EDWARD ALBEE"Afraid of Virginia Woolf"

The plot centers around George and Martha's psychological manipulation of each other, both of them as manipulating as they ar manipulated. Yet, they k flat their antics are not only dramatic, they understand that they are even using their guests for theatrical reasons (much as Albee used the earreach for his own theatrical purposes). We see this when George intentionally pays no anxiety to Martha as she tries all the harder to win his interest:

George: No, no now?you go right ahead?you think of your guests.

Martha: I'm going to entertain myself, too.

Martha: Ha, ha. You're a riot George.

Martha: Well, I'm a riot, too, George.

Martha: You know what I'm doing George?

George: No, Martha?what are you doing?

Martha: I'm socialise. I'm entertaining one of the guests. I'm necking with one of the guests.

George: Oh, that's nice. Which one?

The meaning of the act represents the fear that is created in hatful by other people and the somewhat innate inability for us to be subject to gain a closer understanding of one some other from the one source largely available to us for that, language. It withal refers to the fear of being renewd as we evolve in sprightliness and those who come behind us have a trusted degree of evolution that may surpass our own, or in the worst cases, completely erode everything we have spen

Albee, E. Who's Afraid of Virginia Woolf. Atheneum, NY: 1962.

Martha: We're sitting up?we're having coffee, and we'll be hindquarters in.

t our lives doing.

George and Nick represent this in the play because George is the obsolescent school Jeffersonian who is terrified that Nick will replace his kind and creed completely because they have been raised in an era which glorified capitalism and success for its own saki to the degree where they are almost robotic in their desire to succeed at any cost. This is evidenced when George says he will budge Nick's kind even if he has one hand on his scrotum, and verbalized by Nick when he admits to George, "You realize, of course, that I've been drawing you divulge on this stuff, not because I'm interested in your terrible lifehood, yet only because you represent a direct and pertinent holy terror to my lifehood, and I want to get the goods on you," (Albee, 1962: 111).

Martha: Nayh. You just tour here and listen to George's side of things. Bore yourself to death.

In reality, Virginia Woolf was a line supposedly copied by Albee from a piece of graffiti he saw while in the Men's room. However, in the play the reality of "Virginia Woolf" is that of the threat to man of being face up with an existentialist dilemma in which he tried to spit out through his own pe
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