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Kritik am Buch „The Shadow Of The Dalai Lama ... - Neues von Shi De

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of Aeneas (from Troy) and his marriage to Dido (the Queen of Carthage), the suicide of the<br />

abandoned Dido and the founding of the Roman dynasties (through Aeneas).<br />

<strong>The</strong> writer and researcher of myths, Robert Ranke Graves (1895-1985), in a study which has in the<br />

meantime received academic recognition, assembled a voluminous <strong>am</strong>ount of material which<br />

adequately supports his hypothesis that hidden behind all (!) the Greek mythology and early history<br />

lies a battle of the sexes between matriarchal and patriarchal societal forms. This “subterranean”<br />

mythic/sexual current which barely comes to light, and which propels human history forwards from<br />

the depths of the subconscious, was also a fact for Sigmund Freud (1856-1939). In his comprehensive<br />

essay, Totem und Tabu [Totem and Taboo], he attempted to draw attention to the sexual origins of<br />

human culture.<br />

As we shall show, this is no different for the L<strong>am</strong>aist “writing of history”: on the basis of the sexspecific<br />

construction of the entire tantric universe (masculine, feminine, androgynous), Tibetan<br />

history also presupposes a mythologically based gender relation. Since Vajrayana essentially requires<br />

the suppression of the feminine principle by the masculine principle, of the woman by the man, the<br />

history of Tibet is analogously grounded in the repression of the feminine by the masculine. Likewise,<br />

we find “female sacrifice” carried out at the center of the tantric mysteries once more in the “mythhistory”<br />

of the country.<br />

<strong>The</strong> sacred kingdom<br />

In many ancient societies the “sacred king” was regarded as the representative of the gods. Worldly<br />

and spiritual power were concentrated within this figure. His proximity to the gods was judged<br />

differently from culture to culture. In the old oriental community the kings exceeded the deputizing<br />

function and were themselves considered to be the deity. This gave them the right to rule with<br />

absolute power over their subjects. <strong>The</strong>ir godly likeness was in no way contradicted by their<br />

mortality, then it was believed that the spirit of the god withdrew from the human body of the holy<br />

king at the hour of his death so as to then incarnate anew in the succeeding ruler. <strong>The</strong> history of the<br />

sacred kings was thus actually an “epiphany”, that is, an appearance of the deity in time.<br />

In the European Middle Ages in contrast, the “sacred rulers” were only considered to be God’s<br />

representatives on earth, but the concept of their dual role as mortal man and divine instance still had<br />

its validity. One therefore spoke of the “two bodies of the king”, an eternal supernatural one and a<br />

transient human one.<br />

A further characteristic of the political theology of the Middle Ages consisted in the division of the<br />

royal office which formerly encompassed both domains — so that (1) the spiritual and (2) the secular<br />

missions were conducted by two different individuals, the priest and the king, the Pope and the<br />

Emperor. Both institutions together — or in opposition to one another — decisively determined the<br />

history of Europe up until modern times.<br />

Every criterion for the sacred kingdom is met by the <strong>Dalai</strong> L<strong>am</strong>a and his state system. His institution<br />

is not even subject to the division of powers (between priesthood and kingship) which we know from<br />

medieval Europe, but orientates itself towards the ancient/Oriental despotic states (e.g., in Egypt and<br />

Persia). Worldly and spiritual power are rolled into one. He is not the human deput’y of a Buddha<br />

being upon the Lion Throne; rather, he is — according to doctrine — this Buddha being himself. His<br />

epithet, Kundun, which is on everybody’s lips following Martin Scorsese’s film of the s<strong>am</strong>e n<strong>am</strong>e,

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