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| ■ 東京大学過去問２０１３年（５） |
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次の文章を読み、以下の問いに答えよ。 When I was eleven, I took violin lessons once a week from (1)a Miss Katie McIntyre. She had a big sunny fourth-floor studio in a building in the city, which was occupied below by dentists, paper suppliers, and cheap photographers. It was approached by an old-fashioned lift that swayed dangerously as it rose to the fourth floor, which she shared with the only ( 2a ) occupant, Miss E. Sampson, a spiritualist who could communicate with the dead. I knew about Miss Sampson from gossip I had heard among my mother's friends. The daughter of a well-known doctor, she had gone to Clayfield College and been clever and popular. But then her gift appeared ― that is how my mother's friends put it, just declared itself out of the blue, without in ( 2b ) way changing her cleverness or good humour. She came to speak in the voices of the dead: little girls who had been murdered in suburban parks, soldiers killed in one of the wars, lost sons and brothers. Sometimes, if I was early for my lesson, I would find myself riding up with her. Holding my violin case tightly, I pushed myself hard against the wall of the lift to make room for (3)the presences she might have brought into the lift with her. It was odd to see her name listed so boldly ― "E.Sampson, Spiritualist" ― in the entrance hall beside the lift, among the dentists, photographers, and my own Miss McIntyre. It seemed appropriate, in those days, that music should be separated from the everyday business that was being carried on below ― the whizzing of dentists' drills and the making of passport photos for people going overseas. But I thought of Miss Sampson, for ( 2c ) her sensible shoes and businesslike suits, as a kind of fake doctor, and was sorry that (4)Miss McIntyre and classical music should be associated with Miss Sampson and with the troops of sad-eyed women (they were mostly women) who came all the way to her room and shared the last stages of the lift with us: women whose husbands might have been bank managers ― wearing smart hats and gloves and tilting their chins an little in defiance of their having at last reached this point; other women who worked in hospital kitchens or offices, all decently gloved and hatted now, but (5)looking scared of the company they were in and the heights to which the lift brought them. They tried to hang apart, using their elbows in ladylike way, but using them, and saying politely "Pardon," or "I'm sorry," when the crush brought them into too close. On such occasions the lift, loaded to capacity, made heavy work of it. And it wasn't, I thought, simply the weight of bodies (eight persons only, a notice warned) that made the old mechanism grind in its shaft, but the weight of all that sorrow, all that hopelessness and last hope, all that dignity in the privacy of grief. We went up slowly. Sometimes, in the way of idle curiosity (if she could have had such a thing), Miss Sampson would let her eyes for a moment rest on me, and I wondered hotly what she might be seeing beyond a small eleven-year-old. Like most boys of that age I had much to conceal. But she appeared to be looking at me, not through me. She would smile, I would respond, and, clearing my throat to find a voice, I would say in a well-brought-up manner that I hoped might fool her and (6)leave me alone with my secrets, "Good afternoon, Miss Sampson." Her own voice was as unremarkable as an aunt's: "Good afternoon, dear." It was therefore (7)all the more alarming, as I sat waiting on one of the chairs just outside Miss McIntyre's studio, while Ben Steinberg, her star pupil, played the Max Bruch, to hear the same voice, oddly changed, coming through the half-open door of Miss Sampson's office. Though much above the breathing of all those women, it had stepped down a tone ― no, several ― and sounded as if it were coming from another continent. It was an Indian, speaking through her. It was a being I could no longer think of as the woman in the lift, and I was reminded of something I had once seen from the window of a railway carriage as my train sat steaming on the line: three old men behind the glass of a waiting room and the enclosed space shining with their breathing like a jar full of fireflies. It was entirely real, but the way I saw them changed that reality, making me so impressionably aware that (8)I could recall details I could not possibly have seen at that distance or with the naked eye: the greenish-grey of one old man's eyes, and a stain near a shirt collar. Looking through into Miss Sampson's room was like that. I saw too much. I felt dizzy and began to sweat. There is no story, no set of events that leads anywhere or proves anything ― no middle, no end. Just a glimpse through a half-open door. （１） 下線部(1)にある不定冠詞の a の用法と同じものを次のうちから一つ選び、その記号を記せ。 ア The car in the driveway looked like a Ford. イ All who knew him thought he was an Edison. ウ A Johnson came to see you while you were out. エ At that museum I saw a Picasso for the first time. オ She was an Adams before she married John Smith. （２） 空所( 2a )〜( 2c )を埋めるのに最も適切なものを次のうちから一つずつ選び、それぞれの記号を記せ。 ア all イ another ウ any エ different オ every カ no キ none ク other ケ same コ some サ that シ those ス what セ which （３） 下線部(3)と最も意味が近い、２語からなる別の表現を文中から抜き出して記せ。 （４） 下線部(4)の意味に最も近いものを次のうちから一つ選び、その記号を記せ。 ア Miss McIntyre and classical music should be involved in Miss Sampson's business イ Miss McIntyre and classical music should be influenced by someone like Miss Sampson ウ Miss McIntyre and classical music should be looked down on even more than Miss Sampson was エ Miss McIntyre and classical music should be coupled with someone as unrespectable as Miss Sampson オ Miss McIntyre and classical music should be considered to be as unprofessional as Miss Sampson （５） 下線部(5)の意味に最も近いものを次のうちから一つ選び、その記号を記せ。 ア seeming frightened of the other women in the lift and of how high the lift was rising イ looking fearfully at the other women in the lift, which went up to the fourth floor ウ showing their fear of the unfamiliar women in the lift, which brought them to a high floor エ looking anxiously at the passengers in the lift, frightened because the lift seemed to go up forever オ apparently feeling frightened of the company which employed them and the heights to which the unsteady lift rose （６） 下線部(6)の意味として、最も適切なものを次のうちから一つ選び、その記号を記せ。 ア hide my feeling of guilt イ let me enjoy being alone ウ assure her of my good manners エ keep her from reading my mind オ prevent her from telling others my secrets （７） 下線部(7)の表現がここで用いられている理由として、最も適切なものを次のうちから一つ選び、その記号を記せ。 ア Because Miss Sampson usually spoke in a mild voice. イ Because Ben Steinberg heard the same voice oddly changed. ウ Because more and more people were afraid of Miss Sampson's voice. エ Because the piano in Miss McIntyre's studio sounded as if it were far away. オ Because Miss Sampson could be heard more easily than all the other women. （８） 下線部(8)を和訳せよ。 |
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