巴 次 の 文 章 を 読 み 問 lから問 8の設問団えなさい。*が付いている語には本 文の後ろに注があります。 Dreamsc a nd e t e r m i n ed e s t i n y . P e r h a p st h emostfamousdreami na n t i q u i t yt o o kp l a c ei nt h ey e a rA . D . 3 1 2 , when t h e Roman emperor C o n s t a n t i n e engaged i n one o ft h eg r e a t e s t b a t t l e so fh i sl i f e . Faced w i t ha r i v a l army t w i c et h es i z eo fh i so w n , he ( 1 ) r e a l i z e dt h a thep r o b a b l yw o u l dd i ei nb a t t l et h en e x td a y .B u ti nadreamhe hadt h a tn i g h t , ana n g e la p p e ε r e db e f o r ehimb e a r i n gt h eimageo fac r o s s , u t t e r i n gt h ef a: e f u lwords“Byt h i ss y m b o l ,yous h a l lc o n q u e r .” I m m e d i a t e l yhe ( 2) o r d e r e dt h es h i e l d so fh i st r o o p sd e c o r a t e dw i t ht h esymbolo ft h ec r o s s . H i s t o r yr e c o r d st h a theemergedt r i u m p h a n tt hョn e x td a y , cementingh i s h o l dont h eRomanE m p i r e . Hevowedt or e p a yt h eb l o o dd e b tt ot h i sr e l a t i v e l y o b s c u r er e l i g i o n ,C h r i s t i a n i t y ,t h a t had been p e r ι e c u t e df o rc e n t u r i e s by p r e v i o u sRomanemperorsandwhosea d h e r e n t sw e r η r e g u l a r l yf e dt ot h el i o n s i nt h eColosseum* Hes i g n e dl a w st h a twoulde v e n t u al l ypavet h ewayf o ri t ( 3) t obecomeano f f i c i a lr e l i g i o no fo n eo ft h eg r e a t e s te m p i r e si nt h ew o r l d . Fort h o u s a n d so fy e a r s ,k i n g sandq u e e n s ,a sw e l la sb e g g a r sandt h i e v e s , havea l lwondereda b o u tc i r 叩 m s . Thea n c i e n t sc o n s i d e r e ddreamst obeomens a b o u tt h ef u t u r e ,s ot h e r ehavebeenc o u n t l e s sa t t e m p t st h r o u g h o u th i s t o r yt o i n t e r p r e tt h e m . TheB i b l ete c o r d si nG e n e s i sド 4 1t h er i s eo fJ o s e p h ,whowas a b l et oc o r r e c t l yi n t e r p r e tt h edreamso ft h ePharaoho fEgyptt h o u s a n d so f y e a r sa g o . When t h e Pharaoh dreamed a b o u ts e v e nf a tc o w s ,f o l l o w e d by s e v e nl e a nc o w s ,hewass od i s t u r b e dbyt h eimageryt h a theaskeds c r i b e s * andm y s t i c st h r o u g h o u tt h ekingdomt of i n di t sm e a n i n g .A l lf a i l e dt og i v ea c o n v i n c i n gexpl a n a t i o n,u n t i lJ o s e p hf i n a l l yi n t e r p r e t e dt h edreamt omeant h a t ( 4) 一一一一一一 Egyptwouldhaves e v e ny e a r so fgoodh a r v e s t s,f o l l o w e dbys e v e ny e a r so f d r o u g h tandf a m i n e .S o ,s a i dJ o s e p h ,Egyptmustb e g i ns t o c k p i l i n gg r a i nand s u p p l i e sn o w ,i np r e p a r a t i o nf o rt h e comingy e a r so fwant and d e s p e r a t i o n . Whent h i scamet op a s s ,J o s e p hwasc o n s i d e r e dt obeap r o p h e t . -1- ) く M9(783- 1 4 1 ) Dreams have l o n g been a s s o c i a t e dw i t hp r o p h e s y ,b u ti n more r e c e n t v ea l s obeenknownt os t i m u l a t es c i e n t i f i cd i s c o v e r y . Thei d e at h a t t i m e st h e y’ n e u r o t r a n s m i t t e r s *c o u l df a c i l i t a t et h e movement o fi n f o r m a t i o np a s ta h e f o u n d a t i o n o f n e u r o s c i e n c e , came t o s y n a p s eへ which forms t p h a r m a c o l o g i s t *O t t oLoewii nad r e a m .S i m i l a r l y ,i n1 8 6 5 ,AugustKekulehad adreama b o u tbenzeneへi nwhicht h ebondso fc a r b o natomsformedac h a i n t h a te v e n t u a l l ywr b i t i n gi t st a i l .T h i sdreamwouldu n l o c kt h ea t o m i cs t r u c t u r eo ft h ebenzene m o l e c u l e . Hec o n c l u d e d “ ,L e tu sl e a r nt odream ” ! ( 5) Dreamshavea l s obeeni n t e r p r e t e da sawindowo n t oo u rt r u et h o u g h t s and i n t e n t i o n s . The g r e a tR e n a i s s a n c ew r i t e r and e s s a y i s tM i c h e ld e Montaigne o n c ew r o t e, “Ib e l i e v ei tt o be t r u et h a t dreams a r et h et r u e でd t os o r t and i n t e r p r e t a t i o n so fo u ri n c l i n a t i o n s ,b u tt h e r ei sa r tr e q u i r e c e n t l y ,SigmundFreudp r o p o s e dat h e o r yt oexpl a i n u n d e r s t a n dt h e m .” Morer n t e r p r e t a t i o no fDreams,he t h eo r i g i no fd r e a m s .I nh i ss i g n a t u r ew o r k ,TheI c l a i m e dt h a tt h e ywerem a n i f e s t a t i o n so fo u rs u b c o n s c i o u sd e s i r e s ,whichwere o f t e nr e p r e s s e dbyt h ewakingmindb u twhichr u nw i l de v e r yn i g h t . Dreams weren o tj u s tt h erandomf i g m e n t s *o fo u ro v e r h e a t e di m a g i n a t i o n sb u tc o u l d a c t u a l l yu n c o v e rdeep s e c r e t s andt r u t h sa b o u to u r s e l v e s. “ Dreams a r et h e ( 6) r o y a lr o a dt ot h eu n c o n s c i o u s ” ,h ew r o t e . S i n c et h e n ,p e o p l ehave amassed huge e n c y c l o p e d i a st h a tc l a i mt or e v e a lt h eh i d d e n meaning b e h i n de v e r y d i s t u r b i n gimagei ntermso fF r e u d i a nt h e o r y . Hollywoodt a k e sa d v a n t a g eo fo u rc o n t i n u i n gf a s c i n a t i o nw i t hd r e a m s .A f a v o r i t es c e n ei nmanym o v i e si swhent h eh e r oe x p e r i e n c e sat e r r i f y i n gdream sequenceandt h e ns u d d e n l ywakesupfromt h en i g h t m a r ei nac o l ds w e a t .I n t h eb l o c k b u s t e r * movieI n c e p t i o n ,L eonardoD i C a p r i op l a y sap e t t yt h i e fwho sdreams. s t e a l si n t i m a t es e c r e t sfromt h emostu n l i k e l yo fa l lp l a c e s ,p e o p l e’ sdreamsandd e c e i v ethem Withanewi n v e n t i o n , hei sa b l et oe n t e rp e o p l e’ i n t og i v i n gupt h e i rf i n a n c i a ls e c r e t s . C o r p o r a t i o n s spendm i l l i o n so fd o l l a r s 2ー > くM9( 7 8 3-1 4 2 ) p r o t e c t i n gi n d u s t r i a ls e c r e t s and p a t e n t s . B i l l i o n a i r e sj e a l o u s l y guard t h e i r w e a l t hu s i n ge l a b o r a t ec o d e s . H i sj o bi st os t e a lt h e m . The p l o tq u i c k l y e s c a l a t e sa st hec h a r a c te r se n t e rdreamsi nwhichap e r s o nf a l l sa s l e e p and dreams a g a i n . So t h e s ec r i m i n a l sd e s c e n dd e e p e r and d e e p e ri n t om u l t i p l e l a y e r so ft h es u b c o n s c i o u s . B u ta l t h o u g hdreamshavea l w a y sh a u n t e dandm y s t i f i e du s ,o n l yi nt h e ( 7) l a s td e c a d eo rs o have s c i e n t i s t s been a b l et op e e l away t h em y s t e r i e so f d r e a m s .I nf a c t ,s c i e n t i s t scannowd os o m e t h i n go n c ec o n s i d e r e di m p o s s i b l e : t h e ya r ea b l et ot a k eroughp h o t o g r a p h sandv i d e o t a p e so fdreamsw i t hMRI m a c h i n e s . Oned a y ,youmaybea b l et ov i e wav i d e oo ft h edreamyouhadt h e p r e v i o u sn i g h tandg a i ni n s i g h ti n t oy o u rowns u b c o n s c i o u sm i n d . Withp r o p e r t r a i n i n g ,youm i g h tb ea b l et oc o n s c i o u s l yc o n t r o lt h en a t u r eo fyourd r e a m s . Andp e r h a p s ,l i k eD i C a p r i o’ sc h a r a c t e r ,w i t hadvancedt e c h n o l o g yyoumight evenbea b l et oe n t e rsomeonee l s e’ sd r e a m . 出典: M i c h i o Kaku, The F u t u r eo ft h e Mind: The S c i e n t i j i cQ u e s tt o U n d e r s t a n d , Enhance ,αndEmpower t h e Mind (New Y o r k :A n c h o r , 2 0 1 5 ) ,p p .1 6 9 7 1 . 一部改変。 ( 注 ) Colosseum:コロセウム(古代ローマ最大の円形競技場) G e n e s i s:創世記(旧約聖書の最初の書) s c r i b e s:書記 n e u r o t r a n s m i t t e r s:神経伝達物質(n e u r o −は神経の意) s y n a p s e:シナプス(神経細胞の連接部) p h a r m a c o l o g i s t:薬理学者 benzene:ベンゼン(炭化水素の一つ) f i g m e n t s:作り事 b l o c k b u s t e r:大ヒット -3- > くM9(783 1 4 3 ) 問 1 下 線 部( 1 )を次のように書き換えたとき,①∼④にはどんな語が入ります か 。 When( ① ) ( ② ) f a c e dw i t har i v a larmyt w i c e( ③ ) l a r g e ④) h i sown 問 2 下 線 部( 2 ) を日本語に訳しなさい。 間 3 下 線 部( 3) を,“ i t”が何を指すか明らかにして,日本語に訳しなさい。 問 4 下 線 部( 4) の“t h edream”とは具体的にはどういう夢ですか。日本語で答え なさい。 問 5 下 線 部( 5 ) に関し,なぜこのような結論になるのですか。理由を日本語で説 明しなさい。 問 6 下 線 部( 6 )は具体的にどういうことを言おうとしているのですか。日本語で 説明しなさい。 問 7 下 線 部( 7 ) を日本語に訳しなさい。 - 4- < >M9(783 1 4 4 ) 問 8 次の文は本文を要約したものです。①∼⑩に入る最も適切な語を下の表の イ)∼ヲ)から選び,その記号を書きなさい。 The Roman emperor C o n s t a n t i n ewas ( ① ) t of i g h ti n ab a t t l e i g h t( ③ ) t h eb a t t l ehehad whichhed i dn o te x p e c tt o( ② ) • Then adreami nwhichana n g e lgavehimani m p o r t a n ts i g n . Becauseo ft h i she ④) t h eb a t t l e . Throughout h i s t o r y, p e o p l e have ( ⑤ ) t oi n t e r p r e t d r e a m s . o s e p h ,whoi n t e r p r e t e dt h ePharaoh ’ sd r e a m s ,andt h e Examples ( ⑥ ) J h e i r s c i e n t i s t s ,O t t oLoewiandAugustK e k u l e , ( ⑦ ) dreams ( ⑧ ) t s c i e n t i f i cd i s c o v e r i e s . SigmundFreudb e l i e v e dt h a tdreamsr e f l e c t e do u r s u b c o n s c i o u sd e s i r e s . Manym o v i e sd e p i c td r e a m s ,a st h e yhavel o n g( ⑨ ) af a s c i n a t i o n f o ru s .I nr e c e n ty e a r s ,s c i e n t i s t shavea l s os t a r t e dt o( ⑩ ) d r e a m s . イ ) b e f o r e 口 ) s t u d y ハ ) l o s t ニ ) s u r v i v e ホ ) won ヘ ) whose ト ) i n s p i r e d チ ) i n c l u d e リ ) a b o u t ヌ ) wake ル ) been ヲ ) t r i e d - 5- OM9 ( 7 8 3 1 45 ) 日 次 の 文 章 を 読 み 問 lから問 7の設問に答えなさい。*が付いている語には本 文の後ろに注があります。 C o u l d what we e a ts h a p e how we t h i n k ? A new p a p e ri nt h ej o u r n a l S c i e n c e by Thomas Talhelm a tt h eU n i v e r s i t yo fV i r g i n i a and c o l l e a g u e s s u g g e s t st h a ta g r i c u l t u r emays h a p ep s y c h o l o g y . Ab r e a dc u l t u r emayt h i n k o w ls o c i e t y . d i f f e r e n t l yt h a nar i c eb 司 P s y c h o l o g i s t s have l o n g known t h a td i f f e r e n tc u l t u r e st e n dt ot h i n k d i f f e r e n t l y . I nC h i n a andJ a p a n ,p e o p l et h i n kmorec o m m u n a l l y ,i nt e r m so f r e l a t i o n s h i p s . Byc o n t r a s t,p e o p l ea r emorei n d i v i d u a l i s t i ci nwhatp s y c h o l o g i s t J o s e p hH e n r i c h ,i ncommentingont h enewp a p e r ,c a l l s“羽TEIRDc u l t u r e s .” ( 1) 羽T EIRDs t a n d sf o rW e s t e r n ,e d u c a t e d ,i n d u s t r i a l i z e d ,r i c handd e m o c r a t i c . sp o i n ti st h a tc u l t u r e sl i k et h e s ea r ea c t u a l l yat i n ym i n o r i t yo fa l l D r .H e n r i c h’ human s o c i e t i e s , b o t hg e o g r a p h i c a l l y and h i s t o r i c a l l y . B u t a l m o s t a l l p s y c h o l o g i s t ss t u d yo n l yt h e s eWEIRDf o l k s . Thed i f f e r e n c e sshowupi ns u r p r i s i n g l yv a r i e dw a y s . SupposeIweret o a s kyout odrawagrapho fy o u rs o c i a ln e t w o r k ,w i t hyouandy o u rf r i e n d s r e p r e s e n t e da sc i r c l e sa t t a c h e dbyl i n e s . Americansmaket h e i rownc i r c l ea q u a r t e r i n c hl a r g e rt h a nt h e i rf r i e n d s’c i r c l e s .I nJ a p a n ,p e o p l emaket h e i rown c i r c l eab i ts m a l l e rt h a nt h eo t h e r s . Oryou can a s kp e o p l ehow mucht h e ywould reward t h eh o n e s t yo fa f r i e n do ras t r a n g e randhowmucht h e ywouldp u n i s ht h e i rd i s h o n e s t y . Most E a s t e r n e r st e n dt os a yt h e ywouldrewardaf r i e n dmoret h a nas t r a n g e rand p u n i s haf r i e n dl e s s :Westernerst r e a tf r i e n d sands t r a n g e r smoree q u a l l y . These d i f f e r e n c e s show up e v e ni nt e s t st h a t have n o t h i n gt o do w i t h ( 2) s o c i a lr e l a t i o n s h i p s . Youc a ng i v ep e o p l ea“ ( 3 )( b e l o n g ,o f ,t h e s e ,t h i n g s ,t o , t o g e t h e r ,which ) ? ” p r o b l e m ,l i k et h eo l d“SesameS t r e e t "s o n g . Sayyous e ea p i c t u r eo fad o g ,ar a b b i tandac a r r o t . 羽T e s t e r n e r st e n dt os a yt h edogand ’ r eb o t ha n i m a l s- t h e y’ r ei nt h e same t h er a b b i t go t o g e t h e rb e c a u s et h e y - 6- > くM9(783 1 4 6 ) c at e g o r y .E a s t e r n e r sa r emorel i k e l yt os a yt h a tt h er a b b i tandt h ec a r r o tgo t o g e t h e r b e c a u s er a b b i t se a tc a r r o t s . None o ft h e s eq u e s t i o n s has a r i g h ta n s w e r ,o fc o u r s e . So why have p e o p l ei nd i f f e r e n tp a r t so ft h ew o r l dd e v e l o p e dsuchd i f f e r e n tt h i n k i n gs t y l e s ? Youm i g h tt h i n kt h a tmodern, i n d u s t r i a lc u l t u r e swouldn a t u r a l l yd e v e l o p morei n d i v i d u a l i s mt h a na g r i c u l t u r a lo n e s . B u ta n o t h e rp o s s i b i l i t yi st h a tt h e k i n do fa g r i c u l t u r em a t t e r s.R i c ef a r m i n g ,i np a r t i c u l a r ,demandsag r e a td e a l i l l a g eh a st o o fc o o r d i n a t e dl a b o r . To manage a r i c e paddyぺa whole v c o o p e r a t eandc o o r d i n a t ei r r i g a t i o ns y s t e m s . Byc o n t r a s t ,as i n g l ef a m i l ycan groww h e a t . D r . Talhelm and c o l l e a g u e s used an i n g e n i o u sd e s i g nt ot e s tt h e s e p o s s i b i l i t i e s . Theyl o o k e da tr i c e g r o w i n g andw h e a t g r o w i n gr e g i o n sw i t h i n C h i n a . ( T h ep e o p l ei nt h e s ea r e a s had t h e same l a n g u a g e ,h i s t o r y and t r a d i t i o n s ;t h e yj u s t grew d i f f er e n tc r o p s. ) Then t h e y gave p e o p l et h e p s y c h o l o g i c a lt e s t sIj u s td e s c r i b e d.Thep e o p l ei nw h e a t g r o w i n ga r e a sl o o k e d more l i k e WEIRD 羽Te s t e r n e r s ,b u tt h er i c e growers showed t h e more c l a s s i c a l l yE a s t e r ncommunalandr e l a t i o n a lp a t t e r n s . Mosto ft h ep e o p l et h e y t e s t e dd i d n’ ta c t u a l l ygrowr i c eo rwheatt h e m s e l v e s ,b u tt h ec u l t u r a lt r a d i t i o n s o fr i c eo rwheatseemedt oi n f l u e n c et h e i rt h i n k i n g. T h i sa g r i c u l t u r a ld i f f e r e n c ep r e d i c t e dt h ep s y c h o l o g i c a ld i f f e r e n c e sb e t t e r t h a nm o d e r n i z a t i o nd i d . Eveni n d u s t r i a l i z e dp a r t so fC h i n aw i t har i c e g r o w i n g h i s t o r yshowedt h emorecommunalt h i n k i n gp a t t e r n . Ther e s e a r c h e r sa l s ol o o k e da ttwomeasureso fwhatp e o p l ed oo u t s i d e i v o r c e sandp a t e n t sf o rnewi n v e n t i o n s .C o n f l i c t a v o i d i n gcommunal t h el a b*・ d ( 4) c u l t u r e st e n dt ohavef e w e rd i v o r c e st h a ni n d i v i d u a l i s t i co n e s ,b u tt h e ya l s o c r e a t ef e w e ri n d i v i d u a li n n o v a t i o n s . Oncea g a i n ,w h e a t g r o w i n ga r e a sl o o k e d more“ WEIRD”t h a nr i c e g r o w i n go n e s . I nf a c t ,D r .H e n r i c hs u g g e s t st h a tr i c e g r o w i n g may have l e dt ot h e p s y c h o l o g i c a ld i f f e r e n c e s , which i nt u r n may have s p a r k e dm o d e r n i z a t i o n . - 7 <)M9(783 1 4 7 ) A l i e n sfromo u t e rs p a c el o o k i n ga tt h eE a r t hi nt h ey e a r1 0 0 0wouldn e v e rhave ( 5) b e tt h a tb a r b a r i a nN o r t h e r n Europe would become i n d u s t r i a l i z e db e f o r e : i v i l i z e dA s i a . And t h e y would s u r e l yn e v e r have g u e s s e dt h a te a t i n g i g h tmaket h ed i f f e r e n c e. , a n d w i c h e si n s t e a do fs t i r f ηr* m 出典: A l i s o nGopnik , “R i c e , Wheat and t h eV a l u e s They S o w .” The W αl S t r e e tj o u r n a l3 0May2 0 1 4 . 一部改変。 利加さ 叫 2A1 叶 斗 ・ 理 ’ し た め た u ・ 北 告 hy 二 b v d とv r n u BM つ −− 司 げ札唱 九J V H a i I15 問 l 下 線 部( 1 )の “t h enewp a p e r ”ではどんなことが提唱されていますか。日本 語で答えなさい。 問 2 下 線 部( 2 ) を,“Thesed i f f e r e n c e s”がどういう違いか明確にして,日本語 に訳しなさい。 問 3 ( 3) に関し, 「 この中のどれが同じ仲間? J という意味になるように,かっこ 内の語を並び替えなさい。ただし, 1語だけ使用しない語があります。 問 4 下 線 部( 4) を日本語に訳しなさい。 問 5 下線部( 5) に関し,筆者はなぜこのように考えるのですか。その理由を日本 語で説明しなさい。 -8- <)M9( 7 8 3 1 4 8 ) 問 6 次の文は本文中で言及された ThomasT alhelmの論文の導入部です。本 文の内容と照らし合わせて,文中の( イ ),( 口 ),( ハ )に当ては まる l語を書き入れなさい。 C r o s s c u l t u r a lp s y c h o l o g i s t s have m o s t l yc o n t r a s t e dE a s tA s i aw i t h t h eWest. However,t h i ss t u d yshowst h a tt h e r ea r em a j o rp s y c h o l o g i c a l ep r o p o s et h a tah i s t o r yo f farming d i f f e r e n c e sw i t h i n ( イ ) . 羽T ( ロ ) makesc u l t u r e smorei n t e r d e p e n d e n t ,whereasf a r m i n g( ハ ) makesc u l t u r e smorei n d e p e n d e n t ,andt h e s ea g r i c u l t u r a ll e g a c i e sc o n t i n u e et e s t e d1 1 6 2 Han Chinese t oa f f e c tp e o p l ei nt h e modern w o r l d . 羽T p a r t i c i p a n t si ns i xs i t e s and f o u n dt h a t (ロ)−growing s o u t h e r n (イ) i s morei n t e r d e p e n d e n t andh o l i s t i c t h i n k i n gt h a nt h e (ハ)− growingn o r t h . Toc o n t r o lf o rc o n f o u n d sl i k ec l i m a t e , wet e s t e dp e o p l e fromn e i g h b o r i n gc o u n t i e sa l o n gt h e (ロ)ー( !¥ ) b o r d e randf o u n d d i f f e r e n c e st h a twerej u s ta sl a r g e . Wea l s of i n dt h a tm o d e r n i z a t i o nand i tt h ed a t a . pathogenp r e v a l e n c et h e o r i e sdon o tf 出典: S c i e n c e9May2 0 1 4 :V o l .3 4 4 ,p .6 0 3 ( 注 ) h o l i s t i c:全体論的な, COi ぜo unds:交絡因子, 9 pathogen:病原体 ) く M9(783 -1 4 9) hの論文の一部です。本文の c i r n hHe p e s o 問 7 次の文は本文中で言及された J 内容と照らし合わせて,文中の①∼⑤に当てはまる 1語を書き入れなさい。 s t n pa i c i t npar gi n i k n i h lt a c i t y l a n manda s i l a u d i v i d n ei h et t a g ti s ve n Toi e re h dt se .u l ta lm e e , Talh a n i h nC si n o i g e lr a r u t l u c ri g ta n e r fe f i from d . s t s e t . iads r ft so e i r e has t i ng w i k n i h lt a c i t y l a n da e r su a They me dwhich ske ,anda t i b b a sar ha uc ,s t c je b to e g r a venat tsweregi n a p i c i t r a P o match on dt n e st r e k n i h ct i t y l a n . A h t i sw e o tg si t c e j b ro e h t ftwo o o o dt n e st r e k n i h ct i t s i l o .H r he t ge o sand ( ① ) got t i b b a or ,s s e i r o g e t a c at ( ② ) • se t i b b a or ,s s p i h ns o ti a l e match on r o s l sa r o h t u The a o st t n a p i c i t r a dp e k s ya e h ,t t s r i . F s y a n twow mi s i l a u d i v i d n edi measur r i e h sandt e v l e s m e h gt n i t n se e r p e sr e l c r i dc e l be a hl t i ,w m a r g o i c o drawas w much ybyho l t i c i l p m smeasuredi mi s i l a u d i v i d n ,i t s e st i h nt (③)• I , d n o c e .S le c r i s”c d n e i r f e“ g a r ve hea ot vet i t a l e sr lei c r i f”c el s he“ rt e g g i b g in k s s by a t n a p i c i t r a fp )o y t yal o pl u o r g n i m( s i t o p e en h edt s s se s ya e h t r( ④ ) drewardo l u o yc he nwhicht si o i r a n e c ls a c i t the o thyp u o b thema . n o ti c mfula rhar lo u f p l e rh o nd( ⑤ ) f sa d n e i r f 3 9 .5 ,p 4 4 .3 l o :V 4 01 e9May2 c n e i c 出典: S ) 注 ( s r e h t ndo l= a . ta e 0- 1 ) 0 5 -1 0M9(783 回 1i : J ,G50)かっこ内に適切な 1文を書き入れて ストーリーを完成させなさ o y u v h As o nwas a p p r o a c h i n gh i sf i f t e e n t hb i r t h d a y andh i sf a t h e r askedhim whathewouldl i k ea sap r e s e n t . “ Dad ” , hes a i d“ ,Ihavee v e r y t h i n gaboyc o u l dwishf o r . Theo n l yt h i n gI cant h i n ko ft h a tIwanti sap l a s t i cp a r r o t .” “ Ap l a s t i cp a r r o t ” ?q u e r i e dt h ef a t h e r .“ Areyous u r e ” ? “ Y e s , Dad ” , r e p l i e dt h es o n . “ I would l i k eap l a s t i cp a r r o tf o r my b i r t h d a y .” Sot h ef a t h e rboughthimap l a s t i cp a r r o t . A fewweeksl a t e r ,t h ef a t h e r sroomb u tc o u l df i n dnot r a c eo ft h ep a r r o t . Het h o u g h ti t wasi nt h es o n’ tm e n t i o n s t r a n g et h a ts u c h av a l u e dg i f tc o u l dv a n i s hs oq u i c k l y ,b u td i d n’ a n y t h i n ga b o u ti tt ot h eb o y . Ay e a rl a t e r ,t h es o nwasp r e p a r i n gt oc e l e b r a t eh i ss i x t e e n t hb i r t h d a y . “ 1 九 Thatw ouldyoul i k ef o ry o u rb i r t h d a y ,s o n ” ?a s k e dt h ef a t h e r . “ Ihavee v e r y t h i n gaboyc o u l dwishf o r, ' ’ h er e p l i e d .“ B u t ( 1 )” . The f a t h e rs t i l lt h o u g h ti t was a s t r a n g er e q u e s tb u t went ahead and boughtaboxo fs i xp l a s t i cp a r r o t s . And,j u s ta shappenedt h ep r e v i o u sy e a r ,a fewweeksa f t e rt h eboy’ sb i r t h d a y ,t h ep a r r o t shadd i s a p p e a r e d . ss e v e n t e e n t hb i r t h d a ycameandt h ef a t h e r( 2 ). Thes o n’ “ Ihavee v e r y t h i n gaboyc o u l dwishf o r ” , her e p l i e d .“ B u tIwouldl i k ea g i a n tboxo f2 8p l a s t i cp a r r o t s .” Thef a t h e rwasu t t e r l yc o n f u s e db u twentaheadandboughtt h ep a r r o t s . ’ sr o o m . W i t h i ns i xw e e k s ,t h e r ewasnot r a c eo fthemi nt h eboy ’ se i g h t e e n t hb i r t h d a y ,h i sf a t h e r was d e t e r m i n e dt od o For h i ss o n I want t o buy you a r e a l l ys p e c i a lg i f tf o ry o u r s o m e t h i n gd i f f e r e n t . “ e i g h t e e n t h . Nowwhatwouldyoul i k e ?A c a rmaybe ” ? “ Dad,Ihavee v e r y t h i n gaboyc o u l dwishf o r .B u tIwouldl i k earoomf u l l - 1 1- ) く M9(783 1 5 1 ) o fp l a s t i cp a r r o t s .” “ Notp l a s t i cp a r r o t sa g a i n ” ,c r i e dt h ef a t h e ri nd e s p a i r . “ H o n e s t l y ,D a d ,i t’ swhatIw a n t .” Sot h ef a t he rb o u g h taroomf u l lo fp l a s t i cp a r r o t s .S i xweeksl at e rt h e y hada l ld i s a p pe a r e dfromt h es o n ’ sr o o m . L o o k ,s o n , Idon’ tknow T h i st i m eh i sf a t h e rd e c i d e dt oc h a l l e n g eh i m . “ whati ti sw i t hyouandt h e s ep l a s t i cp a r r o t s .B u tIkeepb u y i n gthemf o ryou andt h e ykeepd i s a p p e a r i n g .( 3 ) ア ’ “ T r u s tmeont h i so n e ,D a d .I ' l lt e l lyoui nduec o u r s e.Butn o tr i g h tn o w .” Themonthsf l e wbyands o o ni twast h es o n’ sn i n e t e e n t hb i r t h d a y . “ Is u p p o s ei t’ smorep l a s t i cp a r r o t s ” ?s a i dt h ef a t h e rr e s i g n e d l y . “ That’ sr i g h t .T h i st i m eI ’ dl i k eane n t i r ewarehousef u l l .” The f a t h e r obeyed t h es o n’ sw i s h e s and b o u g h tt h o u s a n d so fp l a s t i c かe dhomefromworkt of i n dt h a t p a r r o t s . Onedayafewweeksl a t e r ,hea r r ( 4 ).D e s p e r a t et os o l v et h emysteryo ft h ep l a s t i cp a r r o t s ,hew a i t e df o r h i ss o nt or e t u r n . I n s t e a dher e c e i v e daphonec a l lfromt h eh o s p i t a lt os a y t h a tt h e boy hadbeent h ei n n o c e n tv i c t i mi n agangland s h o o t i n g andwas s e r i o u s l yi l l . Thef a t h e rr u s h e dt oh i sb e d s i d e . Thes u r g e o n sa d m i t t e dt h a tt h e s o nwasu n l i k e l yt os u r v i v e . “ S o n ,t h i smayn o tseemt h er i g h tmoment, b u tIhavet oaskyoua b o u t t h e s ep l a s t i cp a r r o t s . Whatd oyouwantthemf o r ? Andwhathaveyoudone w i t hthema l l ? ” “ Iw i l lt e l ly o u ,d a d ,i f( 5 ) ” . “ S u r e ,s o n .A n y t h i n g . Whati si t ” ? “C o u l dyougot ot h eshopandg e tmeonep l a s t i cp a r r o t ” ? Thef a t h e rr u s h e dt ot h en e a r e s tg i f ts h o p ,b o u g h tap l a s t i cp a r r o t and dashedbackt oh i ss o n’ sb e d s i d e. “ There you a r e ,s o n ” , he s a i d ,p r e s e n t i n g him w i t ht h ep l a s t i cp a r r o t. “ Now,what’ Si ta l la b o u t ? Is i m p l yhavet ok n o w .” - 1 2- > くM9( 7 8 3 1 5 2 ) “ Iu n d e r s t a n d ” ,s a i dt h es o nw e a k l y .“ I tmusth avebeenamysteryt oy o u , e e lIowei tt oyout ot e l l mea s k i n gf o rp l a s t i cp a r r o t se v e r yb i r t h d a y . SoIf yout h et r u t h . Yous e e ,t h e ywere. .. Andhed i e d . 出典: G e o f fT i b b a l l s ,e d . , TheMαmmothBooko fj o k e s( L o n d o n :R o b i n s o n , 2 0 0 0 ) ,p p .5 9 6 0 . 一部改変。 1 3- <)M9( 7 8 3 1 5 3 )
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