Essay on The Commander - Both Villain and Figure of Sympathy

His and all of the commanders maltreatment of women presents itself throughout Offred's story. Offred’s commander however, begins an unusual relationship with her, by seeing her outside of his home and creating moments of intimacy, which is highly unusual between a Handmaid and those she serves. After several attempts to conceive with Offred, those surrounding the Commander begin to suspect that he is actually sterile, which could be a potentially embarrassing discovery if anyone outside the household found out. At that point, Serena Joy, fearing the consequences of her husband being sterile, encourages Offred to have an affair with Nick and attempt to become

Firstly, the author uses many similes, symbols and short sentence structures to emphasise the oppression and the totality of the control that the government has over Offred. She uses different objects in the room to symbolise Offred’s situation.

The commander can be seen as a man torn between two worlds, he was one

She is kept alive for purely that reason in the first chapters, as the story progresses and she is invited into the Commander's office, where they play Scrabble and he reveals to her hidden or contraband aspects of the new society, such as fashion magazines and cosmetics, which he allows her to read, an activity otherwise prohibited for women. In these meetings Offred is treated more humanely than she has in years. She's treated more like a human should instead of a slave to her own body and “Commander”, which is suggested in her name in of its self, which means “of Fred”, conceding the point that the Commander's name is

Atwood demonstrates a sense of hatred and jealousy within Serena Joy, which is directed towards Offred as she is unintentionally an intruder and is invading Serena Joy’s private life. Eventually, this jealousy enables Serena Joy to try to obliviate Offred by “fixing it up with Nick”. Also, Serena Joy indicates that she is willing to “help” Offred by showing her a “picture”, “something you want”. However, all these actions are a result of Serena Joy’s self-interest and her manipulative personality, “there’s a hint of her former small-screen mannequin’s allure, flickering over her face like momentary static”. Consequently, Atwood highlights Serena Joy’s “roguish” actions caused by jealousy and a desire for revenge upon the very person who has been deprived her of possession of the Commander; she deliberately withheld the news of Offred’s lost daughter and the photograph that Offred has been longing for.

Offred's memories are a way for her to escape a society riddled with hopelessness. The authoritarian society of Gilead prevents her from

Her belief gives her a false sense of security as well as her unwillingness to rebel due to fear of the Eyes. Her conversations with others are "Praise be," "Blessed be the fruit," and "May the Lord open" it is difficult for Offred or any women to really have a meaningful conversation for fear that anyone is a spy. Everything that Offred does is now part of the norm of society. She doesn't question her duties just does what is expected of her. As Offred begins a secret relationship with Nick she believes she has reclaimed a tiny piece of her past. She becomes addicted to the small amount of companionship from Nick, causing her to turn a blind eye to the injustices going on around her. She feels empowered because it was her own choice. When in reality she did what was expected of her. Using her body in order to produce a child.

The agents of control in offreds life start with the aunts in training the handmaid’s. the role is to mold the handmaid’s into their society, to make them presume that everything is the norm and not to desire more. Secondly is the eye. They are the thought in the backs of peoples minds that makes them follow the rules. No one knows quite who they are and can never be sure who to trust. This is the perfect way to control people without a constant presence.

Her relationship with the commander is transient--one of convenience and necessity. Her feelings for him are ambiguous, and confusing even to her. She muses: "I ought to feel hatred for this man. I know I ought to feel it, but it isn't what I do feel. What I feel is more complicated than that. I don't know what to call it. It isn't love" (76). So we see that Offred sets up this relationship as the antithesis of romantic love--a foil for her relationships with both Luke and Nick. It is forced: a physical act devoid of desire, and in it she feels dominated and trapped. How she describes herself in relation to this situation, even at her most empowered (when she is with him in her office), is very revealing. Calling herself "an attentive pet, prick-eared and eager to perform" (238), she tolerates this relationship for the tiny bit of power it can afford her in this dystopic society. And yet, there is something more to this, because she admits to taking an interest in their social interaction: "I don't love the commander, or anything like it, but he's of interest to me, he occupies space, he is more than a shadow" (211). This last

“Waste not, want not. I am not being wasted. Why do I want?” (Atwood 7). From stealing butter for lotion to playing Scrabble with the Commander, plainly, Offred is unorthodox. The Republic of Gilead controls how much knowledge each caste is allowed; this is one way of controlling people and keeping order. Despite being condemned to this society and commanded not to read, Offred reads anyways. Offred’s actions show her dislike of

Although Offred accepts the standards and criterions of her society, she keeps her individuality and refuses to forget the past. She remembers having had an identity of her own and strives to hold on to it as best as she can. She puts a claim on her temporary room in her Commander's house; it becomes a sanctuary for her true self. Her room becomes a place of

“Malice- a desire to harm others or to see others suffer; intent, without just cause or reason, to commit an unlawful act injurious to another or others” (“malice”). Malicious characters or groups play a central role in many literary works, like the Headless Horseman in The Legend of Sleepy Hollow, O’Brien in 1984, and white society in The Adventures of Huckleberry Finn. These characters threaten, attack, trick, and persecute the main character or another central character within their story. They add to the plot and tension of the work. Another malicious character is Iago, the villain in one of William Shakespeare’s greatest tragedies, Othello. In this play Iago sets out to destroy Othello for multiple reasons, most of which are

the novel is a role model for Offred and serves as a part of Offred’s conscience. The

Offred's character is required because she gives flashbacks to the time before Gilead, giving the reader an idea of the events leading up to the beginning of the novel. How bad the world before Gilead sounds, the world of Gilead is much worse.

Offred's purpose is to serve the Commander and his wife, Serena Joy. When Offred is at the crucial point in her menstrual cycle when she is most fertile, the Commander must have passionless sex with Offred in order to accomplish the objective of impregnating her. This is Offred's third attempt; she was not successful with the two Commanders before this one. If Offred fails again she will be declared an Unwoman and sent to the colonies for hard labor. Offred's freedom is completely restricted. She can not have the door to her room totally shut, and she can leave the house only on specific purposeful trips such as to visit the wall or for purchasing grocery items. All the while, Gilead's secret police forces, known only as ‘Eyes', are scrutinizing every move she makes.