FIELD SPORTS IN ART. 243 
embers of his fire—the sleeping savage could touch it 
with his flint-headed spear—there was the crash as it 
fell into the prepared pit ; he awakes, the dying embers 
cast shadows on the walls, and in these he traces the 
shape of the vast creature hastening away. The passing 
spirit has puffed the charred brands into a sccond’s 
flame, and thus shadowed itself in the hollow of the 
cavern. 
Deeper than the excitement of the chase lies that 
inner consciousness which dwells upon and questions 
itself—the soul of the Cave-man pondered upon itself; 
the question came to him, as he crouched in the semi- 
darkness, over the fire which he had stirred, ‘Will my 
form and aérial shadow live on after my death like that 
which passed but now? Shall I, too, be a living dream?’ 
The reply was, ‘Yes, I shall continue to be; I shall 
start forth from my burial-mound upon the chase in 
the shadow-land just as now I start forth from my cave. 
I shall entrap the giant woolly elephant—I shall rejoice 
at his capture ; we shall triumph yet again and again. 
Let then my spear and knife be buricd with me, but 
chip them first—kill them—that I may use their spirit 
likenesses in the dream-chase.’ 
With a keen-edged splinter of flint in the daylight 
he incised the outlines of the mammoth upon a smooth 
portion of its tusk—its image was associated with his 
thoughts of a future life, and thus Art in its earliest in- 
ception represented the highest aspirations of mar. 
But could the ignorant savage of that long-lost day 
have been capable of such work? The lowest race of 
savages in Southern Africa—the Bushmen—go about 
with festoons of entrails wound around their loins. 
After a successful hunt—with the pit or poisoned arrows 
—they remove the entrails of the slain animal and wear 
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