Chapter 17 fable

In , Murakami constructs a modern fable: how a person can achieve a balance between self and the world. Naoko said to Watanabe in the letter: "You are not like me, you can't easily get into your own shell, you can always do something to free yourself." Yongze said to Watanabe: "What is needed is not an ideal, but a code of conduct." Naoko is at one end of the contradiction: completely enclosed in herself; Nagasawa is at the other end of the contradiction: completely mastering the rules of the game in this world.The rules of the self and the world are completely divided between the two of them, and they are incompatible.

Reiko's female student and Naoko's older sister are also at the end of Nagasawa. Reiko's female students are the embodiment of the rules of the world.Her ego has been completely alienated into the rules of the world.She uses these rules freely and plays with the people around her.She only came here to master others, but while mastering others, she also completely lost herself. Naoko's sister also grasped the rules of the world.But her ego has not been alienated into the rules, she just actively ignores herself—even when she is most depressed, she can still give Naoko the most meticulous care.The self and the rules of the world are two independent components in her body. She can use the rules freely, but her self is weak and closed.

Yong Ze not only has a thorough grasp of the rules of the world, but also possesses introverted power.However, as long as the two conflict slightly, he will not hesitate to trample on himself, whether it is someone else's or his own.But what is not annoying is that he never sells himself because of the rules. Kizuki and Hatsumi are at Naoko's end. Muyue has the most precious self - "no bad intentions or malice", but in his consciousness, he cares most about mastering the rules of the world - "I have to do that, and I have to change this".He cannot cherish the most precious self, but infinitely despises himself who cannot best grasp the rules of the world.

Hatsumi also has a trembling ego, but unlike Muyue, she always cherishes her own ego, and doesn't care about Yongze's chicness in rules.But in the end, she found that her pure self could not be compatible with the world. "Saving" Hatsumi probably shouldn't be a particularly difficult task - as long as there is someone who can care about Naoko's pure self as much as Watanabe cares about her pure self. Naoko's perfect "Nude in the Dark" is a symbol of pure self.But she can only fully accept it in a special state of consciousness that is completely free from the present world, and show it naturally in front of Watanabe.Once in the present world, she will continue Muyue's efforts.There's nothing wrong with this effort, and it's sad that Naoko can't value her own self.

Regardless of Nagasawa, Naoko's sister, Naoko, and Kizuki, they all respect the rules of the world as the most important thing in their consciousness, and at the same time they either ignore or trample on themselves.Therefore, their lives are like hell. Ordinary mortal beings exist somewhere between these two ends. Midori's father knows neither the rules nor the ego.He just lives in fear. The classmates of Midori's folk club also regard the rules as the supreme existence, and they will not hesitate to sell themselves for the sake of the rules-this is what makes them annoying.Their ego is bound to become more and more false because it serves the purpose of the rules.

The funny thing about Expendables is that he alienated himself into a simple secular rule, and cherished this alienated rule into himself just like Hatsumi cherished her "childhood vision", thinking that this is an authentic life. Most people will also value the rules, but always have a little pitiful room for the ego with trepidation.Although they don't believe it, they can feel that this poor place is very important, but they don't know how to cherish it at all unless it is a special time-this is the poor living situation of most of us. Midori and Reiko are two special people, and perhaps they cannot be simply placed in a certain position between the self and the world.

Contrary to Naoko, Reiko acquired herself precisely in Ameiliao-"I have been playing the piano since I was four years old, but when I think about it, I have never played for myself even once." Being a teacher shows that she still has the necessary rules of the world, but her ego has always been too weak.Through Amilia's 8-year career, especially Naoko and Watanabe, she finally reached a delicate and harmonious balance between the world and herself.Among them, only Reiko has achieved such a balance. Reiko's letter should be the key to interpreting the fable: "Even if left to itself, the long river of world affairs will still flow in the direction it should flow, and no matter how hard you try, the person who should be hurt will not be spared. The so-called life is like this. There is Sometimes you are too eager to take life into your own track. If you don't want to go to a mental hospital, you have to commit yourself to the river of life with an open mind."

The most special thing about Midori is that she directly seeks nourishment for herself from the present world-this is also a unique example in the novel.She is the only bright color in this world.Whenever Watanabe sinks into the quagmire because Naoko despises her pure self, Midori can pull her out; whenever Watanabe is tired of the noisy world, Midori makes him feel the preciousness of this world. The end of the story should be a flaw: because of Naoko, Watanabe, who walks the tightrope between himself and the world, has completely reached the bottom of the well; because of Reiko, Watanabe seems to be able to find a weak balance; and the real balance should be between him and Midori. relationship.But Murakami gave an ending that suddenly became dazed: "I am calling Midori again and again in nowhere." - It seems that there is a tendency that Watanabe may want to go in the direction of himself again, so be very careful Calling Midori who suddenly went away with a sense of distance.

What Murakami tells is definitely an allegory, not just a simple love story.