1

　・I had caught a cold, so I was thinking about many things while looking outside through the glass door.
　・Would the novels I publish in the newspaper be understandable to a Meiji era person who has no free time to read anything but the writing that stimulates his senses?
　・I write novels with contempt for people of the Meiji era who read newspapers in this way.

２
　
　・A man from a magazine who made a deep impression on me came and took my photo.



　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　



　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　


　・He sent me the photo, but the magazine it appeared in never arrived.

３　
Hecto is the name of a Trojan soldier in the Iliad.

　・When I received Hektor from Mr. H, he was wrapped in a cloth and brought on the train. I laid him down in the corner of the storeroom on straw so he wouldn't get cold.
4
　・.Hector had forgotten my voice after not seeing me for a month.

５

　・Hector was found dead in someone else's pond.　「I buried him in the ground where the autumn wind could not be heard.」

６
　・A woman came to my house

７
　　「If we consider the act of living to be the basis of human existence, then there is nothing wrong with it remaining as it is, but if we begin to value beautiful and noble 　　　　　things as good things, then our thinking will surely change.」

８
　Although I trudge through an unpleasant life, I think seriously about death, which I must reach someday.
　　「Death is more precious than life」
　　but Doctors, for example, will deliberately insert intravenous needles into patients who are soon to die, in order to prolong their suffering for even just a moment. Even an act as though it were torture shows just how attached we are to life.

９

Tatsuto Ota (1866-1945) was an educator from Higashinakano Village, Iwate County, Mutsu Province (present-day Morioka City). His father was a samurai from the Morioka Domain. He was a close friend of Natsume Soseki since their days at the University Preparatory School, and he appears as his friend "O" in Natsume's autobiographical work "Behind the Glass Door" in his later years.

・He is now the principal of a school in Karafuto.

１０
・Ota still has the same plump, feminine face, apple-like cheeks and big eyes as He　did back then, but He　has a different aura about him now.

　・Is he still the principal of a junior high school?

１1
Many people came to our house.
・After reading the woman's manuscript, he criticized it.

・In summary, if diplomacy is only on the surface, with the aim of maintaining the status quo, you will not be able to open your heart.

１２
A common story
　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　SAKOSHI

・I have never forgotten about the tea and postcard I received from someone living in Sakoshi in Banshu.
・I apologized to Iwasaki for my negligence.　

１３
・It was the first time I'd seen someone so loyal to their work.

１４
During the time when the world was abuzz with talk of loyalists and supporters of the shogunate, a burglar broke into my house.
・Why was my childhood home called a 「 Genka」?
・One night, eight thieves carrying swords entered the house, and the eldest daughter happened to be there.
・Apparently he was introduced to our house by　Mr. Hanbei of Oguraya.
・50 ryo were stolen by eight thieves.

15
Small lecture fee.
・Remuneration from Gakushuin.
・I complained to Mr. K about the fee, and he replied, "I'll think about it."

16
I went to the barber shop near my house.
・I told him about a geisha house called Azumaya.

17
I remembered a Azumaya well.
・It was near my cousin's house.This is where my older brother and maternal cousins gathered.
・This is near the geisha house.There we played cards with a geisha Sakimatsu.
・Sakimatsu was the barber's niece.Sakimatsu died in Siberia in 1889.
・I realized that the only people who hadn't died yet were me and the barber.

　The following is also written in Jun Eto's "Soseki and His Times."
・In 1868, Soseki was adopted into the Shiobara family.
・Story 17 is probably Soseki's memory from 1872.
・In chapter 38 of "MITHIKUSA
　≪"...At the end of the road stood a large rectangular house with two floors reached by a wide ladder. The upper and lower floors and the courtyard surrounded by corridors were also rectangular.≫
　≪He imagined the continuous rooms and the corridors stretching into the distance as a city with an open ceiling, and so he ran around in the corridors to play.≫
・≪From time to time he would go up to the second floor and look down through the latticed window, and hear the sound of bells jingling and a succession of horses passing before his eyes.≫
・≪Across the middle, across the road, was a large gold-plated Buddha statue, sitting cross-legged on a lotus with a hat on its head.≫・・・・・"It may be near the nunnery where Princess Kazunomiya became a nun."

*According to Mr. Eto, this large square house is located in what is now Shinjuku 2-chome.　By government order, all geisha houses here (20 establishments, 30 geisha, 370 prostitutes) were closed.

　新宿二丁目
　夏目漱石は明治元年（一八六八）十一月ごろ、内藤新宿の門前名主塩原昌之助の養子となって内藤新宿北町裏に住み、その後太宗寺南側の内藤新宿仲町（内藤新宿二丁目）の妓楼「伊豆橋」で生活していた。漱石の自伝とされる長編小説『道草』には、子供時代の漱石が太宗寺の銅造地蔵菩薩坐像に登って遊んでいたことを示す描写や、甲州街道（新宿通り）を「馬の通る往来」等と記している部分がある。甲州街道については有吉佐和子の小説『恍惚の人』にも登場している街道である。

　内藤新宿は明治維新以後も色街としての性格は変わらなかった。前述の漱石は幼少時に内藤新宿の妓楼で生活しており、また四谷大木戸付近に住んでいた田山花袋は回想集『東京の三十年』の中で、新宿通りを大宗寺の筋向うから入って玉川上水（まだ暗渠化されていない）沿いを歩くと月に何回かある性病検査日に女郎がぞろぞろやって来るのに会った、という描写を残している。1873年（明治6年）に「貸座敷渡世規則」が施行され、遊女屋は娼妓に座敷を貸す形での営業が認められることとなったため、それまでの飯盛旅篭は「貸座敷」と呼ばれるようになり、新宿一丁目辺りから新宿三丁目の追分交差点付近まで、53軒の貸座敷が軒を連ねていた。1921年（大正10年）頃までは「張り見世」といい、娼妓が遊客の「お見立て」を待っていたというが、これは後に警視庁に禁止され、代わりに写真を置くようになった（写真見世）。

　　1918年（大正7年）、警視庁の命令により、貸座敷は旧新宿二丁目の北西部の一角に移転することとなる。元来この場所には牧場があったため「牛屋ヶ原」と呼ばれていた。この牧場は芥川龍之介の実父新原敏三が1888年（明治21年）から1913年（大正2年）まで経営していたところである。

　この新宿牧場は、渋沢栄一や益田孝らが箱根仙石原で明治13年に始めた牧畜搾乳業「耕牧舎」が、内藤新宿2丁目にあった有馬兵庫頭と伊沢美作守の屋敷跡の土地約7500坪の払い下げを1887年（明治20年）に受け、その一部（成覚寺西側一帯）を東京支店の牧場としたものだった[3][4]。芥川龍之介の実父・新原敏三はその支配人を務めていたが、明治38年に耕牧舎本店が廃業したのを機に新宿牧場を譲り受けて経営していた[5]。龍之介も一高時代の一時期、牧場の一角にあった新原邸に住んでいた[6]。牧場は大正7年に売却され、跡地に新宿通り一帯にあった遊郭が集められた。

　〔　^ 芥川龍之介旧居跡 新宿さまよい歩き　^ 近代都市における新興自営業主の経営資源と社会移動プロセス−渋沢栄一「耕牧舎」と芥川龍之介実父の搾乳業経営 武田尚子、生活文化史 (70), 3-77, 2016-09. 日本生活文化史学会　『芥川龍之介の父』森啓祐、桜楓社, 〕

　　　　　　　　　　　　　　　　　　　　

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　

　１８
A woman who came to me　　　
・The woman asked me how to organize my brain.
・From me to the woman., I don't think there is anyone who can remember everything in the world and instantly organize it into clear, orderly order or paragraphs.
・I told women that if they did not want the benefit of learning, they should go to a nunnery.
・A woman slid off the bed and then told me to take care of myself.Soseki has a work called "One Night," which is about the events that took place with this woman？？？.

　１９
My old house was in Babashita.
・At the top of the hill, there was a pharmacy called Omiya Denbeiya. At the top, there was also a liquor store.
・In addition, there was a workshop where wood was carved to make hoes and handles, and there was also an ironworks.
・There was a vegetable market near Hachibanzaka.
・There was a temple right next to the tofu shop.

*西閑寺とは誓閑寺(浄土宗)のことて゛、生家の斜め向いから入った路地の突き当たりにある。赤く塗られた門はすて゛にないか゛、新宿区内最古といわれる梵鐘は寺の入口左手に現存する。
子と゛もの頃、耳に残ったお寺の音は、『野分』や『門』に描き込まれている。『野分』の主人公白井道也は市谷薬王寺前町(現、市谷薬王寺町)に住んて゛いる。江戸時代、袋寺丁とよは゛れた路地には、入口から左側に薬王寺、浄栄寺、長厳寺、蓮秀寺、右側に長晶寺、妙傳寺か゛あった。このうち、地名に名を残した薬王寺は明治維新頃になくなった。道也の家には、《裏の専念寺て゛夕の御努めをかあんかあんやっている》音か゛聞える。専念寺か゛実際にと゛この寺を念頭に置いたものなのか、寺多くて不詳。
『門』の野中宗助の家にも、夕方になると豆腐屋の喇叭に交って、《円明寺の木魚の音か゛聞えた》。円明寺は「矢来のお釈迦さま」として親しまれている宗柏寺(日蓮宗)と考えられる。道也も宗助も東京へ戻って来た人物。宰西閑寺と専念寺は、その二人の家の傍に設定され、二人ともお寺の音を聞いている。また、有吉佐和子の『和宮御留』にも関係深い土地である。
　「もう少し詳しく」　へのリンク


　　　　　　　　　　　　　

　"210 days"
　
Kei says　　　「When I was a child, there was a tofu shop in the center of the town where I lived.」
Roku says　　「There's a tofu shop?」
Kei 　　　　　　「From the corner of the tofu shop, if you climb up the toe for about 100 meters, you will reach Kankeiji Temple.」
Roku　　　　　「Kanngeiji ?」
kei 　　　　　　「Yes, there is. I think it still exists today. When you look from the front gate, all you can see is a bamboo grove. However, you can hear the sound of the 　　　　　　　　　　　　　temple gong every morning at around 4 o'clock.」
Roku 　　 　　「The monk is ringing the temple gong」
Kei　　　　　　「I don't know who it is, whether it's a monk or someone else. I can just vaguely hear a "ding ding" sound coming from the bamboo grove. I don't know who it is. 　　　　　　　　　So, every time I pass in front of the temple, I look at the long stone pavement, the collapsing mountain gate, and the bamboo grove that hides it, but I have 　　　　　　　　　　　never entered the gate. (The rest is omitted.)」

Kei 　　　　　　「Then the tofu shop owner in front of the gate wakes up and opens his shutters, and you can hear the ``giggle, giggle'' sound of the tofu being ground, like 　　　　　　　　　　　coffee beans, and the ``Zaa,Zaa'' sound of the tofu being made.

　２０
≪The winter wood stands tall alongside the bell.≫
・This tofu shop laughing hut existed
・These are the words I learned at the comedy hut: "Hello, hello, prostitute." Someone called out to her, and the prostitute replied, "My name is YATUHASHI. At that very moment, I saw a flash of a sword."
・During those days, to get from my house to Kagurazaka, I had to pass through deserted tea fields, bamboo groves, and rice paddy paths.
・And the road that passed the fire watchtower of Sakai's house in Yaraicho and headed towards Teramachi was as lush as night, even though it was day.
・There were several large trees lined up along the bank, each going two or three times around the road, and between them were bamboo groves, blocking out the sunlight filtering through.
・The thaw water that remained on the road was more frightening than rain water or melting snow water, and of course you can't wear sandals.
・There was a fire bell hanging on every corner of this town, a scene I remember well.
・This happened when Masaoka Shiki was still alive.
　
　ringｅｒ，ｒｉｎｇｅｒ　
　ｅｘｔｅｎｄ
　ｈｉｇｈｅｒ
　Woody
　winter　ｗｏｏｄ

≪ＨＡＮＳＨＩＹＨＯ　ＴＯ　ＮＡＲＡＮＤＥ　ＴＡＫＡＫＩ　冬木かな≫　　　ＳＯＵＳＥＫＩ　ＮＡＴＳＵＭＥ

21
Memories of a life without time limits
・I left home in the middle of the night to see a play and spent the time there until I got home at midnight.
・His theater was in Asakusa, and his home was in Takada no Baba.
・His bald father was the headman, the citizen representative, and lived a wealthy life.
・A new gate was built for the house because the money was stolen by thieves from 「the Sonno Joi movement」.
・Instead of being called by his name, ordinary citizens called him "Entrance, Entrance." "It's written in what I remember."

２２
On October 30th, 1914, the editor-in-chief of the Tokyo Asahi Shimbun, Sato, died, and on the 31st, my beloved dog, Hector, died.
・In September, Soseki suffered his fourth stomach ulcer and was in the middle of a month. However, he published "Kokoro" on the 20th. He had been living with a feud with his wife. Soseki said, "When December comes, I'll be in charge of the family's accounts." Also, on the 29th, his sister's husband's father-in-law died, and on the 30th, Sato, editor-in-chief of the Tokyo Asahi Shimbun Company, passed away.
・Someone once said, "It's natural that other people die, but I can't imagine that I will die."

Is fate purposely toying with me?
　A lively person
　mourn
　I am still alive
　I don't think it's strange
　It's a wonder I survived

２３
　　Soseki went to Waseda wanting to see the barren fields and bamboo groves of Negoro, but there was no trace of them, and instead, where my house once stood, a boarding house and a pawn shop had been built.

　　The shadows
　　of
　　three pine trees
　　in the moonlight i
　　ntersect
　　with
　　each other.
　　　　　　　　　　　　　　　　　　　　　　　　　
【参考】冰髯玉節間苔枝、 痩影参差落墨池。 最憶山陰山雪裡、 西窗相對鬢若絲。 　　　　劉永之題
　

・冰髯の玉節 苔枝の間　

苔むした枝の間に、氷の髯が張って、氷の結晶が、玉の節のようだ　　山影参差として硯池に落つ　　

痩せた枝の影は、それと似た姿を、硯池の上に写す　

最も憶ふ山陰の山雪の裡　

痛感する、山の北側の深い雪の中にいて　

西窗相對す鬢の絲のごときを　

西の窓から対する自分の鬢も、絲のように細く白いことを
　　　　*冰髯：友も自分も白髪白髯になった意味を含む　２３）に続いて、友も自分も友に加齢した現実を実感した。

２４

菟原処女の伝説と関連する諸古墳・氏族と葛飾の真間娘子が題材か。

『万葉集』では高橋虫麻呂（巻第九、歌番1809〜1811）、田辺福麻呂（芦屋処女。巻第九、歌番1801〜1803）、大伴家持（巻第十九、歌番4211・4212）の三人が莵原処女伝説を歌い、平安時代の『大和物語』（一四七段）ではこの伝説が脚色されて、舞台が生田川となり、謡曲『求塚』（観阿弥または世阿弥の作）では女が川に投身したので男たちは刺し違えて死んだ、とされる。森鴎外はこの伝説を題材として戯曲『生田川』を書いた。関東でも下総国葛飾郡の真間（現市川市辺り）の手児奈（娘子の意）の伝説が、同様に多くの男に求婚されて自害したこととなっていて、これも高橋虫麻呂が歌（巻第九、歌番1807,1808）をよんでいる。
　いま神戸市の東灘区御影塚町の処女塚古墳を真ん中にして、西方二キロほどに灘区都通の西求女塚古墳（菟原壮士）、東方二キロ弱に東灘区住吉宮町の東求女塚古墳（茅渟壮士）があって、海岸部にほぼ一直線で並んでおり、これらが彼ら三人の墓だと伝えられる。
菟原処女の話は伝承だから、まず史実ではなさそうであるが、それに関わる前期古墳が三基残されるというのは興味深い。古墳の規模は、現在墳形が崩れているものもあるが、西求女塚（全長九八Ｍ超）、東求女塚（全長約八〇Ｍと推定）、処女塚（全長約七〇Ｍ）の順とされており、神戸市東部あたりでもこれらより大きい古墳は数少ないから、この地域の豪族を葬った墓とみられる。なかでも、副葬品が殆ど知られない処女塚を除くと、東・西の求女塚は三角縁神獣鏡などの銅鏡を多量に出土したから、これらが古墳時代前期の重要な古墳であったことが分る。そこで、これら古墳が造られた時代や背景・契機を探ってみようとするものである。
　
最近までの発掘調査によって、西求女塚と東求女塚の考古学的状況が次第に分かってきた。その概要としては、西求女は箸墓古墳同様のバチ形の前方後方墳にも注目され、三角縁神獣鏡七面、画文帯神獣鏡・獣帯鏡各二面 など合計十二面の銅鏡と紡錘車形石製品や各種鉄製品が出土した。三角縁神獣鏡は椿井大塚山・佐味田宝塚や福岡県の石塚山古墳、広島県の中小田一号墳などの出土鏡と同笵関係にあることが知られる。処女塚からの出土品は勾玉や壺形土器や鼓形器台くらいしか知られないが、東求女塚からは内行花文鏡・画文帯神獣鏡各一面及び三角縁神獣鏡四面、車輪石などが出土し、三角縁神獣鏡が福岡県原口古墳出土鏡と同范鏡の関係にあることが分かっている。処女塚の北方近隣にあるヘボソ塚古墳（全長約六〇Ｍの前方後円墳）からも、三角縁神獣鏡三面（京都府南原古墳などと同范鏡関係）・画文帯神獣鏡一面など合計六面の銅鏡や石釧・勾玉などが出土している。葦屋にも三角縁神獣鏡が出土した阿保親王古墳がある。
ともあれ、菟原郡には東求女塚の後ではめぼしい古墳は殆ど築造されなかったようであり、これも、住吉神奉斎氏族が摂津国住吉郡のほうに遷った事情に因るものか。菟原処女のモデルになった女性がいたとしたら、こうした海神族関係者であろうとみられ、その大阪湾海上交通を通じて、遠く和泉の茅渟壮士も求婚にやってきたのであろう。神の妻たる「巫女」的な存在ではないかともみられる菟原処女が、茅渟壮士のほうに心惹かれたように『万葉集』に歌われるのも、茅渟に近い住吉郡への住吉神・津守氏の移遷を示唆するものだったのかもしれない　問題の三古墳は、副葬品や墳形などからみて、前方後方墳二基が若干早いかほぼ同時期に築造されたとみられ（実際の築造時期はそれぞれ異なるとして、その場合には西求女塚が最古で、次が処女塚とされるようだが、あまり差がないか）、六甲山南麓の住吉川及び石屋川の河口部に近い要港（武庫港）を押さえた瀬戸内海の海上交通に影響をもつ首長の墳墓だとみる見解が多い。
　この見方は妥当だとみられ、さらに推し進めれば、西への航路としては次の播磨の室津港に近隣する揖保郡の権現山古墳群と同様、景行天皇の西征に関係があったとみられる。このほか、瀬戸内航路の要港たる備前の牛窓港や備後の鞆港付近にも、三角縁神獣鏡を出土した古墳がある。同范鏡の分布などからみて、三角縁神獣鏡が大量に出土した大和纏向の黒塚古墳と同じく、景行天皇との関係の深さを無視できない。
東求女塚の北方近隣にある住吉宮町遺跡は、弥生時代から中世にかけての複合遺跡で住吉川が形成した扇状微高地にあり、合計七二基の古墳も発見されている。そのなかで出土した埴輪には、馬形埴輪、力士や顔に入れ墨をした男という人物埴輪もあるとされ（『続日本古墳大辞典』）、住吉という地名からみても、海神族に関係があったことが窺われる。
　地名的にも、『和名抄』では兔原郡では八郷あって、後ろから「住吉郷…津守郷…葦屋郷…」という順に並んでおり、これがほぼ西から東への郷域の配置を思わせる。津守郷はまさに港津の管理者の居住地であり、海神たる住吉三神の祭祀に奉仕したのが津守連氏やその同族の阿曇連氏であった。阿曇連に「阿曇目」という入れ墨の習俗があったことは、履中紀に見える。「灘」という地名も、これら諸氏の起源の地である筑前国那珂郡（福岡市）に由来するが、当地には住吉神社（福岡市博多区住吉）という式内名神大社があり、永く阿曇連の一族が奉斎した。

『日本書紀』の神功皇后摂政元年二月条には、神功皇后の韓地征討に随行した津守連の祖・田裳見宿祢に関連する話が見える。そこでは、海神の筒男（住吉）三神の和魂が「大津の渟中倉（ぬなくら）の長峡」、すなわち務古水門（武庫の泊）を押さえる摂津国兔原郡住吉郷に居て（『古事記伝』『本住吉神社誌』などの説）、往来する船を監視したことが記される。この地の住吉神社は、『住吉大社神代記』にも住吉神の主要七社のうちの一つで、摂津国菟原郡の住吉社として、筑前国那珂郡の住吉社などとともにあげられる古社である。
　仁徳朝になって住吉郡墨江に港津が定められたが（仁徳記）、そのときに今の住吉大社の地（大阪市住吉区住吉町）に住吉神社が遷座し、津守氏が住吉神主となって代々奉斎したことが知られている（『姓氏家系大辞典』など）。住吉神社の旧地には、住吉宮町遺跡のなかに本住吉神社がある。同社が明治の旧県社であったものの、延喜の式内社ではなかったこともあって、上記「渟中倉の長峡」（『摂津国風土記』逸文の住吉条には「沼名椋の長岡の前」）を現在の住吉大社の地とみる説がやや多数のようであるが、神社の沿革や船舶監視の地理事情からみても、宣長説が妥当だとみられる。東北近隣の東灘区本山には式内社の保久良神社があり、こちらは神武東征の際に神戸の和田岬あたりから難波への海上先導にあたったと伝える椎根津彦（珍彦）を主神とし、その後裔の倭国造一族の倉人氏（後に大和連を賜姓）が奉斎したとみられるが、津守氏の同族の海神族であった。

ともあれ、菟原郡には東求女塚の後ではめぼしい古墳は殆ど築造されなかったようであり、これも、住吉神奉斎氏族が摂津国住吉郡のほうに遷った事情に因るものか。菟原処女のモデルになった女性がいたとしたら、こうした海神族関係者であろうとみられ、その大阪湾海上交通を通じて、遠く和泉の茅渟壮士も求婚にやってきたのであろう。神の妻たる「巫女」的な存在ではないかともみられる菟原処女が、茅渟壮士のほうに心惹かれたように『万葉集』に歌われるのも、茅渟に近い住吉郡への住吉神・津守氏の移遷を示唆するものだったのかもしれない

from『MANYOU』
・Mr.Mushimaro Takahashi
[KATHUSHIKA NO MAMANO OTOME] SONG

When
he comes
to a Mama well i
n Katsushika
and
sees
the women standing i
n a row
drawing water,
he is
eminded
of
the young women
of
Mama
who
once lived here.

[SEE THE GRAVE OF A UNAHARA MAIIDEN

ee the Grave of the Unahara Maiden]SONG

The branches
of
the tree
above
the maiden's grave
are
swaying, l
eaning towards t
he country
of
Mr.Chinuwotoko, j
ust
as
legend has
it.

２５
I saw Mrs. Otsuka in front of the comedy hall in Hikage-cho.
（Higageーcho）
It has been established as a common place name since the Edo period. It is a new road behind the west side of Shibaguchi 2-Chome and 3-Chome, Gensuke-cho, Tsuyutsuki-cho, and Shibai-cho. This new road is part of the town's registered land, and in 1664 (Kanbun 4), the landlord shortened the end of the land by two ken each to make it a road (Machikata-kakiage). The west side was a samurai residence, and the road was named after the narrow width and poor sunlight. This name was used until before the Pacific War. It is quite wide on the eastern side of the road that runs roughly north to south through Shinbashi 3-Chome to 5-Chome, from between the current 19th and 20th lots of Shinbashi 2-Chome to between 22nd and 23rd lots of Shinbashi 6-Chome. During the common name era, Hikage-cho (Hikage-cho/Hikage-cho) was between the current First Keihin and the road one block west of it.

The area to the west of the northern part was officially established as "Hikage-cho", and in "Edo Kiriezu: Folklore: Shibaguchi Minami, Atagoshita", Nakagawa Shuridayu's middle residence was in 1-chome (it says "After ○ Hikage-cho"), and Katagiri Seizaburou's residence to the south was in 2-chome. Incidentally, the JR Hikage-cho Bridge viaduct is in 2-chome. It was also written as "Hiiin-cho" or "Hikage-cho".

In 1872 (Meiji 5), the Nakagawa Shuridayu Middle Residence and the Katagiri Seizaburo Residence were merged to form the 1st and 2nd Chome respectively. In that year, the number of houses was 29 and the population was 134 (according to the prefectural government records).

On November 2, 1878 (Meiji 11), it was attached to Shiba Ward, Tokyo Prefecture. On May 1, 1889 (Meiji 22), it was attached to Shiba Ward, Tokyo City, Tokyo Prefecture.

　　　　　　　　　　　　　　　　　　　　　
　Mrs. Otsuka has passed away
Throw all
the chrysanthemums
you have
into the coffin

26
Soseki's maternal cousins
・Soseki had two maternal cousins, M.r.Masu and Mr.Sho.
・When Soseki became an adult, he stopped coming to the house, so I guess he died. But even if he did die, I don't know when he died.

27
What happened on New Year's Day
・A man pointed out my formal attire.
・The man expounded on his theory on art.
"Art Monism - All arts have the same source, so if you understand just one of them, you can understand the others."
・My opinion is different.
"Art is differentiation, it never starts from a view of equality. Even if it starts from a view of equality, those who want to stand out have succeeded in differentiating, so if we look at this fact as the source of art, paintings, sculptures, writings, all become useless. So everything there becomes nothing. So there is no concrete thing that you and I can share."

　　　　　　　　　　　　　　　Jean Simeon Chardin　

２８
The third cat and me　
In 1904 (Meiji 37), Soseki's wife, Kyoko, who hated cats, would always pick the kitten out, but Soseki decided to keep it, saying, "If she likes us so much, why don't we just let her stay?"
・The first cat becomes a famous cat in some sense.
・The second cat was short-lived. He grew round enough to fit on my palm and wandered around, but one morning I heard a grunting sound, and when I looked, I found that my family had crushed him. He lived for about two days, but then died.
・The current black cat is the third generation.The cat fell into the sesame oil, and its whole body started to shine as if it had been covered in cosmetics. It then lay down on the manuscript I was writing with its body, which made me angry.
・The black cat won't come near me.　He got a skin disease a few days before I got sick.　I too became sick at the thought of euthanizing my cat with chloroform or some other method.
・When I got up from my bed and looked at the cat, I saw that he had black fur and was fat on his skin.
・It may have been a silly idea, but I felt a connection with this cat.

29
For information on Soseki's family, please refer to "Soseki and His Times" by Jun Eto.
・While Soseki was always thinking of his real parents as his grandparents, he heard the truth from a maid. It's similar to the story in『 The Tale of Genji』, where the maid exposes the forbidden love between Genji and Kiritsubo.
Soseki said:
・At that moment, I was more grateful for her kindness than for telling me the truth. Funny enough, I forgot her name and face, but I have never forgotten her kindness. Soseki reminds me of Yugiri-kun from『 the Tale of Genji.』
　
30
continuation
・I have been geting disease for 1911
・I am at war with disease, just as Germany and the Allies are at war.

After the guests had left, I thought.
I'm sure I'm not alone in this ongoing issue.
After listening to my explanation.
Someone who laughs when I'm joking,The Silent One,
Someone who looks pitiful
There may be a lot going on in them that neither I nor they are aware of.
What would they think if it exploded?
They will have forgotten their past memories.
Now and Then
And in that old gap
They cannot see any causal relationship there.
How would you like to do it?
In the end, all of us humans will be holding the atomic bombs that we created in our dreams, walking towards death and chatting to each other.

・I envy people who don't understand the meaning of the word continuity.

３１
I bought Ota Nanpo's book.
大田南畝（蜀山人）のこと　 田沼意次　（寛政の改革）

・Ota Nanpo (1749-1823) produced a huge amount of literary output, including rhapsodies, classical Chinese, kyoka, essays, sharebon, and kibyoshi.
・The shogunate-han system was reaching a deadlock. Naturally, reforms were carried out, but they did not go well. I think it is useful to understand the eras as follows: "Tokugawa Yoshimune's Kyoho Reforms (1716-1735 or 1745)" → "Tanuma Okitsugu's Tanuma era" → "Matsudaira Sadanobu's Kansei Reforms (1787-1793)" → "Tokugawa Ienari's era as ogosho" → "Mizuno Tadakuni's Tenpo Reforms (1841-1843)."
・To add a little more detail, the Tanuma period, if viewed macroscopically, is the period between the Kyoho Reforms and the Kansei Reforms, but if interpreted narrowly, it refers to the period from 1767 (Meiwa 4), when Tanuma Okitsugu (1719-1788) was promoted to chamberlain, to 1786 (Tenmei 6), when he fell from power.
・The "Ohogosho Era" refers to the period under the 11th shogun, Tokugawa Ienari (1773-1841, in office 1787-1837). Ienari became shogun in 1787, the same year that Matsudaira Sadanobu's (1759-1829) Kansei Reforms began (following the downfall of Tanuma Okitsugu).
・Ienari was only 15 years old. In 1793, the sixth year of the Kansei Reforms, Ienari and Matsudaira Sadanobu had a fight, leading to Sadanobu's downfall. As a result, Ienari became a close aide to the shogun, corruption was rampant in the shogunate, and inflationary policies led to soaring prices.
・The period of the Ohgosho corresponds to the Kansei (1789-1801), Kyowa (1801-1804), Bunka (1804-1818), Bunsei (1818-1831), and Tenpo (1831-1845) eras, but is also known as the Bunka-Bunsei period (Kasei period), when Edo culture flourished greatly.
・Ota Nanpo (1749-1823) was a figure during the Tanuma era, the Kansei Reforms, and the Ohgosho period.
・The Kansei Reforms, which were accompanied by a crackdown on public morals that did not allow criticism or satire of the shogunate, led Nanpo to break away from kyoka and transform himself into a serious person who put his official duties first. However, although he was a serious official by day, by night he was a first-class playboy and writer.
・Ota Nanpo studied under two Confucian scholars. In 1766 (Meiwa 3), at the age of 18, he wrote the Chinese poetry textbook Minshi Tekizai. The following year, in 1767 (Meiwa 4), at the age of 19, he published Nebo Sensei Bunshu, a collection of rhapsody and prose. It contains 26 rhapsody and 10 pieces of rhapsody, and the preface was written by Furai Sanjin. Furai Sanjin was the pen name of Hiraga Gennai (1728-79).
・There is a poem called "Poverty Exchange" by To Fuo of the Tang Dynasty (712-770).
　　　　　If you wave your hands, they will become clouds　
　　　　　If you cover your hands, it will rain

　　　　　Frivolous
　　　　　Why do we need to count?
　　　　　Have you not seen the friendship we had in our poor times?
　　　　　This path that people today have abandoned is like sand.
There are so many frivolous people who change their attitudes so frequently, as if they were clouds or rain, that it is impossible to count them all. You know them, don't you?　The friendship between Mr.Guan Zhong andMr. Bao Shu when they were poor.The friendship between Guan Zhong and Bao Shu when they were poor.

Educated people at that time were familiar with To Fu's .I feel that this is a strong social satire, that in today's world, the friendships of poverty have been abandoned and everything depends on money, how pitiful.

　当時の教養人は、杜甫の『貧交行』を知っていたから、『貧鈍行』を読めば、必ず、杜甫の『貧交行』も思い浮かぶことでしょう。そして、読者の頭の中は、『貧鈍行』と『貧交行』がミックスされ、今の世は、貧しいときの友情は捨て去られ、すべては金次第、なさけなや……という強烈な社会風刺を感じるようでありました。

３２
The next day I returned the book I bought yesterday.
・This is because the book is priced cheaply.
・I felt uncomfortable with this evil act.
・On the one hand I resented the bookstore, but on the other hand I was angry at my own cunning.
・I gave the book to the bookstore for free, so I felt like I'd been cheated out of my money.
・This is a story that happened in my childhood.
　　
33
Intuition
・I cannot see the people who appear before me as either good or bad, so my attitude must change depending on who I am dealing with.
・My problem is that I am inclined to judge people based on my own extremely uncertain intuition, but I don't verify that judgment with objective facts.
・Right now, I have only two thoughts: either I'm stupid and will be deceived by others, or I'm suspicious and can't open up to others. I feel anxious and uncomfortable. What an unfortunate human being I am.

34
On January 17, 1914, he gave a lecture at Tokyo Higher Technical School, the predecessor of Tokyo Institute of Technology.

・There are two directions of human energy. One is the effort to save energy (shortening distance, saving time, etc.) and to make our lives more convenient. This is your specialty. The other direction is to consume energy, such as literature, art, music, and drama. We are moving in this direction. From this direction, there is no concept of time or distance. There is no need for something fast like an airplane, nor for something sturdy, nor for a large number of works. It is enough to write even just one piece in a lifetime. In other words, it is the opposite of you who aim to save time and mass-produce.

・The work you do has a universal nature. Ours, on the other hand, is personal. However, that doesn't mean we can be careless; sometimes we need rules too. The reason we need them is because they give depth to the work. When you have 100 or 200 readers, there must be something in common that connects their minds. This is one rule.

・For you, it doesn't really matter who made it, but for us, when we see a work, we think of the person who made it. What you value is not yourself, but your skill. For us, it is important to be human. In other words, the essence of a writer is the human being, and everything else is just an accessory or decoration. It is interesting to look at the world from this perspective. The world must be centered around oneself. I believe that not only traditional writers and artists, but everyone must be aware of the need to demonstrate individuality and personality as a human being's duty.

・Later, Soseki heard rumors that the students at Tokyo Higher Technical School had not understood the purpose of the lecture. Hoping to somehow benefit the audience, Soseki expressed his regrets about having given the lecture at Tokyo Higher Technical School in a section of "Behind the Glass Door."『硝子戸の中』

What made Soseki want to give a lecture at the Tokyo Technical University may have been related to the Ashio Copper Mine incident and Misao Fujimura's lover. It may have been the novel "The Miner."『抗夫』 In any case, he must have been thinking about Misao Fujimura.

３５
This story also appears in Michikusa[『道草』
A little way past the rickshaw shop he suddenly encountered someone unexpected. The person appeared to have climbed the slope at the back gate of Nezu Gongen shrine, heading north in the opposite direction from Kenzo, and when Kenzo casually looked ahead he found himself in his line of sight from about 1.18meters away.

　・This is how Shimada, who was once Kenzo's adoptive father, appears in "Dousa."『道草』 It is well known that the model for Shimada is Soseki's adoptive father, Masanosuke Shiobara.
　・In 1874, Masanosuke had an affair with Hineno Katsu, but after separating from his wife Yasu, he lived with his second wife Katsu for 45 years until his death in 1919.
　・Soseki was a rare individual who was well versed in the cultures of the East and West, past and present. Edo culture was one of his major themes. Soseki learned about it at comedy halls.
　・Shonosuke often took Soseki, who was a child, to a comedy hall called Isemoto in Setomonocho, Nihonbashi. If it weren't for Shonosuke, Soseki would never have met Shiki through the comedy hall, and "Soseki Literature" might never have been born.

３６
　When Soseki returned to the Natsume family, he most respected his eldest brother, Daisuke (Daiichi). He had dropped out of Kaisei School (now the University of Tokyo) due to a lung disease and worked as a translator for the Metropolitan Police Department.
・Daisuke passed away from pulmonary tuberculosis on March 21, 1887. He lived a short life of 31 years and two months.
"In "Behind the Glass Door,"『硝子戸の中』 it is written that a geisha from Yanagibashi (the entertainment district) came to visit Daisuke after he had died.
『処女作追懐談』によると。
　・茲で一寸話が大戻りをするが、私も十五六歳の頃は、漢書や小説などを読んで文学というものを面白く感じ、自分もやって見ようという気がしたので、それを亡くなった兄に話して見ると、兄は文学は職業にゃならない、アッコンプリッシメントに過ぎないものだと云って、寧ろ私を叱った。
　・Let me go back a little bit to the main topic here. When I was about 15 or 16 years old, I read Chinese classics and novels and found literature fascinating, and felt like I wanted to try it myself. When I mentioned this to my older brother, who has since passed away, he actually scolded me, saying that literature should not be a career, but was nothing more than an accompaniment.
　・米山保三郎という友人が居た。それこそ真性変物で、常に宇宙がどうの、人生がどうのと、大きなことばかり言って居る。ある日此男がたずねて来て、例の如く色々哲学者の名前を聞かされたあげくのはてに君は何になると尋ねるから、実はこうこうだと話すと、彼は一も二もなくそれを却けてしまった
　・I had a friend in my high school class named Yasusaburo Yoneyama.
　・At that time he launched into a lively debate, saying that no matter how skilled one may be in Japan, it would be impossible to leave behind a building like St. Paul's Cathedral for future generations.
・それよりもまだ文学の方が生命があると言った。
　・He said that literature has more life than that.
　・I decided to become a literary scholar again.
　・I simply had the hope of mastering English and writing, and of astonishing Westerners by producing some great literary work in a foreign language.・

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　[He is Yoneyam][I is Natsume]


　３７
「父母未生以前本来の面目」に苦しめられた漱石が、新たに文学のテーマとして取り上げたのが「父母未生以前の記憶と情緒」であると考えられる
It is believed that Soseki, who was tormented by "his true identity before his parents were born," took up "memories and emotions before his parents were born" as a new literary theme.

『硝子戸の中』29にも出ている話。
・I was born to my parents in their later years, and was what they call the youngest child. When I was born, my mother said she felt ashamed to be pregnant at such an age, a story that is still repeated from time to time. It may not have been just because of this, but soon after I was born, my parents sent me away to the countryside. Of course, I have no memory of that place, but when I heard about it after I became an adult, it seemed to me that they were a poor couple who made a living selling antiques.

・I don't know when I was taken back from that village, but I was soon adopted by another family. I think I was about four years old when I did this. I grew up there until I was eighty-nine, when I was old enough to understand things, but then some strange troubles arose in my adoptive family, and I ended up returning to my parents' home again.

　（See "Michikusa" 43, 44）

・Picking
shepherd's purse,
a motherless child,
a family

・Don't forget
to change
my late mother'
who
changes clothes

・The clothes
of
a motherless person
are
gone.

・Carrying
a chrysanthemum,
A　ｗet nurse　
came
from
ｈer residence.
　
　菊堤て乳母在所より参りけり
（道草から）
Soon, Yasu told Kenzo (Soseki) the truth. According to him, she was the best person in the world. In contrast, Shimada (Shonosuke) was a very bad person. But the worst of all was Mito-san. When Yasu used words like "that guy" or "that woman," Yasu looked extremely annoyed and infuriated. Tears flowed from his eyes. But this dramatic expression only made Kenzo feel worse and had no other effect.

漱石作品における紀州藩は、『趣味の遺伝』の外は『行人』で紀州様と語られているのみである。『趣味の遺伝』の「父母未生以前の記憶と情緒」による浩さんと小野田令嬢の相思相愛は、紀州藩出身者同士の恋愛として物語られている。なぜ紀州藩なのかだが、江戸、徳川幕府、紀州家について先述した外に、牛込にはさらに清水徳川家下屋敷が、四谷にもさらに田安徳川家下屋敷があり、また四谷に隣接する赤坂には紀州藩江戸屋敷もある。江戸牛込の父・江戸四谷の母になじみ深い、これが後に漱石が関西巡回公演をする目的となったのであろう。

　３８　
　　帯　　I still have memories of my mother wearing a kimono and obi.


３９
It was the emotions when faced with the choice between life and death that this novel depict the anguish.