Literary Techniques

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Literary Techniques

The following literary techniques are seen in The Handmaid's Tale:

Metaphor

A metaphor is when you compare one thing to something else that has symbolic significance, even if not directly related to it.
Atwood uses metaphors throughout to display Offred's state of mind. In this following example, Offred uses grotesque imagery to objectify the naked body of the Commander. This may show her disgust at the nature of the Ceremony:
- "His tentacle, his delicate stalked slug's eye, which extrudes, expands, winces and shrivels back into himself."

Paronomasia

Paronomasia means a pun, or a play on words.
In the Historical Notes, the name of the University is Denay, Nunavit, a pun on "Deny none of it!"
Moira also makes a pun on the Biblical reference "There is a balm in Gilead", changing it to "There is a bomb in Gilead" in Chapter 34. She is attacking the beliefs of the theocracy through her language.

Simile

A simile is when you compare one thing to another using 'like' or 'as'.
In the novel, Offred uses many comparisons. Offred describes the brutality of the world in very prosaic, normal language. This may show how desensitised she is to it all:
- "Helped onto the high stool as if she's being helped up the steps of a bus... the noose adjusted delicately around the neck, like a vestment."

Patronyms

Patronyms are names that derive from the name of a father/grandfather.
In Offred's case, it is of her Commander, with the preposition "Of" and the proper noun "Fred" joining together to give her an identity based on the Commander she belongs to.
- Atwood was most likely referencing the act of slave owners using their own names to denote ownership of their slaves.
- Atwood may also be referencing the convention of women taking their male partner's name after marriage.

Literary Techniques (Cont.)

The following literary techniques are seen in The Handmaid's Tale:

Neologisms

Neologisms are made-up words. They're usually made by blending two existing words together or adding an unexpected prefix/suffix on to a word to change its meaning.
Atwood follows the conventions of dystopian writers like George Orwell and Ray Bradbury and creates her own neologisms to give Gilead its own lexis. By creating these new words, Atwood shows how language holds meaning and ideological control over those who use it.
- "Unwomen"
- "Particicution"
- "Compucheck"

Polyptoton

Polyptoton is when words which are derived from the same lexical root are repeated.
Atwood uses this technique when Offred thinks about the power of language and its many different meanings:
- "Night falls. Or has fallen. Why is it that night falls, instead of rising, like the dawn?"
- "I wait. I compose myself. My self is a thing I must now compose, as one composes a speech."

Chremamorphism

Chremamorphism is the opposite of personification; it is where a human is given the characteristics of an object/something inanimate.
Atwood uses it to show how objectified Offred feels in her role as a Handmaid.
- "Buttered, I lie on my single bed, flat, like a piece of toast."

1Author Background

1.1Margaret Atwood

1.1.1Margaret Atwood

2Chapter Summaries

2.1Chapter 1: Night I

2.1.1Chapter 1

2.2Chapters 2-6: Shopping II

2.2.1Chapter 2

2.2.2Chapter 3

2.2.3Chapter 4

2.2.4Chapter 5

2.2.5Chapter 6

2.3Chapter 7: Night II

2.3.1Chapter 7

2.4Chapters 8-12: Waiting Room IV

2.4.1Chapter 8

2.4.2Chapter 9

2.4.3Chapter 10

2.4.4Chapter 11

2.4.5Chapter 12

2.5Chapter 13: Nap V

2.5.1Chapter 13

2.6Chapters 14-17: Household VI

2.6.1Chapter 14

2.6.2Chapter 15

2.6.3Chapter 16

2.6.4Chapter 17

2.7Chapter 18: Night VII

2.7.1Chapter 18

2.8Chapters 19-23: Birth Day VIII

2.8.1Chapter 19

2.8.2Chapter 20

2.8.3Chapter 21

2.8.4Chapter 22

2.8.5Chapter 23

2.9Chapter 24: Night IX

2.9.1Chapter 24

2.10Chapters 25-29: Soul Scrolls X

2.10.1Chapter 25

2.10.2Chapter 26

2.10.3Chapter 27

2.10.4Chapter 28

2.10.5Chapter 29

2.11Chapter 30: Night XI

2.11.1Chapter 30

2.12Chapters 31-39: Jezebel's XII

2.12.1Chapter 31

2.12.2Chapter 32

2.12.3Chapter 33

2.12.4Chapter 34

2.12.5Chapter 35

2.12.6Chapter 36

2.12.7Chapter 37

2.12.8Chapter 38

2.12.9Chapter 39

2.13Chapter 40: Night XIII

2.13.1Chapter 40

2.14Chapters 41-45: Salvaging XIV

2.14.1Chapter 41

2.14.2Chapter 42

2.14.3Chapter 43

2.14.4Chapter 44

2.14.5Chapter 45

2.15Chapter 46: Night XV

2.15.1Chapter 46

2.16Historical Notes

2.16.1Historical Notes

3Dedications & Epigraph

3.1Dedications & Epigraph

3.1.1Dedications

3.1.2Epigraph

4Context

4.1Setting

4.1.1Setting

4.2Literary Context & Genre

4.2.1The Canterbury Tales & The Scarlet Letter

4.2.2Links to Dystopian Fiction

4.3Political Context

4.3.1Berlin & Iran

4.3.2The New Right in America

4.4Historical Context

4.4.1Puritan New England

4.5Parallels: Read World & Gilead

4.5.1The Underground Femaleroad

4.5.2Children of Ham & Soul Scrolls

4.5.3Offred's Tattoo, Salvaging & Illegal Abortions

4.5.4Unwomen, Colonies & Giving Away Offred's Daughter

4.6Religious Context

4.6.1Religious Context

5Narrative Structure & Literary Techniques

5.1Narrative Structure

5.1.1Narrative Structure

5.2Literary Techniques

5.2.1Literary Techniques

5.2.2Colour Symbolism

6Themes & Imagery

6.1Themes

6.1.1Survival & Language

6.1.2The Female Body

6.2Imagery

6.2.1The Garden & Doubles

7Characters

7.1Female Characters

7.1.1Offred & Moira

7.1.2Offred's Mother, Ofglen & Ofwarren

7.1.3Serena Joy & Aunt Lydia

7.2Male Characters

7.2.1The Commander

7.2.2Nick & Luke

8Readings

8.1Readings of The Handmaid's Tale

8.1.1Eco-Criticism

8.1.2Complacency

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