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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.

In the midst of his prosperity Tarquin was troubled by a strange portent. A serpent crawled out from the altar in the royal palace, and seized on the entrails of the victim. The king, in fear, sent his two sons, Titus and Aruns, to consult the oracle at Delphi. They were accompanied by their cousin L. Junius Brutus. One of the sisters of Tarquin had been married to M. Brutus, a man of great wealth, who died, leaving two sons under age.[10] Of these the elder was killed by Tarquin, who coveted their possessions; the younger escaped his brother's fate only by feigning idiotcy. On arriving at Delphi, Brutus propitiated the priestess with the gift of a golden stick inclosed in a hollow staff. After executing the king's commission, Titus and Aruns asked the priestess who was to reign at Rome after their father. The priestess replied, whichsoever should first kiss his mother. The princes agreed to keep the matter secret from Sextus, who was at Rome, and to cast lots between themselves. Brutus, who better understood the meaning of the oracle, fell, as if by chance, when they quitted the temple, and kissed the earth, the mother of them all.

One evening she was in difficulties about the quarantine, which was enforced that year on the Italian frontier. The local doctor had gone down that morning to see the Italian doctor and arrange some details. "Then, perhaps, my dear," she said to her husband, "he is the quarantine." "No, my love," replied her husband. "The quarantine is not a person, it is a place where they put people"; but she would not be comforted, and suspected the quarantine as an enemy that might at any moment pounce out upon her and her parrots. So a lady told me once that she had been in like trouble about the anthem. She read in her prayer-book that in choirs and places where they sing "here followeth the anthem," yet the person with this most mysteriously sounding name never did follow. They had a choir, and no one could say the church was not a place where they sang, for they did sing--both chants and hymns. Why, then, this persistent slackness on the part of the anthem, who at this juncture should follow her papa, the rector, into the reading-desk? No doubt he would come some day, and then what would he be like? Fair or dark? Tall or short? Would he be bald and wear spectacles like papa, or would he be young and good-looking? Anyhow, there was something wrong, for it was announced that he would follow, and he never did follow; therefore there was no knowing what he might not do next.

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