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Questions 11 to 15 are based on the following interview.
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Questions 16～20 The fox really exasperated them both. As soon as they had let the fowls out, in the early summer mornings, they had to take their guns and keep guard; and then again as soon as evening began to mellow, they must go once more. And he was so sly. He slid along in the deep grass; he was difficult as a serpent to see. And he seemed to circumvent the girls deliberately. Once or twice March had caught sight of the white tip of his brush, or the ruddy shadow of him in the deep grass, and she had let fire at him. But he made no account of this. The trees on the wood edge were a darkish, brownish green in the full light—for it was the end of August. Beyond, the naked, copper-like shafts and limbs of the pine trees shone in the air. Nearer, the rough grass, with its long, brownish stalks all agleam, was full of light. The fowls were round about—the ducks were still swimming on the pond under the pine trees. March looked at it all, saw it all, and did not see it. She heard Banford speaking to the fowls in the distance—and she did not hear. What was she thinking about Heaven knows. Her consciousness was, as it were, held back. She lowered her eyes, and suddenly saw the fox. He was looking up at her. His chin was pressed down, and his eyes were looking up. They met her eyes. And he knew her. She was spell- bound—she knew he knew her. So he looked into her eyes, and her soul failed her. He knew her, he has not daunted. She struggled, confusedly she came to herself, and saw him making off, with slow leaps over some fallen boughs, slow, impudent jumps. Then he glanced over his shoulder, and ran smoothly away. She saw his brush held smooth like a feather, she saw his white buttocks twinkle. And he was gone, softly, soft as the wind. She put her gun to her shoulder, but even then pursed her mouth, knowing it was nonsense to pretend to fire. So she began to walk slowly after him, in the direction he had gone, slowly, pertinaciously. She expected to find him. In her heart she was determined to find him. What she would do when she saw him again she did not consider. But she was determined to find him. So she walked abstractedly about on the edge of the wood, with wide, vivid dark eyes, and a faint flush in her cheeks. She did not think. In strange mindlessness she walked hither and thither. As soon as supper was over, she rose again to go out, without saying why. She took her gun again and went to look for the fox. For he had lifted his eyes upon her, and his knowing look seemed to have entered her brain. She did not so much think of him. she was possessed by him. She saw his dark, shrewd, unabashed eye looking into her, knowing her. She felt him invisibly master her spirit. She knew the way he lowered his chin as he looked up, she knew his muzzle, the golden brown, and the greyish white. And again she saw him glance over his shoulder at her, half inviting, half contemptuous and cunning. So she went, with her great startled eyes glowing, her gun under her arm, along the wood edge. Meanwhile the night fell, and a great moon rose above the pine trees. Gradually March seems to be in a state of ______.
Questions 16 to 20 are based on the following talk.
Questions 16 to 20 are based on the following talk.
Questions 11～15 "Museum" is a slippery word. It first meant in Greek anything consecrated to the Muses: a hill, a shrine, a garden, a festival or even a textbook. Both Plato’s Academy and Aristotle’s Lyceum had a mouseion, a muses’ shrine. Although the Greeks already collected detached works of art, many temples—notably that of Hera at Olympia (before which the Olympic flame is still lit)—had collections of objects, some of which were works of art by well-known masters, while paintings and sculptures in the Alexandrian Museum were incidental to its main purpose. The Romans also collected and exhibited art from disbanded temples, as well as mineral specimens, exotic plants, animals; and they plundered sculptures and paintings (mostly Greek) for exhibition. Meanwhile, the Greek word had slipped into Latin by transliteration (though not to signify picture galleries, which were called pinacothecae) and museum still more or less meant "Muses’ shrine". The inspirational collections of precious and semi-precious objects were kept in larger churches and monasteries—which focused on the gold-enshrined, bejeweled relics of saints and martyrs. Princes, and later merchants, had similar collections, which became the deposits of natural curiosities: large lumps of amber or coral, irregular pearls, unicorn horns, ostrich eggs, fossil bones and so on. They also included coins and gems—often antique engraved ones—as well as, increasingly, paintings and sculptures. As they multiplied and expanded, to supplement them, the skill of the fakers grew increasingly refined. At the same time, visitors could admire the very grandest paintings and sculptures in the churches, palaces and castles; they were not "collected" either, but "site-specific", and were considered an integral part both of the fabric of the buildings and of the way of life which went on inside them—and most of the buildings were public ones. However, during the revival of antiquity in the fifteenth century, fragments of antique sculpture were given higher status than the work of any contemporary, so that displays of antiquities would inspire artists to imitation, or even better, to emulation; and so could be considered Muses’ shrines in the former sense. The Medici garden near San Marco in Florence, the Belvedere and the Capitol in Rome were the most famous of such early "inspirational" collections. Soon they multiplied, and, gradually, exemplary "modern" works were also added to such galleries. In the seventeenth century, scientific and prestige collecting became so widespread that three or four collectors independently published directories to museums all over the known world. But it was the age of revolutions and industry which produced the next sharp shift in the way the institution was perceived: the fury against royal and church monuments prompted antiquarians to shelter them in asylum-galleries, of which the Musée des Monuments Francais was the most famous. Then, in the first half of the nineteenth century, museum funding took off, allied to the rise of new wealth. London acquired the National Gallery and the British Museum, the Louvre was organized, the Museum-Insel was begun in Berlin, and the Munich galleries were built. In Vienna, the huge Kunsthistorisches and Naturhistorisches Museum took over much of the imperial treasure. Meanwhile, the decline of craftsmanship (and of public taste with it) inspired the creation of "improving" collections. The Victoria and Albert Museum in London was the most famous, as well as perhaps the largest of them. Modern museums came into existence in order to ______.
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