Thackeray snarked that charades were enjoyed for "enabling the many ladies amongst us who had beauty to display their charms, and the fewer number who had cleverness, to exhibit their wit". In his "Vanity Fair", the height of Rebecca Sharp's social success is brought on by her performances of acting charades before the Prince Regent. The first scene—"first two syllables"—displays a Turkish lord dealing with a slaver and his odalisque before being garroted by the sultan's chief black eunuch; the second—"last two syllables"—finds a Turk, his consort, and his black slave praying at sunrise when an enormous Egyptian head enters and begins singing. The answer—Agamemnon—is then acted out by Becky's husband, while she makes her (first) appearance as Clytemnestra. After refreshments, another round begins, partially in pantomime: the first scene shows a household yawningly finishing a game of cribbage and preparing for bed; the second opens on the household bustling with activity as daybreak prompts bells ringing, arguments over receipts, collection of the chamber pots, calls for carriages, and greetings to new guests; the third closes with a ship's crew and passengers tossed about by a storm with strong winds. The answer—nightingale—is then (somewhat mistakenly) acted out by Becky in the role of a singing French marquise, recalling both Lacoste's 1705 tragic opera "Philomèle" and an "arriviste" lover and wife of Louis XIV. Apart from its importance in the book, the scenes were subsequently considered models of the genre.