according to the legend, keridwan, whose name comes from kerydd, the word for a love that abrases – that chides – and gwen, the white colour that also gives description to the consequent guinevere and jennifer.
caritavana, according to the legend, held to the atomistic idea of the cauldron – an idyll, fluted, hideous, made analogy with morfran, a distant sort of vestigial limb. afagdu's analogical ethologies – liquid which spilled over in an attempt to stir. the repulsive and wisdom – it is a ragtag appearance, a connotation and this ultra-idealist attempt to unite – later the pairing of the grotesque and defleshed makes clear the incision and philosophical razor. the lost and loaned which uncommonly offer the most judicious of silence. the word is spoken with liquid – wisdom the translocation of strangling.
karjita's attempt to raze to the ground the mishandling, and the shifting – through phenomenological drifts that share and kiss; rabbits, dogs, fish, otter, birds and hawks – landscapes with trees, with a pyllogic twist that envenoms anachronism and desire; death so beautiful it couldn't be killed – the hideous sewn in a bag of seal-skin.
caritas – or chastity, as chastisement, the distance between one androgynism and its incision – the proximity of virtual speech: redemption of coils recedes, in the same noncoagulation of blood calls.
wena's sooth actuarily segmented each animal into distinct forms, the coating of the cauldron became glinted upon – a metallized format of silenced –surreptitiously evanescent– flesh. the townspeople had made some cries to uncommonness, as summons and slippage created the shadow-drop of karjita's past.