Record 8 - Close reading

Record eight explores the irrational root - square root of -1. D-503 is scared of this 'foreign, alien' irrational number that cannot simply be comprehended as it 'was beyond ratio.' He fears them, to the extent that he 'wants to build a little wall' around it. As readers, it may seem silly that he has this attitude towards a simple number; but for D-503, this is normal since he has been brought up believing that everything is rational and 'logical.' Yet, ironically, D-503 uses this irrational number subconsciously to provide reasons for unexplainable concepts.  Perhaps, this use is due to the government imposing the belief that all things can be explained by mathematics on its citizens. However, this is contradictory as Zamyatin uses repetition to convey that D-503 wants to '[tear] that [square root of minus 1]' out of himself, to 'stifle [the] damned [square root of minus 1]' in order for him to once again, be at peace with himself. Internal conflict is thereby created within D-503, it is this that is taken advantage of by I-330 and results in his betrayal of the One State later in the novel. At this point, it is almost as though I-330's influence is subtly affecting the ways in which D-503 thinks. Earlier in this novel, he believed that 'it is a given' that he and all the other ciphers are 'permanently [part of] a quadrilateral predicament.' However, he begin to feel that sometimes it is good to relax for 'a short time in this simple strong triangle', formed between R-13, O-90 and him which is 'not [perfectly] equilateral.' Conformity is still being illustrated, however this time, it is slightly different from the previous sections in the novel as D-503's attitudes towards uncertainty, irrationality and the unknown begin to change.

Record five

Rereading the novel We by Zamyatin, I have noticed many things that I missed out in my first reading.

Record five is a chapter with rich details. At the beginning of the record, the One State is likened to 'a quadrilateral', to the ciphers, it is 'a living and beautiful square.' Quadrilaterals vary from regular to irregular, here, Zamyatin uses the most special case - a square to convey the equality within the One State. A square has equal sides, this illustrates the confinement of the ciphers within the One State. Additionally, the citizens are likened to 'four equal angles', this is used to emphasis the uniformity of the One State. It is important to note that in a square, all angles are at a right angle; even here, rationality is shown, the One State revolves around logic and perfection. However this concept of equality is 'just a given, every day,' that all the ciphers are 'permanently in that same sort of quadrilateral predicament.' Here, limitation of knowledge and the boundaries determined by the One State's government have resulted in the citizens being extremely satisfied with their 'utopian' society where everything is built on the fundamental 'equivalent of four angles.'

'Bliss and envy' are supposedly the two items that make up 'the fraction known as happiness.' To achieve total happiness, enviousness must be completely eliminated so that the fraction can be 'transformed into a glorious infinity.' Enviousness is a primate human nature, it has 'remained' after the Two-Hundred-Year-War despite the One State's attempts to create equal beings. This is result of the subtle differences that are inevitable in society, 'noses are still "button" noses and "classical noses', 'some has achieved the love of many [while others] achieved the love of none.' However, being a totalitarian society, after eradicating the problem of hunger, the One State conquered the 'masters of the world - against love' in order for the state to be logical and fully 'mathematicised.' Love is an intimate subject, by the government's exertion of control over this, totalitarianism is pushed to the extreme.

• 'four-pawed X, inside me' - Already, I-330 has created an influence on D-503, though at this stage he does not realise this. This serve as a 'forewarning' of 'future catastrophes' and rebellion.
• '...beyond the bounds of my preselected keywords for this record. But then I decided: I won't cross out anything.' - Subconsciously, D-503 begins to challenge the laws of the One State, he goes beyond the boundaries that the One State's government has imposed on its people.

Short Analysis on the significance of 'tangents' as a representation of the One State (Record One)

Zamyatin uses a metaphor that likens tangents of a graph to the One State. ‘Tangents’ are ‘straight lines’ that never intersect the actual graph itself. These metaphorically represent the people within the One State, suggesting that they do not contradict the state’s laws, that they live without questioning. Though ‘wild’ and ‘[zigzagged]’, the tangents are similar in a way that they will eventually merge into a ‘straight line’. This once again conveys the idea that all people that belong to the One State is represented by a collaborative whole, that even though they may be different in the slightest regards, they are all part of a society where ‘I’ is not present, but rather ‘we’.

This concept is further explored, emphasis is placed on the shape of the line of the graph. Instead of having curves and other shapes, the line that is the representation of the One State is ‘a great, divine, precise, wise, straight line.’ The tangent of this type of line is straight itself and in addition to this, it is a horizontally straight line, this shows that everyone is supposed to be absolutely equal in the totalitarian society. There is no allowance for any differences, everyone is on the same platform with equal rights and thus nothing to hide from others. This straight line is even present when people walk – they form straight, non-disrupted lines, the idea of tangents to straight lines is the foundation of ‘the mathematically perfect of the One State.’

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.