New Beginnings in Whos Afraid of Virginia Woolf :: Whos Afraid Virginia Woolf

New Beginnings in Who's Afraid of Virginia Woolf  Ã‚   Edward Albee's Who's Afraid of Virginia Woolf is a disturbing and powerful work. Ironically, it is disturbing and powerful for many of the same reasons. As the audience watches George and Martha tear savagely at each other with the knives of hurled words, sharpened on pain and aimed to draw blood, the way in which these two relentlessly go at each other is awful to see, yet strangely familiar. Like wounded animals, they strike out at those closest to them, and reminds one of scenes witnessed as a child between screaming parents from a cracked door when one is supposed to be in bed. In this age of psychoanalytic jargon, George and Martha are the quintessentially dysfunctional couple. Yet, with all their problems, Albee reveals that there is a positive core of feeling that unites these two troubled people and that helps them look beyond their self-created hell. The truth of their relationship is exposed layer by layer as the play progresses, like the peeling of an onion, and though the pattern of this truth appears vague at first, with each cycle of revelation, the pattern becomes more distinct, and the picture is fully revealed in the final, cathartic scene. One of the most consistent themes of the play is the question of George and Martha's "child," and all that this child, and children in general, symbolizes for them. The "child" seems not only a desire for fecundity within their relationship, but also a projection through which they express many of their personal desires, needs, and problems, and, in this context, the child's subsequent "death" signifies a mi lestone in their understanding of their marriage and of themselves. By the end of play, after much suffering and flagellation, George and Martha appear ready to deal with their lives in a new way. George and Martha have a history. They are also emotionally trapped by this history, especially that of their respective childhoods. As a consequence, both are plagued by low self-image and self-doubt. The audience learns of this history slowly, in bits and pieces. Martha tells Nick and Honey in Act 1 how she lost her mother early and grew up very close to her father. She was married briefly, but her father had the marriage annulled. She returned to live with her father after college, and met and fell in love with George.