Conquer

She came, she was martyred, she conquered.

Elizabeth was martyred, because atheists could not stand charity. They wished goodness to be done automatically, by social contract, and not out of such unscientific terms as “love” or “charity.”

They banned nuns and so Elizabeth Romanov who worked in solidarity with the poor had to die when the atheists took charge.

Why?

She had been born to privilege, had seen her beloved husband murdered by revolutionaries, and then spent her remaining years serving the people who murdered her husband. This was incomprehensible using the dialectic of the atheists. Indeed, they spent decades demonizing any charity, but hating nuns in particular.

Nuns were so good, the demons of atheism were roused. If Lenin, arch-atheist, wished to prevail, then the nuns, the charitable, had to die first: no mercy. This is historic fact.

This had to be as it was, because Lenin could not allow the normal function of the body politic to heal wounds. Instead, he had to pretend that things were so bad that nothing was worse than the way things were. He had to promise a secular Utopia. The fact that every time such a Utopia was tried the result was worse than the previous regime did not matter: “this time, because “we” are part of the struggle, will be different.”

Lenin was the vile, prideful, mass murdering monster that American academics love to love. A fine test of the morality of any College or University is if they will hire any thug-enabler that will make excuses for the Red Butcher: Lenin. Just as nobody should hire a Holocaust denier, so nobody should hire a Lenin justifier. 

The play Conquer tells the story of a martyr to Utopian atheism: Elizabeth Romanov, nun, social worker, princess.

She came, she died, she conquered:

Before there was sin, there was love. Before there was darkness, there was Light. Before and after, love permeating all and conquering all. Lord, have mercy. Christ, have mercy. I went from the darkness of a cave to light. Light. God’s true, uncreated light. And brilliant company. The finality of all the dialectic in a song.

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*If you wish to perform this play, part of a four play cycle, contact Megan Mueller at The College at the Saint Constantine School.