The Portrayal of Females in Jane Eyre and The Handmaid's Tale

Introduction

Exploring the concepts and themes that contribute to the portrayal of females within literature is a highly relevant topic in today’s critical climate. These concepts have historical and contemporary application that may help unveil and discuss female portrayals in literature, and thus are worthy of investigation.

Charlotte Bronte’s classical novel Jane Eyre (1847) is a bildungsroman narrating the life of the eponymous Jane and the challenges she faces as a young, unmarried woman. Despite our contemporary appreciation of the ideas and perspectives presented in this work, Bronte was at the time of its creation required to use a pseudonym to be published. This was mainly due to how controversial her ideas were regarded at the time. The portrayal of females in her work was therefore criticised as immoral, as it could encourage females to adapt behaviour or ways of thinking that were unbecoming of them.

The Handmaids Tale (1985) by Margaret Atwood portrays a dystopian world emerged due to the devastation of earth’s environment by radiation, resulting in a shrinking population and loss of fertility. As an extension of fundamentalist ideas of puritan fanatics this has led to the monopolization of fertile females by the regime “Gilead”. Fertile females are thus assigned as “handmaids” to the wealthy. Despite the highly provocative nature of this tale, at a time in which women’s rights movements were experiencing backlash, Atwood’s novel was critically acclaimed. Atwood has declared The Handmaids Tale not as a dystopian novel, but as a reflection of real life events showcasing methods of maintaining power over females.

I seek to explore and discuss the portrayal of females in respective works. The research question How do the themes of identity, power and gender contribute to the portrayal of females in The Handmaids Tale and Jane Eyre? will be answered through analysis into the contribution of the themes in their contexts, utilizing appropriate articles and essays to substantiate the analysis. I will be referring to the Jane Eyre and The Handmaid’s Tale as JE and THT respectively within this essay. Based off the contextual knowledge presented I expect the portrayal of females to be dynamic

Identity

Identity is an abstract notion of the self, comprised of subjective concepts of what constitutes the human being, and is synonymous with a sense of self. James Dean writes that identity in its contemporary manifestation refers to social categories and to sources of “self-respect or dignity”. Through this definition we can study how this concept contributes to the portrayal of female characters in the literary works Jane Eyre by Charlotte Bronte (1847) and The Handmaids Tale Margaret Atwood (1985).

The aspects of identity emphasized in JE are the divergence and conformity to traditional female ideals of femininity and sexuality. The Victorian era in which Jane Eyre’s narrative transpires in is imbued with notions of what female identity should encompass and how it should be manifested in society. There is the concept of the ideal woman, the Madonna-image, which is characterized by a pure, submissive and obedient conduct – an ideal which dictated the female decorum of the time. Females at these times were to “give themselves” unreservedly to these social constructs and to the power structures that maintained them.

In line with the social movement transgressing in the nineteenth-century, in which traditional roles and ideas of females were challenged, Bronte illustrated female characters with an identity that repudiated the restrictive social norms set in place for females. This applies to Jane Eyre, as the eponymous Jane Eyre is a decidedly unconventional Victorian female who objects strongly against the injustices she construes, and exhibits characteristics that divulge her passionate disposition, sense of self-worth and dignity. Despite societal principles which seek to supress her identity and independence throughout the novel, we can see how Bronte’s heroine is able to obtain a fulfilling life in which she has unadulterated love and is an equal with her lover Edward Rochester. She manages to contrive a way to support herself without dependence on him; without sacrificing her identity nor independence. The vicissitudes Jane undergoes produce a development fundamental to the novel. This development could be perceived as conformity to the societal norms, as she attains her ambitions only by suppressing her passionate character. Nevertheless, she maintains her integrity, and semblances of her identity can be perceived through her actions.

The Handmaids Tale takes place in a society seemingly contradistinctive from that of the Victorian society in Jane Eyre. However, this pretence is only superficial. There are clear similarities between the two societies in which these tales transpire, mainly in terms of the repression of female identity, and it is through this that female portrayal is explored.

The aspects of identity that are emphasized in THT are denomination, sexuality and femininity. Denomination, i.e. naming, is an essential part of a person’s identity, which is apparent through the handmaids. In Atwood’s’ work the handmaids are stripped of their names and given a patronym denomination, whereby their name is derived from the male they “belong to” – a Victorian tradition that in this tale has prevailed and contributes to the repression and dehumanization of female identity. The tale’s protagonist Offred is not her own person; “She has become a man’s possession, belonging to Fred”. Through this, the regime aims to create a new identity for the handmaids that harmonises with their values and ambitions. The most effective device of forcing submission on women is thus to eradicate previous means of self-identification, which subsequently limits their ability to have an identity apart from the males in their lives. “My name isn’t Offred, I have another name, which nobody uses now because it’s forbidden. I tell myself it doesn’t matter, your name is like your telephone number, useful only to others; but what I tell myself is wrong, it does matter.” (p.94)

Forcing new identification unto handmaids according to their relationship to their proprietors, i.e. “re-identification” , is vital for maintaining the power structure enforced by the Gilead regime. Showcasing the power over women in intimate aspects such as identity, shows the regimes disdain and impudent attitude towards the sanctity of female independence and autonomy of the own self.

Identity and sexuality

When it comes to sexuality within the concept of identity, The Handmaids Tale is a prime example of the ways in which sexuality is used to portray females. In THT there’s a conceived notion of sexuality as something sinful that should be constrained. Additionally, autonomy over the female body is disregarded and sacrificed for the well-being of the collective. The idea of objectification, and essentially commercialization, of the female body is apparent in the handmaid’s own prospect; “Something could be exchanged, we thought, some deal made, some trade-off, we still had our bodies.” (p. 14)

Similarly, sexuality between handmaids and others is restrained and controlled to the point of outlawing all physical contact that is not strictly reproductive. This patriarchal repression of female sexuality, but not reproduction, is what oppresses the woman – they are not allowed to take pleasure in anything that won’t be of direct benefit for their “masters”. This subsequently causes them to disassociate from their bodies; “My nakedness is strange to me already. My body seems outdated. I don’t want to look at something that determines me so completely.” (p.72-73).

Through this analysis of female sexuality in THT we are suggested to the perception of sexuality that prevailed in the Victorian society of JE. The society of THT seems to be largely based off conservative and religious ideas which correspond to the conditions within JE. Sexuality, particularly female sexuality is considered demoralizing, a notion seemingly so greatly engraved within society that not even the story’s reputedly rebellious heroine is inclined to defy it conspicuously. However, female sexuality is illustrated inconspicuously through females conduct at social gatherings, wherein cleavage, femininity, and subdued flirting, were presentations of sexuality. There is also thinly masked sexual tension between Jane and Rochester, who she works for.

The concept of worth based of off the way women present themselves can be seen in both works; in Jane Eyre, which unfolds in Victorian England, women’s worth (purity) is very adamantly dependent on how they present themselves. In The Handmaid’s Tale we see that the Handmaids are meticulously covered from head to toe, to assure that they cannot use their sexuality to gain power or influence.

Identity and femininity

The concept of femininity within the aspect of identity is essential to the contextual foundation that substantiates the development of the storyline of Jane Eyre. Bronte works dedicatedly to illustrate an authentic reflection of Victorian society in her work, something her emphasis on womanhood and the expectations of what it should be can attain to. Femininity is a part of female identity that in Victorian times was fundamentally deciding when regarding women as it was said to directly reflect women’s natural inclinations; superficiality and subliminal in nature.

To contextualize the contribution of femininity to the portrayal of females, we must consider what it is in the idea of femininity that is important; beauty. Despite the paradox intrinsic in the concept of human beauty, there’s a universality in the admiration conferred upon it within femininity. In JE our heroine embodies this through her ambiguous attitude to physical appearance. Despite Rochester’s physical divergence to beauty standards, Jane Eyre monologues this is compensated by his intellect. Contrastingly she expresses wishes to possess beauty, which emphasizes the ways in which these ideas influence females if promulgated by a whole society. “I sometimes regretted that I was not handsomer […] And why had I these aspirations and these regrets? It would be difficult to say […] yet I had a reason, and a logical, natural reason too.” (p.85)

This extract emphasises the influence of beauty ideals of the time and illustrates the paradox in the way the genders hold themselves to beauty. Jane’s divisive thoughts on the importance of beauty for male’s vs females clearly alludes to the accentuation on women’s appearance in comparison to intellect in the Victorian society.

The strong advocacy for femininity in JE contrasts The Handmaids Tale’s aversion to it, showed through the repression of the handmaids by inhibiting any attempts at enhancing their appearance and femininity – not without divergence from some. To successfully cause the handmaids total disassociation to the concept of beauty, notions of self-love and body autonomy must be dismantled. The concept of femininity is not explored much further than this, as it’s an aspect the regime has eradicated for handmaids.

In JE the women are required to be feminine, whereas handmaids in THT are refused femininity. However, there’s homogeneity in both literary works as women are presumed to be one-dimensional in their qualities, while men are multifaceted. Both author’s inconspicuous criticism towards the demands placed on women also reflects some movements work towards stopping skewed perceptions of women based on sexuality and looks.

Gender

Gender is a concept that in contemporary times has become greatly controversial due to its influence on the circumstances of respective gender in society. Theorized by Professor Lorrain Code ,“Gender is always a determining ingredient in the way lines of power and privilege are drawn”.

In JE gender is portrayed through a multidimensional approach that inconspicuously underlines and differentiates between the strife each gender must confront due to their sex. Femininity and physical appearance are significant in the portrayal of gender roles; however, it is not exclusive in such a way that it showcases conformity to these concepts, contrarily it also illustrates how characters who diverge from them are perceived and treated by society. Our main subject when regarding characters who conform to the prescriptions of gender roles is Blanche Ingram. She demonstrates all the archetypal qualities pertinent to the Victorian ideas of womanhood and femininity; beautiful, noble and graceful as she is, she is the perfect candidate to marry into Rochester’s family. However, her personality proves to be a juxtaposition of what her appearance conveys; she is selfish, narrow-minded and lacks personality. Through this portrayal of the ideal female, Bronte is able to emphasise how the superficiality in the requirements for females can lead to misfortune. Contrastingly we have Jane; plain in appearance but with a dynamic character. She demands respect and advocates for equality between genders; regarding them “equal – as we are” (Ch.23). In contrast to this we see how she adheres to some aspects of Victorian society. She is partially complacent about the changes she must undergo to fit in but is determined to do it in her way; she is bold in her interactions with Rochester, although remains deferential in some matters, refuses to be treated like property, and asserts her independence. These attributes were mainly typical of men during the Victorian era and therefore accepted to a wider extent when exhibited by them. However, demonstrating these characteristic and behaviour as a woman was considered disreputable. “[…] you should try to be useful and pleasant, then, perhaps, you would have a home here; but if you become passionate and rude, Missis will send you away, I am sure.”

Excerpt above showcases the conduct by which females were required to behave to be accepted in the Victorian society. Those who digress from the established status quo face the repercussions. Because of her divergent nature, Jane is sent away to an institute to be “humbled” and to make her into a sublime, submissive, and inobtrusive woman; she’s to let go of the inclinations telling her to deviate.

In THT gender and the emanation of its consequences for each sex is more conspicuous. The reader can throughout the work scrutinize how females versus men are treated and perceived in society. Offred too, is “rehabilitated” to fit into the role established by the state. Just as in JE there are female characters who conform to the roles set out for them and subjugate themselves to their superiors, there are others who, while showing semblances of conformity and subjugation, surreptitiously rebel against the system, and lastly there are those who overtly rebel against the injustice.

We can also see the progression of women’s role in society by considering the women who, along with the religious fanatics in charge, fought for Gilead’s emergence. Serena Joy was celebrated for her advocacy for the traditional values and homes, and thus had power and influence in society. After the revolution and the establishment of Gilead she is left without that power and influence. She’s no longer identified as the celebrity and influencer, but by her relationship to the Commander, thus losing her identity. Serena Joy appears diminished, whereas the Commander is portrayed as the opposite; vital and still of importance to society. She’s ironically become “a symbol of the loss of power for women”.

Offred appears complacent to the new rules and the obligations she must fulfil. However, she does rebel within her boundaries and in small acts of subversion; she has not completely abandoned her identity (particularly her intrapersonal reflection). One clear example is her regard to sexuality and femininity, which she partly sees as a means of power– with which she can’t rule, but with which she can influence; cause pain and discomfort; “[…] I move my hips a little […] I enjoy the power; power of a dog bone, passive but there.”. Despite this we can detect underlying despondency in Offred’s hostility and pity at some points for Serena Joy, something that is prescribed in the teachings of the Red Centre; she has subjugated to her role so much so that her feelings replicate these teachings.

On the other end of the spectrum we have Moira, a transgressive character. She shows rebellion which is not hidden is and thus is a symbol of hope for the Handmaids, whose future portend complete and utter subjugation or alternatively death. However, her rebellion has repercussions and she is forced into prostitution in the brothel Jezebels. She’s moulded into a caricature of femininity and sexuality, a creation of male fantasies, constructed to appeal to the powerful men in power. Thus, we discover a new aspect of the women of Gilead; brave women cannot always stand against the power that aims to ensure their degradation.

Power

Power, or “possession of control, authority, or influence over others”, is a concept that’s caused both conflict and resolutions throughout history. The power structures that are constructed aim to preserve the status quo; the manifestation of power in micro – and macro environment. This notion is explored in both literary works; JE considers the effects of the power structure in society on vulnerable females that, like Jane herself, are young, single and have no family. THT treats power and its manifestations similarly, although focusing mainly on the use of power to supress women overall, regardless of whether said suppression occurs at the hands of males or other females.

The power structures in JE are simple; males are considered better suited for positions in power, while qualities associated with females are considered inferior to those associated with males. The reader is exposed to the gender/power discourse at a smaller scale; in the micro-universe that is the Reed manor and Thornfield. An early example of the influence of gender on power occurs in Jane’s interactions with her host family’s son; “Say, “What do you want, Master Reed?” was the answer. I want you to come here; and seating himself in an armchair, he intimated by a gesture that I was to approach and stand before him.” (P.5). The way in which she is demanded to refer to him as Master and his attitude and body language is a clear indicator of the power structure existing in the household; whereby the man is the head of the household and feels entitled to respect from those below him. Master Reed feels that he can abuse his power, despite being just a child. This thought is prompted by societal perceptions of the capabilities of each gender and is maintained through existing societal systems and power structures.

There are parallels in the power structure constructed in THT, but our focus is on how these structures are utilized and how power is distributed. Power is showcased through a “transgressive patriarchal dominance” over women by the regime. The power structure in Gilead is constructed to place men (commanders, officials, angels,) in a position that enables them to subdue women. However, this is only conceivable through the separation and alienation of females in society; the women are labelled and defined by their functions in society and in relation to the men in their lives (wives, handmaids, aunts, marthas, econowives and jezebels [unwomen]). The reductive nature of labelling women, removing gender ambiguity, is sanctioned by the hegemonic government to ensure that power stays relative.

Atwood also presents critique against the notion of women supporting each other, i.e. sisterhood, by creating tension amongst women. The handmaids are condemned by all other women because of their duties, which entail performing sexual activities (even if the intention is to ensure the continuation of the human’s species, there is still disapproval of their role as they’re engaging in these activities with married men). Jealousy inhibits the women from supporting and aiding each other at a time in which they’re all oppressed. Instead, because of their lack of power and influence over their own life, the women tear each other down for an ounce of power. The aunts for example enforce the handmaid’s subjugation and the handmaids among themselves sell each other out for personal benefit. The aunts, despite being women themselves, possess a semblance of power, which they use to subjugate others to the leaders (through torture, brainwash and suppression of identity). But even despite the power they hold, over e.g. handmaids, they still stand below the men in the society as they can’t be given power that can be likened to that of any male, such as the power of having a fire arm; “No guns though, even they could not be trusted with guns” (p.14) . Women keep each other in check, and so enforce the norms and rules set by their oppressors. The internalized misogyny that places women against each other thus contributes to the portrayal of females as both victims and perpetrators of injustice and prejudice.

The position of females, particularly the handmaids, as vulnerable is emphasized by reoccurring similes between women and livestock, which conveys the message that they, like livestock, lack the intellectual properties to do anything other than watch as they are bred for “consumption”. Another clear indicator of this vulnerability is in the position the handmaids are made to take during the “ceremony” (in which the commander attempts to impregnate the handmaid); There’s symbolism in the positioning of her body, kneeled by the feet of her master and his wife, as it demonstrates existing power relationships and alludes to the objectification of handmaids, which is considered to legitimize the oppression of them.

Additionally, Offred’s husband Luke before Gilead, who should show compassion and understanding for how women’s lives have drastically changed, seems complacent to the new rules. He doesn’t mind that women’s independence and power are stripped from them, nor Offred’s consequent dependence on him. His paternalistic response to the situation comes across as patronizing to Offred. “He doesn’t mind this, I thought. He doesn’t mind it at all.” “We are not each other’s any more. Instead, I am his.” (p.192)

Conclusion

In conclusion, the aim of this essay was to explore how identity, gender, and power contribute to the portrayal of females in Jane Eyre and The Handmaids Tale. There’s homogeneity in both literary works as women are presumed to be one-dimensional in their qualities, while men are multifaceted. Their identity is portrayed to be superficial and sublime, however this notion is given another dimension in the way females hold themselves in relation to sexuality and femininity. Discussion on the topic of gender has also revealed a varied range of female portrayals and how these conform to gender roles; there are female characters who conform to the roles set out for them and subjugate themselves to their superiors, others who surreptitiously rebel against the system, and lastly those who overtly rebel against the injustice. Conflicts between these groups reveals the social structures and manifestations of power employed in the works; disclosing how differing power positions amongst females’ places women against each other, contributing to the portrayal of females as both victims and perpetrators of injustice and prejudice. It is hence through these themes that the portrayal of females in respective work are illustrated.

Bibliography

Atwood, M. (1986). The Handmaids tale. Jonathan Cape: Vintage in 2017 (London), ISBN: 9781784873189
Brontë, C. (1992). Jane Eyre. Ware, Hertfordshire: Wordsworth Editions Limited: Wordsworth Editions Limited (2006), Introduction and notes by Sally Minogue 1999
Code, L. (1995). What can she know?: Feminist theory and the construction of knowledge. Ithaca, NY: Cornell University Press.
Derose, M. (2005). Redefining Womens Power Through Feminist Science Fiction. Extrapolation,46(1), 66-89. doi:10.3828/extr.2005.46.1.8
Fearon, J. D. (1999). What is identity (as we know use the word)? (Academic paper).
Standford/Standford University. https://web.stanford.edu/group/fearon-research/cgi-bin/wordpress/wp-content/uploads/2013/10/What-is-Identity-as-we-now-use-the-word-.pdf
Graeme, T. (2016) Physiognomy and the Treatment of Beauty in Jane Eyre, Bronte studies, 41:4, 300-311, DOI: 10.1080/14748932.2016.1222703.
History – Ideals of Womanhood in Victorian Britain. (2001, August 09). https://www.bbc.co.uk/history/trail/victorian_britain/women_home/ideals_womanhood_01.shtml
Naresh, J. (2016). Identity and Independence in Charlotte Bronte’s Jane Eyre. MIT International Journal of English Language & Literature,3(1).
Neuman, S. C. C. (2006). ‘Just a Backlash’: Margaret Atwood, Feminism, and The Handmaid’s Tale, University of Toronto Quarterly 75(3), 857-868. University of Toronto Press.
Petterson, F. “Discourse and Oppression in Margaret Atwood’s The Handmaids Tale “(010610, Linnaeus University),
Power. (n.d.). Retrieved October 9, 2018, https://www.merriam-webster.com/dictionary/power
Standford/Standford University. https://web.stanford.edu/group/fearon-research/cgi-bin/wordpress/wp-content/uploads/2013/10/What-is-Identity-as-we-now-use-the-word-.pdf
Sahu, A. Ph.D. Scholar, (May 2016) “Portrayal of marginalized Women in Atwood’s The Handmaid’s Tale” (Language in India www.languageinindia.com ISSN 1930-2940 Vol.16:5)
Swale, J. “Feminism and politics in The Handmaid’s Tale,” The English review, September 2002, Vol. 13:1, p.37. Copyright 2002, Jill Swale.
Yamato, G. “Something about the Subject Makes it Hard to Name.” In Women’s voices, Feminist Visions, ed. By Susan M. Shaw and Janet Lee, 86-89.