Contents introduction The role of critical realism in english literature of 19 century

"The Book of Snobs" (1847). Here Thackeray gives a satirical description of the ruling classes of England: the aristocracy, the landed nobility, the bourgeoisie and military officers. "First the world was made: then as a matter of course, Snobs," writes Thackeray. "Snobbishness is like death., beating with equal foot at poor men's doors and kicking at the gates of Emperors."[3]
What is a Snob? "He who meanly admires mean things is a Snob," answers Thackeray. A snob is a person who has exagge­rated respect for social position and wealth, he is ashamed of socially inferior connections. He is despotic to his inferiors and servile to his superiors.
It seems to the author of the book that all English society is "sneaking and bowing and cringing on the one hand, or bullying and scorning on the other, from the lowest to the highest".
Such is English society as seen by W. M. Thackeray. The writer's stress is laid on social inequality and its moral results. He is against British imperialism, defends oppressed Ireland, criticises the monarchy and the bourgeoisie and shows his dislike in scor­ching satire.
"Vanity Fair" (1848). Charlotte Bronte wrote that there was a man in her days whose words were not framed to tickle delicate ears, who spoke the truth. Chernishevsky said that of all European writers of that time Dickens alone could be placed on a level with the author of "Vanity Fair". Dickens took his material from the lower classes of England, Thackeray supplemented him by his bril­liant characters of the upper-middle and aristocratic classes and portrayed their life: engagements, weddings, business success and bankruptcy, hunting for inheritance and titles, relations between parents and children, etc. He considered vanity the main force that moved his contemporary society. The novelist called that society "Vanity Fair" where everything could be sold and bought. He turned his satire against the vanity of the upper classes, the base­ness of their aspirations, the power of money, ranks and titles.
Never did man create in a single novel so many, so varied and so immortal characters: businessmen, landlords, diplomats, dan­dies» officers, etc. The author of "Vanity Fair" wished to describe men and women as they really were: good and kind, silly and vain, wicked and heartless. But he knew upper-class society and had no illusions about it. Like the writers of the Enlightenment he thought that literature should teach people, but he did not know how to do away with social evils, he could only expose them. Therefore as the subtitle of the book "A Novel Without a Hero" shows Thackeray saw neither positive characters nor heroes in upper-class society. Even those who were kind and good were often limited and stupid. "Vanity Fair" is notable for its clear-sighted realism, simple style, attractive humour, biting satire and deep insight into human heart. It is a classic example of social satire. Thackeray once ad­mitted that he had a high opinion of "that little production" him­self. Indeed the novel is another epic, like "Tom Jones", of English life.
The plot of the novel is built around the fates of Amelia Sedley and Rebecca Sharp. Amelia is the daughter of a rich merchant in London. She is sweet, honest and naive.
Her friend Rebecca Sharp or Becky is given in contrast to Amelia. She is clever, talented, charming and energetic. The girls meet at school. Becky's father was a teacher of drawing there. After his death Becky has to earn her own living. She understands that society is split into the rich and the poor. She decides to get to the top of it through marriage. Rebecca tries to entrap Ame­lia's brother Joseph. He is lazy and foolish, but rich. Her plans are ruined by George Osborne, Amelia's fiance. When her plan to marry Joseph fails Becky begins to work at Sir Pit Crawley's as a governess. She secretly marries Sir Pitt's son, Rawdon, who is to inherit his rich aunt's money. But old Miss Crawley cannot forgive her favourite nephew this foolish step and leaves her money to Rawdon's brother, Sir Pitt. Nevertheless "Rebecca's wit, cleverness and flippancy made her speedily the vogue in London among a certain class. You saw demure chariots at her door, out of which stepped great people. You beheld her carriage in the Park, surrounded by dandies of note... but it must be confessed that the ladies held aloof from her, and that their doors were shut to our little adventurer."
Suddenly Sedley goes bankrupt. Old Osborne disinherits his son because he has married Amelia, the daughter of his bankrupt friend. Soon after their marriage George is sent to Belgium to fight against Napoleon's army. He is killed on the field of Water­loo. Now Amelia and her son George are very poor. They only receive occasional presents from little George's god­father, Colonel Dobbin. He loves Amelia and little Georgy and after his friend's death proposes to Amelia. But she remains faithful to her husband.
Captain Rawdon Crawley returns a colonel. Rebecca is presen­ted to the court and recognized by upper society. Yet her career soon comes to an end. Her relations with Lord Steyne fstim] are disclosed, and her husband leaves her. Her son is adopted by Rawdon's brother. Rebecca becomes an adventuress.
Old Osborne dies leaving his money to his grandson. Dobbin is appointed as Georgy's guardian. In the end Amelia learns that her husband wanted to leave her and flee with Becky. Then she consents to marry Dobbin.