First Impressions of WE

Written by Yevgeny Zamyatin in 1921, WE is a novel that is set in the One State where freedom does not exist. This is natural, in the sense that the novel was written in communist Russia shortly after the Russian Revolution of 1917. To understand this novel, means to firstly understand the concept of communism in Russia. Communism is where class and status do not exist.  In all ministries in Russia there were Soviet "advisers" who reported directly to Moscow and held the real decision-making powers. All walks of life were infiltrated by agents and informers of the secret police which is reflected by the 'Guardians'.

In the first few chapters of the novel, it appears as though this is true in One State. Yet, as I read further, I realised that equality can not be fully achieved. The author uses simple imagery such as 'crooked nose, straight nose' and 'hairy hands' to illustrate this. I like the way that the author uses the 'quadrilateral... with four equal angles' to metaphorically represent One State. The 'quadrilateral' has four sides suggesting confinement, that everyone belong to the same place. The use of the 'four equal angles' show that all individuals are equal, everyone is honest and outright since the angles are right-angles, they are straight and have nothing to hide. The use of 'quadrilateral' also forms a stark contrast with the 'concentric [circular]' buildings.

I find that this book is a great read as it is written in the form of the diary of a mathematician, the  use of square root of (-1) is extremely clever, as in complex numbers, this means i. 'square root of (-1) took control.' This displays a truth that is much different to what we would expect living in a democratic country, that many people living in One State do not refer to themselves as 'I' in fear that they would be breaching the rules of equality (of communism).

Dance of the Tarantella P203-205

Nora dances the tarantella as though ‘[her] life [depends] on it,’ this suggests that she finally realises the seriousness of her secret, she is no longer proud of it, but instead she fears for the consequences. She dances ‘violently’, almost out of control, hinting that her secret is now out of her control, she is unable to hold back the death of a marriage and escape reality any longer.  She must accept the consequences of her actions even thought these may be displeasing. As she dances the tarantella, she ‘dances more and more wildly…[and] seems not to hear [Torvald’s directions.’ Here, Nora’s love of freedom is clearly shown, she loves the wildness and the ‘sheer madness’ that exists in the dance of the tarantella. She seems to enter a dream-like trance as she dances, she does not ‘[take] any notice’ of ‘her hair [coming] down and [falling] over her shoulders.’ She is exposed to the freedom in something very feminine, a little extra to what she has experienced prior to the narrative, increasing her desires of wanting more. This is the first time that Nora does not obey Torvald’s commands, the tarantella sets the experience that fuels her rebellion against Torvald later on in the play. Yet, after her dance, Nora becomes the subservient, manipulative and immature ‘creature’ the she was previously. She demands for ‘lots and lots’ of ‘macaroons’ to which he replies ‘my baby shall have her own way.’ It is almost as though in defeat, she let go of her secret, letting it to take its own course, leaving fate in the hands of the unknown. Torvald does not understand her pain, he comforts her with macaroon, which suggests inequality. Normally macaroons are used to please small children and here, Torvald uses it to please his wife, demeaning Nora to a ‘baby’. She is seen as little and insignificant who needs constant attention and affection. Though unintentional on Torvald’s part, a relationship with inequality is clearly portrayed. Additionally macaroons are a symbol for deceit, the repetition of ‘lots’ places an emphasis on the magnitude of the secret that is soon to be revealed.  For once, Torvald does not object Nora eating the macaroons. It is as though, subconsciously he realises that time is starting to run out in their relationship. Nora recognises that this may be the last time Torvald and her are able to sit together like a married couple, she knows that ‘tomorrow night, after [she has] danced…then Torvald will be free.’ There is a subtle hint that unlike the costume, their relationship will never be ‘mended’, they will be on their parting ways after the revelation of Nora’s ‘horrible’ secret. However, Nora does not wish ‘anything horrid come between [them]’ till the dance of the tarantella is ‘all over’. Here, as audience, Nora can still be seen as in denial, she is unable to accept reality, the truth; yet she knows that she must accept this in order to move forward, the inner conflict of Nora presented dramatically increases in the tension in the play.  This is the first step for Nora towards gaining her independence.