So as through a glass, and darkly
The age long strife I see
Where I fought in many guises,
Many names, but always me.
And I see not in my blindness
What the objects were I wrought,
But as God rules o'er our bickerings
It was through His will I fought.
So forever in the future,
Shall I battle as of yore,
Dying to be born a fighter,
But to die again, once more.
by Gen. George S. Patton, Jr.
Some notes about this video
The video starts with the sequence of the galloping horses, the meaning here are the many associated symbols with the horse: the horse may be the unconscious or the whole psyche. A galloping horse may symbolize ecstasy. The next scenes are the German army of the First World War, following the flying over the lake. The lake symbolizes the entering in to the realm of the subconscious, as in a start of a dream, where a lake, the sea or a forest symbolize the subconscious: the world of the symbols and archetypes always present in a dream.
The horses and lake are conjuring the entering in the world of the archetypical warrior, the theme of this movie. The spastic, gyrating hypnotic tribal-like music set the tone for the shamanistic aspects of the many warrior incarnations of various cultures, and the military drums are associated with the modern, western culture, military tradition. Then some shoots from a cavalry charge of the Wing Hussars, polish cavalry of XVII century from the polish movie “Ogniem i Mieczem”. The Polish Hussars are most remembered because of their typical armor embellished with big feather wings, resembling the figure of an angel. The next scenes are displays of American soldiers returning from Word War II and photos of American Indian warrior chiefs. Early films of Thomas Edison, showing the Sioux War Dance are used for all the scenes with dancing Indians to draw a common line of universality of various warrior’s cultures.
Regardless of culture or age, the warrior is, perhaps, the most existentialistic creature: his actions are totally beyond the aspects of the self-preservation, and he assumes total responsibility for those actions in the Sartrian existentialistic way or Kierkegaard’s view of it. Therefore the initial quote of Joseph Campbell was showed: "The warrior's approach to life is to say ‘yes’ to it, ‘yea’to it all". Confronted with the inevitability of his choices the warrior has to cope with the questions of the meaning of the here and now:
The video starts with the sequence of the galloping horses, the meaning here are the many associated symbols with the horse: the horse may be the unconscious or the whole psyche. A galloping horse may symbolize ecstasy. The next scenes are the German army of the First World War, following the flying over the lake. The lake symbolizes the entering in to the realm of the subconscious, as in a start of a dream, where a lake, the sea or a forest symbolize the subconscious: the world of the symbols and archetypes always present in a dream.
The horses and lake are conjuring the entering in the world of the archetypical warrior, the theme of this movie. The spastic, gyrating hypnotic tribal-like music set the tone for the shamanistic aspects of the many warrior incarnations of various cultures, and the military drums are associated with the modern, western culture, military tradition. Then some shoots from a cavalry charge of the Wing Hussars, polish cavalry of XVII century from the polish movie “Ogniem i Mieczem”. The Polish Hussars are most remembered because of their typical armor embellished with big feather wings, resembling the figure of an angel. The next scenes are displays of American soldiers returning from Word War II and photos of American Indian warrior chiefs. Early films of Thomas Edison, showing the Sioux War Dance are used for all the scenes with dancing Indians to draw a common line of universality of various warrior’s cultures.
Regardless of culture or age, the warrior is, perhaps, the most existentialistic creature: his actions are totally beyond the aspects of the self-preservation, and he assumes total responsibility for those actions in the Sartrian existentialistic way or Kierkegaard’s view of it. Therefore the initial quote of Joseph Campbell was showed: "The warrior's approach to life is to say ‘yes’ to it, ‘yea’to it all". Confronted with the inevitability of his choices the warrior has to cope with the questions of the meaning of the here and now:
"Eternity isn't some later time. Eternity isn't a long time. Eternity has nothing to do with time. Eternity is that dimension of here and now which thinking and time cuts out. This is it. And if you don't get it here, you won't get it anywhere. And the experience of eternity right here and now is the function of life." (Joseph Campbell).
The movie follows on showing the French Legion Légion Étrangère and again the German army in the First World War. Then a sequence of photos intercalated with the Sioux war dance: the majority of the photos are from Ukrainian front from World War II. A picture of an American soldier in Iraq. A small fragment of an Australian movie depicting the cavalry charge of the battle of Beersheba, in 31 October 1917, where 800 horsemen charge the Turkish artillery across 6000 yards of open terrain.
The next scenes showing line up soldiers are from the movie “We were Soldiers”, the scene where Mel Gibson, interpreting the real life Lt. Col. Hal Moore, gave the speech transcribed below, which also emphasize the aspects of the questions the warrior has to face, which are universal and can be found in any warrior’s culture, native-Indian, western, soviet or any other:
"Look around you, in the 7th Cavalry, we got a Captain from the Ukraine, another from Puerto Rico, we got Japanese, Chinese, Blacks, Hispanics, Cherokee Indian, Jews and Gentiles, all American. Now here in the States some men in this unit may experience discrimination because of race or creed, but for you and me now, all that is gone. We're moving into the valley of the shadow of death, where you will watch the back of the man next to you, as he will watch yours, and you won't care what color he is or by what name he calls God”
Then again some shoots showing the winged hussars at battle. The next scenes are displays of German army, and after that a sequence of pictures. The famous Capa’s photograph “Death of a loyalist soldier” from the Spanish civil war. Some shoots of the Allied victory parade at the end of the World War II. A picture of the soviet victory parade of the same period. The movie ends with the same sequences of the start, the flying over the lake, and galloping horses at the climax, perhaps depicting the impulsive dynamic subconscious forces driving the warriors of all time.
The movie follows on showing the French Legion Légion Étrangère and again the German army in the First World War. Then a sequence of photos intercalated with the Sioux war dance: the majority of the photos are from Ukrainian front from World War II. A picture of an American soldier in Iraq. A small fragment of an Australian movie depicting the cavalry charge of the battle of Beersheba, in 31 October 1917, where 800 horsemen charge the Turkish artillery across 6000 yards of open terrain.
The next scenes showing line up soldiers are from the movie “We were Soldiers”, the scene where Mel Gibson, interpreting the real life Lt. Col. Hal Moore, gave the speech transcribed below, which also emphasize the aspects of the questions the warrior has to face, which are universal and can be found in any warrior’s culture, native-Indian, western, soviet or any other:
"Look around you, in the 7th Cavalry, we got a Captain from the Ukraine, another from Puerto Rico, we got Japanese, Chinese, Blacks, Hispanics, Cherokee Indian, Jews and Gentiles, all American. Now here in the States some men in this unit may experience discrimination because of race or creed, but for you and me now, all that is gone. We're moving into the valley of the shadow of death, where you will watch the back of the man next to you, as he will watch yours, and you won't care what color he is or by what name he calls God”
Then again some shoots showing the winged hussars at battle. The next scenes are displays of German army, and after that a sequence of pictures. The famous Capa’s photograph “Death of a loyalist soldier” from the Spanish civil war. Some shoots of the Allied victory parade at the end of the World War II. A picture of the soviet victory parade of the same period. The movie ends with the same sequences of the start, the flying over the lake, and galloping horses at the climax, perhaps depicting the impulsive dynamic subconscious forces driving the warriors of all time.
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