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Vanity Fair (Penguin Classics) Paperback – April 29, 2003
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No one is better equipped in the struggle for wealth and worldly success than the alluring and ruthless Becky Sharp, who defies her impoverished background to clamber up the class ladder. Her sentimental companion Amelia, however, longs only for caddish soldier George. As the two heroines make their way through the tawdry glamour of Regency society, battles—military and domestic—are fought, fortunes made and lost. The one steadfast and honourable figure in this corrupt world is Dobbin with his devotion to Amelia, bringing pathos and depth to Thackeray's gloriously satirical epic of love and social adventure.
- Print length912 pages
- LanguageEnglish
- PublisherPenguin Classics
- Publication dateApril 29, 2003
- Dimensions5.17 x 1.58 x 7.73 inches
- ISBN-109780141439839
- ISBN-13978-0141439839
- Lexile measure1270L
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Review
--Robert Louis Stevenson
"The lasting and universal popularity of The Three Musketeers shows that Dumas, by artlessly expressing his own nature in the persons of his heroes, was responding to that craving for action, strength and generosity which is a fact in all periods and all places."
--Andreé Maurois
About the Author
Excerpt. © Reprinted by permission. All rights reserved.
While the present century was in its teens, and on one sunshiny morning in June, there drove up to the great iron gate of Miss Pinkerton's academy for young ladies, on Chiswick Mall, a large family coach, with two fat horses in blazing harness, driven by a fat coachman in a three-cornered hat and wig, at the rate of four miles an hour. A black servant, who reposed on the box beside the fat coachman, uncurled his bandy legs as soon as the equipage drew up opposite Miss Pinkerton's shining brass plate, and as he pulled the bell at least a score of young heads were seen peering out of the narrow windows of the stately old brick house. Nay, the acute observer might have recognized the little red nose of good-natured Miss Jemima Pinkerton herself, rising over some geranium pots in the window of that lady's own drawing-room.
"It is Mrs. Sedley's coach, sister," said Miss Jemima. "Sambo, the black servant, has just rung the bell; and the coachman has a new red waistcoat."
"Have you completed all the necessary preparations incident to Miss Sedley's departure, Miss Jemima?" asked Miss Pinkerton herself, that majestic lady; the Semiramis of Hammersmith, the friend of Doctor Johnson, the correspondent of Mrs. Chapone herself.
"The girls were up at four this morning, packing her trunks, sister," replied Miss Jemima; "we have made her a bow-pot."
"Say a bouquet, sister Jemima, 'tis more genteel."
"Well, a booky as big almost as a haystack; I have put up two bottles of the gillyflower water for Mrs. Sedley, and the receipt for making it, in Amelia's box."
"And I trust, Miss Jemima, you have made a copy of Miss Sedley's account. This is it, is it? Very good--ninety-three pounds, four shillings. Be kind enough to address it to John Sedley, Esquire, and to seal this billet which I have written to his lady."
In Miss Jemima's eyes an autograph letter of her sister, Miss Pinkerton, was an object of as deep veneration as would have been a letter from a sovereign. Only when her pupils quitted the establishment, or when they were about to be married, and once, when poor Miss Birch died of the scarlet fever, was Miss Pinkerton known to write personally to the parents of her pupils; and it was Jemima's opinion that if anything could console Mrs. Birch for her daughter's loss, it would be that pious and eloquent composition in which Miss Pinkerton announced the event.
In the present instance Miss Pinkerton's "billet" was to the following effect:
-The Mall, Chiswick, June 15, 18-
Madam,
After her six years' residence at the Mall, I have the honour and happiness of presenting Miss Amelia Sedley to her parents, as a young lady not unworthy to occupy a fitting position in their polished and refined circle. Those virtues which characterize the young English gentlewoman, those accomplishments which become her birth and station, will not be found wanting in the amiable Miss Sedley, whose industry and obedience have endeared her to her instructors, and whose delightful sweetness of temper has charmed her aged and her youthful companions.
In music, in dancing, in orthography, in every variety of embroidery and needlework, she will be found to have realized her friends' fondest wishes. In geography there is still much to be desired; and a careful and undeviating use of the backboard, for four hours daily during the next three years, is recommended as necessary to the acquirement of that dignified deportment and carriage, so requisite for every young lady of fashion.
In the principles of religion and morality, Miss Sedley will be found worthy of an establishment which has been honoured by the presence of The Great Lexicographer, and the patronage of the admirable Mrs. Chapone. In leaving the Mall, Miss Amelia carries with her the hearts of her companions, and the affectionate regards of her mistress, who has the honour to subscribe herself, Madam,
Your most obliged humble servant,
Barbara Pinkerton
P.S.--Miss Sharp accompanies Miss Sedley. It is particularly requested that Miss Sharp's stay in Russell Square may not exceed ten days. The family of distinction with whom she is engaged, desire to avail themselves of her services as soon as possible.
This letter completed, Miss Pinkerton proceeded to write her own name, and Miss Sedley's, in the fly-leaf of a Johnson's Dictionary--the interesting work which she invariably presented to her scholars, on their departure from the Mall. On the cover was inserted a copy of "Lines addressed to a young lady on quitting Miss Pinkerton's school, at the Mall; by the late revered Doctor Samuel Johnson." In fact, the Lexicographer's name was always on the lips of this majestic woman, and a visit he had paid to her was the cause of her reputation and her fortune.
Being commanded by her elder sister to get "the Dictionary" from the cupboard, Miss Jemima had extracted two copies of the book from the receptacle in question. When Miss Pinkerton had finished the inscription in the first, Jemima, with rather a dubious and timid air, handed her the second.
"For whom is this, Miss Jemima?" said Miss Pinkerton, with awful coldness.
"For Becky Sharp," answered Jemima, trembling very much, and blushing over her withered face and neck, as she turned her back on her sister. "For Becky Sharp: she's going too."
"MISS JEMIMA!" exclaimed Miss Pinkerton, in the largest capitals. "Are you in your senses? Replace the Dixonary in the closet, and never venture to take such a liberty in future."
"Well, sister, it's only two-and-ninepence, and poor Becky will be miserable if she don't get one."
"Send Miss Sedley instantly to me," said Miss Pinkerton. And so venturing not to say another word, poor Jemima trotted off, exceedingly flurried and nervous.
Miss Sedley's papa was a merchant in London, and a man of some wealth; whereas Miss Sharp was an articled pupil, for whom Miss Pinkerton had done, as she thought, quite enough, without conferring upon her at parting the high honour of the Dixonary.
Although schoolmistresses' letters are to be trusted no more nor less than churchyard epitaphs; yet, as it sometimes happens that a person departs this life who is really deserving of all the praises the stone-cutter carves over his bones; who is a good Christian, a good parent, child, wife, or husband; who actually does leave a disconsolate family to mourn his loss; so in academies of the male and female sex it occurs every now and then that the pupil is fully worthy of the praises bestowed by the disinterested instructor. Now, Miss Amelia Sedley was a young lady of this singular species; and deserved not only all that Miss Pinkerton said in her praise, but had many charming qualities which that pompous old Minerva of a woman could not see, from the differences of rank and age between her pupil and herself.
For she could not only sing like a lark, or a Mrs. Billington, and dance like Hillisberg or Parisot; and embroider beautifully; and spell as well as a Dixonary itself; but she had such a kindly, smiling, tender, gentle, generous heart of her own, as won the love of everybody who came near her, from Minerva herself down to the poor girl in the scullery, and the one-eyed tart-woman's daughter, who was permitted to vend her wares once a week to the young ladies in the Mall. She had twelve intimate and bosom friends out of the twenty-four young ladies. Even envious Miss Briggs never spoke ill of her; high and mighty Miss Saltire (Lord Dexter's granddaughter) allowed that her figure was genteel; and as for Miss Swartz, the rich woolly-haired mulatto from St. Kitt's, on the day Amelia went away, she was in such a passion of tears that they were obliged to send for Dr. Floss, and half tipsify her with salvolatile. Miss Pinkerton's attachment was, as may be supposed from the high position and eminent virtues of that lady, calm and dignified; but Miss Jemima had already whimpered several times at the idea of Amelia's departure; and, but for fear of her sister, would have gone off in downright hysterics, like the heiress (who paid double) of St. Kitt's. Such luxury of grief, however, is only allowed to parlour-boarders. Honest Jemima had all the bills, and the washing, and the mending, and the puddings, and the plate and crockery, and the servants to superintend. But why speak about her? It is probable that we shall not hear of her again from this moment to the end of time, and that when the great filigree iron gates are once closed on her, she and her awful sister will never issue therefrom into this little world of history.
But as we are to see a great deal of Amelia, there is no harm in saying, at the outset of our acquaintance, that she was a dear little creature; and a great mercy it is, both in life and in novels, which (and the latter especially) abound in villains of the most sombre sort, that we are to have for a constant companion so guileless and good-natured a person. As she is not a heroine, there is no need to describe her person; indeed I am afraid that her nose was rather short than otherwise, and her cheeks a great deal too round and red for a heroine; but her face blushed with rosy health, and her lips with the freshest of smiles, and she had a pair of eyes which sparkled with the brightest and honestest good-humour, except indeed when they filled with tears, and that was a great deal too often; for the silly thing would cry over a dead canary-bird; or over a mouse, that the cat haply had seized upon; or over the end of a novel, were it ever so stupid; and as for saying an unkind word to her, were any persons hard-hearted enough to do so--why, so much the worse for them. Even Miss Pinkerton, that austere and godlike woman, ceased scolding her after the first time, and though she no more comprehended sensibility than she did Algebra, gave all masters and teachers particular orders to treat Miss Sedley with the utmost gentleness, as harsh treatment was injurious to her.So that when the day of departure came, between her two customs of laughing and crying, Miss Sedley was greatly puzzled how to act. She was glad to go home, and yet most woefully sad at leaving school. For three days before, little Laura Martin, the orphan, followed her about like a little dog. She had to make and receive at least fourteen presents--to make fourteen solemn promises of writing every week: "Send my letters under cover to my grandpapa, the Earl of Dexter," said Miss Saltire (who, by the way, was rather shabby). "Never mind the postage, but write every day, you dear darling," said the impetuous and woolly-headed, but generous and affectionate Miss Swartz; and the orphan little Laura Martin (who was just in round-hand), took her friend's hand and said, looking up in her face wistfully, "Amelia, when I write to you I shall call you Mamma." All which details, I have no doubt, Jones, who reads this book at his Club, will pronounce to be excessively foolish, trivial, twaddling, and ultra-sentimental. Yes; I can see Jones at this minute (rather flushed with his joint of mutton and half pint of wine), taking out his pencil and scoring under the words "foolish, twaddling," &c., and adding to them his own remark of "quite true." Well, he is a lofty man of genius, and admires the great and heroic in life and novels; and so had better take warning and go elsewhere.
Well, then. The flowers, and the presents, and the trunks, and bonnet-boxes of Miss Sedley having been arranged by Mr. Sambo in the carriage, together with a very small and weather-beaten old cow's-skin trunk with Miss Sharp's card neatly nailed upon it, which was delivered by Sambo with a grin, and packed by the coachman with a corresponding sneer--the hour for parting came; and the grief of that moment was considerably lessened by the admirable discourse which Miss Pinkerton addressed to her pupil. Not that the parting speech caused Amelia to philosophise, or that it armed her in any way with a calmness, the result of argument; but it was intolerably dull, pompous, and tedious; and having the fear of her schoolmistress greatly before her eyes, Miss Sedley did not venture, in her presence, to give way to any ebullitions of private grief. A seed-cake and a bottle of wine were produced in the drawing-room, as on the solemn occasions of the visits of parents, and these refreshments being partaken of, Miss Sedley was at liberty to depart.
Product details
- ASIN : 0141439831
- Publisher : Penguin Classics; Reissue edition (April 29, 2003)
- Language : English
- Paperback : 912 pages
- ISBN-10 : 9780141439839
- ISBN-13 : 978-0141439839
- Lexile measure : 1270L
- Item Weight : 1.36 pounds
- Dimensions : 5.17 x 1.58 x 7.73 inches
- Best Sellers Rank: #196,954 in Books (See Top 100 in Books)
- #408 in Teen & Young Adult Classic Literature
- #5,328 in Classic Literature & Fiction
- #11,249 in Literary Fiction (Books)
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Such a Christian influenced but ultimately pagan view of humanity is depicted in Vanity Fair. The pleasantries, hypocrisies and egotisms of humanity has rarely been so starkly depicted. But Thackeray provides no alternative of a spiritual life. Instead, human society, the pride of nineteenth century Britain, is seen to be little more than an anthill, with busy actors running around frantically building nothing of great importance.
Connected to this is Thackeray’s feminism. He is the rare nineteenth century author that, while pointing out the differences between men and women, dares to make the smartest character a woman all the while depicting most of the men as fools. I don’t mean to suggest a twentieth century feminism based on ideas of equality and rights—but it is a feminism nonetheless. And it goes hand in hand with the sense that the men running the world are nothing but blowhards.
While I didn’t empathize strongly with any of the characters, Vanity Fair is one of the great novels in the English language. And, I must say that, despite not sympathizing with the protagonists, I was interested enough to keep turning eight hundred pages plus. Vanity Fair has taught generations of readers the age old lesson of vanity of vanities. It’s a lesson many of us could heed even today.
The novel chronicles the fortunes and mishaps of two childhood friends, Amelia Sedley and Rebecca Sharpe: one a hopeless romantic, the other an incorrigible opportunist. Come along with them on their unforgettable journey (or puppet show, as Thackeray would have us view it) as they graduate from charm school, marry, endure the Battle of Waterloo, bear children and much more! Of course, no Victorian novel of this magnitude would be complete without a diverse cast of supporting characters: the dutiful Capt. Dobbin, the narcissistic civilian Jos Sedley, the petulant and slowly-dying Miss Crawley, the reproachable Lord Steyne, the vociferous Mrs. Peggy O’Dowd and many others.
For Thackeray, each character fits squarely into the ambient setting which he calls Vanity Fair, in homage to Bunyan’s “Pilgrim’s Progress,” a place meant to satirize pre-Victorian England (and its successors). Vanity has two distinct meanings here, which Thackeray so carefully weaves together. On the one hand, the people of Vanity Fair are vain in the sense of being egotistical. Their ego requires satisfaction whether by a position in society, or wealth, or the love of a woman; as they strive to attain one or more of these, they must conceal their object-in-view from everyone else. It is this other sense of “vanity” that Thackeray satirizes; i.e., futility. All these attempts at conniving, dissembling, and then arriving at one’s end never yield long-term happiness.
Thackeray’s style is inimitable and perhaps may best be described as playfully sardonic. He is rarely ever serious and uses hyperbole to no end. This style sets him apart from his contemporaries. Where Hardy is tragic, he is realistic; where Eliot is subtly deprecatory, he is outwardly so; where Dickens longs for Christianity, he revels in being a heathen. And of course, one of the most recognizable devices in his writing is the tangent, never without purpose and always without apology. Some of these may be readily skipped over but some are worth reading, if only to get a good laugh. Indulge Thackeray in some of these and you will not be disappointed!
This book has somehow both, not aged well at all, and is still tremendously relevant. I say that, because I think a quarter of the dialogue is written in French, and laced with other French terms. At a time when probably lots of people spoke French, that was fine. The extent of my understanding of French comes from that Christina Aguilera song in Moulin Rouge. That's not a joke. That's pretty much all I know. Which made this a painful push to the finish, because I was too lazy to google all the French terms or highlight them in my kindle for a translation (whose French skills are also pretty shoddy). Lastly, Thackeray wrote in several accents of English, including regional British accents, Irish, Scottish, German, and on and on and on. Which made my already limited understanding of early 19th century terms even more difficult to translate. Hence the 10 days to finish.
I say it's still relevant, because I have a sad feeling that high society (not limited to the UK) still acts very much this way. Mind you, I know nothing of high society, but when I see even the poorest people out and about flashing around the newest iPhone, it sort of speaks to me about Becky's and Rawdon's entire story line. And wasn't there some upset awhile back when Prince William was courting Kate Middleton, because Kate wasn't royal enough? I don't know. But if anyone ever writes a modern day Vanity Fair, I'd be very much inclined to read it and pay another visit to that sad little town.
As for the book itself, well, like I said, it was painful to read, and not just because half of it was above my comprehension level. I was only at 40% finished and already asking myself "Can this be over yet?" It was a painfully slow read. Some paragraphs the author was just listing names and names of Lords and Ladies attending parties. Or of the many many people shunning Becky Sharpe.
Which brings me to another point. The stupid names. I can't tell you Pitt Crawley, from Baronet Crawley, from Sir Crawley, from Bute Crawley. I do know Rawdon, and that's it. But when half the women are referred to as Mrs. Osborne or Misses Osborne or Mrs. Osborne (George's wife Amelia) I really don't know what the heck is going on.
Some characters were introduced with no introduction as to how they fit in the story. Some characters got lengthy introductions only to disappear without contributing anything of note to the actual story. Tapeworm for example, whose name I only remember because it was so ridiculous and sounds like an infection, had almost an entire chapter dedicated to his comings and goings and knowings, just so he could later tell Dobbin that Becky was no good, which we all already knew.
I didn't hate this book. But I was just so bored most of the time. Vanity Fair: a Novel without a Hero. Well novels without heroes make for boring novels. And I disagree on the without a hero part, I think Dobbin was very much the hero. But he was so terribly dull, that I'm guessing that's why he didn't get that title role.
I'm giving it three stars anyway, because like I said, I think it's all still relevant and serves up lots of food for thought. It did have a great ending, and I was pretty much glued to that last chapter. But I also think 300 pages could have been cut without an ounce of the meaning being lost. I'd highly recommend this to anyone who loves those 19th century greats like Dickens, Austen, and the Bronte sisters. You might glean more from it than I.
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In this edition this becomes "While the present century become in its teens, and on one sunshiny morning in June, there drove as much as the terrific iron gate of Miss Pinkerton's academy for young girls, on Chiswick Mall, a huge own family train, with fat horses in blazing harness, driven by way of a fats coachman in a 3-cornered hat and wig, on the fee of 4 miles an hour".
I couldn't take any more, and bought a second hand paper copy.


I rated this 4* because some time the writings are a bit turgid and you have to persevere. Perseverance is rewarded with passages of genuine beauty and not a little humour, this is a really involving read full of rounded characters and decent plotting.

I hadn't read it for (mumbles) decades, er, years and had forgotten several parts, including the ever-delightful Mrs O'Dowd "of the Molonys and Molloys", but most of all I'd forgotten how cleverly Rebecca manages to remain, as she and her supporters endlessly claim, 'pure' while obtaining all the advantages her detractors suggest are otherwise acquired. Her occasional fits of compassion and even kindness, providing they don't cost her anything, of course, make her a more rounded character than she would otherwise have been.
To a 21st century reader Amelia is, like almost all 19th century heroines, rather insipid and too feeble in both body and character to appeal much, but unlike some of her sisters in fiction stays just this side of downright irritating and in need of a good slap. (At least we're spared some of their pious religiosity.) And compared to the spirited Becky it's easy to find our sympathies tending to the latter at times, as no doubt the author intended it should, each character the perfect foil of the other, the contrast forming the major spine of the story. And the reader does cheer both of them on: we want Amelia to stop moping and accept Dobbin, just as much as we admire Rebecca's cleverness in spinning yarns and fighting her way through life to achieve a height — whether of status or notoriety depends on who is asked — unlikely given her lowly start.
But, even though the author claims "this is a book without a hero", the real hero of the book is the steady, ploddingly-named Dobbin, he of perfect patience and perfectly upright behaviour in all circumstances. He ought to be as infuriating in his way as any milk-and-water 19th century heroine he is so without faults, and his unshakeable attachment to Amelia ought to make the reader want to award him a good slap or two as well. Yet somehow his genuine good nature, warmth and lack of any piety, false or otherwise, wins one over. One wants him to succeed in his aims even more than the two women. It is essentially the story of dogged, plodding Dobbin (See what I did there?😉 Okay, me and the author) that holds us throughout the book.
Along the way there are some deliciously waspish comments about life at Vanity Fair, comments that have enough resonance today to make you smile, or perhaps grimace, together with a large cast of entertaining minor characters who display all the vanities and falsities to be found there, then as now.
Perhaps it's for this reason that the book is as enjoyable today as it ever was. It's a much easier read, too, in terms of its language and style than some others of similar era. In fact it jogs along so easily, its characters are so engaging and its wit so sly that despite its length it requires no effort from the reader and feels like a loss to have finished. I may even read it again in another couple of decades', er, years' time.
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