Vanity Fair, as the author intends it to do, provides an opportunity to examine in sarcastic detail many of the failings common in human character, making it as relevant today as when it is written, even if the cultural context is far removed. I read a lot of classic fiction and fan-fiction of the Austen and Dickens variety, so I didn't find myself confused about the way society shaped the events of the story, or needing footnotes, but I can see why a lot of people would want that. The author chooses all his character names carefully-- his side characters are comparable to Dickensian names, and also showcase the influence of Pilgrim's Progress (Mrs. Slingstone, Mr. Tapeworm). Rebecca means "snare or trap," which is very much what she is. Any man given over to a vice is sure to be trapped in her web, since she is both intuitive enough to pick up on them, and intelligent enough to make use of them as tools (or weapons) to manipulate, cheat, and rob others of their wealth.Others have said that this book is not "pious" with great relief. While religion is never referred to directly, outside of some characters attending church and pompous sermonizing by one of the Crawley sons, you should notice through the narrator's caustic speeches and the flaws that lead to the downfall of his characters over time, that the book DOES have a specific code of morals it wants to promote, and it is clear that love, integrity, truth, compassion, but without naivete is the goal. Becky Sharp and her lies, manipulation, and ability to convince people of her purity of heart test the character of all those she encounters. If they have an idol, she will use it against them for her own profit. Naivete, lust, greed, ambition, vanity, gluttony, pride, sentimentality, fear, foolishness, gambling, amusement at the expense of others, idolization of another person... To the extent that a person has given themselves over to these things without limiting their excess in themselves, so Ms. Sharp will use it as a stepping stone to gain wealth, material goods, shelter, credit, or social status. The only people Becky is completely herself with without a facade are her headmistress from her school and her son, and we see how she "hates all lovers of children" results in some of the other characters coming to see her for what she is. Ultimately we must conclude that Becky cares much less for wealth than the game itself. She becomes terribly bored when she gets everything she wants---and prefers the life of vice and uncertainty she leads by the end of the book.This book is full of characters who are foils for one another, and between many of whom we are meant to see parabolic connections: Amelia and Becky; Lady Jane and Becky, Lady Jane and Amelia, Captain Dobbin and Amelia, captain Crawley and his brother, mr. Osborne and Mr. Sedley... And more! This work takes a lot of time for the flaws in the characters to overtake them and reach their natural conclusion... My favorite moment is when William Dobbin, the closest thing to a hero, as he never once falls for Becky Sharp's wiles, sets up a much needed boundary with Amelia that will require her to discard the idol of her long-dead, gambling, philanderer of a husband and return his love with all her heart to ever see him again. Not only is he the only one to cast down his idol (loving Amelia) of his own accord, in doing so, he enables her to want to set herself free, as well as (surprisingly) inspiring Becky to help her out by forcing the truth about George on Amelia. Which is not entirely unselfish (it's Becky, after all...), since Amelia leaves Jos Sedley alone to be Becky's prey once she marries Major Dobbin.