Professions for Women 2012 09

Professions for Women 女人职业_儿童英汉双语故事_0

Professions for Women 女人职业_儿童英汉双语故事Born in England, Virginia Woolf was the daughter of Leslie Stephen, a well-known scholar. She was educated primarily at home and attributed her love of reading to the early and complete access she was given to her fathers library. With her husband, Leonard Woolf, she founded the Hogarth Press and became known as member of the Bloomsbury group of intellectuals, which included economist John Maynard Keynes, biographer Lytton Strachey, novelist E. M. Forster, and art historian Clive Bell. Although she was a central figure in London literary life, Woolf often saw herself as isolated from the mains stream because she was a woman. Woolf is best known for her experimental, modernist novels, including Mrs. Dalloway(1925) and To the Lighthouse(1927) which are widely appreciated for her breakthrough into a new mode and technique--the stream of consciousness. In her diary and CRItical essays she has much to say about women and fiction. Her 1929 book A Room of Ones Own documents her desire for women to take their rightful place in literary history and as an essayist she has occupied a high place in 20th century literature. The common Reader (1925 first series; 1932 second series) has acquired classic status. She also wrote short stories and biographies. Professions for Women taken from The collected Essays V ol 2. is originally a paper Woolf read to the Womens ServiceLeague, an organization for professional women in London.When your secretary invited me to come here, she told me that your Society is concerned with the employment of women and she suggested that I might tell you something about my own professional experiences. It is true that I am a woman; it is true I am employed; but what professional experiences have I had? It is difficult to say. My profession is literature; and in that profession there are fewer experiences for women than in any other, with the exception of the stage--fewer, I mean, that are peculiar to women. For the road was cut many years ago---by Fanny Burney, by Aphra Behn, by Harriet Martineau, by Jane Austen, by George Eliot many famous women, and many more unknown and forgotten, have been before me, making the path smooth, and regulating my steps. Thus, when I came to write, there were very few material obstacles in my way. Writing was a reputable and harmless occupation. The family peace was not broken by the scratching of a pen. No demand was made upon the family purse. For ten and sixpence one can buy paper enough to write all the plays of Shakespeare--if one has a mind that way. Pianos and models, Paris, Vienna, and Berlin, masters and mistresses, are not needed by a writer. The cheapness of writing paper is, of course, the reason why women have succeeded as writers before they have succeeded in the other professions.But to tell you my story--it is a simple one. You have only got tofigure to yourselves a girl in a bedroom with a pen in her hand. She had only to move that pen from left to right--from ten oclock to one. Then it occurred to her to do what is simple and cheap enough after all--to slip a few of those pages into an envelope, fix a penny stamp in the corner, and drop the envelope into the red box at the corner. It was thus that I became a journalist; and my effort was rewarded on the first day of the following month--a very glorious day it was for me--by a letter from an editor containing a check for one pound ten shillings and sixpence. But to show you how little I deserve to be called a professional woman, how little I know of the struggles and difficulties of such lives, I have to admit that instead of spending that sum upon bread and butter, rent, shoes and stockings, or butchers bills, I went out and bought a cat--a beautiful cat, a Persian cat, which very soon involved me in bitter disputes with my neighbors.What could be easier than to write articles and to buy Persian cats with the profits? But wait a moment. Articles have to be about something. Mine, I seem to remember, was about a novel by a famous man. And while I was writing this review, I discovered that if I were going to review books I should need to do battle with a certain phantom. And the phantom was a woman, and when I came to know her better I called her after the heroine of a famous poem, The Angel in the House. It was she who used to come between me an my paper when I was writing reviews.It was she who bothered me and wasted my time and so tormented me that at last I killed her. You who come off a younger and happier generation may not have heard of her--you may not know what I mean by The Angel in the House. I will desCRIbe her as shortly as I can. She was intensely sympathetic. She was immensely charming. She was utterly unselfish. She excelled in the difficult arts of family life. She saCRIficed herself daily. If there was chicken, she took the leg; if there was a draft she sat in it--in short she was so constituted that she never had a mind or a wish of her own, but preferred to sympathize always with the minds and wishes of others. Above all--I need not say it--she was pure. Her purity was supposed to be her chief beauty--her blushes, her great grace. In those days--the last of Queen Victoria--every house had its Angel. And when I came to write I encountered her with the very first words. The shadow of her wings fell on my page; I heard the rustling of her skirts in the room. Directly, that is to say, I took my pen in my hand to review that novel by a famous man, she slipped behind me and whispered:My dear, you are a young woman. You are writing about a book that has been written by a man. Be sympathetic; be tender; flatter; deceive; use all the art and wiles of our sex. Never let anybody guess that you have a mind of our own. Above all, be pure. And she made as if to guide my pen. I now record the one act for which I take some credit to myself, though the credit rightly belongs to some excellent ancestors of mine who left me acertain sum of money--shall we say five hundred pounds a year? --so that it was not necessary for me to depend solely on charm for my living. I turned upon her and caught her by the throat. I did my best to kill her. My excuse, If I were to be had up in a court of law, would be that I acted in self-defense. Had I not killed her she would have killed me. She would have plucked the heart out of my writing. For, as I found, directly I put pen to paper, you cannot review even a novel without having a mind of your own, without expressing what you think to be the truth about human relations, morality, sex. And all these questions, according to the Angel of the House, cannot be dealt with freely and openly by women; they must charm, they must conciliate, they mustto put it bluntly-tell lies if they are to succeed. Thus, whenever I felt the shadow of her wing or the radiance of her halo upon my page, I took up the inkpot and flung it at her. She died hard. Her fictitious nature was of great assistance to her. It is far harder to kill a phantom than a reality. She was always creeping back when I thought I had dispatched her. Though I flatter myself that I killed her in the end, the struggle was severe; it took much time that had better have been spent upon learning Greek grammar; or in roaming the world in search of adventures. But it was a real experience; It was an experience that was bound befall all women writers at that time. Killing the Angel in the House was part of the occupation of a woman writer.But to continue my story. The Angel was dead; what then remained?You may say that what remained was a simple and common object--a young woman in a bedroom with an inkpot. In other words, now that she had rid herself of falsehood, that young woman had only to be herself. Ah, but what is herself? I mean, what is a woman? I assure you, I do not know.I do not believe that you know. I do not believe that anybody can know until she has expressed herself in all the arts and professions open to human skill. That indeed is one of the reasons why I have come here--out of respect for you, who are in process of showing us by your experiments what a woman is, who are in process of providing us, by your failures and succeeded, with that extremely important piece of information.But to continue the story of my professional experiences. I made one pound ten and six by my first review; and I bought a Persian cat with the proceeds. Then I grew ambitious. A Persian cat is all very well, I said; but a Persian cat is not enough. I must have a motorcar. And it was thus that I became a novelist--for it is a very strange thing that people will give you a motorcar if you will tell them a story. It is a still stranger thing that there is nothing so delightful in the world as telling stories. It is far pleasanter than writing reviews of famous novels. And yet, if I am to obey your secretary and tell you my professional experiences as a novelist, I must tell you about a very strange experience that befell me as a novelist. And to understand it you must try first to imagine a novelists state of mind. I hope I am not giving away professional secrets if I say that a novelistschief desire is to be as unconscious as possible. He has to induce in himself a state of perpetual lethargy. He wants life to proceed with the utmost quiet and regularity. He wants to see the same faces, to read the same books, to do the same things day after day, month after month, while he is writing, so that nothing may break the illusion in which he is living--so that nothing may disturb or disquiet the mysterious nosings about, feelings round, darts, dashes, and sudden discoveries of that very shy and illusive spirit, the imagination. I suspect that this state is the same both for men and women. Be that as it may, I want you to imagine me writing a novel in a state of trance. I want you to figure to yourselves a girl sitting with a pen in her hand, which for minutes, and indeed for hours, she never dips into the inkpot. The image that comes to my mind when I think of this girl is the image of a fisherman lying sunk in dreams on the verge of a deep lake with a rod held out over the water. She was letting her imagination sweep unchecked round every rock and cranny of the world that lies submerged in the depths of our unconscious being. Now came the experience that I believe to be far commoner with women writers than with men. The line raced through the girls fingers. Her imagination had rushed away. It had sought the pools, the depths, the dark places where the largest fish slumber. And then there was a smash. There was an explosion. There was foam and confusion. The imagination had dashed itself against something hard. The girl was roused from her dream.She was indeed in a state of the most acute and difficult distress. To speak without figure, she had thought of something, something about the body, about the passions which it was unfitting for her as a woman to say. Men, her reason told her, would be shocked. The consciousness of what men will say of a woman who speaks the truth about her passions had roused her from her artists state of unconsciousness. She could write no more. The trace was over. Her imagination could work no longer. This I believe to be a very common experience with women writers--they are impeded by the extreme conventionality of the other sex. For though men sensibly allow themselves great freedom in these respects, I doubt that they realize or can control the extreme severity with which they condemn such freedom in women.These then were two very genuine experiences of my own. These were two of the adventures of my professional life. The first--killing the Angel in the House--I think I solved. She died. But the second, telling the truth about my own experiences as a body, I do not think I solved. I doubt that any woman has solved it yet. The obstacles against her are still immensely powerful--and yet they are very difficult to define. Outwardly, what is simpler than to write books? Outwardly, what obstacles are there for a woman rather than for a man? Inwardly, I think, the case is very different; she has still many ghosts to fight, many prejudices to overcome. Indeed it will be a long time still, I think, before a woman can sit down towrite a book without finding a phantom to be slain, a rock to be dashed against. And if this is so in literature, the freest of all professions for women, how is it in the new professions which you are now for the first time entering?Virginia Woolf。

Lesson 4-Professions for Women

Professions for Women (Para.1)

4.my profession is literature…that are peculiar to women. 1)why does the author say ------? The road was cut many years ago by many famous women writers as well as many more unknown and forgotten women writers who have been before her, who have made the path smooth, regulating her steps. The implied meaning is that other professions, such as science, medicine, law, are newer for women, and therefore the road is harder for them, with more experiences peculiar to them. The profession of drama is an exception. Like literature, drama also involves more women than other professions.
Professions for Women (Para.1)

2)the stage: with ―the‖ the word means the theater, drama, or acting as a profession. Like literature, the stage involves more women than other professions. 5.the road was cut:路已经开辟出来 6. Fanny Burney, Aphra Behn, Harriet Martineau, Jane Austen and George Eliot, See Note 3 to 7. All the women mentioned above are women writers who have made special contributions to English literature in their unique ways.

Professions for Women 女人职业_儿童英汉双语故事

Professions for Women 女人职业_儿童英汉双语故事Born in England, Virginia Woolf was the daughter of Leslie Stephen, a well-known scholar. She was educated primarily at home and attributed her love of reading to the early and complete access she was given to her fathers library. With her husband, Leonard Woolf, she founded the Hogarth Press and became known as member of the Bloomsbury group of intellectuals, which included economist John Maynard Keynes, biographer Lytton Strachey, novelist E. M. Forster, and art historian Clive Bell. Although she was a central figure in London literary life, Woolf often saw herself as isolated from the mains stream because she was a woman. Woolf is best known for her experimental, modernist novels, including Mrs. Dalloway(1925) and To the Lighthouse(1927) which are widely appreciated for her breakthrough into a new mode and technique--the stream of consciousness. In her diary and CRItical essays she has much to say about women and fiction. Her 1929 book A Room of Ones Own documents her desire for women to take their rightful place in literary history and as an essayist she has occupied a high place in 20th century literature. The common Reader (1925 first series; 1932 second series) has acquired classic status. She also wrote short stories and biographies. Professions for Women taken from The collected Essays V ol 2. is originally a paper Woolf read to the Womens ServiceLeague, an organization for professional women in London.When your secretary invited me to come here, she told me that your Society is concerned with the employment of women and she suggested that I might tell you something about my own professional experiences. It is true that I am a woman; it is true I am employed; but what professional experiences have I had? It is difficult to say. My profession is literature; and in that profession there are fewer experiences for women than in any other, with the exception of the stage--fewer, I mean, that are peculiar to women. For the road was cut many years ago---by Fanny Burney, by Aphra Behn, by Harriet Martineau, by Jane Austen, by George Eliot many famous women, and many more unknown and forgotten, have been before me, making the path smooth, and regulating my steps. Thus, when I came to write, there were very few material obstacles in my way. Writing was a reputable and harmless occupation. The family peace was not broken by the scratching of a pen. No demand was made upon the family purse. For ten and sixpence one can buy paper enough to write all the plays of Shakespeare--if one has a mind that way. Pianos and models, Paris, Vienna, and Berlin, masters and mistresses, are not needed by a writer. The cheapness of writing paper is, of course, the reason why women have succeeded as writers before they have succeeded in the other professions.But to tell you my story--it is a simple one. You have only got tofigure to yourselves a girl in a bedroom with a pen in her hand. She had only to move that pen from left to right--from ten oclock to one. Then it occurred to her to do what is simple and cheap enough after all--to slip a few of those pages into an envelope, fix a penny stamp in the corner, and drop the envelope into the red box at the corner. It was thus that I became a journalist; and my effort was rewarded on the first day of the following month--a very glorious day it was for me--by a letter from an editor containing a check for one pound ten shillings and sixpence. But to show you how little I deserve to be called a professional woman, how little I know of the struggles and difficulties of such lives, I have to admit that instead of spending that sum upon bread and butter, rent, shoes and stockings, or butchers bills, I went out and bought a cat--a beautiful cat, a Persian cat, which very soon involved me in bitter disputes with my neighbors.What could be easier than to write articles and to buy Persian cats with the profits? But wait a moment. Articles have to be about something. Mine, I seem to remember, was about a novel by a famous man. And while I was writing this review, I discovered that if I were going to review books I should need to do battle with a certain phantom. And the phantom was a woman, and when I came to know her better I called her after the heroine of a famous poem, The Angel in the House. It was she who used to come between me an my paper when I was writing reviews.It was she who bothered me and wasted my time and so tormented me that at last I killed her. You who come off a younger and happier generation may not have heard of her--you may not know what I mean by The Angel in the House. I will desCRIbe her as shortly as I can. She was intensely sympathetic. She was immensely charming. She was utterly unselfish. She excelled in the difficult arts of family life. She saCRIficed herself daily. If there was chicken, she took the leg; if there was a draft she sat in it--in short she was so constituted that she never had a mind or a wish of her own, but preferred to sympathize always with the minds and wishes of others. Above all--I need not say it--she was pure. Her purity was supposed to be her chief beauty--her blushes, her great grace. In those days--the last of Queen Victoria--every house had its Angel. And when I came to write I encountered her with the very first words. The shadow of her wings fell on my page; I heard the rustling of her skirts in the room. Directly, that is to say, I took my pen in my hand to review that novel by a famous man, she slipped behind me and whispered:My dear, you are a young woman. You are writing about a book that has been written by a man. Be sympathetic; be tender; flatter; deceive; use all the art and wiles of our sex. Never let anybody guess that you have a mind of our own. Above all, be pure. And she made as if to guide my pen. I now record the one act for which I take some credit to myself, though the credit rightly belongs to some excellent ancestors of mine who left me acertain sum of money--shall we say five hundred pounds a year? --so that it was not necessary for me to depend solely on charm for my living. I turned upon her and caught her by the throat. I did my best to kill her. My excuse, If I were to be had up in a court of law, would be that I acted in self-defense. Had I not killed her she would have killed me. She would have plucked the heart out of my writing. For, as I found, directly I put pen to paper, you cannot review even a novel without having a mind of your own, without expressing what you think to be the truth about human relations, morality, sex. And all these questions, according to the Angel of the House, cannot be dealt with freely and openly by women; they must charm, they must conciliate, they mustto put it bluntly-tell lies if they are to succeed. Thus, whenever I felt the shadow of her wing or the radiance of her halo upon my page, I took up the inkpot and flung it at her. She died hard. Her fictitious nature was of great assistance to her. It is far harder to kill a phantom than a reality. She was always creeping back when I thought I had dispatched her. Though I flatter myself that I killed her in the end, the struggle was severe; it took much time that had better have been spent upon learning Greek grammar; or in roaming the world in search of adventures. But it was a real experience; It was an experience that was bound befall all women writers at that time. Killing the Angel in the House was part of the occupation of a woman writer.But to continue my story. The Angel was dead; what then remained?You may say that what remained was a simple and common object--a young woman in a bedroom with an inkpot. In other words, now that she had rid herself of falsehood, that young woman had only to be herself. Ah, but what is herself? I mean, what is a woman? I assure you, I do not know.I do not believe that you know. I do not believe that anybody can know until she has expressed herself in all the arts and professions open to human skill. That indeed is one of the reasons why I have come here--out of respect for you, who are in process of showing us by your experiments what a woman is, who are in process of providing us, by your failures and succeeded, with that extremely important piece of information.But to continue the story of my professional experiences. I made one pound ten and six by my first review; and I bought a Persian cat with the proceeds. Then I grew ambitious. A Persian cat is all very well, I said; but a Persian cat is not enough. I must have a motorcar. And it was thus that I became a novelist--for it is a very strange thing that people will give you a motorcar if you will tell them a story. It is a still stranger thing that there is nothing so delightful in the world as telling stories. It is far pleasanter than writing reviews of famous novels. And yet, if I am to obey your secretary and tell you my professional experiences as a novelist, I must tell you about a very strange experience that befell me as a novelist. And to understand it you must try first to imagine a novelists state of mind. I hope I am not giving away professional secrets if I say that a novelistschief desire is to be as unconscious as possible. He has to induce in himself a state of perpetual lethargy. He wants life to proceed with the utmost quiet and regularity. He wants to see the same faces, to read the same books, to do the same things day after day, month after month, while he is writing, so that nothing may break the illusion in which he is living--so that nothing may disturb or disquiet the mysterious nosings about, feelings round, darts, dashes, and sudden discoveries of that very shy and illusive spirit, the imagination. I suspect that this state is the same both for men and women. Be that as it may, I want you to imagine me writing a novel in a state of trance. I want you to figure to yourselves a girl sitting with a pen in her hand, which for minutes, and indeed for hours, she never dips into the inkpot. The image that comes to my mind when I think of this girl is the image of a fisherman lying sunk in dreams on the verge of a deep lake with a rod held out over the water. She was letting her imagination sweep unchecked round every rock and cranny of the world that lies submerged in the depths of our unconscious being. Now came the experience that I believe to be far commoner with women writers than with men. The line raced through the girls fingers. Her imagination had rushed away. It had sought the pools, the depths, the dark places where the largest fish slumber. And then there was a smash. There was an explosion. There was foam and confusion. The imagination had dashed itself against something hard. The girl was roused from her dream.She was indeed in a state of the most acute and difficult distress. To speak without figure, she had thought of something, something about the body, about the passions which it was unfitting for her as a woman to say. Men, her reason told her, would be shocked. The consciousness of what men will say of a woman who speaks the truth about her passions had roused her from her artists state of unconsciousness. She could write no more. The trace was over. Her imagination could work no longer. This I believe to be a very common experience with women writers--they are impeded by the extreme conventionality of the other sex. For though men sensibly allow themselves great freedom in these respects, I doubt that they realize or can control the extreme severity with which they condemn such freedom in women.These then were two very genuine experiences of my own. These were two of the adventures of my professional life. The first--killing the Angel in the House--I think I solved. She died. But the second, telling the truth about my own experiences as a body, I do not think I solved. I doubt that any woman has solved it yet. The obstacles against her are still immensely powerful--and yet they are very difficult to define. Outwardly, what is simpler than to write books? Outwardly, what obstacles are there for a woman rather than for a man? Inwardly, I think, the case is very different; she has still many ghosts to fight, many prejudices to overcome. Indeed it will be a long time still, I think, before a woman can sit down towrite a book without finding a phantom to be slain, a rock to be dashed against. And if this is so in literature, the freest of all professions for women, how is it in the new professions which you are now for the first time entering?Virginia Woolf。

Professions_for_Women译文

Professions for Women（女人的职业）女人的职业听说你们协会是有关妇女就业的。

协会秘书要我就职业问题谈谈自己的阅历。

不错，我是女人，我也正在就业。

可是我有些什么阅历呢？这个问题似乎很难回答。

我的职业是文学，文学给予女人特有的阅历比其他职业要少，舞台表演除外。

这是因为许多年前范妮•伯尼、阿普拉•贝恩、哈丽雅特•马蒂诺、简•奥斯丁、乔治•爱略特就在这条路上披荆斩棘了。

无数知名的、不知名的女人在我之前扫除了障碍，调整了我的步伐。

我开始写作时，这个职业已经不拒绝女性了。

写作是个高尚而无害的职业，家庭的安宁不会被钢笔的嚓嚓声打破，也不需要很多的经济投资。

花十六便士买的纸足够写下莎士比亚所有巨著--------假如你也有个莎士比亚的脑袋的话。

作家不需要有钢琴、模特儿，不要周游巴黎、维也纳和柏林，也不需聘请家庭教师。

纸张便宜也许是女人在写作领域比其他领域成功的原因。

言归正传吧。

我当作家的故事其实很简单，你们大可想象一个手执钢笔的姑娘坐在卧室，从左到右不停地写着，写着，从十点写到一点。

然后，她把这些稿件装进信封，贴上一便士邮票投进信筒。

我就是这样成为报纸撰稿人的。

第二个月的第一天---- 那对我是辉煌的一天--- 我竟收到编辑给我的信，还附了张一镑十六便士的支票。

可我多不懂生活的艰辛呀！我没用这钱买面包和黄油，买鞋子或袜子，或者付杂货店老板的欠单，而是用它买了一只漂亮的波斯猫，一只不久便令我陷入邻里唇枪舌战的小猫。

还有什么比写文章，比用稿费买小猫更容易呢？可是，等等！文章得表明见地。

记得那篇文章是评论某个著名作家小说的。

写那篇文章时我就发现，评论作品时我需要与一种幻影搏斗。

这个幻影就是女人。

多次交锋以后，感觉开始明晰，我借一首著名诗歌里女主人公之名，称她为“屋子里的天使”。

她横亘在我和稿纸之间，困绕我，折磨我，消耗我，令我最终忍无可忍，杀了她。

你们年轻一代比较幸运，可能没听说过她--------因而不知道何为“屋子里的天使”。

Professions for Women 课后练习

VI. Translation
1.指导我向前走
2. 家庭财力/经济 3. 扼住她的喉咙 4. 在无意识的最深层 5. 不用修辞手段、直截了当地说 6. 男性极端的因循守旧 7. 以什么为条件/在什么样的条件下
VI. Translation
1.就是她，在我写评论时，总是在我和我的写作之间制造麻烦。 2. 下面我要说说多少是我自己决定做的一件事情，当然做此事的功劳主要还应归功于我的了不起的祖先，是他们给我留下了一笔财产——比如说每年五百英镑吧——这样我就不必完全靠女人的魅力去谋生了。 3. 我相信，只有妇女在人类知识所设计的全部艺术和专业领域中用创造形式表达自己的情感后，她们才能知道什么是妇女。

4.
It was a sensible thing for men to give themselves great freedom to talk about the body and their passions. But if women want to have the same freedom, men condemn such freedom in women, nor do I believe that they can control their extremely severe condemnation of such freedom in women. 5. It will take a long time for women to rid themselves of false values and attitudes and to overcome the obstacle to telling the truth about their body and passions.

professions for women的主题思想

professions for women的主题思想Professions for Women是英国女作家Virginia Woolf在妇女服务同盟会（伦敦职业妇女组织）上宣读的一篇论文。

Woolf倡导女权主义，伍尔芙极力倡导女权主义，她认为现代小说应该着力描写人的内心世界，人内心世界的刻画能够表达深层次的问题，而不是纯粹描写现实的生活。

维多利亚时代以来在英国文坛盛行现实主义风格，伍尔芙的这种思想与当时的社会大大的背道而驰。

在她的日记和评论中，许多作品都涉及到女性的话题。

“何为女性？”这看似简单的问题，实则体现了女性所处的角色以及在社会的地位。

女性地位的提高是对传统价值观的颠覆，这是一个需要长时间才能形成的过程。

伍尔芙认为要想表达清楚“女人”的定义，女性应该从事涉及人类知识、理解和判断方面的所有艺术与职业，要深入其中，参与到各行各业中。

该篇文章主要介绍作者的职业经历。

作者从介绍从事作家这个职业的原因入手，其间作者描述了自己作为女性作家面临的许多困难和挑战，由此引出女性在从事各种职业时可能需要承受的压力和所需解决的难题。

从中我们也体会到了作为女权主义者的她对妇女问题的关注。

该篇文章布局严密，层次清晰。

作者运用了第一人称进行叙述，非常亲切，缩短了与读者之间的距离，读者仿佛身临其境。

该文章语言生动活泼，伍尔芙无拘无束、形象幽默和机智风趣的散文风格特点独树一帜，跃然纸上。

为了更加形象地说明阻挠作家思维的问题，伍尔芙在文中详细刻画了一种幻影（phantom），为了塑造这个形象，作者运用了多种修辞手法，如拟人、暗喻和对比法，语言质朴，栩栩如生。

文章大篇幅介绍了作者与幻影之间的激烈战争。

伍尔芙认为自己写评论作品时需要与一种幻影搏斗，这个幻影就是女人。

实际上，这个幻影女人就是存在于人脑子中的世俗意识，这种意识禁钿了女性进行创造性的思维，她们被男作家创作的极端俗套阻碍了，在这方面男人们虽然明达地给予女人极大的自由，却极其严厉地贵难女人身上的这种自由。

Profession for Women (女人的职业)

What metaphor is used in paragraph 3?
Phantom: literally -- something that seems to appear to the sight but has no physical existence metaphorically -- a mental representation of a stereotyped woman
Professions for Women
(1931)
Virginia Woolf 1. In what way, are women still discriminated against now？
2. What do you think of the following statements?
two emphatic sentences
1. It was she who used to come between me an my paper when I was writing reviews. 2. It was she who bothered me and wasted my time and so tormented me that at last I killed her. She was forced to fight against the angel. And, she was fully justified to do so. Otherwise, she could write nothing.
Chinese ―virtuous wife and loving mother ‖
三从四德 Three Obediences and Four Virtues