Text and images transcript of the video Yes, Russians did hack - part 2: Promise of Swan Lake by Rolf Witzsche 

Yes, Russians did hack - part 2: Promise of Swan Lake

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Yes... the Russians did hack

Swan Lake and The Nutcracker

- a video in 8-parts

Freedom to Love (1)

Promise of Swan Lake (2)

Nutcracker Revolution (3)

In an Ice Planet World (4)

2016 G20 2017 Incomparable (5)

Civilization Is Freedom (6)

I Can! (7)

Princes who are Free (8)

Part 2 - Promise of Swan Lake

It appears that the Russians were not the only ones to hack into the dead landscape of the Western World that has been choked into impotence, hate, war, terror, and economic collapse, by its Deep State. Russia injected a measure of sanity into what had become an environment without hope.

Just as the liberation of Palmyra had changed the world with a new wind blowing from a new direction, so another cultural success story may have added significantly to the new wind that also touched America, though in a less dramatic manner. In this case the new wind blew in from China.

A remarkable cultural gala celebration had been staged in China as the opening event of the 2016 G20 Summit that China had hosted in the city of Hangzhou, just two months prior to the U.S. Presidential election.

The cultural celebration had been staged on the surface of the city's West Lake.

The entire stage for the performances had been submerged a few inches below the surface of the lake so that the actors and dancers were literally dancing on water.

A part of the gala performance was a medley from the "Swan Lake" ballet by Peter Tchaikovsky.

While the staging was spectacular, it appears that it wasn't the only significant factor worth noting. Two factors stand out. One factor is that the ballet performance was staged with the G20 symbol in the background for it, which reflects in principle, aspects of plasma-flow dynamics. The ballet was chosen to highlight that symbol.

It appears that the selection of the Swan Lake Ballet itself, to be performed at a world-significant political event, was also extremely remarkable. It was remarkable, because the Swan Lake story itself is a classical tragedy. The classical tragedy is an art form that highlights deeply rooted failures in the axioms of society that lead to tragedy. It is the purpose of this art form to inspire society to discover in itself how the tragedy could have been avoided in the story, and might be avoided in the real world.

In order to illustrate the principle, allow me to tell you the Swan Lake story as it was acted out in dance by the Staatsoper in Vienna, in Austria, in 2014. The performance ends with an amazingly powerful ending.

The Swan Lake story is the story of a prince who had come of age.

The prince's mother appears with a gift for him, a crossbow, and demands him to select a bride for himself, and become married. She presents an assembly of worthy contenders.

The prince finds himself overwhelmed by the demand for such a choice. To evade it, he escapes into the woods with his crossbow.

Alone in the woods, he comes to an enchanted lake with swans in the water. He notes that the most beautiful of the swans wears a crown on its head.

At dusk, the swan that caught his attention turns into a most beautiful woman, the loveliest he has ever seen. She reveals to him that an evil sorcerer, disguised as his own mentor, had turned her and other girls into swans, with a spell that can only be broken if a man who is pure in heart, pledges his love to her.

As the prince and his discovered love are about to embrace, the sorcerer intervenes and commands the swan maiden to retreat back onto the lake where the prince cannot reach her.

He commands the prince's beloved to dance with all the other swans where she would blend in and become hidden.

Nevertheless he locates his love again, but he cannot break the spell.

Longing for her, he departs while the swans-maidens are dancing in anticipation of their liberation, which might be near.

Back home in the royal hall, the prince's mother commands him again, this time more imperatively, to choose a bride. She arranges a party, a parade of suitors.

During the processions the sorcerer appears on the scene. He appears with his own daughter disguised as the prince's beloved. Happily, the prince makes a decision and chooses her to be his bride.

But as soon as the bond is sealed, the prince sees his actual beloved, briefly, in a window. Shocked, he recognizes the betrayal that had been perpetrated. He leaves the hall and seeks out the real beloved, hoping to find her again.

He returns to the lake. There, he finds the swan-maidens in sadness.

He finds his beloved among them. He explains the trickery. She forgives him. They are united once again in joy, though with the bitter-sweet realization that the bliss cannot hold.

As the sorcerer appears on the scene at the breaking of day, the prince is made to understand forcefully that his desired union is now no longer possible as he is bound by his oath to be wed to the sorcerer's daughter, the black swan.

The prince gestures that he would rather die than suffer this fate. And so he does. His wish is being fulfilled.

The prince dies alone in this ending of the ballet. The ending is choreographed variously in different renditions. In the original versions the prince takes his beloved's hand. They both commit suicide together. They jump into the lake and drown, whereby the spell is broken and the remaining swans become human again.

But in the rendering of the Swan Lake story by the Vienna State Opera Company, a more powerful ending is presented. In this ending, the beloved remains alive, but remains a swan.

In the traditional ending, the spell is broken, and the freed girls drive the sorcerer and his daughter into the water, where they too, drown.

But in the 2014 Vienna rendering, the sorcerer continues to exist and remains in power. Only the prince dies. He dies alone.

In traditional endings the freed girls watch the spirit of the prince and his beloved ascend into heaven where they remain united.

But in the performance by the Vienna State Opera, nothing is resolved. This modern ending increases the tragedy. Evil remains standing. The spell remains unbroken. The hero of the story is dead.

This is how all the fairy tale fantasies do actually end in the real world, when the fairytale fantasies are not broken.

The tragedy in the Swan Lake story began when the prince's mother demanded a marriage contract. The prince could not comply with the demand. He escaped into a fairy tale world, where he became trapped. Remaining trapped, his fate ends in tragedy. That's the typical outcome when fairy tales rule in the real world.

Historically, the origin for the Swan Lake story is open to speculation. It is said that Tchaikovsky had been interested in the tragic obsession of King Ludwig II of Bavaria who had spent enormous resources on constructing fairy tale castles in the real world - who also had an obsession with mythical swans as the naming of one of his castles signifies, named the New Swan Stone Castle.

Ludwig II was not a man gone mentally insane, as some people say. He was merely a typical eccentric fool who had become trapped into fairy tale fantasies. He was an intellectual dreamer, who by his dreaming no longer lived in the real world, but who had the power to fulfill his dreams.

King Ludwig II was eventually deposed from his throne for his extravagant waste of economic resources. He was deposed by a government commission. He was subsequently held captive in an estate by a lake. He died on the third day of his captivity. He was found dead afloat on the lake. The cause was never discovered. He died as mysteriously as heroes do in fairytales.

The significance of presenting the tragic Swan Lake ballet at a high-profile political event may be, for it to signify that the fairy-tale tragedy should be seen as a warning to humanity to snap out of its own, extremely dangerous and potentially tragic, fairy tale dreaming.

Humanity lives in a fairy tale world of many respects, trapped into mythological dreams that have nothing to do with the real world, but shape its destiny. Wars, depopulation, destruction, even the nuclear war terror games, are all dances of fantasies in fairy tale lands where never anything gets resolved, but which lead to tragedy for those who remain trapped in them.

Nuclear war is a fairy tale dream that is unsurvivable in the real world. Its promise is that it resolves nothing, but leads to the total destruction of humanity.

The staging of the Swan Lake fairy tale at a high-level political event, suggests that it is intended as a message to humanity that real living, real progress, real prosperity, unfold only in the real world, outside of mythological dreaming. In the real world, humanity is not an enemy against itself. The enemy mythology is a dream imposed on it by trickery.

Nothing less than cooperative development creates a future for humanity in the real world, and can secure that future. In fact, universal cooperative development is necessary in order for humanity to have a future at all, in the face of the Ice Age phase shift now looming on the horizon for the 2050's timeframe.

The coming Ice Age is not a myth. I have produced numerous videos that present the evidence.

The evidence that the looming Ice Age is real, is overwhelming.

To respond to the evidence that unfolds all around us, and the principles involved, is an act of living in the real world.

It appears that China is saying to the world with its design for the G20 logo, that China is aware that the Sun is a sphere of plasma, powered by streams of plasma flowing around it.

China appears to be aware that by the ever-changing density of the interstellar plasma streams that are flowing through the solar system, the Sun is inherently a variable star and thereby a high-probability cause for the Ice Ages.

Further, by staging the gala performance onto a floating platform, China appears to be saying that it is aware that the restaging of the world for the near Ice Age future requires the relocation of much of humanity into the tropics, with much of it needing to be placed afloat across the equatorial seas, for the lack of suitable land in the tropics.

The triple fusion of staging Swan Lake at a political event, and of staging it on a floating surface, and the staging of it against the background of the plasma-flow symbol, appears to be China's way of saying that it is aware of how the wind blows into the direction of the new Ice Age, without actually having to say it.

If one wanted to get the idea across that the world is living in a fairy tale by believing that its current interglacial will never end, then one would be hard pressed to come up up with a more powerful set of symbols than those presented by China during its hosting of the G20 world event in Hangzhou.

Each symbol by itself might be seen as insignificant, but in combination, and them being presented prominently at a world event, the symbols become highly significant as pointers towards a future that promises doom if it is not prepared for, but also promises the brightest future yet imagined if the challenge is responded to.

This response would happen when the dreaming ends that the next Ice Age is still far distant. Inversely, if the dreaming doesn't end, doom awaits humanity.

The potential for both, the grand doom or a renaissance, is contained within the Swan Lake story itself.

If one looks at the story with a wider field of vision, the story presents itself as a story about two different types of unions.

The Mother of the prince seeks a contract, a union by contract. As a queen, she wants an oligarchic marriage for her son, built on a contract of ownership. The prince shies away from the very thought.

He had discovered that his heart's desire is for a union with civilization with a bond furnished by love.

His beloved is civilization, the highest price. And love is the path of becoming united with it. The prince represents humanity.

He is looking for a type of marriage that is not known in the Deep State, nor is possible there.

He instinctively knows that he can only find the freedom for such a union in the wide arena of the real world, far away from the Deep State Palace where the very thought of civilization is artfully kept out of sight, and functionally blocked.

In the story the union of humanity with civilization is blocked. It is blocked by the spell of the sorcerer, the spell of the elite that arrogantly demands to be obeyed. The spell can only be broken by universal love.

With his desired union with civilization out of reach to him, for the lack of enough love, which is out of reach to any privatizer, he returns to the palace where he faces his mother's old song again, contract, contract, contract.

His mother sings the privatization song. She demands a privatized contracted union, not civilization. In the Deep State, private contracts rule, written or unwritten. Civilization is not a concern. Profit and power are the concerns.

At the palace humanity succumbs to the endless demands for a contract. He is overcome by lies. The sorcerer presents his own daughter to him, the black swan, disguised as his beloved. He embraces her, dances with her. He suffers the fate of humanity accepting evil as civilization.

He agrees to a union and seals the contract offered.

Tragically he notes too late that the contract is a trap.

He flees the palace, rushes back into the forest, to his real love, to civilization. When this happens in the real world, a renaissance results. In the Swan Lake story, humanity finds her beloved, civilization, even more out of reach now than before.

The prince, representing humanity, lays defeated by the weight of a contract that he assumes he cannot break, but neither can live with.

His fate is the fate of humanity that finds itself bound by contract to evil. The evil is private monetarism, looting power, domination, war, terror, corruption, depopulation. The sorcerer is all that. He is the Deep State. He owns the world with his spell, bound by contracts. In this context humanity lives without hope. It dies the death that flows from an empty dream. Evil remains. Civilization remains blocked.

For this reason the Ice Age Challenge will never be addressed by any Deep State nation, because the challenge cannot be met with private money. The Ice Age Challenge can only be met with universal love for civilization.

The implied message in the story is that a solution is possible when society discerns its error that leads to tragedy, and corrects it. That's the purpose of the classical tragedy. With it, the writer begs humanity to awake to its potential and become more human.

The love of humanity, of civilization would be bound by universal love and remain so. It appears that all that is good becomes possible when humanity embraces civilization.

The purpose of the ballet is thereby fulfilled. China has pioneered its solution. Its prosperity and security are rooted in this solution.

Should President Trump follow this model, the security and prosperity of the United States would be accomplished in the same manner. Till then, nothing is secure and the American nation perishes.

The same applies also to humanity. When humanity embraces civilization in universal love and with the opposer and denier ushered off the stage, the Ice Age Challenge will be placed high on the agenda and be met with certainty. Then, and only then, will the future of humanity be assured. In this arena China is presently leading the world, and stands alone.

 The infrastructures that secure the future of civilization on an Ice Age Planet cannot be built with money bags. Money builds nothing. Love for civilization creates the power to build.

The message of the Swan Lake story is an interesting one, as it tells us that civilization, as an idea, is not something that we create through economic accretion, but is an absolute that is complete, which we embrace naturally on the wings of universal love.

The needed 6,000 new cities for the relocation of humanity into the tropics cannot be built on any other platform, but they can be built with love and be provided for free. The path of universal love secures civilization. It is the path that ushers the Deep State off the stage. Anything less offers no hope.

China qualifies on this count, to get the ball rolling. It is a free nation. But it cannot fulfill the task alone. Universal love must become a full-orbed reality with a shared commitment by all, or else all is lost.

Universal love means, love for the truth; love for humanity; love for the creative and productive power of the human being.

China has made this discovery. Its love extends profoundly also to its children.

China values its children. It sees in its eyes the future of the nation and of the world.

It protects its children, and as it does, it lets its love for them pave the path to the grandeur and the wonders of our humanity.

In this love China finds itself rich, as should we all.

With this love, the East 'hacks' into the West, with an example for the healing that is required in the West.

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