Posted at 10.16.2018
The concept of fake jewelry can be an interesting one, as it constantly raises questions of merit. Why do people involve themselves within the dubious activity of putting on fake jewelry? Is it because they want to impress or fool their peers with their genuine affluence and social standing? Or could it be more of a psychological dilemma, as one is inclined to seek personal satisfaction and contention within their endeavors to deceive themselves of their own status in modern culture? In Dude de Maupassant's short account, False Gems, we face the average income couple of Monsieur and Madame Lantin. Monsieur Lantin is without a doubt delighted with his partner, but has two issues: her love for theater, and her love for imitation jewelry. After a chilly night at the opera, Madame Latin comes back home sick and tired, and dies eight days and nights later with swelling of the lungs. Monsieur Latin is still left only and poverty-stricken, with little or nothing more to value or mourn over, apart from the phony rings which belonged to his partner. In his attempt to survive a eager financial situation, Monsieur Latin makes an astounding discovery, which in essence, changes his circumstances. It ought to be visible that the title, False Gems, presents more than fraudulent jewelry, somewhat is could be observed as Monsieur Latin's misunderstanding of his category, as well as the deception invoked by his better half. With a low income, he despises theater; however as his public status increases, he begins to think its great. From misleading factors, and eventual changes in habit, there comes this haunting realization that the theme of deception can have a more powerful significance after one's persona and tendencies than initially dreamed, as is evidenced by the "fake rings. "The short history explores principles in mention of creating and fostering a certain faade; a faade, which can have both devastating and life altering consequences, specially when a power have difficulty between different classes are participating.
With a humble salary as a main clerk in the Team of the Interior, you can find often conflicting information as to how Monsieur Lantin and his wife can live with such affluence and high tastes. Theatre, fine wine beverage, and a variety of various "fake jewelry, " an income as a clerk is normally not enough to repay such expenses. Coming from a respectable, money-oriented (her dad was a duty collector), and honorable family, the wife is devote a position much unique of her primary upbringing. In order to redeem her new, middle income status, she strives to satisfy her life with all the comforts and accessories reserved generally for top of the class. She thus creates a faade, which in many ways fools her spouse as well. However, how she actually is able to pursue these luxuries becomes an extremely ambiguous theme throughout the storyplot. It really is hinted that perhaps she was acquiring presents from another man, a guy more affluent and wealthier than Monsieur Lantin. That is evidenced when Lantin questions how his partner could obtain such expensive rings. -"But, then, it must have been a present-day? A present!- a present, from whom? Why was it given to her?
The wife's affinity for theatre is a remarkable one for the reason that it explores two different ideas. The first potential customer dwells upon the idea of the theatre's importance and role in European culture. It had been in essence, a task of leisure and recreation pursued by primarily the upper and elite classes of society. The wife's attendance at the theatre could stem from her continued desire and dreams to participate that specific high class culture. Yet more hauntingly, the theater has been often times associated with duality, or in essence, re-creating oneself for the pleasure of amusing an audience. In mention of the theater, the poignant dramatist Antonin Artaud continues on to say that "We must believe in a sense of life restored by the theater, a sense of life in which man makes himself professional of what will not yet can be found, and brings it into being. " The theatre world signifies the epitome of developing a different person, and fostering a new faade within a world much unique of reality. The better half too exposes herself to the duality of the theatre, and in many ways, re-creates her image for both her partner, and her affluent and "well to do friends. "
As we see, the aura of deception is created simply after the first lines of the story. When Monsieur Lantin first marries his dearest, everyone throughout town is filled with praise of the woman's beauty and virtuousness, and there is regular discussion of how "Happy the man who wins her love!" We are in lots of ways subjected to the glorified and wondrous attributes of Lantin's partner in the early stages of the story, and therefore infer little doubt of the young woman's identity. But exactly like how fake charms can have an effect upon certain visitors, so too are we awed by the beauty of this woman, not of course realizing who she truly is. Actually, very little known is approximately the girl throughout the story, and our intuition is developed from the delight and enjoyment she brings within her reputed spouse. This is sense of euphuism and awe are feelings, which is often drawn upon first glimpse by the unsuspecting and nave audience, as is the truth with Lantin and his judgment of his better half. The partner herself becomes an subject similar to imitation rings. Her deceptive beauty and uplifting demeanor cover up the deceptive and insincere motives she may be concealing from her respected audience.
It's only later when we recognize that Monsieur Lantin's better half may have been involved in some dubious activity behind Lantin's rear. This of course is not described fully, but instead is expressed through Lantin's sense of hesitation and tearful anguish after finding out about the real authenticity of his wife's jewelry. He questions himself, and then disturbingly comes to the floor in an unconscious talk about, signifying his surprise of doubting the initial virtuousness of his past due wife. This field is significant in that it offers contrasting new information to the reader of the wife's character. She is not any longer viewed as virtuousness and truthful, but rather is portrayed as deceitful, venomous, and even sinful.
"He quit, and remained standing up in the middle of the street. An awful doubt moved into his head- She? Then the rest of the jewels must have been presents too! The earth appeared to tremble beneath him-the tree before him to be slipping; he threw up his forearms, and fell to the ground, unconscious. "
When Monsieur Latin realizes that the jewels are in fact worth much more than he thought, he begins to change as a person himself. He quickly starts to sell all the jewelry, and even resigns from his job. He is rich, and begins to adorn things he once despised, such as theater. With an increase of money Monsieur Latin resigns from his job. He "[drinks] worthy of twenty francs a bottle, " and thereafter dines at the Cafe Anglais. From his increased prosperity, it is clear that Monsieur Latin loves a more complex life. He considers himself aside of the elite, as his better half was once recognized to be. There exists thus this change of action and tastes, as he now could be more inclined to imitate and emulate the social and social mannerisms of the top, affluent school. The earrings extinguishes his previous social position, and instead morphs him into a totally different individual. Yet we are left to question, whether or not he truly loves these activities, or that his participation is based generally after his new found interpersonal status. In romance to Monsieur Lantin's endeavors to erase his past middle income background, the famed Italian priest and strong supporter of Benito Mussolini's Fascist federal government, Giuseppe De Luca, got this to say of individuals obsessed with Bourgeoisie culture:
"Middle Class, middle man, incapable of great vice: and there would be nothing wrong with that if only he'd be willing to stay therefore: however when his childlike feminist trend to camouflage pushes him to imagine grandeur, honors, and therefore riches, which he cannot achieve with his "second rate" powers, then your average man compensates with cunning, program, and mischief, he kicks out ethics and a becomes a bourgeoisie. The Bourgeoisie is the common man who does not accept to remain such, and who lacking the strength sufficient for the conquest of essential prices, those of the nature, opts for material ones, for appearance. "
Within the battle of class, deception becomes a key ingredient in your motives to fool others, as well as ourselves. But sometimes our dreams for something "better" can dishevel our original appearance and destroy whatever identity we have initially created for ourselves, at the trouble of perhaps harming others. Man de Maupassant's storyline becomes a disturbing portrayal of the frivolous aspect associated with aspiring to be part of an elitist and bourgeoisie culture, poking fun at the extremities some may project towards in their pursuit for "something better. "