Even Juana, seated at Kate’s feet, cried out without knowing what she did:
“Bienvenido! Bienvenido! Adios! Adios! Adios-n!”
On the last adios! she trailed out to a natural human “n.”
The drum began to beat with an insistent, intensive rhythm, and the flute, or whistle, lifted its odd, far-off calling voice. It was playing again and again the peculiar melody Kate had heard at first.
Then one of the men in the circle lifted his voice, and began to sing the hymn. He sang in the fashion of the Old Red Indians, with intensity and restraint, singing inwardly, singing to his own soul, not outward to the world, nor yet even upward to God, as the Christians sing. But with a sort of suppressed, tranced intensity, singing to the inner mystery, singing not into space, but into the other dimension of man’s existence, where he finds himself in the infinite room that lies inside the axis of our wheeling space. Space, like the world, cannot but move. And like the world, there is an axis. And the axis of our worldly space, when you enter, is a vastness where even the trees come and go, and the soul is at home in its own dream, noble and unquestioned.
The strange, inward pulse of the drum, and the singer singing inwardly, swirled the soul back into the very centre of time, which is older than age. He began on a high, remote note, and holding the voice at a distance, ran on in subtle, running rhythms, apparently unmeasured, yet pulsed underneath by the drum, and giving throbbing, three-fold lilts and lurches. For a long time, no melody at all was recognisable: it was just a lurching, running, far-off crying, something like the distant faint howling of a coyote. It was really the music of the old American Indian.
There was no recognisable rhythm, no recognisable emotion, it was hardly music. Rather a far-off, perfect crying in