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works established the rules of the genre, without which it would have spent much time groping about for a sense of itself. From its birth, the Shaggå has reached an unsurpassable level of perfection, a maturity that does not suffer from childish illness. Mirrors of the Cadaver is not an experimental prototype, but a work that belongs to the domain of post-exoticist academism. The authors who, as a result, have chosen the Shaggå as a mode of expression have not felt the need to alter any of its characteristics. To the contrary, they have imitated the canonical models, introducing no variants besides the inoffensive, under no pretext do they diverge from the path, ever vigilant to avoid betraying Infernus Iohannes.
A Shaggå always breaks down into two distinct textual masses: one part, a series of seven sequences rigorously identical in length and tone; the other, a commentary, in which the style and dimensions are free.
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