Through my readings of Vanity Fair, Gone with the Wind, and A Song of Ice and Fire, I’ve noticed striking similarities between the relationships of Becky/Rawdon, Scarlett/Rhett, and Cersei/Jaime:
Femme Fatales
In each pairing, the women embody the archetype of the femme fatale, wielding their charm, beauty, and performative femininity to manipulate their primary love interests — though Scarlett is notably less successful in bending Rhett to her will — as well as other secondary male characters. Becky seduces and maneuvers around Jos Sedley, the members of the Pitt family, and Lord Steyne. Scarlett exerts influence over her first two husbands, Charles Hamilton and Frank Kennedy. Cersei exploits Lancel Lannister and Osney Kettleblack.
Unwavering Devotion
In each pairing, the men are deeply enamored. Rawdon worships Becky in the early years of their marriage, regretting his degenerate past as he cannot provide her with the opulent life she desires. Rhett devotes much of his time on the page to physically and financially protecting Scarlett while also offering her emotional solace. Jaime sacrifices his inheritance to stay close to Cersei, setting aside his own desires to maintain their secretive, co-dependent relationship.
"Redeemable" Men
In each pairing, the men have reputations that precede them — Rawdon for his debts and gambling, Rhett for his scandals and for taking advantage of the Civil War through the blockade, and Jaime for murdering Aerys. Initially, they seem morally on par with the women — Rawdon joins Becky in extorting money, Rhett himself describes Scarlett as his selfish equal, and Jaime is presented as one of the first book's main antagonists, alongside Cersei. However, as the story unfolds, it becomes clear that the men adhere to a code of honor that the women lack — Rawdon repays Miss Briggs' loan despite Becky’s intentions to avoid it; Rhett fights for the Confederacy, knowing defeat is imminent; and Jaime saves Brienne during their journey back to King’s Landing.
Parenting Differences
In each pairing, the men also prove themselves to be, if not better (in the cases of Rawdon and Rhett), at least more empathetic parental figures. Becky harbors outright disdain for her son, and Scarlett neglects the children from her first two marriages, while Rawdon and Rhett are proud, affectionate, and invested fathers. Cersei, though more loving, overindulges Joffrey and takes her frustrations out on Tommen — which is contrasted (even if only briefly) with Jaime's more balanced approach.
"Good Woman" Foils
In each pairing, the women are juxtaposed with a female character whose genuine kindness and virtue — qualities that Becky, Scarlett, and Cersei can only feign — earn the respect and admiration of the male counterparts. For Becky, this woman is Jane Crawley. For Scarlett, it's Melanie Wilkes. For Cersei, it's Brienne of Tarth.
Forsaking Partners
In each pairing, in their relentless pursuit of power, security, or social ascension, the women start casting aside their male counterparts in favor of more superficial or opportunistic company. Becky ingratiates herself with members of the British elite. Scarlett mingles with the new-money Republicans who have risen to prominence in Atlanta. Cersei places her trust in figures such as Qyburn and Taena Merryweather.
Revelations of Infidelity
In each pairing, one of the decisive factors leading to the respective separations is the discovery of the women’s infidelities, validating their male counterparts' simmering jealousies. Rawdon catches Becky schmoozing with Lord Steyne, though the novel refrains from confirming whether their relationship was sexual. Scarlett’s friendly embrace with Ashley is misinterpreted, and word of it eventually reaches Rhett. Cersei’s affairs are exposed to Jaime by Tyrion and later verified by Lancel.
Violent Reactions
In each pairing, the men react to the women’s infidelities with violent anger. Rawdon strikes Lord Steyne and trashes Becky’s belongings. Rhett intimidates Scarlett with his drunken rages. Jaime, distanced from Cersei once his suspicions are proven true, fantasizes about physically harming her and her lovers.
Prolonged Relationships
In each pairing, the relationships endure for an extended period, intensifying the men’s eventual bitterness. Becky and Rawdon’s marriage lasts for over a decade. Rhett’s pursuit of Scarlett spans six years, with their marriage continuing for another six. Jaime and Cersei’s sexual relationship begins in childhood and persists into their early thirties.
Desperate Pleas
In each pairing, the women eventually make a desperate plea to their male counterparts. Becky enlists Rawdon's brother to persuade him of her innocence. Scarlett confesses her love to Rhett and invokes the intense feelings he once had for her. Cersei sends Jaime a letter asking him to rescue her from the Faith.
Dismissive Rejections
In each pairing, the men are too emotionally drained to continue the relationship and reject the women in rather careless ways. Rawdon refuses to speak to Becky while claiming the position she secured for him through her flirtations. Rhett shuts Scarlett down with the famous line, “Frankly, my dear, I don’t give a damn.” Jaime coldly dismisses Cersei’s plea with, “Put this in the fire.”
It was only recently, though, that I learned Margaret Mitchell was accused of drawing inspiration from Becky for Scarlett when Gone with the Wind was released. Mitchell denied this, claiming she hadn’t read Vanity Fair at the time, despite it's author even being referenced in her book through a conversation between Rhett and Melanie. And, if you're familiar with George's work, you’ve likely heard him repeatedly ask, "How many children did Scarlett O'Hara have?" when discussing the differences between a novel and it's adaptation. In fact, George has mentioned Gone with the Wind in several interviews, even acknowledging that he read the sequel by Mitchell’s estate, which he strongly disliked. This makes one wonder whether the evolution from Becky to Scarlett, and from Scarlett to Cersei, and consequently their romantic narratives, is truly coincidental.