How to read "Kokoro" by Soseki Natsume (5)
How to read the beginning
I would highly recommend that anyone writing a book report read the work twice. I'm not sure if you can understand "Kokoro" by Soseki Natsume just by reading it once. This is the way Soseki wrote it. The same goes for "Kojin," but again, you cannot understand it just by reading it once. There are many tricks in the beginning.
There are many tricks in the beginning of this book. But if you don't reread it, you can't see the trick.
I always called him "Sensei. So here again, I just write "sensei" and don't tell him my real name. This is not because I am afraid of the world, but rather because it is more natural for me. Whenever I recall a person's memory, I immediately want to say "Sensei. I feel the same way when I write. I can't bring myself to use such a distant acronym. (Soseki Natsume, "Kokoro")
If you reread it, you will understand that the "distant initials" are the "K". For example, Soseki wrote "The Miner" as a material based on a story he heard from someone. For example, Soseki wrote "Kouhu" based on the stories he heard from others. He began to write the story after learning various technical terms, but in the middle of the story, he realized that he had used the term "shiki" incorrectly, so he revised the manuscript before publication.
I realized that I had used the word "shiki" incorrectly.
I said. It was the first time I had heard the word "shiki.
I thought about asking him back, but I kept quiet, thinking that this was most likely what he meant. Later, I came to understand the word "shiki" clearly, but it was not much different from the definition I had vaguely thought of in the beginning. Eventually, I turned to the left and crawled toward the shiki. (Soseki Natsume, "Kouhu")
It took me 6,438 words to write this. That's more than 160 sheets of manuscript paper. In other words, Soseki waited for 160 sheets of manuscript paper to use the word "shiki". And I remember that he uses the word "shiki" in this part of the story, and that he had not used it before. This is not easy to understand, but a novel is basically a false story, so if you don't remember what you wrote and what you write, the setting will be horseshit and the plot will be goofy. If it's an autobiography, you can write what you remember. But since it's a lie, it's not in your memory. It's a lot of work to make up more and more lies and remember them all. It requires a lot of memory. Natsume Soseki was a person who could do this without using a word processor. It would be a pity for Soseki if we ignore his efforts and ingenuity and say, "It's just a complication" or "It's impossible. The first part of the story can be read like this: K, Sensei, and Tsuda appear together in "Koto no Soraon". Of course, this K is different from the K in Kokoro. Koto no soraon" is a story about ghost research. The K in "A Day in Early Autumn," which describes the day of the Great Funeral, is not a person, but North Kamakura or Kamakura. Soseki uses the empty acronym K to ridicule the reader.
I (I).... I always called him "Sensei". I always called him "Sensei", so here again I just write "Sensei" and don't tell him my real name. This is not because I am afraid of the world, but rather because it is more natural for me. Whenever I recall a person's memory, I immediately want to say "Sensei. I feel the same way when I write. He called me "K," but I don't feel like using such a distant acronym.
Here, the words "even though I write" indicate that "I" am writing something, and the words "refrain from being afraid of the world" indicate that what I write will be read immediately. The most suitable person for this position would be a serial novelist, and "I" naturally gravitates toward Soseki himself. However, I don't think it's necessary to fix "I" as Soseki at this point; it's better to think of him as a newspaper novelist. If you rush too much, you will end up reading too much into the story, and you will end up making too many leaps.
When it comes to leaps, Seiko Ito and Hikaru Okuizumi have done it. In the book, "Natsume Soseki: A Hundred Years Later, Let's Meet (Bungei Bessatsu)," they talked about a terrible mistake.
It was in Kamakura that I first became acquainted with him. At that time, I was still a young calligrapher. I was still a young calligrapher when I received a letter from a friend who had gone swimming during the summer vacation, asking me to come. I spent two or three days trying to find the money. However, less than three days after I arrived in Kamakura, the friend who had summoned me suddenly received a telegram from Kunimoto telling him to go home. The telegram said that my mother was ill, but my friend did not believe it. He had long been forced by his parents in the country to marry without their approval. He was too young to be married according to modern customs. He was too young to marry according to modern customs, and he didn't like the man in question. So, when he should have gone home for the summer vacation, he deliberately avoided it and went to play near Tokyo. He showed me the telegram and asked me what he should do. I didn't know what to do. But in fact, if his mother was ill, he should have gone home. So he finally decided to leave. I, who had come all this way, was left alone.
I was in a situation where I could either stay in Kamakura or go home, since there were still many days before school classes were to start, so I prepared to stay at my original inn for the time being. My friend was the son of a wealthy Chinese family and had no lack of money, but because of his schooling and age, his living conditions were not so different from mine. He was the son of a wealthy family and had no money to spare. (Soseki Natsume, "Kokoro")
The two of us interpreted this China to mean exactly "China" (Republic of China?). They interpreted it to mean "China" (Republic of China?) and exclaimed, "It's very international, with Westerners appearing. Don't you think that's embarrassing? Even if the story doesn't say what year it was written in, I'd be surprised if it wasn't "China. Itou Seikou and Okuizumi Hikaru are both writers. They are supposed to be professional writers. But these professionals are making mistakes. In Soseki's vocabulary, Shina is Shina and Shina-jin is Shina-jin. I can understand the sense that it would be interesting to make the Westerners into Russians and contrast them with the Chinese. However, I wonder how many trivial theories about Soseki are out there.
There is also an interpretation that "K" stands for Korea, so Masahiko Shimada's theory of Kotoku Shusui and the emperor is still cute. Genichiro Takahashi wrote that he was Kudohajime (Ishikawa Takuboku). But K is not a family name. One of my impressions of "Sanshiro" is that "he doesn't start judo very often", which is a funny story, but the fact that Seikou Ito, Hikaru Okuizumi, Masahiko Shimada, Genichiro Takahashi ......, kojin Karatani , and even Takaaki Yoshimoto are writing horseshit is not funny to me. It's not funny. I feel sorry for Soseki Natsume. I feel sorry for Natsume Soseki, who wrote "the various possibilities that the Meiji era had. No one can say, "That's not true. Was he poisoned by a chinu?
There are actually people who have read this book and realized that apparently, kojin Karatani is wrong. But they can't seem to bring themselves to deny kojin Karatani . The same thing happened to me in another book.
There are some people who have read this "Botchan" theory and have seen a glimpse of another "me". However, that person is also unable to get rid of the image of the monk that he has had in his mind. Perhaps he feels as if he is being denied his past self. There is a difference between logic and emotion. I understand that. It would be fine if all literature was based on emotion, but Soseki inevitably wrote with logic. Both Sanshiro and "Ore" are twenty-three. The year Soseki was born was the same as the year he graduated from physics school. I was asked twice about the year of Sanshiro's birth. The teacher says "my house" twice. This is all logical.
When a foreigner saw Shinbashi Station, he tweeted, "Is this the Shinbashi Station that Soseki wrote about? I said, "No, it's not, it's a different station. In 1914, the Shinbashi station was renamed Shiodome station as a freight station after its function as a terminal station was transferred to Tokyo station. The atmosphere of the old Shimbashi depot is as follows
www.ejrcf.or.jp
I sent a message like, "You can see it from here," but it was ignored. I can't undo my excitement in the face of facts. One of them is a translator. For these people, facts are no longer important. The textbook problem has the same root. It is impossible to understand "Kokoro" only from the parts cut out in textbooks, but no one complains. In the end, many readers focus on the butt part of the story and don't notice how refreshing the beginning is. The beginning is refreshing enough to be ironic. And the teacher's sins are forgiven.
If the doctor's suicide note had only given "I" a sense of heaviness, the beginning would not have been so refreshing. That's how "Sea of Fertility" should really read. If nothing happened, then it is okay to start again. You should always read "Kokoro" twice before writing a report. No, you don't have to write it. But if you do, read it twice. And make sure you get to the meaning of the refreshing feeling at the beginning. It is not a feeling, but a logic that emerges.
What did you find at the beginning of "Kojin"?
If you notice "plum blossoms" in the beginning of "Kojin", you will be able to connect the meaning of "plum blossoms and bush warbler" in your mind. If you can't make the connection, try reading some of my books.
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