Something has been said, in the biographical chapter, of the way in which Vanity Fair was produced, and of the period in the author’s life in which it was written. He had become famous — to a limited extent — by the exquisite nature of his contributions to periodicals; but he desired to do something larger, something greater, something, perhaps, less ephemeral. For though Barry Lyndon and others have not proved to be ephemeral, it was thus that he regarded them. In this spirit he went to work and wrote Vanity Fair.
It may be as well to speak first of the faults which were attributed to it. It was said that the good people were all fools, and that the clever people were all knaves. When the critics — the talking critics as well as the writing critics — began to discuss Vanity Fair, there had already grown up a feeling as to Thackeray as an author — that he was one who had taken up the business of castigating the vices of the world. Scott had dealt with the heroics, whether displayed in his Flora MacIvors or Meg Merrilieses, in his Ivanhoes or Ochiltrees. Miss Edgeworth had been moral; Miss Austen conventional; Bulwer had been poetical and sentimental; Marryat and Lever had been funny and pugnacious, always with a dash of gallantry, displaying funny naval and funny military life; and Dickens had already become great in painting the virtues of the lower orders. But by all these some kind of virtue had been sung, though it might be only the virtue of riding a horse or fighting a duel. Even Eugene Aram and Jack Sheppard, with whom Thackeray found so much fault, were intended to be fine fellows, though they broke into houses and committed murders. The primary object of all those writers was to create an interest by exciting sympathy. To enhance our sympathy personages were introduced who were very vile indeed — as Bucklaw, in the guise of a lover, to heighten our feelings for Ravenswood and Lucy; as Wild, as a thief-taker, to make us more anxious for the saving of Jack; as Ralph Nickleby, to pile up the pity for his niece Kate. But each of these novelists might have appropriately begun with an Arma virumque cano. The song was to be of something godlike — even with a Peter Simple. With Thackeray it had been altogether different. Alas, alas! the meanness of human wishes; the poorness of human results! That had been his tone. There can be no doubt that the heroic had appeared contemptible to him, as being untrue. The girl who had deceived her papa and mamma seemed more probable to him than she who perished under the willow-tree from sheer love — as given in the last chapter. Why sing songs that are false? Why tell of Lucy Ashtons and Kate Nicklebys, when pretty girls, let them be ever so beautiful, can be silly and sly? Why pour philosophy out of the mouth of a fashionable young gentleman like Pelham, seeing that young gentlemen of that sort rarely, or we may say never, talk after that fashion? Why make a housebreaker a gallant charming young fellow, the truth being that housebreakers as a rule are as objectionable in their manners as they are in their morals? Thackeray’s mind had in truth worked in this way, and he had become a satirist. That had been all very well for Fraser and Punch; but when his satire was continued through a long novel, in twenty-four parts, readers — who do in truth like the heroic better than the wicked — began to declare that this writer was no novelist, but only a cynic.
Thence the question arises what a novel should be — which I will endeavour to discuss very shortly in a later chapter. But this special fault was certainly found with Vanity Fair at the time. Heroines should not only be beautiful, but should be endowed also with a quasi celestial grace — grace of dignity, propriety, and reticence. A heroine should hardly want to be married, the arrangement being almost too mundane — and, should she be brought to consent to undergo such bond, because of its acknowledged utility, it should be at some period so distant as hardly to present itself to the mind as a reality. Eating and drinking should be altogether indifferent to her, and her clothes should be picturesque rather than smart, and that from accident rather than design. Thackeray’s Amelia does not at all come up to the description here given. She is proud of having a lover, constantly declaring to herself and to others that he is “the greatest and the best of men,”— whereas the young gentleman is, in truth, a very little man. She is not at all indifferent as to her finery, nor, as we see incidentally, to enjoying her suppers at Vauxhall. She is anxious to be married — and as soon as possible. A hero too should be dignified and of a noble presence; a man who, though he may be as poor as Nicholas Nickleby, should nevertheless be beautiful on all occasions, and never deficient in readiness, address, or self-assertion. Vanity Fair is specially declared by the author to be “a novel without a hero,” and therefore we have hardly a right to complain of deficiency of heroic conduct in any of the male characters. But Captain Dobbin does become the hero, and is deficient. Why was he called Dobbin, except to make him ridiculous? Why is he so shamefully ugly, so shy, so awkward? Why was he the son of a grocer? Thackeray in so depicting him was determined to run counter to the recognised taste of novel readers. And then again there was the feeling of another great fault. Let there be the virtuous in a novel and let there be the vicious, the dignified and the undignified, the sublime and the ridiculous — only let the virtuous, the dignified, and the sublime be in the ascendant. Edith Bellenden, and Lord Evandale, and Morton himself would be too stilted, were they not enlivened by Mause, and Cuddie, and Poundtext. But here, in this novel, the vicious and the absurd have been made to be of more importance than the good and the noble. Becky Sharp and Rawdon Crawley are the real heroine and hero of the story. It is with them that the reader is called upon to interest himself. It is of them that he will think when he is reading the book. It is by them that he will judge the book when he has read it. There was no doubt a feeling with the public that though satire may be very well in its place, it should not be made the backbone of a work so long and so important as this. A short story such as Catherine or Barry Lyndon might be pronounced to have been called for by the iniquities of an outside world; but this seemed to the readers to have been addressed almost to themselves. Now men and women like to be painted as Titian would paint them, or Raffaelle — not as Rembrandt, or even Rubens.
Whether the ideal or the real is the best form of a novel may be questioned, but there can be no doubt that as there are novelists who cannot descend from the bright heaven of the imagination to walk with their feet upon the earth, so there are others to whom it is not given to soar among clouds. The reader must please himself, and make his selection if he cannot enjoy both. There are many who are carried into a heaven of pathos by the woes of a Master of Ravenswood, who fail altogether to be touched by the enduring constancy of a Dobbin. There are others — and I will not say but they may enjoy the keenest delight which literature can give — who cannot employ their minds on fiction unless it be conveyed in poetry. With Thackeray it was essential that the representations made by him should be, to his own thinking, lifelike. A Dobbin seemed to him to be such a one as might probably be met with in the world, whereas to his thinking a Ravenswood was simply a creature of the imagination. He would have said of such, as we would say of female faces by Raffaelle, that women would like to be like them, but are not like them. Men might like to be like Ravenswood, and women may dream of men so formed and constituted, but such men do not exist. Dobbins do, and therefore Thackeray chose to write of a Dobbin.
So also of the preference given to Becky Sharp and to Rawdon Crawley. Thackeray thought that more can be done by exposing the vices than extolling the virtues of mankind. No doubt he had a more thorough belief in the one than in the other. The Dobbins he did encounter — seldom; the Rawdon Crawleys very often. He saw around him so much that was mean! He was hurt so often by the little vanities of people! It was thus that he was driven to that overthoughtfulness about snobs of which I have spoken in the last chapter. It thus became natural to him to insist on the thing which he hated with unceasing assiduity, and only to break out now and again into a rapture of love for the true nobility which was dear to him — as he did with the character of Captain Dobbin.
It must be added to all this that, before he has done with his snob or his knave, he will generally weave in some little trait of humanity by which the sinner shall be relieved from the absolute darkness of utter iniquity. He deals with no Varneys or Deputy-Shepherds, all villany and all lies, because the snobs and knaves he had seen had never been all snob or all knave. Even Shindy probably had some feeling for the poor woman he left at home. Rawdon Crawley loved his wicked wife dearly, and there were moments even with her in which some redeeming trait half reconciles her to the reader.
Such were the faults which were found in Vanity Fair; but though the faults were found freely, the book was read by all. Those who are old enough can well remember the effect which it had, and the welcome which was given to the different numbers as they appeared. Though the story is vague and wandering, clearly commenced without any idea of an ending, yet there is something in the telling which makes every portion of it perfect in itself. There are absurdities in it which would not be admitted to anyone who had not a peculiar gift of making even his absurdities delightful. No schoolgirl who ever lived would have thrown back her gift-book, as Rebecca did the “dixonary,” out of the carriage window as she was taken away from school. But who does not love that scene with which the novel commences? How could such a girl as Amelia Osborne have got herself into such society as that in which we see her at Vauxhall? But we forgive it all because of the telling. And then there is that crowning absurdity of Sir Pitt Crawley and his establishment.
I never could understand how Thackeray in his first serious attempt could have dared to subject himself and Sir Pitt Crawley to the critics of the time. Sir Pitt is a baronet, a man of large property, and in Parliament, to whom Becky Sharp goes as a governess at the end of a delightful visit with her friend Amelia Sedley, on leaving Miss Pinkerton’s school. The Sedley carriage takes her to Sir Pitt’s door. “When the bell was rung a head appeared between the interstices of the dining-room shutters, and the door was opened by a man in drab breeches and gaiters, with a dirty old coat, a foul old neckcloth lashed round his bristly neck, a shining bald head, a leering red face, a pair of twinkling gray eyes, and a mouth perpetually on the grin.
“‘This Sir Pitt Crawley’s?’ says John from the box.
“‘E’es,’ says the man at the door with a nod.
“‘Hand down these ’ere trunks there,’ said John.
“‘Hand ’em down yourself,’ said the porter.” But John on the box declines to do this, as he cannot leave his horses.
“The bald-headed man, taking his hands out of his breeches’ pockets, advanced on this summons, and throwing Miss Sharp’s trunk over his shoulder, carried it into the house.” Then Becky is shown into the house, and a dismantled dining-room is described, into which she is led by the dirty man with the trunk.
Two kitchen chairs, and a round table, and an attenuated old poker and tongs, were, however, gathered round the fireplace, as was a saucepan over a feeble, sputtering fire. There was a bit of cheese and bread and a tin candlestick on the table, and a little black porter in a pint pot.
“Had your dinner, I suppose?” This was said by him of the bald head. “It is not too warm for you? Like a drop of beer?”
“Where is Sir Pitt Crawley?” said Miss Sharp majestically.
“He, he! I’m Sir Pitt Crawley. Rek’lect you owe me a pint for bringing down your luggage. He, he! ask Tinker if I ain’t.”
The lady addressed as Mrs. Tinker at this moment made her appearance, with a pipe and a paper of tobacco, for which she had been despatched a minute before Miss Sharp’s arrival; and she handed the articles over to Sir Pitt, who had taken his seat by the fire.
“Where’s the farden?” said he. “I gave you three-halfpence; where’s the change, old Tinker?”
“There,” replied Mrs. Tinker, flinging down the coin. “It’s only baronets as cares about farthings.”
Sir Pitt Crawley has always been to me a stretch of audacity which I have been unable to understand. But it has been accepted; and from this commencement of Sir Pitt Crawley have grown the wonderful characters of the Crawley family — old Miss Crawley, the worldly, wicked, pleasure-loving aunt, the Rev. Bute Crawley and his wife, who are quite as worldly, the sanctimonious elder son, who in truth is not less so, and Rawdon, who ultimately becomes Becky’s husband — who is the bad hero of the book, as Dobbin is the good hero. They are admirable; but it is quite clear that Thackeray had known nothing of what was coming about them when he caused Sir Pitt to eat his tripe with Mrs. Tinker in the London dining-room.
There is a double story running through the book, the parts of which are but lightly woven together, of which the former tells us the life and adventures of that singular young woman Becky Sharp, and the other the troubles and ultimate success of our noble hero Captain Dobbin. Though it be true that readers prefer, or pretend to prefer, the romantic to the common in their novels, and complain of pages which are defiled with that which is low, yet I find that the absurd, the ludicrous, and even the evil, leave more impression behind them than the grand, the beautiful, or even the good. Dominie Sampson, Dugald Dalgetty, and Bothwell are, I think, more remembered than Fergus MacIvor, than Ivanhoe himself, or Mr. Butler the minister. It certainly came to pass that, in spite of the critics, Becky Sharp became the first attraction in Vanity Fair. When we speak now of Vanity Fair, it is always to Becky that our thoughts recur. She has made a position for herself in the world of fiction, and is one of our established personages.
I have already said how she left school, throwing the “dixonary” out of the window, like dust from her feet, and was taken to spend a few halcyon weeks with her friend Amelia Sedley, at the Sedley mansion in Russell Square. There she meets a brother Sedley home from India — the immortal Jos — at whom she began to set her hitherto untried cap. Here we become acquainted both with the Sedley and with the Osborne families, with all their domestic affections and domestic snobbery, and have to confess that the snobbery is stronger than the affection. As we desire to love Amelia Sedley, we wish that the people around her were less vulgar or less selfish — especially we wish it in regard to that handsome young fellow, George Osborne, whom she loves with her whole heart. But with Jos Sedley we are inclined to be content, though he be fat, purse-proud, awkward, a drunkard, and a coward, because we do not want anything better for Becky. Becky does not want anything better for herself, because the man has money. She has been born a pauper. She knows herself to be but ill qualified to set up as a beauty — though by dint of cleverness she does succeed in that afterwards. She has no advantages in regard to friends or family as she enters life. She must earn her bread for herself. Young as she is, she loves money, and has a great idea of the power of money. Therefore, though Jos is distasteful at all points, she instantly makes her attack. She fails, however, at any rate for the present. She never becomes his wife, but at last she succeeds in getting some of his money. But before that time comes she has many a suffering to endure, and many a triumph to enjoy.
She goes to Sir Pitt Crawley as governess for his second family, and is taken down to Queen’s Crawley in the country. There her cleverness prevails, even with the baronet, of whom I have just given Thackeray’s portrait. She keeps his accounts, and writes his letters, and helps him to save money; she reads with the elder sister books they ought not to have read; she flatters the sanctimonious son. In point of fact, she becomes all in all at Queen’s Crawley, so that Sir Pitt himself falls in love with her — for there is reason to think that Sir Pitt may soon become again a widower. But there also came down to the baronet’s house, on an occasion of general entertaining, Captain Rawdon Crawley. Of course Becky sets her cap at him, and of course succeeds. She always succeeds. Though she is only the governess, he insists upon dancing with her, to the neglect of all the young ladies of the neighbourhood. They continue to walk together by moonlight — or starlight — the great, heavy, stupid, half-tipsy dragoon, and the intriguing, covetous, altogether unprincipled young woman. And the two young people absolutely come to love one another in their way — the heavy, stupid, fuddled dragoon, and the false, covetous, altogether unprincipled young woman.
The fat aunt Crawley is a maiden lady, very rich, and Becky quite succeeds in gaining the rich aunt by her wiles. The aunt becomes so fond of Becky down in the country, that when she has to return to her own house in town, sick from over-eating, she cannot be happy without taking Becky with her. So Becky is installed in the house in London, having been taken away abruptly from her pupils, to the great dismay of the old lady’s long-established resident companion. They all fall in love with her; she makes herself so charming, she is so clever; she can even, by help of a little care in dressing, become so picturesque! As all this goes on, the reader feels what a great personage is Miss Rebecca Sharp.
Lady Crawley dies down in the country, while Becky is still staying with his sister, who will not part with her. Sir Pitt at once rushes up to town, before the funeral, looking for consolation where only he can find it. Becky brings him down word from his sister’s room that the old lady is too ill to see him.
“So much the better,” Sir Pitt answered; “I want to see you, Miss Sharp. I want you back at Queen’s Crawley, miss,” the baronet said. His eyes had such a strange look, and were fixed upon her so stedfastly that Rebecca Sharp began almost to tremble. Then she half promises, talks about the dear children, and angles with the old man. “I tell you I want you,” he says; “I’m going back to the vuneral, will you come back? — yes or no?”
“I daren’t. I don’t think — it wouldn’t be right — to be alone — with you, sir,” Becky said, seemingly in great agitation.
“I say again, I want you. I can’t get on without you. I didn’t see what it was till you went away. The house all goes wrong. It’s not the same place. All my accounts has got muddled again. You must come back. Do come back. Dear Becky, do come.”
“Come — as what, sir?” Rebecca gasped out.
“Come as Lady Crawley, if you like. There, will that zatisfy you? Come back and be my wife. You’re vit for it. Birth be hanged. You’re as good a lady as ever I see. You’ve got more brains in your little vinger than any baronet’s wife in the country. Will you come? Yes or no?” Rebecca is startled, but the old man goes on. “I’ll make you happy; zee if I don’t. You shall do what you like, spend what you like, and have it all your own way. I’ll make you a settlement. I’ll do everything regular. Look here,” and the old man fell down on his knees and leered at her like a satyr.
But Rebecca, though she had been angling, angling for favour and love and power, had not expected this. For once in her life she loses her presence of mind, and exclaims: “Oh Sir Pitt; oh sir; I— I’m married already!” She has married Rawdon Crawley, Sir Pitt’s younger son, Miss Crawley’s favourite among those of her family who are looking for her money. But she keeps her secret for the present, and writes a charming letter to the Captain; “Dearest — Something tells me that we shall conquer. You shall leave that odious regiment. Quit gaming, racing, and be a good boy, and we shall all live in Park Lane, and ma tante shall leave us all her money.” Ma tante’s money has been in her mind all through, but yet she loves him.
“Suppose the old lady doesn’t come to,” Rawdon said to his little wife as they sat together in the snug little Brompton lodgings. She had been trying the new piano all the morning. The new gloves fitted her to a nicety. The new shawl became her wonderfully. The new rings glittered on her little hands, and the new watch ticked at her waist.
“I’ll make your fortune,” she said; and Delilah patted Samson’s cheek.
“You can do anything,” he said, kissing the little hand. “By Jove you can! and we’ll drive down to the Star and Garter and dine, by Jove!”
They were neither of them quite heartless at that moment, nor did Rawdon ever become quite bad. Then follow the adventures of Becky as a married woman, through all of which there is a glimmer of love for her stupid husband, while it is the real purpose of her heart to get money how she may — by her charms, by her wit, by her lies, by her readiness. She makes love to everyone — even to her sanctimonious brother-inlaw, who becomes Sir Pitt in his time — and always succeeds. But in her love-making there is nothing of love. She gets hold of that well-remembered old reprobate, the Marquis of Steyne, who possesses the two valuable gifts of being very dissolute and very rich, and from him she obtains money and jewels to her heart’s desire. The abominations of Lord Steyne are depicted in the strongest language of which Vanity Fair admits. The reader’s hair stands almost on end in horror at the wickedness of the two wretches — at her desire for money, sheer money; and his for wickedness, sheer wickedness. Then her husband finds her out — poor Rawdon! who with all his faults and thickheaded stupidity, has become absolutely entranced by the wiles of his little wife. He is carried off to a sponging-house, in order that he may be out of the way, and, on escaping unexpectedly from thraldom, finds the lord in his wife’s drawing-room. Whereupon he thrashes the old lord, nearly killing him; takes away the plunder which he finds on his wife’s person, and hurries away to seek assistance as to further revenge; — for he is determined to shoot the marquis, or to be shot. He goes to one Captain Macmurdo, who is to act as his second, and there he pours out his heart. “You don’t know how fond I was of that one,” Rawdon said, half-inarticulately. “Damme, I followed her like a footman! I gave up everything I had to her. I’m a beggar because I would marry her. By Jove, sir, I’ve pawned my own watch to get her anything she fancied. And she — she’s been making a purse for herself all the time, and grudged me a hundred pounds to get me out of quod!” His friend alleges that the wife may be innocent after all. “It may be so,” Rawdon exclaimed sadly; “but this don’t look very innocent!” And he showed the captain the thousand-pound note which he had found in Becky’s pocketbook.
But the marquis can do better than fight; and Rawdon, in spite of his true love, can do better than follow the quarrel up to his own undoing. The marquis, on the spur of the moment, gets the lady’s husband appointed governor of Coventry Island, with a salary of three thousand pounds a year; and poor Rawdon at last condescends to accept the appointment. He will not see his wife again, but he makes her an allowance out of his income.
In arranging all this, Thackeray is enabled to have a side blow at the British way of distributing patronage — for the favour of which he was afterwards himself a candidate. He quotes as follows from The Royalist newspaper: “We hear that the governorship”— of Coventry Island —“has been offered to Colonel Rawdon Crawley, C.B., a distinguished Waterloo officer. We need not only men of acknowledged bravery, but men of administrative talents to superintend the affairs of our colonies; and we have no doubt that the gentleman selected by the Colonial Office to fill the lamented vacancy which has occurred at Coventry Island, is admirably calculated for the post.” The reader, however, is aware that the officer in question cannot write a sentence or speak two words correctly.
Our heroine’s adventures are carried on much further, but they cannot be given here in detail. To the end she is the same — utterly false, selfish, covetous, and successful. To have made such a woman really in love would have been a mistake. Her husband she likes best — because he is, or was, her own. But there is no man so foul, so wicked, so unattractive, but that she can fawn over him for money and jewels. There are women to whom nothing is nasty, either in person, language, scenes, actions, or principle — and Becky is one of them; and yet she is herself attractive. A most wonderful sketch, for the perpetration of which all Thackeray’s power of combined indignation and humour was necessary!
The story of Amelia and her two lovers, George Osborne and Captain, or as he came afterwards to be, Major, and Colonel Dobbin, is less interesting, simply because goodness and eulogy are less exciting than wickedness and censure. Amelia is a true, honest-hearted, thoroughly English young woman, who loves her love because he is grand — to her eyes — and loving him, loves him with all her heart. Readers have said that she is silly, only because she is not heroic. I do not know that she is more silly than many young ladies whom we who are old have loved in our youth, or than those whom our sons are loving at the present time. Readers complain of Amelia because she is absolutely true to nature. There are no Raffaellistic touches, no added graces, no divine romance. She is feminine all over, and British — loving, true, thoroughly unselfish, yet with a taste for having things comfortable, forgiving, quite capable of jealousy, but prone to be appeased at once, at the first kiss; quite convinced that her lover, her husband, her children are the people in all the world to whom the greatest consideration is due. Such a one is sure to be the dupe of a Becky Sharp, should a Becky Sharp come in her way — as is the case with so many sweet Amelias whom we have known. But in a matter of love she is sound enough and sensible enough — and she is as true as steel. I know no trait in Amelia which a man would be ashamed to find in his own daughter.
She marries her George Osborne, who, to tell the truth of him, is but a poor kind of fellow, though he is a brave soldier. He thinks much of his own person, and is selfish. Thackeray puts in a touch or two here and there by which he is made to be odious. He would rather give a present to himself than to the girl who loved him. Nevertheless, when her father is ruined he marries her, and he fights bravely at Waterloo, and is killed. “No more firing was heard at Brussels. The pursuit rolled miles away. Darkness came down on the field and the city — and Amelia was praying for George, who was lying on his face, dead, with a bullet through his heart.”
Then follows the long courtship of Dobbin, the true hero — he who has been the friend of George since their old school-days; who has lived with him and served him, and has also loved Amelia. But he has loved her — as one man may love another — solely with a view to the profit of his friend. He has known all along that George and Amelia have been engaged to each other as boy and girl. George would have neglected her, but Dobbin would not allow it. George would have jilted the girl who loved him, but Dobbin would not let him. He had nothing to get for himself, but loving her as he did, it was the work of his life to get for her all that she wanted.
George is shot at Waterloo, and then come fifteen years of widowhood — fifteen years during which Becky is carrying on her manoeuvres — fifteen years during which Amelia cannot bring herself to accept the devotion of the old captain, who becomes at last a colonel. But at the end she is won. “The vessel is in port. He has got the prize he has been trying for all his life. The bird has come in at last. There it is, with its head on its shoulder, billing and cooing clean up to his heart, with soft outstretched fluttering wings. This is what he has asked for every day and hour for eighteen years. This is what he has pined after. Here it is — the summit, the end, the last page of the third volume.”
The reader as he closes the book has on his mind a strong conviction, the strongest possible conviction, that among men George is as weak and Dobbin as noble as any that he has met in literature; and that among women Amelia is as true and Becky as vile as any he has encountered. Of so much he will be conscious. In addition to this he will unconsciously have found that every page he has read will have been of interest to him. There has been no padding, no longueurs; every bit will have had its weight with him. And he will find too at the end, if he will think of it — though readers, I fear, seldom think much of this in regard to books they have read — that the lesson taught in every page has been good. There may be details of evil painted so as to disgust — painted almost too plainly — but none painted so as to allure.
Last updated Monday, December 22, 2014 at 10:55