Text and images transcript of the video Mozart and the Christ - part 2 by Rolf Witzsche 

Mozart and the Christ - part 2

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The Christ is a spiritual concept. However, its principle, as any principle that is real, is universal. And being universal, it is found universally expressed in all aspects and all times. It is even expressed in nuclear physics. 

An interesting parallel comes to light here, in nuclear physics.




In nuclear physics, an atom is an intelligently created construct, consisting of a swirl of electrons that is creating an apparently solid form in empty space. 

The constructed form is a million times larger than the electrons that create the construction. At the center of it, the atom has a large nucleus that is nevertheless a 100,000 times smaller than the atom itself. 

The nucleus is needed as an attractive force for the dynamic dance of the electrons. The electrons carry a negative electric charge. The nucleus that holds the electrons in their dance, is made of protons that carry a positive electric charge. In electrodynamics, unlike polarities attract each other. By the same principle, like polarities repel one-another. 

This electric repelling force of like polarities is essential for the electrons in their dance, as it prevents them from colliding that would cause havoc in the atom. However, in the nucleus, the repelling force is not desired. It would explode the nucleus apart. The opposite is needed. In order for the atom to function, the nucleus needs to be held tightly packed together, rather than repelled apart. The universe accomplishes this feat with a type of glue that counteracts the repelling force. The glue consists of neutron particles that are electrically neutral. They have no electric polarity whatsoever. But they have a strong binding quality that prevents the protons from repelling each other.




It is interesting to note that the neutron particle gains its existence only within the nucleus of an atom, where it fulfills its critical function. It exists only as a part of the package that it thereby enables. If a neutron is split away from the package, the neutron decays rapidly and becomes a proton.

This means that it is not possible for an atom to exist, except as a complete package. The glue that holds the protons together is a part of the package, of a dynamic package. Within the package the neutron fulfills a critical role. Outside the package the neutron is inconceivable. It simply doesn't exist.




In this model of an atom, we see a spiritual model coming to light, where everything exists as a single package. The package is called civilization. The protons are humanity. The glue that holds the nucleus together is called the Christ.




If it wasn't for the service-function provided by the neutron, not a single element in the periodic table would exists, and consequently the universe would not exist, except in the smallest atomic form with a proton count of 1, the helium-gas atom that has just a single proton in its core and doesn't need any glue. For everything else the function of the glue is absolutely needed. It holds the universe together.




In like manner, civilization, except in its most primitive form, is inconceivable without the Christ in the middle of it all as the glue of the package. 




The term Christ can be seen as a summary term for all the divine qualities that are typically recognized as attributes of God reflected in the heart and soul of humanity, such as: love, spirit, life, intelligence, truth, beauty, joy, and so on; which cannot be measured, which cannot be weighed, but which are so substantial that civilization would collapse without them. In this context the concept of the Christ has no meaning outside the package, nor can the package be conceived without it.

Here we get back to Mozart and his opera, Idomeneo.

In civilization, the glue that is in the heart and soul of humanity is most often recognized as love. Without it civilization would fly apart. It is a part of the package. Without love, civilization would disintegrate and humanity perish. 




Huge projects are still under way to proof the point that without love, civilization is in extreme danger of being blown apart.




That's what Zeus in ancient mythology represents. It was already known, even back in ancient times, that without love, speaking from the heart, civilization disintegrates.




We have amassed enormous evidence of this point, that we have always known to be true, that love is the glue of civilization. Without this glue we have no civilization. This is the reason why those who wish civilization to be destroyed, play the Zeusian game. The front-runners in this game, are the masters of empire, the masters of the oligarchic system. The Trojan War was a Zeusian game; likewise the destruction of the city of Dresden, which are both minuscule now, in the modern context of the silent, global biofuels genocide.

The Zeusian mythology of empire, that still rules, wrecks the glue with superimposed mythological forces that color love as hate. However, every human being knows from the bottom of the heart and soul that the entire Zeusian game, from start to finish, is wrong. It is condemned in the heart.

Mozart gives Idomeneo the task to work himself out of the mythological trap that condemns humanity, but is itself condemned from the heart. In a very real sense, Idomeneo is tasked to heal humanity; even to heal history.




Ilia is given the task in the opera to aspire to a form of love that is free of everything that love is not. 




Electra, in turn, is required to heal herself of the myth that love and life can be property. This is critical, because when the property myth is accepted, it seduces the bearer to feel hate and revenge. Electra is given the task in the opera that Menelaus failed at in the historic story when he came to reclaim Helen from King Priam of Troy. King Priam may have asked the question, 'is a person property?' Had Menelaus responded correctly, the Trojan War might not have happened. Likewise, if Electra had responded correctly, the murder of her mother would have been prevented.

Idamante, in turn, who is the son of Idomeneo, is the victim whom Idomeneo had contracted himself to kill as a sacrifice to Posidon when he was pleading for his life on the raging sea.




 Idamante's task is to discover that he, and everyone else, never was in danger, or ever will be, because in the package of civilization, bound by the glue of love, the imagined mythological duties under Posidon carry no weight, regardless under what contracts they may have been bound onto humanity, contrary to love.

Idamante stands tasked to discover that Posidon, representing the force of Power, Oligarchy, Seduction, Inhumanity, Destruction, relentless Oceans, naked Nature, etcetera, are empty boasts, even while Posidon says, 'resistance is futile.' That's the mythological song of empire. Idamante is required, as we are all, to discover that he, as a human being, has it in his hands to end those deceptive songs.




Idamante is assigned the task that even the greatest of all times have failed to accomplish, to vacate Zeus and Empire from the face of civilization, as both are one and the same, and to do this as a commitment to love for what is real, powered by the universal Christ within.




It is as if Mozart is saying to society, 'we cannot afford empire and its wars anymore. We couldn't then; much less can we now.'

Thus, Mozart gives all they key players, collectively, the task to develop in their individual ways, the universal spirit of humanity that, if it had been developed in ancient times, would have prevented the Trojan War from erupting, at every step along the way. 




On the surface the entire opera is about preventing the killing of Idamante, by his Father, Idomeneo, under his 'illegal' contract with Posidon.

'I don't want to kill my son,' explains Idomeneo, 'but Poseidon gets angry when I flinch, and many people get hurt and perish.' 

When Idamante recognizes the encumbering predicament, he says to his father that he must do as he had promised, that he must fulfill his promise to appease the gods. He offers himself as a victim for his father's sake. But this doesn't work anymore by then.

Ilia intervenes and offers herself. 'Kill me instead,' she pleads, 'because Idamante is too valuable for the nation as a potential leader, to be allowed to be killed like than. Take me as the required victim.'

Here the opera draws to a close as if Mozart is saying to the all, 'this train is going too far; stop it! This constant commitment to kill and be killed, is insane. It is inhuman! Don't let it end as you propose. It is utterly contrary to reality and the principles of the universe, what you regard as a solution. This madness has to stop. You know in your own heart and soul that this isn't right what you propose, that this isn't how the package of civilization functions. Wake up, people! Wake up to your humanity, or you will all end up dead.'

Since there was probably no one awake enough in society, in Mozart's time to hear his call, he arranged for a loud voice from off the stage to say what they all intrinsically knew in their heart and soul to be 'right,' which is of course a call to the audience to hear the announced truth resonating in their own heart and soul, as the truth they recognized themselves.

On the theatrical stage the message may be seen to come from a mythological god who had repented and lifted the contract of inhumanity, but on the scientific stage the voice is the voice of the Christ speaking from within to each one individually, speaks as a part of the package that binds God, man, and civilization into one by the glue that is love and humanity, - alternately known as the Christ.

The ending of Mozart's opera, in which the voice within resonates as the voice of God, unfolds the answer that is inherently right, as coming from each one's heart and soul that everyone knows is 'right.'




This type of answer is of critical importance in the modern world as we face, potentially, the start of the next Ice Age in roughly 30 years time., with a roughly 70% reduction of the Sun's radiated energy. 




Fortunately it is physically possible for mankind to create the infrastructures that enable our living in this diminished climate, by placing our agriculture into the tropics, and much of it afloat onto the tropical sea for the lack of land in the tropics. The natural answer from the voice within would be, that it is 'right' to take the steps needed to preserve life, rather than laying us down to die, which is the current reaction. 

The voice within tells us, that to do nothing, is not the 'right' answer, as it is essentially suicide. By not building the needed infrastructures to protect the global food supply, society commits itself to killing its children in the future. Everyone knows that this isn't the 'right' answer to the challenge.




Since the building of the vast infrastructures requires complete worldwide cooperation, it becomes self-evident to the 'eye' within, that a new platform for the world is required. This means no more empires, no more wars, no more monetarism, no more lies, no more deception, no more small-minded thinking and games. 

The voice within is likely already telling us, that it is right that these steps be taken, because if we fail, the world population would collapse from the present seven billion people, to less than 10 million that survived the last Ice Age.




Researchers say that the total world population at the end of the last Ice Age stood at between one and ten million people, after two million years of development. In the previous Ice Age, the human population collapsed to near extinction. This severe collapse indicates to some degree the severity of the climate conditions on earth, during an Ice Age. 

The severity of the challenge to live and prosper under those severe condition in which humanity became nearly extinct, makes it incumbent on us all to decide whether we will lay ourselves down to die for the gods of greed of the empire that makes a meaningful response impossible, or whether we will rouse ourselves to do what it necessary to survive, even if this means shutting down the system of empire, and its wars, looting, and destruction.

It took us 10,000 years to create the high-level agriculture that can support 7,000 million people. We face the task now to relocate all of that into protected regions and onto infrastructures that do not yet exist, and that we that we complete this project in essentially 30 years, which we presently do not even consider, much less have started.

If we fail, we will fall back to the 1-10 million population that the natural world can support. That's what is at stake, and our heart and soul tells us that we should not lay ourselves down to die and commit our children to death. Out heart tells us to love to live.




One thing is certain; the Ice Age will commence no matter how we respond, whether we get ourselves ready for it, or not.

The process by which a Sun goes inactive, is simple. The principle is not complicated. The evidence is plain. The only factor that is in doubt, is whether humanity continues to remain committed to murder its children, which it presently is by not responding to the Ice Age imperative. 




NASA's Ulysses spacecraft had measured a 30% electric weakening in the solar system over the 10 years the satellite was in operation. Since the answer wasn't welcome in the imperial world, the satellite was turned off in 2009 and the operating team was disbanded. This doesn't mean, however, that the electric weakening in the solar system stopped, when we could no longer measure it. It continued. We can see the result of the continuation in the corresponding increase in droughts and hurricanes. 

Today, in 2014, a mere 5 years after Ulysses was disabled, increasing drought conditions are experienced all over the world, some so severe that it created emergency conditions in key areas that depend on irrigation, such as the California Drought Emergency. 




The California Aqueduct system and State Water Project, the biggest of its type in the word, that once provided irrigation water for a large segment of California's agriculture, had to cut back its water allocation to the farmers and other users, step by step from 2010, until the allocation reached zero in 2014, amidst the increasing drought. The water simply is no longer there. The system has run dry for the lack of rain. It is being said that the drought is now the worst in 400 years. That's the trend. The trend matches the measured weakening in the solar system that the Ulysses spacecraft reported to beginning of. 




We are presently at the beginning of a dynamic transformation that is poised to escalate over the next 30 years till the Sun goes inactive with Ice Age conditions developing almost immediately thereby. While the escalating tragedy already, at its beginning stages, affects the food supply in many regions, great efforts are made in controlled science to uncouple the food-and-water tragedy from its cause, and to render it as a temporary anomaly, so that the real cause, the impending Ice Age imperative, won't have to be addressed. This is how society commits itself to kill its children in the near future, and itself with them.

The present stage of the world does not reflect Mozart's stage. It reflects the Zeusian stage. 




It reflects the stage where Idomeneus arrives back home on the shores of Crete, bound to the idiocy of a contract with Posidon, for which he kills his son, the first man he lays his eyes on. 

He does not flinch. He does not question the validity of the mythology that is unyielding in its inhumanity. He does no raise his eyes to higher ground. He does no open his vision to what is in the human heart and soul. He simply kills. He is a small-minded man of war. He is trained to kill.




Mozart presents his Idemoneo as a different man; a man who does raise his eyes; who does see with the mind what the eyes cannot behold; who begins to touch the hem of humanity and love, slow as this may be; a man, who in our time, would not ignore the Ice Age Challenge. 

In the opera, it is not easy for Idomeneo to raise himself above lies of the mythologies and their inhumanity. He struggles. He messes up along the way. But he does not fail. 

Mozart's Idomeneo is a man of Mozart's age of advanced reasoning.




The present failure of society that is ignoring the Ice Age Challenge as if it didn't exist, is the most dramatic inhumanity that society can possibly inflict on itself; which amounts to a commitment to kill its children.




This challenge is upon us now to open our eyes; not in future times. It is here. It is critical today. If the Ice Age starts in 30 years, as it may, and it takes 30 years to construct the infrastructures for human living in an Ice Age world, then the time of decision for starting the critical work, is today. We need to move ahead of what affects the Sun. The work has to begin now, before the effects begin. The industries that build the infrastructures, should have already been created. They don't yet exist. We live in a deficit mode.

For all we know, or can know, we may be already behind schedule in a race against the ongoing dynamic transition in the solar system towards the Sun reverting back to its normal Ice Age mode. 

The question, therefore, now before us, is: how will we act tomorrow? 




Will we act like Idomeneus did, and slay our children in our blindness? Or will we wake up and begin to think, like Mozarts Idomeneo does in the opera?




Will we struggle like Mozart's hero does to preserve life, no matter how hard this may seem.?

I think that the answer that we should give ourselves in this matter, is clearly known to everyone. Everything within us knows the right answer in the heart and soul; an answer of good that money cannot buy. But will we move with what we know in the heart? Will we move with the answer that we know to be 'right?'




A reactive response is not possible. At the present time society says, no, because it cannot see beyond the tip of its nose and ignores the heart. It says no, no, no, because it lives in a world that is rich in physical and mental poverty, and its heart is buried out of sight and hearing.

Humanity will likely perish in this poverty. It has demonstrated itself, to the present day, to be too poor to give a damn, much less a penny, towards preventing the greatest crisis in the history of civilization that begins with start of the Ice Age without preparations having been made for it by creating new agriculture in the tropics and in indoor facilities that are climate independent. 




Responding without poverty like a human being, involves a huge task for which the commitment in society is exceedingly thin, or none existing, as thin as a spider's thread, as it were, that that is barely visible as it sways in the wind.

Society is content to be as poor today as society had been in Trojan times, where no resources were spent for peace either, and to elevate human lives; where huge resources were devoted to war and destruction, and killing, so that civilization ended up being devastated. We have not moved away from this path of poverty to the present day.




We wage war not out of strength, but out of weakness; out of our inability to meet one-another as human beings. 

Mozart says, 'this has gone too far! This has to stop.'

Mozart says to us in our time, and for all time, with his opera, Idomeno, this train of tragedy and all related trains 'can' stop. You have the power to stop this before it is too late. He tells us that we have the resources within us as human beings, to do this. And more than than this, he has demonstrated the substance of those resources within us. He does this in the way his great opera unfold.

As the opera, Itomeneo, unfolds, the audience is inclined to agree with Mozart that the steps that are taken in the opera are 'right' as they agree with what is inherent in the human heart and soul. 

One feels that it is 'right' that Idomeneo doesn't kill his son, or us our civilization, as the contracts with Poseidon or empire would require. 

One feels that it is 'right' also, that Idomeneo's son in the opera is not allowed to offer himself as a victim to be killed to fulfill the contract of his father fills himself bound to, and that it is likewise 'correct' that Ilia is not allowed to take his place either, that instead the voice from within presents the only 'right' solution, and presents it so loudly that all concerned can hear it as their own voice. We all know in our heart and soul that the engines of war that destroy civilization have no legitimate place in a human world. However, few in society are willing to respond to the voice within to raise the platform of commitment to the welfare of one-another that obsoletes war with the power of becoming a truly human society.




The concept of 'We the people,' existed largely only as a script written on paper that people felt is good and noble, but didn't give a damn, much less a penny to give it substance in Mozart's time. 

One feels today that it is 'right' and 'correct' that Mozart's opera ends with Idamante and Ilia becoming elevated together to become a new type of leaders, who had reached out for a form of good greater than themselves, reflecting the principle of universal good as a constitutional principle. When the opera, Idomeneo, was written, the idea of universally supported constitutional principles translated into commitments from the heart, had not been implemented anywhere in the world, and might no even have been known.

In the USA, then new government that had inspired the revolution, didn't have the needed commitment standing behind it, as this concept was more-revolutionary as the revolution itself.

America's road to the freedom of self-government began with a Continental Congress. The Congress was a convention of delegates called together from the Thirteen Colonies. The first call for such a convention was made to deal with issues of the British blockade of the Port of Boston in response to the Boston Tea Party in 1773, and of the British Intolerable Acts that were penalizing Massachusetts for it. The increasing brutality of the British response had enabled Benjamin Franklin in 1774 to convince the colonies to form a representative body to deal with such issues that affected them all.

 




The representatives who came to the First Continental Congress were at first divided on reaching as far as independence and the breaking away from the long-standing Crown rule. However, the next Congress, two years later, that assembled in July 1776 gave its unanimous vote in favour of its rendering its famous Declaration of Independence that created a new nation, the United States of America. 

The Continental Congress also established a Continental Army, and gave the command of it to one of its members, George Washington of Virginia. 

The Continental Congress subsequently defended the nation against the British Empire that was aiming to re-establish its power. The continental Congress also made a military treaty with France for this purpose, with which the revolutionary war was won. The Continental Congress authorized the funding of its defence efforts with loans and paper money, with the idea that financing of the nation's freedom was to be shared by the member states. Here the system began to break down.

The problem was that the society's commitment to the common good was written only on paper. The new government became constituted under the historic 'Articles of Confederation and Perpetual Union,' but there was a flaw. In the words of George Washington, the problem was, 'no money.'

Congress could borrow money, but couldn't pay it back. Not a single state actually paid up on their commitment in honouring the financial burden, translated into allotted taxes. Some paid the interest of the borrowing, or parts of it. Some paid nothing at all. By 1786, the United States was bankrupt and began to default on outstanding debts as their dates came due. 

It was against this background that in February of the following Year, in 1787, the Continental Congress called for a convention of state delegates to propose a new plan of government based on more heart-felt commitments by the people to one-another, with a firm declaration of binding rights and duties. 

The challenge seemed so revolutionary that the response was slow and reluctant. 

On the appointed day, on May 14, 1787, only the Virginia and Pennsylvania delegations were present. Eventually a quorum of seven states assembled on May 25. 




Eventually twelve states were represented; 74 delegates were named, 55 attended, and 39 signed. The delegates had wide-ranging backgrounds in local and state government and Congress. Some were judges and merchants, war veterans and revolutionary patriots. Some were native-born and immigrants Some were establishment easterners, and some were westward-looking adventurers. The participating delegates are honoured today as the 'framers' of the Constitution, designed as a constitution of the people relating towards one-another.

The result wasn't perfect, some called it a compromise, but it was a pioneering start and a world-historic achievement.

Benjamin Franklin summed it all up at the Convention, "There are several parts of this Constitution which I do not at presently approve, but I am not sure that I shall never approve them." He did accept the Constitution, saying, "because I expect no better, and because I am 'not' sure that it is not the best."

All of this happened a few years after Mozart had laid out the fundamental principle of the universal self-government of society, in his opera Idomeneo, built on the 'Christ' constitution of the universal heart and soul of humanity.




If the opera had continued further we would likely have seen Electra and Idomeno of the opera, raising themselves up further in spirit, each one in its own way, to join the new elect on the throne on the high office of the truth, representing the universal welfare of humanity. And this too, would have been 'right' as seen from the heart and soul of our humanity.




In contrast with Mozart's grand outcome in the opera, if the opera had been presented true to mythological history, Idomeneo would have slain his son at first sight. The opera would have ended right there. Of course, everyone in the audience then, would have felt that the ending was 'wrong.' The audience would have felt cheated. No one would have been uplifted in the process.




But why doesn't today's society feel cheated by the ongoing murdering of 100 million people per year that is carried out, this time not on stage, but in real life, under contract with the god of global warming, by means of the biofuels swindle? 

The global-warming biofuels hoax is a gigantic swindle. It creates hunger and is forcing starvation, in the shadow of large-scale food burning. 

Biofuels are not a net-producer of energy. They require often more energy for their production than the fuel gives back. Nor does the biofuels cycle reduce carbon emission as the swindlers proclaim, but nearly doubles it. 

The biofuels cycle is efficient only in killing people on a massive scale, by the contracted burning of food. 




Vast areas of farm land are bought up in the poor countries, like in Africa, to enable European nations to meet their contracted biofuels quotas. The food that these areas once produced is no longer available to nourish the population, resulting in mass-starvation. If it is green, it becomes 'confiscated.' Green has become the color of death. 

The agricultural resource that is presently being diverted to biofuels production, is so large worldwide that it previously nourished upwards to 400 million people. In a world that has a billion people living in chronic starvation, the burning of food on such a scale adds up to gigantic mass genocide - a grand sacrifice to the god of empire that demands depopulation of an unimaginable magnitude. 

That's the modern ghost of Zeus. Why doesn't anyone feel cheated by this tragic outcome that mimics on the gigantic scale the mythological ending in which Idomeneus murders his son?




Mozart would look us into the eye say, about what is happening now in our world, 'this has gone infinitely too far. This has to stop! This has to stop now!' 

I am not certain that everybody would agree with Mozart if he spoke today, that the biofuels contract killing in our world is 'wrong.' The heart would say that it is 'wrong.' But who listens to the heart?

In like manner does humanity know from the depth of the human heart and soul that the mass-depopulation of the planet that is presently in progress, is 'wrong,' no matter how one looks at it. One doesn't need a Mozart to dramatize the obvious.

Still, the mass-burning of food in a starving world, for purposes of mass-depopulation, continues, as if nobody really cares. 




Likewise will every human being agree that war in any form is 'wrong,' as it destroys civilization. But do the wars stop? Instead of stopping, the nuclear-war games are escalated into becoming games that can cause the extinction of humanity in the space of a single hour of war.




Does society feel cheated when nations are increasingly threatened to become eliminated for corporate or oligarchic greed, with nuclear weapons that match the requirements for mass genocide? 




We tolerate war, because we rather not listen to the heart of our humanity that would require us to lay aside greed, oligarchy, empire, monetarism, fascism, and so on.




Mozart says with his operas, 'you have the power to step away from this path. You have the resources within, to do what is 'right,' and to win the struggles involved to strengthen civilization, and put the sword were it belongs, where it is cherished, into the heart of the system of empire. 

And so, when seen in retrospect, Mozart's opera, Idomeneo, is designed to inspire trust in good; trust in the Christ within us that speaks the 'language of good.'

The powerful uplifting effect that Mozart's great operas have, is the result of his operas speaking the 'language of good' that resonates in the human heart. 

This can be said of all of Mozart's great operas, not only of Idomeneo. The power comes from the language of the trust in good, the language of the Christ within, the glue of civilization, the light that guides us away from mythologies and empires and their wars. This barely seen quality makes Mozart's operas special and profound. They reach beyond the mythical fight between good and evil, to the recognition of the inevitable all of good that alone is substantial. They urge us to move forward with them to have a future.




If we choose this path, we will likely be able to meet the Ice Age Challenge.




Then, the voice within us, the voice of good, the voice of the Christ, can no longer be silenced and be denied. 




On this basis a new world is inevitable.

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Published by Cygni Communications Ltd. North Vancouver, BC, Canada - (C) in public domain - producer Rolf A. F. Witzsche