hce_nthu
113年
英文
第 35 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.
Which of the following is closest in meaning to the phrase “out of sorts” in the second paragraph of the passage?
- A cheerful
- B listless
- C caring
- D relentless
- E elated
思路引導 VIP
請觀察第二段提到的「健康三角」理論。作者指出，當食慾、運動或心理健康其中一項受損時，整體狀態就會下滑。接著請看作者用來形容女主角處於 “out of sorts” 時的具體例子：像是 Marianne 變得「消瘦且蒼白（thin and wan）」，或是 Catherine 「難以吞嚥、不想吃東西」。如果一個人表現出這些特徵，且失去了原本的活力（youthful bloom），你會如何形容她當下的精神與身體狀態呢？
🤖
AI 詳解
AI 專屬家教
太棒了！你能精準捕捉到文學描述中的語氣轉折，選出 (B) listless（無精打采的、倦怠的）是非常敏銳的判斷。
語意脈絡與健康三角
這題的解題關鍵在於理解作者提出的「健康三角」觀念。文中強調，當珍．奧斯汀筆下的女主角們處於健康平衡時，會表現得充滿活力（zestful）且食慾正常；然而，當這種平衡被破壞時，她們便會陷入 “out of sorts” 的狀態。從後文對 Marianne 的具體描述來看：她因為思念而變得「消瘦、蒼白、失去光澤」，且「食慾減退、難以吞嚥」。這些徵兆都顯示她正處於一種缺乏生命力、委靡不振的負面身心狀態，因此與形容倦怠、無生氣的 listless 最為契合。
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