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Mozart and the Christ.
What links Mozart with the Christ?
On the surface it appears that no such link exists. But if one looks beneath the surface, strong links come to light in a highly dramatic and revolutionary manner. Mozart was a revolutionary man in many respects. But how does one combine a revolutionary spirit with the Christ idea in Christian history.
Ironically, an efficient path to formulate an answer can be found by going far back into time. One can find roots for such a connection in one of the greatest cultural eras of the ancient world that preceded Christ Jesus by more than a thousand years.
For a period in those ancient times the world was dominated by apparently deadly repressive forces, intermingled with mythologies that were utilized for social control. However, it appears that the mythologies were also exploited by inspired people as a stage on which the 'Christ idea' in human thought would naturally revolt against them, and say No, No, No, at every stage.
On this path the repressive mythologies were unmasked as empty, fake, inhuman, and erroneous, and likewise the political forces that had exploited them.
This pioneering work of unmasking the mythologies was done by the poet Homer, of the 8th Century BC, the author of 'The Iliad' and 'The Odyssey' that are believed to be the oldest works of Western literature. He brings out the emptiness of the mythologies, by illustrating that society's belief in them, ends in great tragedies.
In much later times Shakespeare extended the art of teaching spiritual principles with plays of tragedy, where calamities occur, because critical principles are ignored.
Shakespeare was saying in essence to society, 'you fools, can't you see what happens when you go this path where prudence would tell you not to tread? Homer's exposure of the early Greek mythology may have been intended to have a similar effect. At least it should have had. In some degree it did; though too little of it has remained to our time.
Zeus, the king of the gods, in Greek mythology, should be named the original 'depopulation god.' Depopulation was his dream. It still is the dream of the rulers of the greatest empire in modern time.
Zeus was not a friend of humanity; neither are the rulers of the modern empire.
Zeus is a god who hates humanity, a god who does everything he can within his power, to bring harm to humanity and prevent its self-development.
In ancient mythologies, the deadliest goal that Zeus pursues, probably incited by his hatred of humanity, is to instigate the mass depopulation in the world to whatever extend this can be achieved. His goal is to create an environment in which the gods can live without being challenged by humanity, such as a world of dancing puppets that are squirming under the thumb of the gods. This goal is still on the agenda by the masters of empire, only more extensively now.
The depopulation policy that is widely promoted today from the highest pulpits of oligarchic power, is to 'reduce' the world population from the present seven billion people, to less than one billion. The objective is in progress of being implemented. Few people realize that this modern goal of the Green Agenda had its precedent already established more than 4000 years ago in the sphere of Greek mythology.
In today's world, the British Queen, as Zeus before her, champions the depopulation song, not for personal interests perhaps, but as the figurative head of the largest empire ever created on the face of the planet. She leads a chorus on the theme that originated from deep within the power structure of the oligarchic empire that she may be just a small part of herself, where everyone is controlled and no one is really sovereign. The widely promoted song that covers many areas in modern politics from health care to war to economic policy, includes the ever-recurring refrain: 'Let the people die,' 'Let the people die.'
While the modern depopulation goal is more specific than in the time of Zeus, with the stated goal being to reduce the world population from the present seven billion people, to less than one billion people, the physical means to fulfill the gigantic objective are more-efficient today. The basic methods, however, remain the same.
In today's world where strategic thermonuclear bombs can be delivered in 5 minutes in key areas, the entire war platform has been reduced to a game of fear-driven nerve-edge reactions in an atmosphere of deception heaped upon deception. There is little correspondence left in the modern political sphere of empire, between the words that are spoken and the actual intentions. Honesty is fast becoming a forgotten concept, on the train that started rolling already in ancient time.
How else, except by means of dishonesty, deployed as deception, would Zeus, the king of the gods in ancient times, be able to inspire humanity to depopulate itself? Zeus didn't have nuclear weapons, biological warfare agents, nor a ravishing, looting, financial system that can break down civilization in a day, as we have now. Zeus had to do his thing the hard way, getting people to kill each other with the sword.
Since a mythological god, even the king of all the gods, by being just a myth, has no real power in itself, it was understood by the writers of mythology that the only real option that a mythological god can possibly have to affect anything, is to seduce humanity to destroy itself at his bidding. This trick is still being used.
So it was, that in order to get the seduction going, and to keep the process as obscured as possible, numerous gods were required in Zeusian time to convolute the mythology. Of course, Zeus would run the entire show, as the king of the gods, to assure the required effect.
Within the channels of deep-reaching seduction, vast possibilities open up for inflicting genocide and for the eradication of civilization on a gigantic scale.
It was evidently known to the authors of the Greek mythology, that instigating war, is one of the most destructive means with which an imperial force can achieve the self-destruction of society, and the destruction of civilization with it. War is superseded on this scale only by poverty, which is typically increased by war, and by the effect of the terror for which modern wars are used as a means for disabling the spirit of humanity.
This means that Zeus had been setting the stage for a major war with the terror factor as the ultimate weapon, requiring a big war, a long war, a 'war' that isn't easily stopped, a war so terrible that it will never be forgotten. This became the Trojan War.
However, how would Zeus manage to seduce much of society to start such a war in those primitive times?
Since a mythological god has no heart, it was easy for Zeus to dream up a clever scheme out of his ice cold cruel nature - a scheme that would entice society to kill one another with the force of an intense hatred, a kind of heart-wrenching hatred that blocks the faintest sense of humanity.
Zeus achieved this with the force of contract obligations that he set up in the form of a sacred oath sworn by the people to one-another in the name of their gods. Under the force of such an oath, built on deception, society could become seduced to feel an intense hatred where love and humanity would otherwise reign.
In the mythological script, Zeus is set up as the undisputed master of the craft of seduction by deception, a master to 'inspire' intense hatred. Zeus is said to have figured out an effective way to turn love to hate. For this scheme in the mythology, he had laid the 'egg' himself.
In Greek mythology, Zeus, disguised as a swan, in consort with a woman, named Leda, had laid an egg.
The woman, Leda, was the wife of King Tyndareus of Sparta, a powerful king.
From that egg, the most beautiful girl in the world would emerge. She would be named, Helen.
At the court of Sparta, Helen grew up to become indeed the most beautiful woman in the world, with an appeal that any man would fall in love with.
Zeus needed this to be so for his plan to work. He needed to have the most desirable woman that ever was, in his grasp. The entire plan depended on this.
However, in order to get the plan off the ground, where Helen would play a decisive role, something else needed to happen first. For this, he hatched a supporting plot.
The supporting plot was staged in the flow of a marriage feast between the goddesses Peleus, and the goddess Thetis, a sea-goddess.
All the gods and goddesses appears to have been invited to the marriage feast, except the goddess, Eris, the goddess of discord. Outraged by this insult the excluded goddess stormed into the wedding banquet and threw a golden apple onto the table, on which it was inscribed, 'To the fairest.' The goddesses Hera, Athena, and Aphrodite, each had reached out for the apple.
Zeus didn't presume to have the right to judge who is the fairest of the goddesses in the sight of men. Thus, he ordered Hermes to lead the three goddesses to Paris, a prince of Troy, who at the time was still unaware of his ancestry. He had been raised as a shepherd in Mount Ida, for reasons of the prophecy that he would bring on the downfall of Troy.
After bathing in the spring of Ida, the goddesses appear naked before prince Paris. Since he was unable to decide between them, the goddesses resorted to bribes. Athena offered Paris wisdom; Hera offered him political power; and Aphrodite offered him the love of the most beautiful woman in the world.
Paris awarded the apple to Aphrodite. He saw in his mind a beautiful woman before him, with a smile grander than his dreams, and he was pleased with the promise.
And so, with the resulting choice by Paris, the plan of Zeus sequenced on.
In time Paris would discover that the face he has seen in his mind that day, was the face of Helen of Sparta, the daughter of Zeus, and of King Tyndareus of Sparta.
As time went on, Paris made his way to the city of Troy. There, he was discovered by King Priam, as his son. However, their bond existed only in Paris' mind. The two lived worlds apart.
As one might expect, Helen of Sparta had scores of suitors. As one might also expect, her father, the King of Sparta, Tyndareus, was reluctant to choose one of the suitors above the others, for fear that those not chosen would retaliate violently.
Here it came to be, that one of the suitors, Odysseus of Ithaca, proposed to all the suitors a plan that would resolve the king's dilemma. It was a Zeusian kind of plan. The plan was, that Tyndareus should require all of Helen's suitors to promise that they would defend the marriage of Helen, regardless of who would be the chosen one. The suitors eventually all agreed and swore the required oath before each other and the gods. Some did so reluctantly.
The oath, of course, was the key-part of Zeus' plan. Under this plan it made no difference to Zeus, who would be the chosen one, as the outcome would be the same in every case. As far as Zeus was concerned, the suitors could just as well have drawn lots. Maybe they did so.
Legends have it that Tyndareus elected King Menelaus to be the winner. It was a political decision for Tyndareus, because Menelaus had wealth and power, and was a humble man who had not even actively petitioned for Helen, himself, but had instead sent his brother, Agamemnon, on his behalf.
With the selection of Helen's husband now settled, the plot of Zeus was sequencing on.
When Paris of Troy heard about the arranged marriage of Helen with Menelaus, the marriage of the woman who had been promised to him by Aphrodite, he travelled to the court of Menelaus, determined to abduct Helen from there, and to bring her back with him to Troy.
Paris arrived under the guise of a diplomatic mission. Right on the first day of his visit, while he was entering the palace of Menelaus, Helen was shot by the goddess Eros, otherwise known as Cupid, with her magic arrow. Consequently, Helen fell instantly in love with Paris, just as had been promised by Aphrodite. It was love at first sight. It happened all completely in line with Zeus' plan.
During his stay in Sparta, Prince Paris of Troy was treated as a royal guest by Menelaus, who was by then the husband of Helen. However, one day, as Menelaus was away, attending a funeral, Paris ceased the opportunity to carry out his planned abduction of Helen, who, under the 'spell' of Eros, would have went with him willingly. Paris may have also stolen a part of Menelaus' wealth in the process.
The abduction of Helen by Paris succeeded in a world that was at the time at peace and rich with cultural achievements that were being set up to be destroyed. The tide was turned when Helen and Paris were subsequently married in Troy.
According to the poet Homer, Menelaus, the original husband of Helen, and his ally, Odysseus, came peacefully to Troy with the aim to recover Helen by means of a diplomatic petition. Menelaus claimed Helen as his property, and as his wife that had been fairly acquired by him.
The King of Troy, King Priam, may have answered the stated request by asking, is a woman property? She is not! Whom does she love? Let her love decide her future. Let the outcome be her choice.
The legends tell us that Helen chose to remain with Paris in Troy. King Priam, consequently accepted her kindly, as if she was his own daughter.
As the result of his decision, Helen became known in legends and stories, to this very day, as 'Helen of Troy.'
With the resulting failure by Menelaus to reclaim Helen from King Priam, the dark, dark plan of Zeus was now fast coming to fruition. This happened around 1,200 B.C..
Menelaus, acting probably at the bidding of his brother Agamemnon, agreed to send emissaries to all the Achaean kings and princes who had been suitors of Helen, and to call on them to observe their oaths that they had sworn to one another and the gods. This meant that they would be required by their oath to retrieve Helen from Troy with the force of arms.
This became their obligation under a contract they had sworn, which, by their honour, they could not evade.
Some of the kings hesitated to use force. Some tried to evade going to war. Eventually, though, they all came around to honour their sacred contract with the gods. Thus they became committed to a war that wasn't even in their interest.
With this seduction to a false commitment, the huge depopulation war that Zeus had demanded from the beginning, was now under way to becoming realized.
The giant war that resulted, became known in history, as the Trojan War.
The Trojan War takes us far back in time, roughly 3,200 years, to the very dawn of the system of empire. This gigantic war, was the war that the poet Homer wrote about in his epic poetry, the Odyssey, and the Iliad.
Homer describes, only the ending phase of the war. Maybe nobody knew anymore in Homer's time, how it all began.
In real terms, the Trojan War was probably an economic war. There had likely never been a single war launched in the history of the world that had not been an economic war of some type. Why would one attack another people if the target had nothing worth stealing? Occasionally war is waged to block an ongoing process of stealing. Rarely are wars waged for non-economic purposes. The Trojan War was likely not an exception from this context.
The city-state of Troy was strategically located at the 'hub of world trade' at the time. The city was located at the entrance of the Marmara Sea, which is the gateway to the Black Sea, which in turn, is the gateway to the Danube River system and the associated trade-routes into western Europe, and is also the gateway to the great river system that leads deep into Russia.
The city of Troy was positioned at one of the key choke points for all the trade that was passing between the major northern regions of the ancient world, and the Orient in the South. By controlling the trade between the regions, Troy probably became the richest city-state in ancient times, both in physical wealth and in advanced technologies and ideologies that came along with the flow of the trade.
The seductive mythologies surrounding the Trojan War had likely been created, intentionally, in order to illustrate the methods that the system of empire typically employs to break the spirit of humanity as a means for enforcing domination over people and cultures, typically for the purposes of stealing and exploiting, named trade.
Mythologies are used to guide people's believes into compliance. They have evidently also been twisted to serve as cover-up smoke screens to hide the causes for war. Thus, by untwisting the myths, the hidden causes for war can become known, which, by becoming known, can be prevented or blocked from ever being desired again.
This is what Homer may have picked up and had put into writing, because between the Trojan War and Homer's time, lay nearly five centuries of relative peace and advancing cultural development, a type of Golden Age of science, culture, art, humanity, beauty, even democracy that began to develop and flourish, which culminated into what became known as the Greek Classical Period. Throughout this period, no major war on the scale of the Trojan War, had occurred.
Historians suggest that Troy had been destroyed by a gigantean military operation, gigantean for the time, with a siege that had lasted ten years. Troy had been attacked by an alliance of roughly 28 kings, princes, and their allegiances. The forces were led by their respective kings.
When it was all over, Troy was left in ruins. It may have been destroyed so that none of the alliance powers would gain an advantage over the other, by rebuilding it. The more likely reason was that none of the combatants had any strength left for the task of rebuilding.
The Trojan War had been a type of world war that had been waged by contingents from mainland Greece, the Peloponnese and the Dodecanese islands, and by Crete, and by Ithaca. About 1200 ships had been amassed for two main thrusts. The ships carried 50 to 120 men each, for a total force of 70,000 to 130,000 men. This was a gigantic force for the time.
Legends have it that Troy had been so well fortified that it had not been defeated in combat, even by this giant force, but that it was defeated in the end by strategies of secrecy and deception.
It appears that deception became the preferred form for the operations of empire from this time on, as it remains the key strategy in our time.
The deception tactic in the case of Troy, is known today as the Trojan Horse. After the fruitless siege by the Greeks, lasting 10 years, the Greeks finally resorted to the one method that matched the method of Zeus, the method of deception. They constructed a gigantic wooden horse and hid within it, a select force of fighters, then left the horse behind and sailed away, hiding in the shadow of some islands.
The Trojans regarded the horse as a victory trophy, or as a token of defeat acknowledged by the Greek. They pulled the horse all the way up the hill into their city, as a symbol with which to celebrate the end of the war, and also perhaps to raise the spirit of the people.
That night, while the city was asleep, the hidden Greek force crept out of the horse. Quietly, without disturbing anyone, they opened the gates of the city from within, for the rest of the Greek army, which had sailed back under cover of the night. What followed happened quickly.
The massive Greek force that had entered the city started a killing rampage, and an orgy of destruction, looting, and burning that terminated the war at this very day.
Zeus had won! The deception event is presented in Homer's Odyssey. Whether it all happened the way it is reported, or whether the horse story is but a tale, is unknown. It is more likely that some of the Greeks had infiltrated and had opened the gates one night. Infiltration and deception remains a key element in modern irregular warfare that is widely used by the masters of empire. It is also possible that the story of the Trojan War by Homer, is but a collection of war stories and war strategies of heroics, horrors, deceptions, and inhumanity.
A modern example of destruction by deception, is found in the fall of the Soviet Union. The Soviet Union was dissolved by traitors acting from within. They had been coerced by so many golden promises from the West, to dissolve the union. Then, when the gates were opened to the former nations, including Russia, the now accessible nations were flooded with western financial thievery that destroyed the industries that the war-torn nations had rebuilt after two world wars and in the face of the Cold War threat that had been relentlessly conducted from the West.
As the result of the economic destruction, and 'burning,' and the massive outright looting that followed the opening of the gates, the the former Soviet nation became so deeply devastated that their population declined, in Russia by a million people a year, by starvation. The Ukraine faired worse. The smaller nation lost two million people a year.
However, the biggest deception that came with the end of the Soviet Union, was thrown into the face of humanity as a whole. The collapse of the Soviet Union was celebrated to be the end of the nuclear war danger. The opposite was true. The danger became greater than ever. The goal of empire, to depopulate and to destroy Russia and China, as an opposing force to the looting-quest of empire - for which nuclear war has been invented in the first place - had not changed. It cannot change. The devil cannot be reformed. Empire cannot reform itself and become benign, as it would cease to exist thereby. And so, empire, and its quest for war and looting, will not change for as long as empire exists and rules the minds of society, whereby humanity as a whole is doomed.
The nuclear war danger is greater today in the shadow of the now accelerating collapse of the western economies, especially under the ever-increasing looting of the world's nations by the imperial financial system.
Also, the weapons of war have become more efficient. In the Soviet era it would have taken up to 40 minutes for a missile to deliver its atom bomb. Now, with advanced technologies, and with Russia and China being encircled with American launch bases, the flight time from launch to impact has become as short as 5 minutes in some cases. The imposed reaction time has become so short that no form of diplomacy can deter a 'hot' scene to prevent a catastrophe. The danger to humanity has thereby increased 100-fold.
Against this background, presently, stands the now vastly increased effort by the Western Empire, and by America as its puppet, to pull Russia and China into war, as a response to relentless provocation. America is not allowed to declare war without congressional authorization, unless it is being attacked. Such attacks are now intensely invited by America's puppy-dog president in the service of empire, who rules largely by degree in the shadow of an impotent Congress and Senate.
For example, a group of tiny uninhabited islands, a hundred miles off-shore from Taiwan, which had been traditional Chinese territory, is now claimed by Japan that is a thousand miles distant, as its own, which it had once confiscated as a booty in its wars with China. The lingering dispute is now being utilized for a threatening posture against China, with the USA declaring, that if a single Chinese person was to set foot on any of these rocks in the sea, the USA, which is located more than 10,000 miles away, would regard this act as a declaration of war against it under its contract obligations with Japan, suggesting that the USA would respond accordingly, with war, which the NATO countries would likely be obliged to participate in.
This setup brings us back to the start of the Trojan War. The setup is the same in essence. The Trojan War is near again.
This means that a hair-trigger standoff is presently staged at the gate to a worldwide nuclear-war, because it is not possible for the USA to wage a war against China in the conventional sense, with its none-existing strength to be drawn from its broken-down economy. Only America's far-flung nuclear-war capability still exists.
This means that we stand at the threshold today to the greatest-ever Trojan-type war, a gigantic war in destructive consequences that the whole of humanity will likely not survive.
America's war-president, the little puppy-dog-Nero president, sings his appointed London songs well, with the ever-repeating refrain, 'let the people die.' But will humanity let him have his way?
In the course of the Trojan-War in ancient times, many of the once great kings and heroes of Greece, who had devoted their life to the battles of insanity, had perished in the ensuing processes of war, together with countless men, women, and children.
Of those who had survived the war, some perished in the aftermath.
King Agamemnon, for example, the brother of Menelaus, ended up being murdered by his wife on his return from the war. Agamemnon had killed his daughter Iphigenia as a human sacrifice to the gods in order to keep the war on track. His wife made him pay for that on his return.
Eight years into the war, after a storm had scattered the ships of the Greek fleet, the great fleet was reassembled, a fleet of more than a thousand ships. At this point the winds ceased so that the ships could not sail. A prophet of the gods stepped forward and advised Agamemnon that the goddess Artemis was punishing him, and that the only way that the goddess could be appeased, would be for him to sacrifice his daughter Iphigenia. When Agamemnon refused, the other commanders threatened to give the command of the expedition to somebody else. For the sake of the war he gave in, and did the deed with his own hands.
We are told that his wife, Clytemnestra, which is also Helen's sister, killed Agamemnon at a feast, or in his bath, probably saying, 'what have you done!'
Agamemnon's son subsequently conspired with his sister Electra to avenge the murder of their father by killing his own mother, Clytemnestra. The murder cleared his way to his father's throne.
Zeus must have loved the outcome of endless murdering, as if the war itself, had not been murderous enough
If this was Zeus' sentiment, it was shared in modern times by the celebrated pacifist Bertrand Russell, of the British Empire, the famous pacifist of the grave, who lamented that wars do not kill enough people, even the big wars, so that a pandemic plague should erupt once in every generation to prevent humanity from becoming too populous on the earth, by which he meant to say that humanity grew too strong for the liking of empires.
Russell evidently knew that when Zeus had died as a myth in the wake of the reality of the Trojan War, the Greek development period had began in which no empire had a chance to successfully establish itself for nearly 700 years.
Some of the few people of the city of Troy, who had survived the Trojan War, who had managed to escape, some on ships, and were lucky not to perish at sea, began to re-establish themselves in the surrounding area, including in Crete.
And like the refugees, the returning troops encountered problems too, on their journey back. Some had perished on the open sea, and some nearly so.
Among the returning Greek forces, who barely made it back home, was the commander of the forces from Crete, named Idomeneus. In Homer's Iliad, the commander Idomeneus is found listed among the first rank of the Greek generals, and as one of Agamemnon's most trusted advisors. He was one of the Achaean troops inside the Trojan Horse.
Like most of the leaders of the Greeks, he is listed as being alive in the story by Homer, as the story comes to a close. However, according to further legends, his ship got caught in a terrible storm. In desperation Idomeneus promised the god of the sea, Poseidon, that, if he would spare his life and save the ship and the crew, he would in exchange for his life being saved, sacrifice to Posidon the first living thing he saw when he returned to shore.
As the legends have it, the first living thing that he saw on the beach was his own son, whom Idomeneus dutifully sacrificed.
As the gods were angry at the murder of his own son, they sent a plague to Crete. The Cretans in turn took Idomeneus and sent him into exile, where he died.
Here the interface with Mozart begins. Mozart's opera, Idomeneo, picks up the story. As if in an attempt the heal history itself, Mozart does not allow the commander, now named Idomeneo, to kill his son. There would have been no redeeming value in that. Instead, Mozart stages a three hour drama of deep-reaching struggles, searching to find ways for Idomeneo to get out of his contract with Poseidon that he had foolishly entered into, or believes he had entered into.
Mozart's opera also picks up Electra from the legends, the woman who had conspired with her brother in the killing of his mother, who had murdered Agamemnon for his sacrificing of his daughter to advance the war. In the opera, Electra came to Crete.
The other main character that Mozart's opera picks up from the legends, appears to be Helen of Troy, now under the name Ilia, who we are told in the opera, is the daughter of King Priam of Troy.
The mane Ilia suggests that she is originally from the Illyrian region that included Sparta. This suggests that she may be Helen, a daughter of Sparta who is also seen by the King of Troy like a 'daughter.'
In the opera a three hour drama unfolds between Ilia, Electra, Idomeneo, and his son Idomeante. It becomes a struggle for life, freedom, and for a victory for humanity over self-imposed slavery to the gods and their contracts. Each one of them becomes elevated in the struggle to the status of a human being. Each one grows up. It is here, where we find the connection of Mozart with the Christ.
Zeus conspires in the mythology with a hatred of all that is good, to dissolve love and humanity, to break the glue that binds civilization into one single package, and turn the residue into ashes by hate, a hate so fierce that it opens the flood gates to the most devastating wars that can be devised, like the Trojan War in the ancient world.
On this path, the mythological Zeus had succeeded in times past. He had succeeded in the legends, with the tool of binding contracts that are designed as a trap, chosen by the victims by their own volition, who are coerced by false honour to commit themselves to their own self-destruction.
This mode of operation by the masters of empire is still being pursued to the very day. The 'contract,' designed as a trap, still rules the world, and it still remains a deadly trap for the victims.
Mozart says the opposite. Mozart proclaims that hate is not legitimate. He reaffirms that the glue that holds civilization together, is love - love that denies the creatures of Zeus. Of course, love, as an expression of the lateral nature of humanity - love as an expression of the Principle of Universal Love in acknowledging our common humanity - is inherent in all as an element of the Christ.
In this context Jesus was not the Christ, but the foremost Exemplar of it, an Exemplar of the divinity of humanity, of something that is inherent in all humanity, something that brings us together, something that needs to be discovered in ourselves, and be developed.
Mozart says to humanity, this self-development of yourself can be done, you can do this; and you will do this when you are honest with yourself. Against this 'glue,' the Christ-idea in the heart of humanity, which is the glue of civilization, the machinations of the masters of empire are but myths with no inherent effects. The power of the Christ within you, when it is nurtured to unfold, takes the steam out of hate and dissolves the terror-scene of hate into a human scene powered by love.