A day before Tilm went into her deadly labour QANG went to Acaqopi to take his youngest daughter from a small local hospital.
To the extent that Tilm died neglected by her numerous patrilateral half and full siblings, mostly brothers, their self-defence was a masterpiece of reversal of ouroboric symbiotic dependencies and strategic impotence.
It was this facticity of existence that Tilm's siblings emphasised by harping on about her masculine-paternal virtues, rescinding in the process any guilt and personal entailments intended by QANG's reproach.
The fiver was running on two sides (it forked into two parallel streams) and Tilm steps into the water and comes to sit on the top of a stone (2) located at the point where the river is breaking into two streams.
Having woken up he immediately engaged his wife Tilm whom he calls "mother": "h/ilmaye-(qw)oqwane!
With Tilm there was also an intrinsic connection with her husband's laki power since her bride-price came from the money he won while in Mrw.
The dream itself, as well as QANG's and Tilm's understanding of it, shows that the latent core of his laki soul-power, originally made manifest and accessible through the 'wild fowl eggs' dream vision, is his contra-sexual conjunction within the feminine domain of his egoic self.
In the meantime his conjugal domestic intersubjective situation became altered since his favourite wife Tilm died at the end of the great drought which lasted from March 1997 to April 1998.
Subsequently he and Tilm incurred a succession of sicknesses while living in Mrw.
Tilm desired him and very early in their conjugal relation she identified with him as her man.
Without going into any further details and history of the relationship between QANG and Tilm I wish to illustrate, for the purpose of this discussion, another modality of the effluence of life-death flow in the sphere of conjugal domesticity.
Tilm's comment on the meanings of her dream was in terms of her immediate familiarity with her dreaming-visionary experiences, i.e., the activities and showings (ucoqwalye) of her soul in relation to the wild forest spirits which are the key protagonists in the shamanistic process of development.