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Ceratopteris thalictroides is often found near stagnant water or in still pockets along slow flowing rivers in swampy areas, swamp forests, sago swamps, marshes, natural and man-made ponds. The plant thrives in full sun to moderate shade, from sea level to 1,300 meters (4,300 ft) in elevation, but mostly less than 500 meters (1,600 ft) in ...
Ceratopteris is a fairly popular aquarium plant, often sold under the name "water sprite." It may be grown as an emersed but natant (floating) plant, or as an immersed plant rooted in the substrate. Under the right conditions the plants will grow fully emerse erect leaves.
This page was last edited on 16 April 2018, at 17:29 (UTC).; Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may ...
Nixes in folklore became water sprites [15] who try to lure people into the water. The males can assume many different shapes, including that of a human, a fish, and a snake. The females bear the tail of a fish. When they are in human form, they can be recognised by the wet hem of their clothes.
The prince thanking the Water sprite, from The Princess Nobody: A Tale of Fairyland (1884) by Andrew Lang (illustration by Richard Doyle). The belief in diminutive beings such as sprites, elves, fairies, etc. has been common in many parts of the world, and might to some extent still be found within neo-spiritual and religious movements such as "neo-druidism" and Ásatrú.
Astilbe / ə ˈ s t ɪ l b iː / [2] is a genus of 18 species of rhizomatous flowering plants within the family Saxifragaceae, native to mountain ravines and woodlands in Asia and North America. [3]
Gratiola amphiantha is a petite aquatic plant which occurs in the non-Mediterranean climate vernal pools that sometimes form in the granite outcrop habitat. [5] It is a delicate annual herb a few centimeter long with a short, threadlike stem surrounded by a rosette of tiny lance-shaped submerged leaves.
The rusalka is a water sprite from Slavic mythology; it usually inhabits a lake or river. For many years unfamiliarity with Dvořák's operas outside the Czech lands helped reinforce a perception that composition of operas was a marginal activity, and that despite the beauty of its melodies and orchestral timbres Rusalka was not a central part ...