Glare of Fashion in Vanity Fair
I fancy the doors to society guarded by grooms of the chamber with flaming silver forks with which they prong all those who have not the right of the entrée...the honest newspaper fellow....dies after a little time. He can't survive the glare of fashion long. It scorches him up, as the presence of Jupiter in full dress wasted that poor imprudent Semele&emdash;a giddy moth of a creature who ruined herself by venturing out of her natural atmosphere. (657)
With this sentiment in mind, Thackeray expresses his conception of the danger present when one attempts to step outside of their inherent social strata. Through depicting a world devoted to upholding the inflexible codes of society, Thackeray creates an appropriate backdrop for his humorously satirical novel Vanity Fair. At the heart of this work, the avaricious Becky Sharp, born of common blood, fights against traditional precincts by "venturing" (657) outside of her proper environs and entering into an elevated climate where the credulous yield unquestioningly to her will and the skeptics scorn her with cold indifference. Determined to secure a place in genteel society, Rebecca, disregarding the standards of society, manipulates the naive by engaging in hypocrisy and subterfuge while blinding those who doubt her with an unconquerable charm.
Clearly a perfectionist in the art of deception, Becky Sharp, a young woman with serpentine sentiments, slithers her way into the aristocratic society that composes the hollow cortex of Vanity Fair. With unremitting cupidity, Becky exploits all those she encounters for the sole purpose of ameliorating her own situation, both financially and socially. Commencing her mission...
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...little earthenware pipkin, you want to swim down the stream along with the great copper kettles...lookout and hold your own! How the women will bully you!" (613) Substantiating Lord Steyne's foreboding, with frigid indifference the ladies at his soirée slight Becky, thus proving that she can never fully advance into their milieu. In view of this, Becky, one step away from pushing open the doors to social dominance, fails. Charms and beauty only carry the unwealthy so far in the world of Vanity Fair, thus Becky remains locked out of the room to which she dedicated her life to gaining entrance. Outstripped by the pretentious peerage, Becky's quest for status reiterates the insuperable fact that one without fortune or noble ancestry "can't survive the glare of fashion long" (637).
Thakeray, William Makepeace. Vanity Fair. New York: Bantam Books, 1997.
Both Vanity Fair and A Room of One’s Own explore and challenge the idea that women are incapable of creating a name and a living for themselves, thus are completely dependent on a masculine figure to provide meaning and purpose to their lives. Thackeray, having published Vanity Fair in 1848, conforms to the widely accepted idea that women lack independence when he makes a note on Ms Pinkerton and remarks “the Lexicographer’s name was always on the lips of the majestic woman… [He] was the cause of her reputation and her fortune.” The way that a man’s name was metaphorically “always on the lips of the majestic woman” and how he was the source of “her reputation and her fortune” expresses this idea, especially through Thackeray’s skilful use of a sanguine tone to communicate that this cultural value, or rather inequality, was not thought of as out of the ordinary. From viewing this in a current light and modernised perspective...
Diversi, M. (2006). Street Kids In Nikes: In Search Of Humanization Through The Culture Of Consumption. Cultural Studies <=> Critical Methodologies, 6(3), 370-390.
...c plot" limits and ignores the non-traditional female experience which is just as important to analyze. The Nan Princes, Lena Lingards and Tiny Solderalls of the fictional world deserve and demand critical attention not for what they don't do (the dishes) but for what they are-- working women.
For starters, imagine the most flawless and pristine character, and then multiply that by ten. Then and only then can you get the inerrant Cathy Ames. Well, Miss Ames is the ideal model of perfection, an angel fallen from heaven. She grew up in a really crappy town, not really knowing the difference between “good” and “evil”. Some children at a very young age understand that public nudity is very taboo, but she didn’t. In fact everything that the other children found wrong she found curious and intriguing. She started to experience a lot of things at a very young age, thus waking a kind of twisted way of thinking that couldn’t be overwritten even with the best of therapy. Her understanding of people’s emotions, carnal desires, and greed gave her the utmost advantage. Later, over the years of her youth she use those said advantages in her favor. In the middle of one night she had disappeared, that was the same night...
Webster, Daniel W., and The Opinions Expressed in This Commentary Are Solely Those of Daniel W.
On the one hand, according to Mark Twain reflection of women in his character Becky Thatcher as damsel in distress, stereotypical blonde and naïve. Becky could be easily seen as the damsel in distress because for one, she ripped the teacher's book, didn’t take full responsibility and, she had to have Tom take the whipping for her. The author implied that women can not handle a distressed situation. "He was careful to keep from Becky, what it was he had seen. He told her he had only shouted 'for luck'." Moreover, the author, shows men as the strong dependable species versus women who stay stuck in their place hopeless waiting for a savior. "She had sunk into a dreary apathy and would not be roused. She said she would wait, now, where she was, and die- it would not be long. She told tom to go with the kite line and explore if he chose…" In another incident, Tom asked if she was ever engaged and she said no, so when she asked him what it was like? he explained it to her. He then asked her if she wanted to be engaged and she said yes. Tom then went on and told her that she can never ...
From the beginning, Lynn Peril illustrates situations in which women have to deal with a bunch of admonitions to become more feminine and good-natured. And these tips are not just some other normal tips; they become famous and being rulers to evaluate the dignity of women. Then, the author goes on to relate her real “Pink Think” experience throughout her life and express her strong feelings, “I formed an early aversion to all things pink and girly” (Peril, 280). She also fleer some girls who feign innocence and pretend to look as if butter would not melt in their mouth.
In society, there has always been a gap between men and women. Women are generally expected to be homebodies, and seen as inferior to their husbands. The man is always correct, as he is more educated, and a woman must respect the man as they provide for the woman’s life. During the Victorian Era, women were very accommodating to fit the “house wife” stereotype. Women were to be a representation of love, purity and family; abandoning this stereotype would be seen as churlish living and a depredation of family status. Charlotte Perkins Gilman’s short story "The Yellow Wallpaper" and Henry Isben’s play A Doll's House depict women in the Victorian Era who were very much menial to their husbands. Nora Helmer, the protagonist in A Doll’s House and the narrator in “The Yellow Wallpaper” both prove that living in complete inferiority to others is unhealthy as one must live for them self. However, attempts to obtain such desired freedom during the Victorian Era only end in complications.
Miss Hancock, her personality and beliefs were contrasted entirely by her character foil, Charlotte’s mother, “this civilized, this clean, this disciplined woman.” All through Charlotte’s life, her mother dictated her every move. A “small child [was] a terrible test to that cool and orderly spirit.” Her mother was “lovely to look at, with her dark-blond hair, her flawless figure, her smooth hands. She never acted frazzled or rushed or angry, and her forehead was unmarked by age lines or worry. Even her appearance differed greatly to Miss Hancock, who she described as,” overdone, too much enthusiasm. Flamboyant. Orange hair.” The discrepancy between the characters couldn’t escape Charlotte’s writing, her metaphors. Her seemingly perfect mother was “a flawless, modern building, created of glass and the smoothest of pale concrete. Inside are business offices furnished with beige carpets and gleaming chromium. In every room there are machines – computers, typewriters, intricate copiers. They are buzzing and clicking way, absorbing and spitting out information with the speed of sound. Downstairs, at ground level, people walk in and out, tracking mud and dirt over the steel-grey tiles, marring the cool perfection of the building. There are no comfortable chairs in the lobby.” By description, her mother is fully based on ideals and manners, aloof, running her life with “sure and perfect control.” Miss
Wood, Frank B., and Elena L. Grigorenko. “Emerging Issues in the Genetics of Dyslexia: A
...e relationship with men, as nothing but tools she can sharpen and destroy, lives through lust and an uncanny ability to blend into any social class makes her unique. Her character is proven as an unreliable narrator as she exaggerates parts of the story and tries to explain that she is in fact not guilty of being a mistress, but a person caught in a crossfire between two others.
... their positions and their stand in society. Material privileges and money distinguish the upper class people from the harder working lower class, and with this we can see how morals play an important role in their life. Arrogance and vanity control the lives of those with all the money, and modesty and inner happiness is what lower class people strive for. In Rebecca, Daphne Du Maurier is able to glorify a phenomenon that takes the main character life from the bottom of the sea to a cruise ship sailing the seven seas. The narrator goes through the different social classes but keeps her own mind and morals; she is not over taken by all the riches and material privileges that come with such a life, but on the contrary, she remains true to her self and makes sure that the only thing that matters is the she and Maxim De Winter share and carry on with their lives.
Wisborg, K., Kesmodel, U., Tine, B. H., Sjurdur, F. O., & Secher, N. J. (2000). A prospective study of smoking during pregnancy and SIDS. Archives of Disease in Childhood, 83(3), 203-6. Retrieved from http://search.proquest.com/docview/196895386?accountid=41057
Women in the novel are accurately portrayed as they were in the 1920’s. Lewis presents two different scenarios in the novel, but both of these cases can follow the same mannerisms. First, Lewis depicts the loving housewife. Myra, Babbitt’s wife, continually comforts Babbitt throughout the whole novel. Myra even accepts the blame when Babbitt decides to cheat on her. Women are depicted throughout the novel as inferior when...
“Yes, this is Vanity Fair, not a moral place certainly, nor a merry one, though very noisy.” (Thackeray xviii) It is here, in Vanity Fair that its most insidious resident, selfishness,-veiled with alluring guises-has shrewdly thrived among its citizens, invading, without exception, even the most heroic characters and living so unheeded that it has managed to breed monsters of them. There are those in Vanity Fair, however, who have heeded the vicious selfishness, and, though not having lived unaffected by it, were still able to point out its many evils. One such man is William Makepeace Thackeray who exposed this truth in his novel Vanity Fair: A Novel Without a Hero which was published in 1848. Thackeray draws upon the work of a fellow author, John Bunyan, in creating a setting for his story that allows him to starkly portray human egocentric inclinations the way he saw them, as he did with his character Becky Sharp. According to biographical accounts, Thackeray’s personal life may have been the basis for some of the elements in his story, particularly the love affair of one of his main characters, Captain Dobbin.