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.

Mrs Linde (Up to P163)

Mrs Linde is the symbol of liberation of women. On one hand, Mrs Linde still long for the moments when she is rid of her independence and protected under the wings of her husband. ‘Poor mother’s gone, she doesn’t need me any longer. Nor do the boys – they’re working, they can look after themselves… just unspeakably empty – I’ve no one to live for any more.’ Though she may be ‘a lot older’, she is still vulnerable and is not accustomed to the way of life where she has nowhere to place her burdens, to place her struggles. Yet on the other hand, she cherishes her independence, she is proud of her work, that she has gained respect amongst her family who now does not need her anymore – ‘of course I’m proud – and glad – to know that I was able to make Mother’s last days a little easier.’ Without a husband, Mrs Linde naturally takes on a masculine role in the family, she displays some characteristics that are only present in males in the 1900s. At the start, she ‘[looked] down’ on Nora as she is seen as an inexperienced ‘baby’ who is controlled by her husband in every way possible. However as the plot progresses, Nora’s experience unfolds, Mrs Linde sees that she is far from vulnerable and inexperienced, admiration begin to form. Here, Ibsen hints that without the burden that society and men places on them – expecting they would do anything their ‘protector’ tells them to do, expecting that they are content in just having the responsibility of looking after a family, anything that may be damaging to their wellbeing are gotten rid off by their husbands; women will be able to escape their ‘cages’, experience the society, indulge in its ups and downs. This would allow women to gain respect, to rise up in the social hierarchy, to prove to men that they are able to achieve everything men are able to accomplish. And with that, equality will come, gender differences will soon be overcome and independence will be given to all, identities will not longer be forged by society, but rather by the individuals.

Relationship of Nora and Torvald (opening scene)

In the opening scene of the play ‘A Doll’s House’ by Henrik Ibsen, the relationship of Nora and Torvald is portrayed through the effective usage of stage directions and the use of dialogue.  Nora and Torvald’s relationship is illustrated as one of full of deception, of uneven balance in power, these has arisen because Nora is somewhat ‘afraid’ of Torvald’ and this is due to the differences in the social hierarchy as a result of gender differences. At the very beginning, Nora’s careless attitude towards money forms a stark contrast with that of her husband’s, ‘keep the change.’ It is almost as though Torvald focuses on building his status on the foundation of money and consequently is unable to be generous like Nora. In a society of today where women are liberated and are emancipated from the restrictions society  and especially men, places on them, Nora and Torvald’s relationship seems unusual, Torvald is the dictator of the family. It is not ‘husband and wife relationship’ but his references to Nora as ‘Miss Sweet Tooth’ conveys rather, a child/father relationship. The use of the possessive pronoun ‘my’ and the use of ‘little’ in the pet name Torvald has for Nora, ‘my sweet little skylark’ furthermore emphasises this idea of a child/father relationship. Nora understands her position in the family, she believes that Torvald wants to control her in such way that she is ‘caged’. In Tovald’s opion, Nora is submissive to him and that she never dares to ‘[go] against’ his wishes. However deception is soon apparent, conveyed by the incident of the macaroon. Torvald questions Nora through a number of playful accusations, this questioning is done in a manner that would indicate a child/father relationship. Torvald asks in an condescending tone ‘didn’t little sweet-tooth just look in at the confectioner’s?’, the diminutive ‘little sweet-tooth’ is used to emphasises a woman’s low status in society, that she must be controlled by her husband in order to survive in the world of unbalanced power, of injustice towards women and of their loss of independency. Though seemingly unbelievable in our modern society today, this is in fact a very conventional way of life in the 1900s. The repetition of ‘no’ in the Nora’s responses following Torvald’s degrading questions and remarks simply shows dishonesty. By doing this, Nora wants to please Helmer, who in return will offer her the independence she cherishes.

Research Project - Henrik Ibsen

A Doll's House Research by Emily and I:

https://docs.google.com/document/d/1zEinscfQ2xggDOZjGIXm4anm_eTIx8kX74HytzzyL9g/edit?hl=en&authkey=CM2FuOMC

Class Notes:

• One of his greatest plays.
• 3 distinct stages - romantic tools to make irony (satiric, mock), social affairs (realism) and symbolism
• Middle class is a representation of the middle section of society, this is able to portray the real world.
• The perspective of Ibsen through his childhood, present through the themes of misfortune - financial and sickness in a family, which relate to the themes of financial difficulties in his childhood experience.
• Descended from prominent Norwegian families.
• Ibsen's relationship with his father was strained, not as intimate as him with mother.
• Failure is a predominant theme.
•  He wrote 26 plays.
• Feminist theory.
• Marxist theory, class struggle, human behaviours.
• Psychoanalytic theory, trace behaviours.
• Ibsen - a moralist, commited his ethics, at odds with  conventional values (courage, bravery)
• Hints of nationalism.
• A Doll's House caused controversy.
• Demonstrates courage, they do not give in to common views of society.
• Ibsen was the leading voices that caused changes to feminism in society back then.
• He wrote with a biological influences.
• Feminist perspectives
• Liberation of individual
• Urban middle class society, education and importance of a job easing financial difficulties.
• Relationship people have with money. For a man, personal success is dependent on financial success.
• Individuality freedom - self determination
• Initially, Nora is blinded and can not see clearly. However the experience she has before the play of her forging signatures.
• One critic believed that the play was ‘founded on the believe...that women can and be raised to the dignity of man.’ 
• Ibsen was forced to leave school at the age 15.
• Character Dr. Rank illusion of death and life (conflicting images) and Nora starting a new independent life.
• Culture of Norway 1879, roles of family is completely isolated - husband works in 'study' whereas wife is not allowed in.
• Symbolic battle between two classes, individuality - what Nora is fighting for her own independency and her status in the family, she fears of upsetting her husband. Internal conflicts, 19 century society has construct the individuals. 
• Society has controlled our views, our perspectives - Nora, Torvald.
• Nora provides hope in the play - transformation, escape.
• Mrs Linde and Krogstad are also transformed by society.
• Initially, Nora is blinded but then she gains sight.
• Status in society, female liberation (liberation of individual).

Henrik Ibsen - Some thoughts after research

'It was as a dramatic innovator that Ibsen established his reputation, at a time when drama largely meant shallow romances, crude farces, and plays of intrigue with complicated and ludicrous plots. It was as a fierce critic of social norms and stifling hypocrisies that he was celebrated by his early admirers. But it is as the author of powerful dramas that portray universal human concerns, as the creator of complex characters who suffer and endure in their attempts to make sense of their lives, that he transcends merely historical importance and remains a writer whose best works can move and provoke us as much as they did their original audiences.'  - Neo English Systems.(November 6, 2010). "Henrik Ibsen Life and Career." Retrieved 15/02/2011 from http://neoenglishsystem.blogspot.com/2010/11/henrik-ibsen-life-and-career.html

Henrik Ibsen is the second most performed playwright in the world, his influences have revolutionised the European theatre. However, Ibsen did not live a calm, peaceful, wealthy life as would be expected from the large sums of grants he received and the fame he gained. In my opinion, I think  that he has lived a life of seeing the world from different angles, his perspectives that are presented through the various plays give the audience a very realistic view of society, they are formed through the various experiences of his past and the insights he gained while travelling. In various plays, particularly in A Doll's House, he portrays that the society is in fact a cruel place, a place where high status resulted from being a male and being wealthy is equivalent of great respect and the power to control the society with their doings.

Stage Directions - Opening Scene

What information does the stage directions convey to the audience?

Opening Scene

• Middle class, not very wealthy but not the very poor.
• Simplistic room furnished 'with taste', this shows that though the couple are not of extreme wealth, they are able to take everything to their advantage and do the best they could with them, make use of resources of what they control.
• Objective correlative - stage directions of the house symbolises both Nora and Torvald. Here, the room is furnished to Torvald's taste, this can possibly represent that he has power and control over the family.
• Conservatism - simplicity and inexpensively.
• The space in the house serves a number of functions, the piano suggests that they are cultured, have an interests in music/dance.
• Helmer's study indicated he is a professional, educated which is one advantage. In a house of relatively small size and is very confined, Torvald has his private space. This simply suggests the amount of power that a man has back then.
•  'Bookcase with handsomely bound books' - sophisticated educated, books not used much this may imply books are only a representation of status and to beautify the room.
• 'Handsomely' - investment into learning v.s. inexpensive furnishing. 'handsome' is a word that is used to describe males, this shows masculinity and that man controls education, learning,and he must do that away from the family.
• Microcosm society- class system in family based on gender
• Seasonal setting mid winter - Christmas Eve. Significance of Christmas tree - symbolises new life. Tension symbolically, stands during winter which represents death. Death v.s. Life.
• Ibsen is detailed and precise in terms of descriptions - modernist, realistic theatre dramatist, leaving no doubt in the minds of actor or directors, scenes are to be seen as pictographic. The world beyond the stage (audience) is able to relate. Leaving little room of artistic expression.
• Preoccupation of Ibsen - experienced loss of status during misfortune, his preoccupation was middle class, status in society is quite uncertain.
• Importance of the setting is portrayed through the stage directions.