Character and Characterization

Major Characters.
a) Mathilde Loisel
Character Analysis
Mathilde Loisel wants to be a glamour girl. She's obsessed with glamour – with fancy,
beautiful, expensive things, and the life that accompanies them. Unfortunately for her, she
wasn't born into a family with the money to make her dream possible. Instead, she gets
married to a "little clerk" husband and lives with him in an apartment so shabby it brings
tears to her eyes . Cooped up all day in the house with nothing to do but cry over the chintzy
furniture and the fabulous life she's not having, Mathilde hates her life, and probably her
husband too. She weeps "all day long, from chagrin, from regret, from despair, and from
distress". She dreams day after day about escaping it all. b) M. Loisel

Character Analysis
M. Loisel is the "little clerk in the Department of Education" to whom Mathilde's family
marries Mathilde off. Mathilde herself, as we're quick to find out, isn't terribly happy about
her middle-class husband. She hates the shabby "averageness" of their life, and is miserable
being cooped up in their apartment all day, dreaming of the luxurious life she wants to be
leading. M. Loisel, on the other hand, seems quite happy with their situation. Unlike
Mathilde, he enjoys his life as it is, especially that good old homemade pot-au-feu (stew):
When she sat down to dine, before a tablecloth three days old, in front of her husband, who
lifted the cover of the tureen, declaring with an air of satisfaction, "Ah, the good pot-au-feu. I
don't know anything better than that," she was thinking of delicate repasts, with glittering
silver, with tapestries peopling the walls with ancient figures and with strange birds in a
fairy-like forest… Yes, M. Loisel appreciates the little things. He also seems devoted to his
wife. After all, he goes to all that trouble to get her the invitation to a fancy party, which he
couldn't care less about himself (he sleeps through it). He sacrifices the hunting rifle he's
spent months saving up for so Mathilde can buy a dress for the ball. And when she loses the
necklace, he's the one who goes all over the city searching for it. Most importantly, M. Loisel
spends his life's savings replacing it. So M. Loisel seems like the simple, happy, good guy in
the story, a foil for his perpetually dissatisfied wife. They make the classic unhappy
bourgeois couple, in other words. But you can wonder about two things… c) Mme. Jeanne
Forestier
Character Analysis
Mme. Jeanne Forestier is wealthy. That's basically all you need to know. She's the rich friend:
the person you turn to when you need something absolutely fabulous to wear to that ball next
weekend but don't have the money to buy anything appropriate. That's Mme. Forestier's role
in this story: she's that friend for Mathilde. It's also Mme. Forestier who reveals at the end
that her necklace was false and thereby single-handedly triggers the twist ending. Apparently
Mathilde and Mme. Forestier have known each other for a while, since their convent days.
Around the time of the ball, though, it doesn't sound as if Mathilde's seen much of her lately,
because it makes Mathilde too unhappy to visit her rich friend and see the life of luxury that
she's not living. It doesn't sound like they see much of each other after Mathilde returns the
substitute diamond necklace, either. The two women most likely don't meet again until they
run into each other on the Champs Elysées ten years later. Mathilde's too ashamed to let her
friend see the poverty she's living in, and is afraid to explain why she became poor (since that
would mean admitting she lost the necklace).

2. Setting
Ø Setting of place
“The Necklace” action takes place in Paris, France, in the second half of the nineteenth
century. Specific locales include the residence of the Loisels, the home of Madame Jeanne
Forestier, the palace of the Ministry of Education, Paris shops, and the streets of Paris,
including the Rue des Martyrs and the Champs Elysées.

Ø Setting of time
The setting of “The Necklace” is late 19th century.
So that's the where. When's the when? We'd say the 1880s or so, around the time Maupassant
wrote it. Granted, we don't get many specific clues, not a lot of detail on clothing, or
important people, places, or happenings of the time. But if the author doesn't do anything to
suggest he's otherwise, it's usually a safe bet to assume he's writing in his own time. 3. Plot

Exposition
The action proper begins when M. Loisel (Mathilde's husband) comes home with the
invitation to the fabulous ball and Mathilde reacts by having a fit. Now we have a specific
problem: Mathilde's now has the best opportunity she's ever had to have a taste of the high
life, but she has nothing to wear. That problem sets the rest of the plot in motion. <
Complication

Mathilde solves the first problem when her husband gives her money for a dress. But then she
runs into a second problem: she's needs to have some jewels. Luckily, her friend Mme.
Forestier is able to provide her with a fabulous diamond necklace. But now Mathilde's been
entrusted with something expensive that belongs to someone else and we have the potential
for disaster. It's true that the complication is often when things "get worse," and that doesn't
really happen here (for that, we have to wait for the climax). In fact, after borrowing the
necklace, Mathilde has the time of her life. But it's when she borrows the necklace that the
possibility opens up for something really bad to happen…and it does. < Climax

Mathilde's discovery is the most exciting and dramatic moment in the story (until that crazy
twist in the last line). It's also the turning point in the plot. Before, the story was a build-up to
Mathilde's one glorious night with the rich and famous. Now it transitions into a desperate
search. We have a feeling things are not going to end well. < Suspense

After the loss of the necklace, we're kept in constant suspense. First, there's the search for the
necklace: will it be found? When it becomes clear it isn't going to be, the question becomes:
what will the Loisels do? Will they find a replacement? And when they do, the question is:
how the are they going to pay for it? It turns out paying for it takes quite a toll on them – their
lives are ruined for ten years. < Denouement / Resolution

When Mathilde meets Mme. Forestier on the Champs Elysées, it looks like we're just about
to tie up the last loose end in the story. The main action is over – the Loisels have finally
finished paying off their debts for the necklace. All that remains is for Mathilde to see
whether her friend ever noticed the substitute necklace, and tell her the sad story of the whole
affair. But then things don't quite wrap up the way we expect.

4. Point of View
“The Necklace” by Guy de Maupassant is told by using nonparticipant (3rd person) with
omniscient point of view. The story's focus is certainly on Mathilde, but the narrator does not
speak from her point of view. Instead, he talks about Mathilde as if he were from the outside
looking in. When he brings her up at the beginning, she's just "one of those girls". It sounds
like he's seen a lot more of them than just this one. That's omniscient, all right. Mathilde's
also not the only character whose thoughts he can see into; he's able to speak into her
husband's thoughts just as easily, when he wants to.

5. Theme

The Necklace is better to tell the truth and face the consequences
than to try to protect one's pride by telling a lie (The Necklace
theme of Pride). You can read "The Necklace" as a story about
greed, but you can also read it as a story about pride. Mathilde
Loisel is a proud woman. She feels far above the humble
circumstances (and the husband) she's forced to live with by her
common birth. In fact, her current situation disgusts her. She's a
vain one too, completely caught up in her own beauty. It could be
that it is also pride that prevents Mathilde and her husband from
admitting they've lost an expensive necklace. After the loss of the
necklace makes Mathilde poor, and her beauty fades, she may
learn a pride of a different sort: pride in her own work and
endurance.

6. Style

Guy de Maupassant uses is writing lots of really short paragraphs; this technique keeps the
story moving at a clip. Often the paragraphs are little more than a single, simple sentence (the
sentences are usually short too). Check out this passage describing the day after the Loisels
discover they've lost the necklace: - Her husband came back about seven o'clock. He had
found nothing - Then he went to police headquarters, to the newspapers to offer a reward, to
the cab company; he did everything, in fact, that a trace of hope could urge him to. - She
waited all day, in the same dazed state in face of this horrible disaster. - Loisel came back in
the evening, with his face worn and white; he had discovered nothing. When he does write
longer paragraphs, Maupassant's got another notable technique. One after another, he'll string
together sentences that begin with the same word and have the same basic structure. There
are a lot of "She did this…She did this…She did this…" paragraphs (he's unusually fond of
pronouns, it seems). As in: She learned the rough work of the household, the odious labors of
the kitchen. She washed the dishes, wearing out her pink nails on the greasy pots and the
bottoms of the pans. She washed the dirty linen, the shirts and the towels, which she dried on
a rope; she carried down the garbage to the street every morning, and she carried up the
water, pausing for breath on every floor. And, dressed like a woman of the people, she went
to the fruiterer, the grocer, the butcher, a basket on her arm, bargaining, insulted, fighting for
her wretched money, sou by sou. Henri Rene Albert Guy de Maupassant was born on August
5, 1850, to an affluent family at the Chateau de Miromesnil, in France. As a child, Guy
adored his mother and loathed his absent father. His mother was very literary and passed on
her love of books to her son, Guy, and his brother, Herve. Much of Guy’s childhood was
spent in the countryside playing sports or simply spending time outdoors.

The Franco-Prussian War erupted shortly after Maupassant finished college. Maupassant
enlisted as a volunteer and then, in 1871, left the army to work as a clerk in the navy for the
next ten years. During this time he became close with Gustave Flaubert, a friend of his
mother’s and the author of Madame Bovary (1857). Flaubert introduced him to several other
prominent writers and spurred Maupassant to focus on his writing. As a result, Maupassant
began producing a fair amount of short fiction on his own and eventually found work as a
contributing editor for several prominent French newspapers in 1878. Despite this early focus
on writing, however, Maupassant didn’t publish any of his work until he turned thirty.

“The Necklace,” or “La Parure” in French, first appeared in the Parisian Newspaper Le
Gaulois in 1884. The story was an immediate success, and Maupassant later included it in his
short-story collection Tales of Day and Night (1885). Flaubert’s influence on Maupassant is
evident in “The Necklace,” and the story is in many ways similar to Madame Bovary. Both
works, for example, revolve around attractive yet dissatisfied young women who seek to
escape their destinies. More important, both works are also among the finest examples of
realist fiction, a style of writing first appearing in the mid nineteenth century that sought to
expose the grittier realities of ordinary people’s lives. Above all else, Maupassant sought to
explore the deeper meanings of everyday events, and his writing style has influenced other
literary greats such as Anton Chekhov and O. Henry.
Maupassant’s literary career peaked in the 1880s, around the time when he published “The
Necklace.” In the years just before and after he published Tales of Day and Night,
Maupassant wrote more than 300 short stories and several successful novels, including Un
Vie (1883), Bel Ami (1885), and Pierre et Jean (1888). He traveled extensively during this
time and often produced his best writing on the road, writing newspaper articles, essays, and
travelogues in addition to fiction. A powerful literary figure in his day, Maupassant formed
and maintained friendships with other literary giants such as Ivan Turgenev and Émile Zola.

Despite his wealth and popularity, Maupassant never married, partly out of fear of being
abandoned by a loved one as he was abandoned by his father. As he grew older, Maupassant
became more withdrawn and obsessed with death. His infection with syphilis contributed to
his growing dementia, and he was institutionalized afteraupassant is considered one of the
fathers of the modern short story. He delighted in clever plotting, and served as a model for
Somerset Maugham and O. Henry in this respect. His stories about expensive jewelry ("The
Necklace", "La parure") are imitated with a twist by Maugham ("Mr Know-All", "A String of
Beads") and Henry James ("Paste"). Taking his cue from Balzac, Maupassant wrote
comfortably in both the high-Realist and fantastic modes; stories and novels such as
"L'Héritage" and Bel-Ami aim to recreate Third Republic France in a realistic way, whereas
many of the short stories (notably "Le Horla" and "Qui sait?") describe apparently
supernatural phenomena. The supernatural in Maupassant, however, is often implicitly a
symptom of the protagonists' troubled minds; Maupassant was fascinated by the burgeoning
discipline of psychiatry, and attended the public lectures of Jean-Martin Charcot between
1885 and 1886. This interest is reflected in his fiction. he tried to kill himself in 1891. He
died two years later, on July 6, 1893.