III.
It has been said that poets shape the world we exist in, perhaps to the point of making it more appealing than it is, somehow, presumably via paganism. The song about favourite things from The Sound of Music is not particularly subtle about what it is, namely that it's a female singing about her favourite things in order to insist that others, including the audience, take this also as their favourite things. This is the general point of the song, and its aesthetic appeal is contingent upon this insistence. Now, this seems like a rather strange concept for a song in the first place, but nonetheless it isn't something which could occur by itself, especially once sexual themes and marriage have been brought up, before it become some sort of strange pornography, and as the character is not assumed to be immune to these but rather associated with them, while on the one hand explaining why the audience might find this impressive (if underwhelming in the end or only preparative to something else.), it also follows that this has to be mediated somehow or it may become vulgar or crude. As a result, it becomes a slightly more complex matter, or the song itself seems to detach from the character who is supposed to sing it - as it might, they are only a character - which also seems to excuse it.
What effect is this song to have on the things themselves? It is presumably meant to figure their stories in some way. As a result, the children and others are presumably supposed to encounter these, and as the song itself is shallow and says little about these objects other than that someone likes them, and expects the others to like them for no reason, they are presumably to have not signified, said, meant or figured anything other than screaming, 'Like me!' over and over again, like a Twitter account or most pages on the internet compared to this post. Try it. This is essentially just imbuing the objects with a ghoul of some sort, which had earlier been inducted by the necessity of a character having to have favourite things which were not hers, with the opening being created prior to this by their both being characterised as familiar with and describing particular aspects of the outside world to be liked despite little experience of them on the other side, and then not explaining this at all, and on the other hand the obvious fact that she is also separated from these in the act or hoping to be back with them, as another musical filled with pop songs said 'Wishing You Were Somehow Here Again,' which in brief cancels out to leave a void. They are hence doing little but pinning ghouls from somewhere - which bane may be called a banshee by some - on random locations and objects as some sort of threat. It must also be noted that in this process the singer becomes as it were a pagan, but in addition as they are merely attempting to substitute for or possess the children of either gender, they are posited as leaving Christianity (and 'strict' Christianity is just Christianity), in order to further their personal life as a transsexual. In that sense, it must be observed that Marx's 'x' in the name is highly important, as with slight modification he becomes a weeping creature crying about their favourite objects, as they are.
However, it is also worth noting that the sense of comfortable numbness, which was merely apparent, about Karl Marx's writing could only occur through a similar process of implanting screaming voices in it touching on talking points, which could not occur from someone who did not like or relate to them, but only from Marxism itself, from which we saw continually a bunch of shouting about certain buzz-words in order to turn the 'objects,' which were simply various terms that happened to reoccur in Marx, into screaming entities which may turn readers off from within the book. This adherence to Marxist terms would seem to anchor them as Marxists, although to be convincing they would also need to pretend to be imbued in this, rather than in some other sphere. Nonetheless, it made them weirdly inclusive about this term, until it couldn't mean much. However, it also implied a sort of threat, as if Marx was screeching constantly about things threatening to people such as communism and demanding that they listen to him about this - which doesn't make a lot of sense. Surely disliking that kind of attention-seeking would be more characteristic of Marx than his opponents, who in truth could not be bothered with coherent statements so much as just appealing to whoever or making appealing sounds or gestures. This is itself misleading, however, or in order to appear serious on any level they were to be taken as caricatures, which is again self-undermining on their part.
It has been said that poets shape the world we exist in, perhaps to the point of making it more appealing than it is, somehow, presumably via paganism. The song about favourite things from The Sound of Music is not particularly subtle about what it is, namely that it's a female singing about her favourite things in order to insist that others, including the audience, take this also as their favourite things. This is the general point of the song, and its aesthetic appeal is contingent upon this insistence. Now, this seems like a rather strange concept for a song in the first place, but nonetheless it isn't something which could occur by itself, especially once sexual themes and marriage have been brought up, before it become some sort of strange pornography, and as the character is not assumed to be immune to these but rather associated with them, while on the one hand explaining why the audience might find this impressive (if underwhelming in the end or only preparative to something else.), it also follows that this has to be mediated somehow or it may become vulgar or crude. As a result, it becomes a slightly more complex matter, or the song itself seems to detach from the character who is supposed to sing it - as it might, they are only a character - which also seems to excuse it.
What effect is this song to have on the things themselves? It is presumably meant to figure their stories in some way. As a result, the children and others are presumably supposed to encounter these, and as the song itself is shallow and says little about these objects other than that someone likes them, and expects the others to like them for no reason, they are presumably to have not signified, said, meant or figured anything other than screaming, 'Like me!' over and over again, like a Twitter account or most pages on the internet compared to this post. Try it. This is essentially just imbuing the objects with a ghoul of some sort, which had earlier been inducted by the necessity of a character having to have favourite things which were not hers, with the opening being created prior to this by their both being characterised as familiar with and describing particular aspects of the outside world to be liked despite little experience of them on the other side, and then not explaining this at all, and on the other hand the obvious fact that she is also separated from these in the act or hoping to be back with them, as another musical filled with pop songs said 'Wishing You Were Somehow Here Again,' which in brief cancels out to leave a void. They are hence doing little but pinning ghouls from somewhere - which bane may be called a banshee by some - on random locations and objects as some sort of threat. It must also be noted that in this process the singer becomes as it were a pagan, but in addition as they are merely attempting to substitute for or possess the children of either gender, they are posited as leaving Christianity (and 'strict' Christianity is just Christianity), in order to further their personal life as a transsexual. In that sense, it must be observed that Marx's 'x' in the name is highly important, as with slight modification he becomes a weeping creature crying about their favourite objects, as they are.
However, it is also worth noting that the sense of comfortable numbness, which was merely apparent, about Karl Marx's writing could only occur through a similar process of implanting screaming voices in it touching on talking points, which could not occur from someone who did not like or relate to them, but only from Marxism itself, from which we saw continually a bunch of shouting about certain buzz-words in order to turn the 'objects,' which were simply various terms that happened to reoccur in Marx, into screaming entities which may turn readers off from within the book. This adherence to Marxist terms would seem to anchor them as Marxists, although to be convincing they would also need to pretend to be imbued in this, rather than in some other sphere. Nonetheless, it made them weirdly inclusive about this term, until it couldn't mean much. However, it also implied a sort of threat, as if Marx was screeching constantly about things threatening to people such as communism and demanding that they listen to him about this - which doesn't make a lot of sense. Surely disliking that kind of attention-seeking would be more characteristic of Marx than his opponents, who in truth could not be bothered with coherent statements so much as just appealing to whoever or making appealing sounds or gestures. This is itself misleading, however, or in order to appear serious on any level they were to be taken as caricatures, which is again self-undermining on their part.
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