The Necklace

De Maupassant uses conflict throughout the story. The clearest instance of conflict is that between Mathilde and herself. Her vanity and materialism are character flaws that force her into a lifestyle that is the opposite of what she wants. Thus, she is in a constant battle with herself over the drabness of her life and the wealth that she feels she should have been born into.

Another use of conflict central to the story is between Mathilde and society. Mathilde is unhappy with the life she has been dropped into, and she feels that she deserves and is entitled to all the best that wealth and social position could offer her. This conflict with society forces Mathilde into the decision to borrow what she thinks is a valuable necklace, which is nothing more than costume jewelry.

A more minor conflict occurs between Mathilde and her husband, although this conflict does not seem to put outward strain on their relationship. Loisel is content and happy with his life and social status, yet he does what he can to please his wife, even at his own expense. De Maupassant does not describe how the incident of losing the necklace and its subsequent replacement and repayment affected the couple’s relationship, but there is probably stress between the two characters. The fact that this conflict does not diminish their relationship to any visible degree attests to Mathilde’s change in character and Loisel’s steadiness of character.

The use of imagery brings the story to life, especially in terms of the things Mathilde dreams of and yearns after. As she sits in her apartment daydreaming at the beginning of the story, she visualizes “thick-carpeted reception rooms with Oriental hangings, lighted by tall, bronze torches, and with two huge footmen in knee breeches” (Paragraph 3). She also sees “great drawing rooms upholstered in old silks, with fragile little tables holding priceless knick-knacks, and of enchanting little sitting rooms redolent of perfume, designed for teatime chats with intimate friends—famous, sought-after men whose attentions all women longed for” (Paragraph 3). These descriptions provide such a deep sense of imagery that the reader not only sees the vision that de Maupassant creates but can also hear, taste, and feel the elements described.

Another vivid image that de Maupassant produces is the daydream Mathilde has while sitting down to a dinner of beef stew with her husband. While he is happy with his dinner, Mathilde is swept away by dreams of “elegant dinner parties with gleaming silver amid tapestried walls people by knights and ladies and exotic birds in a fairy forest” (Paragraph 4). She has visions of “exquisite dishes served on gorgeous china, and of gallantries whispered and received with sphinx-like smiles while eating the pink flesh of trout or wings of grouse” (Paragraph 4). Again, de Maupassant’s imagery extends not just to a vision of grand luxury but also to the sense of touch, taste, and smell. This imagery brings Mathilde’s daydreams to life for the reader.