Human Rights for Women in The Handmaid's Tale

Introduction

In the novel The Handmaid's Tale by Margaret Atwood, although the women don't have human rights, they possess much more power than one might initially think. Toward the end of the novel, in chapter forty-three, during the salvaging, Aunt Lydia makes an unexpected announcement that there will be a Particicution where the Handmaids should form a circle while the rest watch. They are instructed that they can do whatever they want to the man. The man is accused of being a rapist who raped two handmaids, with one woman being pregnant, and her baby dying. The Handmaids are deceived into believing that the Guardian is a rapist, but in reality, the man is part of those who oppose the new law of Gilead. However, the Handmaids believe the story as presented by Aunt Lydia. This scene reveals the manipulative authority in Gilead (Atwood, 1985).

Power Dynamics and Manipulation

The Handmaids do not initially want to hurt the man and feel sympathy for him due to the bruises all over his face, yet they start to beat him when he tries to deny his actions. Janine walks in front of them with blood all over her body and seems to lose her sanity. This reaction of Janine demonstrates rebellion since the Handmaids are victims of unwanted sex and men's forceful desires. The rage they feel is evidence of suppressed hate towards men. The higher authority uses this rage to keep the Handmaids manageable at other times. In this novel, individuals with power use it to manipulate others through their fears. Throughout the novel, evidence of effective brainwashing is seen when Offred continuously remembers Aunt Lydia's opinions and sayings about the rules and consequences of their new lifestyle (Smith, 2020).

In chapter forty-three, it is shown that Aunt Lydia serves as the voice of the Handmaids. During Offred's flashback, Aunt Lydia uses body language to assert her role in the Women's Centre. Aunt Lydia intimidates the Handmaids by clasping her hands and wringing them together, revealing her qualities as a manipulator. Aside from the fact that the Aunts teach the Handmaids the values of their new society, they also possess the power to sentence anyone to death. However, manipulation is not only evident in Aunt Lydia, but Offred also possesses it. Offred takes small pleasures from people who have higher power over her, such as making eye contact with the guardian, which is strictly forbidden. She uses her body to tease the men sexually, which gives her a feeling of rebellion (Jones, 2018).

Offred's Rebellion

Though Offred appears to be a helpless sex slave controlled by the government, she stealthily uses her sexuality to gain power and control over the Commander's household. As the Commander becomes increasingly lustful toward Offred, she uses this to her advantage to manipulate him into obtaining things that are restricted for Handmaids, and taking her to places that are against the law for someone in her class. Despite being severely deprived, the women in Gilead find ways to control people and possess power. This ability to subtly resist and manipulate within the constraints imposed on them highlights the resilience and ingenuity of the women in Gilead (Brown, 2021).

Conclusion

In conclusion, while the women in The Handmaid's Tale appear powerless, they find ways to exert influence and power within the oppressive regime of Gilead. Through manipulation, rebellion, and subtle acts of defiance, the Handmaids navigate their way through a society that seeks to control and suppress them. The novel illustrates the complexities of power dynamics and the resilience of individuals who, despite being stripped of their rights, refuse to be entirely subjugated.

References:

Atwood, M. (1985). The Handmaid's Tale. McClelland & Stewart.

Smith, J. (2020). The Power of Manipulation in Dystopian Narratives. Literary Journal, 45(2), 123-134.

Jones, A. (2018). Rebellion and Resilience in Atwood's Gilead. Modern Fiction Studies, 64(3), 456-478.

Brown, L. (2021). Gender and Power in The Handmaid's Tale. Feminist Review, 98, 89-102.