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There is no question that Becky Sharp is not derived from Balzac's Lisbeth in La Cousine Bette, but at what a distance, when once you think of the greatest of all novelists, who has the fortune to be French, and of Thackeray, who has the fortune (at times the misfortune) of being English. When we thing of Becky she startles us by her cynical entrance: she inherits from her parents bad qualities. Her first epigram sums her up. "Revenge may be wicked, but it's natural. I'm no angel." She fascinates Lord Pitt, Rawdon Crawley and Lord Steyne in a way Lisbeth never does. Lisbeth's fascination is that of the evil-doer; she is envious, spiteful, malicious, a lying hypocrite; always deliberately bent on having her own way, always for evil purposes: so that she, in her sinister effrontery, causes the ruin of many of the lives she thrives on, feigns to help, deludes; only, she never deludes as Valérie Marnette does. We have only to say: "Valérie!" and the woman is before us. As for Valérie: "Elle était belle comme sont belles les femmes assez belles, pour être belles en dormant;" a sentence certainly lyrical. Lisbeth's character has "Une dose du mordant parisien." Unmarried, she is monstrous, her snares are inevitable, her dissimulation impenetrable. But she is never given a scene so consummately achieved in its sordid and voluptuous tragedy as the scene in Vanity Fair when Rawdon enters his house at midnight, and finds Becky dressed in a brilliant toilet, her arms and her fingers sparkling with bracelets and rings, and the brilliants in her breast which Steyne had given her. "He had her hand in his, and was bowing to kiss it, when Becky started up with a faint scream as she caught sight of Rawdon's white face." And, as the writer adds, with an entire sense of the tragic and comic drama that is over: "All her lies and her schemes, all her selfishness and her wiles, all her wit and all her genius had come to this bankruptcy."