A splendid little charles louis philip, a splendid spout of little cups and colds, a splendid big stir, a splendid glass, a splendid little splinter, a splendid cluster.
(4). Why should wet be that and cut, cut with the grass, why should wet be that and clut with the purse, why should wet be wet and the wet that wet. Why should wet be the time to class. Why should there be solemn cuppings.
The lean bark, that is the round and intense and common stop and in shouting, the left bark and the right bark and a belt, in that belt, in no belt and a corset, in a belt and chores, in a belt and single stitches, in more boys than enough, in all thin beer and in all such eggs, in all the pile and in all the bread, in the bread, in the bread, in the condition of pretty nearly saying that yesterday is today, and tomorrow, tomorrow is yesterday. The whole swindle is in short cake and choice cake is white cake and white cake is sponge cake and sponge cake is butter.
House to house.
(1). A habit that is not left by always screaming, a habit that is similar to the one that made quiet quite quiet and made the whole plain show dust and white birds and little plaintive drops of water, a habit which brightened the returning butter fly and the yellow weed and even tumbling, the habit which made a well choose the bottom and refuses all chances to change, the habit that cut in two whatever was for the use of the same number, the habit which credited a long touch with raising the table and the hour glass and even eye glasses and plenty of milk, the habit which made a little piece of cheese wholesome and darkness bitter and clanging a simple way to be solemn, a habit which has the best situation and nearly all the day break and the darkness a habit that is cautious and serious and strange and violent and even a little disturbed, a habit which is better than almost anything, a habit that is so little irritating, so wondering and so unlikely is not more difficult than every other.
(2). A change a real change is made by a piece, by any piece by a whole mixture of words and likenesses and whole outlines and ranges, a change is a butt and a wagon and an institution, a change is a sweetness and a leaning and a bundle, a change is no touch and buzzing and cruelty, a change is no darkness and swinging and highness, a change is no season and winter and leaving, a change is no stage and blister and column, a change is no black and silver and copper, a change is no jelly and anything proper, a change is not place, a change is not church, a change is not more clad, a change is not more in between when there is that and the change is the kind and the king is the king and the king is the king and the king is the king.
(3). Could there be the best almost could there be almost the most, could there be almost almost, could there be the most almost. Could there be the most almost, could there be the most almost, could there be almost almost. Could there be almost, almost.
Can the stretch have any choice, can the choice have every chunk, can the choice have all the choice, can the stretch have in the choice. Can there be water, can there be water and water. Can there be water. Can there be.
(4). A cousin to cooning, a cousin to that and mixed labor and a strange orange and a height and a piece of holy phone and a catching hat glass and a bit of undertaking. All this makes willows and even then there is no use in dusting not in really redusting, not in really taking everything away. The best excuse for shadows is in the time when white is starched and hair is released and all the old clothes are in the best bag.