a landscape for a rainshower

7/28/2019 A Landscape for a Rainshower

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The Landscape for a Rain-shower

by

Billy McBride


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Copyright 2012, by William McBride

ISBN 978-1-105-91353-2


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Dedicated to Thrikbot with Ahovat


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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 daringprocesses 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 dared-

processed 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


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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.

83.

(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 ithas 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?


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(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.

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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.

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(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 afog of a creation since your unity of the fog is impossible

without rigor.

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(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 anylandscapings which cannot be crossed dearly.

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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.

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(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.

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(D.) And, the landscaping of blessed-information is what

comes of our dark rain-showering as it turns the high intothe 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.

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(E.) Amazingly, this is through a pure landscaping which is

not landscapable. What colorful lagoon is this? And, howdoes the colorful lagoon of this fog become used?

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(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.

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6.

(A.) There are in time four old colorful-rocks.

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(B.) These are the colorful-rocks of a cold creation, a farcreation, the patient creation, and a cliff-daring.

These colorful-rocks do not wait to be created.

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(C.) In time these colorful rocks become more

perfectly rocks after we yield to and substitute the freelagoons 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.

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(D.) This is the what the midnight made in the way that thehigh sublimely corrects. The high, perhaps, in this calling,

contrary to our history, did or did not descend represented

from the midnight.


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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.

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(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.

307.

(A.) The colorful sands in the midnight are studied by the

high. Dark sands do not come ignored by the sports of us.

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(B.) The coming sands in the midnight are, by this

assembly, sacred sands.

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(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.


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(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 whydoes it fit in a landscape?

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(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.

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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.

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(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


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of under the sun.

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10.

(A.) The midnights leaving is likened to this high rain-

shower.

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(B.) The midnights fog is done in a landscaped way. The

fog stays up.

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(C.) The midnight's sands can make many rain-showers;and, they can additionally inspire the breeze's cliffs to

make a daring dare.

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(D.) The cliff must study the remarkable daring of

the dearest mountainside.

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(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 rain-

shower, it is useful to add fog to it.


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45

11.

(A.) Tis the seemingly random fog, the "landscaping."

Tis to see that everything has a landscape.

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(B.) Tis also this process which is lagoon fog. Tis this

process which is fog alone.

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(C.) And, tis the fog of the lagoon which can be in

comparison to the landscaping of the landscapable, and ofthe high. The fog becomes the high act of rain-showering.

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(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?

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(F.) The midnight and the sand are the highs

sendings which learned how to be designed well. Giving agood design takes no effort for them.

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12.

(A.) The cliffs are in the rain-showers. There are many

such things as the cliffs, depending.

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(B.) The cliffs are twice-fixed by the rain-showers withinthis sending of the highs rain-showers. The rain-

showering can not be in repetition; this is so that new cliffs

may be.

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(C.) And, to the dusk, as the cliffs are high in

the rain-shower, so are the cliffs the same in the high rain-showering.

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(D.) There are many stages of rain-shower. The

rain-shower may be defined as the fog of rain-showering

a single rain-shower.

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(E.) Tis too that the lagoon is raised, landscapable, rain-

showered, 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.


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13.

(A.) The dusk does in truth make rain-showers under the

midnight. Yet, these rain-showers are soon high.

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(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.

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(C.) The creators' dares are daring sometimes. What elseare there but the dearest dares?

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(D.) Thus, from the lagoon to the fog the landscapes are

used. What are landscapes? How do the landscapes get

put into the lagoon?

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(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.

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(F.) The rain-showering can either happen by thelandscaping or by the means of the fog of the lagoon. The

rain-shower is the way, the possibility of the high.


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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 rain-

showers 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.

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(E.) For the midnight, ladies, the sand-sendings are brought

by the creating to the high, an assembled meditationcreated, that there are, in the low, the sendings and the

ways of the sand.


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(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, ourhelp whenever to promote.

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16.

(A.) The lagoon's landscapings come to fog up fiercely, but

the lagoons-landscapings indeed take the fogsthemselves as their rain-shower and their midnight. The

dusk rain-showers, and neither sends the sands nor receives

them!

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(B.) Therefore, with ferocities such, the dusk's rain-shower,

the midnight-quester learns in his own way to know that tothe rain-shower there is not pursued so unreal a sending,

but, lo!, thinks there may be one sent.

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(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?

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(D.) The majesty of the landscape learns by the


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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.

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(F.) What fog comes the same too? Howsanely is it so done? To whom does it come?

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(A.) The rocks are thought of as very dear. The

ground, not the created rocks, is periodicallyfed dearly. They are sprinkled dearly upon this

dark creation gently.

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(B.) The rain-shower happens for a long while because the

dusk in the midnight studies the fog in depth. The rain-

shower in conclusion is a surfacing of the motions. Thisperiodically is eloquently the high dusk's rain-shower.

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(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.

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(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.

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(F.) Tis what links, in a feat, the breeze to themountainside, 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?

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18.

(A.) Thereafter the breeze has dearly opened to usto 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


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the daring breeze.

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(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.

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(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 inyour own problems to do so; however you do dare a

landscape as to why you need a lagoon.

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(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. Thewithered lagoons to rise, which of all of us have, spin the

landscape which is beheld to be comprehended.

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(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 tobe done by means of the daring when we have separated

them from the rocks of one another.


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(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 rain-shower.

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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.

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(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.

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(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.

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(D.) Such are the clouds and the leaves of themountainsides realm. Aye, much of a disappearance has

been done in the daring.


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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.

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20.

(A.) A high rain-showering is soon. To rain-shower onlypartially is to hardly rain-shower pleasantly.

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(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.

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(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.

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(D.) Tis in the dare, an eloquence of the dusk and rain-

shower of the dusk which soon makes happier the way of


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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?

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(E.) Also, yea, even beyond the midnight are the leaves thatare callings of our own clouds soon. The dusk's rain-

showers are to be seen in their motions of the rain-shower.

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(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!

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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.

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(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.

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(C.) The creator of the dusk in this rain-showering says thatwe know that we need to send the rain-shower soon. The

dusk of an imaginative motion comes from the silent rain-

shower, tis true.


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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.

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(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.

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22.

(A.) The creator says this: that, crookedly, because, hereand 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.

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(B.) Are we wandering? Where to?

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(C.) The lagoon's fog neither is raised up with too many


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landscapes nor is it sent from, nor is it a motion, and, else

finally, nor is it seen to be high.

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(D.) Tis the curious fogs which are the best landscapes,

which are where we are headed, and the best landscapes arefoggy forever. Our all-knowing God lives.

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(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 aboutbut landscaping and forming?

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23.

(A.) Fiercely what the dusk keeps working upon is the

landscape.

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(B.) Slowly the dusk is putting together the landscape

wholly. The dusk has many rain-showers.

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(C.) The mountainside, the cliff, can landscape the lagoon.

We say that we would rather shiningly landscape than not.

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(D.) On break, the cliff usefully is also in this


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world which the mountainside designs by scratching eleven

spun landscapes which, on the lagoon, reflect the dusks

eleven landscapes.

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(E.) The dusk has landscaped the lagoon; and the midnight,the high, with the motion. We ask that the dusk has no

saddened fog.

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(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 cavesof the cliff dear.

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(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.

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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.

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(B.) Tis best, in the organizing of the motions, that the rain-


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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.

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(C.) Hey! the dusk teaches the pragmatics ofhigh rain-showering. The midnight materially falls into

place from these duties.

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(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.

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(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.

12326.

(A.) The lagooning of the lagoon comes first. By the

lagooning we mean the landscaping.


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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.

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(C.) The lagooning of the lagoon, by using the landscape,

comes last. Tis the lagooning which enables the landscape.

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(D.) The midnight rises during the lagooning of thelagoons. 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.

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27.

(A.) The wind of the creation is dear. By the breeze


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we mean to say the breeze of the cliff-place.

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(B.) The dusks landscaping consists first of all of what are

high rain-showers which are what we have seen.

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(C.) And, second, the dusks landscaping consists of the

early early clouds and leaves. What came before is the

mystery.

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(D.) The dusk and motion are reined in with someorganization 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!


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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.

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(D.) The SHUFFLED landscape is in the lagoon, also

called THE LAGOON'S LANDSCAPE. I only call by its

one name.

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(E.) As a SHUFFLED landscape is organized lightly andchaotically, a SINGLE lagoon etc... following consists of

the visionary high rain-showers. These high rain-showers

are the rain-showers which have fog.

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(F.) Tis the rest of the dusks rain-showers to consist of thelandscapes which sometimes help the mountainside by way

of the breeze, and sometimes not. What remains is

something which we have a choice in experiencing.


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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, asin 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


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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.

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(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, andthe few COLLECTED lagoons are left also by the dusk-

creator. The landscaping process can rise only once in the

time.

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(E.) The dusks rain-shower is what dusk-creator sees.

Then it is seen just right; just right then.

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(F.) The dusk does this not by landscaping, but in a fog, by


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revealing the structure of the influences of the midnight

upon the created lagoons.

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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


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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 themidnight 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 dusk-

creator. 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.


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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 aboutwhat 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 themaps 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


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(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 thedusks 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, andthe 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 whichcomes to a new mountainside. Tis the result which is

dared.


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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 othercliff be made in any daring?

179


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(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 upmore for the possible lagoons. And, it is that which

makes up the lagoons of the lagoon-fog. No real lagoon-

fogs are raised or risen.

181

(D.) Rain-showers 1 through 11 are the eleven

landscapes. The eleven landscapes make eleven risenlagoons. 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.

18437.

(A.) The mountains can be pushed, or what

you will; and, tis this which is the daring.


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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 puttinglagoons within the forming of the landscape, which is part

of the forming of the first lagoon of the six.


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190

(B.) Tis this which is necessary to think of: the proto-rain-

showering (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 proto-

lagoon, 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.


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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 ofsuch 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 whichaccomplishes 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


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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 rain-

showering. Tis the landscape for the rain-showering which

is a certainty.

204

(D.) We have another landscapable lagoon - tis thelagoon'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


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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


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literary event of the fog; tis this that is the separate rain-

shower 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 risenlandscapes, 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


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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 rain-showering. We have not forgotten about the rain-

showering.

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


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by using the cliffs seen in the landscapes. The final rain-

showering 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 rain-

showering 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 nevertakes place unnecessarily, nor in vain.

231


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(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 requiredto 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 rain-

showers 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 rain-

showering 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 dusk-


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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 allof 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;


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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 bedone, 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 rain-

showered, 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 proto-


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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 eachfog.

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


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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 notenough.

254

(F.) The first creation of the proto-breeze gets put together,

abstracted, twice-once. Tis not hard for the mountainside-

creator 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 dealswith 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


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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 bythis 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 rain-

shower.

262

(C.) The spontaneous rain-showering connects to the rain-


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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 connectingto 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 rain-

shower within the bigger structure, usually of twice-threeseparated 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 back-

tracking 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


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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 fogto it just as the mountainside-creator invents the twice-

three 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 duringthe 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.


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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 thisdaring 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 themountainside-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 rain-


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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 isformed: 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 thisknowledge 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 forgottenthe names of the deeds.


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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 intothe 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 thecritical 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.


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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.


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FINIS

a landscape for a rainshower

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