Rebecca "Becky" Sharp, later describing herself as Rebecca, Lady Crawley, is the main protagonist of William Makepeace Thackeray's 1847–48 novel Vanity Fair. She is presented as a cynical social climber who uses her charms to fascinate and seduce upper-class men. This is in contrast with the clinging, dependent Amelia Sedley, her friend from school. Becky then uses Amelia as a stepping stone to gain social position. Sharp functions as a picara—a picaresque heroine—by being a social outsider who is able to expose the manners of the gentry to ridicule.
The book—and Sharp's career—begins in a traditional manner of Victorian fiction, that of a young orphan (Sharp) with no source of income who has to make her own way in the world. Thackeray twisted the Victorian tradition, however, and quickly turned her into a young woman who knew what she wanted from life—fine clothes, money and a social position—and knew how to get them. The route was to be by marriage, and the novel follows Sharp's efforts at snaring a wealthy, but simple, husband, and being outdone by fate in her attempt. Eventually, she achieves her aims, but her husband catches her with a member of the aristocracy. Finding herself in Brussels during the Waterloo campaign, as the mistress of a British general, she in no way shares in the alarm felt by other Britons; to the contrary, she soberly makes a contingency plan—should the French win, she would strive to attach herself to one of Napoleon's marshals.
It is probable that Thackeray based the Becky Sharp character on real women. A number of historical figures have been proposed, and it is generally considered that Sharp is a composite of them. Sharp has been portrayed on stage and in films and television many times, and has been the subject of much scholarly debate on issues ranging from 19th-century social history, Victorian fashions, female psychology and gendered fiction.
Context
Rebecca Sharp—generally known as Becky—is the main character in Thackeray's satirical novel, Vanity Fair: A Novel without a Hero, which was published incrementally between 1847 and 1848. Thackeray wished to counter the prevailing belief in society that it was impossible for women to create a fashionable self-image.
Set in high regency society at the time of the Waterloo campaign—in which three of the main male characters go to fight—the book is a "vast satirical panorama of materialist society" and an early work of the realist school. A comedic and semi-historical novel, Vanity Fair brought its author immediate renown on its 1847 publication.
According to 19th-century literary norms, the book's heroine should have been the upper-class Amelia Sedley; Thackeray, though, ensures that she is outshone by the lower-class Becky Sharp throughout. Sedley is a "dull and colourless foil"; she has all the positive traits that Sharp lacks, yet these bring her none of the benefits that Sharp experiences. Structurally, Amelia and Becky are joint-main characters, but as John P. Frazee points out, readers instinctively identify the latter as the sole protagonist due to her energy and forcefulness, while Amelia's colourlessness pushes her into the background.
Sharp is shown to be continually on the lookout for a wealthy but simple husband who will indulge her while turning a blind eye to her associations. The book traces hers and Amelia's respective paths in life, from the finishing school where they first meet, through their marriages, to their respective middle age.
Synopsis The story is framed as a puppet show taking place at an 1814 London fair and is narrated by a highly unreliable master of ceremonies who repeats gossip at second or third hand. Vanity Fair tells the story of Rebecca ("Becky") Sharp, the orphaned daughter of an English art teacher and a French dancer. She is a strong-willed, cunning, and moneyless young woman determined to make her way in society. After leaving school, Becky stays with Amelia ("Emmy") Sedley, the good-natured and ingenuous daughter of a wealthy London family.
At Amelia's house, Becky meets the dashing and self-obsessed Captain George Osborne—actually engaged to Amelia—and Amelia's brother Joseph ("Jos") Sedley, a clumsy and vainglorious but rich civil servant home from the East India Company. Hoping to marry Sedley, the richest young man she has met, Becky entices him, but she fails. Osborne's friend, Captain William Dobbin, loves Amelia, but, putting her happiness first, does not attempt to compete with Osborne. Sharp goes into service with the crude and profligate baronet Sir Pitt Crawley, as governess to his daughters; she soon gains his favour. Sir Pitt's wife dies and he proposes to Becky. By then, though, she has married his son, Rawdon, which she soon regrets.
News arrives that Napoleon has escaped from Elba, and the stock market crashes, bankrupting Amelia's father. George's rich father forbids George to marry Amelia, because she is now poor. Dobbin persuades George to marry Amelia; George is disinherited. George, Dobbin and Rawdon are despatched to Brussels for the campaign. Osborne, tiring of Amelia, grows attracted to Becky.
At the Duchess of Richmond's ball in Brussels, Becky embarrasses Amelia by making snide remarks about the quality of the latter's frock; meanwhile, the army receives marching orders to Waterloo. The battle can be heard from Brussels, but Becky is indifferent to the result, making plans for whoever wins (for example, if Napoleon wins, she decides, she intends to become the mistress of one of his marshals). Osborne is killed, while Dobbin and Rawdon survive. Amelia lives in genteel poverty caring for their son.
Becky also has a son, to whom she is cold and distant, being far more interested in first Paris and then London society where she meets the wealthy Marquis of Steyne, by whom she is eventually presented at court to the Prince Regent, George IV. She charms Steyne at a game of "acting charades" where she plays the roles of Clytemnestra and Philomela. This point is the peak of Becky's social success, but Rawdon is arrested for debt, possibly at Becky's connivance. Steyne had given Becky money, jewels, and other gifts, but she makes no effort to free her husband.
When Rawdon is released, he finds Becky entertaining Steyne, whom Rawdon beats up, assuming the two to be having an affair. Steyne is indignant, having assumed the £1,000 he had just given Becky was part of an arrangement with her husband. Rawdon finds Becky's hidden bank records and leaves her, expecting Steyne to challenge him to a duel. Instead, Steyne arranges for Rawdon to be made Governor of Coventry Island, a pest-ridden location. Becky, having lost both husband and credibility, leaves England and wanders the continent, leaving her son in care.
Amelia, Jos, George and Dobbin go to the fictional Pumpernickel (based on Weimar, Germany), where they find Becky destitute. She lives among card sharps and con artists, drinking heavily and gambling. Becky enchants Jos Sedley all over again, and Amelia is persuaded to let Becky join them. Becky decides that Amelia should marry Dobbin, notwithstanding that Dobbin is Becky's nemesis, the only person to ever see through her before it is too late. Amelia and Dobbin return to England, while Becky and Jos stay in France. Jos dies in suspicious circumstances—likely poisoned—shortly after signing much of his wealth to Becky, giving her an income. She returns to England and lives as a demi-mondaine. Her former associates refuse to have anything to do with her.
Character For much of the book, owing to her lower-class origins, Sharp is not treated as a social equal to her associates, who are at least middle if not upper class. She is "notoriously immoral"—indeed, according to one commentator, she is the "embodiment of moral transgression"—with a "ruthless determination ... but unfailing good temper". Her energy repeatedly creates a "whirlwind" around her.
Sharp "manages to cheat, steal and lie without getting caught by the agents of social, moral and economic order who pursue her", which she does by creating for herself a new set of circumstances each time. This makes her "dangerous", in contemporary eyes, says Montz, and Sharp plays many such discrete roles throughout the book. However, each time she reinvents herself in order to overcome the next adversity, her previous reputation always catches up with her. Jennifer Hedgecock has commented that:
Origins, appearance and personality Born in Soho, Becky Sharp is the daughter of an impoverished English artist and a French "opera girl"—possibly a prostitute—and is thus half-French herself. To the English in the novel, her English ancestry is invisible; to them, she is wholly a Frenchwoman. She appears to have loved her father: Thackeray tells how, as a girl, she would sit with him "and [hear] the talk of many of his wild companions—often but ill-suited for a girl to hear", and when he dies Sharp misses both his companionship and the freedom that she had living with him.
Sharp is a "flamboyant coquette" with bright green eyes. She is waif-like and attractive although not necessarily beautiful. A picara, she has talents for, and enjoyment of, acting, and is an excellent mimic. She has been described as "ever-adaptable" with a will to live and a vitality. However, she is also a duplicitous trickster,—"an outlaw, female insubordination personified", says Marion Meade—with an aggressive streak in her, who, however, never loses her femininity. She also has, says the Narrator, "wit, cleverness and flippancy", and a gift for "fun and mimicry".
Sharp is, says Harold Bloom, "famously a bad woman, selfish and endlessly designing, rarely bothered by a concern for truth, morals, or the good of the community." E. M. Forster describes Sharp as being "on the make"; for example, when she first sees Amelia's brother Jos, who is a revenue collector for the East India Company in Calcutta, she immediately asks Amelia whether he is very rich, because, "they say all Indian Nabobs are enormously rich".
She is obsessed by money; unlike Amelia, who thinks that £2,000 () will last her a lifetime, Sharp thinks that nothing less than £5,000 () a year would be sufficient. Sharp's selfishness is even more highlighted when her husband is preparing to leave on the Waterloo campaign; she is more concerned that he has protected her income in case he is killed than over the risk to his life. Her subsequent attempt at appearing sorrowful at his departure is unrealistic to both her husband and the reader. The only time she cries for real is when she learns she could have married Sir Pitt Crawley, rather than, as she did, his son, whose fortunes were far less prosperous. "Her financial gains are always achieved through the exploitation of the affections of others", wrote Ulrich Knoepflmacher; Sharp understood, very early on, that sentiment is a profitable commodity and one to be used and disposed of when circumstances demanded it.
Sharp knows what an English lady should look like, and her impersonation is impeccable: "dressed in white, with bare shoulders as white as snow—the picture of youth, unprotected innocence and humble virgin simplicity". She understands the power that a fashionable appearance brings; "and revels in it", says Montz; thus she deliberately stages tableaux and parlour games in order to take centre stage, and as an excuse to dress even more flamboyantly. Her English companions consider her obsession with fashionable clothes the product of her French blood. Clothes, though, for Sharp, are an essential tool; they enable her to blend in with her upper-class associates. Sharp's "desire for fashion and worldliness" is in tune with the snobbish affectations—which she emulates—and hypocrisies of English society, which she identifies immediately. She is, however, sufficiently socially adaptable as to be able to blend in with the Bohemians she later meets in Germany.
Career