Virginia Woolf Women Have Served

Virginia Woolf Women have served all these centuries as looking glasses possessing the magic and delicious power of reflecting the figure of a man at twice his normal size. Like Albee's Who's Afraid of Virginia Woolf, many authors and playwrights through the years have chosen to portray women as the weakened, helpless, and often harridan-like figure in a relationship. Certainly Martha's role - on the surface - is one of belittlement, derision, and humiliation toward her husband, George.

In Ibsen's a Doll House, the reverse - on the surface - is true. Nora is Torvald's possession, his doll to dress and objectify as he wills. As this facade crumbles, however, the observant reader reveals several discordant notes in the formulaic storylines of this era. The Argument Women have long held the power to magnify the men by whom they stand in life.

Portraying a publicly idealistic life which is rarely realized in privacy, the world is shocked to realize the lack of depth revealed when the blinds are opened. In a Doll's House, Nora began in this manner; playing the doll for her husband and children, she defended and protected her 'cozy' situation with fierce determination. It is only when her own imprudent - and potentially illegal - choice to forge her father's name comes to light that she is seen for the protective person she actually is.

In Who's Afraid of Virginia Woolf the dichotomy is stark and even confusing if the reader or playgoer does not understand the nature of relationships. George and Martha's sadism and masochism are freely portrayed to strangers but the internal relationship is one of mutual recognition and understanding. When women have reason to magnify the man in their relationship, the partner can be seen as a giant; flawless perfection with a generous spirit. None are flawless, of course, and this is more an era-based belief than truth.

Significantly, the woman can take the same power to magnify the perfection in their man and turn the focus upon the flaws in the same person. The giant who was once a demi-god suddenly becomes a devil's minion. This revelation rests within the woman's power; Virginia had no problem openly revealing George's impotence, failure in his career, and turn of temperament while Nora - admittedly a bit more gracious, though none the less cunning - did nothing to Torvald's immediate public image.

The harm to Torvald would come later, when explaining why his wife and 'doll' were absent from his and the children's lives. Summary For many centuries, women have been considered chattel - possessions by which a man defines his strength, virility, and power. Women -- seeking safety, security, and a family to which they can address their need to nurture -- have accepted the role of property. The quote referenced for this work, while true for many decades, is inherently and progressively changing.

It is safe to say that these same women were merely agreeable in order to maintain the status quo at any price to protect themselves.