The story changes

The story changes

No one else points out this. This scene has a completely different meaning depending on whether it is Furuchin or not.

The next day I jumped into the sea after my teacher. Then I went swimming with my teacher. When I went offshore about two or so, the teacher looked back and spoke to me. Nothing floating on the surface of the broad blue sea was closer to us than our neighbors. And the strong sunshine illuminated the water and mountains as far as the eye could reach. I jumped in the sea running my muscles full of freedom and joy. The teacher also slept on the waves with his hands and feet exercised and lying on his back. I did that too. I threw a biting color on my face so that the blue sky glistened. "I am happy," I shouted.
 The teacher who changed his posture to get up in the sea after a while urged me to say, "Would you like to return?" With a relatively strong constitution, I wanted to play more in the sea. However, when invited by my teacher, I immediately replied, "Let's go home." Then they returned to their beach on the original road again.
(From Natsume Soseki's "Kokoro")

Furutin lying on his back. It must be pleasant.
Furin's "I" and "Kokoro", westerners who swim in the sea with one monkey crotch, are a little exposed. If AI analyzes this "koro", I guess it may derive the keywords "outdoor", "beach" and "public".
If this scene is added, will the taste of "pee" be added?

Then the teacher suddenly stopped by the side of the road. Then he rolled his hem and pissed under the hedge that was neatly trimmed. I stood there dimly while the teacher was helping.
"Hello disrespect"
(From Natsume Soseki's "Kokoro")

AI predicts here that sexual perversion has been depicted in "Kokoro", and in order to verify that hypothesis, it will reread the whole again for any elements that were inadvertently overlooked.
Then you realize that the scenes that are nothing or boring may have some other meaning.

My father had been laid down by her other hand with both stools lying down since she was ordered to rest by a doctor. The innocent father hated it for the first time, but had to do it on the floor because he was sick. As the days went on, he became more or less reluctant to excrete lax excretion. Occasionally, the band was dirty and the bedcloth was dirty, and the other person was rather calm.
(From Natsume Soseki's "Kokoro")

If this scene is perverted, it is inevitable that the keyword "scat" will be added.
As a matter of course, humans are creatures made of manure and blood. It is not necessary to be prepared here to say that Kororo is not a work depicting the heart of a metaphysical idea, but a work depicting human suffering as flesh.
In retrospect, the line at the beginning, "Women tended to hide meat especially," is a device that makes you feel at first glance that "meat" is not "skin".
Other unnatural and unnatural nudes appear.

As soon as the ceremony was over, I returned home and became nude. I opened the window on the second floor of the boarding house and looked around the world as far as I could see from the hole in the diploma, which was rolled up like a pair of glasses. Then he threw the diploma on the desk. Then, it turned into a large letter and laid down in the middle of the room. I looked back at my past while sleeping. I also imagined my future. The diploma, standing in the middle of it, seemed to be a meaningful and meaningless weird paper.
(From Natsume Soseki's "Kokoro")

I first remembered Emperor Taisho's case of "Eyeglass Case," but this nude was abrupt.
Here, "I" seems to pretend to look over the world and even show it to the world.

K's adoption was also a considerable fortune-teller. K came out of Tokyo with financial resources from there. I didn't come out with me, but after arriving in Tokyo, I immediately entered the same boarding room. At that time, two or three people often laid out their desks in one room. K and I were at the same time. It would have been like an animal captured in the mountains, staring outside, hugging in a cage. They feared Tokyo and the people of Tokyo. Yet, in the six tatami mats, he said that he looked down on the world.
(From Natsume Soseki's "Kokoro")

It can be said that "I" traced the spirit of these teachers with distance glasses.

"I understand why now, not now, it should already be. Your heart has been in love since long ago."
I looked inside my chest for a time. But it was unexpectedly empty. There was nothing to think of.
"There is no such thing in my chest. I am not hiding anything from my teacher."
"I move because I don't have an object. I want to move because I think I'll calm down."
"It doesn't work that much now"
"Aren't you moving to me as an unsatisfactory result?"
"It may be, but it's not love."
"It's a square that goes up in love. In order to embrace the opposite sex, I first came to me of the same sex."
"It seems to me that the two are quite different in nature."
"No, I'm the same man who can't give you satisfaction as a man. And because of certain special circumstances, I'm even less able to give you satisfaction. I can't help moving you away from me, I'd rather hope for it, but ... "
(From Natsume Soseki's "Kokoro")

There is no need to sort out what the teacher says. But I cannot deny that two things are implied. It is possible that the teacher also experienced the order of facing the opposite sex, and that `` I '' acting so much to expose the naked body actually wanted to expose not the front but the back, `` I '' pay attention to the western monkey What I did was a hint of that nature, and it is possible that the teacher had problems with physical function.
The teacher also wipes his head and enters the sea, but Soseki does not write whether he is wearing a swimsuit!