starring Bill Murray, Dan Aykroyd, Harold Ramis, Rick Moranis and Sigourney Weaver
written by Dan Aykroyd and Harold Ramis
© 1984 Columbia Pictures Industries, Inc.

[Henry Sidgwick] was one of the founders and first president of the Society for Psychical Research and a member of the Metaphysical Society ... [Sidgwick joined the Cambridge “Ghost Society” as an undergraduate.]
In 1856 Sidgwick joined the Cambridge Apostles intellectual secret society.
-- Henry Sidgwick, by Wikipedia
In the conventional “Western” notion of Buddhism, the teachings of Buddha Gautama are regarded as a positive Eastern countermodel to the decadent civilization and culture of the West: where the Western world has introduced war and exploitation into world history, Buddhism stands for peace and freedom; whilst Western rationalism is destructive of life and the environment, the Eastern teachings of wisdom preserve and safeguard them. The meditation, compassion, composure, understanding, nonviolence, modesty, and spirituality of Asia stand in contrast to the actionism, egomania, unrest, indoctrination, violence, arrogance, and materialism of Europe and North America. Ex oriente lux—“light comes from the East”; in occidente nox—“darkness prevails in the West”.
We regard this juxtaposition of the Eastern and Western hemispheres as not just the “business” of naive believers and zealous Tibetan lamas. On the contrary, this comparison of values has become distributed among Western intelligentsia as a popular philosophical speculation in which they flirt with their own demise.
***
Written in a fantasy manner, the book NOS — Book of the Resurrection also depicts a tantric female sacrifice. The heroine of this “hermetic biography” is called Allouine, the main hero is admittedly [Miguel] Serrano. Additionally, various “tantric” masters crop up. Among them are, unmistakably, C.G. Jung, Hermann Hesse, and the American poet Ezra Pound. The contents of the book depict the voluntary self-sacrifice of Allouine, her interiorization as a maha mudra by the author (Serrano), and the latter’ achievement of immortality through the absorption of gynergy. “The woman dies. She is dead. She must die. ... She is the warrior’s [the yogi’s] companion, existing only in his mind, in his spirit” (Serrano, 1984, p. 11), Serrano instructs us once more. “She [the woman] becomes interiorized in you through her death, she inspires you”, one of his masters explains to him and in another passage continues: “The secret path of yoga along which you are traveling is only for the warrior, for the initiated hero. It is not the path for the woman; because a woman has no chakras, no kundalini to awaken. ... A woman is the Kundalini. A woman has no soul. She is the soul. A woman has no eternity. She is eternity” (Serrano, 1984, pp. 102, 147).
Serrano stages a tantric séance with Allouine, in which they both consume the five forbidden foods. Then he drinks “the liquor of orgasm ... the heavenly Soma, an spirit of secret wine ... which is now only to be found in the river of your blood” (Serrano, 1984, p. 112). We know that he is talking about the sukra, the mixture of male and female seed, of menstrual blood and sperm. This magic potion grants the Tantric immortality. In NOS too the author longs for the blood of his lover like a vampire and goes into raptures if he detects it on his lips. After he has washed the dying Allouine, he kisses her and drinks of her blood.
Yet Allouine patiently and will-lessly accepts her sacrifice: “My desire for you (i.e., for Serrano) is reaching its peak. The fire of sacrifice has already been lit in my vulva and beats there like a heart. ... My will no longer exists” (Serrano, 1984, p. 111). “The authentic, absolute woman sacrifices herself voluntarily,” we read in NOS, “immolating herself in order to give her eternity to her lover. ... The beloved is now the hidden beloved, she who has died and buried herself in your bones and your veins. The female Sophia, guru of the soul, she who courses through the blood, the female philosopher, Sophia, wisdom, the dove, gnosis” (Serrano, 1984, pp. 147-148). Dying, his “wisdom consort” says to him, “I shall but love thee better after death. I give you my eternity. … My beloved, you will be my coffin of perfumed, precious wood!” (Serrano, 1984, p. 140).
After he has internalized Allouine within himself, the Tantric Serrano can now overcome his EGO, he can now talk of NOS (WE), since his lover (maha mudra) will dwell in him for ever. Through this love, deadly for the woman, the man gains eternal life. In this context, Serrano plays upon the word AMOR, which does not just mean love, but also A-MOR, i.e., beyond death.
-- The Shadow of the Dalai Lama: Sexuality, Magic and Politics in Tibetan Buddhism, by Victor and Victoria Trimondi
In Greek mythology, a little owl (Athene noctua) traditionally represents or accompanies Athena, the virgin goddess of wisdom, or Minerva, her syncretic incarnation in Roman mythology. Because of such association, the bird – often referred to as the "owl of Athena" or the "owl of Minerva" – has been used as a symbol of knowledge, wisdom, perspicacity and erudition throughout the Western world.
-- Owl of Athena, by Wikipedia
Wiseguy: 1. a wiseguy, a highly ranked individual in a crime family; 2. wiseguy, a smartass/Jackass
-- Wiseguy, by urban dictionary
Barchenko developed guidelines for his commune, which he named United Labor Brotherhood (ULB). His friends Otto, Ricks, Leismaier-Schwarz, and Vladimirov, the former Cheka/OGPU officers, or "checkers" as Mesmacher jokingly dubbed them, were also part of this project. Although kicked out of the secret police, Vladimirov continued on his own to report diligently to his former service on all his friends. To his credit, in these secret updates, full of gossip, he never slandered Barchenko.
The goal of ULB was to foster a community of people who, through studying mysticism and philosophy as well as working on traditional crafts as a team, would spiritually upgrade themselves. The blueprint for ULB was G. I. Gurdjieff's United Labor Commonwealth, which Barchenko learned of from his close friend [lawyer] Peter Shandarovsky, a former member of Gurdjieff's circle who chose to remain in Russia. Barchenko's brotherhood had two ranks: students and brothers. In order to reach the brothers' level one had to exercise rigorous spiritual discipline and live by the highest moral standards. The first step in this direction was renouncing property, which was not a controversial issue -- in Red Russia private property was scorned as evil anyway. Despite being a leader, Barchenko modestly stated that he was still a student. A good esoteric commune had to have its own symbols, and ULB was no exception. The symbol of a brother was a red rose with a white lily petal and a cross, symbols of full harmony. The rose and the cross were borrowed from the Rosicrucian tradition; the lily came from Musurgia Universalis by Athanasius Kircher (1602-80), a German Jesuit esoteric scholar. A black-and-white hexagon was the symbol of a student, meaning that students still had to work hard to tune their lives to universal rhythm and harmony.
-- Red Shambhala: Magic, Prophecy, and Geopolitics in the Heart of Asia, by Andrei Znamenski
As Eva Keuls sums up classical Athens: "In the case of a society dominated by men who sequester their wives and daughters, denigrate the female role in reproduction, erect monuments to male genitalia, have sex with the sons of their peers, sponsor public whorehouses, create a mythology of rape, and engage in rampant saber-rattling, it is not inappropriate to refer to a reign of the phallus."
-- The Myth of Matriarchal Prehistory: Why an Invented Past Won't Give Women a Future, by Cynthia Eller
In the views of Vajrayana all phenomena of the universe are linked to one another by the threads of erotic love. Erotic love is the great life force, the prana which flows through the cosmos, the cosmic libido...the union of the male and female principles is a constant topic. Our phenomenal world is considered to be the field of action of these two basic forces. They are manifest as polarities in nature just as in the spheres of the spirit. Each alone appears as just one half of the truth. Only in their fusion can they perform the transformation of all contradictions into harmony. When a human couple remember their metaphysical unity they can become one spirit and one flesh...Divine erotic love thus leads to enlightenment and salvation...
Nonetheless, as we shall see, the Vajrayana practices culminate in a spectacular destruction of the entire male-female cosmology...it is only after the ritual destruction of the feminine that the illusory world (maya) can be surmounted and transcended...Only her bodilessness, her existential sacrifice and her dissolution into nothing allow the karma mudra to transmute into the maha mudra and gynergy to be distilled out of the yogini in order to construct the feminine ego of the adept with this “stuff”...
The maha mudra has, it is said, an “empty body”...Ngawang Dhargyey describes how the “empty body” can only be produced through the destruction of all the “material” elements of a physical, natural “body of appearance”. In contrast to such, “their bodies are composed simply of energy and consciousness” ... The physical world, sensuality, matter and nature — considered feminine in not just Buddhism — thus become pure spirit in an irreconcilable opposition. But they are not completely destroyed in the process of their violent spiritualization, but rather “sublated” in the Hegelian sense, namely “negated” and “conserved” at the same time...It is based upon the ancient paradigm in which the energies of a creature are transferred to its killer. The maker of the sacrifice wants to absorb the vital substance of the offering, in many cases by consuming it after it has been slaughtered. Through this he not only “integrates” the qualities of the killed, but also believes he may outwit death, by feeding upon the body and soul of the sacrificial victim.
-- The Shadow of the Dalai Lama: Sexuality, Magic and Politics in Tibetan Buddhism, by Victor and Victoria Trimondi
[W]e would like to make a number of reflections on the topic of sperm gnosis, which so decisively shapes not just the Kalachakra but rather all tantras. The same name, bodhicitta, is borne by both the male seed and the supreme mystic experience, that of the “clear light”. This already makes apparent how closely interlaced the semen virile and enlightenment are. The bodhicitta ("wisdom-mind”) is characterized by the feeling of “supreme bliss” and “absolute self-awareness”. A connection between both states of consciousness and the male sperm seems to be a necessity for the tantric, since, as we may read in the Hevajra Tantra, “without semen there would be no bliss and without bliss semen would not exist. Since semen and bliss are ineffective on their own they are mutually dependent and bliss arises from the union with the deity”...if the yogi succeeds in permanently uniting within himself both elixirs (the semen virile and the semen feminile), then eternal life lies in store for him. He becomes a “born of himself”, having overcome the curse of rebirth and replaced it with the esoteric vision of immortality.
-- "The Shadow of the Dalai Lama," by Victor and Victoria Trimondi
"The 'pure substance' or the 'elixir' ... obtained from the entrails of Mother Nature, is in alchemy nothing other than the gynergy so sought after in Tantrism. Just like the Tantric, the alchemist thus draws a distinction between the 'coarse' and the 'sublime' feminine. After the destruction of the 'dark mother', the so-called nigredo, the second phase follows, which goes by the name of albedo ('whitening'). The adept understands this to mean the 'liberation' of the subtle feminine ('pure substance') from the clutches of the coarse 'dragon' (prima materia)....
The master has thus transformed the black matter, which for him symbolizes the dark mother, following its burning or cutting up in his laboratory into an ethereal 'girl' and then distilled from this the 'pure Sophia', the incarnation of wisdom, the 'chaste moon goddess', the 'white queen of heaven'. One text talks 'of the transformation of the Babylonian whore into a virgin' (Evola, 1993, p. 207)....
Now this transmutation is not, as a contemporary observer would perhaps imagine the process to be, a purely spiritual/mental procedure. In the alchemist’s laboratory, some form of black starting substance is in fact burned up, and a chemical, usually liquid substance really is extracted from this material, which the adept captures in a pear-shaped flask at the end of the experiment. The Indians refer to this liquid as rasa, their European colleagues as the 'elixir'. Hence the name for Indian alchemy — Rasayana.
Even though all the interpreters in the discussion of the alchemic 'virgin image' (the subtle feminine) are of the unanimous opinion that this is a matter of the spiritual and psychological source of inspiration for the man, this nevertheless has a physical existence as a magical fluid. The 'white woman', the 'holy Sophia' is both an image of desire of the masculine psyche and the visible elixir in a glass. (In connection with the seed gnosis we shall show that this is also the case in Tantrism.)
This elixir has many names and is called among other things 'moon dew”' or aqua sapientiae (water of wisdom) or 'white virgin milk'. The final (chemical) extraction of the wonder milk is known as ablactatio (milking). Even in such a concrete point there are parallels to Tantrism: In the still to be described 'Vase initiation' of the Kalachakra Tantra, the ritual vessels which are offered up to the vajra master in sacrifice, represent the wisdom consorts (mudras). They are called 'the vase that holds the white [the milk]' (Dhargyey, 1985, p.. Whatever ingredients this 'moon dew' may consist of, in both cultural circles, it is considered to be the elixir of wisdom (prajna) and a liquid form of gynergy. It is as strongly desired by every European adept as by every Tibetan tantric master....
We can thus state that, in Tantrism, the relation between the real woman (karma mudra) and the imaginary spirit woman (inana mudra) is the same as that between the dark mother (prima materia) and the 'chaste moon goddess' (the feminine life-elixir or gynergy) in European alchemy. Therefore, the sacrifice of karma mudra (prima materia), drawn usually from the lower classes, and her transformation into a Buddhist 'goddess' (inana mudra) is an alchemic drama. Another variation upon the identical hermetic play emerges in the victory of the vajra master over the dark horror dakini (prima materia) and her slaughter, after which she (post mortem) enters the tantric stage as a gentle, floating figure — as a nectar-giving 'sky walker' ('the chaste moon goddess'). The witch-like cemetery whore has transformed herself into a sweet granter of wisdom.
-- "The Shadow of the Dalai Lama," by Victor and Victoria Trimondi
The “holy marriage” suspends the duality of the world and transforms it into a “work of art” of the creative polarity.
-- The Shadow of the Dalai Lama: Sexuality, Magic and Politics in Tibetan Buddhism, by Victor and Victoria Trimondi
Let us first look at the mystery-play or tragedy as acted by the Lamas of the old school, at Himis, in Ladak, in Sikhim, Bhotan, etc., and afterwards refer to the versions as acted by the reformed and established church...
When acted at the end of the year it forms part of the ceremony called "The sacrificial body of the dead year," and is held on the last two or three days of the old year, from the 28th to the 30th of the twelfth month. As the performance is conducted at the Himis monastery, in Ladak, in a much grander style than was witnessed by me in Sikhim, and more in the style seen in Tibet, and as it has been there witnessed and described by several travellers," I shall take the Himis performance as the basis of my description, and amplify the descriptions of it where necessary.
As the day for the play draws near, the villagers flock in from the country-side; and on the morning of the day fixed for the performance, the people, decked in holiday attire, throng to the temple many hours before that fixed for the performance, to secure good points of view. Seats are provided and reserved only for the gentry and high officials and visitors. The king and other grandees have state boxes.
The performance is held al fresco in the courtyard of the temple (see the photograph on page 528). The orchestra is sometimes screened off from view, and the maskers assemble either in the temple or in yak-hair tents, and are treated to refreshments often, and soup between the acts.
A shrill bugle-call, from a trumpet made out of a human thigh-bone, notifies the commencement of the play.
The gongs and shawms strike up a wailing sort of air, which the musicians accompany by a low chant, and out come trooping a crowd of the pre-Lamaist black-mitred priests, clad in rich robes of China silk and brocade, and preceded by swingers of censers. They make the mystic sign of "The Three," and execute a stately dance to slow music.
Stretching out the right hand and left alternately, the leaders turn to the right, and the last in line to the left, both advancing and retiring towards each other several times, and, reforming the circle and making the sign of the Trident, they retire.
After these have gone out, then enter a troupe of the man-eating malignant demons, who, with their hordes, vex and harass humanity. They infest the air, the earth, the water, and are constantly seeking to destroy man, not unlike their better-known relative, who, "as a roaring lion, walketh about seeking whom he may devour." These hordes of demons are intended to illustrate the endless oppression of man by the powers of evil, against whom he can of himself do nothing, but occasionally the exorcisms or prayers of some good Lama or incarnator may come to his assistance and shield him, but even then only after a fierce and doubtful contest between the saints and the devils. And only for a time, too, can this relief from persecution endure, for all the exorcisms of all the saints are of little avail to keep back the advancing hordes. The shrieking demons must close in upon the soul again...
"In their right hand they hold a bell or fan, and in their left a bowl cut out of a human skull, and round the edge of which are attached narrow streamers of silk and some plaited ends of hair. This ghastly ladle is called Bundah. Some of the maskers hold in the right hand a short stick, with red and blue streamers of silk; these and the spoons majestically waved about as they go round in their solemn dance had the most curious effect I ever saw."
To these monsters (now coerced by Buddhism) the Lamas offer a libation of beer, and some rice or mustard-seed, and to all the beings of the six classes, and especially including the demons, and the rice or seeds are thrown about freely; and each Lama present inwardly prays for the realization of his desire.
At a signal from the cymbals the large trumpets (eight or ten feet long) and the other instruments, pipes and drums, etc., and shrill whistling (with the fingers in the mouth), produce a deafening din to summon the noxious demons and the enemies. "The music became fast and furious, and troop after troop of different masks rushed on, some beating wooden tambourines, others swelling the din with rattles and bells. All of these masks were horrible, and the malice of infernal beings was well expressed on some of them. As they danced to the wild music with strange steps and gesticulations, they howled in savage chorus. . . . The solemn chanting ceased, and then rushed on the scene a crowd of wan shapes, almost naked, with but a few rags about them. . . . They wrung their hands despairingly, and rushed about in a confused way as if lost, starting from each other in terror when they met, sometimes feeling about them with their outstretched hands like blind men, and all the while whistling in long-drawn notes, which rose and fell like a strong wind on the hills, producing an indescribably dreary effect. These, I was told, represented the unfortunate souls of dead men which had been lost in space, and were vainly seeking their proper sphere through the darkness. . . . The variously masked figures of Spirits of Evil flocked in, troop after troop — oxen-headed and serpent-headed devils; three-eyed monsters with projecting fangs, their heads crowned with tiaras of human skulls; Lamas painted and masked to represent skeletons; dragon-faced fiends, naked save for tiger-skins about their loins, and many others. Sometimes they appeared to be taunting and terrifying the stray souls of men -- grim shapes who fled hither and thither among their tormentors, waving their arms and wailing miserably, souls who had not obtained Nirvana and yet who had no incarnation ...Then the demons were repelled again by holy men; but no sooner did these last exorcise one hideous band than other crowds came shrieking on. It was a hopeless conflict. . . . At one period of the ceremony a holy man . . . blessed a goblet of water by laying his hands on it and intoning some prayer or charm. Then he sprinkled the water in all directions, and the defeated demons stayed their shrieking, dancing, and infernal music, and gradually crept out of the arena, and no sound was heard for a time but the sweet singing of the holy choir. But the power of exorcism was evanescent, for the routed soon returned in howling shoals."
The superior effect of Buddhism over the indigenous Shamanism is now shown by the arrival on the scene of the Indian monk, Padma-sambhava, and his assistants, or his eight forms; or sometimes these are represented as Buddha himself, or the group of the "Seven Buddhas."
This scene is thus described: "The loud music suddenly ceased, and all the demons scampered off shrieking as if in fear, for a holy thing was approaching. To solemn chanting, low music and swinging of censers, a stately procession came through the porch of the temple and slowly descended the steps. Under a canopy, borne by attendants, walked a tall form in beautiful silk robes, wearing a large mask representing a benign and peaceful face. As he advanced, men and boys, dressed as abbots and acolytes of the church of Rome, prostrated themselves before him and addressed him with intoning and pleasing chanting. He was followed by six other masks, who were treated with similar respect. These seven deified beings drew themselves in a line on one side of the quadrangle and received the adoration of several processions of masked figures, some of abbots, and others beast-headed, or having the faces of devils."
These last are the demon-kings who have been coerced by Buddhism into becoming guardians and defensores fidei of that religion. And amongst the worshippers are the Pa-wo or "heroes" with green masks, surmounted by triangular red flags, and girdles, and anklets of bells; and the solemnity is relieved by a few Acaryas, or jesters, who play practical jokes, and salute the holy personages with mock respect.
The enemy of Tibet and of Lamaism is now represented in effigy, but before cutting it to pieces, it is used to convey to the people a vivid conception of the manner in which devils attack a corpse, and the necessity for priestly services of a quasi-Buddhist sort to guard it and its soul.
Some days previous to the commencement of the play, an image of a young lad is made out of dough, in most elaborate fashion, and as life-like as possible. Organs representing the heart, lungs, liver, brain, stomach, intestines, etc., are inserted into it, and the heart and large blood-vessels and limbs are filled with a red-coloured fluid to represent blood. And occasionally, I am informed on good authority, actual flesh from the corpses of criminals is inserted into the image used in this ceremony at the established church of Potala.
This effigy of the enemy is brought forth by the four cemetery-ghouls, and laid in the centre of the square, and freely stabbed by the weapons, and by the gestures and spells of the circling hosts of demons, as in the illustration here given.
The necromantic power of the Lamas is here shown much in the same way as in the Burmese sacred play at Arakan. On three signals with the cymbals, two Indian monks (Acaryas) come out of the monastery, and blow their horns and go through a series of droll antics, and are followed by two or more Lamas who draw around the effigy on the pavement of the quadrangle a magic triangle and retire. Then rush in the ghosts, death-demons, "figures painted black and white to simulate skeletons, some in chains, others bearing sickles or swords, engaged in a frantic dance around the corpse. They were apparently attempting to snatch it away or inflict some injury on it, but were deterred by the magic effect of the surrounding triangle and by the chanting and censer-swinging of several holy men in mitred and purple copes. . . .
"A more potent and very ugly fiend, with great horns on his head and huge lolling tongue, ran in, hovered threateningly over the corpse, and with a great sword slashed furiously about it, just failing by little more than a hair's-breadth to touch it with each sweep of the blade. He seemed as if he were about to overcome the opposing enchantment when a saint of still greater power than he now came to the rescue. The saint approached the corpse and threw a handful of flour on it, making mystic signs and muttering incantations. This appeared from his mask to be one of the incarnations of Buddha. He had more control over the evil spirits than any other who had yet contended with them. The skeletons, and also he that bore the great sword, grovelled before him, and with inarticulate and beast-like cries implored mercy. He yielded to their supplications, gave each one a little of the flour he carried with him, which the fiends ate gratefully, kneeling before him; and he also gave them to drink out of a vessel of holy water."
This usually concludes one day's performance. On the following day adoration is paid to the Jina... And then occurs the ceremony of stabbing the enemy by the phurbu or mystic dagger.
Four ghouls bring in an object wrapped in a black cloth, and placing it on the ground, dance round it with intricate steps, then raising the cloth disclose a prone image of a man, which has been made in the manner previously described.
Then enter the demon-generals and kings, including the demon Tam-din, and they dance around the image. They are followed by the fiendesses, including the twelve Tan-ma, under Devi. These are followed by the black-hat devil-dancers, and these are, in the established church version, held to represent the Lama who assumed this disguise to assassinate king Lan-darma. The four guards now hold the door to prevent entry of any enemies or evil spirits. The black-hats dance round thrice and are succeeded by the god of Wealth, fiendesses, and butchers, the five great "kings," and their queens and ministers, also the state sorcerer of Na-ch'un, and his eight-fold attendants.
Then enters a fearful fiend named "The holy king of Religion," with the head of a bull, holding in his right hand a dagger with silk streamers, and in his left a human heart (in effigy) and a snare, attended by a retinue of fiends and fiendesses, bearing weapons and dressed in skins, human beings, tigers and leopards; and the last to enter are tiger-skin-clad warriors with bows and arrows...
The King-devil, surrounded by his fiendish hordes, dances and makes with dagger the gesture of "The Three"; he stabs the heart, arms and legs of the figure, and binds its feet by the snare. He then rings a bell, and seizing a sword, chops off the limbs and slits open the breast and extracts the bleeding heart, lungs and intestines.
A troupe of monsters, with the heads of deer and yaks, rush in and gore the remains and scatter the fragments with their horns and hands to the four directions.
Underling fiends now collect the fragments into a huge silver basin shaped like a skull, which four of them carry to the Demon-king in a pompous procession, in which the black-hat devil-dancers join. The Demon-king then seizes the bleeding fragments, and, eating a morsel, throws them up in the air, when they are caught and fought for by the other demons, who throw the pieces about in a frantic manner, and ultimately throwing them amongst the crowd, which now takes part in the orgy, and a general melee results, each one scrambling for morsels of the fragments, which some eat and others treasure as talismans against wounds, diseases and misfortunes….
A burnt sacrifice is now made by the Demon-king. He pours oil into a cauldron, under which a fire is lit, and when the oil is boiling, he ties to the end of a stick which he holds an image of a man made of paper, and he puts into the boiling oil a skull filled with a mixture of arak (rum), poison, and blood, and into this he puts the image; and when the image bursts into flame, he declares that all the injuries have been consumed.
This rite is followed by a procession to abandon a large three-headed image of dough, to the top of which many threads and streamers are tied. This procession of monks is preceded by the maskers, numbering several hundreds in the larger monasteries, clanging noisy cymbals and blowing thigh-bone trumpets, etc. The laity follow in the rear, brandishing guns and other weapons, and shouting "Drag-ge-pun c'am." And when the image is abandoned the crowd tear it to pieces and eagerly fight for the fragments, which are treasured as charms. A gun is then fired amid general shouts of joy, and the Lamas return to the temple for a celebration of worship....
Prayers ever hang upon the people's lips. The prayers are chiefly directed to the devils, imploring them for freedom or release from their cruel inflictions, or they are plain naive requests for aid towards obtaining the good things of this life, the loaves and the fishes. At all spare times, day and night, the people ply their prayer-wheels, and tell their beads, and mutter the mystic six syllables — Om ma-ni pad-me Hum! "Om! the Jewel in the Lotus, Hum!" — the sentence which gains them their great goal, the glorious heaven of eternal bliss, the paradise of the fabulous Buddha of boundless Light — Amitabha.
Still, with all their strivings and the costly services of their priests, the Tibetans never attain peace of mind. They have fallen under the double ban of menacing demons and despotic priests. So it will be a happy day, indeed, for Tibet when its sturdy over-credulous people are freed from the intolerable tyranny of the Lamas, and delivered from the devils whose ferocity and exacting worship weigh like a nightmare upon all.
-- The Buddhism of Tibet, or Lamaism With Its Mystic Cults, Symbolism and Mythology, and in its Relation to Indian Buddhism, by Laurence Austine Waddell, M.B., F.L.S., F.R.G.S.
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