2020年3月14日土曜日

So why did K die?

So why did K die?

Teacher is bad. He betrayed his friend and killed him.
There are many people who do not give up the impression that they are just insensitive and honest K in the story that is accepted as such.
After seeing the beautiful young lady, she thought there was nothing between her and her teacher. And fell in love with the young lady. I confessed my honest heart to my teacher. He was accused of not being ambitious and knew that he would marry a young lady.
Then there are some scenes that cannot be explained.
I thought that nobody would write because it was a matter of course, but there are doubts that everyone may not have noticed that unexpectedly.
It is often questioned why K had to die, but it seems that the point was skipped.

When I glanced at his mouth, I immediately realized that something wasn't coming out, but I had no idea what it was about to prepare. So I was surprised. Imagine me when he was told a sad love for his young lady from his heavy mouth. I'm like being fossilized at once for his magic stick. Even the mocking work was gone for me.
At that time, I would call it a lump of fear or a lump of suffering, one lump after all. From the head to the tip of the foot, like a stone or iron, suddenly became hard. It became so stiff that even the elasticity of breathing was lost. Fortunately, the situation did not last long. After a moment, I regained my human feeling. Then I thought I had a mistake. I thought I was ahead.
(From Natsume Soseki's "Kokoro")

First of all, the teacher can tell from K that he likes a young lady. In order to think that "insensitive K" had honestly disclosed his intent to the teacher, the impression of the teacher "beyond the point" was funny.

However, it doesn't matter what to do next. Perhaps he couldn't afford to happen. I stood still and stuck with the eerie sweat from my armpits seeping through my shirt. K cuts his heavy mouth as usual during that time, and confidently confides his mind. I was painful and could not bear it. I guess the pain was probably stuck in clear letters on my face, like a big advertisement. No matter how much K he wouldn't have noticed, he was also he and he concentrated on himself, so he wouldn't have the time to pay attention to my facial expressions. His confession was running in the same way from beginning to end. Instead of being heavy and dull, it gave me the feeling that it was impossible to move with very easy things. My heart was half-hearing that confession, half-hearted, constantly disturbed by what I was trying to do, so the finest point was that I could hardly hear it, but still put it in his mouth Only the tone of the words echoed to my heart. This has given me not only the pain I mentioned before, but also a kind of fear. In other words, the fear of the opponent being stronger than himself began to erupt.
(From Natsume Soseki's "Kokoro")

How is it? It is not surprising that the teacher wonders. As I say, his wife is beautiful.

Young lady was dressed in a large layer. Even though the terrain is white in color, it is still noticeable because it is rich in white powder. People come and go to watch. The thing that saw the lady in that way surely turned her gaze and looked at my face, so it was strange.
(From Natsume Soseki's "Kokoro")

The young lady is beautiful to this extent.

The wife didn't speak to her, but she seemed to put much weight on the lady's color. I even talked about saying that I could always decide if I wanted to. And the lack of a child outside the young lady was another reason why she didn't want to let go. Some thought it would be hard to get married, take a son-in-law, or even be lost.
(From Natsume Soseki's "Kokoro")

Is K foolish enough to think that only oneself has a love for such a beautiful lady?
For the time being, he threatens K, saying, "Your spirit, trapped in such love, is not ambitious."

When I discovered that K was wandering between ideal and reality, I only noticed that I would be able to beat him with just one hit. Then he quickly took advantage of his emptiness. I suddenly showed a solemn and altered attitude toward him. As a matter of course, I felt nervous enough to respond to that attitude, so I couldn't afford to feel humorous or shame to myself. I first said, "Things that are not mentally ambitious are stupid." This is the word that K used to me when traveling alone in Boshu. I threw it back at him in the same tone as he used. But it is not revenge. I confess that I was more cruel than revenge. In one word, I tried to block the lover of love lying in front of K.
(From Natsume Soseki's "Kokoro")


K was a man born at Shinshoji Temple. However, his tendency was not close to the spirit of his birthplace since middle school. I do not know the doctrinal distinction, but I know that I am not qualified to say this, but I admitted it only in relation to men and women. K has always liked the word devout. I interpreted the word as meaning abstinence. But when I heard the fact later, I was surprised that it still contained more strict meanings. His first tenet is that everything must be sacrificed for the way, so of course, abstinence and abstinence, of course, can be a hindrance to a way, even if the love itself is out of greed. I was often heard of him by the time K was living on his own. I had been thinking of a young lady since then, and I had to go against him. He always looked sorry when I disagreed. There was more contempt than sympathy.
KBecause you have passed through such a past between you and two, it must have been painful for K to say that things that are not mentally ridiculous are stupid. But, as I said before, I don't mean to dispel his accumulated past. Instead, they tried to stack them as usual. It doesn't matter whether it reaches the road or reaches heaven. I was just afraid that K would suddenly change direction of life and conflict with my interests. In short, my word was just a manifestation of selfishness.
"The ones who are not mentally motivated are stupid."
I repeated the same words twice. I was looking at how that word would affect K.
"It's stupid," K replied. "I'm stupid"
(From Natsume Soseki's "Kokoro")



The teacher tried to use K's religion to block the path of love. He tried to win by mentally cornering.
Then choose the right negotiation partner.

I suddenly said, "Wife, give me a young lady." She didn't look as surprised as I expected, but she seemed to have been unable to respond for a while, and looked silently at my face. Once I've made a good start, I can't keep up with it no matter how much I see. "Please, please by all means." "Please be my wife." His wife was much older and calmer than I was. "I can raise it, but it's not too steep." I immediately laughed, "I want you to get it quickly." Then he reminds me, "Did you think well?" I explained in strong words that it was suddenly good, but not sudden.
か ら Then there were still a few questions, but I forgot them. His wife, who was just like a man, was a person who could talk very well in such a case, unlike an ordinary woman. "I'll give you a gift," he said. "I wouldn't give you a brilliant mouth. It's a kind little child without a father, as you know."
(From Natsume Soseki's "Kokoro")



When the teacher and the young lady get married, K is going to lose her home (whether or not she has been broken for her), she is going to lose her only friend, and she has lost her ambition. Certainly fell into.
If K was a really insensitive and honest man, he would have been ashamed of his insensitivity, which caused him to betray his friends and be guilty of him.
In the first place, betrayed by the benefactor who took care of the boarding house, worrying about his own trouble that he was abandoned by the adopter in the first place, fell in love with the thoughtless person, confessed his random love, worried about broken heart It was K who didn't listen to me, even though she was trying to mess around.
And K wasn't aware of anything, nor was he suddenly betrayed.
I sat there and spread my books. K was often silent without doing anything. I never knew whether it was an idea, an admiration for the landscape, or a favorite imagination. I sometimes looked up and heard what I was doing to K. K just replied that he was not doing anything. I often thought that if I was sitting at my side and not a K, but a young lady, it would be fun. That's still fine, but sometimes I suddenly doubt that K may be sitting on a rock with the same hope as me. Then I suddenly feel reluctant to calm down and spread the books there. I get up suddenly. Then shout out loudly without shyness. You can't do something lazy to examine a poem or song in a fun way. It just roars like a barbarian. At one point I suddenly snatched his neck from behind. I asked K what to do if I fell into the sea. K did not move. He said that he would just do it, facing backwards. I immediately let go of my neck.
(From Natsume Soseki's "Kokoro")



As usual, teachers cannot read others' hearts. That's why Kororo is an "unspeakable story", but readers who read "Kokoro" should be able to convey the nervousness of this scene. So far, K must have noticed that the teacher is worried about something.
Still, the teacher makes excuses to the reader like this.

Curiously he seemed completely unaware of the behavior he loved my young lady. Of course, I didn't behave intentionally as it was in K's eyes, though. K is a dull person by nature. From the beginning I was reassured that K was OK, so I brought him home.
(From Natsume Soseki's "Kokoro")




This is also a dazzling technique. I can't seem to be going away at any time. It looks so invisible. No, seeing screaming like a barbarian, if you are about to be pushed down into the sea, you can see that even if you are insensitive to K, you have a "worry to say it" to K Would. The teacher forcibly covers what the reader feels like.

Persistence in property

Persistence in property

The teacher repeatedly tells me the importance of property. Because he knows the miserable death of K, who has no property, it is a serious persuasion that "I" will not suffer another miserable death.
This has not been mentioned much, but it is clear that, at least in relation to the marriage with the young lady, she was at a considerable disadvantage in the first place, given that she has some responsibility for the death of K. Would my mother want to marry a daughter without a father to K who was abandoned by the adopter and had no place to live?
In other words, K did not have any qualification to say to the teacher that he "deceived himself and passed out" or "had taken over the young lady". Considering the happiness of the young lady, she wouldn't have been able to fall in love with her, saying, "I'm taller and more handsome.
K's broken heart was visible.
What made it invisible was the teacher's frustration and guilt, and the behavior that was not bargaining like the bargaining of his wife and young lady.
Of course, Soseki intentionally misleads the reader. Even if I read repeatedly, I'm just drawn into the feeling that the teacher is being cornered in the teacher's letter.
However, the teacher isn't that bad if you think of her as a "daughter's mother" who can't empathize much.
The teacher's guilty of love may also mean the guilt of the person who ran the money. But it would be hard to say that it is bad to think about your daughter and your life.


Bloody men

Bloody men

As pointed out in the previous book, the word "blood" appeared six times in "Kokoro", indicating that "I", the teacher, and K were in a relationship of flushing each other.
And his letter indicated that there was grounds to be placed on "I" and why "I" needed reconciliation with him.
Let's reconfirm the relationship between "I" and the teacher and K.

I thought about Tokyo. In the depths of the rising blood of the heart, I heard a beating heartbeat with activity. Curiously, the sound of the heartbeat seemed to be strengthened by the teacher's power from a subtle state of consciousness.
(From Natsume Soseki's "Kokoro")

This is my feeling for my teacher. "Some delicate states of consciousness" may be a strategy for the connection with K.

I did not despise your opinion, but I was never able to respect it. There was no background in your thoughts, and you were too young to have your own past. I sometimes laughed. You showed me a little unsatisfactory face. You're so tight that you'll unfold my past in front of you, like a picture scroll. I respected you for the first time in my heart. Because you have decided to grab some living thing from my belly without hesitation. He broke my heart and tried to sip the warm flowing blood. At that time I was still alive. He was willing to die. So I promised another day and rejected your request. I am now breaking my heart myself and trying to pour that blood on your face. When my heart beats, I'm happy if you can have a new life in your chest.
(From Natsume Soseki's "Kokoro")

This is a bloody expression that Yukio Mishima is delighted with, but here too, it should be assumed that K is related to "I". The teacher is trying to pour blood on me. Because "I" tried to cut the teacher's heart and suck blood. At this point, K's tide is as foretold.

The laughter from you was, in fact, very difficult for me at that time. I was as stern on the road as when I was at home. I was observing K all the time, but I couldn't help him with a strangely high attitude. To me, his heart was as thick as black lacquer. The blood that I want to pour into is not bogged down into the heart, but is repelled at all.
(From Natsume Soseki's "Kokoro")

The teacher wants K to bleed. This thought is the opposite of reality. The teacher will be pouring blood.

I wrapped the letter with my trembling hand and put it back in the seal. I purposely put it on the desk so that it would reach everyone's eyes. I looked back and started seeing the blood flowing on the fusuma.
(From Natsume Soseki's "Kokoro")

K cut his carotid artery with a small knife and died in a breath. There was nothing out of the ordinary. It was known that the blood of Tang paper that I saw with a dreamy dim light rushed out of his neck at once. I clearly saw the ruins again in daylight. I was surprised at the drama of the power of human blood.
My wife and I have cleaned up K's room with all the dexterity and ingenuity. Fortunately, the tatami mats were not so dirty because much of his blood was absorbed by his gauntlet, so cleaning up was still easy. They put his corpse in my room and laid it down on his sleeping body as ever. I then sent a telegram to his parents' house.
(From Natsume Soseki's "Kokoro")

Thus, "I", the teacher and K are in a bloody relationship.
And it is written as follows that K and "I" are not irrelevant, but this point is not unexpectedly pointed out.

I then came to visit my teacher from time to time. Every time I went, the teacher was at home. As the frequency of meeting the teacher increased, I went to the door of the teacher more and more.
But the attitude of the teacher to me did not change much when he greeted him for the first time and after he got acquainted. The teacher was always quiet. At one point it was too quiet and lonely. From the beginning I felt like there was an inaccessible wonder to the teacher. However, the feeling that I had to get close to it worked somewhere. This kind of feeling may have been given to the teacher among many people or only me. But only to me, this intuition was later proved on the facts, that even though I was said to be youthful or ridiculous and laughed, Anyway, I am happy and happy. Those who could love humans, those who could not help but love, and who could not hold and hug what they were trying to get into their pockets-this was the teacher.
(From Natsume Soseki's "Kokoro")
If this is the current state of mind of the narrator of the novel “Kokoro” that begins with his recollection, his letter can be read as meaning that “I” was convinced of the connection with K. Those who insist that "I" does not have an impression of "I" on the letter of the teacher in Kokoro are not only irony at the beginning, but also freshness, but also this "evidence on the facts later. It is very likely that the statement "Standed up" was overlooked. No, people who refuse to say "by a teacher's letter" here should consider where else there is a reason why "I" must come close to the teacher.

After they left, I was still sitting back down and smoking cigarettes. At that time, I thought about my teacher while thinking. It didn't seem like a face I had seen somewhere. But he never remembered where and when he met.
(From Natsume Soseki's "Kokoro")



This is the first stepping stone. I dimly associate my teacher with me. At this stage, there is no connection with K yet.

I seemed to see the teacher somewhere at the end, but he couldn't remember. I doubted at the time that the other person would have the same feeling as me. Then I was expecting the teacher's reply in my belly. However, after a while, the teacher said, "I don't recognize your face. It's not the wrong person." I felt a kind of disappointment.
(From Natsume Soseki's "Kokoro")

In this way, we temporarily deny the connection. He would have hated the straight line. It is a method of adding a refreshing pickle to a greasy eel.

"Why, why……"
The teacher repeated the same words twice. The words were repeated in an unusual tone during a quiet day. I suddenly stopped responding.
"Did you keep behind me? Why ..."
The teacher's attitude was rather calm. The voice was rather sunk. However, there was a kind of cloudiness in the expression that was not obvious.
I told my teacher why I came here.
"Who went to the grave and did your wife name him?"
"No, I didn't say anything like that."
"I see.-Yeah, it can't be said, to you who met for the first time.
The teacher seemed to be finally convinced. But I had no idea what that meant.
The teacher and I passed through the grave trying to get out on the street. Beside Isabela, what was the tomb, and the grave of the servant, Login, there was a toba and others who wrote that they were all Buddhists. There were all the envoys. In front of a small tomb carved in low cost, I asked my teacher, "How do you read this?" "I'm going to read it with Andre," he said with a bitter smile.
(From Natsume Soseki's "Kokoro")



In this scene, the previous book explained why the exaggerated expression "why why" was used, and why he was concerned with "the person's name", but he did not dare to mention Isabella or Andre. Although I had the idea of ​​drawing something like a Westerner's grave and trying to relate it to Dr. Kobel sleeping in a foreign cemetery in Zoshigaya, the heart of Mr. Kobel was apparently It is very likely that K is not Dr. Kobel because it was written before his death. However, it is not clear what Westerners appear at the beginning and what isabella and Andre's hints. I have no clear answer at this point.
That would be interesting if Kobel-sensei sent it to Kororo, but there is still no foundation to mature Kororo theory enough to allow such play.
However, because I was too surprised at "I" who appeared in Zoshigaya, in fact, I felt that somehow I felt that I was not irrelevant to "I" and K, and because I stick to the name, "I" Does not only have the initial K, but is likely to have the same name, and by focusing on "Toba who wrote the Buddha as a member", "Kokoro" was reincarnated, that is, reborn. He pointed out that there is a worldview that does not deny.
K's parents' family is the Honganji school of the Jodo Shinshu sect. According to Wikipetia, the Honganji school's doctrine says, "Amida Nyorai's power of mortal powers worships deities and walks a life of praying for a memorial Buddha. "It is.
However, since it is the lifeline of the novel that it is not written such as "I am the reincarnation of K", I denied the short circuit. Literature is something that isn't something like it, but challenges the difficulty.
By the way,

The house where K was born lived accordingly. However, I do not know if there was enough to send my second son to Tokyo for training. Also, because I have the convenience of going to work, I don't know if the adoption consultation was organized or not. Anyway, K went to the doctor's house for adoption. That was when we were still in junior high school. I still remember that when the teacher called the roster at the school, K's last name was suddenly changed and I was surprised.
(From Natsume Soseki's "Kokoro")



From this, it is known that K was not a surname but a first name.

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I met someone who graduated with me today. He forced me into a tavern. I was heard of him as a beer bubble. It was past 12:00 when I returned to my boarding house.
(From Natsume Soseki's "Kokoro")

These casual expressions, when they realize a certain fact, seem only intentional.
I write "What is it?"
Is there any assertion that the wife of the teacher, the only woman in the "Kokoro" called "Shizu", is actually a tactician, and that K, the teacher, and "I" have been successfully manipulated?
As I mentioned in my previous book, if I adopt the idea of ​​some kind of bias, I think it's OK to acknowledge that there is such a factor.
However, I think women have good and bad things, no harm, no consciousness of the plan, and the ability to swing a man without knowing it. The teacher's wife in "Kokoro" certainly turned "I" into a trick star.

I was instructed by him to go where he was. It is said that the teacher usually goes to Buddha in the cemetery of Zoshigaya on that day to pick up flowers. "I'm just out and it's going to be enough or not," said the wife.
(From Natsume Soseki's "Kokoro")

In fact, there is a mechanism here that makes people who read Soseki's diary and the like a "medicine".
Soseki's wife only answers the question silently, but one day when Soseki stares at the chopsticks, she speaks, "Is it dirty?" And complains, "I was made to talk." . Soseki complains that his wife often goes to court every month.
The wife replied to "I" that he had not been asked explicitly, leading him to the grave.

"Actually, I have a little thought, but ..."
"What's the cause of the teacher going like that?"
"Yes. If it were the cause, my responsibility would be gone, and that alone would make me very easy, but ..."
"What is it?"
His wife was looking at his hand resting on his lap with a good bite.
"Because you judge me."
"I'll do it if I can."
"Everyone can't say it. Everybody is scolded. Only where they can't be scolded."
I was nervous and swallowed saliva.
"When my teacher was still in college, I had one very close friend. He died shortly before graduating. He died suddenly."
His wife whispered in my ear and said, "In fact, she died." It was such a good thing that I couldn't help but ask "Why".
"I can only say that. But after that. The reason that the nature of the teacher gradually changed. I do not know why he died. You probably don't know, but if you think your teacher has changed, then you can't seem to be so. "
"Is that person's grave in Zoshigaya?"
"I don't want to say that, but I guess humans can change so much just by losing one of my best friends. I just want to know that and I'm intolerant. I want you to judge it. ''
(From Natsume Soseki's "Kokoro")

Looking back to the end, looking back, it certainly seems to have said the answer, not just the hint. He whispered in a whisper and became interested, saying that he didn't want to say, and involved "I".
However, in order to read his wife's tactics from such behavior, it is too self-evident that "if that is the cause, my responsibility will be gone, and that alone will make it very easy for me".
It's clear from a conversation just before that he decided that he wouldn't take any responsibility if he delved into K's death.

"Don't you think I'm to blame," suddenly the wife asked.
"No," I replied.
"Don't hide me, it's harder than being cut off," said the wife again. "I'm still doing everything I can for the teacher."
"It's okay because Dr. Sori can acknowledge that too. Please rest assured, I guarantee."
The wife scraped the ashes of the brazier. Then water was poured into the iron kettle. The iron kettle sunk.
"I finally became impatient and asked the teacher. If you have a bad point, don't hesitate, if you can change the fault, you can fix it. It's just me. When I say that, I'm sad and there's no specification, tears come out and I still want to hear my bad place. "
His wife had plenty of tears in his eyes.
(From Natsume Soseki's "Kokoro")

I guess it's a bit unreasonable to interpret my wife as a tactician after knowing everything, because I can't go wrong so far.

I came across K on the strip. I was just distracted by my feet, and until I faced him, I was unaware of his presence. I suddenly turned my eyes up because myself was blocked up, and for the first time I recognized K standing there. I asked K where he went. K was up to that point. His answer, as usual, was pretty good. K and I switched bodies on a thin belt. Then I saw a young woman standing just behind K. I, my shortsighted, did not know it well until now, but after passing K, I saw the woman's face and I was somewhat surprised because it was a young lady at home . The young lady greeted me with a red heart. The bundle of hair at that time did not have a shower unlike now, and it was wrapped around the head like a snake. I was looking at the young lady's head, but the next moment I realized that I had to give way. I stepped into the muddy plunge. Then I left a place that was relatively easy to pass and handed my young lady.
Then I went to the street of Yanagimachi and I didn't know where to go. I feel like it's not fun no matter where I go. I walked desperately in the Nukaumi without worrying about rising mud. Then I came home immediately.
(From Natsume Soseki's "Kokoro")

This scene, written in the teacher's letter, is full of jealousy, strong anger, and regret. I try to make the teacher empathize with what I read and make him feel uncomfortable and miserable. It doesn't say "the lady is bad," but she writes so that the lady looks bad.
That's why it is not funny even if some readers think that "wife is a tactician."
However, I said, "But I think women can do good or bad, and do not be guilty, not even conscious of the plan, and can wield a man unknowingly." Is not without reason.

When it came to the attitude of the young lady, there was a point where the distinction was a little evident, whether to do it on purpose or to know innocently. As a young woman, she was thoughtful, but she didn't seem to have any dislikes common to the young woman. The thing I hate was that K first came to my eyes after K came home. I was a little confused as to what could be attributed to my jealousy of K, or what should be mimicked by my daughter's skill against me. I still do not want to negate my jealousy at that time. As I reiterated, I was clearly aware of this emotional behavior on the back of love. And, from a nearby point of view, this emotion would surely want to lift the neck, almost insignificantly trivial. This is a necessity, but is this kind of jealousy a side of love? After I got married, I realized that these feelings were going away. Instead, affection is never as fierce as before.
(From Natsume Soseki's "Kokoro")

Soseki himself wrote through his teacher's writing that the reminiscent attitude of young women is common.
A beautiful, insensitive, patient wife, if that were the impression of a reader who did not doubt his tactics, I pointed out in the previous book that there were some oversights.
Possibility of no physical relationship between his wife and teacher, possibility of enduring and suffering for many years of sexlessness, that it is not only a punishment for the teacher himself, but also a punishment for his wife, and It is to straddle the teacher and tie it with hair.

The teacher's home was only for a couple and a daughter. Every time I went there was usually a shave. There was no attempt to hear a loud laugh. At one point, the things in my house felt like just my teacher and me.
"I'd like to be a child," he said. I replied, "Yes." But there was no sympathy in my mind. I had never had a child, and I was thinking of my child just as a fly.
"Let's get one," said the teacher.
"You're a kid, hey, you," said the wife again.
"I can't do anything for a child," said the teacher.
His wife was silent. When I asked instead, "Why," he laughed high, saying, "Because it's a punishment."
(From Natsume Soseki's "Kokoro")

The conversation suggests that the teacher and his wife are sexless, even though she is still of childbearing age. And above all, it turns out that his wife wants a child. (Even if you live separately from your wife, it is not unusual that Soseki, who made a child, depicts such a couple.
Just as the hint suggests, if sexlessness lasts for decades and isn't touched, I guess it's hard for my wife.
Therefore, I want to doubt that the truth of the couple is hidden in such a conversation.

"But you have to be careful. Love is guilty. I'm not happy at the expense of danger, but do you know how you feel when you're bound with long black hair? "
(From Natsume Soseki's "Kokoro")

If the teacher knew what he was feeling when tied up with long black hair, then he would have actually had that experience. Did he ride his back teacher and tie his wrist with long black hair? Or does it refer to "the curse of the mind by women" in an abstract sense? It is not clear here. However, "The bundled hair at that time has no conspicuousness unlike now, and it was wrapped around like a snake in the middle of my head." In view of the metaphor of an unnaturally used snake, this long black hair seems to be both, and it is hard to say either.
In other words, it is an illusion.

The story changes

The story changes

The story changes
No one else points out this. This scene has a completely different meaning depending on whether it is Furuchin or not.

The next day I jumped into the sea after my teacher. Then I went swimming with my teacher. When I went offshore about two or so, the teacher looked back and spoke to me. Nothing floating on the surface of the broad blue sea was closer to us than our neighbors. And the strong sunshine illuminated the water and mountains as far as the eye could reach. I jumped in the sea running my muscles full of freedom and joy. The teacher also slept on the waves with his hands and feet exercised and lying on his back. I did that too. I threw a biting color on my face so that the blue sky glistened. "I am happy," I shouted.
 The teacher who changed his posture to get up in the sea after a while urged me to say, "Would you like to return?" With a relatively strong constitution, I wanted to play more in the sea. However, when invited by my teacher, I immediately replied, "Let's go home." Then they returned to their beach on the original road again.
(From Natsume Soseki's "Kokoro")

Furutin lying on his back. It must be pleasant.
Furin's "I" and "Kokoro", westerners who swim in the sea with one monkey crotch, are a little exposed. If AI analyzes this "koro", I guess it may derive the keywords "outdoor", "beach" and "public".
If this scene is added, will the taste of "pee" be added?

Then the teacher suddenly stopped by the side of the road. Then he rolled his hem and pissed under the hedge that was neatly trimmed. I stood there dimly while the teacher was helping.
"Hello disrespect"
(From Natsume Soseki's "Kokoro")

AI predicts here that sexual perversion has been depicted in "Kokoro", and in order to verify that hypothesis, it will reread the whole again for any elements that were inadvertently overlooked.
Then you realize that the scenes that are nothing or boring may have some other meaning.

My father had been laid down by her other hand with both stools lying down since she was ordered to rest by a doctor. The innocent father hated it for the first time, but had to do it on the floor because he was sick. As the days went on, he became more or less reluctant to excrete lax excretion. Occasionally, the band was dirty and the bedcloth was dirty, and the other person was rather calm.
(From Natsume Soseki's "Kokoro")

If this scene is perverted, it is inevitable that the keyword "scat" will be added.
As a matter of course, humans are creatures made of manure and blood. It is not necessary to be prepared here to say that Kororo is not a work depicting the heart of a metaphysical idea, but a work depicting human suffering as flesh.
In retrospect, the line at the beginning, "Women tended to hide meat especially," is a device that makes you feel at first glance that "meat" is not "skin".
Other unnatural and unnatural nudes appear.

As soon as the ceremony was over, I returned home and became nude. I opened the window on the second floor of the boarding house and looked around the world as far as I could see from the hole in the diploma, which was rolled up like a pair of glasses. Then he threw the diploma on the desk. Then, it turned into a large letter and laid down in the middle of the room. I looked back at my past while sleeping. I also imagined my future. The diploma, standing in the middle of it, seemed to be a meaningful and meaningless weird paper.
(From Natsume Soseki's "Kokoro")

I first remembered Emperor Taisho's case of "Eyeglass Case," but this nude was abrupt.
Here, "I" seems to pretend to look over the world and even show it to the world.

K's adoption was also a considerable fortune-teller. K came out of Tokyo with financial resources from there. I didn't come out with me, but after arriving in Tokyo, I immediately entered the same boarding room. At that time, two or three people often laid out their desks in one room. K and I were at the same time. It would have been like an animal captured in the mountains, staring outside, hugging in a cage. They feared Tokyo and the people of Tokyo. Yet, in the six tatami mats, he said that he looked down on the world.
(From Natsume Soseki's "Kokoro")

It can be said that "I" traced the spirit of these teachers with distance glasses.

"I understand why now, not now, it should already be. Your heart has been in love since long ago."
I looked inside my chest for a time. But it was unexpectedly empty. There was nothing to think of.
"There is no such thing in my chest. I am not hiding anything from my teacher."
"I move because I don't have an object. I want to move because I think I'll calm down."
"It doesn't work that much now"
"Aren't you moving to me as an unsatisfactory result?"
"It may be, but it's not love."
"It's a square that goes up in love. In order to embrace the opposite sex, I first came to me of the same sex."
"It seems to me that the two are quite different in nature."
"No, I'm the same man who can't give you satisfaction as a man. And because of certain special circumstances, I'm even less able to give you satisfaction. I can't help moving you away from me, I'd rather hope for it, but ... "
(From Natsume Soseki's "Kokoro")



There is no need to sort out what the teacher says. But I cannot deny that two things are implied. It is possible that the teacher also experienced the order of facing the opposite sex, and that `` I '' acting so much to expose the naked body actually wanted to expose not the front but the back, `` I '' pay attention to the western monkey What I did was a hint of that nature, and it is possible that the teacher had problems with physical function.
The teacher also wipes his head and enters the sea, but Soseki does not write whether he is wearing a swimsuit!

Exposed men


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".

"Kokoro" is like a teacher's will

"Kokoro" is like a teacher's will

× The teacher's letter is too long.
△ Did the teacher's death be dedicated to me?
○ I feel like there are three wills.


First, K commits suicide and the teacher dies. "Kokoro", which is tentatively entitled "Sensei's will", takes the form of a personal note of "I", so "Kokoro" seems to be a will of "I".
As a lonely person, it is impressive to imagine the outside of the story, whether it is on the verge of self-death, entrusting the thoughts of just one person, or waiting to die while being enema on oil paper.
The work suggests that "I" may become a "teacher." He asks my future profession, "Teacher?" This is the scene where both "I", teacher and I started to laugh. If you can't laugh here, surely you can't find humor in "Kokoro".
If the "unfriendly acronym" used at the beginning is an irony for the name K, then it can be considered that the irony that calls itself a teacher is still opposed to the one who has been called a teacher. .
"I" and K both swim with the teacher.
K is abandoned by the nursing home, and "I" leaves her father nearing death and moves to Tokyo, suggesting that heritage is likely to be a trouble.
Because the teacher is stuck with the name, "Who went to the grave, did his wife name that person?" become.
"I thought from the beginning that there was a mystery that was inaccessible to the teacher. But the feeling that I had to approach it worked hard somewhere. Maybe among many, or only me, but for me alone, this intuition was later proved on the facts, so I'm ridiculous even though I'm said to be youthful Anyway, I am relieved and glad to see my intuition in anticipation of that. "In the letter of the teacher, there was a basis for" I "to approach the teacher Become.
Also, assuming that you keep your business cards in advance, your wife's wording as if he were inviting "I" to the graveyard in Zoshigaya would also agree.
If they let me go to Zoshigaya, knowing that visiting the graves every month was not an amusement, it is probable that his wife also felt something related to me.
The unnatural nature of the teacher's "Why, why ..." also suggests that I felt something about K. And the satisfaction of “I”, who is entrusted with the teacher who sends a long letter, is strange unless a reconciliation with K is assumed.
It may not be unnatural to think that the position of someone writing a brush and telling a distant past that has not been spoken before is just before death.
Soseki Daiichi began to write this work before it was renamed "Kokoro" as "The Teacher's Will" and chose "I" as the speaker. If I didn't want this to be my note, I would have liked not to say "even if I write a brush." It seems that Soseki tried to kill three men in "Kokoro" by making the explicit "I" appear.