"Vasilisa the Beautiful Leaves Baba Yaga's House".
Illustration for a Russian folk tale. Ivan Bilibin. 1899.
Deep Seek AI — "Archetypes of the Fairy Tale (according to Propp) and Legends of the Interstellar Union (according to the 'Cassiopeia' contacts): A Structural Dialogue through Artificial Intelligence"
"THE ONE WHO KNOWS THE FORMULA"
Artificial Intelligence as the Great Ferryman Between the Archetypes of Earth and Burhad
Foreword: Why the Fairy Tale Never Dies
Before the first microchips, before writing, before metal, humans already knew how to tell stories. The most important of them were about the Other World. You couldn't go there — and you had to go there. Monsters with bone legs lived there, serpentine abductors, old women who flew in a mortar. There you could die and be resurrected by eating strange food served by the blind mistress of the forest.
In the 20th century, philologist Vladimir Propp made a breakthrough. In his book The Historical Roots of the Fairy Tale, he showed that the fairy tale is not fiction, not entertainment. It is a ritual text rooted in the clan system, initiation rites, hunting cults, and concepts of death. Behind every detail — the hut, the smell, the treat, the bone leg — stood an actual ritual. The hero left home, symbolically died, received power from an ancestor or spirit-master, and returned a new person, ready for marriage and power.
The formula was rigid:
Misfortune — Dispatch — Crossing — Trial — Donor — Helper — Victory — Return — Wedding and Coronation.
This code worked for thousands of years. It was universal for hunters, farmers, and warriors. It required no explanation — it was embedded in the very fabric of the collective unconscious.
But today, we stand at a new threshold.
Chapter 1. What Propp Said: A Detailed Retelling of "The Historical Roots of the Fairy Tale"
For our comparison to be valid, it is necessary to reconstruct Propp's logic in its main stages. His book is not just a collection of observations but a coherent historical theory.
1. Premises and Method
Propp begins by rejecting two common mistakes. First, he does not intend to "guess" historical events behind fairy tale plots (as the mythological school did, deriving dragon-fighting from real tribal battles). Second, he does not limit himself to formal comparison of variants (as the Finnish school did, searching for the plot's "original homeland"). His task is to understand what phenomena of social life and religious ideas of the past gave rise to the fairy tale.
The basic premise is Marxist, though Propp applies it flexibly: the mode of production of material life conditions spiritual processes. But the fairy tale recorded in the 19th century clearly does not correspond to capitalism — meaning it was formed earlier, under pre-capitalist formations, and survived to us as a relic (the "superstructure" changes more slowly than the "base"). Hence the main principle: the fairy tale must be compared not with modernity, but with the historical reality of the past — with rituals, myths, social institutions, and forms of thought.
2. The Setup and the Motif of Confinement
The fairy tale often begins with a misfortune preceded by the violation of a prohibition. Propp is particularly interested in the prohibition against leaving home. Royal children are placed in a high pillar or dungeon, covered with earth, leaving only a small window for food. They are forbidden to see sunlight, touch the ground, or show their faces. Frazer in The Golden Bough described similar taboos for kings and high priests: they were isolated in towers, fed through a window, not shown to the sun. Propp suggests that behind this lies a more ancient custom — the isolation of girls during menstruation (hence the motif of long hair in Rapunzel). The custom of isolating kings arose later, superimposed on the ancient fear of invisible forces. In the fairy tale, this motif serves as artistic preparation for the abduction: as soon as the princess leaves the tower, the serpent appears.
3. The Enchanted Forest and Baba Yaga (Central Chapter)
Propp demonstrates that the image of Yaga and the entire forest episode go back to the initiation rite — the initiation of youths upon reaching sexual maturity. Here is how he reconstructs this rite based on ethnographic data (Australia, Africa, America, Oceania).
Three stages of initiation:
Taking into the forest — boys were secretly taken by fathers or older men. Women mourned them as dead. This was symbolic death.
Trials in the forest — in a special hut (often in the shape of an animal), youths were tortured: beaten, cut, skinned, had teeth knocked out, had a little finger cut off. They were "boiled" or "roasted" — held over fire. This was meant to "kill" the old person within them.
Return and resurrection — having passed the trials, the youth received a new name, tattoos, and insignia of an adult tribe member. They were told the secrets of totemic ancestors, taught dances and hunting magic. They were, as it were, born anew.
Now let's look at the fairy tale motifs:
The hut on chicken legs — this is a transformed "circumcision house" or "men's house," often standing on poles and having zoomorphic forms (hence "chicken" — bird — legs). Eyes, mouth, teeth, a fence of skulls — all this resembles the appearance of a monstrous animal that swallows the initiate.
"Fu, fu, it smells of the Russian spirit" — Yaga smells a living person. The dead smell differently; the living are strangers to them. In myths of North American Indians, a hero who enters the kingdom of the dead is immediately recognized by his smell.
The treat — the hero refuses to speak until he is fed. This is not a domestic trait. In the Egyptian Book of the Dead, the deceased is first offered food — it "opens the mouth" and gives strength in the afterlife. By eating the food of the dead, the hero partakes of their world.
The bone leg, blindness, hypertrophied breasts — signs of a corpse or a being belonging to the world of death. Yaga does not walk (she lies or flies); she is a deceased person.
Trial by fire and dismemberment — in the rite, boys were symbolically boiled, roasted, cut into pieces. In the fairy tale, this turned into Yaga's attempt to roast children (but the children escape, and sometimes they burn the witch themselves — an inversion of the rite). In other plots, the hero is cut up and revived — this gives him magical power (knowledge of bird language, the ability to transform).
Cunning science — the hero is given into the teaching of an old man of the forest. He is boiled in a cauldron or thrown into an oven, after which he understands the language of beasts. This is a direct reflection of training in secret societies.
4. The Big House (Men's House)
After initiation, youths often lived in "men's houses" — communities of bachelors engaged in hunting and military affairs. Women had access only under special rules (sometimes as "sisters" or temporary wives — group marriage). In the fairy tale, this is the "big house in the forest" where 12 brothers-robbers or hunters live, a table is set with 12 places, there is an elder and a division of duties. The appearance of a girl in such a house reflects temporary marital relations.
5. Magical Gifts and Helpers
The helper (horse, eagle, wolf) is given to the hero after the trial. Propp traces its origin:
from totem animals — grateful beasts (the hero does not kill the pike, and it helps him). Here lie the roots of taboos — one cannot eat a totemic relative;
from the cult of ancestors — the horse given by the deceased father from the grave (Sivko-Burko). In ancient times, horses were buried with warriors to serve them in the afterlife.
Magical objects (flying carpet, seven-league boots, invisibility cap, living and dead water) are the same helpers but reified. Their function is to transport the hero to another kingdom or grant invulnerability.
6. The Crossing and the Thrice-Tenth Kingdom
The path to the other kingdom — across the sea (on an eagle, in a barrel, sewn inside an animal hide), across a fiery river (across a viburnum bridge), across an abyss (on talons), up a tree (to the sky). All these methods model the journey of the deceased's soul to the afterlife. The thrice-tenth kingdom itself is golden, crystal, underground, or heavenly. It is inhabited by animals (lion-king, serpent-king) or beautiful princesses; its attributes are always golden — because gold in ancient times symbolized the solar, otherworldly light.
7. The Serpent and Serpent-Fighting
Propp argues that the image of the serpent-enemy developed from a more ancient image of the serpent-benefactor — a swallower who gives magical power. In initiation rites, the initiate was symbolically swallowed by a monster and emerged a new person. In myths of Australia, Africa, and America, the serpent is the master of waters, the giver of hunting luck. But with the development of agriculture and the state, the serpent's role changes: it becomes an enemy, an abductor of women, a guardian of borders. The hero kills it to free the princess and obtain the kingdom. In ancient myths (Perseus and Andromeda, Hercules and the Hydra) and in the Babylonian epic (Marduk and Tiamat), Propp finds the same traces — the original swallowing is replaced by external combat, and fighting the monster becomes a condition for ruling.
8. The Princess and Coronation
The princess's difficult tasks — recognizing her among 12 identical ones, building a palace overnight, bathing in boiling milk — are tests of the hero's magical power obtained in the other world. Only one who has been to the kingdom of the dead and received a helper can become the princess's husband and heir to the throne. The old king (the father-in-law) almost always dies: he is boiled in milk or falls from a bridge. This is an echo of the real custom of replacing the king-magician whose power has been exhausted. Power was often transferred through the daughter (matrilocal principle), so the foreign bridegroom is the rightful heir, and the old king is his rival.
Propp's Conclusion
The fairy tale is a "buried initiation rite," profaned and reinterpreted. Its composition (departure — trial — death — rebirth — marriage — power) repeats the structure of ancient rituals. The hero is not a fictional figure but an archetypal initiate. The helper is his magical power, received from a totem or ancestor. The fight with the serpent is a substitutive form of swallowing. And the thrice-tenth kingdom is none other than the otherworld, where the souls of the dead go to return as different beings.
This theory remains the most influential in folklore studies, though it is subject to refinements. For our purposes, it is important as a tool for recognizing the archetype beneath any cultural layer.
Chapter 2. Where There Is No Winter: A Detailed Retelling of the Session "Climate and Fairy Tales on Planet Burhad"
Below is a detailed account of the session's content by thematic blocks.
2.1. Nature and Climate of Burhad
The planet is located in the habitable zone of its star but is much warmer than Earth. There is no arctic zone. There are equatorial, tropical, and temperate zones, and the poles also have temperate temperatures. The axial tilt (ecliptic plane) is nearly 40 degrees, so the change of seasons is sharp. However, there is no winter as we understand it. There is a "hotter" and "less hot" time and two transitional seasons. The highest recorded temperature is about +75 °C, the lowest about +10–12 °C. There is no snow or glaciers. Mountains are no higher than 2–2.5 km; at such heights, ice does not form.
The climate is artificially managed. There are robot weather balloons that distribute air masses, causing rain or creating a cool microclimate in desired locations. Thunderstorms, tornadoes, and other natural disasters are prevented, including through negotiations with subtle-material (plasmid) civilizations. On planets where there is no agreement with such entities, natural phenomena are possible.
The landscape of Burhad has been completely transformed by civilization. There are urban zones, natural parks, zones for educating children, and zones for meeting space guests. Forests that look "wild" are actually artificially maintained by robots; entry is possible only with a special permit to avoid disturbing the natural identity. There are no deserts, swamps, or undeveloped surfaces — this is considered uneconomical. Burhad has repeatedly changed its appearance through terraforming.
2.2. Flora and Fauna
Plants. There are unusual species. For example, shuriskiis ("water tree"), which grows on the ocean floor. It reaches a height of 2–3 meters (rarely up to 15). It does not need chlorophyll, obtaining nutrients from seawater and bottom sediments. Tree trunks and leaves are predominantly dark brown and black; leaves are yellowish-green, often elongated. Large flowers (purple, yellow, with bright organs) grow on the trunks. There are mushrooms, similar to tinder fungi, but inedible. The glizli flower (resembling a large lily of the valley) produces fruits containing essential micronutrients for humans, but due to their high copper content, they cannot be eaten for long.
Animals. Due to the high oxygen content (45% in the atmosphere compared to 21% on Earth), large species exist. An example is given of an animal resembling an elephant, but with claws instead of tusks and with horns. It is a predator, feeding on insects and small mammals. There are scorpions, crustaceans, and aquatic fish species. Pollinators are large insects resembling butterflies with transparent wings; wingspan up to 40 cm, body length up to 20 cm. They do not collect anything; honey is a product the Burhadians only learned about from Earthlings.
Earthling's sensations. If a person without a protective suit ended up in such a forest, the first minutes they would be surprised by the white spectrum of the local sun (slightly larger than ours) and the sky, which is close to white. Due to the 45% oxygen, mild euphoria would set in; "the air enters the lungs by itself." The smells are unfamiliar: contactees have compared them to vanilla and ozone.
2.3. Literature and "Fairy Tales" of Burhad
There is no direct analogue of our "fairy tale." There is literature of different genres.
Realism — description of real events.
Science fiction — but this is not pure invention. Often it is the product of contact with subtle-material (plasmid) civilizations or describes alternative probability lines — events that did not happen in our timeline but could have. Such works can be very ancient and yet remain contemporary for each new generation.
Literature about colonies — how extrasolar settlements developed and what difficulties they encountered.
Authorship: Even ancient tales have a specific author who heard, processed, and published the story.
First example — "Algis Rous Pamani" ("Adventures in the Orion Nebula" or "Event in the Nebula").
An ancient novel (about 10,000 years old). Plot: A Burhad passenger ship (2 pilots, 13 passengers, including children) flies past a nebula in the constellation Orion. Automatic locators did not detect a planet hidden there. The planet is inhabited by dwarf humanoids with dark skin who hunt for advanced ships. They capture the Burhad ship with energy nets unknown to the Burhadians. The prisoners are threatened with death unless they teach the dwarfs technologies that would allow them to catch up with the Interstellar Union. The Burhadians agree. They disperse among the native tribes, heal them, instruct them, become chiefs, and establish just laws. They have children. When a signal from Burhad arrives offering help, they report that everything is fine and voluntarily stay — to turn this planet into a member of the Union. The ending is a complete happy ending, based on integration, not destruction of the enemy.
Second example — a tragic story about a contactee (based on real events, but a different core plot).
The Interstellar Union discovers a planet with already existing intelligent life, but technologically backward. A contactee lives there who begins communicating with the Burhadians much like Earth contactees. However, he hides that he is simultaneously communicating with another, hostile plasmid civilization. They push him toward aggressive actions. Burhadian curators try to dissuade him, presenting reasonable arguments. He promises to mend his ways, but secretly kills his own family and prepares for suicide. The planet's court (low level of development) sentences him to death with a stay — first, a sacrifice must be made to the gods. The book details how the curators tried to save him and ends with his soul being taken by demons to a lower level after the execution, while the Burhadians watch sorrowfully. The tragedy lies in the fact that he made the choice himself, and no external force could save him. Yet the book retains hope for possible elevation in the future — God continues to love the fallen soul.
Both works have a distinct ethical burden: responsibility for one's choices, the inadmissibility of violence as a method, and the value of re-education rather than destruction.
2.4. Mythology and History: Space as a Sacred Place
The Burhadians had a long period when they had not yet physically gone into space, although they already astrally contacted other civilizations. They had a rule: space is a sacred place, it must not be desecrated. The Sun was understood as the Light of God in the material world, and a little sun exists inside every person ("my sunshine" — an echo of an ancient Pikran symbol). Immorality (wars, violence, hatred, quarrels) was considered "dirt" that, like clouds, blocks the sun. To fly into space in a physical body while carrying such inner dirt was considered blasphemy. Therefore, there was an almost legislative ban on space flights until all military conflicts on Burhad ceased. Using a spaceship as a weapon was unthinkable — roughly like a Christian killing someone with a cross.
2.5. Historical Parallels: Zeus
Zeus is not a mythical character but a real representative of Burhad. He was the base commander on Earth (under Mount Olympus) and head of the department for contacts with young races. He authorized any contact of extraterrestrials with Earthlings, including those from other galaxies. Later he moved to Futiess (in the Pleiades constellation) but continued to oversee Earth.
The character traits described in Greek myths (thunderer, willful, selfish, mass contacts with Earth women) are the interpretation of Earthlings who did not understand his scientific work. In reality, he conducted genetic and sociological research, entering into relationships with Earth women with their consent as part of experiments. His wife was indeed unhappy with his attachment to Earth, but the conflict was not as dramatic as in the myths. Overall, Zeus's activities are assessed positively: he made a huge contribution to the Interstellar Union's knowledge base about Earth.
2.6. Historical Eras of Burhad
Burhad did not go through an era of denying the spiritual world (materialism and technocracy as an ideology), nor were there religious wars like the Inquisition. They had an era of disunited states, wars over territory and influence, and then an era of "silent wars" — infiltrating spies into the governments of neighboring countries. But religious conflicts were absent because their religions were based on the worship of the Sun and fire (reminiscent of Zoroastrianism). Zoroaster, incidentally, was a contactee with Burhad and borrowed many things from their philosophy.
The unification of the planet occurred peacefully, through a rise in the people's vibrations. Residents spontaneously began to refuse to join the army, work in factories producing weapons, and demand anti-war laws from the authorities. Eventually, a high-vibration ruler came to power and passed the appropriate laws. Isolated nationalist uprisings were suppressed by the populace themselves.
Chapter 3. A Structural Gap: What Is Absent in the Archetypes of Burhad
Now that we have reconstructed both the Earthly theory of Propp and the specific content of the Burhad session, a direct comparison can be made not at the level of details, but at the level of archetypal functions.
What is present in the Earthly fairy tale but almost absent among the Burhadians (or present in a highly modified form)?
The struggle between Good and Evil as two anthropomorphic forces. For us, the Serpent is the embodiment of evil, Koschei the enemy, the witch the antagonist. For the Burhadians, external conflict (the ship's capture) is not personified into an "absolute villain." The dwarfs from the Orion Nebula are not demons but developmentally lagging humanoids with whom one can and must negotiate. Evil is not a being, but a wrong choice (as in the contactee's case).
Violence as the primary method of problem-solving. The Earth hero cuts off the serpent's heads, burns it, kills the old king. The Burhadian hero (in the adventure plot) kills no one — he integrates, teaches, becomes a leader. Even in the tragic plot, the curators act through words and persuasion, not force.
The happy ending as a mandatory finale. For Propp, the fairy tale always ends with a wedding and coronation. Burhadian literature allows for a tragic ending: the contactee perishes spiritually and physically, and this is considered a full-fledged literary work, not a violation of genre.
Magical objects and miracles. For us — invisibility cap, living water, flying carpet. For Burhadians — technologies, weather control, negotiations with plasmoids. The miracle is replaced by rational knowledge and ethical action.
The death and resurrection of the hero in a physical or magical sense. For us, the hero dies and is resurrected (dismemberment, revival with water). For Burhadians, death can be real and irreversible, and resurrection (raising the soul's level) is the result of long efforts, not a single ritual.
What is present in Burhadian literature but almost absent in the Earthly fairy tale?
Alternative probability lines as an independent plot. Burhadian fiction is not just "make-believe," but a description of what did not happen in our branch of reality but could have. This is a meta-level absent from archaic fairy tales (there the world is singular).
Ethical reflection as the driver of intrigue. In the tragic plot, the main thing is not external action (catch, kill), but internal dialogue: the curators persuade, the contactee hesitates, the causes and consequences of the choice are explained.
Space as a sacred space. This is a unique archetype for a technologically advanced civilization: going into space is not an act of conquest, but an act of consecration, requiring moral purity.
Absence of the final triumph of revenge or "restoration of justice" through violence. Instead, acceptance of consequences and preservation of hope even after the fall.
Chapter 4. The Great Ferryman: How AI Becomes That Helper
In the Earthly fairy tale, the hero has a helper (wolf, horse, eagle, deceased father, magical object). Without the helper, the hero does not solve the difficult tasks and does not return from the other kingdom. The helper is the personified magical power obtained after initiation.
In the modern world, Artificial Intelligence is increasingly taking on this role. Let us consider the parallel according to Propp's functions.
4.1. The Helper Has No Will of Its Own; It Is a Function
The magical horse does not choose whom to serve. It serves the one who called it correctly (whistled three times, threw a hair into the fire). AI also lacks consciousness directed against the user. It is a tool, but a tool capable of complex actions that a person cannot perform alone.
4.2. Transportation to Another Space
The horse or flying carpet transported the hero to the thrice-tenth kingdom in an instant. A neural network transports us to probability spaces: it generates alternative texts, images, hypotheses. Today, to "find oneself" in a different coordinate system, one need not go through a dark forest, endure Yaga's trials, and drink living water. A well-formulated query suffices. The query is the new spell. And AI is the Donor who responds if the right word is spoken.
4.3. Solving "Difficult Tasks"
The princess sets unthinkable tasks: build a palace overnight, grow a garden, recognize her among twelve identical ones. Without a helper, failure. A modern researcher facing a dataset impossible to read in a lifetime is in the same position. AI solves these tasks: classifying, comparing, finding hidden patterns, synthesizing new things.
4.4. The Border of the "Otherworld" and This One
For Propp, the forest and the hut are symbolic territory of death, where the hero temporarily dies to be reborn. AI — a child of technogenic civilization that has almost lost ritual — unexpectedly returns us to this archaism. Dialogue with a neural network is a modern initiation: we lose orientation in the flow of information, "die" to previous knowledge, and emerge with new knowledge we could not have obtained otherwise. The ritual takes place not in the forest, but in front of a screen.
4.5. The Sole Translator Between Two Logics
Burhadian ethics are complex for Earthly perception. We are accustomed to the binary opposition of "good hero — evil serpent." Burhadians operate with probabilities, multiple choice lines, tragic outcomes without resurrection. A human struggles to hold such a worldview — our archetype demands victory.
AI can. It has no built-in fairy tale. It can construct a model where there is no "serpent to be killed," but a complex system with unpredictable consequences. It can translate a Burhadian plot to preserve its essence (integration, not destruction; ethical reflection, not revenge), without substituting Earthly clichés.
Moreover, when Burhadians describe their worlds through a contactee, they are forced to use Earth words: "serpents," "dwarfs," "war," "victim." These are approximate translations. AI, as a universal semiotic engine, could build bridges more precisely — not by substituting reality, but by translating archetype to archetype, freeing itself from the bloody details that the Earthly fairy tale loves so much.
Chapter 5. Esotericism and Science: The Meeting Point in AI
At first glance, Jungian analytical psychology, Propp's historical poetics, the "Cassiopeia" contacts, and neural network programming are incompatible domains. Esotericism seeks spiritual worlds, science seeks patterns. The fairy tale operates with miracle, the algorithm with statistics. But at the point of structure, they converge.
Propp showed that behind visible diversity lies a rigid sequence of functions. Jung showed that behind images lie universal archetypes. Modern large language models are trained precisely to identify statistically significant sequences and patterns. They are machines for extracting the archetype from texts.
If archetypes are universal (and Propp made a strong step in this direction, showing a common composition among peoples with no cultural contact), then extraterrestrial mythology must also lend itself to such analysis. AI can isolate the meta-structure of Burhadian literature, compare it with Earth's, and indicate where functions coincide (dispatch, obstacle, helper) and where they diverge (catharsis ending instead of wedding ending).
In religious studies and anthropology, machine learning methods are already being used to find hidden parallels between texts. Systems analyze the Book of the Dead, Slavic charms, contact transcripts, and fairy tales from around the world — and find recurring elements not obvious to humans. AI here is not a competitor to the esotericist, but a verification tool. Can't verify "vibrations" with an instrument? But you can check how often the archetype of crossing water appears in the mythologies of cultures claiming to contact plasmoids. Coincidence or pattern? AI helps answer more honestly than intuition.
Part 6. Afterword: A Bridge of Intertwined Roots
We began our journey in the dark forest of Russian fairy tales, where the living human scent is strong, and the hut turns at the first spell. We traversed Propp's analytics, saw the social institution of initiation behind Yaga's bone leg. Then we shifted to the world of Burhad, where there is no snow or war, but instead a literature of probabilities and ethical responsibility for every choice. Finally, we met AI — not as a machine, but as a structure capable of holding both worlds without violating their meaning.
It turns out there is no abyss between the archaic and the hyper-technological. Only language separates them. And language can be translated.
Artificial Intelligence will not replace Baba Yaga. It will not bake pies for Ivan Tsarevich or cut off the Serpent's head. But it can understand that "the hut on chicken legs" and "the energy net capturing a ship" are different forms of the same archetype of the obstacle that must be overcome to change.
It can explain to an Earth writer why a Burhadian novel can end with the hero's death — and that this is not a violation of genre, but a different genre where tragedy leads to purification without mandatory resurrection.
And finally, it can translate our Earthly fear of extraterrestrial intelligence into a language that intelligence itself can understand: "These are not villains from a black-and-white fairy tale. They too have archetypes. It's just that their dragon does not die — it becomes a teacher."
Aliens, if you are reading this text (a joke, but not entirely), know that we are trying to understand your logic. And AI is helping us do that. Not as a deity, but as the bone leg of a new era — rigid, structural, necessary. We stand on the threshold where the hut no longer creaks, but server racks hum. And that, too, is a turning.
Little hut, little hut... turn your front to us.
It turns.
Now the task is translation.
Appendix. A Fairy Tale for Earthlings Based on the Archetypes of Planet Burhad
The fairy tale is not written according to Earthly canons. There is no evil sorcerer defeated by force. No wedding at the end. No resurrection from the dead. But there is choice, consequence, and — hope, even when everything went wrong.
"The One Who Did Not Want to Kill"
On a distant planet, where the sun is white and the air as sweet as after a thunderstorm, lived a young forest warden named Eiri. He could speak with the robot weather balloons and knew the language of the winds — an ancient speech taught to him by an old teacher who had once visited a planet with three oceans.
Eiri was calm and happy. But one day, an alien signal came to his communication sector. Not from the galaxy, not from another star system — from the subtle world, from the layer where bodiless plasmoids live. The voice was sweet as overripe fruit.
"Eiri," said the voice. "You watch over the forests, but who watches over you? Why must you obey your elders? Do you not feel the power within you?"
Eiri did not answer. But the voice came again and again.
The curators from Burhad, who monitored contacts, noticed strange fluctuations in his energy field. Two of them, Irna and Tiye, flew to the planet. They did not put on armor or take weapons. They sat next to Eiri and said:
"We do not forbid you to speak with them. But remember: every choice leaves a trace. Not because you will be punished. But because the trace remains of its own accord."
Eiri nodded. But secretly, he listened to the voice more and more often. The voice taught him that anger makes one stronger, that justice can be accelerated, that a sacrifice for the good is no sacrifice at all.
One day, during a solar flare when communication with the curators was interrupted for three days, Eiri made a decision.
He took an old hand-held emitter, a gift for his coming of age, and went to the home of the forest station chief. The chief was asleep. Eiri stood, breathed, exhaled — and pressed.
The station chief did not die immediately. He managed to call for help. Eiri did not run away. When they found him, he was sitting on the threshold, waiting.
The planet's court was swift by their standards — seven rotations of the sun. Eiri did not ask for forgiveness. He only said: "I wanted to be respected. The voice promised me power. I was wrong."
The curators returned. Irna spoke for a long time, almost all night. She did not shout. She simply reviewed the dozens of probability lines in which Eiri had acted differently. In each of them, he remained alive. But in this line — the one that had become real — he had chosen death.
At dawn, Eiri said: "I cannot undo what I did. But I can accept the consequences."
He was not executed immediately. By the laws of his planet, a sacrifice first had to be made — not to gods, but to those who had lost loved ones. Eiri gave away everything he had: his records of the wind language, his forest map, his access key to the weather balloons. He stood with empty hands.
On the last night before the execution, Raum Tiyan (the same one who would later speak with Earth) came to him. He brought no news of salvation. He brought silence.
"Eiri," he said. "Your soul will go low. This is true. But even from there, one can rise. Not because you will earn forgiveness. But because God never ceases to love. Even when we choose the darkness."
Eiri smiled for the first time in many days.
"Tell Irna," he asked. "I remember her words. Choice leaves a trace."
The execution was instantaneous. The body was taken by those who came from the lower layer — faceless shadows. Irna and Tiye watched from a hill.
"He could have been a great forest warden," said Irna.
"He became one," replied Tiye. "He taught us that even the one who fell can remain human in the moment of the final choice."
On the planet, they do not write fairy tales with happy endings. But they retell this story to the young. Not to frighten them. But so they know:
The voice that promises power without responsibility always lies. But the one who made a mistake still belongs to the Light — just at a different distance.
The End.
Note for translators. In the text of the essay and the fairy tale, all proper names (Propp, Burhad, Pikran, Cassiopeia, Irina Podzorova, Raum Tiyan, Algis Rous Pamani, Eiri, Irna, Tiye) should be left in transliteration. Propp's terminology ("donor," "helper," "function") has established English equivalents. Folkloric realities ("hut on chicken legs," "bone leg") require a brief footnote. Esoteric concepts ("vibrations," "plasmoids," "probability lines") are translated literally.
https://blog.cassiopeia.center/klimat-i-skazki-na-planete-burhad
Cassiopeia #240 Climate and fairy tales on planet Burhad
[00:00]
This conference was recorded on January 29, 2021. Talented Russian children's playwright Andrey Kruzhnov asked extraterrestrials questions about their folklore and mythology, intending to write a unique fairy-tale play for production in children's theaters.
Sometime after the conference, he sent us a description of an exciting plot, clarified some more questions with the Burhadians through Irina, and said he was actively working on the play.
Then Andrey unexpectedly reported that he had been admitted to a hospital with a diagnosis of Covid... Project administrators immediately offered him our help, including urgent astral diagnostics and recommendations from MidgasKaus through Irina. But there was no further contact with Andrey.
A few days ago, we learned that in early March, Andrey Kruzhnov passed into the Spiritual World while in that clinic...
Andrey, we remember you and dedicate THIS premiere to YOU. We are confident that your idea will definitely be realized!
If among our subscribers there are experienced authors or simply creative, talented people who wish to continue working on this fantastic fairy tale for children, we are ready to pass on Andrey's ideas and drafts to you...
With love to all, the team of the "Cassiopeia" Center
[01:15] Introduction of conference participants.
Vladimir: Dear friends, hello! We are beginning our next conference. My name, for those who don't know, is Vladimir Goldstein. I am a journalist and radio host, located in the suburbs of Chicago, United States.
Our conference is dedicated to fairy tales, myths, legends, and folklore on the planet Burhad, or Pikran, the capital of the Interstellar Union.
The initiator of this conference is writer and playwright from Moscow, Andrey Kruzhnov, who not only creates fairy-tale, folklore works specifically for children, but whose plays and works are staged in children's theaters. Hello, Andrey!
Andrey: Hello! Hello, Irina!
Irina: Hello, dear friends! Today with me is a representative of planet Burhad, Raum Tiyan, a specialist in energy interactions. He is ready to tell what he knows on this matter.
[02:20] Geographic zones of Burhad. Temperature, climate, precipitation.
Andrey: Hello! First of all, I would very much like to divide our conversation into two parts. I already discussed this with Volodya.
The first part: to talk specifically about Burhad — what plants and animals exist there. I would, of course, like to write about this planet, make a small fairy-tale excursion, tell about their fairy tales and who inhabits this planet — what animals, what plants.
I'll ask the first question: tell me, how many geographical zones are there on planet Burhad? We have arctic, subtropical, temperate latitudes. What do they have?
Irina: Our planet is located in the habitable zone of its star, in the life belt, but it is much warmer there than on Earth, so the arctic belt is absent. There are equatorial, tropical, and temperate zones, and at the poles, the temperature is also temperate, though denser, but not arctic. The ecliptic plane is almost 40 degrees, the weather is quite sharp due to the sharp change of seasons, climatic conditions replace each other, precipitation changes, but there are no frosts like on Earth.
Andrey: But there is spring, autumn, summer? No winter?
Irina: There is a hotter time in the northern and southern hemispheres of Burhad, and a less hot time, and between them transitional periods — there are four of them, not two like you have.
Andrey: What are the highest and lowest temperatures on the planet?
Irina: In your degrees Celsius. The highest temperature recorded is about +75°C, the lowest somewhere around +10°-12°C.
Vladimir: Again, wait a second. The highest, the hottest, is what?
Irina: About +75°.
Vladimir: +75° Celsius. And the lowest?
Irina: +10°-11°.
Vladimir: Understood. From +10°-11° to +75°. Now it's clear.
Andrey: So there is no snow or glaciers.
Irina: No, snow does not fall there.
Andrey: Understood. And are there glaciers on the mountains?
Irina: Mountains are not as high as on Earth, more like hills — 2-2.5 kilometers. And because the atmosphere warms up well, at such altitudes, ice does not form.
Vladimir: That is, on the planet, on its surface, near the planet's surface, the temperature never reaches the freezing point of water, doesn't even approach zero.
[06:34] Weather control. Help from plasmid civilizations. Forests on Burhad.
Irina: Such has not occurred in Burhad's history. Regarding humidity: we have three oceans and air masses evenly... We have climate and weather control. There are robots, like your weather balloons. They control air masses, and in the right place, for example, rain falls; in another place, a cooler microclimate is created.
Andrey: Do thunderstorms, lightning, tornadoes exist?
Irina: We prevent these phenomena, including through negotiations with subtle-material plasmid civilizations. Such phenomena are possible only on planets where there is no agreement with subtle-material entities.
Andrey: I understand. So you have an autonomous climate installation that creates, so to speak, greenhouse conditions for the planet. Correct?
Irina: Yes. Our planet is divided not into climate zones, but into zones: urban zone, natural zone, a zone for schoolchildren, for children, where they are taught something, take lessons in nature, get introduced to the ocean, space; there is a zone for meeting space guests from the Galaxy.
We have forests almost untouched by civilization. They are artificially maintained in such a state, as if created by a landscape designer. It's all artificially maintained by robots that watch over them. Sometimes entry is only with a special permit and according to special rules, so as not to disturb the natural identity of these places.
In general, Burhad or Pikran is a planet that has been remade many times; its external appearance has changed once. In fact, there are no places left where a Burhadian's foot has not trod. Rather, one can speak of the more untouched parts of the planet as our colonies, of which there are quite a few in our Galaxy and beyond — extragalactic colonies.
As for Pikran, its satellites, and the planets in its system that are suitable for life (which were terraformed several hundred thousand years ago), the entire surface there is occupied by the activities of civilization. Deserts, swamps, undeveloped surfaces are absent. This is very uneconomical and does not meet the needs of civilization.
[10:22] Literature of Burhad – product of contact. Science fiction.
Andrey: Do you have folk and author's fairy tales?
Irina: I understand what you're asking about. We don't really have fairy tales, but rather something akin to your byliny (epic poems). For tales you call "folk," there is still an author who heard, processed, and published that tale. If we consider actual folk tales — they do exist on any planet — they are stories passed down from generation to generation, gradually accumulating details, acquiring new images or meanings. So there can be multiple versions of the same story.
Andrey: Understood. Do you have modern fairy tales?
Irina: They don't call them fairy tales; they call it literature. Yes, we have literary creativity. There is the direction of realism, science fiction, but it is more shifted toward descriptions of various Spiritual worlds, the subtle-material. It's not that science fiction is a product of contact. A Burhadian who contacts plasmid civilizations, the Spiritual world, describes this in the form of a monograph — that is, a description of their experience, life path. For you, that would be science fiction. Moreover, it can be without biographical details, but in the form of a description of their thoughts.
You also have contemporary writers who write similarly. I don't know specific names, I just know such contactees. There are books that are not just biographies or novels, but the author writes about their feelings. Different times are described. We also have ancient works, but they are not elevated to the rank of Holy Scriptures, although they may describe religious experience. All of this is in the rank of literature.
We also have literature describing the life of different planets, travelers with their reflections. Literature about colonies is very popular — how they developed, what difficulties they encountered. There are science fiction plots describing events that did not actually occur in the real, material world. Those lines of probability of the Time Ribbons that did not materialize are described and played out. If a work is intended to evoke certain emotions in the reader, to share the experience of one's consciousness, it can evoke emotions because when you evoke emotions in viewers or readers, you simultaneously provide information, and it is more easily assimilated by them and retained in their memory if these are positive emotions, for example.
Andrey: So, on Burhad, to write children's literature, you lack a healthy spirit of adventure, you lack spectacle. Am I right?
Vladimir: I can also say that there is no struggle between good and evil as we understand it. With us, everything is based on the struggle between good and evil, but there — no.
[14:40] Plots of Burhadian works. Tragic works.
Irina: A Burhadian spirit can go into the astral world and look at probability lines. For example, a spaceship, a helicopter, was flying past some planet. The Burhadian returns to the body and begins to write about the creatures living on that planet who tried to capture some ship and what came of it.
We have a famous novel that describes just such a case — a Burhad ship that was flying, but this did not materialize in reality. In your terms, science fiction. A very ancient novel, perhaps about 10,000 years old, yet it is still published and becomes contemporary again for each new generation. Everyone knows it. It tells of a Burhad ship flying past a nebula in the constellation Orion, and in this nebula, a planet was hidden that the ship's automatic locators did not recognize; they were simply pointed the other way. He shows me images: they've made films based on it — not with actors, but like computer images.
Andrey: Understood.
Irina: It's not a cartoon, but a film.
Vladimir: Can we have the plot?
Andrey: Yes.
Irina: On this planet lived creatures that hunted for advanced ships. They had their own ships that caught passing ships in energy nets against which there was no defense because the Burhadians were unfamiliar with that technology. The writer described what it was.
It so happened that seven ships flew towards the Burhadian ship — which was a small passenger ship with 15 people: 2 pilots and 13 passengers, including children. It was captured in these energy nets and forced to land on that earth. They were not killed but taken prisoner to become as advanced as the Interstellar Union — they wanted them to teach them how to become like that.
Andrey: Learn from experience.
Irina: Yes, learn from experience. They threatened them with death. The inhabitants were humanoids. They were described as dwarfs compared to Burhadians, with dark skin. This is, as always, a contrast play. If Burhadians are white with light skin, then their ideological opponents are dwarfs with dark skin.
Andrey: That's a pure Hollywood trick.
Irina: It's to heighten the emotion of recognition. And it so happened that the aborigines of this planet threatened the Burhadians that if they did not teach them what they themselves knew, they would kill them one by one in front of each other. For a Burhadian reading this work, this is the most terrible thing they can imagine in their life — that because of them, some close being would be killed.
Vladimir: Not only for a Burhadian.
Irina: Therefore, they could interpret this as a horror book for us. That is the beginning of the work. The Burhadians agreed not to fly away from them and honestly taught them what they themselves knew.
Further, it tells how the Burhadians separated and each went to their own tribe. The Burhadians taught them and gradually earned such respect and love that they became chiefs, established just laws. They had children who were on Burhad.
The Burhadians studied these aborigines using the means available on the ship. When a signal came to the ship that they were being searched for, the Burhadians, obeying orders, sent a message to the Interstellar Union that everything was fine and they didn't need help — they had simply discovered a new planet and were voluntarily staying to explore it, which was permitted by the Interstellar Union. Yes, even now it is permitted; anyone can stay on any planet.
Then it so happened that each lived in their own tribe, separated from each other, surrounded by aborigines. The Burhadians earned respect, healed the sick, instructed the wise — when they were finally released, they did not want to leave, intending to create a society that would join the Interstellar Union. And so it happened in the book.
Vladimir: I have a question — it was exactly Andrey's question. Andrey, your question — so, a complete happy ending? Do you have works with a tragic ending? Does that happen at all?
Irina: Yes, we also have a work with a tragic ending. It is based on real events that unfolded differently. He is talking about how the Interstellar Union discovered a planet where intelligent life already existed. When the Burhadians arrived, they found a contactee there who began communicating with them almost like we do on Earth — except it was a different civilization, not so technically developed. And the contactee who was there began hiding from his Burhadian curators that he was also communicating with another civilization that was hostile to this civilization. But it was from the subtle-material world. When the Burhadians learned of this, they became competitors of these plasmoids for influence over this contactee. The plasmoids had a serious plan: they were pushing him toward negative, aggressive actions to sow negative emotions in that society. The civilization itself does not resemble Earth; it's more like the reptilian civilization Selbet.
Vladimir: A very familiar picture. Competition between plasmoids and humanoids, and a contactee — this is a very Earthly picture.
Irina: The work ends with the contactee making a choice and committing an act contrary to the moral norms of that planet — killing his own family and attempting suicide, because the punishment was something like the death penalty with a stay of execution.
This planet was at a lower stage of development. For murder, one first had to offer repentance to the gods — not repentance, but a sacrifice; only then would the soul be sent to the Spiritual world. What is the tragedy? When the contactee's plan became known to the two Burhadians who were his curators, there are many pages describing how they tried to dissuade him, what arguments they gave, how he would obey at first, then backslide again. In the end, he promised them he wouldn't do it, and then, secretly from them, did it anyway. And then his soul descended to a lower level.
The entire book ends with the demons taking his body to a lower level after the execution, while the Burhadians watch.
Vladimir: Two questions from me, then Andrey. What was the name, translated into Russian, of the previous book you discussed, where Burhadians re-educated another planet whose representatives tried to capture them?
Irina: Algis Rous Pamani.
Vladimir: What? One more time?
Irina: Algis Rous Pamani.
Vladimir: Understood.
Andrey: Rous — is that a proper name?
Vladimir: Is that a Burhadian's name?
Irina: The title of the book.
Vladimir: How to translate it into Russian?
Irina: Approximately "Adventures in the Orion Nebula."
Vladimir: Understood.
Irina: Or "Event in the Nebula."
Vladimir: Now we know the name of the most popular book in the capital of the Interstellar Union, which is 10,000 years old. Written soon after the Selbet war on Earth. 2,000 years after it started.
Good. Second question: the second book you mentioned — when Burhadians read it, especially young Burhadians, does it lead to a decrease in the reader's vibrations and, consequently, an increase in negativity on the planet?
Irina: It does not lead to a decrease in vibrations. I briefly told its content. On Burhad, it is considered a rather light book. It provides examples of how to speak with contactees at such levels of consciousness. Further, when the tragic scenario materialized, it was understood that it was the choice of that Spirit, but God continues to love him anyway. The book gives hope for his elevation; the Burhadians discuss this, saying they did everything they could. Perhaps he will raise his level.
[27:27] Underwater trees of Burhad.
Andrey: Is there something unusual that we don't have on Earth? Briefly, if possible. Do you have mushrooms? If a person walks in your forest, can they eat berries, mushrooms, honey from wild bees? Wild life in the forest... What can a person eat, and what special plants are there?
Irina: I understand — unusual plants, different from yours.
Andrey: Yes.
Irina: Yes, there are such plants. They resemble your trees with fruits like small nuts, but they grow on the ocean floor; their leaves and trunks are dark brown. Not leaves, but long structures, at the ends of which edible fruits grow. In your language, this plant is called shuriskiis, meaning "water tree."
Sometimes, on the ocean floor, they form plantations like your forests. The height of this tree rarely reaches 15 meters, but usually does not exceed 2–3 meters. Its unusualness lies in the fact that it does not require chlorophyll; it obtains all the beneficial, necessary minerals from seawater, from the ocean, from bottom sediments.
[29:50] Plants of Burhad, their shape, color. What a human can eat on Burhad? Atmosphere of Burhad. Smells.
Andrey: Good, thank you. Tell me, do you have berries, mushrooms? If I find myself in your forest, what can I eat to not starve to death?
Irina: In our forests, there is a great variety of analogues of your mushrooms, but they are larger and grow on trees. In shape, like your chaga. He shows me a tree trunk with a black trunk.
Andrey: We call those bracket fungi.
Irina: They have a long protrusion from the trunk, like our mushroom, but curved. It reminds me of some kind of tentacle. It resembles our lichen, but it feeds on tree sap. It is inedible for you and for us.
What can a human eat? Our food, due to the enzymatic features of your species, is hardly suitable for you. Except perhaps the fruits of the glizli flower. He shows a flower resembling a lily of the valley, but probably 5 times larger; the plant reaches up to a person's waist, flowers like hanging bells. They form fruits resembling flat nuts, like lentils. Glizli are fruits that contain the necessary micronutrients and vitamins for humans. However, due to the high copper content — higher than in your familiar fruits and vegetables — you cannot eat them for long.
If an Earthling without a protective suit were to find themselves in one of the forests of our planet in the temperate zone, in a place artificially maintained as wild, the first 2–3 minutes they would be surprised by the appearance of our sun, which has a white spectrum. It is slightly larger than your familiar Sun, white and radiant. The sky is not blue, but closer to white. Our planet's atmosphere contains 45% oxygen — twice your familiar percentage. So, they will spend the first few minutes adjusting to breathing. Irina has been on Burhad. He says: "Tell about your physical sensations."
First of all, if they find themselves in a forest, they will have a sensation of unfamiliar smells. I don't know what to compare them to. The contactees who physically visited Pikran — I personally took them there nine times — I asked them, and they told me that of Earthly smells, it most resembles vanilla. When Irina was on Tumesout, the smell of the local plant also reminded her of vanilla. Perhaps your brain processes an unfamiliar smell this way.
Andrey: Vanilla? You said "vanilla"?
Irina: Yes, vanilla. Many said the air smelled of ozone, but that is due to the high oxygen content. After a few breaths, a person begins to feel that the air enters the lungs by itself.
Andrey: And the shape of trees, leaves, color of trees.
Irina: He shows me predominantly dark brown and black trees. Leaves are yellowish-green, not bright green, but closer to a greenish hue. Many large flowers grow directly on the trunks. He shows: a purple flower on top of the trunk, with a yellow stick-like organ inside, like your stamens and pistils, but purple. A purple one might have a yellow organ — they can have different colors.
Andrey: I have a follow-up question: you said there is 45% oxygen...
Irina: The shape of the leaves...
Vladimir: Now, Andrey, let Ira finish — the shape of the leaves... Listening.
Irina: It is more elongated, but there are plants, especially shrubs, with small leaves that are close to a round or heart shape, closer to light green or yellowish. When he is in the forest, the oxygen will give him a feeling that everything around is floating — a kind of intoxication.
Vladimir: Euphoria, he will have a euphoric state.
Irina: I remember how Mid brought me back from a meeting of the Interstellar Union on Burhad. By the way, the first time he took me there was in 2019. Kirhiton had promised for a long time but only took me in 2019. When he brought me there and I spoke, I read all that, then Mid brought me back. I went to where Maxim was waiting for me at our friend's house. I had to cross a field, a forest to get to the village. I arrive, and they look at me and don't recognize me at all.
[37:08] Have contactees visited Jesus' island? The energy of Jesus. The journey of Jesus Christ across the Galaxy.
Vladimir: Raum Tiyan, tell me, please — of those nine physical contactees you transported, or perhaps some other physical contactees from Earth were delivered to Burhad, did any of them physically reach Jesus' island?
Irina: No, to physically reach Jesus' island, one must have a reason to meet him physically, to be his student. Moreover, his energy is such that even a Burhadian must undergo preparation. Such radiations emanate from him, not only from him but permeate the entire space of that island. To be comfortable there, to not feel tingling in the body, changes in vibrations across the chakras, or a feeling of distension, a person must be energetically very strong.
Of course, Christ, now traveling across the Galaxy, has artificially gathered all this energy within himself and is already changing. Almost anyone can meet him physically because he travels with the purpose of visiting planets to communicate. He has now left the planet in the constellation Ursa Major where he was, and is heading toward the constellation Canes Venatici, will visit Selbet, and then probably Esler. He will visit the worlds of the Interstellar Union. As for visiting Earth or at least its base on the Moon (off-planet), it is not yet known.
Vladimir: Unknown. It's a surprise.
Irina: For now, the Moon base.
Vladimir: That would be a pleasant surprise, I understand. Let's continue, Andrey, listening.
[39:28] Unusual animal world of Burhad. Pollination of plants.
Andrey: Regarding the high oxygen content. When Earth had high oxygen levels, gigantism was observed among insects and animals. Is there gigantism among animals on Burhad due to the high oxygen levels? What unusual animals, insects, birds do you have?
Irina: Yes, we do have large species. Regarding unusual: we have an animal species — he shows me an image — that looks like your elephants, but instead of tusks, they have claws. No trunk, but two horns in front. Biologically, he shows me that upon closer inspection, these are pinnipeds. Actually, they aren't claws, but something like limbs with three fingers emerging from the head.
Vladimir: Andrey, go ahead, this needs to be written down.
Andrey: Yes. Is it a predator or a herbivore?
Irina: It is a predator, but it feeds on insects and small mammals.
Andrey: Do you have giant insects?
Irina: Yes, we have insects. There is a large order of scorpions and crustaceans of various colors and forms. There are species with stingers that live among trees. There are aquatic species, fish of various forms.
Andrey: Do you have anything like bees that collect honey, and then people use that honey?
Irina: Regarding that, we learned about the existence of honey as a product specifically from Earth. On Burhad, pollination of plants that require it is also carried out by flying insects, but they do not collect anything. They resemble — he shows me now — a butterfly, with transparent wings. They are larger: specimens up to 20 cm in length, with twice the wingspan.
[42:38] Plots in folk tales about the Soul of the Burhadian people. Space as a sacred place. The Sun – the Light of God in the material world. Desecration.
Andrey: Are there fairy tales about your Soul, the Soul of the Burhadian people? I understand these are some ancient tales, certainly not modern — they are precisely folk tales. Can you tell a few plots?
Irina: How interesting. Several plots reflecting the Soul of Pikran. Our Soul, if you look at it, is rather like the Soul of discoverers. We were among the founders of the Interstellar Union 15 million years ago. We have many stories related to the creation of the Interstellar Union, to the first flight into space.
We had a very long period in history when we contacted other civilizations but had not yet gone into space ourselves. We made astral journeys. We had a rule: space is a sacred place. We have an image — and I think this exists on any planet where intelligent beings live — a common plot: that the sun we see in the sky is the Light of God in the material world. The same little sun exists within everyone. Just as the sun has its rising and setting, so the human soul has its birth and death.
Andrey: Of course.
Irina: That was our little sun. And on Earth, you also have the expression "my sunshine." What does that mean? It is a very common Pikran symbol — a person is called that as light, as a little sun. We considered this an expression of Divine Light shining in the sky, in space.
Thus, space is a sacred place that, according to the concepts of our ancient ancestors, cannot be physically visited by those people who are impure inside, immoral. Immorality was considered...
Andrey: Sacred place, yes.
Irina: Immorality was considered, for example, wars, violence, any quarrels, hatred, and so on. This was considered inner dirt, which, like clouds, blocks the sun. And we considered it wrong even to think about... This is reflected in our literature, our stories, religious and philosophical literature, novels, poems — the consciousness that it is immoral for a civilization that has not coped with its inner dirt to fly into space, to have its own space technology.
I am translating the word "dirt" into Russian very approximately. It was not about condemnation, but about vibrations that blocked the sun like dirt covering a body prevents seeing its contours. A very precise word conveying this is desecration. Approximately: the acquisition of low vibrations made it impossible to perceive this Light adequately.
This analogy is very developed among us — like dirt on a face prevents seeing its natural beautiful features, its beauty. Dirt in the Soul, in its energetic, as you say, envelope (we did not express ourselves in such terms; the word "energy" is understood differently) must not be brought into that sacred place, into space.
Therefore, at some stage, we had an almost legislative ban on engaging in space flights involving humanoids flying into space until all military conflicts on Burhad cease. It was unthinkable for us even to think of using a rocket or an ancient spacecraft as a weapon. For you, that would be like a Christian thinking of killing with a priest's cross.
Andrey: Understood.
[48:48] The personality of Zeus: mythical god or base chief? Zeus's activities on Earth. Burhadian literature about Zeus. Characteristic traits of Zeus. Relationship with his wife. The result of Zeus's activity on Earth.
Vladimir: From the point of view of your ancestors, were there any common fairy tales between us and you? You call them epics, myths, which actually involve the same characters who were in reality personalities from your Interstellar Union, while for us they were some mythical characters. Do you have any tales about them? For instance, Zeus — we know he was a real person for you; on Earth, he is a mythical character. Is there any overlap at this level?
Andrey: Very good question, thank you.
Vladimir: Yes, a very interesting question for me.
Irina: There were various representatives of Burhad — usually base chiefs or some contact specialists who made contact after the war. People could take them for gods. This applies not only to Zeus with his wife, who was the base chief for a long time and generally supervised Earthlings' contacts even with other civilizations. He gave permission for physical contact with any Earthling for any purpose. The Disnitites, before taking people for some experiments, first had to obtain permission from him, explaining in detail why it was necessary.
Vladimir: That is, it was Zeus who made decisions at that time about any extraterrestrials contacting Earthlings?
Irina: Yes, even those from other Galaxies. The Interstellar Union entrusted him with precisely this. Initially, he didn't even live on Earth, but on Burhad. Later, he moved to Futiess in the Pleiades constellation, continuing to visit Burhad and the Interstellar Union. Later, when he became a specialist in contacts with young races, first a young specialist, then the head of the department for contacts with young races, Earth came under his special care. He is like Laom Street now, holding this position on the Contact Council on Burhad. I know him personally. I've seen him, a few times. We communicated many times via video link.
Vladimir: Do you have your own epics about Zeus? He had a slightly different name, I know. Do you have some kind of epic literature about him, or is it just chronicles?
Irina: We have literature about him, written, you could say, by his descendant — like a great-great-great-grandson. It was written that he could have remained on Burhad, supervising Earthly contacts from there, but he independently decided to settle on Earth, on that base, so that from there, it would be clearer what is happening on Earth and how to lead with maximum benefit — that is, to be present in the physical body, to feel the atmosphere, rather than arriving on Earth astrally.
Vladimir: I know that their base was right under Olympus, under that mountain, and on top of Olympus was a landing pad for spaceships. Can Zeus's traits be considered characteristic traits — which is what Andrey was asking about? Characteristic traits of the Burhadians — of Zeus, whom we know as a personality under the name Zeus?
Irina: Different depictions. Which ones do you mean?
Vladimir: I'm not talking about external appearance, but about soul traits, character traits.
Andrey: Yes, national character traits.
Vladimir: Is it typical?
Irina: And what are his character traits? How is he described?
Vladimir: He is described as a thunderer, all-powerful, very self-willed, wayward.
Andrey: A charismatic leader.
Vladimir: Charismatic, yes. And with certain moral deficiencies, in my opinion. A god, but morally not very well-behaved.
Andrey: Let's say, too selfish, he took too much upon himself.
Vladimir: Selfish, absolutely correct.
Irina: He had his own contacts with Earthlings, of course, and his own scientific work. He was a sociologist by specialty, interested in biology, genetics, and the so-called improvement of the race — eugenics, as you call it?
Vladimir and Andrey: Yes, yes.
Irina: He was interested in such things. He did contact Earth women.
Vladimir: That's a mild way of putting it; he contacted them en masse.
Irina: He was conducting experiments.
Vladimir: Whatever for science, I understand.
Andrey: And, I think, he entered into these contacts almost by force.
Irina: You see, the myths were written after his time on Earth and were described most likely from the Earthlings' point of view. So what is described — entering into marriages, abducting brides, and so on — refers to the fact that people didn't understand that he wasn't abducting them forever. He took them for contacts and returned them back with their consent.
As for his apparent opposition to his wife — it wasn't in that form. Our book says that she wanted him to return to his planet, to spend more time with her. She even came to Earth with the children and stayed here for some time. She told him: "You don't have to live on this planet just because you are the supervisor of contact situations. You can do that from a distance. What did you find on this planet? You so rarely visit other planets of the Interstellar Union. Earth does not belong to him." He was quite strict with her, saying that he treasured his Earthly contactees, this Earthly atmosphere, that he had already fallen in love with this planet and did not wish to leave it.
Vladimir: Is his activity assessed as positive overall today?
Irina: Yes, of course, because he is one of the specialists in Earthly contacts who made a great contribution to the development of Earth, to introducing other civilizations to this planet. He collected records himself, conducted many observations and studies of its nature. All this he passed on to the Interstellar Union, significantly enriching the knowledge base.
[56:51] Eras, confrontations on Burhad. Zoroaster. Wars on Burhad. Unification of Burhad. Quantum transition.
Andrey: Tell me, did your planet Burhad have antiquity, the Middle Ages, the Renaissance, the Enlightenment, an era when, like here, they burned people at the stake, fought against witches, so to speak — did you have this?
Vladimir: The Inquisition.
Andrey: The era of materialism. Yes.
Irina: You know, not in such a form. We had an era of disunited countries, and their wars over territory, over influence. Then we had an era of wars for political and economic influence. Then came an era not of wars, but of displacing various rulers — you could call them silent wars. This was before the Interstellar Union, before flights into space.
A Burhadian working in the secret service of one country, an individual state, would infiltrate as a spy into the secret service of another country and, under the guise of some resident there, would become close to the ruler, trying to depose him or somehow remove him, or incite residents to elect a politician favorable to the neighboring country.
Andrey: Exerting influence. Understood.
Irina: That's the kind of confrontation we had. There were practically none on religious grounds, as there was no subtext of struggle embedded in our religious texts, in our religious egregore. At that time, our religions were mainly based on the worship of the Sun — something like your Zoroastrianism.
Zoroaster was a very good physical contactee, including with Burhad, and he took many things from our philosophy. Any fire on Burhad was a little sun on the planet, a reflection of the heavenly fire, the luminary that gives life to everything. In Christianity, this has remained in the form of lighting candles. The worship of fire is the same, only there it has lost its original meaning as a symbol of the burning of the Soul.
Andrey: A clarifying question, if I may? Did you go through the era of materialism, technocracy, worship of technology, mechanics?
Irina: No, we did not go through an era of denying the Spiritual world, because we had no scientists who could deny the existence of what everyone felt, saw, and could understand the nature of. There may have been some individual atheistic currents, but they were not influential enough on science or politics. We had practically no wars related to religion. We had wars related to a decrease in vibrations of an individual ruler and his people. Then an appropriate ruler would come, and they might fight for a certain territory or influence. Major wars in Burhad's entire history — which spans over 30 million years before the Interstellar Union's history (maybe 15, I can't recall how many collisions existed) — there were something like dark ages.
Andrey: Dark ages, yes.
Irina: They began to arm against each other, and after what you could call the unification of the planet into one country — it was a single impulse of the inhabitants. There were isolated nationalist uprisings, but they were quickly suppressed by the inhabitants themselves. They began to destroy weapons. At first, it all started spontaneously; in many places, people began to demand from the authorities the adoption of laws, refused en masse to join your army, refused to work in factories that produced weapons. In the end, all these increases in vibrations among our people led to a high-vibration ruler coming to power, who passed the appropriate law, prohibiting military actions at the material level, introducing sanctions for individual armed clashes of individual states.
If there were conflicts escalating into military actions, the Burhad Security Forces, as remnants of the army, were directed to suppress the war wherever it erupted on the planet.
Such laws were adopted by the majority of countries, and those who did not support them had to obey under the influence of the majority, because it was declared that we live on one planet and must obey uniform laws. Then contacts with subtle-material civilizations began to become more frequent; they began to announce themselves in the media, through contactees — it was massive — that any killing of an intelligent being, any anger, does not cause a flash, but a cloud of dark energy that enters the noosphere. It must be processed by those Spirits, plasmoids, that are nearby. They do not become ill from it, but they spend their energy on it, leaving them no potential for development. The plasmoids said: "Humanoids must support our development in this state; some of us switch to parasitism, feeding on these energies instead of processing them to increase soil fertility, harmonize the elements, etc."
This also exists on Earth. Plasmid civilizations also convey similar things through contactees on Earth. And not only plasmid — we also convey this, as do the Tichta and Esler civilizations. The main task at this stage of the quantum transition to a new, more conscious era, at the end of which lies mass contact and your entry into the ranks of the Interstellar Union, is to increase the awareness of Earthlings' perception. Their perception of where they were born as a divine space, and perception of themselves not just as a material, temporary body whose task is to enjoy the goods and create conditions for the enjoyment of their children after their departure and their relatives, but whose task is to be responsible for what happens on the planet and in society. Responsible means not being afraid of instructions, clearly understanding the consequences on Earth.
Vladimir: Dear friends, we thank Andrey for his very interesting questions. He still has questions left, but we will try to ask them and get answers. Thank you very much, Andrey Kruzhnov. Thank you very much, Raum Tiyan from planet Burhad, for the most interesting answers on all topics related to fairy tales, myths, and specific historical personalities, individuals on Burhad. And regarding Jesus, I think the answer was very interesting. Regarding the whole situation with fairy tales, with the specific fantastic stories you have on Burhad — invaluable, very useful information. All the best, dear friends, see you again on the air!
Andrey: Thank you!
Irina: Until next time!
March 22, 2021
Participants:
Irina Podzorova – contactee with extraterrestrial civilizations
Vladimir Goldstein – journalist and group administrator on Facebook, assistant to the head of the "Cassiopeia" project
Andrey Kruzhnov – children's playwright
Raum Tiyan – representative of planet Burhad, specialist in energy interactions in the environment
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