Dark Promises (Dark #29) (41 page)

Fane glanced in warning at Aleksei, clearly telling him to back off. Fane didn't trust that Gary still wasn't so close to turning that he could keep from draining Aleksei dry, and that made the sorrow pressing down on Gabrielle even worse. She clutched at the back of Aleksei's shirt, connecting them physically. She wasn't certain if she was holding him back, afraid as well, or just that she had to touch him to get through this. To watch Gary leave. Alone.

“Your woman more than repaid me,” Gary said.

“Take it,” Fane said. “You have a long road ahead of you.”

Gary took the offered wrist and drank. When he was finished he stepped back, silently telling them he'd had as much as he could take. He would heal his own wounds. He was a Daratrazanoff.

He leaned toward Gabrielle. “Be well, Gabby,” he said softly, and was gone.

One moment he was there, the next he had completely disappeared. The tension went out of the three hunters. Gabrielle hadn't even realized they'd been tense.

“We need to get to ground,” Fane said. “I'll weave the safeguards and set the mist. The next rising, we head for the States. Aleksei, you and Gabrielle will join us?”

Gabrielle let out her breath, slumping a little, exhausted. It was business as usual for the Carpathian males. They considered vampires and human hunters, lethal wounds and dangerous ancients an every-evening occurrence.

At least I won't be bored.
It was a poor attempt at humor but it was all she had.

I will make certain of that, my little cat.

Aleksei wrapped his arm tightly around Gabrielle, pulling her into the shelter of his body. “We will go to the prince and also talk to Jacques's lifemate, Shea, to ensure she will get whatever samples Gabrielle needs to continue her work. Then we will follow and acquire a house near yours as well as a laboratory.”

Fane nodded and reached out his hand to Trixie. She didn't hesitate but immediately put her hand in his. As they turned away to get to work strengthening the safeguards, Gabrielle heard Trixie.

“Seriously, Fane. We need a real vampire-hunting kit. That silly gun was utterly useless.”

“Lady, if I had any sense at all, I would turn you over my knee for even trying such a thing. You put yourself in danger.” Fane brought her hand to his mouth. “Still, I was very proud of you.”

Aleksei walked Gabrielle into the building that had been his refuge for over a hundred years. Without preamble he waved his hand and the ground opened. Deep. Cool. The soil rich with minerals. Gabrielle could see them sparkling. The cool soil called to her.

“Take your clothes off, little cat,” Aleksei ordered. His hands moved up the sides of her breasts, sending an ache through her nipples.

She waved her hand and removed her clothing.

“Float down. Spread your legs for me. I gave you plenty of room.”

She opened her mouth to protest, but his eyes glittered, and in any case,
her body was already betraying her. She did exactly as he said, feeling her body growing hot and slick. Welcoming him.

He came down over her, completely blanketing her. Pinning her beneath him. The ground was soft and felt amazing against her bare skin. His hard body felt even better on top of her. He took his time, using his mouth and tongue and teeth on her breasts, his finger moving in her, bringing her to the brink over and over. Driving out every sane thought. Taking away the nightmare of the last couple of hours. Giving her something beautiful in return. And then he was inside of her. Hard. Rough. So Aleksei. So perfect.

She screamed out her orgasm, a tremendous tidal wave that swept him up and carried them both into another realm. She lay still, holding him, stroking caresses in his hair, his face buried in her neck.

“I love you, Aleksei.” And she did. She was so completely filled with love for him she could barely think straight.

Aleksei kissed her, still buried to the root. Long after he sent her to sleep, he stayed inside of her, the place he loved to be most. He drank in her scent. Kept the taste of her on his tongue. She loved him. A miracle. His. He knew he would spend his life working to make her happy. He also knew she would bend over backward to give him everything he wanted.

He brushed kisses against her throat. “I love you, too,
kessake
,” he whispered, and gave the command for the soil to close around and over them. Still buried deep, his body in hers, he laid his head in the sweet hollow between her shoulder and neck and allowed his heart and lungs to cease working until the next rising. He would wake inside her, right where he wanted to
be.

Carpathian Healing
Chants

To rightly understand Carpathian healing chants, background is required in several areas:

1. The Carpathian view on healing
   
2. The Lesser Healing Chant of the Carpathians
   
3. The Great Healing Chant of the Carpathians
   
4. Carpathian musical aesthetics
   
5. Lullaby
   
6. Song to Heal the Earth
   
7. Carpathian chanting technique
   

1. THE CARPATHIAN VIEW ON HEALING

The Carpathians are a nomadic people whose geographic origins can be traced back to at least as far as the Southern Ural Mountains (near the steppes of modern-day Kazakhstan), on the border between Europe and Asia. (For this reason, modern-day linguists call their language “proto-Uralic,” without knowing that this is the language of the Carpathians.) Unlike most nomadic peoples, the wandering of the Carpathians was not due to the need to find
new grazing lands as the seasons and climate shifted, or the search for better trade. Instead, the Carpathians' movements were driven by a great purpose: to find a land that would have the right earth, a soil with the kind of richness that would greatly enhance their rejuvenative powers.

Over the centuries, they migrated westward (some six thousand years ago), until they at last found their perfect homeland—their
susu
—in the Carpathian Mountains, whose long arc cradled the lush plains of the kingdom of Hungary. (The kingdom of Hungary flourished for over a millennium—making Hungarian the dominant language of the Carpathian Basin—until the kingdom's lands were split among several countries after World War I: Austria, Czechoslovakia, Romania, Yugoslavia and modern Hungary.)

Other peoples from the Southern Urals (who shared the Carpathian language, but were not Carpathians) migrated in different directions. Some ended up in Finland, which accounts for why the modern Hungarian and Finnish languages are among the contemporary descendents of the ancient Carpathian language. Even though they are tied forever to their chosen Carpathian homeland, the wandering of the Carpathians
continues as they search the world for the answers that will enable them to bear and raise their offspring without difficulty.

Because of their geographic origins, the Carpathian views on healing share much with the larger Eurasian shamanistic tradition. Probably the closest modern representative of that tradition is based in Tuva (and is referred to as “Tuvinian Shamanism”)—see the map on the previous page.

The Eurasian shamanistic tradition—from the Carpathians to the Siberian shamans—held that illness originated in the human soul, and only later manifested as various physical conditions. Therefore, shamanistic healing, while not neglecting the body, focused on the soul and its healing. The most profound illnesses were understood to be caused by “soul departure,” where all or some part of the sick person's soul has wandered away from the body (into the nether realms), or has been captured or possessed by an evil spirit, or both.

The Carpathians belong to this greater Eurasian shamanistic tradition and share its viewpoints. While the Carpathians themselves did not succumb to illness, Carpathian healers understood that the most profound wounds were also accompanied by a similar “soul departure.”

Upon reaching the diagnosis of “soul departure,” the healer-shaman is then required to make a spiritual journey into the netherworlds to recover the soul. The shaman may have to overcome tremendous challenges along the way, particularly fighting the demon or vampire who has possessed his friend's soul.

“Soul departure” doesn't require a person to be unconscious (although that certainly can be the case as well). It was understood that a person could still appear to be conscious, even talk and interact with others, and yet be missing a part of their soul. The experienced healer or shaman would instantly see the problem nonetheless, in subtle signs that others might miss: the person's attention wandering every now and then, a lessening in their enthusiasm about life, chronic depression, a diminishment in the brightness of their “aura,” and the like.

2. THE LESSER HEALING CHANT OF THE CARPATHIANS

Kepä Sarna Pus
(The Lesser Healing Chant)
is used for wounds that are merely physical in nature. The Carpathian healer leaves his body and enters the wounded Carpathian's body to heal great mortal wounds from the inside out using pure energy. He proclaims, “I offer freely my life for your life,” as he gives his blood to the injured Carpathian. Because the Carpathians are of the earth and bound to the soil, they are healed by the soil of their homeland. Their saliva is also often used for its rejuvenative powers.

It is also very common for the Carpathian chants (both the Lesser and the Great) to be accompanied by the use of healing herbs, aromas from Carpathian candles and crystals. The crystals (when combined with the Carpathians' empathic, psychic connection to the entire universe) are used to gather positive energy from their surroundings, which then is used to accelerate the healing. Caves are sometimes used as the setting for the healing.

The Lesser Healing Chant was used by Vikirnoff Von Shrieder and Colby Jansen to heal Rafael De La Cruz, whose heart had been ripped out by a vampire as described in
Dark Secret
.

Kepä Sarna Pus
(The Lesser Healing Chant)

The same chant is used for all physical wounds. “Sívadaba” [“into your heart”] would be changed to refer to whatever part of the body is wounded.

Kuńasz, nélkül sívdobbanás, nélkül fesztelen löyly.

You lie as if asleep, without beat of heart, without airy breath.

Ot élidamet andam szabadon élidadért.

I offer freely my life for your life.

O jelä sielam jŏrem ot ainamet és soŋe ot élidadet.

My spirit of light forgets my body and enters your body.

O jelä sielam pukta kinn minden szelemeket belső.

My spirit of light sends all the dark spirits within fleeing without.

Pajńak o susu hanyet és o nyelv nyálamet sívadaba.

I press the earth of our homeland and the spit of my tongue into your heart.

Vii, o verim soŋe o verid andam.

At last, I give you my blood for your blood.

 

To hear this chant, visit: http://www.christinefeehan.com/members/.

3. THE GREAT HEALING CHANT OF THE CARPATHIANS

The most well-known—and most dramatic—of the Carpathian healing chants was
En Sarna Pus
(The Great Healing Chant)
. This chant was reserved for recovering the wounded or unconscious Carpathian's soul.

Typically a group of men would form a circle around the sick Carpathian (to “encircle him with our care and compassion”) and begin the chant. The shaman or healer or leader is the prime actor in this healing ceremony. It is he who will actually make the spiritual journey into the netherworld, aided by his clanspeople. Their purpose is to ecstatically dance, sing, drum and chant, all the while visualizing (through the words of the chant) the journey itself—every step of it, over and over again—to the point where the shaman, in trance, leaves his body, and makes that very journey. (Indeed, the word “ecstasy” is from the Latin
ex statis
, which literally means “out of the body.”)

One advantage that the Carpathian healer has over many other shamans is his telepathic link to his lost brother. Most shamans must wander in the dark of the nether realms in search of their lost brother. But the Carpathian healer directly “hears” in his mind the voice of his lost brother calling to him, and can thus “zero in” on his soul like a homing beacon. For this reason, Carpathian healing tends to have a higher success rate than most other traditions of this sort.

Something of the geography of the “other world” is useful for us to examine, in order to fully understand the words of the Great Carpathian Healing Chant. A reference is made to the “Great Tree” (in Carpathian:
En
Puwe
). Many ancient traditions, including the Carpathian tradition, understood the worlds—the heaven worlds, our world and the nether realms—to be “hung” upon a great pole, or axis, or tree. Here on earth, we are positioned halfway up this tree, on one of its branches. Hence many ancient texts often referred to the material world as “middle earth”: midway between heaven and hell. Climbing the tree would lead one to the heaven worlds. Descending the tree to its roots would lead to the nether realms. The shaman was necessarily a master of movement up and down the Great Tree, sometimes moving unaided, and sometimes assisted by (or even mounted upon the back of) an animal spirit guide. In various traditions, this Great Tree was known variously as the
axis mundi
(the “axis of the worlds”), Ygddrasil (in Norse mythology), Mount Meru (the sacred world mountain of Tibetan tradition), etc. The Christian cosmos, with its heaven, purgatory/earth and hell, is also worth comparing. It is even given a similar topography in Dante's
Divine Comedy
: Dante is led on a journey first to hell, at the center of the earth; then upward to Mount Purgatory, which sits on the earth's surface directly opposite Jerusalem; then farther upward first to Eden, the earthly paradise, at the summit of Mount Purgatory; and then upward at last to heaven.

In the shamanistic tradition, it was understood that the small always reflects the large; the personal always reflects the cosmic. A movement in the greater dimensions of the cosmos also coincides with an internal movement. For example, the
axis mundi
of the cosmos also corresponds to the spinal column of the individual. Journeys up and down the
axis mundi
often coincided with the movement of natural and spiritual energies (sometimes called
kundalini
or
shakti
) in the spinal column of the shaman or mystic.

En Sarna Pus
(The Great Healing Chant)

In this chant, ekä (“brother”) would be replaced by “sister,” “father,” “mother,” depending on the person to be healed.

Ot ekäm ainajanak hany, jama.

My brother's body is a lump of earth, close to death.

Me, ot ekäm kuntajanak, pirädak ekäm, gond és irgalom türe.

We, the clan of my brother, encircle him with our care and compassion.

O pus wäkenkek, ot oma śarnank, és ot pus fünk, álnak ekäm ainajanak, pitänak ekäm ainajanak elävä.

Our healing energies, ancient words of magic and healing herbs bless my brother's body, keep it alive.

Ot ekäm sielanak pälä. Ot omboće päläja juta alatt o jüti, kinta, és szelemek lamtijaknak.

But my brother's soul is only half. His other half wanders in the netherworld.

Ot en mekem ŋamaŋ: kulkedak otti ot ekäm omboće päläjanak.

My great deed is this: I travel to find my brother's other half.

Rekatüre, saradak, tappadak, odam, kaŋa o numa waram, és avaa owe o lewl mahoz.

We dance, we chant, we dream ecstatically, to call my spirit bird, and to open the door to the other world.

Ntak o numa waram, és mozdulak, jomadak.

I mount my spirit bird and we begin to move, we are under way.

Piwtädak ot En Puwe tyvinak, ećidak alatt o jüti, kinta, és szelemek lamtijaknak.

Following the trunk of the Great Tree, we fall into the netherworld.

Fázak, fázak nó o śaro.

It is cold, very cold.

Juttadak ot ekäm o akarataban, o sívaban és o sielaban.

My brother and I are linked in mind, heart and soul.

Ot ekäm sielanak kaŋa engem.

My brother's soul calls to me.

Kuledak és piwtädak ot ekäm.

I hear and follow his track.

Saγedak és tuledak ot ekäm kulyanak.

Encounter I the demon who is devouring my brother's soul.

Nenäm ćoro, o kuly torodak.

In anger, I fight the demon.

O kuly pél engem.

He is afraid of me.

Lejkkadak o kaŋka salamaval.

I strike his throat with a lightning bolt.

Molodak ot ainaja komakamal.

I break his body with my bare hands.

Toja és molanâ.

He is bent over, and falls apart.

Hän ćaδa.

He runs away.

Manedak ot ekäm sielanak.

I rescue my brother's soul.

Alədak ot ekam sielanak o komamban.

I lift my brother's soul in the hollow of my hand.

Alədam ot ekam numa waramra.

I lift him onto my spirit bird.

Piwtädak ot En Puwe tyvijanak és saγedak jälleen ot elävä ainak majaknak.

Following up the Great Tree, we return to the land of the living.

Ot ekäm elä jälleen.

My brother lives again.

Ot ekäm weńća jälleen.

He is complete again.

 

To hear this chant, visit: http://www.christinefeehan.com/members/.

4. CARPATHIAN MUSICAL AESTHETICS

In the sung Carpathian pieces (such as the “Lullaby” and the “Song to Heal the Earth”), you'll hear elements that are shared by many of the musical traditions in the Uralic geographical region, some of which still exist—from Eastern European (Bulgarian, Romanian, Hungarian, Croatian, etc.) to Romany (“gypsy”). Some of these elements include: