Analysis on the role of women and men in vanity Essay

Victorian era literary has produced many different masterpieces from many different writers who focused mainly on the emergence of interpersonal issues involving love, money and social status, usually backdropped by a historical event with national relevance at the time of the story telling. Vanity Fair is one of these types of this kind of work. And even until today, Vanity Fair is one of the materials referenced by critics during literary analysis involving the role of women in the society, the role of patriarchal influence in the Victorian era social politics and the presentation of different women stereotypes in literature. Vanity Fair is a serialized literary material written by William Makepeace Thackeray, published initially in the pages of Punch Magazine in the United Kingdom, beginning at the start of the year 1847, the final instalment appearing a year later in July. The initial title of this masterpiece was Vanity Fair: A Novel without a Hero. A popular saying describes vanity as the favorite sin of men and women, a line of thought which will be heavily discussed and supported in this particular paper through the analysis of the presence of vanity and the role of men and women inside the society on the propagation and existence of vanity. Vanity Fair is a very interesting book that attacks personal and societal illnesses that causes the corruption and corrosion from the inside of what was believed to be a socially-shared moral right. The author attacked the issues and the personal and social crises by pointing out the role of individuals as well as the role of the structure of the society that influences the lives of the individuals in the story. â€Å"Almost every sin in Vanity Fair can be traced, beyond personal weakness, to the fundamental laws of money and class†¦ The poison in Vanity Fair infects the bottom rungs of the social ladder as well as the top (Dyson, 1973, p. 86). † The role of women in William Thackeray’s â€Å"Vanity Fair† There are many different women found in the novel Vanity Fair. But there are some key female characters that provided significant roles in the story so that the novel can depict the real life situation in the Victorian era and in the process provide whatever moral lesson it can about the aspects of life that it managed to discuss and tackle. The list of key female characters that require scrutiny and analysis is topped by the three women characters that possess any or all of the traits that made them important, like personality, influence, cunning and power: Miss Crawley and the contrasting Becky Sharp and Amelia Sedley. Becky Sharp – In a novel without a hero, Becky Sharp was the heroine, even if for some she is the anti-heroine. Becky was one of the two lead women characters who are central to the story. The two girls are opposites in many different ways, and their lives continue such path, with Becky becoming the most villainous of the two and Amelia Sedley her exact opposite. Indeed, the character of Becky Sharp was the catalyst for social abrasion. Some might feel that Becky represents everything that is morally bad and undesirable in the society inside Vanity Fair. Sharp’s character also reminds the readers that people cannot ignore people like her and the characteristics that she displays, dismissing it as a characteristic that is a mere product of a fictional character. Her character represents a type of individual who is alive in the real world. In some twisted consideration, Becky can be considered as the source of â€Å"life† – if life means the presence of constant conflict and the consistent surfacing of anything unexpected – inside a society because Becky does not let social norms get in the way of what she wants. â€Å"The woman who goes after money and status but finds that they do not satisfy her – a woman like Becky Sharp – is allowed to be at least morally interesting (Garson, 2007, p. 99). † Whether readers admit it or not, Becky’s character is an important pull to the consciousness of the readers; she provides the intrigue and sin that readers on the outside condemn but diligently follows through in the next episodes of the novel. Becky seduces and elicits the feeling of scorn and hate so much that she makes the readers always eager to know what happened to her, largely because real life readers are as vain as her. Becky taunts the devil in the readers, making them think and reconsider the â€Å"what ifs,† the things that Becky is not afraid to do which the readers are having second thoughts of doing. Becky triggers the fantasies. For the women readers, it is the fantasy of being able to pull of seduction and gain worldly possessions, to bed many different men and feel a different kind of power, to be free from the shackles and restraints the patriarchal society placed upon women and to be largely free and unaccountable to anything. For male readers, the fantasy is to be seduced by a Becky Sharp, to be offered body and lustful obedience in exchange for money and power that not every man can have in his lifetime. Becky made the world go around inside Vanity Fair, even if the sad part is that as a whole, she is still a mere part of the patriarchal society that used her as much as she used it to her advantage. â€Å"And what else creates change in Vanity Fair if not Becky’s subversive sexual behavior? It is she deprives Amelia of a loving husband well before Thackeray has him killed off on the battlefield at Waterloo (Armstrong, 1990. p. 178). † Amelia Sedley – Amelia contradicts Becky in comparison in many ways. Amelia always opts to live in the past and is tied with the memory of past while Becky is always looking ahead into the future. Amelia is always passive and easily contented, while Becky is always on the move, always hunting or scheming so that she can get what she wants. Amelia is the prototype for the docile and meek domestic housewife, during and after her married life with George, while Becky was â€Å"anything but. † Amelia gives the readers hope that there are still people who walk the straight path of morality, while Becky is jumping up and down, always falling far from where morality wants her to be. Amelia’s role in the novel is more than just as an individual who represents everything that Becky is. Amelia, to some extent, was also the symbol of the ills of the life of being meek and sulky. She is the anatomy of the unknowing victim, the unwitting casualty to the moral massacre that poverty, indebtedness, puritanism and being overly morally upright undertakes in everyday life. She was an angel all right, but Thackeray made sure that even with wings it is easily discernable that Amelia is far from being in heaven largely because of her personality. Amelia, as a character, lived a life that was far from being the ideal married life, and the story was as unkind to her as the critics of the symbolism of woman to which she stood for. â€Å"Late-Victorian women writers contributed to the fight for women’s rights by creating representations of women that confronted the self-abnegating, submissive, housebound image of middle-class Ideal Womanhood. This ideal was epitomized at mid-century by William Thackeray’s Amelia Sedley from Vanity Fair (Mangum, 1999, p. 2). † Becky and Amelia: The analysis and profiling of the real heroine The heroine in the story can either be Becky or Amelia, depending on the reader and the reader’s perspective and moral standpoint. This is because the identification of the heroine type between the two female characters in the novel speaks a lot about the personal characteristics of the person making the difference between the two. The reader would be placed in a dilemma wherein the reader has to choose which personality she would approve between the polar characteristics of Becky and Amelia. â€Å"Plot in Vanity Fair is primarily the histories of two women: one, the shrewdly competent Rebecca Sharp, consistently exploits the conventions of high society to rise within it; the other, the compassionate but vulnerable Amelia Sedley, is exploited by Rebecca and others in their campaign to achieve social prominence (Lund, 1992, p. 23). † The author was consistent with what critics call as rule in the creation of fictitious married female characters. The story divides the desire for love and for materials goods between two individuals who are vaguely antagonists or protagonists in the story. The clear idea to the readers is the priorities of the women as human characters, looking at them outside the scope of gender. As a human character, Becky was the one who puts material things above all, while the character of Amelia puts love above all – providing not just a state of realism but also a sense of balance to the presence of contrasting but significant roles in the novel. With this the reader, male or female, would knowingly or otherwise pick one of the two to become his/her heroine largely on the identification of the same grounds where the character and reader stands. A reader will hardly choose both because like the rule of the fiction writing, the reader will only empathize with the predicament of the character with whom he or she relates the most. â€Å"The rule in fiction is that a female character cannot want both love and luxury. Rare indeed is the novelistic heroine who genuinely loves her husband but who at the same time desires and frankly enjoys the goods that he is able to buy her (Garson, 2007, p. 99). † Thackeray makes it more difficult for the readers to pick which is the heroine between the two opposite characters because an important characteristic of the difference between the two is that the author created characters which are neither white nor black. Becky and Amelia are both neither strictly good nor straight-out bad. The differences of the two candidates for heroine-ism also made implications that altered their state of being good or bad as their state of lives moves forward in the story. There is a sense of goodness in Becky as much as there are some things in Amelia which may merit disapproval from the readers. Because the story is centered on domestic life of couples and the complexity that the society and the personalities of the people in it contribute to the lives of married individuals, the personalities of Beck and Amelia as wives are just as important pieces of consideration as much as their own personal characteristics are in the pursuit of defining who is the more suitable heroine between the two. And like their personalities as single individuals, how they were as wives is just as complicated, Thackeray became consistent with the idea of ending up with having no real defined hero (or heroine for that matter). It forces the reader to take a very good look at real life before finally judging who between Becky and Amelia deserved to be raised in the pedestal as the ideal woman and wife. â€Å"The role she plays perhaps most productively is that of the faithful and charming little wife to Rawdon Crawley. Ironically, as long as she finds it advantageous to play this role, she is a much more effective domestic angel than Amelia Osborne, whose devotion to her husband George is heartfelt but sterile, who maternal affection is positively destructive, and who is quite unable to repay Dobbin for his years of devotion. In contrast to Amelia, Becky brings out the best in her husband, transforming Rawdon from a randy roue to a contented husband and a devoted father (Garson, 2007, p. 99). †