You Cannot Get Away | My Web Site Page 189 Chapter 01 Page 04Formidable Ace chose the topics covered by You Cannot Get Away | My Web Site Page 189 without reflecting upon the choices others have made. Explaining where you are going when you really have no idea just so that people who care about you do not worry and wonder about your fate is another way to look at things in a different light. |
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In No. 4 we have an illustration of the tube-mouth or Solenostoma, one of the two known kinds of fish in which the female shows a sense of her position as a mother. The tube-mouth, as you can see at a glance, is a close relation of our old friend the seahorse, whose disguised and undisguised forms in Australia and the Mediterranean we have already observed when dealing with the question of animal masqueraders. Solenostoma is a native of the Indian Ocean, from Zanzibar to China. In the male, the lower pair of fins are separate, as is usual among fish; but in the female, represented in the accompanying sketch, they are lightly joined at the edge, so as to form a sort of pouch like a kangaroo's, in which the eggs are deposited after being laid, and thus carried about in the mother's safe keeping. No. 5 shows the arrangement of this pouch in detail, with the eggs inside it. The mother Solenostoma not only takes charge of the spawn while it is hatching in this receptacle, but also looks after the young fry, like the father stickleback, till they are of an age to go off on their own account in quest of adventures. The most frequent adventure that happens to them on the way is, of course, being eaten. |
The casket was soon open before them, and the various jewels spread out, making a bright parterre on the table. It was no great collection, but a few of the ornaments were really of remarkable beauty, the finest that was obvious at first being a necklace of purple amethysts set in exquisite gold work, and a pearl cross with five brilliants in it. Dorothea immediately took up the necklace and fastened it round her sister's neck, where it fitted almost as closely as a bracelet; but the circle suited the Henrietta-Maria style of Celia's head and neck, and she could see that it did, in the pier-glass opposite. |
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The Gaun Bagudzitash, or Dance of the Gods, is the one ceremony of the Apache that bears any material resemblance to the many Yebichai dances or "chants" of the Navaho, and even then the only feature common to the two is that the men, typifying gods, wear elaborate masks. The Apache are not unfamiliar with the making and employment of dry-paintings for the treatment of the sick, as has been seen. Originally the dry-paintings and the _gaun_, or gods, always appeared together, but in recent years the Gaun dance has been conducted preliminary to and as a part of medicine, puberty, and war ceremonies. Captain Bourke, in his "Medicine-men of the Apache" (Ninth Report of the Bureau of Ethnology, 1892), speaks of this as the Spirit or Ghost dance. Though performed infrequently now, as compared with other dances, on account of the expense and of disapproval by the agents, the Gaun Bagudzitash is unquestionably the most popular ceremony conducted by the Apache. | ||
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