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完璧な旅程という圧政

名前:日付:

休暇中のあらゆる時間を計画する習慣に疑問を投げかけ、計画することで私たちが実際には何を失っているのかを問うコラム。

The tyranny of the perfect itinerary

Last summer I met a man on a ferry who had, by his own account, planned every hour of a ten-day trip to a coastal town. He showed me the spreadsheet. It had colour-coded columns for sights, meals and "buffer time", and a cell at the bottom, shaded green, that read "Spontaneity: Thursday afternoon". I laughed, and then I stopped laughing, because I recognised the impulse. I have drawn up versions of that spreadsheet myself.

We have become, it seems, a generation of optimisers, and nowhere is the habit more visible than in the way we travel. Reviews, rankings and maps that compress whole cities into a list of "must-sees" promise to spare us the risk of a wasted afternoon. Seldom do they pause to ask what a wasted afternoon might have been for. The wrong turning, the closed museum, the café chosen only because it was raining: these are not failures of planning but, very often, the raw material of the stories we later enjoy retelling.

Defenders of the carefully planned trip are quick to point out that time and money are finite, and they are right. Nobody should be condemned to a week of aimless queuing out of some romantic loyalty to chance. Were I to arrive in an unfamiliar city with a single day to spare, I would certainly want some guidance. My objection is not to preparation as such but to the assumption, rarely spoken yet widely shared, that a holiday is a product whose quality can be maximised, like the output of a factory.

The trouble with that assumption is that it quietly changes what we are doing. If the aim is to extract the greatest possible value from every hour, then every hour becomes a test, and we are bound to be found wanting. On another trip, the woman beside me spent the whole of a sunset adjusting her camera, and then complained that the photograph did not capture it. Had she simply looked, she might have felt less short-changed. Research on memory suggests, incidentally, that we judge a past experience largely by its most intense moment and its ending rather than by its average, which ought to make us wary of the idea that every moment must be equally rewarding.

None of this is an argument for chaos. The most contented travellers I know plan loosely: they fix the hard points, such as the train, the bed and the one concert they refuse to miss, and leave the rest deliberately slack. They treat the gaps not as dead time to be filled but as the part of the journey that belongs to them. It is a modest discipline, and perhaps a harder one than it sounds, since it asks us to tolerate the faint anxiety of not knowing what comes next.

As for the man on the ferry, I hope Thursday afternoon went well. I suspect, though, that the truest spontaneity of his trip occurred somewhere no cell could have predicted: in the minutes when the ferry was delayed and he, for once, had nothing scheduled to do about it.

文章を理解しましょう

本文を読み、最も適切な答えを選びましょう。

  1. Why does the writer begin with the story of the man on the ferry?
    • a) To criticise a stranger for being foolish
    • b) To introduce the theme of over-planning through a vivid example
    • c) To explain how to build a useful spreadsheet
    • d) To show that ferries are the best way to travel
  2. What does "I recognised the impulse" suggest about the writer?
    • a) The writer has met the man before.
    • b) The writer admires people who plan carefully.
    • c) The writer is amused but also shares the tendency.
    • d) The writer thinks the spreadsheet was well designed.
  3. In the second paragraph, "they" in "Seldom do they pause" refers to
    • a) the people who travel
    • b) reviews, rankings and maps
    • c) the wrong turnings and closed museums
    • d) the writer's friends
  4. How does the writer treat those who defend planned trips?
    • a) As people whose main point has some truth in it
    • b) As people who misunderstand what travel means
    • c) As people who are afraid of risk
    • d) As people whose opinions are not worth considering
  5. What is the writer's real objection?
    • a) People spend too much money on holidays.
    • b) Guidebooks are often inaccurate.
    • c) Travellers should never prepare in advance.
    • d) People treat a holiday as a product to be maximised.
  6. What does the story of the woman with the camera illustrate?
    • a) Photographs are always disappointing.
    • b) Chasing a perfect record can spoil the experience itself.
    • c) Sunsets are overrated.
    • d) Travellers should buy better equipment.
  7. According to the writer, how do contented travellers plan?
    • a) They fix the essentials and leave the rest open.
    • b) They avoid making any bookings.
    • c) They plan every hour but change it often.
    • d) They let other people decide.
  8. What is the tone of the final paragraph?
    • a) bitter and critical
    • b) gently ironic and affectionate
    • c) nervous and uncertain
    • d) formal and detached

語彙と詳細

最も適切な答えを選ぶか、本文から抜けている語を入力しましょう。

  1. "Compress" in the second paragraph means
    • a) to make something fit into less space
    • b) to explain in great detail
    • c) to make more expensive
    • d) to separate into parts
  2. "Found wanting" in the fourth paragraph means judged to be
    • a) too expensive
    • b) not good enough
    • c) unusually lucky
    • d) fully satisfied
  3. "Short-changed" in the fourth paragraph suggests the woman felt
    • a) rushed
    • b) embarrassed
    • c) cheated of something she expected
    • d) relieved
  4. "Wary" in the fourth paragraph means
    • a) curious
    • b) confident
    • c) careful and doubtful
    • d) pleased
  5. "Slack" in the fifth paragraph describes parts of the trip that are
    • a) badly organised
    • b) left free and loosely arranged
    • c) carefully timed
    • d) too expensive
  6. The man's trip was planned for ___ days.
  7. In the spreadsheet, the cell reading "Spontaneity" was shaded ___.
  8. "The raw material of the stories we later enjoy retelling" means that mistakes
    • a) are always funny
    • b) can become the basis of good memories
    • c) should be edited out
    • d) usually spoil a trip

解答

文章を理解しましょう

  1. b) To introduce the theme of over-planning through a vivid exampleこの逸話は、コラムがこの後に論じる習慣の、生き生きとして少し滑稽な例です。書き手はその男性だけを笑っているのではありません。「I have drawn up versions of that spreadsheet myself」と書いています。
  2. c) The writer is amused but also shares the tendency.書き手は笑い、やがて笑うのをやめ、自分も似た表計算シートを作ったことを認めているので、書き手自身も同じ傾向を持っていることがわかります。
  3. b) reviews, rankings and maps前の文の主語は「reviews, rankings and maps」で、その問いを投げかけないのはそれらです。
  4. a) As people whose main point has some truth in it書き手は、時間もお金も限られているという彼らの意見は正しく、見知らぬ街なら自分も案内がほしいだろうと述べています。意見の相違はもっと限定的です。
  5. d) People treat a holiday as a product to be maximised.書き手は、反対しているのは「not to preparation as such but to the assumption」、つまり休暇は質を最大化できる商品だという思い込みだと述べています。
  6. b) Chasing a perfect record can spoil the experience itself.彼女は夕日の間ずっとカメラを調整していて、写真が期待に届かなかったと感じました。書き手は、ただ眺めていた方が幸せだっただろうと示唆しています。
  7. a) They fix the essentials and leave the rest open.彼らは「plan loosely」します。動かせない点は決めておき、残りは「deliberately slack」にしておきます。
  8. b) gently ironic and affectionate書き手は、その男性が木曜の午後を楽しんだことを願いつつも、最良の瞬間は予定外の遅れから生まれたと示唆しています。口調は優しく穏やかにユーモラスです。

語彙と詳細

  1. a) to make something fit into less spaceTo compress whole cities into a list は、都市全体を短い要約に縮めてしまうことです。
  2. b) not good enoughTo be found wanting は「不十分だと判断される」ことです。毎時間が試験になると、私たちはそれに失敗したと感じます。
  3. c) cheated of something she expectedShort-changed は、受け取って当然の分や期待していた分より少ないものしか受け取れないという意味で、彼女が自分の写真について感じたことです。
  4. c) careful and doubtfulTo be wary of an idea は、その考えを受け入れることに慎重であるということです。
  5. b) left free and loosely arranged「Deliberately slack」は、わざと空けてある隙間を表しています。
  6. ten / 10最初の文に、旅行は「ten days」だったと書かれています。
  7. green一番下のセルは「shaded green」でした。
  8. b) can become the basis of good memoriesRaw material は、物の原料のことです。道を間違えることが、後の物語の素材になります。