Exposed men
Exposed men
Let's be aware in this chapter that many people intended to read Natsume Soseki's Kororo but did not read it. First, from the quote of "Kokoro". (* All quotes below are from Soseki Natsume's "Kokoro".)
When I saw the teacher at the Kakechaya, he was just taking off his kimono and about to enter the sea. I then came up out of the water, blowing my wet body in the wind. There were many black heads moving between them, blocking their eyes. Unless there were special circumstances, I might have finally missed the teacher. Even though the beach was so crowded and my head so loose, I quickly found the teacher because he had a Westerner.
The excellent white skin color of the westerners caught my attention shortly after entering Kakechaya. Wearing a pure Japanese yukata, he stood facing the sea with his arms folded, throwing it out of the floor. He was wearing nothing but our monkey crotch. That was my first wonder. Two days before that, Yui went to the beach, squatting on the sand and watching the Westerners enter the sea for a long time. The place where I dropped my buttocks was on a slightly elevated hill, and right next to it was the back door of the hotel, so while I was still, many men came out to bathe in salt. However, none of them had their torso, arms and crotch. Women tended to hide the meat. He usually wore a rubber hood on his head and floated shrimps, navy blue and indigo in the waves. My eyes, just witnessing such a situation, seemed unusual to see this westerner, who was standing in front of everyone with only one monkey.
(From Natsume Soseki's Kokoro)
Unfortunately, no one has pointed out this.
Natsume Soseki uses the eyes of "I" and focuses on the fact that this westerner is one monkey.
And unusual, "I" tell the impression. In other words, they point out that the exposure is too long.
In the previous book, he pointed out Soseki's mischief that "I" approached the teacher in Furutin, but this western monkey seems to be pretending to be Furutin. I haven't seen Furtin's suggestions before, so I guess the only thing I've read is Kororo.
In the first place, without a swimsuit, most clothes soaked in water would be transparent. "I" would have certainly seen what was inside the invisibility monkey crotch. Sometimes such "visible and invisible" can have value as content.
As Kazuo Kawakami's "Thinking to Change the Rules" states, interesting content is something that seems obvious and unclear. Kawakami can call it `` like reality but not reality, '' but this means Shoyo Tsubouchi's Reality Plus Something and Yukio Mishima's `` conflict between reality and unreality. '' It seems to be digging not far away.
Natsume Soseki is definitely conscious of such things.
It does not say, "The cotton monkey was transparent to the tide and stuck to a bulge like a radish that had just reached the knee." Although I do not write, Soseki is willing to play the "exposure" hobby.
There is a part that I do not know what kind of feeling of sea bathing at that time was done, but if you think about modern sea bathing, even if you do not feel like you were looking for such a thing somewhere Absent. Again, "I" is a flutin, no matter how you read it. Pressed by Furutin, the teacher did not escape. Western monkeys would have been transparent.
I had no chance to steal my belongings without a sea swimsuit, so I decided to drop everything into the teahouse every time I entered the sea.
(From Natsume Soseki's Kokoro)
This sentence is the rationale for the important "I" being flutin. The reason why the reader is not conscious of Flutin, while writing so clearly, is that the teacher swims without his glasses and does not stare at "I" 's crotch. Literature is like a proof of (F + f). "He didn't wear anything other than one of our monkeys," he said in advance. It is a western person who wears the monkey crotch here, and the speaker merely describes the custom of the monkey crotch.
It is the way of literature to not write "I" 's flutin clearly, but if you do not write it clearly, you will not be able to say that you have read "Kokoro".
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