the main character but not the traditional heroine as Thackeray's contemporary audience would have expected) and Amelia Sedley, and we follow their fortunes and interaction with other characters over some twenty or thirty years. Characters come, characters go; some die, some are born.

But nearly always the narrator is there to invite us to feel something towards them: sympathy, repulsion, anger, love. And though he is notable by his absence in the book's most powerful scenes, he will return shortly to talk about something else that another character is getting up to. This is where this adaptation nails the spirit of VF so precisely; it never forgets that these characters are puppets in a play, performing for our entertainment. Traditional bandstand music plays over scenes to reinforce this impression. The comedy elements make us laugh (Jos Sedley and his enormous, well-fed behind trying to mount a horse or carriage), the battle scenes are visceral, the dramatic scenes are engrossing. And the sly comments of the narrator are subtly retained in bizarre camera shots: the fat pig snuffling outside Queen's Crawley, or the beggar playing 'Rule Britannia' with his little bells as the soldiers march off to fight the Battle of Waterloo. But this would have been for nought if the casting had not been spot on. Natasha Little IS Becky Sharp.

Beautiful, alluring, charming, witty, cunning, deceptive and manipulative, she is every man's dream on the outside (I fell in love with her, and I can see all she is getting up to!). One look from her eyes is all that is required to get her climbing the social ladder, which ultimately is all that she wants. Frances Grey is also perfect as Amelia; not as beautiful as Becky, but still pleasant, sweet and kind-hearted, and forever doting on George Osborne. Tom Ward as Osborne was not what I was expecting, yet he got it right: a dashing English officer, strikingly handsome, and not totally devoid of morals, but very easily succumbs to his vanity and pride. Philip Glenister as the only genuinely heroic character in the book (though still not without faults), Dobbin, again is not how I pictured the character, but again nails it perfectly: slightly clumsy, socially awkward, but clear thinking, level-headed and always ready to do the right thing. The rest of the cast play their respective grotesques with equal perfection and relish - to single out each and every one is impossible, though all deserve it. As a lover of this book, I congratulate all on a job well done.

I cannot comment on how someone who has not read VF will like this series, but I can understand that they may be a little bewildered by it all: the occasional dizzy camerawork and loud brass band music. So long as you understand that we are the audience of a colourful, vibrant fair populated by a rich assortment of people, all with faults, all with redeeming features (however materialistic they might be), then I think you should derive great pleasure from it, because more than anything, this is great fun. Was the above review useful to you? 27 out of 28 people found the following review useful: Wonderful movie, and very faithful to the book! from Dresden, Germany 9 January 2001 I saw this version of "Vanity Fair" when A&E premiered it in 1998, and I was totally captivated. I had not, at that time, read the book, so I was happily tugged along by every twist and turn of this delightful tale. The acting is outstanding on all accounts, the writing is solid, and Thackeray's story is timeless.

Now I am finally getting 'round to reading the book, and I am amazed by how faithful this mini-series is to the original work. Though I usually am frustrated by the liberties that are taken with great literature, and I believe that one should always "read the book" before taking in someone else's interpretation of it, this is a case where having "seen the movie" makes it even more fun to read the book. Becky Sharp, Emmy Sedley, and especially Captain Dobbins (Philip Glenister really shines) are vividly portrayed -- as are all of the characters. This is a real page-turner of a story, and A&E has done it justice. In either order, read the book and watch the movie. You'll have great fun! Was the above review useful to you? 27 out of 29 people found the following review useful: Far superior to the Witherspoon vanity project from Canada 29 April 2005 Generally I think that the great Victorian door-stoppers are better suited to the mini series format than that of feature films because even with a running time pushed to three hours there just isn't the room for the typical panorama of characters, supporting characters, plots and subplots.

Even this production unavoidably leaves much out, but it captures the essence of Thackeray--cold eyed cynicism very occasionally softened by generosity. Nearly every element worked, right down to the snorting pig that appeared at the beginning of each new installment. I admit at first I was a bit disappointed by the choice of Natasha Little to play Rebecca because I thought the actress was too tall and elegant to play a character who was described as petite and vivacious. But no matter; Little's cool headedness, verbal wit, and carefully disguised ruthlessness were all pure Becky (unlike Mira Nair, the screenwriters of this production realized that to soften this character's harder edges wouldn't modernize her; rather, it would flatten her). Frances Grey does fine in in the thankless role of Amelia Sedley. Although this was somewhat out of keeping with the novel, I did like the scene of Amelia still in bed after her wedding night, her hair spread out on the pillow, blissfully talking to her new husband.

It makes her seem a bit more than stupidly devoted child-woman she is for most of the novel and makes those later scenes in which Becky and George (just weeks after George's marriage) brazenly flirt in front of Amelia all the more painful. The other characters are well cast too, with the terrifying Lord Steyne being the most memorable of all--in his final scene, without having to say a word he looks as if he really will have Becky murdered without a second thought if she ever approaches him again. All in all, highly recommended. Was the above review useful to you? 23 out of 23 people found the following review useful: Almost perfect ! Delightful. from United States 5 February 2007 This is brisk, fun production that doesn't take itself any more seriously than it should, and doesn't mind winking at us with a secret smile at the same time. The story of Becky Sharp, a girl who is never any better than she needs to be, and her friend Amelia who is much too good for her own good. Natasha Little is simply perfect as Becky.

Little is the kind of woman that women find hard to like: delicately beautiful, exceptionally talented  making her perfect to play Becky. It is the subtle nuances in her moments that give her performance great depth and complexity  needed for accessibility for a selfish character who is the smartest person in any room she is in. Becky is a woman who would agree with the quote of another brilliant beauty, Hedy Lamar: "Any woman can be glamorous. All she has to do is stand still and look stupid." Little's Beky is not as likable or vulnerable as Reese Witherspoon  who played Becky in a major motion picture film version made right around the same time  but with a miniseries we have time to understand her more. Besides, not many actresses are as likable as Witherspoon. As the story begins, this production does not look lavish, but the casting is so wonderful, the script so strong, the costumes simple but just right, that we are given the ability to focus on getting to know the people we will be following through 6 episodes. It is this initial simplicity that is the brilliance of the production design by Malcolm Thornton.

In the early stages, poverty is cramped and messy; work is dark, cluttered and rotting, and wealth is clean, and bright and airy like freedom. As we progress through the story, wealth becomes more complex, overstuffed and overdecorated, echoing the complexity of the lives of Becky and Rawdon. Rawdon played by the handsome and overwhelmingly talented Nathaniel Parker (INSPECTOR LINLEY, BLEAK HOUSE). Breathtaking Andrew Davies, possibly the most brilliant adapter of the classics of all time, gifts us with a screenplay of grace and subtlety, weaving the ease of modern speech perfectly into the period action in a way that feels classic, but is totally accessible. It all bounces along to the ohm-pa-pa of a brass band. This band is one of the anachronistic touches of the production. While it passes as a military band, it also has a the raw, slightly under-rehearsed sound of a New Orleans jazz band, and sometimes a 1940s dance hall meanwhile Becky's musical choices are straight from the pub to the delight of the men around her.

The band is really the only downfall of the production, in the moments of great serious importance, the band hits us over the head with a blaringly repetitive theme that gets very annoying after 6 episodes. It is the only "wrong note" in an otherwise witty and wise score. One of the nice subtle touches is that even Becky's singing, which at first seems flawless and delightful, begins to sound a bit flat in the episodes where we see dark results of her behavior on those around her. The music for Amelia and William is completely different. Plaintive melodies played as quietly as loyalty and love that things only of the good of the beloved. Philip Glenister as William carries the heart of the piece with affecting restraint. Miriam Margoles does her best work EVER here, and Jeremy Swift as Jos is absolutely delightful in every moment he is on screen! This entire miniseries is just marvelous, aspects of the production in tune with each other, in service to the whole piece. FANTASTIC. Was the above review useful to you?

25 out of 42 people found the following review useful: Brilliant portrayal of a psychopath from Sydney, Australia 12 April 2002 There has been a ridiculous number of movies about psychopathic killers - Silence of the Lambs, Se7en, Copycat, The Cell, etc, etc - and yet for a realistic depiction of a psychopath, this mini-series leaves them all far behind. If you want to see what the average psychopath is like (or perhaps I should say above average, because there is nothing average about Becky Sharp), this is far more true to life than all the others. The reality is that for every Hannibal Lecter in the world, there are a thousand Becky Sharps, and together they do far more damage than all the serial killers. I can only think that Thackeray must have known someone like her, because you can't get this close to reality by sheer imagination, and I don't know of any literary examples he could have copied from.

Of course, the novel, and the series, are about far more than one character - they are in fact about Vanity Fair, the world that Thackerary knew and didn't particularly love, the society which was so warped and hypocritical (rather like ours today, in fact) that it allowed characters like Becky Sharp to prosper. This is not nearly as pleasant as the usual BBC mini-series, but it is compulsively watchable; the depiction is almost flawless and Natasha Little does a brilliant job portraying the woman we love to hate. The rest of the cast is also excellent, including Nathaniel Parker as Rawdon, the principal victim of his wife's intrigues, Philip Glenister as the lovable but awfully clumsy Dobbin and David Bradley as the appalling baronet Sir Pitt Crawley. Was the above review useful to you?

13 out of 21 people found the following review useful: No one does Victorian like the Brits from Orange County, CA USA 3 January 2005 A six hour miniseries by the BBC and A&E, "Vanity Fair" (1998) has sufficient time to present the classic tale of the socially adroit, cunning, and beguiling Becky Sharp's rise from lowly governess to lofty aristocrat with depth, detail, and attention to the many characters and side stories swirling around her. Given it's British pedigree, the film recreates the period with fidelity from beautiful country vistas to dank squalor; from stately manors to Gothic mansions; from handsome gentlemen to grotesque lechers; from elegant gowns to threadbare cloaks; etc. Natasha Little makes a superb centerpiece though her fellow actors are equally well cast and competent in their roles. The downside to the series is a somewhat uneven screenplay which spends time while women sing parlor songs only to rush through some of the moments in which we would most like to linger. The musical score is annoyingly heavy handed, poorly nuanced, and often too much like a poor Salvation Army brass street ensemble.

"Vanity Fair" (1998) should be time well spent for anyone into Victorian period fare, especially comedy/dramas, the works of W.M. Thackeray, or fans of the players. Subtitling is excellent. (B+) Was the above review useful to you? 3 out of 3 people found the following review useful: The best production of Vanity Fair for all time? from London 15 January 2013 Thackeray prefaced his book with a short piece apparently explaining that the characters were just "puppets" who lived, ate and made love in a (fictional?) world that was neither moral nor immoral. Some have taken this at face value. However the book is generally seen as a savage satire and even today the appearance of Knight of the Realm, Sir Pitt Crawley, is rather shocking in that the reader just as much as the characters in the book, mistake him for a footman or even watchman such are his appearance and manners - breaking a convention that other Victorian writers such as Dickens and Trollope strictly observed. In the opening chapter the exceedingly disrespectful young Becky Sharp is again a character set against the Victorian archetype.

Neither virtuous nor fallen woman (generally the literary alternatives at the time), Becky Sharp fights her way through life using her sharpness of perception and her bodily attractions - sometimes winning, sometimes losing badly. Thackeray portrays a world where people can and do behave badly and act grossly. They are though not puppets - satire is not the portrayal of puppets, rather a clear-sighted, uncharitable and somewhat exaggerated version of reality. Thackeray is writing without rosy spectacles. The virtuous do not necessarily live happily ever after and the bad go unpunished. The weak, it seems, go to the wall. His preface then should be seen as a disingenuous disclaimer to quiet and fob off those who took exception to the sourness of his portrayal of humanity. But the book stands on its own two feet. The real Becky Sharp, on the make and none too scrupulous, existed then, she exists today, as do all the other characters but it requires the removal of the rose-tinted spectacles to see them - and perhaps some courage to write about them too.

This production plays the story entirely straight - an excellent cast portraying their characters realistically and without exaggeration, living according to their respective values and the hand Life deals them. It is left to the titles - the visuals and the music - to sound a ripe raspberry at their antics - and to remind us that this is not a puppet show but a sharp satire on how some people lived in England 200 years ago. A pretty fine cast, not all though got an opportunity to shine, but memorable were Jeremy Swift as a perspiring great dumpling Jos Sedley; an unsmiling, uncharming and unsightly Lord Steyne, removing the noble from the nobility; Philip Glennister as the ever reliable Dobbin; Nathaniel Parker as the dashing officer/adventurer snared by adventuress, Becky Sharp. The problem however I had with Natasha Little was that she was no seductress, there was no sweetness (however false) that surely would have been an essential weapon in her fight to get what she wanted? Perhaps the book does not make clear the nature of her appeal to men, only her will, her lack of scruples and the mixed success she had. Was she too sharp to successfully mask it with sweetness?

Was her practical, cool matter-of-factness attractive? Perhaps for all his sharp observation, Thackeray did not have intimate knowledge of such aggressively ambitious women? Nobody mentions adapter Andrew Davies? Probably because he has done his job so well that nobody notices. I rather doubt there will be a better version. Was the above review useful to you? 3 out of 3 people found the following review useful: Vanity Fair 1998 BBC version from United States 9 May 2010 Loved this production! I had never read the book (I will now!) but have grown to have a lot of trust in any adaptation that BBC does. I was not disappointed. Especially impressive was the ability of Natasha Little (Becky Sharp) to express Becky's manipulativeness through her subtle facial expressions and subtle use of her eyes and her voice. She was able to convey the mix of wicked cunning and refined pleasantness in a way that was really convincing. Not hard to believe that so many of the characters were completely sucked in by Becky's wiles. This subtle and superb acting ability is often lost in modern films that rely so heavily on on visual/graphic effects to make the point. Bravo,BBC!

Was the above review useful to you? 4 out of 5 people found the following review useful: Unorthodox period piece from Australia 14 August 2009 You should read the review by PrimusM - it is an incredible read. I first saw this on television about ten years ago and immediately bought the videos. I have since bought the DVD and watched it again today. I had never read the novel (though I recall the name William Makepeace Thackeray from school), so I have no idea how accurate to the book this version is. However, previous reviewers seem to think it is as close as you can get. I love this mini-series so much. The somewhat dark humour and the love/hate for Becky is delicious. I love Natasha Little - first experiencing her acting abilities and beauty on 'This Life'. Strangely, the wonderfully grotesque nature of most of the characters reminds me of films like 'Strictly Ballroom' and 'Muriel's Wedding'. Odd I know, though they are also somewhat dark humoured films. Basically, this series is refreshingly un-Jane Austen like.

Could you ever imagine 'Pride and Prejudice' opening with a large naked lady picking her nose while posing for a drunken painter whose young daughter is serving alcohol to his lecherous friends? Divine. Was the above review useful to you? 4 out of 6 people found the following review useful: This is worth buying 13 October 2006 *** This review may contain spoilers *** As the name suggests Vanity fair is about pretensions and showing off vanity. The backdrop is London and the age is early 19th century. William Makepeace Thackray has written an unbelievable piece of literature and this film does justice to the great story of human imperfections. Story in my opinion is a complete opposite of 'Dr Jekyl and Mr Hyde'. Dr Jekyl and Mr Hyde suggests that there is no pure good but there is pure evil while this story says that there is no pure good or pure evil. Whatever the truth is the film brings out the flavor of the time and intention of the film clearly on screen. I watched all six episodes of 50 minutes each in a single day. I was really mesmerized by the story and the direction.

Actors are very good, characterization is very deep and every episode has a surprise element to it. Story doesn't finish until the last scene is over. I think it is just right neither overdone nor underplayed. There are certain flaws like actors don't age even after 10-12 years but the story is so good that you see them as grown up men and women psychologically. I think all the actors were fine. Story was really supported by very good actors. Natasha Little was a delight to watch as a lady with grey shades. I haven't read the novel or knew anything about it. I had to chose between Mira Nair's 'Vanity Fair' and this one. It was easy I have left Mira Nair's 3 films in the middle including 'Kama Sutra'. Imagine how boring things can get. The film is really good but novel has to be a masterpiece. Was the above review useful to you? Page 1 of 2: Amelia - Baby Girl Name Meaning and Origin | Oh Baby!

Names Amelia Sensual Etymology & Historical Origin - Amelia Amelia is the Latinized form of the ancient Old High German female name Amalia, from the Germanic element “amal” meaning “to work” (Old Norse “ama” “to trouble”). People often confuse Amelia with Aemilius, an Old Roman family name of Latin origin (meaning “rival”), but this is incorrect. Aemilius gave us Emily, while Amelia had more “laborious” origins. Some say that the name was actually coined by the English author Henry Fielding for the title character in his 18th century novel, “Amelia,” but it appears that similar forms of the name were already in existence in the prior century (see literary references below). The name Amelia is quite popular throughout English-speaking countries right now. It’s actually the #1 baby girl’s name in England (2011). Amelia is ranked on the Top 10 lists in Australia, Scotland and Poland, and a Top 25 in Canada and the United States. The name also does quite well in Ireland and Northern Ireland.

The French form of the name, Amélie, is also ranked in the Top 100 in England, Scotland and Australia, but ironically, it’s not ranked as high in France. Popularity of the Name Amelia For a name that’s been around as long as Amelia on the U.S. popularity charts, it’s surprising to see her first enter the Top 100 list so very recently in 2004. Old Amelia is following the same revival trend as other pretty, classical names loaded with antique-charm (Emma, Olivia, Chloe). The name has been rising on the charts since the turn of the 21st century, so clearly Amelia is on the American radar right now. The name brings a taste of erudite England over to this side of the pond, but it has also gained in usage within every other English-speaking country, particularly Australia. The French form, Amélie, is also on the U.S. list of girls’ names, but American parents are ten times more likely to bestow the English form on their daughters. Amelia is also quite flexible in terms of pet forms which probably add to the name’s attraction.

Such diminutives of the name would include Amy, Lia, Mia, Minnie, Millie and Mel. So many choices! A delightful name with a good little work-ethic. Popularity of the Girl Name Amelia You need Adobe Flash Player 6 (or above) to view the charts. It is a free and lightweight installation from Adobe.com. Please click here to install the same. Cultural References to the Baby Name - Amelia Literary Characters of the Baby Name Amelia Amelia Bones (Harry Potter Series) Amelia Bones is an accomplished witch and a fair judge in the popular series by J. K. Rowling. in her role as Head of the Department of Magical Law, she presides over Harry Potter’s disciplinary hearing and is instrumental in his being cleared of all charges. She is described as “one of the greatest witches” of all time. A serious person, most of whose family members have been killed by various enemies, she herself comes to her end at the hands of the evil Lord Valdemort, but not, it is said, without putting up a heroic fight for her life.

Amelia Booth (Amelia) Amelia Booth is Is the virtuous title heroine of Henry Fielding’s "Amelia," published in 1751, the fourth and final of Fielding’s novels at the dawn of this literary form. Lacking the ribald humor of Tom Jones or the satiric wit of Shamela, this novel is more a commentary on the social mores of the day set against a domestic background. Surely Amelia must be one of the most put-upon characters in English literature. Married against her mother’s wishes to the handsome but imprudent Captain Booth, Amelia endures the consequences of his gambling, infidelity and imprisonment. For this last, she must put up her fortune to free him and guide him toward a quiet and happy retirement in the countryside. The Academy Award for Long-Suffering Wife she should get. Amelia Sedley (Vanity Fair) Amelia Sedley is the heroine of William Makepeace Thackeray’s "Vanity Fair" (although it is the more memorable Becky Sharp who immediately comes to mind). Published in 1847/8, this is a sweeping satirical novel set against the backdrop of the Napoleonic Wars.

Amelia herself is kind and good hearted, if somewhat vapid, and fixes upon the shallow, opportunistic George Osbourne as her love, while she is loved, in vain, by the good William Dobbin. Amelia’s family loses their fortune through mismanagement, and the couple is married against the wishes of his father, who disinherits George. George dies in battle, Amelia bears his son and lives in genteel poverty until she finally succumbs to the proposal of the ever-faithful, if somewhat weary-of-the-game Dobbin. All this while Becky Sharp flirts, fancies, and funs away the days, and really doesn’t pay much of a price for it all. Amelia Thermopolis (The Princess Diaries) Born Amelia, Mia Thermopolis or Princess Mia (Princess of Genovia) is the main character in Meg Cabot’s notable series of novels “The Princess Diaries” first published in 2000. Offbeat Mia will automatically win the heart of every teenage girl who's ever just wanted to fit in with as little fuss as possible. Meg Cabot's writing is silly and entertaining; with tons of pop culture references that will make teens feel right at home within her pages.

This is a wonderfully wacky read about an endearing female character coming-of-age. Popular Songs on Amelia Amelia - is an opera composed by Daron Hagen Amelia - a song by Joni Mitchell Amelia - is a song by the Insomniacs Amelia - a song by the Cocteau Twins Amelia - is a spanish song by Carlos Ponce O Inferno! Amelia qui! - opera piece by Giuseppe Verdi Young Amelia - a song by Hans York Children's Books on the Baby Name Amelia Amelia Bedelia (Peggy Parish) - “Amelia Bedelia” is a delightful series of popular children's books about the title character. Amelia is a literal-minded housekeeper who causes a ruckus in the household when she attempts to make sense of various instructions. Her repeated misunderstandings bring a lot of comic effect. In the end, she manages to win everyone over by baking a delicious desert. There are several fun books in this series, and also by the author’s nephew, Herman Parish. Recommended for ages 4-8. Amelia Rules! (Jimmy Gownley) - Amelia Rules! Is a series of children's graphic novels similar to comic books.

The books follow the life of Amelia Louise McBride as she adjusts to life in a new town after her parents' divorce causes her to leave life in Manhattan. She is helped along the way by an odd group of friends and her ever-cool Aunt Tanner Clark. Recommended for ages 9-12. Amelia's Notebook (Marissa Moss) - Amelia's notebooks are a series of children's books by Marissa Moss. The title character keeps a record of her life, thoughts, and memories in notebooks. They are profusely illustrated and designed to resemble actual journals. Amelia is a character that many young people identify with. She has problems that many kids face like gossip, moving or crushes. Amelia has also written guides such as Dr. Amelia's Boredom Survival Guide, Amelia's Guide to Gossip, Amelia's Bully Survival Guide, Amelia's Easy-as-Pie Drawing Guide, a step-by-step guide on how to draw like Amelia, and My Notebook (With Help from Amelia), an Amelia-style notebook for you to use. Recommended for ages 9-12. Who Was Amelia Earhart?

(Kate Boehm Jerome) - Amelia Earhart was a woman of many "firsts." In 1932, she became the first woman to fly solo across the Atlantic Ocean. In 1935, she also became the first woman to fly across the Pacific. From her early years to her mysterious 1937 disappearance while attempting a flight around the world, readers will find Amelia Earhart's life a fascinating story. Recommended for ages 9-12. Famous People Named Amelia Famous People Named Amelia - Amelia Earhart (aviator); Minnie Driver (born Amelia Fiona Driver, actress) Children of Famous People Named Amelia Famous People who Named their Daughter Amelia - Harry Hamlin (actor); Lisa Rinna (actress); Paul Anka (singer) Amelia - Girl Baby Name - Historic Figures Amelia Earhart (24 Jul 1897 – 2 Jul 1937) - Amelia Earhart is a true inspiration to women. She was a celebrated pioneer of American aviation, and the first woman to fly solo across the Atlantic Ocean (for which she won the U.S. Distinguished Flying Cross).

A true feminist, Amelia was also an early supporter of the Equal Rights Amendment, and she helped form the International Organization of Female Pilots, known as The Ninety Nines. During her attempt at circumnavigating the globe by plane, Earhart mysteriously disappeared on July 2, 1937 over the vast central Pacific Ocean near Howland Island. Not surprisingly, a fascination with Amelia Earhart continues to this day. She moved the minds and the hearts of the American public. Search Baby Names

Question: Captain Dobbin and Amelia Sedley are characters from which 19th century novel?
Answer: VANITY FAIR