世界未解之迷：神秘海底人鱼之谜

[ubiquitous]

如今感觉人鱼不一定美……

如果他们真的有血有肉很善良，一定是很美的~~~毕竟在很多女孩心理，人鱼都是伴随着为爱情而牺牲的美丽泡沫~~~~呵呵

[性感的大嘴]

诶~~人总是爱一厢情愿~
可能人鱼有长的漂亮的吧，就像中国人离既出貂蝉又出芙蓉~

剩下的慎入~~

藕实在不想露点

昨天的T台走秀，藕是哭着下场的。藕没想到会这样，藕冰清玉洁的雪白乳房事先贴了乳贴以保安全，但还是遭到无数火眼金睛的观众无情的蹂躏。藕被变相的强奸啦，藕真的不要活啦，藕哭，藕哭，藕哭哭哭！

刚开始和设计师沟通衣服的款式时，藕说希望有个很华贵的公主裙，配上华美闪耀的纱质披肩，一边走台，一边轻舞纱巾，一边优雅艺术的脱掉公主裙，露出里面的具有中国特色的改良旗袍，接下来，轻舞腰肢，脱去旗袍，露出经典的民族肚兜，展现流畅的S型曲线，和丰腴雪白的肌肤。所有的一切都要优美，高贵，艺术，深谙藕深厚的舞蹈功底和举世无双的身材。一层层的剥去外衣，一次次显现不同特色不同风格的服装。

但是，第一次试衣时，当藕看到最后为藕制作出来的服装时，不由得轻蹙眉头微微叹息。藕穿着这个肥大如工装裤般的鱼美人服，委屈的抗议，藕哪有这么肥，太玷污藕绝美的身材。还有这个胸衣，要好好改改，要不然肯定要走光。藕希望多些胸饰的设计，凸显藕美丽妖媚的丰满乳房。可是……555，在发布会上，藕还是无奈的穿上了似乎没有经过任何修改的鱼美人服。

上场前，藕提着肥大的鱼美人裤，不断的拉扯着胸部的布，失魂落魄，不知道怎么办，幸好藕助理见状问主办方索要了一付乳贴，才没有让藕在走台时彻底失去乳房的贞操。但是藕还是露了，露了，露了！！！！藕昨夜在梦中哭醒，很委屈：露点真的不是藕的本意！！！

肥大的衣服，沉重的裤子，下垂的裤裆，没有淋漓尽致的展现藕的腰身曲线，反而一次次差点把藕绊倒。藕不敢放开展示自己的疯狂的激情，优雅的气质，逼人的身材和火辣的舞蹈，一边提着裤子，防止被因肥大掉裆的裤脚绊倒，一边手拉着上衣胸口，防止丰硕的乳房跳出。藕手忙脚乱，绕台一周，仓皇下场，但是，藕的胸还是不争气的频频走光。

藕下场后，委屈的大哭，大家看到的不是真正的藕，藕不想露点，而且藕完全可以更好的展示自己。藕压抑着在眼眶打转的眼泪，不能落下，因为马上还要集体上场走台，不能弄花了妆，让大家看不到芙蓉坚强美丽的一面。但是，藕真的很委屈：

这次走光真的不是藕的本意，真的不是！！！！

[ubiquitous]

人鱼要是长芙蓉这样~~~我对这个世界的所有美好憧憬就全幻灭了~~~~

[性感的大嘴]

人鱼要是长芙蓉这样~~~我对这个世界的所有美好憧憬就全幻灭了~~~~

进这个dizhi 看看，够再让你幻灭一次的~~
http://www.megavideo.com/?v=9IGXF68O

[ubiquitous]

进这个dizhi 看看，够再让你幻灭一次的~~
http://www.megavideo.com/?v=9IGXF68O

我告你意图谋杀一点都不过分吧

[性感的大嘴]

本是同根生相煎何太急~

[戛戛]

就是好奇~人鱼和河童是不是同一种生物~

[此帖已删]

贴一张漂亮的人鱼！！

[Tracy]

我想贴啊。。。　可是现在没办法上传照片。。。
期待中～～

[此帖已删]

那两个日本人鱼是假的。


Feejee Mermaid

Type: Hoax.
Summary: Crowds in nineteenth-century America flocked to see what was advertised to be a real mermaid.





Advertisement for the Feejee Mermaid from the Charleston Courier, January 1843 Mid-July, 1842. An English gentleman named “Dr. J. Griffin”, a member of the British Lyceum of Natural History, arrived in New York City bearing a remarkable curiosity — a real mermaid supposedly caught near the Feejee Islands in the South Pacific. The press were expecting him, since throughout the Summer they had been receiving letters from Southern correspondents describing the doctor and his mermaid. So when he checked in to his hotel, reporters were waiting for him, demanding to see the mermaid. Grudgingly he obliged. What they saw totally convinced them of the creature’s authenticity.
Soon after this, the showman P.T. Barnum visited the offices of the major papers where he explained that he had been trying to convince Dr. Griffin to display the mermaid at his museum. Unfortunately, the doctor was unwilling to do so. So Barnum volunteered to give the papers use of a woodcut of a beautiful, bare-breasted mermaid that he had prepared, since it was now useless to him. The papers (each thinking they had an exclusive) happily accepted the offer, and on Sunday, July 17, mermaid woodcuts appeared in all the papers. Simultaneously, Barnum distributed ten thousand copies of a pamphlet about mermaids throughout the city. The mermaids in the pamphlet were also represented as seductive ocean maidens.

Mermaids, as depicted in Barnum’s pamphletWith all this publicity, anticipation to see the Feejee Mermaid (as it was now being called) became enormous. (Note: it’s also often spelled Fiji or Fejee.) It was the main topic of conversation throughout the city. Everyone was talking about whether it was a real mermaid. They had to see it for themselves. So Dr. Griffin agreed to exhibit it for a week at Concert Hall on Broadway.
Huge crowds showed up for the exhibit. Dr. Griffin lectured for these crowds about his experiences as an explorer and described his theories of natural history. These theories were a bit peculiar. For instance, his main argument was that mermaids must be real since all things on land have their counterpart in the ocean — sea-horses, sea-lions, sea-dogs, etc. So therefore, we should assume there are also sea-humans! Meanwhile, the press continued to lavish attention on the mermaid, with rave reviews appearing in papers, such as this from the New York Sun:

“We’ve seen it! What? Why that Mermaid! The mischief you have! Where? What is it? It’s twin sister to the deucedest looking thing imaginable—half fish, half flesh; and ‘taken by and large,’ the most odd of all oddities earth or sea has ever produced.” (The New York Sun, August 5, 1842.)

After the week-long engagement at Concert Hall, Dr. Griffin agreed to allow the mermaid to stay longer in New York City. So it was moved to Barnum’s American Museum, where it was exhibited for a month “without extra charge.” Ticket receipts at the museum promptly tripled.
The Hoax


The Feejee Mermaid, as depicted in Barnum’s autobiography Throughout all this, the deception of the public had been three-fold. First, although advertisements had shown the mermaid to have the body of a young, beautiful woman, the creature itself was far less attractive. It had the withered body of a monkey and the dried tail of a fish. As a correspondent from the Charleston Courier put it: “Of one allusion… the sight of the wonder has forever robbed us — we shall never again discourse, even in poesy, of mermaid beauty, nor woo a mermaid even in our dreams — for the Feejee lady is the very incarnation of ugliness.” In his autobiography, Barnum later described the mermaid as “an ugly, dried-up, black-looking, and diminutive specimen… its arms thrown up, giving it the appearance of having died in great agony.”
Second, Dr. Griffin was a fraud. He was no English gentleman. In fact, there was no such thing as the British Lyceum of Natural History. Griffin’s real name was Levi Lyman, and he was Barnum’s accomplice-in-deception. The mermaid’s introduction and exhibit had been the brainchild of Barnum all along. Barnum had arranged for letters about Dr. Griffin to be sent to New York papers throughout the Summer, and had then carefully orchestrated the mermaid publicity once Dr. Griffin (Lyman) “arrived” in New York. This had all been done to give the mermaid a veneer of scientific respectability.

Museum-goers examine the Feejee Mermaid. Illustration from Barnum’s Autobiography. Finally, the mermaid itself was a fake, and Barnum knew it. He had leased the mermaid from Boston showman Moses Kimball (who, in turn, had bought it from a seaman), but before doing so Barnum had consulted a naturalist to inquire about the mermaid’s authenticity. The naturalist had assured him it was quite fake. Nevertheless, Barnum realized that it wasn’t important whether or not the mermaid was real. All that was important was that the public be led to believe that it might be real. So he hired a phony naturalist (Dr. Griffin) to vouch for the creature’s authenticity, placed pictures of bare-breasted mermaids in the newspapers, and thereby manipulated the public into wanting to see it. As Barnum’s biographer A.H. Saxon puts it, the Feejee Mermaid was a classic example of Barnum’s ability to “take a mildly interesting object that had been around for some time and to puff it almost overnight into an earthshaking ‘event.’”
Where Did the Feejee Mermaid Come From?

Barnum himself didn’t create the Feejee Mermaid. As noted, he merely leased it from Moses Kimball. In fact, the creature had already enjoyed quite a colorful history before Barnum transformed it into a celebrity.

An 1822 illustration of Captain Eades’s mermaidThe Feejee Mermaid was an example of a traditional art form perfected by fishermen in Japan and the East Indies who constructed faux mermaids by stitching the upper bodies of apes onto the bodies of fish. They often created these mermaids for use in religious ceremonies. The Feejee Mermaid herself is believed to have been created around 1810 by a Japanese fisherman. It was bought by Dutch merchants who then, in 1822, resold it to an American sea captain, Samuel Barrett Eades, for $6000 (at the time, a huge amount of money). Eades had to sell his ship in order to afford the mermaid, but he hoped to make a fortune by exhibiting it in London. (Unfortunately for him, he didn’t own the entire ship, and this later proved to be a problem for him.)
By September, 1822 Eades had made it back to London with the mermaid, and it did prove to be a popular attraction. But it never made a fortune for him. Eades wasn’t as good a showman as Barnum would later be. In addition, British naturalists who had a chance to examine the mermaid soon debunked it in the press, dampening the public’s interest in it. Then Eades was sued by the other owner of the ship. The courts ordered Eades to pay back the money he had embezzled by serving the shipowner without pay until he repaid his debt. Eades sailed the seas for the next twenty years, trying to repay the debt. But he never did. When he died, ownership of the mermaid passed to his son, who promptly sold it to Moses Kimball for a fraction of what his father had bought it for.
What Happened to the Feejee Mermaid?

After Barnum had exhibited the mermaid for a month at his Museum, he decided to send it on a tour of the Southern states. He entrusted his uncle, Alanson Taylor, with this responsibility. Barnum anticipated an uneventful tour, but this was not to be. When Taylor and the mermaid arrived in South Carolina, they found themselves embroiled in a bitter feud between two rival newspapers, the Charleston Courier and the Charleston Mercury, with the mermaid as the focus of the dispute.
The problem began when Richard Yeadon, editor of the Courier, wrote a review of the mermaid in which he declared his belief that she was real. Simultaneously, a local amateur naturalist, the Rev. John Bachman, published a review in the Mercury in which he blasted the mermaid as a crude humbug created by “our Yankee neighbors.” This difference of opinion quickly escalated into a bitter argument. (So bitter that, if not for the intervention of “mutual friends,” it might have ended in a duel.) This dispute brought an early end to the Southern tour, and the Feejee Mermaid had to be secretly shipped back to New York.
For the next twenty years the Feejee Mermaid split her time between Kimball’s museum in Boston and Barnum’s museum in New York. Her biggest adventure occurred in 1859, when Barnum took her with him on a tour of London. When Barnum returned from London in June, 1859, he brought her back to Kimball’s museum. This would prove to be the last place we know that she was. After this, her whereabouts are unknown.
According to one theory, she was destroyed when Barnum’s museum burned down in 1865. But this is unlikely, since she should have been at Kimball’s Boston museum at that time. More likely, she perished when Kimball’s museum burned down in the early 1880s.
Harvard’s Peabody Museum of Archaeology and Ethnology does possess a mermaid that some have speculated might be the original Feejee Mermaid. According to their records, this mermaid was saved from the fire that consumed Kimball’s museum and was later donated to Harvard by Kimball’s heirs. The problem is that the Peabody’s mermaid doesn’t look anything like what we would expect the Feejee Mermaid to look like. It’s much smaller and far less skillfully crafted. So the real Feejee Mermaid probably met her end in the 1880s.



The Peabody Museum’s “Feejee Mermaid” (photographed in 1998) But although the Feejee Mermaid is gone, her memory lives on in popular culture. “Feejee Mermaid” has become the generic term for the many fake mermaids that can be found around the world in sideshows, behind bars, or at the back of curiosity shops. (For San Diego residents, one can be seen up in Leucadia.) The Feejee Mermaid herself also made an appearance in an episode of the X-Files ("Humbug," Season 2, Episode 20).
References

• Barnum, P.T. The Life of P.T. Barnum Written By Himself. Redfield. 1855.
• Bondeson, Jan. The Feejee Mermaid and Other Essays in Natural and Unnatural History. Cornell University Press. 1999.
• Greenberg, Kenneth S. . Honor & Slavery. Princeton University Press. 1996. (See Chapter One: “The Nose, the Lie, and the Duel")
• Harris, Neil. Humbug: The Art of P.T. Barnum. University of Chicago Press. 1973. (See Chapter Three)
• Saxon, A.H. P.T. Barnum: The Legend and the Man. Columbia University Press. 1989. (See Chapter 6, “Of Mermaids and the Man in Miniature")