Symbolism in books by William Makepeace Thackeray

Introduction
William Makepeace Thackeray, one of the greatest English prose writers, provided the best portrait of the ruling classes of his country in the first half of the nineteenth century. His father Richmond T, who held various important appointments in the service of the East India Company, who belonged to an old and respectable Yorkshire family, was bo
at Calcutta, and soon after the death of his father (1816), sent home to England. After being at a school at Chiswich he went to the Charterhouse school, where he was not very happy. Meanwhile in 1818 his mother had married Major H. W. C. Smyth, who is believed to be, in part at any rate, the original of Colonel Newcome. In 1829 he attended Trinity College, Cambridge, where he remained for a year only, and where he did not distinguish as a student, but made many life-long friends, including Speelding, Tennyson, Fitzgerald and Monkton Milnes, and contributed verses and caricatures to two University papers “The Snob” and “Gownsman”.
The English novelist William Makepeace Thackeray created unrivaled panoramas (thorough and complete studies of subjects) of English upper-middle-class life, crowded with memorable characters displaying the realistic mixture of virtue, vanity, and vice.
The aim of the given work consists in a theoretical substantiation of a question on features of symbolism in books by William Makepeace Thackeray.
Object of work has demanded the decision of the following specific tasks:
- To consider features of Symbolism;
- To study the biography of William Makepeace Thackeray;
- To consider some features of symbolism in books by William Makepeace Thackeray;
Object of research in the given work is Thackeray 's creativity.
Subject is symbolism in books by William Makepeace Thackeray.
Theoretical value - the given work brings the contribution to development of theoretical aspects of studying of creativity of William Makepeace Thackeray.
Practical value is,...

Conclusion
On the basis of above-stated we came to a conclusion, that Symbolism was a late nineteenth-century art movement of French and Belgian origin in poetry and other arts. Symbolism was largely a reaction against Naturalism and Realism, anti-idealistic movements which attempted to capture reality in its gritty particularity, and to elevate the humble and the ordinary over the ideal. These movements invited a reaction in favour of spirituality, the imagination, and dreams; the path to Symbolism begins with that reaction.
Thackeray began as a satirist and parodist, with a sneaking fondness for roguish upstarts like Becky Sharp in Vanity Fair, Barry Lyndon in The Luck of Barry Lyndon and Catherine in Catherine. In his earliest works, writing under such pseudonyms as Charles James Yellowplush, Michael Angelo Titmarsh and George Savage Fitz-Boodle, he tended towards the savage in his attacks on high society, military prowess, the institution of marriage and hypocrisy.
He is best known now for Vanity Fair, with its deft skewerings of human foibles and its roguishly attractive heroine. Ironically, Vanity Fair does end conventionally with the marriage of two major figures, Amelia and Dobbin, and certainly the course of true love doesn’t run smooth in this novel.
It isn’t in marriage, that Dobbin and Amelia achieved the acme of happiness in their lives; that may have happened much earlier in the novel, during their stay in Pumpe
ickel. Thackeray suggests, “perhaps it was the happiest time of both their lives, indeed, if they did know it – and who does? Which of us can point out and say, that was the culmination – that was the summit of human joy?” Of course, novelist has no hesitation in pointing our human happiness, and they have been doing it since the later part of the eighteenth century.
The Luck of Barry Lyndon is a picaresque novel by William Makepeace Thackeray, first published in serial form in 1844, about a member of the Irish gentry trying to...