Bartolome Esteban Murillo Inmaculada Museo del Prado painting

Bartolome Esteban Murillo Inmaculada Museo del Prado paintingBartolome Esteban Murillo Inmaculada de Soult paintingGeorge Frederick Watts Sir Galahad painting
curiosity ofthat kind at all. They were kind, patient, generous, sharing food, giving me a house, letting me work with them, but they were not interested in me. Or in anything, as far as I could tell, except their daily pursuits—, preparing food, making jewelry, and conversation. But conversation only with one another.
Like everybody else, I found their language so difficult that they probably thought me retarded. I made the usual attempts to learn by exchanging words—you hit your chest and say your name and look inquiringly at the person facing you—you hold up a leaf and say "leaf" and look hopefully at the person facing you... They simply did not respond. Not even the young children.
As far as I can tell, a Nna Mmoy does not have a name. They address one another by ever-varying phrases which seem to signify both permanent and temporary relationships of consanguinity, of responsibility and