This may be true or it may be false

This may be true or it may be false—who can say?—but what is true in it, so it seemed to me, reviewing the story of Shakespeare’s sister as I had made it, is that any woman born with a great gift in the sixteenth century would certainly have gone crazed, shot herself, or ended her days in some lonely cottage outside the village, half witch, half wizard, feared and mocked at. For it needs little skill in psychology to be sure that a highly gifted girl who had tried to use her gift for poetry would have been so thwarted and hindered by other people, so tortured
and pulled asunder by her own contrary instincts, that she must have lost her health and sanity to a certainty. No girl could have walked to London and stood at a stage door and forced her way into the presence of actor-managers without doing herself a violence and suffering an anguish which may have been irrational—for chastity may be a fetish invented by certain societies for unknown reasons—but were nonetheless inevitable. Chastity had then, it has even now, a religious importance in a woman’s life, and has so wrapped itself round with nerves and instincts that to cut it free and bring it to the light of day demands courage of the rarest. To have lived a free life in London in the sixteenth century would have meant for a woman who was poet and playwright a nervous stress and dilemma which might well have killed her. Had she survived, whatever she had written would have been twisted and deformed, issuing from a strained and morbid imagination. And undoubtedly, I thought, looking at the shelf where there are no plays by women, her work would have gone unsigned. That refuge she would have sought certainly. It was the relic of the sense of chastity that dictated anonymity to women even so late as the nineteenth century. Currer Bell, George Eliot, George Sand,6 all the victims of inner strife as their writings prove, sought ineffectively to veil themselves by

Kết quả (Việt) 1:

Điều này có thể đúng hoặc nó có thể là sai lầm-những người có thể nói?- nhưng những gì là sự thật trong nó, do đó, nó dường như với tôi, xem xét những câu chuyện của chị em của Shakespeare như tôi đã làm cho nó, là rằng bất kỳ người phụ nữ sinh ra với một món quà tuyệt vời trong thế kỷ 16 sẽ chắc chắn đã đi điên rồ, đã tự bắn mình, hoặc kết thúc ngày của mình trong một số ngôi nhà cô đơn bên ngoài làng , phù thủy một nửa, một nửa thuật sĩ, sợ và chế giễu lúc. Cho nó cần ít kỹ năng trong tâm lý học để đảm bảo rằng một cô gái rất có năng khiếu, người đã cố gắng để sử dụng món quà của cô cho thơ sẽ có được như vậy bị cản trở và bị cản trở bởi người khác, vì vậy tra tấnand pulled asunder by her own contrary instincts, that she must have lost her health and sanity to a certainty. No girl could have walked to London and stood at a stage door and forced her way into the presence of actor-managers without doing herself a violence and suffering an anguish which may have been irrational—for chastity may be a fetish invented by certain societies for unknown reasons—but were nonetheless inevitable. Chastity had then, it has even now, a religious importance in a woman’s life, and has so wrapped itself round with nerves and instincts that to cut it free and bring it to the light of day demands courage of the rarest. To have lived a free life in London in the sixteenth century would have meant for a woman who was poet and playwright a nervous stress and dilemma which might well have killed her. Had she survived, whatever she had written would have been twisted and deformed, issuing from a strained and morbid imagination. And undoubtedly, I thought, looking at the shelf where there are no plays by women, her work would have gone unsigned. That refuge she would have sought certainly. It was the relic of the sense of chastity that dictated anonymity to women even so late as the nineteenth century. Currer Bell, George Eliot, George Sand,6 all the victims of inner strife as their writings prove, sought ineffectively to veil themselves by