閱讀夏目漱石的《心》，可以發現在〈上篇：先生與我〉和〈中篇：父母與我〉中，“我”和“先生”之間的交流敘述法來表現的。然而，在〈下篇：先生與遺書〉中，由於先生是以回憶很久以前的往事的形式進行敘述的，所以幾乎沒有會話文，而採用了間接敘述法。遺書在整體上也可以說是為了對“我”談話而產生的現象，但這在英譯本裡究竟是怎樣的情況呢？本稿以2010 年出版、由Meredith McKinney 翻譯的英譯本為對象，試圖對敘述法的異同進行調查。原文中帶引號的會話內容在英譯本中成了沒有引號的敘述。反之，原文中的間接敘述法在英譯本中卻被改寫成直接敘述法。本稿以這些地方為對象，探討譯者的意圖所在。具體來說，主要針對使用直接敘述法體現出富有臨場感的修飾的地方和採用間接敘述法進行穩重表現的事例進行論述

In reading Kokoro by Sôseki Natsume, one can find many interactions between the first-person narrator and Sensei expressed in the direct narration in ＂Part I: Sensei and I＂ and ＂Part II: My Parents and I＂. Sensei describes the remote past in a reminiscent manner in ＂Part III: Sensei's Testament＂, there are very few conversations in the text; therefore, indirect narration is adopted instead. In a sense, indirect narration is prevalent because the entirety of the testament is addressed by the first-person narrator. What does its English translation look like? Focusing on the English translation by Meredith McKinney published in 2010, this paper aims to examine whether there is any difference in the narration between the original and translated text. This study identifies conversations with brackets in the original text that are translated into the text without brackets, as well as the text written in indirect narration in the original text that is translated into conversations with brackets; it also discusses the translator's motivations and considerations behind these sentences. In more concrete terms, this paper specifically focuses on sentences denoting realistic sensations with the use of direct narrations as compared with static expressions with indirect narration in the translated text