Who's Afraid of Virginia Woolf: the Illusion of Reality
Who’s afraid of Virginia Woolf
What if suddenly you come to the conclusion that the only light in the midst of all your darkness, the only light that is keeping you afloat is merely an illusion, how would you be able to cope with your reality? When failure comes to light, reality collides with illusion, generating the matrix of our own ‘’ reality’’. And, this is how, of course, Martha and George’s
Illusionary life was constructed. As we begin our journey through Who’s afraid of the Virginia Woolf, the main characters are epitomized as the average American family whose
‘’American dreams’’ have been accomplished. Nick and Honey also portray the average young, just married couple who have their whole lives ahead of them to look forward to. As the reader peels off the layers of language, one transcends into a more metaphysical reasoning, the notion of illusions stimulated by the excess of thoughts and experiences. As we enter into the first level of the play, Martha articulates about the Chicago painting, ‘’Yes. They’re married…And she says what a dump/ She’s discontent’’, in the literally level, the author intended to illustrate Martha as a vulgar character. However, as one transcends into a more meaningful point, Albee subtlety alludes to the reflection of Martha and George’s marriage. As illustrated in the play, George’s historical impotence has perhaps led to the failure of his career, warping his marital life into a complete ‘’dump’’. Though, the only way to embrace their absurd marriage and preserve the limited contentment is by altering their reality through the conception of a child, even if it is an imaginary one. In the play, Albee shows a visual representation of an allusive death, the death of a perfectly beautiful lie. As George enters into the last level of the game, he says, ‘’Flores para los muertos’’, which is a Spanish translation for flowers for the dead. The bouquet contains ‘’Pansies,
What if suddenly you come to the conclusion that the only light in the midst of all your darkness, the only light that is keeping you afloat is merely an illusion, how would you be able to cope with your reality? When failure comes to light, reality collides with illusion, generating the matrix of our own ‘’ reality’’. And, this is how, of course, Martha and George’s
Illusionary life was constructed. As we begin our journey through Who’s afraid of the Virginia Woolf, the main characters are epitomized as the average American family whose
‘’American dreams’’ have been accomplished. Nick and Honey also portray the average young, just married couple who have their whole lives ahead of them to look forward to. As the reader peels off the layers of language, one transcends into a more metaphysical reasoning, the notion of illusions stimulated by the excess of thoughts and experiences. As we enter into the first level of the play, Martha articulates about the Chicago painting, ‘’Yes. They’re married…And she says what a dump/ She’s discontent’’, in the literally level, the author intended to illustrate Martha as a vulgar character. However, as one transcends into a more meaningful point, Albee subtlety alludes to the reflection of Martha and George’s marriage. As illustrated in the play, George’s historical impotence has perhaps led to the failure of his career, warping his marital life into a complete ‘’dump’’. Though, the only way to embrace their absurd marriage and preserve the limited contentment is by altering their reality through the conception of a child, even if it is an imaginary one. In the play, Albee shows a visual representation of an allusive death, the death of a perfectly beautiful lie. As George enters into the last level of the game, he says, ‘’Flores para los muertos’’, which is a Spanish translation for flowers for the dead. The bouquet contains ‘’Pansies,