In Who``s Afraid of Virginia Woolf? the existential dilemma is dramatized with sympathy. The weak are redeemed in their helplessness, and the vicious are forgiven in their tortured self-awareness. The domineering figure of Woman is no longer the one-sided aberration of The Sandbox and The American Dream; it is a portrait of agonized loyalty and destructive love. The submissive Male is raised to the point of tragic heroism in his understanding of the woman who would kill the thing she loves. Since Albee once planned to give the Act Ⅲ title, "The Exorcism," to the entire play, we know the importance he attaches to it. To exorcise is to drive out evil spirits, and in New Carthage the evil spirits are the wrong illusion of progeny. The Son-myth, like Brother Julian``s fantasies in Tiny Alice, is a private indulgence of faith where there is nothing to believe. The coming of dawn is the paradoxical symbol of restoring spiritual health. As the day begins to break, all characters come to realize that the myths they have created are nothing but a trap destroying them and released from the dubious refuge of their illusions. It means that all their evil spirits are exorcised and some kinds of viable alternatives have been formulated.