Showing posts with label women's rights. Show all posts
Showing posts with label women's rights. Show all posts

Wednesday, August 15, 2012

The Themes Found in "A Handmaid's Tale"

File:Atwood Handmaid.jpg
"Handmaid Under the Eye"
Created March 11, 2008
by Segeton
Source: Wikimedia Commons

According the timeline in A Handmaid's Tale, in the early 1970’s, radicals took over the United States, killing the President and all of Congress simultaneously. To erect their totalitarian regime, the country’s new founders suspended the Constitution to create their own laws. These laws are mostly anti-laws steeped in Christian sentiments, like pro-life, anti-sex (citizens are denied sex unless they are married, and even masturbating is a punishable offense), free speech censorship, and even laws prohibiting literacy (for women).
 Offred is a Handmaid of the Republic of Gilead. The remnants of the United States is formed into Gilead, and woman are no longer allowed to have a job or own property in the land of Gilead. A rise in sterile men and women has prompted the leaders of Gilead to promote the use of Handmaids. Handmaids like Offred are put into households of commanding army officers to do what their sterile wives cannot: produce a child. Often, a Commander is sterile (though it is treasonous to blame men for anything in Gilead), and a Handmaid must secretly turn elsewhere to become pregnant.
When Offred’s Commander begins a courtship with her, their forbidden affair is one she takes as  just another duty of her Handmaid status. Yet, the affair opens her up to another affair with the Commander’s chauffer, Nick, and she finds herself falling in love for the first time since the empire of the United States ended and the reign of Gilead began.
A Handmaid’s Tale reads like a series of diary entries, and the writing is just as intimate. Atwood is not afraid to make her characters real, even if sometimes that means their descriptions are crude beyond belief: “Below me, the Commander is fucking. What he is fucking is the lower part of my body. I do not say making love, because this is not what he’s doing. Copulating too would be inaccurate […]; Nor does rape cover it: nothing is going on here that I didn’t sign up for” (p. 121).
Female freedoms and male expectations are two large themes Atwood constantly revisits in her novel. Simple things women may take for granted like having a bank account, going where they please, reading a book, and having a job are all defining characteristics of female suffrage. Offred, and all women in Gilead, are denied these basic rights. Why? The founders of Gilead believe that by returning women to a more ‘traditional’ role (traditional role in the Christian or even Islamic sense), they can guarantee the happiness of most. Like other totalitarian governments, Gilead has achieved a few things that modern civilization has not: rape, murder, and theft have been eliminated (for the most part).
File:Margaret Atwood Eden Mills Writers Festival 2006.jpg
Author Margaret Atwood attends
 a reading at Eden Mills Writers'
Festival, Ontario, Canada in
September 2006.
By Vanwaffle
Source: Wikimedia Commons
Men of Gilead expect their women fill the role of the caretaker (cooking, cleaning, ect). In a way, women are natural caretakers as they give birth and instinctively feel the need to take care of their progeny. Does that mean that women should be responsible for taking care of all household duties, and nothing else? Well, in Gilead, that is exactly what being a woman means. Men of Gilead also expect their women to be natural sluts (but publicly, they denounce wanton sexual behavior). Gilead Commanders maintain a brothel outside of town, named the Jezebel. At Jezebel, women wear ‘retro’ costumes, like lingerie and cheerleading outfits. When Offred asks how a place like Jezebel is allowed, the Commander responds with “Everyone’s human […] you can’t cheat Nature. Nature demands variety, for men. It stands to reason, it’s part of the procreational strategy. It’s Nature’s plan. Women know that instinctively. Why did they buy so many different clothes, in the old days? To trick the men into thinking they were several different women” (p. 308). 

Friday, September 24, 2010

Further thoughts on 'A Doll's House'

Upon detailed examination, Henrik Ibsen's A Doll's House is filled with complex characters. Each character has a specific function, beginning with Nils Krogstad. For a large part of the play, he fills the role of the antagonist. Later on, the reader gets a glimpse further into his life and feels sympathy for him. By the end of the play, the reader realizes that he is not the antagonist at all, and he finds a happy ending with Kristine Linde.

Kristine Linde is a friend to the main character, Nora. Throughout the play, she gives Nora advice, aids her with her problems, but eventually facilitates the confrontation between Nora and her husband at the end of the play. Without Kristine, Krogstad would not have found his redemption and Nora would not have truly seen her husband for the patronizing scoundrel he was.
Dr. Rank is the family doctor to the main characters. Not only is he the family doctor, but he is a close friend of the family as well. Secretly, he is in love with Nora, even though she is married to his best friend. Dr. Rank treats Nora with respect, sees her as a person and a woman, and does not placate her like a child. He is everything her husband is not, and a symbol of what she could achieve in a marriage where both parties treated one another as equals.

The plot of A Doll's House is intricate, changing tempo during certain scenes to create a more dramatic element to arouse emotion and thought from the reader. The scene when Nora begins to dance wildly because she thinks her secret is going to be discovered takes the reader into the scene with all of the detail and rising action. At the end of the play, when Torvald confronts Nora, it is shocking at how he completely turns on her, and in an instant forgives her when he realizes there will be no social or lawful ramifications due to her actions. The scene seems to explode with his anger, then slow down as Nora's own feelings simmer and she calmly explains to Torvald that she is leaving him.

At the end of Henrik Ibsen's A Doll's House, Nora's behavior is understandable. She was living a lie during her entire marriage, and it came crashing in on her and her husband, tearing them apart. They were never right for each other in the first place, because both of them needed to learn more about each other and human relationships. When she makes the decision to leave Torvald and her children, she makes the right decision. The right thing is often the hardest, as the saying goes, and abandoning one's family must be one of the hardest things to do. For Nora, it was necessary for her to leave, because she did not feel she was not fit to be a mother, or even a person. She did not know how to be independent or how to rise above strife. She felt in order to be a better wife and mother, she had to leave, if that makes any sense.

Ibsen has remarked that A Doll's House is more about human rights than women's rights, and I agree with him. The center of the play is Nora, who is treated like she has a child's capacity for intelligence by her husband. Kristine Linde, a friend of Nora's, has led a hard life and feels like she has nothing to live for anymore. Krogstad is a man who was once derelict of all morality, but has found it once again, only to have his reputation threatened. Each character learns and grows over the course of the play, and by the end, Nora knows that she deserves more from a husband. Kristine finds love and a second chance with Krogstad. He in turn finds all the respect and morality he needs from Kristine. Perhaps the overall message of the play is that every human being deserves a second chance and to be treated with respect.