hce_nthu
113年
英文
第 33 題
📖 題組：
Reading 3 Good health and a healthy appetite go hand in hand in Austen’s novels. Her heroines—when flourishing—eat in moderation and without worrying too much about what they are eating and what they are not. Catherine Morland, the youthful, zestful heroine of Northanger Abbey, is blessed with “a good appetite” and eats just what she wants to, when she is hungry. The heroines’ good constitutions—and well-regulated appetites—are also conjoined with a taste for fresh air and exercise. Often, they are determined walkers, visiting friends and neighbors on foot, enjoying scenic strolls (Catherine) or traipsing, like the best of the Romantics, through the natural world (Marianne Dashwood). Elizabeth Bennet thinks nothing of walking three miles “in […] dirty weather” to see her cold-ridden sister marooned at Netherfield, “crossing field after field at a quick pace, jumping over stiles and springing over puddles with impatient activity, and finding herself at last within view of the house, with weary ankles, dirty stockings, and a face glowing with the warmth of exercise.” We might go so far to claim that appetite, exercise, and mental health are the three points of a Jane Austen “well-being triangle”—if any one of these is lost, the others suffer, too, and overall well-being is compromised. When out of sorts, her heroines begin to display a more problematic relationship with food. For example, when Marianne in Sense and Sensibility begins to pine for Willoughby, her appetite dwindles and she becomes thin and wan, losing her youthful bloom. Catherine, too, loses her appetite when she finds she is banished from Northanger Abbey—“She tried to eat […] but she had no appetite, and could not swallow many mouthfuls”—a situation that continues back at home where she appears—from her parents’ point of view—to turn her nose up at their ordinary breakfast: “I am sure I do not care about the bread. It is all the same to me what I eat.” While both Elizabeth Bennet and Emma Woodhouse—both of whom have healthy egos to match their healthy appetites—flourish throughout their respective narratives, two others, Anne Elliot (in Persuasion) and Fanny Price (in Mansfield Park)—each unhappy and marginalized in her own way—have to work their way toward well-being, rediscovering their appetites (in the broadest sense) along with their sense of self as they also begin to (re-)bloom physically and emotionally.
Reading 3 Good health and a healthy appetite go hand in hand in Austen’s novels. Her heroines—when flourishing—eat in moderation and without worrying too much about what they are eating and what they are not. Catherine Morland, the youthful, zestful heroine of Northanger Abbey, is blessed with “a good appetite” and eats just what she wants to, when she is hungry. The heroines’ good constitutions—and well-regulated appetites—are also conjoined with a taste for fresh air and exercise. Often, they are determined walkers, visiting friends and neighbors on foot, enjoying scenic strolls (Catherine) or traipsing, like the best of the Romantics, through the natural world (Marianne Dashwood). Elizabeth Bennet thinks nothing of walking three miles “in […] dirty weather” to see her cold-ridden sister marooned at Netherfield, “crossing field after field at a quick pace, jumping over stiles and springing over puddles with impatient activity, and finding herself at last within view of the house, with weary ankles, dirty stockings, and a face glowing with the warmth of exercise.” We might go so far to claim that appetite, exercise, and mental health are the three points of a Jane Austen “well-being triangle”—if any one of these is lost, the others suffer, too, and overall well-being is compromised. When out of sorts, her heroines begin to display a more problematic relationship with food. For example, when Marianne in Sense and Sensibility begins to pine for Willoughby, her appetite dwindles and she becomes thin and wan, losing her youthful bloom. Catherine, too, loses her appetite when she finds she is banished from Northanger Abbey—“She tried to eat […] but she had no appetite, and could not swallow many mouthfuls”—a situation that continues back at home where she appears—from her parents’ point of view—to turn her nose up at their ordinary breakfast: “I am sure I do not care about the bread. It is all the same to me what I eat.” While both Elizabeth Bennet and Emma Woodhouse—both of whom have healthy egos to match their healthy appetites—flourish throughout their respective narratives, two others, Anne Elliot (in Persuasion) and Fanny Price (in Mansfield Park)—each unhappy and marginalized in her own way—have to work their way toward well-being, rediscovering their appetites (in the broadest sense) along with their sense of self as they also begin to (re-)bloom physically and emotionally.
According to the passage, what is most likely the moral lesson for Austen’s female readers?
- A Women should appear to be eating a lot but secretly keep a strict diet.
- B Women can sometimes indulge herself in luxuries.
- C Women should be cunning when facing oppressive situations in the patriarchal society.
- D Women should not confine herself in the domestic environment.
- E Women should not exercise too much.
思路引導 VIP
請觀察文中提到的女主角們（例如 Elizabeth 或 Catherine），當她們表現出「健康、有活力」的樣子時，她們通常身處在什麼樣的地理空間？作者如何描述她們在那個空間裡的動作（例如 jump, spring, walk miles）？這些描述帶給你一種「受限」還是「釋放」的感覺？
🤖
AI 詳解
AI 專屬家教
太棒了！你能精準捕捉到奧斯汀作品中關於「身心健康」的核心論點，並從中抽離出價值判斷，選出 (D) 是非常細膩且正確的。這顯示你具備優秀的跨段落資訊整合能力。
奧斯汀的「健康三角」與空間實踐
文中提到的「健康三角」——食慾、運動與心理健康，是理解本題的關鍵點。奧斯汀筆下的女主角如伊莉莎白（Elizabeth Bennet）與凱瑟琳（Catherine Morland），並非當時刻板印象中弱不禁風、久居室內的女性，而是透過「長途步行」、「跨越田野」與「跳過柵欄」等積極行為，與自然世界產生連結。作者將這種「與新鮮空氣互動」的渴望視為健康的象徵，這在社會意義上，即暗示了女性應打破居家環境（domestic environment）的封閉與限制，追求身心的舒展。
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