Fiction > Harvard Classics > William Makepeace Thackeray > Vanity Fair > Criticisms and Interpretations > III
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William Makepeace Thackeray. (1811–1863).  Vanity Fair.
The Harvard Classics Shelf of Fiction.  1917.
  
Criticisms and Interpretations
III. By Hippolyte Adolphe Taine
  
NO writer was better gifted than Thackeray for this kind of satire because no faculty is more proper to satire than reflection. Reflection is concentrated attention, and concentrated attention increases a hundred-fold the force and duration of emotions. He who is immersed in the contemplation of a vice, feels a hatred of vice, and the intensity of his hatred is measured by the intensity of his contemplation. At first anger is a generous wine, which intoxicates and excites; when preserved and shut up, it becomes a liquor burning all that it touches, and corroding even the vessel which contains it. Of all satirists, Thackeray, after Swift, is the most gloomy. Even his countrymen have reproached him with depicting the world uglier than it is. Indignation, grief, scorn, disgust, are his ordinary sentiments. When he digresses, and imagines tender souls, he exaggerates their sensibility, in order to render their oppression more odious. The selfishness which wounds them appears horrible, and their resigned sweetness is a mortal insult to their tyrants: it is the same hatred which has calculated the kindliness of the victims and the harshness of the persecutors.   1
  This anger, exasperated by reflection, is also armed by reflection. It is clear that the author is not carried away by passing indignation or pity. He has mastered himself before speaking. He has often weighed the rascality which he is about to describe. He is in possession of the motives, species, results, as a naturalist is of his classifications. He is sure of his judgment, and has matured it. He punishes like a man convinced, who has before him a heap of proofs, who advances nothing without a document or an argument, who has foreseen all objections and refuted all excuses, who will never pardon, who is right in being inflexible, who is conscious of his justice, and who rests his sentence and his vengeance on all the powers of mediation and equity. The effect of this justified and contained hatred is overwhelming. When we have read to the end of Balzac’s novels, we feel the pleasure of a naturalist walking through a museum, past a fine collection of specimens and monstrosities. When we have read to the end of Thackeray, we feel the shudder of a stranger brought before a mattress in the operating-room of an hospital, on the day when cautery is applied or a limb is taken off.   2
  In such a case the most natural weapon is serious irony, because it bears witness to concentrated hatred: he who employs it suppresses his first feeling; he feigns to be speaking against himself, and constrains himself to take the part of his adversary. On the other hand, this painful and voluntary attitude is the sign of excessive scorn; the protection which apparently is afforded to an enemy is the worst of insults. The author seems to say: “I am ashamed to attack you; you are so weak that, even supported, you must fall; your reasonings are your shame, and your excuses are your condemnation.” Thus the more serious the irony, the stronger it is; the more you take care to defend your adversary, the more you degrade him; the more you seem to aid him, the more you crush him. This is why Swift’s grave sarcasm is so terrible; we think he is showing respect, and he slays; his approbation is a flagellation. Amongst Swift’s pupils, Thackeray is the first….   3
  One step added to serious irony leads us to serious caricature. Here, as before, the author pleads the rights of his neighbor; the only difference is, that he pleads them with too much warmth; it is insult upon insult. Under this head it abounds in Thackeray. Some of his grotesques are outrageous: for instance, M. Alcide de Mirobolant, a French cook, an artist in sauces, who declares his passion to Miss Blanche through the medium of symbolic dishes, and thinks himself a gentleman; Mrs. Major O’Dowd, a sort of female grenadier, the most pompous and talkative of Irishwomen, bent on ruling the regiment, and marrying the bachelors will they nill they; Miss Briggs, an old companion born to receive insults, to make phrases and to shed tears; the Doctor, who proves to his scholars who write bad Greek, that habitual idleness and bad construing lead to the gallows. These calculated deformities only excite a sad smile. We always perceive behind the oddity of the character the sardonic air of the painter, and we conclude that the human race is base and stupid. Other figures less exaggerated, are not more natural. We see that the author throws them expressly into palpable follies and marked contradictions. Such is Miss Crawley, an old maid, without any morals, and a free-thinker, who praises unequal marriages, and falls into a fit when on the next page her nephew makes one; who calls Rebecca Sharp her equal, and at the same time bids her “put some coals on the fire;” who, on learning the departure of her favorite, cries with despair, “Gracious goodness, and who’s to make my chocolate?” These are comedy scenes, and not pictures of manners.—From “History of English Literature,” translated by H. Van Laun (1864–65).   4

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