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Alexandra David-Néel as a teenager, 1886. In 1871, when David-Néel was two years old, her father Louis David, appalled by the execution of the last Communards, took her to see the Communards' Wall at the Père-Lachaise cemetery in Paris; she never forgot this early encounter with the face of death, from which she first learned of the ferocity of humans.
David-Néel's book shared this vision by proposing a positive, exotic, and spiritual image of Tibet, which went beyond the classic colonialist assertion of superiority and rivalry. [4] Alexandra David-Néel was a great admirer of Oriental cultures and mysticism, as she herself was a Buddhist.
According to David-Néel, this happens nearly mechanically, just as the child, when her body is completed and able to live apart, leaves its mother's womb." [ 16 ] : 283 She said she had created such a tulpa in the image of a jolly Friar Tuck -like monk , which she claimed had later developed independent thought and had to be destroyed.
Visiting card with a framed Tortoise, signed by Marie-Madeleine Peyronnet. Alexandra David-Néel gave Marie-Madeleine the nickname “Tortue” after a banal incident. As she walked towards a staircase, she saw a stocking rolled into a ball at her feet, which she mistook for a tortoise.
Alexandra David-Néel, in her book Magic and Mystery in Tibet, describes how she saw a lung-gum-pa runner in action. After witnessing such a monk David-Néel described how "[h]e seemed to lift himself from the ground. His steps had the regularity of a pendulum [...] the traveller seemed to be in a trance. [3]
Much of the text appears to mirror the work of Alexandra David-Néel, overlaid with Illion's personal musings and fantastic tales. This is a quote from David-Néel's Magic and Mystery in Tibet, (published five years previously) which recounts an earlier meeting she had with a lung-gom-pa lama: "He seemed to lift himself from the ground..
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The story is very loosely based on the life and writings of the explorer Alexandra David-Néel, where "travel is a metaphor for spiritual quest and commitment to inner vision." [2] The story is told primarily through wordless vocal sounds with brief interjections of spoken text in Mandarin Chinese and English.