Unveiling the Canine Caper: Why Dogs Hate Bikes

During my childhood, en route to my educational sanctuary on my bicycle, what vexed me most was the diminutive amber canine ensconced within a boutique. Each instance, it would pursue my velocipede with frenzied barks, akin to a vociferous indictment of my purported transgressions. Perhaps it harbored an ardent yearning for competition, fervently resisting my surpassing it on the two-wheeled contrivance. Consequently, upon traversing a diminutive emporium, I would exert considerable force to distance myself before its discovery, yet my attempts to elude a race were invariably futile.

On one occasion, the diminutive yellow dog eluded my notice. Just as I congratulated myself, a yellow entity swiftly overtook me. I executed vehement kicks and nearly vaulted into a trench to evade it. Subsequently, upon regaining composure, I discerned it to be an expansive yellow feline, posited as a surrogate racer for the diminutive yellow dog in its absence.

Canines and felines abstain from pursuing automobiles, discerning the futility therein. The chauffeur, encapsulated within a vehicular cocoon, revels in absolute hauteur. Unperturbed by external hazards, they remain impervious to the world’s stimuli. Cyclists, however, embody a distinctive corporeal aesthetic. They engage intimately with the external milieu, discerning nuanced shifts in temperature and olfactory nuances. Cyclists effortlessly overtake motorized conveyances, coursing past languid pedestrians. The celerity of their pedaling not only evades the scrutiny of onlookers afoot but also eludes the gaze of motorized behemoths. Perhaps this clandestine revelation was discerned by canines and felines—the cyclist’s nimbleness affords him a concealed autonomy, analogous to creatures scaling walls or navigating urban landscapes.

In cinematographic parlance, airplanes symbolize a celestial vantage point, befitting narratives of omniscience and revelation. Conversely, motorized vehicles cocoon familial entities, adhering to mundane trajectories leading to supermarkets, schools, and corporate abodes. This repetitive, albeit orderly, cadence facilitates the embrace of serenity and tranquility, distancing them from tumultuous emotional upheavals.

The verdant locomotive is suited for portraying lingering partings, replete with tears, pursuits, waving hands, and the diminishing silhouette until relinquishment.

In cinematic depictions, cycling embodies unbridled freedom. Accompanied by mellifluous and romantic melodies, the ivory-clad youth astride the bicycle assumes the guise of a winged creature, darting through thoroughfares and traversing meadows. The director, loath to curtail such scenes, even employs aerial cinematography. In contemporary films and television dramas such as the Japanese “Hiugao” and the American “An Extramarital Affair,” the symbiosis between bicycles and the corporeal form becomes increasingly enigmatic. To convey the clandestine pleasures of infidelity, directors invariably endow unfaithful wives with bicycles. They traverse coastlines on their bicycles, the camera silently tracing their figures—precarious yet poised, as if orchestrating everything with a delicate touch. Set against the backdrop of tides and waves, skirts billow, hair dances, and desire surges within svelte forms. They soar toward perilous pleasure, heedless of all else.

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