Kokoro

K’s introduction is a turning point in the plot. The brutal self-reflection of Sensei’s letter becomes clearer, as the festering dislike for his friend and his raging jealousy become more apparent. While the earlier descriptions of Sensei’s uncle showed Sensei as the victim of a dislikable charlatan, Sensei’s relationship with K demonstrates how Sensei’s antipathy toward the world is fueled partly by a dislike of himself. The depiction of this relationship adds to Sensei’s objective status as the narrator. He is so alienated from the world, so despondent about everything, that he is not concerned about making himself look bad. He does not embellish his story to save face, as he is not concerned with his reputation. The sincerity of Sensei’s narration is demonstrated through his refusal to compromise. While he occasionally indulges himself by reflecting on or explaining his emotions, he does not defend them. He has demonstrable respect for K and envies more than just his relationship with Ojosan.

Sensei’s narration is not just an excoriation of society, but of himself. His story explicitly describes numerous turning points in his life where he might have saved himself from his own Cynicism and Apathy but did not. This level of self-awareness adds credence to Sensei’s positions, embellishing his credentials as a narrator who is not afraid to examine the world’s harsh truths.

In the lives of both the narrator and Sensei, university plays a huge role. However, Sensei and the narrator rarely delve into their actual areas of academic interest. Instead, there are vague allusions to books, exams, and studies that are read, taken, and completed. K is different; he distinguishes himself as a genuine academic, someone who is not simply following in the footsteps of social expectations. K defies two families—his adoptive and his birth families—to ensure that he studies religion. He is genuinely curious about religion and passionate about his chosen area of expertise in a way that neither Sensei nor the narrator seem to be. This sincere passion adds to the tragedy of K’s demise. The world does not just lose a good person, and Sensei does not just lose a friend; society loses an intelligent, passionate man who may have been able to make a difference. The demonstration of K’s sincerity only adds to the tragedy of his loss and illustrates the potential that was lost when he chose to attempt suicide.

The dynamic between Sensei, K, Ojosan, and Okusan hints at the repressive social attitudes toward women in Japan during this era. From the beginning of their relationship, Sensei only thinks of Okusan in terms of her relationship with men. She is the typical military officer's widow, he explains to the narrator. He conceives of her through the lens of her relationship with a dead man, whom Sensei will never meet, rather than as a person in her own right. When trying to explain her behavior or emotions, he always returns to this, as though Okusan can have no personality that does not operate in the shadow of her grief for her dead husband.

The budding friendship between K and Ojosan also annoys Sensei. They are allowed to be alone together in the house where they both live; this is a social transgression that Sensei never tried to have for himself. He was either explicitly denied this privilege, or he had internalized society’s rules to such an extent that he could not conceive of spending time alone with the woman he loved. Sensei may say that he loves Ojosan, but the way he thinks about her reveals his patriarchal tendencies. He objectifies her, desiring her from afar and envying the social transgression of being alone with her more than he envies K for actually getting to know Ojosan at all.