Stry of higher and secondary specialized education of the republic of uzbekistan state university of world languages

2.2. Mature writings of William Makepeace Thackeray.

With Vanity Fair (1847–48), Thackeray adopted Dickens' successful strategy of serializing novels in monthly sections. This was his first work published under his own name. The novel takes place during the Regency era and is mostly focused on the linked fortunes of Amelia Sedley and Becky Sharp, two very different women. The latter, a shady explorer who acts as the story's protagonist, is possibly Thackeray's most famous creation. The novel is intentionally antiheroic and is named "A Novel Without a Hero." Thackeray claims that he wanted to "prove that we are, for the most part, uneducated and selfish people who are all greedy for vanities" by writing this novel. The fortunes and reactions to life of Amelia Sedley, the rich, well-born daughter of a struggling drawing instructor, and the ambition, energy, shrewd, provocative, and ultimately immoral Becky Sharp are compared. However, because both are portrayed with icy pity, the contrast between their characters goes beyond that of moral good and evil. All the parts played by the men in this upper middle-class and aristocratic context revolve around the character Becky. Prior to his death at the Battle of Waterloo, George Osborne marries Amelia, but he is ready to leave his young wife for Becky, who has risen through society to marry Rawdon Crawley, a young officer from a good family. Becky has married Rawdon Crawley. Becky has worked hard to advance in society. Disillusioned, Crawley eventually breaks up with Becky, and virtue seems to have prevailed in the end as Amelia marries Colonel Dobbin, a man who had been Amelia's lifelong admirer, while Becky settles into a life of affluent living and charitable endeavors. The most outstanding work of Thackeray is Vanity Fair, which is also one of the best books of its time because of its skillful narrative, subtle characterization, and realistic portrayal of early 19th-century society. However, Vanity Fair is more than just a unique portrayal and critique of a certain society. Throughout, Thackeray progressively reveals the dualism of human motivations, so we are prepared for his epilogue: "Ah! Vanitas Vanitatum! Who among us now has a happy life? Who of us is able to accomplish their desires? Because of its tragic irony, Vanity Fair provides a timeless and insightful critique of human striving and experience. After becoming prosperous and well-known, Thackeray moved on to seize two chances offered by Vanity Fair: his skill at capturing the London setting and his capacity to write historical novels that emphasize the connections between the past and the present. His first novel, The History of Pendennis (1848–1855), was a fictitious autobiography. By focusing on Arthur Pendennis' early years, such as his first relationship, his experiences at "Oxbridge University," his career as a London journalist, and so forth, Thackeray creates a convincing portrait of a young man who is enthusiastically seduced. Thackeray decided to focus his three-volume history of Henry Esmond, Esq., on the reign of Queen Anne. Some commentators described Pendennis as a formless, rambling book. In response, Thackeray painstakingly created Henry Esmond and gave it a far more formal plot structure. The narrative, which Esmond tells, begins when he is 12 years old, in 1691, and ends in 1718. The complicated episode's unifying power comes from Beatrix and Esmond, who stand out against a backdrop of London society and the time's political climate. The protagonist of the book is Beatrix. Prior to becoming beautiful and acquiring a fatal power for the men she loves, she is initially seen as a pleasant small child. She is a new kind of heroine who is entertaining and emotionally complex but not a paragon of virtue. She is among Thackeray's most brilliant creations. Esmond, an aristocratic, courageous, and sympathetic soldier, develops feelings for her but eventually gives up. When Henry was an orphan, Beatrix's parents, Lord and Lady Castlewood, made friends with him. Lady Castlewood was initially adored by Henry as a mother; later, as he grew older, he married her. The work, which was written in a pastiche of 18th-century prose, is one of the best English-language evocations of a bygone era's ambiance. Esmond's relationship with Lady Castlewood, however, was not well appreciated. According to George Eliot, it was "the most uncomfortable novel you can imagine." But it has become known as a notable work of English historical fiction. With The Newcomes, Thackeray returns to the present day. Essentially, this study is an in-depth analysis of the titular family's affluent middle-class culture. After leaving India, Col. Thomas Newcome returns to London to be with his son Clive. The unassuming yet stunning Clive falls in love with his cousin Ethel, but because of external circumstances, their union is destined to be unhappy for years. Barnes Newcome, Ethel's father and the patriarch of the family, plans to have Clive and the Colonel killed; Clive marries Rose Mackenzie; and the Colonel, after making wise financial decisions with his wealth, retires and lives in an almshouse. The Colonel passes away at the end of the narrative after Rose dies giving birth. Intense emotion is expressed without sentimentality in one of the most famous deathbed moments in Victorian literature. In a brief epilogue, Thackeray informs us that Clive and Ethel eventually wed, but he asserts that this is a myth. The main focus of Thackeray's second book, The Virginians (1857–1859), is on the struggles of two brothers named George and Henry Warrington, who are the descendants of Henry Esmond, the main character of his first book. It is mostly set in the second half of the 18th century in both America and England. Thackeray also wrote two serials, Lovel the Widower (1860) and The Adventures of Philip (1860). He passed away shortly after beginning the novel Denis Duval. During Thackeray's lifetime, Dickens was viewed as Thackeray's sole believable rival. The middle classes understood that his portrayals of contemporary life were blatantly authentic. He was an excellent presenter who toured all across the country and provided his audience books, stories, essays, and poems to read. Because he wrote it with the intention of being read aloud during the drawn-out Victorian family nights, his prose has the clarity, spontaneity, and rhythm of good reading material. Thackeray consistently communicated his opinions on society problems and human conduct in all of his writings, though typically only when it furthered his plot. He also examined and criticised elitism. He investigated topics such as hypocrisy, repressed emotions, possible sufferings from love, remembering the past, and the vanity of much of life. He thought it was important for novelists to serve as moralizers. He preferred to be more realistic in his writing, subtly depicting various moods, and engrossing the reader in a stream of entertaining narrative, description, dialogue, and comment. He didn't care much for the exaggerated characterization and melodramatic plots that were popular among Victorian novelists. Thackeray's fame as a novelist continued unchallenged until the end of the 19th century, at which point it began to decline. One of the best historical novels ever written in the English language, Vanity Fair, is his most intriguing and captivating book.