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Irony
Definition of Metaphor
A metaphor is a figure of speech that compares two different things by saying that one thing is the other. The comparison in a metaphor can be stated explicitly, as... read full definition
A metaphor is a figure of speech that compares two different things by saying that one thing is the other. The comparison in a metaphor... read full definition
A metaphor is a figure of speech that compares two different things by saying that one thing is the other... read full definition
Metaphors
Explanation and Analysis—Meet the Puppets:
At the beginning of the novel, the narrator introduces his story as a puppet show put on in the Vanity Fair. One by one, the narrator examines the main characters' puppets—which foreshadow, metaphorically, key qualities of the characters' personalities that will come through over the course of the novel: "The famous little Becky Puppet has been pronounced to be uncommonly flexible in the joints, and lively on the wire," the narrator notes, while "the Amelia Doll, though it has had a smaller circle of admirers, has yet been carved and dressed with the greatest care by the artist." And, finally, "the Dobbin Figure, though apparently clumsy, [...] dances in a very amusing and natural manner."
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Chapter 2
Explanation and Analysis—Becky's Mirror:
In Chapter 2, Thackeray introduces the reader to Rebecca ("Becky") Sharp, whom he immediately prepares the reader to dislike. As the narrator describes Becky's dour demeanor, he explains the impact of this demeanor on her worldview, suggesting that she is not "in the least bit kind or placable" and that "all the world used her ill," though he also indicates that supposedly mistreated people usually "deserve entirely the treatment they get." The narrator then uses a metaphor, noting: "The world is a looking-glass, and gives back to every man the reflection of his own face. Frown at it, and it will in turn look sourly upon you: laugh at it and with it, and it is a jolly kind of companion [...]."
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Chapter 12
Explanation and Analysis—For the Birds:
Throughout Vanity Fair, the narrator metaphorically compares a number of female characters, especially Becky and Amelia, to birds. In Chapter 12, he describes Becky as a hawk on the hunt and Amelia as some sort of young, nesting bird:
Unlock with LitCharts A+Snares or shot may take off the old birds foraging without – hawks may be abroad, from which they escape or by whom they suffer; but the young ones in the nest have a pretty comfortable unromantic sort of existence in the down and the straw, till it comes to their turn, too, to get on the wing. While Becky Sharp was on her own wing in the country, hopping on all sorts of twigs, and amid a multiplicity of traps, and pecking up her food quite harmless and successful, Amelia lay snug in her home at Russell Square;
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Chapter 18
Explanation and Analysis—Napoleon's Eagles:
In Chapter 18, Thackeray offers a brief bit of historical context for the events of the novel—while his Vanity Fair unfolds in England, Napoleon escapes exile and begins to make his way back across France. Thackeray uses a combination of metaphor and personification to connect his story with Napoleon's conflict:
Unlock with LitCharts A+Our surprised story now finds itself for a moment among very famous events and personages, and hanging on to the skirts of history. When the eagles of Napoleon Bonaparte, the Corsican upstart, were flying from Provence, where they had perched after a brief sojourn in Elba, and from steeple to steeple until they reached the towers of Notre Dame, I wonder whether the Imperial birds had any eye for a little corner of the parish of Bloomsbury, London, which you might have thought so quiet, that even the whirring and flapping of those mighty wings would pass unobserved there?
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Explanation and Analysis—Marital Prison:
In Chapter 18, the narrator interrupts the story to give his thoughts on the way that men treat women in relationships. He uses metaphor and simile to get his point across:
Unlock with LitCharts A+We are Turks with the affections of our women; and have made them subscribe to our doctrine too. We let their bodies go abroad liberally enough, with smiles and ringlets and pink bonnets to disguise them instead of veils and yak-maks. But their souls must be seen by only one man, and they obey not unwillingly, and consent to remain at home as our slaves—ministering to us and doing drudgery for us.
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Explanation and Analysis—The Death of Love:
In Chapter 18, the marriage between George and Amelia comes grinding to a halt as George dismisses his former beloved the moment her family faces financial ruin. Amelia grieves the loss of her marriage like the loss of a life, and Thackeray uses the metaphor of death to emphasize the gravity of her heartbreak:
Unlock with LitCharts A+It was over these few worthless papers that she brooded and brooded. She lived in her past life – every letter seemed to recall some circumstance of it. How well she remembered them all! His looks and tones, his dress, what he said and how – these relics and remembrances of dead affection were all that were left her in the world. And the business of her life, was – to watch the corpse of Love.
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Chapter 24
Explanation and Analysis—Dobbin Dotes:
In Chapter 24, the reader sees Dobbin interact with his fellow soldiers for the first time. As he reassures one soldier, Stubble, Thackeray uses a metaphor to emphasize the emotional impact of Dobbin's words:
Unlock with LitCharts A+“Thank you, Dobbin,” he said, rubbing his eyes with his knuckles, “I was just—just telling her I would. And, O Sir, she’s so dam kind to me.” The water pumps were at work again, and I am not sure that the soft-hearted Captain’s eyes did not also twinkle.
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Chapter 25
Explanation and Analysis—Disinheritance Now:
In Chapter 25, George learns that his father, Mr. Osborne, intends to disinherit him over his decision to marry Amelia. In a series of metaphors, George and Dobbins discuss this unfortunate turn of events:
Unlock with LitCharts A+“Well, well,” said Dobbin, still good-naturedly, “we’ll get her a better conveyance. But try and remember that you are only a dethroned prince now, George, my boy; and be quiet whilst the tempest lasts. It won’t for long. Let your name be mentioned in the Gazette, and I’ll engage the old father relents towards you.”
"Mentioned in the Gazette!” George answered. “And in what part of it? Among the killed and wounded returns, and at the top of the list, very likely.”
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Explanation and Analysis—The Open Sea:
In Chapter 25, Amelia's world continues to collapse around her—true to Mr. Osborne's promise, her marriage to George has resulted in his disinheritance. Thackeray conveys the uncertainty of Amelia's future in metaphor:
Unlock with LitCharts A+Scarce a week was past, and it was come to this! The future, had she regarded it, offered a dismal prospect; but Emmy was too shy, so to speak, to look to that, and embark alone on that wide sea, and unfit to navigate it without a guide and protector. I know Miss Smith has a mean opinion of her. But how many, my dear Madam, are endowed with your prodigious strength of mind?
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Chapter 44
Explanation and Analysis—The Gossip Court:
In Chapter 44, the Becky and Rawdon Crawley struggle to maintain their lavish lifestyle with what little wealth they have left. As tensions mount, Becky's treatment of her son, Rawdy, worsens, and the Crawleys' servants begin to mutter amongst themselves about Becky's erratic behavior—and her possible affair with Lord Steyne, who shows up frequently at the Crawley residence. Thackeray emphasizes the subversive power of gossiping servants in a series of metaphorical allusions:
Unlock with LitCharts A+If you are guilty, tremble. That fellow behind your chair may be a Janissary with a bow-string in his plush breeches pocket. If you are not guilty, have a care of appearances: which are as ruinous as guilt.
‘Was Rebecca guilty or not?’ The Vehmgericht of the servants’ hall had pronounced against her.
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Chapter 45
Explanation and Analysis—The Lion and the Mouse:
In Chapter 45, Becky attempts to charm Sir Pitt (Pitt Crawley) in order to secure some part of his fortune for herself. She resorts to flattery and also makes an appeal Sir Pitt's sense of ambition, using a metaphor to get the point across—but not without fostering some dramatic irony:
Unlock with LitCharts A+I could read your heart, Sir Pitt. If I had a husband who possessed your intellect as he does your name, I sometimes think I should not be unworthy of him – but – but I am your kinswoman now,’ she added with a laugh. ‘Poor little penniless I have got a little interest – and who knows, perhaps the mouse may be able to aid the lion.’
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Chapter 48
Explanation and Analysis—Trump Cards:
In Chapter 48, the Lord and Lady Steyne deign to visit with Becky—and, in proper fashion, they send an emissary ahead to notify Becky of their impending arrival. By way of announcement, the emissary delivers Becky a pair of cards engraved with the names of her noble guests. Thackeray uses an extended metaphor of playing cards to emphasize the effect that these cards have on Becky:
Unlock with LitCharts A+You may be sure they occupied a conspicuous place in the china bowl on the drawing-room table, where Becky kept the cards of her visitors. Lord! lord! how poor Mrs Washington White’s card and Lady Crackenbury’s card, which our little friend had been glad enough to get a few months back, and of which the silly little creature was rather proud once – Lord! lord! I say, how soon at the appearance of these grand court cards, did those poor little neglected deuces sink down to the bottom of the pack.
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Chapter 49
Explanation and Analysis—Steyne Gets Defensive:
In Chapter 49, Lord Steyne beats back accusations of Becky's impropriety as his social circle catches wind of the possible affair between the two. Thackeray emphasizes the passion behind Steyne's defense through the use of hyperbole and metaphor:
Unlock with LitCharts A+As for Mrs Crawley’s character, I shan’t demean myself or that most spotless and perfectly irreprochable lady, by even hinting that it requires a defence. You will be pleased to receive her with the utmost cordiality, as you will receive all persons whom I present in this house. This house?’ He broke out with a laugh. ‘Who is the master of it? and what is it? This Temple of Virtue belongs to me. And if I invite all Newgate or all Bedlam here, by — they shall be welcome.’
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