George: Who's afraid of Virginia Woolf, Virginia Woolf, Virginia Woolf,[]
Martha: I...am...George...I...am... Many say that the title of the play is code for, who's afraid of living without illusion. With the last line Martha admits that, like many, she's absolutely terrified. I read somewhere that science fiction is really not science fiction at allthat you people are rearranging my genes so that everyone will be like everyone else. Throughout the play George equates genetics with the homogenization of culture that was present in America at the time of the play.

George: I will not give up Berlin! At the time of the play, America was in the midst of the Cold War with the U.S.S.R. Berlin was a hot bed of tension. This line draws connections between the characters' conflicts and that of America as a whole.Honey: I didn't know until just a minute ago that you had a son.
George (Wheeling as if struck from behind) WHAT? Martha has committed a cardinal sin by mentioning her and George's imaginary son to other person. It's this action that eventually causes George to destroy the illusion of the child forever.

Nick: I married her because she was pregnant. [] It was a hysterical pregnancy. She blew up, and then she went down. It's interesting that Nick and Honey also had an imaginary child. There is, however, a major difference between the two: Honey and Nick's imaginary child, unlike George and Martha's, was never "born."

Martha: Can I get you a drink, Martha? Why, thank you, George; that's very kind of you. No, Martha, no; why I'd do anything for you. Here we see Martha alone and pretending to have a nice civil conversation with George. It's interesting that this is the game that she chooses to play when by herself.Martha: Truth and illusion, George; you don't know the difference.
George: No, but we must carry on as though we did. Their illusions have been going for so long that they think it's reality.

George: We got a telegram; there was a car accident, and he's dead. POUF! []
Martha (A howl which weakens into a moan) NOOOOOOoooooo. With this, George destroys the illusion of their child. Martha can be seen as thinking that the illusion of their son is reality.Martha: Wellyou're going bald.
George: So are you. (Pausethey both laugh) Hello, honey.
Martha: Hello. C'mon over here and give your mommy a big sloppy kiss. This is a perfect example of the complex web of love and hate that binds George and Martha together. They each seem to love the other's skill at crafting cruel insults.

Martha: I swearif you existed I'd divorce you [] I haven't been able to see you for years [] you're a blank, a cipher. Harsh words. Martha is constantly citing George's lack of a personality and drive as the cause of the rift in their marriage.

George: I'll hold your hand when it's dark and you're afraid of the bogey man [] but I will not light you cigarette. We think there's a pretty good chance that George is being sincere here when he mentions comforting Martha at night, but it's also exposing her weakness to the guests. Once again love and hate arrive in the same sentence.

Martha: (Hopeless) I'll make you sorry you made me want to marry you. This statement, while bleak, seems to confirm that Martha had real feelings for George at the beginning of their marriage.

Nick: I wouldn't say there was anyparticular passion between us, even at the beginningof our marriage, I mean. It's interesting that Nick and Honey's seemingly perfect marriage began without love, whereas George and Martha's seemingly terrible marriage began with love.