Soru

She had quite a queer feeling as if she play-acted something, as if she had a part in some play. It was as if she were a necessary character, and if she had been absent, the performance could not go on. No doubt somebody would have noticed if she hadn't been there; she was part of the performance after all. How strange! How she loved it! How she loved to watch it all, she, the silent observer, weaving her own quiet place into the tapestry of the park.

But then, the young couple sat down on the bench where the red-faced man had been. They were beautifully dressed; they were in love. Miss Brill prepared to listen, her heart ready to swell with their youth.

'No, not now,' said the girl. 'Not here.'

'Why not?' asked the boy. 'Who is there to care? That old thing on the end? Why does she come here at all? Who wants her? Her fur is like a fried whiting!'

Miss Brill did not look up. She sat very still, her gloved hands folded in her lap. The band played on, but the music had grown thin and cold. When she reached her room, the little dark room like a cupboard, she sat down on the red eiderdown. She unclasped the necklet quickly; quickly, without looking, she laid it inside the box. But when she put the lid on she thought she heard something crying.

Which of the following best describes the shift in the protagonist's relationship to her surroundings from the beginning of the passage to the end?