NEWS: August 9, 2024
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Bird’s Eye View of the News
MAKING THE TERROR OF THE FRENCH REVOLUTION OFFICIAL –
Besides the notorious blasphemous Last Supper in the Opening Ceremony of the 2024 Olympics in Paris, there was the second feature of the show: the macabre scene of a beheaded Marie Antoinette singing the Ça ira from a window of the Conciergerie.
Let me flash back in History to explain what the scene was meant to represent in order to evaluate the gravity of its symbolism.
In texts of Modern History it is common to praise the political fruits of the French Revolution while bemoaning its “excesses,” which were epitomized in the phase known as The Terror.
While the Revolution’s Girondin phase – that is, its moderate stage – is normally praised, the radical Jacobin period of massacres and arbitrary executions is normally lamented. The famous saying of the Girondin Mme. Roland on the cart on her way to the guillotine – “Liberty, liberty, how many crimes are committed in your name!” – became the motto of the moderates for the next two centuries.
“Revolution, yes. Bloodshed, no.” This would be the ideal that the French Revolution failed to attain because of its violence; this is the ideal that the American Revolution achieved. This is why the American model became more representative and stable than the French Republic, which, by the way, was soon interrupted by the consequent installations of two empires, two different returns of the monarchy, two occupations by the Germans, and several transient communist revolutions.
So, the republican system, or indirect democracy, with its three branches of power – Executive, Legislative and Judicial – representing the “sovereign” people emerged from those two Revolutions and became the political model to be followed in Modern History, while the same propaganda vilified the Monarchy as an oppressive regime.
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Today, 235 years after the Fall of the Bastille (July 14, 1789), democracy is moribund throughout the world and the republican system is drowning in an ocean of fraud, moral corruption and abuse of power that makes it compete with the worst regimes of History.
At the moment of its agony, what does the French Republic do? It makes an ode to The Terror. Yes, although hundreds of thousands were killed during those six years (from 1789: the Bastille to 1795: the Cannonade de Saint Roch), the French Republic decided to make a world-viewed spectacle praising The Terror and the beheading of the nobles, symbolized by Marie Antoinette.
The Opening Ceremony’s eulogy of The Terror was composed of three parts: The representation of a beheaded Marie Antoinette, the glorification of the song Ça ira, and the presentation of the Conciergerie covered with blood.
Marie Antoinette was chosen because she is the symbol not only of the French Monarchy and the entire Ancien Régime, but also of all the clergy, nobles, bourgeois and peasants sent to the guillotine, executed by fire squads, massacred brutally without trial or defense, drowned in the rivers of France, burned inside their houses, left to die in prisons or killed like animals in the Vendée War.
Today’s French government is proud of having committed those crimes.
The song Ça ira was chosen because in The Terror it was characteristically sung by the revolutionaries as the nobles were being taken to be murdered. Indeed, its first line is Ça ira, ça ira, ça ira, les aristocrates à la lantern – Let’s go, let’s go, let’s go, let’s bring the aristocrats to the light posts [where they were hung].
Today’s French government is reaffirming that ignominious objective.
The Conciergerie was that medieval castle on the shore of the Seine which was transformed during the French Revolution into a provisory prison; there the inmates already condemned to death waited to be carted away to the guillotine, which stood some blocks away at the Place de la Revolution – today ironically named Place de la Concorde. Since a large number of those who were condemned to the guillotine stayed first at that Castle, it can be said that the Conciergerie is stained with the blood of all those innocent victims.
Today’s French government tells the world that it is proud of having shed all that blood.
I do not see any essential difference between a Taliban activist holding the head of an enemy he just beheaded and proudly displaying it on a video and Mr. Emmanuel Macron proudly showing the world the Conciergerie covered with blood with the figure of a beheaded Marie Antoinette singing Ça ira at its window.
If a Russian communist were to make a public ceremony to praise Stalin for killing over 7 million Ukrainians, it would not be different than this Olympics scene. If a Chinese communist were to make a world theater production to commemorate the 65 million persons Mao Tze Tong killed in his own country in order to maintain power, it would not be any different from the French extravaganza.
Today’s French Republic glorifies and adopts The Terror as an official line of its government.
The mysterious leader of all nations
The third symbol featured in the Opening Ceremony was a masked man who appears as a leader in different scenes: He was shown carrying the Olympic torch; supervising the Conciergerie during the Terror scene; jumping acrobatically on the table that would soon be used for the blasphemous scene of the Last Supper; seated on a ghost horse “galloping” over the Seine, and lastly, riding a white horse behind which the athletes of all the nations fall in line and follow.
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What was the symbolism of this masked man?
I was informed that many on the Internet consider that this rider with his horse represent Death, referring to the third knight of the Apocalypse who rides a pale horse (Apoc 6:8). However, the horse that appeared in that ceremony was not pale, but silver in the ride on the Seine, and clearly white when the masked man rode from the Eiffel Tower to the Trocadero leading the athletes of all nations along the Pont d’Iena (Iena Bridge).
If we go to the Apocalypse to clarify who rides a white horse, we find two places:
The difference between the knight of the Sacred Text and the personage of the Olympics is that the latter presides over bad things like The Terror and the blasphemy of the Last Supper. So, instead of being a representation of Christ, he seems much more likely to be a depiction of the Antichrist.
So, I wonder whether the same people who organized the blasphemy of the homosexual supper and praised The Terror were also mocking the Apocalypse and sending the message that, instead of a victorious Christ, they were announcing a victorious Unknown Leader, an Antichrist who is coming to direct all nations toward a goal he has in mind but does not reveal.
What goal could it be? Why not a new reign of terror in which all his opponents would be executed and all Catholic values profaned in order to install an anti-natural “civilization of love”?
Would this translate to a new wave of the “pandemic” leading to a mass genocide? Or to a new World War to drastically reduce mankind to the 500 million inhabitants desired by the globalists? He who will live will see…
Let me flash back in History to explain what the scene was meant to represent in order to evaluate the gravity of its symbolism.
In texts of Modern History it is common to praise the political fruits of the French Revolution while bemoaning its “excesses,” which were epitomized in the phase known as The Terror.
While the Revolution’s Girondin phase – that is, its moderate stage – is normally praised, the radical Jacobin period of massacres and arbitrary executions is normally lamented. The famous saying of the Girondin Mme. Roland on the cart on her way to the guillotine – “Liberty, liberty, how many crimes are committed in your name!” – became the motto of the moderates for the next two centuries.
“Revolution, yes. Bloodshed, no.” This would be the ideal that the French Revolution failed to attain because of its violence; this is the ideal that the American Revolution achieved. This is why the American model became more representative and stable than the French Republic, which, by the way, was soon interrupted by the consequent installations of two empires, two different returns of the monarchy, two occupations by the Germans, and several transient communist revolutions.
So, the republican system, or indirect democracy, with its three branches of power – Executive, Legislative and Judicial – representing the “sovereign” people emerged from those two Revolutions and became the political model to be followed in Modern History, while the same propaganda vilified the Monarchy as an oppressive regime.
Top, the Conciergerie pouring blood; bottom, a beheaded Marie Antoinette sings Ça ira
At the moment of its agony, what does the French Republic do? It makes an ode to The Terror. Yes, although hundreds of thousands were killed during those six years (from 1789: the Bastille to 1795: the Cannonade de Saint Roch), the French Republic decided to make a world-viewed spectacle praising The Terror and the beheading of the nobles, symbolized by Marie Antoinette.
The Opening Ceremony’s eulogy of The Terror was composed of three parts: The representation of a beheaded Marie Antoinette, the glorification of the song Ça ira, and the presentation of the Conciergerie covered with blood.
Marie Antoinette was chosen because she is the symbol not only of the French Monarchy and the entire Ancien Régime, but also of all the clergy, nobles, bourgeois and peasants sent to the guillotine, executed by fire squads, massacred brutally without trial or defense, drowned in the rivers of France, burned inside their houses, left to die in prisons or killed like animals in the Vendée War.
Today’s French government is proud of having committed those crimes.
The song Ça ira was chosen because in The Terror it was characteristically sung by the revolutionaries as the nobles were being taken to be murdered. Indeed, its first line is Ça ira, ça ira, ça ira, les aristocrates à la lantern – Let’s go, let’s go, let’s go, let’s bring the aristocrats to the light posts [where they were hung].
Today’s French government is reaffirming that ignominious objective.
The Conciergerie was that medieval castle on the shore of the Seine which was transformed during the French Revolution into a provisory prison; there the inmates already condemned to death waited to be carted away to the guillotine, which stood some blocks away at the Place de la Revolution – today ironically named Place de la Concorde. Since a large number of those who were condemned to the guillotine stayed first at that Castle, it can be said that the Conciergerie is stained with the blood of all those innocent victims.
Today’s French government tells the world that it is proud of having shed all that blood.
I do not see any essential difference between a Taliban activist holding the head of an enemy he just beheaded and proudly displaying it on a video and Mr. Emmanuel Macron proudly showing the world the Conciergerie covered with blood with the figure of a beheaded Marie Antoinette singing Ça ira at its window.
If a Russian communist were to make a public ceremony to praise Stalin for killing over 7 million Ukrainians, it would not be different than this Olympics scene. If a Chinese communist were to make a world theater production to commemorate the 65 million persons Mao Tze Tong killed in his own country in order to maintain power, it would not be any different from the French extravaganza.
Today’s French Republic glorifies and adopts The Terror as an official line of its government.
The mysterious leader of all nations
The third symbol featured in the Opening Ceremony was a masked man who appears as a leader in different scenes: He was shown carrying the Olympic torch; supervising the Conciergerie during the Terror scene; jumping acrobatically on the table that would soon be used for the blasphemous scene of the Last Supper; seated on a ghost horse “galloping” over the Seine, and lastly, riding a white horse behind which the athletes of all the nations fall in line and follow.
Top, the Antichrist is followed by all nations;
bottom, a close-up of the same scene
I was informed that many on the Internet consider that this rider with his horse represent Death, referring to the third knight of the Apocalypse who rides a pale horse (Apoc 6:8). However, the horse that appeared in that ceremony was not pale, but silver in the ride on the Seine, and clearly white when the masked man rode from the Eiffel Tower to the Trocadero leading the athletes of all nations along the Pont d’Iena (Iena Bridge).
If we go to the Apocalypse to clarify who rides a white horse, we find two places:
- In chapter 6:2 the first knight rides a white horse: And I saw: and behold a white horse, and he that sat on him had a bow, and there was a crown given him, and he went forth conquering that he might conquer.
- In chapter 19: 11, 14 the victor rides also a white horse: And I saw heaven opened, and behold a white horse; and he that sat upon him was called faithful and true, and with justice doth he judge and fight. … And the armies that are in heaven followed him on white horses, clothed in fine linen, white and clean.
The difference between the knight of the Sacred Text and the personage of the Olympics is that the latter presides over bad things like The Terror and the blasphemy of the Last Supper. So, instead of being a representation of Christ, he seems much more likely to be a depiction of the Antichrist.
So, I wonder whether the same people who organized the blasphemy of the homosexual supper and praised The Terror were also mocking the Apocalypse and sending the message that, instead of a victorious Christ, they were announcing a victorious Unknown Leader, an Antichrist who is coming to direct all nations toward a goal he has in mind but does not reveal.
What goal could it be? Why not a new reign of terror in which all his opponents would be executed and all Catholic values profaned in order to install an anti-natural “civilization of love”?
Would this translate to a new wave of the “pandemic” leading to a mass genocide? Or to a new World War to drastically reduce mankind to the 500 million inhabitants desired by the globalists? He who will live will see…
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