in the Bengal Engineers whom she met at an Assembly Ball in 1807 in Bath, had died, while he was told that Anne was no longer interested in him. Neither of these assertions was true. Though Carmichael-Smyth was from a distinguished Scottish military family, Anne's grandmother went to extreme lengths to prevent their marriage. Surviving family letters state that she wanted a better match for her granddaughter. Anne Becher and Richmond Thackeray were married in Calcutta on 13 October 1810. Their only child, William, was born on 18 July 1811. There is a fine miniature portrait of Anne Becher Thackeray and William Makepeace Thackeray, aged about two, done in Madras by George Chinnery c. 1813. Anne's family's deception was unexpectedly revealed in 1812, when Richmond Thackeray unwittingly invited the supposedly dead Carmichael-Smyth to dinner. Five years later, after Richmond had died of a fever on 13 September 1815, Anne married Henry Carmichael-Smyth, on 13 March 1817. The couple moved to England in 1820, after having sent William off to school there more than three years earlier. The separation from his mother had a traumatic effect on the young Thackeray, which he discussed in his essay "On Letts's Diary" in The Roundabout Papers. Descendants Thackeray is an ancestor of the British financier Ryan Williams, and is the great-great-great-grandfather of the British comedian Al Murray and author Joanna Nadin. Reputation and legacy During the Victorian era Thackeray was ranked second only to Charles Dickens, but he is now much less widely read and is known almost exclusively for Vanity Fair, which has become a fixture in university courses, and has been repeatedly adapted for the cinema and television. In Thackeray's own day some commentators, such as Anthony Trollope, ranked his History of Henry Esmond as his greatest work, perhaps because it expressed Victorian values of duty and earnestness, as did some of his other later novels. It is perhaps for this reason that they have not survived as well as Vanity Fair, which satirises those values. Thackeray saw himself as writing in the realistic tradition, and distinguished his work from the exaggerations and sentimentality of Dickens. Some later commentators have accepted this self-evaluation and seen him as a realist, but others note his inclination to use eighteenth-century narrative techniques, such as digressions and direct addresses to the reader, and argue that through them he frequently disrupts the illusion of reality. The school