Vanity, defined as an excessive preoccupation with one’s perceived perfection or attractiveness, has long been a subject of literary and philosophical inquiry. Historically associated with futility and self-idolatry, it appears in works through themes of impermanent beauty and moral warning. William Hazlitt describes it as a “pageant of a moment,” while George Moore highlights its subtle, persistent presence in human nature.
Christina Rossetti echoes biblical reflections, portraying life as “vanity of vanities,” a passing spectacle. These diverse depictions—ranging from cautionary allegory to reflective critique—highlight vanity’s duality: a source of charm and a herald of existential futility, as seen in art’s recurring motifs of mirrors, skulls, and transient pleasures.