The Land of Painted Caves - Jean M. Auel [301]
She watched two reindeer approach each other. They touched noses; then the female dropped down to her knees, and the male reached down and licked her. Ayla was moved by the tender scene; then her attention was drawn by two horses, male and female. The female was in heat and moved in front of the male, making herself available as he prepared to mount.
She turned in another direction and followed the lion down another long corridor. At the end of the tunnel, she came to a rather large, rounded womb-like niche. She heard a distant pounding that drew closer as a bison herd appeared and filled the niche. They stopped to rest and graze.
But the pounding continued; the walls were throbbing in a slow, steady beat. The hard rock floor seemed to give under her feet and the throbbing became a deep, earthy voice, at first so faint she could hardly detect it. Then it grew louder and she recognized the sound. It was the talking drum of the Mamutoi! Only among the mammoth hunters had she ever heard a drum like that.
The instrument, made of a mammoth bone, had such tonal resonance and variation when hit with a modified antler beater that it could be rapidly tapped at variously discrete areas in such a way that it approximated the sound of a voice speaking words. The words, spoken with a staccato throbbing, did not quite match a human voice, but they were words. They had a slightly ambiguous vibrato quality, which added a touch of mystery and expressive depth, but played by someone with sufficient skill, they were distinctly words. The drum could literally be made to talk.
The rhythm and pattern of the words made by the drum began to sound familiar. Then she heard the high-pitched resonance of a flute, and singing along with it was a sweet, high voice, a voice that sounded like the Mamutoi woman Fralie, whom Ayla had known. Fralie had been pregnant, a precarious pregnancy that she nearly lost. Ayla had helped her, but even with her help, the baby had been born early. But her daughter had lived, and became healthy and strong.
Sitting inside the round niche, Ayla discovered her face was wet with tears. She was crying great, heaving sobs, as though she felt she had suffered a devastating loss. The sound of the drum grew stronger, overcoming her anguished lament. She was recognizing sounds, discerning words.
Out of the darkness, the chaos of time,
The whirlwind gave birth to the Mother sublime.
She woke to Herself knowing life had great worth,
The dark empty void grieved the Great Mother Earth.
The Mother was lonely. She was the only.
It was the Mother’s Song! Sung as she had never heard it sung before. If only she had the voice to sing, that’s how she would sing it. It was both deep and earthy like a drum, and high and resonant like a flute, and the deep, rounded niche reverberated with the rich, vibrant sound.
The voice filled her head with the words; she felt them more than heard them, and the feeling was so much more than the words. She anticipated each line before it came, and when it came it was fuller, more eloquent, more profound. It seemed to go on forever, but she didn’t want it to stop, and as it neared the end, she felt a deep sadness.
The Mother was pleased with the pair She created,
She taught them to love and to care when they mated.
She made them desire to join with each other,
The Gift of their Pleasures came from the Mother.
Before She was through, Her children loved too.
But when Ayla anticipated no more, the voice did not stop.
Her last Gift, the Knowledge that man has his part.
His need must be spent before new life can start.
It honors the Mother when the couple is paired,
Because woman conceives when Pleasures are shared.
Earth’s Children were blessed. The Mother could rest.
The words came as a Gift, a benediction soothing her pain. The Mother