Etréstles says: “Vernarth's Aeternitas immortality trembled with the fury of his engrossed isolation, after descending from the top that lowered him haggard towards a spiced underworld, without ischemic pain or complaint, causing transient cellular fatigue, wanting to have another nickname May it renew you, under the pretext of digging into the eternity of unnameable silence full of earth of beech leaves, above your non-germinated senses. Abbreviated topic of placebo and iconoclastic speeches that were exerting an accumulation of cloaks of once ferment and matter in a desoldered period, disintegrating it into perpetual, exiled and physical-dynamic movement, but not eternal. Drilling into the continuity of his perpetual preaching, where nothing and no one emits or auscultates him out of focus, nor outside of every overwhelmed unknown universe, becoming independent from the effects of full irony and moaning in the tragic noses and dying lux, separated from two broken rehearsal mirrors of a life among thousands, like every inflection of not fearing to be in a life watching his crazy imaginary seduced, for which he is inflexible, seeing rolling evolving chariots of fire and the accuracy of an eternal minstrel.

When we were on the deck of the Eurydice I saw how we danced through Vernarth's diaphanous fingers, already leaving the same color of the Ouzo throughout the enraged sphinx, falling on their own feet, where others were already insinuating that they apprehended to be counted in their ovations and emotions, to discern them in the ashtrays of Aion. Powers of the potential begin to become cautious In Aeternum; in the straight line to her clone, but without beginning or end, without time or matter, now being her own God, rebelling against the correlated dam and the notion of the concept of "Being instantaneous, immune to the cloister of effective and continuous knowledge. to become concrete as God ..., god of Berne-Gethsemane, among the songs of the waves of abyssal seas, before the perfection of a song ceases to exist, out of tune with the court of Aion ”. I Etréstles; I command the zeal to stay in the twelfth cemetery, being able to symptomatize the ****** and their Harpies that bloom from the veins of pious beings like Vernarth, after these beautiful winged women, became pregnant just by observing them, after swallowing them with all its evil thicket, remaining in snowy genius and its menopausal gynoecium. All of them with their sharp claws broke their hearts inside, as many times and almost as they were towards the tear, before emigrating for their banal philosophical philanthropy, and how their days were lightened, to deduct from them how they found out, not being the subsequent equal. Nothing is suffering with this flute that solfies when his ears are listless like herramentous ****** making him tremble with harmonious notes and tears on his emaciated surface and his mask. Behold, his simile face is a disfigured universe, not being possible to count the distances between his equidistant eyes, and the tears running wildly down his face, at the end of the mouth that kisses the hands of his relative beloved, disintegrating his own, turned into nothing.

His sufferings due to the emotional sugary universe uncheck omens of destroyed futures described in some branches Olivácea Bernianea; posture towards a presenteeism of multiple features, father and son hating each other of so much love between the decaying orbits of all Albacete's horn and its indurable plain; in areas of beautiful roots and tubers of Beech with reliefs of insane curves ..., called Empresses of Vernarth, like the In Aeternum stretch falling from the autumns in the high grace of the maker, in radiant relief to the final pinnacle, ready to his light soul, stepping on leaves after vacant leaves, recreating the minor variations of his eardrum tinnitus, hating the Tchaikovskian  Romances ..., recent and smooth, when they spread to him near the Volga. Vernarth landed with his mouth towards her facade, amid gutted withered papyri and late musicals; called Scores of illusion and of religion when the sidereal harp sounded, which was nothing more than another harpy, coming when it fell on the keys of a Muscovite bell. The borders, in themselves as a space of reality, accompanied him, making them feel that he was still outside the Hermitage spaces, even though he did not know anything or the cold that would attenuate him in distinction from his Bern-Time that jumps to the emotional deck, making him feel compunction and even hypothetically mortal. His mechanical life fell from Van Gogh's hesitant lectern, as a mechanics of an unspecified model, in a singular dizziness still imprisoned by his thin dermis, on the way to uncovering the figure of knowing who he is or was, knowing that no one before would model him in his hyper-Ouzo, which gravely opens the slander in his Bern-Time space, of the fences of his cursed hysteria coming out of the bellows of his veins and of ferocious ******, that sing cruelly and laugh with great art, for those who he defies and deconcentrates his sorcerer and imp with those evils that are still in his pockets. Rolling he asks to circulate through Florence-Tuscany, diavolo in his multiform cosmogony, "Possibly Dead Reviving" has decayed himself, running towards himself to give the last range of mole and lung balance, in expansive hopes to validate him, perhaps of a false revival . Receiving from the liver gargles, and from his grave goal injured desires to intoxicate the unknown universe, in pretending to decipher the key on its back, full of grains that hide particles without mass, nor gravitations that overestimate towards a pendular digital heart-Longines, like a hedonistic tale and mischievous ending with a profile towards the trees of the Hylates forest longing for him.

His verses are confused with pains of conscience without trace, or trace, or world that falls short before closing the prima lux, passing in front of loves of In a Gadda Da Vida, for whom the symbol of the one who sketches it, his shadows Let them highlight his soul, as a solemn tangible metaphor, portraying the adolescent face of those who sleep under the attentions of their ascendants, removing the harshness of prophetic doping. That tortures and invades him on the haunches of Alikanto, who even carries him on it, when his steed got tired; he himself carried him in his arms resting his sour grief of a Hoplite slain horse. His iconology, is and will be in the hexagonal baptistery of Ein Kerem, solfing choirs on Templar choirs, which thunder in the spawn in sheaves until a An altar that calms him nothing, in the finitude of allegorical deities, who tempt his tortuous veins in moratorium and ******, suffering when resisting the sprains of the obtuse world, trailing themselves in his cold Berniform tail.

Against an Auric medal that prostrated her on her arms, she covers herself with a well-tempered cymbal, nourishing herself with the turpentine and the alliance with the Ouzo caramel in a plummet of the thick Hellenic toasts, she sobs in perpetuity with sagacious attacks, of a heretical and sado-narcissistic, wandering into old age, in which the fame dictated in thin and expired laws is adorned, under immutable and tasty decrees to love over the same aphrodite in love with Himself, while Vernarth stocked himself with the medallions chained in the armaments of happiness inscribed, in the precise numbers of sighs that would name him as Vernarth, son of Sisyphus, guru of pending conclaves and vacillations, “Behold, of whom he spoke and allows me to delight him with his prowess, in self-punishment of trivial branches , in nettles varying the ******* and the spheres that degenerated from heavy lightness to the metallic ones of confusion. He bites the row of his comet, and falls on it knowing that he is the savior of the enlightened Buddhisms, in penance within it, that he will not let him sleep on its immobile stars, but of a mobile astro, mobile range sapiens, the primordial beginning of its chaos bibliographic seized with ideal abstinence, which he figures on his ink-stained wrist In Aeternum.

Ever since his adolescent temptation, he has to launch aeroliths of sighs to the castle of his court, he claims to remain imprisoned in the obesity of its walls, which will be postponed for the other winter, going through the same passage that made him come; on the petty north *****, by the sweet necropolis that would later ignite by not getting lost among the living, rather by the fallen who would seek the living among the dead, to help them correspond between close and resurrected verses of their In Aeternum seduced alive in his life. Vernarth refuses to come and go up the ***** of his court, she has to remove the dagger from his wrists, which almost cuts the arteries threads of the scaphoid and pyramidal, stamped with tender fire and a playful irrational object, "I instigate In Aeternum to my onerous mind, whose world map and its impolite parallelograms cut out the valleys of Bern-Universal ..., planting in Adonis of square cycles, ... only by alternating temptation ...”