Ocra lived on
a high river bank, close to a forest that rose up the hill as a dense wall. Behind
the hill, as far as the eye could see, more hills, higher hills were sleeping
in fog. The river bed was covered in boulders, mossy at the top where crows and
herons would sit and nib at it, slimy and shiny at the bottom having been
embraced by the waters for so long. The swift waters were especially dangerous
in spring during the high water season.
Ocra has
lived here since she could remember herself, brought up by the previous Keeper,
Oni. She never knew her parents or if she ever had any – Oni never spoke about
such things. Ocra has been raised to take care of the Hill Region, and since
Oni has passed into the subtle realm, she has been the Keeper. She knew there must
be other Keepers for every hill beyond her realm, but she never met them.
Every
morning she would come up to the edge of the bank, open her palms and just take
in the life force flowing in the air, then she would lie in the river bed,
speaking to the river. The river was named Anduna, and Ocra knew her very well
– as well as you can know a river – a living being so different from and
superior to us. Hills and rivers, not to speak of the Mother Bharat, live in a
different time span taking little notice of the fast changes in our small
lives, unaffected by them. But you can hear them speaking if you hearken to
their flow of life force and tune in to their mind.
Ocra
remembered how she first heard Anduna. She was 4 springs at that time. Oni was
teaching her to meditate and lie in water without breathing for a long time and
merge into the river’s life force. After some futile attempts Ocra was finally
able to relax and clear her mind to let in the life force. First she felt amazingly
peaceful and safe and lost track of time, when gradually the soft sound of a song
started to flow into her mind – the song of Anduna. She didn’t understand the
words, but she could feel the meaning with her heart: “Anduna is my name, and I
feel my might and beauty as I’m flowing over the Mother, the sparkling magical
world around me is filled with life force and is overflowing with love, I want
to spread it all around me in gratitude to the Mother”.
Over the
years she would ask her questions about the world and listen to her songs, as
the time went the songs became clearer and their bond stronger. This was one of
many duties of a Keeper– to create and maintain bonds with the powerful living
beings whose presence is not perceived by people but who shape the life on
Mother Bharat. So Ocra also learned how to listen to the hill, the ocean, the
fire and the wind, the sun and the moon. Keepers call them Devas and accept
their guidance on how to take care of their region.
Another
duty of a Keeper would be to internalize and formulate the Devas’ songs in
their own language. That’s why they would also become known as poets and
singers. But those songs were not ordinary songs, they weren’t meant to
entertain or inform. Rather with their subtle beauty they would put people in a
state of meditation connecting them with the heart of the Keeper. From this
heart wisdom would flow into the listeners’ hearts who then feel like it was
their own. In this way Keepers would weave harmony into the world.
On a clear
evening of the light half of the first autumn month Ocra was sitting near her
stone house running her fingers over the strings of her small harp singing the
Autumn Song. This was a very unusual song – she heard it from leaves and tree
bark when she was patrolling her realm two days ago. Ocra never listened to the
songs of inferior beings, but this time she felt she had to. Something was
different about the seriousness of the message. As usually during a patrol she opened
her palms to sense if the flow of the life force was healthy in this part of
her region – she could feel the thin herby flow from the dying leaves, the
transparent but strong flow from the trees, several agile flows from small
animals – everything was in order.
Ocra was
leaving when she noticed that the leaves were rustling rhythmically and there
was a certain emotion hidden there, the emotion they wished to convey. Then, as
Oni had taught her, she sat down on the ground, put her open palms on the knees
and closed her eyes. First she breathed in and out at regular intervals
controlling the life force movement in her own body. Thus she muted her outer
senses, stopped her mind’s work and focused on the gentle rumbling humming
emitted by the hill and by the soil itself. When the humming filled her she
started to rock side to side in accordance with the waves of the sound. At this
moment the rhythmical rustling of the dying leaves unfolded and flew into her
ears, but this time she could understand what message they were eager to share.
Ocra
diligently noted all the subtle feelings, emotions and images she perceived and
then, without opening her eyes, she came back to her senses and used the mind
to create associations with every item she received through this song. This would
help the Keeper create the song of the dying leaves later.
Ocra didn’t
get tired like ordinary people do, she rarely ate and slept for just a couple
of hours a day. People need food and sleep to refill the life force supply in
their body, but Keepers didn’t have a supply – their life force was always
flowing in and out entwining with the life force of all the living beings in
their region allowing them to merge into the nature, be one with it. This
feature made them perfect for their role.
But there
was a kind of tiredness Ocra could feel – the tiredness of spirit. It came when
she would only fulfill her duties and forgot about the spirit. The spirit
required feeding. Oni was particularly adamant about this practice, teaching
Ocra over and over to meditate early in the morning, while everyone was still
asleep, so that she could realize
herself as a small spark inside her body, a spark which is an infinite part of
the primordial light – the Original Living Being. Oni explained that every
spark has a deep-rooted desire to express their love to this Original Being and
receive reciprocation – this interaction is the fundamental practice that
enabled Keepers to stay alive and maintain their qualification. And their
duties, Oni used to tell, were the expression of love they can offer to the Being.
It was the hardest practice for Ocra to learn, but she quickly realized she
couldn’t perform her duties if she didn’t feed the spirit.
So after
creating associations for the song of the dying leaves she felt a little tired
in spirit. She understood why – the unusual source of the song and the emotional
message she received made her a little restless. She needed answers. So Ocra
climbed the topmost boulder in the vicinity, lay out the deer skin she always
kept on her for such occasions and sat upright aligning the flow of her life
force. She took the beads hanging from her neck into the right hand and started
to chant the secret mantra Oni taught her.
Immediately
she felt relieved and little by little as if connected to her long lost true
home. Ocra loved her life and the work she was doing in her region, she felt
satisfied. But chanting this mantra brought a completely different level of satisfaction.
The chanting made her delve deep into herself, to the places within her she had
never known existed before she tried it for the first time. With years of
practice Ocra also found herself connected to other living beings who lived
beyond her region, in fact beyond mother Bharat herself, she only communicated
with them during the chanting of the secret mantra through the feeling of
connection and support they gave her – she saw vague images and felt their life
force, but that was it. She knew herself to be a part of a big picture, of a
family she left long ago. This always made her feel fearless because she knew
she lived in a world created and maintained by those who care for her.
But this
time Ocra also had a task. So she addressed the Original Being – but there was
no answer. This was the first experience for Ocra when she felt someone’s
presence, but couldn’t communicate. Then she tested the other living beings she
felt support from during chanting. One of them whom she saw as a man in white clothes
with a long white beard answered her question with short, but concise messages
that just appeared in her mind like gusts of fresh wind. Satisfied, but
puzzled, Ocra opened her eyes and felt pregnant with knowledge and wisdom of
the elders – that is what she called them in her heart.
Slowly she
got up and for some time just stood there taking in everything she learnt. Then
she collected the skin and put it in her side bag. The bag reminded her of Oni
again: the mentor embroidered this bag for her student when she came of age,
that is turned 14. Before the Keeper’s initiation Oni sent her to gather the
herbs that only adult Keepers were allowed to gather and gave her this bag. The
embroidery showed a deer family grazing in the forest made with threads of
different colours and some gem stones Oni received as donation from the village
people.
Emerging
from her thought Ocra noticed that it was darkening and headed home. She was
safe because she knew what she had to do. Having returned home, she entered her
stone house, a small one-room hut with a fireplace and a stove along the back
wall, two beds, a couple of chests and a table with chairs. The beds weren’t
ordinary human ones, it was imperative for them to be purely natural built
without any human craft so that they helped Keepers to be connected to their
region at all times. They looked more like big nests woven from soft branches,
covered in fresh leaves and grass. It was autumn now, so the leaves and grass
turned yellow and red. By the end of winter they would almost entirely wear
out, so they were sometimes substituted with soft evergreen foliage until the
beds were buried in the woods in spring and created again in spring.
The table
was cluttered with books and notebooks –one of the Keepers’ duties was to
carefully note down all the songs they hear and chronicle all the events they
experience or even just hear of. No one Ocra knew needed books, people would
come and hear her songs and remember them forever passing them down to their
descendants, but she knew from Devas there would come time when people would
only be able to learn from books.
It was dark
inside, and as the last light of the day was leaving the hut, it made
everything look blue and soft as if blurred. Ocra fumbled in the dark to make
fire, it wasn’t very cold yet, the autumn was still settling in, but the
presence of fire always gave her a sense of approval from the Devas. Then lit a
candle, sat at the table, took out an inkbottle, a writing stick and opened her
notebook. For a moment she paused taking a breath before diving into inspired
writing. She loved the process, it was always so immersive and liberating – she
felt like a vessel filled with infinite wisdom and beauty seeking to pour it on
paper.
Ocra was
writing for an hour or so, pausing to find a better word or metaphor for what
she felt and perceived during her meditation. Then she extinguished both the
candle and the fire and went to bed. Keepers didn’t actually sleep at night. Their
body and mind needed rest just for a couple of hours so they plunged in a deep
meditative state. They used the time to breathe in synch with mother Bharat and
to tune into the flow of life force of the whole planet.
The next
morning was the first day of autumn. Ocra knew the song of the dying leaves had
to be sung today. After the morning rituals she washed her clothing in the
Anduna river and hanged it outside the house, changed into a formal Keepers’
dress which was kept in a chest beside her bed, then reached behind her bed for
a harp case, took it out and went outside to play in the sun. Ocra closed her
eyes and let her innermost feelings lead her fingers to accompany the poem that
she wrote yesterday. At first she lightly touched several strings one by one to
set the mood of a meditative atmosphere. Then she swiftly ran her fingers over
them pulling chords and sequences with regular intervals as if every chord
needed to take its breath: breathing out, fading, pausing, breathing in, building
up again… Then the gaps began to shorten gradually and the chords weaved into a
continuous fabric of music with a melody emerging on top of it. This is when
Ocra’s voice entered following the pattern of the melody, flowing beneath it:
The life is
leaving us and death is closing in,
The juice
of life cut off - fragile and dry or skin.
We heard so
many living fade and die before,
Being full
of fear while passing to the other shore,
But we
don’t fret regretting neither life nor death
For just
external shells are cast with our last breath.
For shapes
and forms will die and are already thus
But only we
live on and joy lives on in us.
Points: 31
Reviews: 65
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