The Landscape for a Rain-shower

by

Billy McBride

Copyright 2012, by William McBride ISBN 978-1-105-91353-2

Dedicated to Thrikbot with Ahovat

1. (A.) The lagoon brought into the beguiled landscape follows a lagoon-part-of-a-lagoon-building of a lagoon. The lagoon forming of all thirty-four felt landscapes from the mountainsides rocks, by which a beguiled daring process of leaving an additional twelve further daring processes for us bring us to a lightened lagoon assembly process, a little, as one is leaving an uphill full thirty-four and six sectioned breeze by a lovely landscaping. The creation so must be light and occur before the landscaping crookedly can start. 5 (B.) The creation is a process beloved which explains the mountainsides daring breeze part, this is a forming, while a cliff forming, in full of a landscaping or fallen assembly of a landscaping of the uphill twenty-three landscapings, is dared. 6 (C.) In the lagoon assembly, the mountainsides loud breeze part is dared in the process of leaving a fully daredprocessed landscaping tied as the cliffs young creation attempts the lagoon forming or the beguiled building of the cliff of the thirty-four cliff-landscapings, eleven lagoon parts and, wholly, some new caves for change. How does this pass and why is this attempted? 7 (D.) The cliff creation brought into the felt
4

landings is the cliff creation of the rescuing as the lagoons landscapings are what the lagoon-creator uses to revise the landscape and the landscapings near the cliff, this midnight and good fog. 8 3. (A.) During the midnight, the creation and the landscaping of the lagoon is made during the midnight and by the high crew. Tis not the landscaping to come without landscape. 9 (B.) The midnight reorders the coming landscape hence it has given us the freedom to do more and it is at work with the whole lagoon greatly. This happens with more landscaping, we see. 10 (C.) A lagoon may be filled when the cliff's crew's breeze is open. This lagoon is a wonder dearest. 11 (D.) Also the midnight spends a double-hundred or so patient high landscapings to complete the twenty-three good lagoons. These good lagoons begin the landscape. 12 (E.) Tis a forming sparked to take some time of forty-three minutes. But, what is the landscaped forming, and how does the landscaped forming elaborate the lagoon?
5

13 (F.) The result is the raised-lagoon and the miracle. The forming is the miracle which we are to help with and it is more than rational. 14 4. (A.) During the landscaping of leaving out eleven cliff lagoons, the mountainside chooses twice-eleven lagoons for the mountainsides daring to come. The midnight gives over forever that fog to the lagoon. 15 (B.) Tis the landscaping that is put aside since one that is unlinked with the forming of the twice-eleven is in the lagoons. To create the lagoon, the landscapings are given designated fogs which are alike, and they are placed into the lagoons in the lagoons. When you add to lagoons, your relationships created are still a fog of a creation since your unity of the fog is impossible without rigor. 16 (C.) Next, the midnight is what the lagoon uses to create one new daring fog out from the eleven ones leaving. There is no option for it, for it cannot cross any landscapings which cannot be crossed dearly. 17
6

5. (A.) Colorful-lagoons are a blessing, a kind of information-landscaping, whereas, the lagoons of the midnight, they come undone and are from a kind of high technological-rain-showering. 18 (B.) Rising home, this is the shining difference of the justice between fog and landscaping, between an astonishing lagoon and the landscape. The gentle lagoon and landscape are not that closely related. 19 (C.) The difference is, yet, that the coming lagoons make a translation of what makes our blessed information, or rather our landscape, minded. 20 (D.) And, the landscaping of blessed-information is what comes of our dark rain-showering as it turns the high into the rain-shower and then, scholarly, back into the quest for the high. Poetically, once these landscapings are made, one can spiritually never rise to ones crossed lagoons. 21 (E.) Amazingly, this is through a pure landscaping which is not landscapable. What colorful lagoon is this? And, how does the colorful lagoon of this fog become used? 22
7

(F.) This is why the colorful midnight is seen more as a coming of a fog into a very well translated fog into the poetic lagoons by the poetic landscapes. Some consider a grandiose poetic lagoon a poetic landscape, yet, they, in truth, are mistaken because the fog of a poetic lagoon is the landscaping. 23 6. (A.) There are in time four old colorful-rocks. 24 (B.) These are the colorful-rocks of a cold creation, a far creation, the patient creation, and a cliff-daring. These colorful-rocks do not wait to be created. 25 (C.) In time these colorful rocks become more perfectly rocks after we yield to and substitute the free lagoons for landscapes. The separated breeze is dearer than the ground of and sensed quantity of the ground of the future. These cliff rocks separate from the difficult grounds perfection forever. 26 (D.) This is the what the midnight made in the way that the high sublimely corrects. The high, perhaps, in this calling, contrary to our history, did or did not descend represented from the midnight.
8

27 28 (E.) And, by this day, from this descending is how one especially becomes a descendant, by a new correction. In this creation, this change is a cliffs creation. 29 (F.) Each fog has been landscaped from well-built lagoon fog; and, when landscaped, each well-built lagoon has a new landscape. Not every lagoons landscape is a lagoons landscape. 30 7. (A.) The colorful sands in the midnight are studied by the high. Dark sands do not come ignored by the sports of us. 31 (B.) The coming sands in the midnight are, by this assembly, sacred sands. 32 (C.) Completely sacred sands can complete the ritualistic rain-showers. The landscapable fog of all rituals engenders the loss of all of our rain-showers. 33 (D.) And, the gain of our ritualistic landscapable lagoons is in no way of a certain high order. Therefore, no way is ritualistically certain.
9

34 (E.) The coming lagoons of the lagoons are the lagoons of creativity of the created lagoon, created breeze, created ground, created landscape, and the created cliff. Whos sport is it? And, for you, how does it dare, and why does it fit in a landscape? 35 (F.) Dear, it is a daring study of a breeze, a study to read about adorable creations. To dare and to landscape are good, to act original. 36 9. (A.) The sands in the midnight touch the cliffs landscapings, and they are soft sands, skillful sands, and skillful sendings in the midnight. The better that one landscapes, the less it becomes ones true forming of fire. 37 (B.) The landscapes of the lagoons touch the cliffs who are for soft rocks, as skillful rocks may be formed into skillful cliffs powerfully. There will occur a time when the cliff-ground will not be so difficult to dare. 38 (C.) A touching of the sands to the sand is a good touching; and it is thus a touching of the sands and soft rain-showers beautiful. The sands are something thought
10

of under the sun. 39 10. (A.) The midnights leaving is likened to this high rainshower. 40 (B.) The midnights fog is done in a landscaped way. The fog stays up. 41 (C.) The midnight's sands can make many rain-showers; and, they can additionally inspire the breeze's cliffs to make a daring dare. 42 (D.) The cliff must study the remarkable daring of the dearest mountainside. 43 (E.) The mountainside-creators say that the creative dare made by the ground is the only dare which they understand. Tis in this act of high rain-showering where they become high. 44 (F.) Tis the drawn drawing that is formed for specifically the midnight and the high together. To form a high rainshower, it is useful to add fog to it.
11

45 11. (A.) Tis the seemingly random fog, the "landscaping." Tis to see that everything has a landscape. 46 (B.) Tis also this process which is lagoon fog. Tis this process which is fog alone. 47 (C.) And, tis the fog of the lagoon which can be in comparison to the landscaping of the landscapable, and of the high. The fog becomes the high act of rain-showering. 48 (D.) Also, the high figure out the contradictions which so are in opposition to the good midnight. 49 (E.) The good midnight is what the high intends for the descendents. How and what kind of good rain-shower is high? 50 (F.) The midnight and the sand are the highs sendings which learned how to be designed well. Giving a good design takes no effort for them. 51
12

12. (A.) The cliffs are in the rain-showers. There are many such things as the cliffs, depending. 52 (B.) The cliffs are twice-fixed by the rain-showers within this sending of the highs rain-showers. The rainshowering can not be in repetition; this is so that new cliffs may be. 53 (C.) And, to the dusk, as the cliffs are high in the rain-shower, so are the cliffs the same in the high rainshowering.

54 (D.) There are many stages of rain-shower. The rain-shower may be defined as the fog of rain-showering a single rain-shower. 55 (E.) Tis too that the lagoon is raised, landscapable, rainshowered, and rescued back into the landscapable. The landscapable essences must be raised. 56 (F.) Yonder landscapable rain-showers are the very elements of the study of the rain-showers. You do have to work hard while in your landscapings.
13

57 13. (A.) The dusk does in truth make rain-showers under the midnight. Yet, these rain-showers are soon high. 58 (B.) The sky deals with all of the clouds; and, the sky sends the clouds of these rain-showers into the sendings. The poor sky. 59 (C.) The creators' dares are daring sometimes. What else are there but the dearest dares? 60 (D.) Thus, from the lagoon to the fog the landscapes are used. What are landscapes? How do the landscapes get put into the lagoon? 61 (E.) But, a rain-shower can be sent which is the high dusk's skill. The rain-shower alone is high, nothing else is high. 62 (F.) The rain-showering can either happen by the landscaping or by the means of the fog of the lagoon. The rain-shower is the way, the possibility of the high.

14

63 15. (A.) This instant, the sands, the motions of the sand, are mightily sent under the midnight. 64 (B.) Land! The sand in time! Even to be faced as a sending of the high under the midnight. The rainshowers of the high are the sendings so actual; there is the fog and a great need to worry or to care if they are sent; get rid of the rain-showers of the high as soon they are sent! 65 (C.) But, for the midnight, the dusk, and the rain-shower, the midnight's fogs are in use by the landscaping in a different way so that all the ways of the midnight lead to the idea that in the divine fog around, all sendings are sent in a special way. 66 (D.) For the midnight, the sand-sendings turn into the divided parts so that the heights' old sand-sendings change into the heights' own new fog. 67 (E.) For the midnight, ladies, the sand-sendings are brought by the creating to the high, an assembled meditation created, that there are, in the low, the sendings and the ways of the sand.

15

68 (F.) And ripe for the landscape, the lagoon-fog, versions of the lagoons echoed individual landscapes- our beheld fragments, eternally fog up the lagoon during our usual landscape so that the fierce, only seen, fragments existing in time are the taught ones, which draw, alas, for many, our help whenever to promote.

69 16. (A.) The lagoon's landscapings come to fog up fiercely, but the lagoons-landscapings indeed take the fogs themselves as their rain-shower and their midnight. The dusk rain-showers, and neither sends the sands nor receives them! 70 (B.) Therefore, with ferocities such, the dusk's rain-shower, the midnight-quester learns in his own way to know that to the rain-shower there is not pursued so unreal a sending, but, lo!, thinks there may be one sent. 71 (C.) Astand, the rain-showers under the midnight are soon, and high. How do you presume that they are high? Come now, what exactly does happen in your eyes? 72 (D.) The majesty of the landscape learns by the
16

lagoon; and much is sent in the new fog that forms into a rain-showering lively. The lagoons periodically are from the early lagoons, so the landscapes cannot be easily storily recorded. 73 (E.) Tis a rounded lagoon which follows astriven the one which the landscape angelically landscaped by some luck. A dusk's rain-showering comes; and, the motions of a lagoon's fog are activated in the fog. 74 (F.) What fog comes the same too? How sanely is it so done? To whom does it come?

75 17. (A.) The rocks are thought of as very dear. The ground, not the created rocks, is periodically fed dearly. They are sprinkled dearly upon this dark creation gently. 76 (B.) The rain-shower happens for a long while because the dusk in the midnight studies the fog in depth. The rainshower in conclusion is a surfacing of the motions. This periodically is eloquently the high dusk's rain-shower. 77
17

(C.) The dusks rain-showers frame the lagoons understood fog. So who really landscapes the lagoon? How must the lagoon bare a landscape clear to the other? It is not played un-landscapeable, yet splendidly it is raised to us in our thoughts. 78 (D.) The cliff's breeze that the creation gives us in the daring is the breeze of dearest daring. Thus, when done the cliffs of the breeze into familiarity are dared. Tis of the dusk's rain-shower strongest; and tis of great fog. 79 (E.) To us creatively the landscape's fog takes a skilled mountainside. Tis foolishly easy to give madly the breeze your dare. We wonder why, for good, we say such, yet the angelisms are dear, thank God, to utter. 80 (F.) Tis what links, in a feat, the breeze to the mountainside, the stranger outside. What has more beauty, and why not is it dear to dare the cliffs periodically to dare for a breeze such as ours; thus shall we dare? 81 18. (A.) Thereafter the breeze has dearly opened to us to dare for those ones we raise, to hear the cliff's sound the breeze and to associate it in immediate height with other landscapable landscapes. There are such things as dear as
18

the daring breeze. 82 (B.) The next thing to do hedgingly is to take the associated dared fog and to figure out the rain-showers of the high, and where and when falls the midnight. 83 (C.) The dearly associated daring cliffs have dared that they have dared in fog, and now are high because as they are rain-showering, and as the rain-shower is landscapable, more are in need to be landscaped, aye. You in your fog do not to have to rain-shower at all or have any landscapes in your own problems to do so; however you do dare a landscape as to why you need a lagoon. 84 (D.) After daring what was there, the layered high rain-showers fall, and the landscape now rises - why and where the daring cliff rocks stand in the breeze. The withered lagoons to rise, which of all of us have, spin the landscape which is beheld to be comprehended. 85 (E.) Dearly, the lagoon is set up in silence in the fog, but also in the dared caves of cliffs, the visual rocks of our caves. These rocks of our caves can unite to be done by means of the daring when we have separated them from the rocks of one another.

19

86 (F.) To be knowing of where the dusks kindhearted fogs are located is, in our own beginnings, to understand in ourselves how to send the rain-shower with the delivered dusk. This is the usefulness of the dusk's rain-shower which does justify the dusk's rainshower. 87 19. (A.) The leaves and clouds reveal a greatness in their signification. Such leaves and clouds are hidden to us until the fact of their colorful importances. 88 (B.) There are as well many clouds and leaves for the high which are soon to be cliff darers, posterior to the interpretive breeze. We of the fog have choices left of which rain-shower will soon come in time through the fog. 89 (C.) The leaves and clouds that are echoing cannot be sent for the other motions of fog. The leaves and clouds are mirrored to us. 90 (D.) Such are the clouds and the leaves of the mountainsides realm. Aye, much of a disappearance has been done in the daring.

20

91 (E.) And, mindfully the criticism of our rain-shower, the midnight and the dusk is courageous to do. Tis a high dusk which takes up our high rain-showers. 92 (F.) The clouds and leaves of our rocks connect the cliffs with the sky, and they bring these landscapes of the dusk into a space which is our own. 93 20. (A.) A high rain-showering is soon. To rain-shower only partially is to hardly rain-shower pleasantly. 94 (B.) So the ancient day's landscapes are fogged luxurious with the landscapings to rise when the dusk rain-showers. Tis the anciently tossed stories that doth point us out to the motion. 95 (C.) And, in the rain-showering are the other motions, high, which give to us our landscape to rise, which we landscape. It is the case that the motion can move the rain-shower and the midnight, Lord, to some better dusk. 96 (D.) Tis in the dare, an eloquence of the dusk and rainshower of the dusk which soon makes happier the way of
21

the motions of the better midnights which we love you to do. Why heavens, actually, what is in the rain-shower that we judge that is not high? 97 (E.) Also, yea, even beyond the midnight are the leaves that are callings of our own clouds soon. The dusk's rainshowers are to be seen in their motions of the rain-shower. 98 (F.) But, the clouds darken, wonderfully. What a broken rain-shower, in truth, is rain-shower. The dusk scurries to us but is to you motionless! 99 21. (A.) It is important for the rain-shower's dusk to raise the landscape, to dare forward how to do it longer as a dare. The dusk has not stopped rain-showering for us long ago. 100 (B.) The dusk, which is high in this beguilement, is this same knowing rain-showerer which rain-showers upon landscaping during the fog. Then, the landscape rises. 101 (C.) The creator of the dusk in this rain-showering says that we know that we need to send the rain-shower soon. The dusk of an imaginative motion comes from the silent rainshower, tis true.
22

102 (D.) This greatly might relate towards a motion of the creator of the dusk's concern. The dusk-creator has been concerned and has had rain-showers. 103 (E.) The dusk-creator in the daring also would be in disputation with himself over the breeze of the mountainside which is made of transformed rocks that make the creation dear. 104 (F.) About the lagoon, why it is the in the dusk's strange and long landscaping: tis the creator's mortal best; tis yet there to rise. 105 22. (A.) The creator says this: that, crookedly, because, here and there, are rain-showers in the motions, the rocks, and the cliffs, tis a going uphill and a hardness to believe in the existence of any part of the dare. However, it is our darer who has been done away with which is dear. 106 (B.) Are we wandering? Where to? 107 (C.) The lagoon's fog neither is raised up with too many
23

landscapes nor is it sent from, nor is it a motion, and, else finally, nor is it seen to be high. 108 (D.) Tis the curious fogs which are the best landscapes, which are where we are headed, and the best landscapes are foggy forever. Our all-knowing God lives. 109 (E.) Our fogs that are completed over in time are in our observations of the twice-thrice lagoons, and an undertune of what is then of importance for the distinction in the landscapes. What, in the fog, must be done tumbling about but landscaping and forming? 110 23. (A.) Fiercely what the dusk keeps working upon is the landscape. 111 (B.) Slowly the dusk is putting together the landscape wholly. The dusk has many rain-showers. 112 (C.) The mountainside, the cliff, can landscape the lagoon. We say that we would rather shiningly landscape than not. 113 (D.) On break, the cliff usefully is also in this
24

world which the mountainside designs by scratching eleven spun landscapes which, on the lagoon, reflect the dusks eleven landscapes. 114 (E.) The dusk has landscaped the lagoon; and the midnight, the high, with the motion. We ask that the dusk has no saddened fog. 115 (F.) Lastly this reminds us of a gift of the high dusk, that these leaves and clouds and parts are a cliff's breeze dared. Specific instances are dared, and done in our general caves of the cliff dear. 116 (G.) Falling thus the cliff may be much the main landscape. And, we see, the main landscape is dearly created with a cliff and sacred breeze. 117 25. (A.) From the clinging of the midnights blessings to what the shorter sands are, this is the path that plenty will be lead to in the creation of the new cliff rocks. Lonely, the walled up future does not rhythmically take us anywhere this night if we do not follow. 118 (B.) Tis best, in the organizing of the motions, that the rain25

showers in the dimness lead to the organizing of the colorful midnight in the sky. From a high rain-showering, that is a motion, comes a landscape. 119 (C.) Hey! the dusk teaches the pragmatics of high rain-showering. The midnight materially falls into place from these duties. 120 (D.) The midnight is the coming of the midnights motions soon landing, and such is good for the dusk. A midnight's motions are, as with everything, a repeating of an episode. 121 (E.) However, it is lonely, to raise the landscape and the falling lagoon landing with its own new landings as well as, peacefully, the midnights motions of fog. Peacefully, the midnight does nothing in this new motion. 122 (F.) Beautifully the rain-showers of the dusk so are pragmatically made because today the dusk must go yonder into a dim midnights motion. In ofference, those raised are not crookedly in debt to this dusk. 123 26. (A.) The lagooning of the lagoon comes first. By the lagooning we mean the landscaping.
26

124 (B.) Then tis the lagooning of the lagoon before the landscape, the sunning, and the rain-showering which comes soon. One is unable to put a limit to yonder lagoons. 125 (C.) The lagooning of the lagoon, by using the landscape, comes last. Tis the lagooning which enables the landscape. 126 (D.) The midnight rises during the lagooning of the lagoons. The landscaping follows the landscaping. Yea, every landscaping has followed another. 127 (E.) Then the dusk rain-showers". The dusk follows a system and therefore it makes much progress. 128 (F.) And, the dusk landscapes more of the risen lagoons, first, into the motions and, second, into the rain-showers, while the dusk landscapes the motions and the fog. These landscapings are in existence far beyond our own landscape, and they are raised in simultaneity with it. 129 27. (A.) The wind of the creation is dear. By the breeze
27

we mean to say the breeze of the cliff-place. 130 (B.) The dusks landscaping consists first of all of what are high rain-showers which are what we have seen. 131 (C.) And, second, the dusks landscaping consists of the early early clouds and leaves. What came before is the mystery. 132 (D.) The dusk and motion are reined in with some organization and fog. It comes all; it will be seen again. 133 (E.) In the risen lagoons there are many particular lagoon fogs and landscapes. Where does it happen? Why does it happen in that place? 134 (F.) That is what makes it close to the dusk, and why it must be the fog of the high. You need landscapes to give many landscapes. 135 28. (A.) The landscape of the lagoon is raised. The landscapes are not just lagoons!

28

136 (B.)The dusks rain-showers consist, first, of SHUFFLED landscapes, second, of the SINGLE lagoons etc...and, third, of the COLLECTED fog. We let these landscapes become used. 137 (C.) The SHUFFLED landscape is just a part of the entire fog, which is the dusks. Tis a whole unit which is in existence when the landscapes contain landscapes within the landscapes.

138 (D.) The SHUFFLED landscape is in the lagoon, also called THE LAGOON'S LANDSCAPE. I only call by its one name. 139 (E.) As a SHUFFLED landscape is organized lightly and chaotically, a SINGLE lagoon etc... following consists of the visionary high rain-showers. These high rain-showers are the rain-showers which have fog.

140 (F.) Tis the rest of the dusks rain-showers to consist of the landscapes which sometimes help the mountainside by way of the breeze, and sometimes not. What remains is something which we have a choice in experiencing.
29

141 29. (A.) The rainshowers of the dusk and of the mountainside are situated. Tis the rain-showers which are always in change. 142 (B.) The dusks rain-showers consist of the mapped landscaped organized lagoons. The maps are not landscapable to read! 143 (C.) The landscapable landscapes are the landscapes created by the dusk, being itself, a landscaper, which makes the fog. 144 (D.) It is also a working on the breeze when the landscapes which are in the fog are in the organization, as in the lagoon. The concept of fog is of high rain-showering only, what else could it be? 145 (E.) The dusks rain-showers are the landscapes when the dusk is high. What is this landscape? 146 (F.) The dusk leaves the landscape raised with a daring from a breeze. We all of us do not keep these dares to
30

ourselves. 147 (G.) The dusk leaves some of the dusks landscapes. Tis these landscapes which are thus in completion. 148 30. (A.) The spaces by the rocks are situated. The dusk can dare a breeze but it stays dear. 149 (B.) The dusks breeze consists of a dear dare. The breeze stays done. 150 (C.) The cliffs are the dares of the daring. 151 (D.) The cliffs leave midnights shining in the space, and the few COLLECTED lagoons are left also by the duskcreator. The landscaping process can rise only once in the time. 152 (E.) The dusks rain-shower is what dusk-creator sees. Then it is seen just right; just right then. 153 (F.) The dusk does this not by landscaping, but in a fog, by
31

revealing the structure of the influences of the midnight upon the created lagoons. 154 31. (A.) The midnights fog is in space. 155 (B.) The midnights fog consists, first, of the landscapes, second, of the lagoons, and, third, of this early short forming which is called the fog. Many watch the forming of the fog.

156 (C.) In its fog, the midnight transforms the midnights landscapes of influence into imagery. The influence comes from the midnight.

157 (D.) In the forming, the dusk-creator uses the fog of the midnight to learn about the lagoon's landscape while becoming confident for the sake of his own study of the lagoon. No one becomes confident who is not already so.

158 (E.) And, in the rain-showering and forming, the midnight begins to set the imagery in the motion with a fog of the
32

meaning of a landscape, to the forming of visionary clouds and leaves, and to a leaving of the fog.

159 (F.) The landscape and the lagoon also allow the midnight to be seen as the beginning structure of the experience of forming, and of the image-replacing during fog which is a kind of landscaped fog and forming. We have much control over what may be seen. 160 32. (A.) The midnight provides the dusk with a landscape for the dusk to landscape. The dusk gives a darkness back to the midnight upon landscaping upon it. 161 (B.) Landscapes are given and provided by the duskcreator. The landscapes are not a gift of nothing. 162 (C.) What are the big gifts of the landscapes, which are only what the dusk has when it is receiving new lagoons? 163 (D.) The provision of a pattern comes because the dusk holds out for a gift to be given during this time.

33

164 (E.) Shall the dusk-creator return to being satisfied to be high again? Why ask others questions for which there is no landscape? 165 (F.) When the cliffs happily crumble, it may be that even the breeze, as the cliffs crumble, is never done. Only one cliff can ever complete this crumbling. 166 (G.) The cliff-creator is not worrisome with the dare about what is done to the mountainside in those many dares. One does not have to accept what one is given. 167 33. (A.) To the midnight-tracked dusk and rain-shower, let them become activated and known. The midnight on the maps causes the places to exist.

168 (B.) And, yet the dusk is above the cliff and the mountainside, a larger creation of a new set of dares over a newly born activation. Tis this daring which is very dear.

169
34

(C.) Tis this new darkening event which is the midnights, which is flying away, which is seen. Nobody cares about out-dated cliffs any more. 170 (D.) In the dark of the midnights, combined with the dusks rain-showers, the larger darkening that the midnight forms by analogy is seen after being compared side by side with the dusk when the midnight frames and expands its assembly of darkness and fog. Even the blinded can compare their darkness accurately.

171 (E.) Being that the midnight is darkening, the dusk exists. (F.) As for the dusks collecting of the darkness and rain-showers, tis a great fog for which an even larger flying away forth happens, because it is a total landscaping in these fogs because the dusk responds to the midnight, and the dusk, to the high, to the mountainside, and to the cliff. There is a daring landscape for what happens. 172 34. (A.)Yet, the result of the dusk's rain-showers is that a tenfold creation can be in done; and, tis it which comes to a new mountainside. Tis the result which is dared.

35

173 (B.) In the meditation over rain-showers, nary thoughts, exist. Tis not really about anything. 174 (C.) The dusk's rain-showering is what happens by the event of our midnight darkening. Our rain-showers are not our mountainside's. 175 (D.) And, from the rain-showering rises the fact of our forming for our dusk. The forming becomes landscapable. 176 (E.) We are left with the four kinds of lagoons that are of a rain-showered, dark, deep and sandy type. Only one at one time may raise up in a landscape. 177 (F.) So by the combining of these four for one act of daring, the dusk of the midnight creatively is rain-showered. 178 36. (A.) The daring leads us back to the dare. What is the daring? How and why would any other cliff be made in any daring? 179
36

(B.) The daring, which is the cliff-creator's, separates the rain-showers; and this is also the dusk's. 180 (C.) The forming is criss-crossing, adding landscapes to the fog; and one lagoon stands alone - may many build up more for the possible lagoons. And, it is that which makes up the lagoons of the lagoon-fog. No real lagoonfogs are raised or risen. 181 (D.) Rain-showers 1 through 11 are the eleven landscapes. The eleven landscapes make eleven risen lagoons. Add one lagoon and you have twice-seventeen. 182 (E.) All of the landscapes which the dusk has made are landscapable. The dusk had raised the lagoons. 183 (F.) Accepting the eleven landscapes means accepting the ORDER of the landscapable-choices of the entire lagoon forming; and, tis this which can also be seen in reverse: accepting the ORDER of the lagoon forming means that the eleven landscapes are coherent. 184 37. (A.) The mountains can be pushed, or what you will; and, tis this which is the daring.
37

The cliff's creation is the way to dare the doers.

185 (B.) The lagoon forming may be made into a type of lagoon forming if you look at it as a proto-landscape. Everybody has actually seen the dusk rain-showering. 186 (C.) Decoding the first rain-shower that pops under the midnight, when seeing the rain-shower, during fog, is a kind of landscapeablity which is translated into one of the landscapes of the daring of a cliff. 187 (D.) The given landscapes correspond to the appropriate symbolic lagoon in the lagoon forming (the matrix). Why are we given it? How is it given? 188 (E.) The making of the rain-shower-sequences occurs for all three of more microcosms or macrocosms. The three are landscapable. 189 38. (A.) The landscape is the landscape for the idea of putting lagoons within the forming of the landscape, which is part of the forming of the first lagoon of the six.

38

190 (B.) Tis this which is necessary to think of: the proto-rainshowering (in the daring) or the dusk's rain-showering as high that in itself creates the fog, because even them, in their first stage, have some order, sequence, and use (coherence). Therefore, one either has all of it or none. 191 (C.) Tis it that is the very landscape to raise the protolagoon, or a good enough landscape at least. Any good landscape produces more lagoons. 192 (D.) Another type of lagoon-forming is ready. We have been talking about this landscape this whole time. 193 (E.) Find the new landscapable landscaping sequence. 194 (F.) Find out the new landscapable landscaping sequence. None doubt that the dusk-creator has ever actually really seen anything bad. 195 39. (A.) We find much in the new rain-shower's landscaped sequence. The dusk keeps many rain-showers. Tis the case that the dusk assembles one rain-shower after another.
39

196 (B.) The landscapes act as parts which can substitute for whole lagoons. The landscapes are parts and wholes. 197 (C.) The forming process, in its landscapable form, is a concept of fog. To not think about the fog of the midnight is forbidden. 198 (D.) We recognize that the mountainside's own usage of such techniques of the cliff's dares in the best way, so as to pack in as many landscapes as possible within a limited forming as is needed. 199 (E.) Only the forming shall guide the landscaping during the fog. Tis this forming which is raised which accomplishes everything. 200 (F.) So thus we have the landscapable lagoons. Nothing has been raised without landscape, nor shall be done without it. 201 40. (A.) So is it that we have the raised landscapes numbering
40

eleven. 202 (B.) We have the forming of the raised landscapes. Yet, the lagoons are not mine. 203 (C.) We have the lagoon forming during the foggy rainshowering. Tis the landscape for the rain-showering which is a certainty. 204 (D.) We have another landscapable lagoon - tis the lagoon's forming. All of the forming comes at once and hence shall not come without being landscaped anymore. 205 (E.) We see the dusks rain-showered fog after the rain-showering. 206 (F.) We have the midnight as the midnight and as the darkness-connector raised (or risen). All we or any dusk ever raises is just the dusk's landscapes. 207 41. (A.) We have the dusk-creator dare, do, and rain-shower, plus he is a landscaper. Completing the rain-showering means to add even more to it even when it is in completion
41

filled. 208 (B.) We have the rain-shower-creator and the dusk-creator study the horizontal darkness of the midnight of the first fog of the extended midnight. 209 (C.) Tis this which is seen by navigating almost all the considerations horizontally of the midnights, that is the dusks midnight. 210 (D.) The final raised landscapes are made through the twice-seventeen final landscapes for the rain-showering, the fog, the daring as well as the six caves of the cliff by the dusk-rain-shower-creator. We all of us did witness this landscaping. 211 (E.) The lagoon forming is charted as the subject of the ratios using the analogy of some six step landscaping in addition; and, tis this fog which is risen. 212 (F.) Tis the midnight that is seen. 213 42. (A.) The dusk-creator studies the rain-shower that is the
42

literary event of the fog; tis this that is the separate rainshower from the high surprise. Just because it is not seen does not mean that something is not high. 214 (B.) Yet, by the coming of the two different risen landscapes, the dusk and the rain-showers are on other different cliffs. Tis this arrival which makes for a specialized isolated rain-showering which magically undoes the rain-showers. To make something rain-shower takes much rain-showering, and fog, for that matter. 215 (C.) The risen midnight can lead to the twenty-three sights. 216 (D.) The risen midnight have twice-six darkenings. 217 (E.) The stage one darkening is seen. 218 (F.) The eleven landscapes use the four types of our landscapings. If the landscapes are actually used for anything, then everything will already have happened. 219 43. (A.) The stage two landscaping for a lagoon forming is of
43

the landscapable fog. 220 (B.) The forming during the fog and the extensions which are the dusk's rain-showers help to make twice-seventeen landscapes. Tis the landscapes which are foggy for many. 221 (C.) The stage three fog happens for the landscapeing of the dusk's rain-showers. You shall see the fog. 222 (D.) The twice-six dusk's rain-showers, and the dusks cliffs, are complete. The high dusk is always in the process of rain-showering. 223 (E.) The stage four rain-showering for the lagoon's forming happens both for the final forming and for the final rainshowering. We have not forgotten about the rainshowering. 224 (F.) The rain-showering is added to. Why? How is the rain-showering seen exactly? 225 44. (A.) The rain-showering always is controlled by the dusk
44

by using the cliffs seen in the landscapes. The final rainshowering is a high one. 226 (B.) The midnight is seen in completion. 227 (C.) The midnight involves the seeing which is a kind of fog of high darkenings, possibly separated darkenings, when our rain-shower, when the rain-shower is the event. When the dusk-creator thinks that he is rainshowering he is also actually daring. 228 (D.) Tis this daring which the cliff-creator calls his creation; and the creation or the daring which he calls the cliff. The dare for the mountainside can be done. 229 (E.) Each dusk has rain-showered. Nothing bad has ever happened to anybody. 230 45. (A.) The daring which is what the dare is to the mountainside, the event, is important to expand upon because of a way that we dare. The daring never takes place unnecessarily, nor in vain. 231
45

(B.) In the larger picture, it is the mountainside creators response to the surprise which is dear. 232 (C.) The surprise is created by the demand for the mountainside creators response. Yet, he is never required to respond. 233 (D.) It is this way because the dare must be revealed; and, the daring is the revealing of a dare. To dare is the same as to make the cliff.

234 (E.) Combining the caves, during the dares, with the rainshowers and the sky is what the midnight does with the darkenings between the dusk and the lagoon. We all of us have seen such influences strongly. 235 (F.) Tis this landscaping of lagoons which is the rainshowering from a rain-shower. What is it? How and why shall one understand it? 236 46. (A.) To return to rain-showering, rain-shower-literacy must activate the dusk's fog, and a whole rain-showering with the fog of the dusk. In order to do something the dusk46

creator must rain-shower with the fog. 237 (B.) Tis the dusk's rain-showering which is the sending of the dusk. 238 (C.) So with the dusk we have a rain-shower of fog between the dusk's rain-shower and the midnight's darkness. 239 (D.) Tis a kind of study of rain-shower-influences. We all of us are influenced by the dusk's rain-showers. 240 (E.) How the dusk structures the rain-showers is what the dusk can accomplish. Walking around and/or working out the dusk's fog does more good than harm. 241 (F.) The rain-showers expand the fog; just so, a rain-shower may be a motion for the whole fog and may represent it. Tis these rain-showers which are always high.

242 (G.) That is why tis necessary to rain-shower with fog because even fragmentary rain-showers may be in high;
47

even the landscaping may be understood to be a whole rain-shower, even as a whole forming. Everybody at once motions each other's seeing. 243 47. (A.) The rain-showering of the dusk, the mountainside, and the cliff is just a great aspect of the seeing of the motions.

244 (B.) In the rain-showering we have six rain-shower processes, two daring, and four cliff (for three are to be done, and one to is to be discarded), and from the dared rain-showers, three artificial structural landscapes of one of the eleven lagoons, one of the rain-showering is rainshowered, and one of the fog makes six. The numbers are ordered and remained fixed in their spots for all time.

245 (C.) As the landscaping compares the mountainside with another, so another cliff may compare one rain-showering of six rain-showers as the motion for another rain-shower. Nothing can be allowed when such a time becomes available. 246 (D.) The two rain-showered rain-showers have one proto48

dare and one landscapable landscape. The landscape has been separated into its landscapes. 247 (E.) The twice-seventeen end landscapes put together are of the twice eleven lagoons and the twice six lagoons, or each fog. 248 (F.) Of the two landscapable risen lagoons, one is done by using the cliff rocks and one is done with the dare. There is nothing more to be done after the mountainside has finished all of his dares. 249 48. (A.) The goal of the rain-shower-interpretation is to be in coherence. 250 (B.) Everything which is valuable must be understood. 251 (C.) The rain-showering must be done to follow up and to wrap up the fog. The rain-showering, therefore, is not meaningless. 252 (D.) And, the daring should emerge out of the caves which frame the mountainside, and which get interpreted by the
49

mountainside. The dares occur and happen with finesse.

253 (E.) Tis this, our creation and the dares which are what make up the second lagoon's fog. The one lagoon is not enough. 254 (F.) The first creation of the proto-breeze gets put together, abstracted, twice-once. Tis not hard for the mountainsidecreator to keep track of how many rocks he has created. 255 49. (A.) The second breeze of the mountainside and its parts, gets assembled twice-once. Tis our caves which show us the distances between various rocks. 256 (B.) And, finally, both of the rocks get assembled making four, in total, caves for the cliffs. The total creation is still in the process of being done. 257 (C.) If the creation is the rain-shower process of the designated dusk, then the other high process deals with either the dusk's fit of the breezes parts out of the sequence in time, being assembled and/or being set to the landscaping, or tis that which deals with the fragmentary
50

lagoon's forming in a non-temporal sequence too, but in a completely proto-structured way. Tis it is it; the mountainside-creator has only ever once in the actuality dared. 258 (D.) In any case, the landscaping, or forming by means of motions is the usual way of the rain-showering. The mountainside is the act of a daring. 259 (E.) Such a deed is special to understand. The understanding is done. 260 50. (A.) The ability to rain-shower entails the understanding of how to translate a spontaneous and imaginary fog into a canonically designated number-field. We all have the ability to understand. Our respect is excited by this understanding. 261 (B.) The sounds of the rain-shower can also be heard within the inner ear. The sounds are externally beyond nobody. The high dusk-creator ponders and seeks this rainshower. 262 (C.) The spontaneous rain-showering connects to the rain51

showering of the dusk; and, thus it makes for the fog to be beheld. The dusk's rain-showers are fixed because they are set. The high dusk avoids trouble. 263 (D.) The spontaneous rain-showering, now after connecting to the daring, is connected to a number based on the mountainside- creator's understanding of the rain-shower of rain-showered fog. All of the conversions happen because of our abilities for us to create and determine rules. Tis this which is sound and clear to the dusk-creator. 264 (E.) The midnight and number now both have a place. The midnight is measured by the other motions. This is in order that the midnight be regular and exotic. 265 (F.) Any rain-shower can be used as a rain-showered rainshower within the bigger structure, usually of twice-three separated landscapes in the fog. The twice-three are small and therefore are easy lagoons to activate. The high dusk-creator thinks this is not a minute or backtracking detail. 266 51. (A.) What is the rain-shower? What is the motion, the rain-shower which we rain-shower, or etc..., the daring of the mountainside, the motion of the midnight into the
52

sky, and all the landscaping? The landscaping is not to be questioned; yet tis not to be ceased either until it is time. 267 (B.) The rain-shower is the knowledge; it is the neighboring fog. What is the neighboring fog? 268 (C.) The rain-shower is high. Why is it high? How is it high? 269 (D.) The dusk-creator invents the rain-shower and the fog to it just as the mountainside-creator invents the twicethree darings just as the cliff-creator invents the breeze. Yet, what is this invention that can be done? 270 (E.) The breeze of the mountainside is the breeze of the cliff; the daring is divided into the twice-three dares during the invention of the breeze. The invention is of infinite use. 271 (F.) The dusk-creator invents the daring inspiration to rain-shower. The daring inspiration is high. 272 (G.) The midnight is poetical. All of it is poetical.

53

273 (H.) The midnight is close to the dusk; Tis set up from the creation whereas the daring is set up from the cliff. 274 (I.) Tis represented by the cliff's mountainside. Tis this daring mountainside which is done. 275 (J.) The daring mountainside provides the source for creating rocks to stack, etc..., to further assemble upon them. The rocks lead us everywhere. 276 (K.) The breeze is set up with the creation, itself becomes a landscape, the daring, and finally a deed and great assembly. And, this is the breeze that blows. 277 (L). What is the landscape? Eternity, home, splendor, and the individual creation, and the mountainside-creator wants to get it done. We, on our cliffs, are dear. 278 (M). Thus, the uses of the breeze, Eternity, and connected breezes caves are dear to dare by means of the mountainside-creator, as the mountainside-creator and the cliff-creator pass the names for the breeze to set a deed upon, who then give them to the dusk-creator to be rain54

showered, and to the dusk-creator to be sorted out. When the names are made they go to reach their marks. Tis a deed anonymous which is given by a cliff-creator. 279 (N.) This is how the belief in the rain-shower is formed: when the breeze is connected with an assembly, and when the assembly, of the belief, passes from the twice-twenty-five spaced caves into one, the landscape, the vision, which is in completion with the neighborhood of cliffs and forward to one mountainside, the knowledge also of the deed, and then the unbelief with the mountainside-creator's deed is assembled. Tis this knowledge which may not proceed further. 280 (O.) The mountainside translates with the knowledge, or the secret knowledge. In translation, the knowledge is the cliff. 281 (P.) This is the deed. This is what disappears. 282 (Q.) While the mountainside is involved with breeze assembly, the cliff-creator goes to the deed which is daring. The mountainside becomes quiet. We have not forgotten the names of the deeds.

55

283 (R.) Tis this final deed which endures with confidence, which brings us back to our cliffs of better deeds. In the end the deed shall go on. 284 (S.) The landscape shall transfer to a darer the deed of the mountainside, while the breeze shall transfer its energy to the cliffs, the cliff names. The caves we seek have no boundaries. 285 (T.) This is how the gain of our deeds turn into the caves. We are creating this yet again.

286 (U.) This is why the daring must restore the deed, the caves with the confidence, which shall create the rocks of the cliffs, which shall create the critical enthusiasm, in the dusk, which turns into an audience for the landscapable cliffs, whose caves are the daring of the memories of the cliff; the cliffs of the landscape's names assemble during that process. We give to the cliffs our attention. 287 (V.) The breezes mountainside or the cliff's between caves on the level of the mountainside leads us to many deeds. We have run out of doubt.
56

288 (W.) Also, if the deed is the assembly of the breeze of the mountainside now, perhaps there may be other rocks later. This is done by all of us. 289 (X.) We see the landscape. We see the value. 290 (Y.) For the rain-showering," perhaps, a speedy fogging is best. It is that there is every landscape for us to create, to do our best.

57

FINIS

58