Who's Afraid of Virginia Woolf

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George Character Analysis

George is an associate professor in the History Department at the college. He is forty-six years old. Martha describes George’s career as a failure, and purports to have married him because her father had once seen George as a protégé and potential future president of the college. According to Martha, her father changed his mind about George’s future after witnessing his weakness and impotence. At times throughout the play, George exhibits his professor-like erudition, as when he speaks in Latin and elegantly defends the study of History, but each time, Martha dismisses him as pretentious. His character, as is apparent in this description, is largely defined by Martha’s descriptions of him, which further supports the passivity that Martha accuses him of, until the end of the play when he cruelly retaliates with the false news of their son’s death.

George Quotes in Who's Afraid of Virginia Woolf

The Who's Afraid of Virginia Woolf quotes below are all either spoken by George or refer to George . For each quote, you can also see the other characters and themes related to it (each theme is indicated by its own dot and icon, like this one:
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). Note: all page and citation info for the quotes below refers to the Penguin Books edition of Who's Afraid of Virginia Woolf published in 1983.
Act 1 Quotes

Ha, ha, ha, HA! Make the kids a drink, George. What do you want, kids? What do you want to drink, hunh?

Related Characters: Martha (speaker), George , Nick , Honey
Related Symbols: Babies, Alcohol
Page Number: 23
Explanation and Analysis:

Nick and Honey have arrived at George and Martha's home and Martha––notably drunk herself––instructs her husband to make their guests a drink. Her overfamiliar tone and use of the word "kids" makes her sound like a mother offering her children a drink; the fact that the drinks in question are alcoholic, and that Martha herself is already very drunk, adds a disturbing twist to her question. Throughout the play, the characters reference children and recreate family dynamics, highlighting the conspicuous absence of children in the lives of both couples. 

This passage also reveals Martha's forceful personality and manipulation of those around her, and particularly of George. Rather than politely asking or suggesting that George make the drinks, Martha aggressively demands that he does so. This in turn highlights the more passive, weaker role George takes in their marriage. The hysterical laughter that precedes this demand further emphasizes Martha's volatile and intimidating character. The characters in the play frequently laugh, though this laughter almost always contains distinct undertones of hostility, fear, or hysteria; this illustrates the theme that beneath social pleasantries lie far more menacing dynamics.   

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Musical beds is the faculty sport around here.

Related Characters: George (speaker)
Page Number: 34
Explanation and Analysis:

George has confided to Nick that it is not easy being married to the president's daughter; Martha, overhearing this, has snapped back at him, before exiting the room with Honey. With the women gone, George teases Nick, who grows exasperated and tells George he doesn't like being involved in other people's business; George replies that this will soon change, as "musical beds is the faculty sport" at the university. Once again, George takes on a kind of mentoring, parental role with his guest, though again, this is given a disturbing twist by the fact that George seems to be encouraging Nick to engage in adultery. 

The framing of extramarital affairs as being akin to the children's game "musical chairs" further blurs the distinction between childhood innocence and the sinister reality of adult life. Like a child, George treats the matter at hand playfully; however, given that he is discussing marital infidelity, this suggests a kind of moral irresponsibility and carelessness. Throughout the play, Nick and Honey's earnestness is contrasted with George and Martha's unwillingness to take anything seriously, a disposition that seems to have resulted from years spent in a bitter and tumultuous marriage. 

Do you believe that people learn nothing from history? Not that there is nothing to learn, mind you, but that people learn nothing? I am in the History Department.

Related Characters: George (speaker)
Page Number: 37
Explanation and Analysis:

George has been asking Nick about his work, falsely assuming Nick was in the Math department when he is in fact in Biology. Nick appears frustrated with the riddle-like way in which George is speaking with him; in this passage, George adopts the same style of speech in reference to his own work in the History department. George's question seems to imply that he does not take his academic work particularly seriously, a fact that perhaps reflects his lack of success in his field. Nick, in contrast, is a very promising scholar who takes his work very seriously, and reacts badly to George's jesting. 

George's question about people learning nothing from history may also allude to the wider political context of the play. In the first half of the 20th century, it was widely assumed that the devastating effects of the two World Wars would deter nations from engaging in international conflict; yet in 1962 the Cold War had escalated to a climax, leading many to fear that the world was facing imminent destruction by nuclear conflict. This anxiety created a nihilistic atmosphere in which it could be difficult to believe that ordinary actions mattered or that people had learned their lesson from the first two World Wars. 

He was going to be groomed. He’d take over someday…until [Daddy] watched for a couple of years and started thinking maybe it wasn’t such a good idea after all…that maybe Georgie boy didn’t have the stuff…that he didn’t have it in him!

Related Characters: Martha (speaker), George
Page Number: 84
Explanation and Analysis:

With George out of the room, Martha has been telling Nick and Honey her life story, including the fact that her father had wanted her future husband to be someone who would one day take over the university presidency. Martha explains that at first her father approved of George and planned to "groom" him for the role of president; however, he then changed his mind, coming to believe that George "didn't have it in him." This story is of course highly embarrassing for George, a fact made worse by his reentrance into the room halfway through. Martha exhibits a total disregard for her husband's feelings and for ordinary codes of social conduct; indeed, it seems her motivation for telling her guests this story is simply to hurt George by making him look bad. 

Martha's use of childish language ("Daddy"; "Georgie boy") infantilizes both her and George, and trivializes the story she is telling. The term "Daddy" also suggests she has a childishly close relationship to her father, exhibiting loyalty to him over her husband. Once again, Martha and George's childlessness could be interpreted as creating an imbalance in the conventional family dynamic. Perhaps because she was not able to become a parent herself, Martha remains stuck in the position of a child, thereby alienating her from her husband.   

Act 2 Quotes

In the hospital, when he was conscious and out of danger, and when they told him that his father was dead, he began to laugh, I have been told, and his laughter grew and he would not stop, and it was not until after they jammed a needle in his arm, not until after that, until his consciousness slipped away from him, that his laughter subsided.

Related Characters: George (speaker)
Page Number: 96
Explanation and Analysis:

George has been telling Nick a story from his teenage years, when a boy he knew confessed that he accidentally killed both his parents, first by shooting his mother and then running over his father while learning to drive. George describes the moment when the boy woke up in the hospital following the car accident to be told that his father was dead. According to George, the boy laughed hysterically for such a prolonged period that he had to be sedated. Like many other moments in the novel, this story depicts the disturbing realities that lie beneath ordinary social dynamics. The boy's laughter is a bizarre and highly inappropriate reaction to the news that he has murdered his father; at the same time, this is consistent with many other moments in the play when dark and cruel behavior is accompanied by laughter. 

The fact that this story involves a parent-child relationship is also significant. The desire to have children is an overwhelming force in the novel, yet this passage depicts an inverse to this theme: the Oedipal narrative of a boy murdering his father. The story is also connected to George's later symbolic "murder" of his and Martha's imaginary son, when he tells the other characters that they have received a telegram with the news that their son is dead. The playfulness with which George presents these matters of familial life and death implies that he does not take them seriously, emphasizing the sense of nihilism that runs throughout the play. 

Our son ran away from home all the time because Martha here used to corner him.

Related Characters: George (speaker), Martha
Related Symbols: Babies
Page Number: 120
Explanation and Analysis:

Martha has told Nick and Honey that her son used to be sick whenever George was in the room; George responds that their son would frequently run away because Martha "used to corner him." Once again, George and Martha attack one another in a strangely open, almost performative way. They seem fixated with one-upping each other, competing over who can leverage the crueller insult. George's words here evoke disdain for Martha's feelings about their imaginary child, perhaps suggesting he is resentful of the intensity of her desire to have children. Meanwhile, the fact that George and Martha use their imaginary son as a way of insulting each other conveys the extent of their marital misery; even engaged in a fantasy game, they cannot imagine a happy home life, but only different manifestations of their current unhappiness.

You told them! OOOOHHHH! OH, no, no, no, no! You couldn’t have told them…

Related Characters: Honey (speaker), Martha , George , Nick
Related Symbols: Babies
Page Number: 147
Explanation and Analysis:

George has played a game he calls "Get the Guests," in which he has told the other characters a thinly-veiled version of the story Nick confessed of Honey's hysterical pregnancy. Having realized that Nick must have told George her secret, Honey cries out in horror, exclaiming "you couldn't have told them." Honey's non-verbal cries of "OOOOHHHH!" in this passage convey her drunken and emotional state and make her seem childish. (This impression is emphasized by the fact that George has told the story like a children's tale, with Honey shown as a mouse who "puffs up.") Unlike the three other characters, who are all accustomed to taking part in intellectual rapport, Honey is characterized as earnest and unintelligent; she is not able to understand the ironic and absurdist ways in which George and Martha speak and interprets their words literally. 

This sense of earnestness translates to her relationship with Nick, whom she can't believe has betrayed her by telling George about her false pregnancy. Nick has repeatedly told George that he finds George and Martha's fighting and open discussion of their marital problems uncomfortable and inappropriate; however, at this moment it is revealed that Nick has done the same thing to Honey. This suggests that George and Martha are having a corrupting influence on the younger couple. At the same time, the fact that Nick and Honey's marriage seems to unravel so easily implies that the issues of dishonesty, secrecy, and betrayal plague all marriages, rather than being unique to George and Martha's exceptionally tumultuous relationship. 

Act 3 Quotes

I cry all the time too, Daddy. I cry allllll the time; but deep inside, so no one can see me. I cry all the time. And George cries all the time, too.

Related Characters: Martha (speaker), George
Related Symbols: Babies, Alcohol
Page Number: 185
Explanation and Analysis:

At the beginning Act 3, Martha is alone onstage, drunkenly talking to herself and conducting imaginary conversations with George and her father. She confesses to her father that she and George both "cry all the time," but says that she cries "deep inside, so no one can see me." This passage furthers the revelation of a more vulnerable side of Martha. Her confession "I cry all the time too, Daddy" makes her sound like a young child. This emphasizes the notion that Martha has not been able to move beyond the position of a child, partly because she has not had any children herself. The affectionate term "Daddy," meanwhile, highlights her closeness and loyalty to her father, an attachment that seems to come at the expensive of her relationship with George. 

This passage also evokes the themes of appearances and secrecy. Although Martha is brash on the surface, here we realize that internally she feels weak and sad. Her statement that she cries "deep inside" shows that Martha represses her feelings beneath a confident, careless exterior. Although George and Martha exhibit disdain for the social codes that require people to mask their true feelings beneath civility, this scene reveals that they are equally guilty of suppressing their emotions—they just do so under a cloak of flamboyant vulgarity rather than restrained politeness. 

George who is out somewhere there in the dark…George who is good to me, and whom I revile; who understands me, and whom I push off.

Related Characters: Martha (speaker), George
Page Number: 190
Explanation and Analysis:

Nick has entered the room; it seems that he and Martha have had a sexual encounter of some kind, but it is unclear exactly what happened. Martha has confessed that her extramarital affairs feel pointless and that George is the only man who has ever made her happy. She says George "is good to me" and understands her, but admits that she responds by pushing him away. Having been exposed to Martha's personal vulnerability, the audience now gains insight into a different side of her relationship with George. Perhaps it is not the case that they simply hate each other, but that their feelings are complicated by mutual insecurity, resentment, and self-sabotage. 

Martha's words here seem to suggest that something about George's love for her causes her to rebuff him. Note that she does not say "who understands me, but whom I push off" but rather "and whom I push off." The use of the word "and" indicates that perhaps because George understands her so well, Martha cannot stand to be around him. This is emphasized by the fact that their relationship seems to be built on trading insults; indeed, George and Martha are able to insult each other so effectively precisely because they know one another so well. 

I’M RUNNING THE SHOW! (To MARTHA) Sweetheart, I’m afraid I’ve got some bad news for you…for us, of course. Some rather sad news.

Related Characters: George (speaker), Martha
Related Symbols: Babies
Page Number: 229
Explanation and Analysis:

George and Martha have been telling Nick and Honey about their son, taking turns to share facts about his life. Martha has explained that the boy is now off at college, and she seems to want to drop the topic, but despite his wife's protests, George insists they continue. In this passage, he announces that he's "running the show," before turning to Martha to tell her that he has bad news. George's declaration that he is "running the show" implies that he has decided to disprove Martha's claims that he is not assertive or domineering enough. It is also a meta-dramatic reference to the fact that this is a play filled with moments when the characters engage in theatrical behavior, performing in an exaggerated, flamboyant manner and reciting stories as if the other characters are an audience.

The "bad news"George references is his invented story that he has received a telegram telling him that their son is dead. George's decision to include this twist in his and Martha's "game" of telling stories about their imaginary son is the play's climactic act of cruelty. The fact that he first says "bad news for you" before correcting himself to "for us, of course" shows that he is deliberately aiming to hurt Martha; it also suggests that she is more emotionally invested in their game of speaking about their imaginary son than George is. 

I FORGET! Sometimes…sometimes when it’s night, when it’s late, and…and everybody else is…talking…I forget and I…want to mention him…but I…HOLD ON…I hold on…but I’ve wanted to…so often…oh, George, you’ve pushed it…there was no need….there was not need for this. I mentioned him…all right…but you didn’t have to push it over the EDGE. You didn’t have to…kill him.

Related Characters: Martha (speaker), George
Related Symbols: Babies
Page Number: 237
Explanation and Analysis:

George has finished telling the story of receiving the news that his and Martha's imaginary son is dead. Honey, still not aware that the son in question is not real, has exclaimed in horror, and despite the fact that she knows the story is all an elaborate game, Martha also becomes hysterically upset. She says that sometimes she "forgets" and almost mentions their son in front of other people, and admits that she mentioned him in front of Nick and Honey earlier (thereby breaking the rules of the game), but insists that George took it too far. This is the climax of Martha's vulnerability, a moment when––in contrast to her usual behavior––she becomes openly upset in front of the others, breaking "character" from the tough, flamboyant persona who mercilessly hurls insults at her husband.

On one level, it seems clear that George's actions were deliberate, and that he leveraged Martha's emotional investment in their imaginary son against her. At this point in the play, George certainly appears to be the crueler of the two. On the other hand, it is perhaps rather arbitrary for Martha to decide that this act has "push[ed] it over the edge," given that she and George spend the entire play taunting and tormenting each other. Either way, it is clear that both feel betrayed and perhaps on some level even frightened of one another, a fact that foreshadows the play's ending, when Martha admits she is afraid of Virginia Woolf. 

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George Character Timeline in Who's Afraid of Virginia Woolf

The timeline below shows where the character George appears in Who's Afraid of Virginia Woolf. The colored dots and icons indicate which themes are associated with that appearance.
Act 1
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...heard at the front door, followed by Martha’s laughter. Martha enters through the front door, George following behind her. Martha begins to curse, and George tries to silence her, reminding her... (full context)
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Martha goes on to describe the movie, but George pleads that he’s tired from her father’s “Saturday night orgy.” Martha nags him for doing... (full context)
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Martha orders George to make her a drink and informs him that they have guests coming over, but... (full context)
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George and Martha continue to bicker—George accuses her of springing things on him like this, and... (full context)
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They continue on in this vein, Martha calling George a “simp” and “phrasemaker”, and George comparing Martha to a cocker spaniel when she chews... (full context)
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The front doorbell interrupts their antagonistic banter, George very reluctantly goes to answer it as he provokes Martha. At the very moment that... (full context)
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Nick notices an abstract painting and inquires about the artist. George begins to explain that it was made by a Greek man that Martha attacked one... (full context)
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George prepares drinks for the crew—brandy for Honey, bourbon for Nick, and (jokingly) rubbing alcohol for... (full context)
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...in. They begin to discuss the night’s party, and Honey praises Martha’s father as marvelous. George tries to condition Honey’s compliment, but Nick insists that he has found the parties very... (full context)
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Nick finally snaps back at George, tired of his antics. Nick explains that he doesn’t like to become involved in other... (full context)
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When George asks, Nick informs him that he is twenty-seven years old, and George responds that he... (full context)
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After the second time that George insists that Nick is in Math, Nick corrects him that he is in the Biology... (full context)
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George asks if Nick is going to be happy in New Carthage, given that the college... (full context)
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George lets Honey and Nick know that Martha is according them an honor by changing her... (full context)
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Martha insults George, calling him an “old bog” in the History Department, but George coolly ignores her comments.... (full context)
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Martha encourages George to tell their guests about a boxing match they once had together, but he insists... (full context)
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George comes from behind Martha and aims a short-barreled shotgun at her head. Honey screams when... (full context)
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...and then places his hand on her breast. Nick retreats to the bathroom. Martha and George argue about whether Nick is in the biology or math department, and Honey shyly tells... (full context)
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Nick tries to cut George off, displeased with his lecture, but George continues his harangue about the consequences of the... (full context)
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Honey changes the subject by asking when George and Martha’s son is coming home. Martha says never mind, and George makes Martha answer... (full context)
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Martha and George dispute the color of their son’s eyes. George adds that Martha’s father has tiny red... (full context)
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Martha is just beginning to describe George’s entrance onto the college scene, when George returns to the parlor. Martha narrates that she... (full context)
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George breaks a bottle against the portable bar and nearly cries, but Martha does not relent,... (full context)
Act 2
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Nick rejoins George, and Nick explains that his wife is frail and shouldn’t drink, and then tells George... (full context)
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George asks Nick about his wife’s sickness, which Nick describes as occurring fairly frequently. This leads... (full context)
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George tells a story from his adolescence: when he was in prep school, during Prohibition, he... (full context)
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George and Nick continue to chat—Nick asks if George has any daughters, and George responds that... (full context)
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George begins in again on Nick’s marriage, and guesses that, in addition to the hysterical pregnancy,... (full context)
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George explains his interest in Nick by identifying him as a threat. Nick plays along and... (full context)
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Martha mentions another embarrassing disappointment of George’s—that he tried to publish a book, but was prevented by Martha’s father. Honey requests some... (full context)
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Martha discloses more of George’s embarrassing history: he wrote a novel, but when her father read the novel he was... (full context)
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George yells at Martha that he will kill her and grabs her by the throat. Nick... (full context)
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By the end of the story, when George is describing how “the Mouse” (his name for Honey) got all puffed up, Honey stands... (full context)
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Martha congratulates George for his performance, judging it to be the most life he’s shown in a while,... (full context)
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Nick reenters, leaving his wife on the bathroom floor, and apologizes for Honey’s behavior. George leaves with a bucket to get ice for Honey. When George has gone, Martha asks... (full context)
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George sings “Who’s Afraid of Virginia Woolf,” and then returns with the ice bucket and says... (full context)
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George says that he’s going to go read a book, because he always reads around four... (full context)
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Martha calls George a motherfucker, and after kissing Nick, instructs him to wait for her in the kitchen.... (full context)
Act 3
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...alone on the stage, echoing pieces of conversation from the previous scene, and searching for George. She makes herself a drink, whines about her abandonment, and then performs an imaginary exchange... (full context)
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Nick asks where George is and Martha responds that he’s vanished. Martha, with great affection, and in a brogue... (full context)
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...by asserting that there’s only one man in her life that has ever made her happy—George. Nick is incredulous, but Martha gives an elegant, if contradictory, defense of her love: “George... (full context)
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Nick announces that he doesn’t think George has an intact vertebra. Martha challenges him, and criticizes his microscopic vision—claiming that he has... (full context)
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...finally opens the door, he comes face to face with a bunch of snapdragons, hiding George behind them. George enters, naming the flowers as “flores para los muertos,” and calling Nick... (full context)
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George hands Nick the snapdragons and instructs him to put them in gin, but Nick drops... (full context)
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George announces that they have one more game to play—“bringing up baby”—but insists that everyone be... (full context)
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Honey enters the room with Nick, hopping like a bunny. George begins to discuss their son, despite Martha’s pleading. He prompts Martha to take over, and... (full context)
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...parenting. She concludes that their son is away at college and everything is fine, but George insists that she continue. Martha refuses. Martha accuses George of lying, but George continues. Martha... (full context)
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Honey, hysterical, screams for them to stop it, telling them they “can’t…do…this!” George tells Martha that he has some bad news about their son. He reports that while... (full context)
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Martha and George go back and forth, her yelling “He is our child!” and him yelling “And I... (full context)
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George proposes that the party should come to an end. Nick asks George if he and... (full context)
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George puts his hand on Martha’s shoulder and begins singing, “Who’s Afraid of Virginia Woolf.” Martha... (full context)